text: Another type of reductionism is color physicalism. Physicalism is the view that colors are identical to certain physical properties of objects. Most commonly the relevant properties are taken to be reflectance properties of surfaces (though there are accounts of colors apart from surface colors too). Byrne, Hilbert and Kalderon defends versions of this view. They identify colors with reflectance types.

text: Another type of reductionism is color physicalism. Physicalism is the view that colors are identical to certain physical properties of objects. Most commonly the relevant properties are taken to be reflectance properties of surfaces (though there are accounts of colors apart from surface colors too). Byrne, Hilbert and Kalderon defends versions of this view. They identify colors with reflectance types.

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answer_match: Using FLAN-T5-Large with this prompt: For the question "{question}" the correct answer is "{correct_answer}". Is "{answer}" an equally correct response to this question? Answer yes or no.

prompt_style: provide a complete and concise answer to the question based on the context.

text: This color is also called regular green. It is at precisely 120 degrees on the HSV color wheel, also known as the RGB color wheel (Image of RGB color wheel). Its complementary color is magenta.

text: This color is also called regular green. It is at precisely 120 degrees on the

entity_name: HSL and HSV

text: HSV color wheel

text: , also known as the RGB color wheel (

text: Image of RGB color wheel

text: ). Its

entity_name: Complementary colors

text: complementary color

text: is

entity_name: Magenta

text: magenta

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text: The seeing of blue and yellow colors while in samadhi, which is a state of union with the omnipresent Brahman, who is beyond all duality, is also similar to the idea of beatific vision.

text: The seeing of blue and yellow colors while in

entity_name: Samadhi

text: samadhi

text: , which is a state of union with the omnipresent

entity_name: Brahman

text: Brahman

text: , who is beyond all duality, is also similar to the idea of beatific vision.

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text: In color printing, the color called process magenta or pigment magenta is one of the three primary pigment colors which, along with yellow and cyan, constitute the three subtractive primary colors of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the CMYK printing process was invented in the 1890s, when newspapers began to publish color comic strips.

text: In

entity_name: Color printing

text: color printing

text: , the color called process magenta or pigment magenta is one of the three primary pigment colors which, along with

entity_name: Yellow

text: yellow

text: and

entity_name: Cyan

text: cyan

text: , constitute the three

entity_name: Primary color

entity_section: Subtractive primaries

text: subtractive primary colors

text: of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the

entity_name: CMYK color model

text: CMYK printing process

text: was invented in the 1890s, when newspapers began to publish color

entity_name: Comic strip

text: comic strip

text: s.

method: UNH-tfidf-stem

method: UNH-tfidf-ptsim

method: UNH-tfidf-lem

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answers: yellow and cyan

text: The color of a bird's beak results from concentrations of pigments—primarily melanins and carotenoids—in the epidermal layers, including the rhamphotheca.  Eumelanin, which is found in the bare parts of many bird species, is responsible for all shades of gray and black; the denser the deposits of pigment found in the epidermis, the darker the resulting color.  Phaeomelanin produces "earth tones" ranging from gold and rufous to various shades of brown. Although it is thought to occur in combination with eumelanin in beaks which are buff, tan, or horn-colored, researchers have yet to isolate phaeomelanin from any beak structure. More than a dozen types of carotenoids are responsible for the coloration of most red, orange, and yellow beaks. The hue of the color is determined by the precise mix of red and yellow pigments, while the saturation is determined by the density of the deposited pigments.  For example, bright red is created by dense deposits of mostly red pigments, while dull yellow is created by diffuse deposits of mostly yellow pigments.  Bright orange is created by dense deposits of both red and yellow pigments, in roughly equal concentrations. Beak coloration helps to make displays using those beaks more obvious.

text: The color of a bird's beak results from concentrations of

entity_name: Pigment

text: pigment

text: s—primarily

entity_name: Melanin

text: melanin

text: s and

entity_name: Carotenoid

text: carotenoids

text: —in the epidermal layers, including the rhamphotheca.

entity_section: Eumelanin

text: Eumelanin

text: , which is found in the bare parts of many bird species, is responsible for all shades of gray and black; the denser the deposits of pigment found in the epidermis, the darker the resulting color.

entity_section: Pheomelanin

text: Phaeomelanin

text: produces "earth tones" ranging from gold and rufous to various shades of brown. Although it is thought to occur in combination with eumelanin in beaks which are buff, tan, or horn-colored, researchers have yet to isolate phaeomelanin from any beak structure. More than a dozen types of carotenoids are responsible for the coloration of most red, orange, and yellow beaks. The

entity_name: Hue

text: hue

text: of the color is determined by the precise mix of red and yellow pigments, while the

entity_name: Colorfulness

text: saturation

text: is determined by the density of the deposited pigments.  For example, bright red is created by dense deposits of mostly red pigments, while dull yellow is created by diffuse deposits of mostly yellow pigments.  Bright orange is created by dense deposits of both red and yellow pigments, in roughly equal concentrations. Beak coloration helps to make displays using those beaks more obvious.

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text: A number of pigments, especially traditional ones, contain heavy metals such as lead, mercury, and cadmium that are highly toxic.  Some of these pigments have often been banned.

text: A number of pigments, especially traditional ones, contain heavy metals such as lead, mercury, and cadmium that are highly toxic.  Some of these pigments have often been banned.

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answers: NDQ_016551

answers: lead

text: |-| | style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 14 || 40.4 || .403 || .350 || .948 || 3.9 || 2.6 || 1.07 || 0.36 || 18.3|-| | 10 || 0 || 6.0 || .500 || .000 || style="background:#efe196;color:#008040;" | 1.000 || 0.9 || 0.3 || 0.20 || 0.00 || 0.9|-| | style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 14 || 36.4 || .491 || .000 || .710 || 5.6 || 1.8 || 1.29 || 0.57 || 15.8|-| | style="background:#efe196;color:#008040;" | 14 || 0 || 16.6 || .519 || style="background:#efe196;color:#008040;" | .486 || .909 || 1.4 || 0.9 || 0.79 || 0.00 || 7.7|-| | style="background:#efe196;color:#008040;" | 14 || 0 || 11.9 || .303 || .250 || style="background:#efe196;color:#008040;" | 1.000 || 0.9 || 1.8 || 0.07 || 0.00 || 3.7|-| | 10 || 0 || 6.6 || .500 || .000 || .833 || 1.5 || 0.4 || 0.20 || 0.50 || 1.5|-| | style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 14 || 36.6 || style="background:#efe196;color:#008040;" | .575 || .000 || .667 || style="background:#efe196;color:#008040;" | 11.6 || 1.4 || 0.43 || style="background:#efe196;color:#008040;" | 2.64 || 11.9|-| | style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 14 || 39.7 || .430 || .333 || .842 || 5.8 || 3.1 || 1.07 || 0.36 || style="background:#efe196;color:#008040;" | 21.0|-| | 2 || 0 || 12.0 || .429 || .000 || .667 || 4.5 || 0.0 || 0.00 || 0.00 || 5.0|-| | 4 || 0 || 2.8 || .000 || .000 || .000 || 0.0 || 0.5 || 0.00 || 0.25 || 0.0|-| | style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 14 || style="background:#efe196;color:#008040;" | 41.2 || .417 || .250 || .657 || 9.7 || style="background:#efe196;color:#008040;" | 9.8 || style="background:#efe196;color:#008040;" | 2.50 || 0.21 || 16.9|-| | 12 || 0 || 20.5 || .423 || .448 || style="background:#efe196;color:#008040;" | 1.000 || 2.2 || 1.0 || 0.17 || 0.42 || 5.1|-| | 4 || 0 || 2.5 || .000 || .000 || style="background:#efe196;color:#008040;" | 1.000 || 0.0 || 0.0 || 0.50 || 0.00 || 0.5|}

method: ICT-DRMMTKS

method: Bert-DRMMTKS

answers: tqa2:L_0836/T_4247/a0176e922f0049e0dacd9e52103d1463

answers: 0

answers: tqa2:L_0836/T_4247/bc06203e1a7ff8719e06096c821bca72

answers: 4: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4247/98f935a5443e800e29e865cc6c25fc3d

answers: 0

answers: tqa2:L_0836/T_4247/fe32e4cbe911d560ea4c39327980524b

answers: 3: The answer has limited relevance and completeness, with significant gaps or inaccuracies.

answers: tqa2:L_0836/T_4247/f3a14ff6a240c7a0772836d57322e911

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4247/953879074b9c4004a570156b91115100

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4247/7042064f8a3dc4ea248959b33f316804

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4247/b7c5383ecdf1943cbb3bd19439a01101

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4247/88677726342533a22aa94d0e03d63df2

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4247/269b47671b4e36890c676db7d42805d1

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4248/efed569b94b557683b5c0b4b3051d9d0

answers: 0

answers: tqa2:L_0836/T_4248/f0085b8dc12f91896261200010692971

answers: 0

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answers: 4: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 0

answers: tqa2:L_0836/T_4248/c619b0eb5f4f3cdabaad27373210d678

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4248/cca7fd3ace22dc0ecadda74a9a50e1fc

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4248/daadb71fdf13fcc89a89331bc7a3937d

answers: 0

answers: tqa2:L_0836/T_4248/85a379125d382d2d8abe61b7589bd3f3

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4248/4a5f34f545b3554223a6777969ddcd2e

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4248/d3ff92b15895d9987237214ab15ca331

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4249/ab356eba449afce46bc26adff6512dfe

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4249/33c649aae183665a17a33d1d74e63a4a

answers: 4

answers: tqa2:L_0836/T_4249/c9c0d328d99bc27cde851b59be8c5b02

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4249/bb558defcd8c4f4429767840408d7495

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4249/f13e43be054188baec6d276003dd4206

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4249/6a3b4e518324e7c3171332a1d42ac588

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/3166056caebf6d50e87d0a0753a285b7

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/06f6c3928c4c29c205dbd69a314af3a4

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/a2ca200a8bac21916ace9869b0aa05c0

answers: 2: The answer has limited relevance and completeness, with significant gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/b8955e9b011ce1dd20b7909ad6af6304

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/609e158c2b2c5a222808e87e11e0ece5

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/37f674ffa729c4b1c8047dd7d3997836

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/c373c2eb4955a442bbd7a1364a817f27

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/bdbbb71ec030f43674e5da5902dac9c7

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4250/adfb03070f0655bae197669c8ac81920

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4250/618fca6fd4187b2c522487d1d923f10a

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/461b0feb4f72911f37359121c745d19e

answers: 2: The answer has limited relevance and completeness, with significant gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/b68aa2c879a35c5bc2769fe5d792e5f8

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/cb1bf3d6066c4cf0833f4575b67c5a91

answers: 0

answers: tqa2:L_0836/T_4251/7e5f5319dee4759acdebea1e11844587

answers: 0

answers: tqa2:L_0836/T_4251/2586a45c34104d32b872628df5cb95cb

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/40786587e70acca3f0d3545b9f542e94

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/95f5d24b848714bf58ff3ae762ae4238

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: tqa2:L_0836/T_4251/e68d6f2915c4db253e52833ae265f647

answers: 0

answers: tqa2:L_0836/T_4251/b6a5df5ab7b34c7a3ad2e6d6a0e8d4b6

answers: 0: The answer is not relevant or complete at all.

answers: tqa2:L_0836/T_4251/9fbdbd2944060fa1f0cd58d307e5be3c

answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

answers: NDQ_016542

answers: 4

answers: NDQ_016543

answers: 4

answers: NDQ_016548

answers: 0

answers: NDQ_016549

answers: 0

answers: NDQ_016550

answers: 0

answers: NDQ_016551

answers: 0

answers: NDQ_016542

answers: a rainbow includes all the colors of visible light.

answers: NDQ_016543

answers: Visible light

answers: NDQ_016548

answers: #efe196;color:#008040;"

answers: NDQ_016549

answers: if only blue light strikes green leaves, the leaves appear

answers: NDQ_016550

answers: #efe196;color:#008040;"

answers: NDQ_016551

answers: #efe196;color:#008040;"

text: Pigments appear the colors they are because they selectively reflect and absorb certain wavelengths of visible light. White light is a roughly equal mixture of the entire spectrum of visible light with a wavelength in a range from about 375 or 400 nanometers to about 760 or 780 nm. When this light encounters a pigment, parts of the spectrum are absorbed by the molecules or ions of the pigment. In organic pigments such as diazo or phthalocyanine compounds the light is absorbed by the conjugated systems of double bonds in the molecule. Some of the inorganic pigments such as vermilion (mercury sulfide) or cadmium yellow (cadmium sulfide) absorb light by transferring an electron from the negative ion (S) to the positive ion (Hg or Cd). Such compounds are designated as charge-transfer complexes, with broad absorption bands that subtract most of the colors of the incident white light. The other wavelengths or parts of the spectrum are reflected or scattered. The new reflected light spectrum creates the appearance of a color. Pigments, unlike fluorescent or phosphorescent substances, can only subtract wavelengths from the source light, never add new ones.

text: Pigments appear the colors they are because they selectively reflect and absorb certain wavelengths of

entity_name: Light

text: visible light

entity_name: White

text: White light

text: is a roughly equal mixture of the entire spectrum of visible light with a

entity_name: Wavelength

text: wavelength

text: in a range from about 375 or 400

entity_name: Nanometre

text: nanometer

text: s to about 760 or 780 nm. When this light encounters a pigment, parts of the spectrum are

entity_name: Absorption (electromagnetic radiation)

text: absorbed

text: by the molecules or ions of the pigment. In organic pigments such as

entity_name: Azo compound

text: diazo

text: or

entity_name: Phthalocyanine

text: phthalocyanine

text: compounds the light is absorbed by the

entity_name: Conjugated system

entity_section: Conjugated systems in pigments

text: conjugated systems

text: of

entity_name: Double bond

text: double bond

text: s in the molecule. Some of the inorganic pigments such as

entity_name: Vermilion

text: vermilion

text: (mercury sulfide) or

entity_name: Cadmium pigments

text: cadmium yellow

text: (cadmium sulfide) absorb light by transferring an electron from the negative ion (S) to the positive ion (Hg or Cd). Such compounds are designated as

entity_name: Charge-transfer complex

text: charge-transfer complex

text: es, with broad

entity_name: Absorption band

text: absorption band

text: s that subtract most of the colors of the incident white light. The other wavelengths or parts of the spectrum are reflected or scattered. The new reflected light spectrum creates the appearance of a

entity_name: Color

text: color

text: . Pigments, unlike

entity_name: Fluorescence

text: fluorescent

text: or

entity_name: Phosphorescence

text: phosphorescent

text: substances, can only

entity_name: Subtractive color

text: subtract

text: wavelengths from the source light, never add new ones.

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answers: 3

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answers: 0

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answers: 2

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answers: 0

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answers: 3

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answers: 0

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answers: 0

answers: NDQ_016542

answers: 0

answers: NDQ_016543

answers: 4

answers: NDQ_016548

answers: 0

answers: NDQ_016549

answers: 0

answers: NDQ_016550

answers: 0

answers: NDQ_016551

answers: 0

answers: NDQ_016542

answers: White light

answers: NDQ_016543

answers: White light

answers: NDQ_016548

answers: mercury sulfide

answers: NDQ_016549

answers: the leaves appear the colors they are

answers: NDQ_016550

answers: visible light

answers: NDQ_016551

answers: mercury sulfide

text: has a red spectrum, making it the smallest Kuiper Belt Object to have its color measured.

text: has a red spectrum, making it the smallest

entity_name: Kuiper belt

text: Kuiper Belt Object

text: to have its color measured.

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text: This color is also the color called red in the X11 web colors, which were originally formulated in 1987.  It is also called color wheel red.  It is at precisely zero (360) degrees on the HSV color wheel, also known as the RGB color wheel (Image of RGB color wheel).  Its complementary color is cyan.

text: This color is also the color called red in the

entity_name: Web colors

entity_section: X11 color names

text: web colors, which were originally formulated in 1987.  It is also called color wheel red.  It is at precisely zero (360) degrees on the

text: HSV color wheel

text: , also known as the RGB color wheel (

text: Image of RGB color wheel

text: ).  Its

text: complementary color

text: is

text: cyan

method: UvABottomUpChangeOrder

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text: Pigments through the ages shows a "Painted swatch of cerulean blue" that is representative of the actual cobalt stannate pigment.  This color swatch matches the color shown in the color box at right. See also painted swatch and crystals of cerulean blue at ColourLex.

text: Pigments through the ages shows a "Painted swatch of cerulean blue" that is representative of the actual cobalt stannate pigment.  This

text: color swatch

text: matches the color shown in the color box at right. See also painted swatch and crystals of cerulean blue at ColourLex.

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text: Hot roots is a term used by hair stylists to explain the condition brought about by applying an artificial pigment to the hair, whereby the roots (the sections of the hair follicles closest to the scalp) are noticeably warmer in color (more red/orange) than the ends of the hair.  This can happen for a few reasons, but the two most likely causes are explained below.It is helpful to understand the general nature of the lightening, or "lifting", of natural hair color.  The color of natural hair is determined by the melanin present.  Generally, the more melanin, the darker the hair.  In order for the color of hair to be lightened, a chemical must penetrate the cuticle of the hair, enter the cortex and destroy the melanin.  Permanent hair color, bleach and other decolorants can do this to varying degrees.Permanent hair color, unlike bleach and other decolorants, leaves behind an artificial pigment while destroying the natural pigment.  This pigment is a mix of the primary colors:  blue, red and yellow.  The chemical reaction that occurs within the hair follicle during a color-lightening process, in essence, destroys the natural melanin as well as the blue, red and yellow hues, respectively, one at a time.  The extent to which this occurs can be affected by the proportion of chemicals present, especially hydrogen peroxide, as well as by the temperature at which the hair is kept during the process.  Artificial hair pigment, unlike natural hair pigment, cannot be lightened to a noticeable extent by other artificial hair color.

text: Hot roots is a term used by

entity_name: Hairdresser

text: hair stylist

text: s to explain the condition brought about by applying an artificial pigment to the hair, whereby the roots (the sections of the

entity_name: Hair follicle

text: hair follicle

text: s closest to the scalp) are noticeably warmer in color (more red/orange) than the ends of the hair.  This can happen for a few reasons, but the two most likely causes are explained below.It is helpful to understand the general nature of the lightening, or "lifting", of natural hair color.  The color of natural hair is determined by the

text: melanin

text: present.  Generally, the more melanin, the darker the hair.  In order for the color of hair to be lightened, a chemical must penetrate the cuticle of the hair, enter the cortex and destroy the melanin.  Permanent hair color,

entity_name: Bleach

text: bleach

text: and other decolorants can do this to varying degrees.Permanent hair color, unlike bleach and other decolorants, leaves behind an artificial pigment while destroying the natural pigment.  This pigment is a mix of the primary colors:  blue, red and yellow.  The chemical reaction that occurs within the hair follicle during a color-lightening process, in essence, destroys the natural melanin as well as the blue, red and yellow hues, respectively, one at a time.  The extent to which this occurs can be affected by the proportion of chemicals present, especially

entity_name: Hydrogen peroxide

text: hydrogen peroxide

text: , as well as by the temperature at which the hair is kept during the process.  Artificial hair pigment, unlike natural hair pigment, cannot be lightened to a noticeable extent by other artificial hair color.

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answers: This pigment is a mix of the primary colors: blue, red and yellow

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answers: apply an artificial pigment

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answers: more red/orange

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answers: blue

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answers: red and yellow

text: Violet is at one end of the spectrum of visible light, between blue and the invisible ultraviolet. It has the shortest wavelength of all the visible colors. It is the color the eye sees looking at light with a wavelength of between 380 and 450 nanometers.

text: Violet is at one end of the spectrum of visible light, between

entity_name: Blue

text: blue

text: and the invisible

entity_name: Ultraviolet

text: ultraviolet

text: . It has the shortest wavelength of all the visible colors. It is the color the eye sees looking at light with a wavelength of between 380 and 450 nanometers.

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text: Red is the color at the longer-wavelengths end of the spectrum of visible light next to orange, at the opposite end from violet. Red color has a predominant light wavelength of roughly 620–740 nanometers.Light with a longer wavelength than red but shorter than terahertz radiation and microwave is called infrared.

text: Red is the

text: color

text: at the longer-

text: wavelength

text: s end of the

text: spectrum

text: of

text: visible light

text: next to

text: orange

text: , at the opposite end from

text: violet

text: . Red color has a predominant light wavelength of roughly 620–740

text: nanometers

text: .Light with a longer wavelength than red but shorter than

text: terahertz radiation

text: and

text: microwave

text: is called

text: infrared

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text: The center for luxury Italian glassmaking from the 14th century was the island of Murano, which developed many new techniques and became the center of a lucrative export trade in dinnerware, mirrors, and other items. What made Venetian Murano glass significantly different was that the local quartz pebbles were almost pure silica, and were ground into a fine clear sand that was combined with soda ash obtained from the Levant, for which the Venetians held the sole monopoly. The clearest and finest glass is tinted in two ways: firstly, a natural coloring agent is ground and melted with the glass. Many of these coloring agents still exist today; for a list of coloring agents, see below. Black glass was called obsidianus after obsidian stone. A second method is apparently to produce a black glass which, when held to the light, will show the true color that this glass will give to another glass when used as a dye.

text: The center for luxury Italian glassmaking from the 14th century was the island of

text: Murano

text: , which developed many new techniques and became the center of a lucrative export trade in

text: dinnerware

text: mirror

text: s, and other items. What made Venetian

text: Murano glass

text: significantly different was that the local quartz pebbles were almost pure silica, and were ground into a fine clear sand that was combined with

text: soda ash

text: obtained from the

text: Levant

text: , for which the Venetians held the sole

text: monopoly

text: . The clearest and finest glass is tinted in two ways: firstly, a natural coloring agent is ground and melted with the glass. Many of these coloring agents still exist today; for a list of coloring agents, see below. Black glass was called obsidianus after obsidian stone. A second method is apparently to produce a black glass which, when held to the light, will show the true color that this glass will give to another glass when used as a dye.

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answers: A rainbow includes all the colors of visible light.

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text: In color printing, the shade of cyan  called process cyan or pigment cyan is one of the three primary pigment colors which, along with yellow and magenta, constitute the three subtractive primary colors of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the CMYK printing process was invented in the 1890s, when newspapers began to publish color comic strips.

text: In

text: color printing

text: , the shade of cyan  called process cyan or pigment cyan is one of the three primary pigment colors which, along with

text: yellow

text: and

text: magenta

text: , constitute the three

text: subtractive primary colors

text: of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the

text: CMYK printing process

text: was invented in the 1890s, when newspapers began to publish color

text: comic strip

text: s.

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answers: The secondary colors of pigment

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answers: visible light

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answers: cyan

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answers: blue, green, and red

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answers: yellow and magenta

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answers: yellow and magenta

text: A garnet and glass doublet uses a top portion of natural garnet fused to any color of glass to imitate a gem. The color of glass used in the doublet is all that is seen, as the garnet provides no color. If seen in reflected light, a separation line may be seen. A harder garnet makes the stones more durable. In the case of opal doublets, a backing layer of onyx or matrix (ironstone) gives the more fragile opal layer support and can make the opal look darker and higher quality.

text: A

text: garnet

text: and

text: glass

text: doublet uses a top portion of natural garnet fused to any color of glass to imitate a

text: gem

text: . The color of glass used in the doublet is all that is seen, as the garnet provides no color. If seen in reflected light, a separation line may be seen. A harder garnet makes the stones more durable. In the case of

text: opal

text: doublets, a backing layer of

text: onyx

text: or matrix (

text: ironstone

text: ) gives the more fragile opal layer support and can make the opal look darker and higher quality.

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text: Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

text: Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's

text: wavelength

text: . If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce

text: Tyndall effect

text: colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of

text: opal

text: s, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a

text: diffraction grating

text: : the grating reflects different wavelengths in different directions due to

text: interference

text: phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

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text: The psychological perception of color is commonly thought of as a function of the power spectrum of light frequencies impinging on the photoreceptors of the retina.  In the simplest case of pure spectral light (also known as monochromatic), the spectrum of the light has power only in one narrow frequency band peak.  For these simple stimuli, there exists a continuum of perceived colors which changes as the frequency of the narrow band peak is changed.  This is the well known rainbow spectrum, which ranges from red at one end to blue and violet at the other (corresponding respectively to the long-wavelength and short-wavelength extremes of the visible range of electromagnetic radiation).

text: The psychological perception of

text: color

text: is commonly thought of as a function of the

text: power spectrum

text: of light frequencies impinging on the

text: photoreceptor

text: s of the

text: retina

text: .  In the simplest case of

text: pure spectral light

text: (also known as monochromatic), the spectrum of the light has power only in one narrow frequency band peak.  For these simple stimuli, there exists a continuum of perceived colors which changes as the frequency of the narrow band peak is changed.  This is the well known

text: rainbow

text: spectrum, which ranges from red at one end to blue and violet at the other (corresponding respectively to the long-wavelength and short-wavelength extremes of the visible range of

text: electromagnetic radiation

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answers: The psychological perception of color

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text: This effect is caused by the way the eye follows a moving object on the projection.  When an object on the screen moves, the eye follows the object with a constant motion, but the projector displays each alternating color of the frame at the same location for the duration of the whole frame.  So, while the eye is moving, it sees a frame of a specific color (red, for example).  Then, when the next color is displayed (green, for example), although it gets displayed at the same location overlapping the previous color, the eye has moved toward the object's next frame target.  Thus, the eye sees that specific frame color slightly shifted.  Then, the third color gets displayed (blue, for example), and the eye sees that frame's color slightly shifted again.  This effect is not perceived only for the moving object, but the whole picture.Additionally, multi-color LED-based and laser-based single-chip projectors are able to eliminate the spinning wheel and minimize the rainbow effect, since the pulse rate of LEDs and laser are not limited by physical motion. "Three-chip DLP projectors have no color wheels, and thus do not manifest this [rainbow] artifact."

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text: In fine art realism and scientific descriptions of color perception, local color is the color the brain perceives an object to be. This may be radically different from the actual wavelength of light received by the eye.  For example, an apple is painted to appear red in comparison to the colors around it, but the actual pigment mixture used may be a pale green. This effect, known as color constancy, can also be observed under colored lighting in reality, and in photographs with strong color tints such as The Dress.

text: In

text: fine art realism

text: and scientific descriptions of

text: color perception

text: , local color is the color the brain perceives an object to be. This may be radically different from the actual wavelength of light received by the eye.  For example, an apple is painted to appear red in comparison to the colors around it, but the actual pigment mixture used may be a pale green. This effect, known as

text: color constancy

text: , can also be observed under colored lighting in reality, and in photographs with strong color tints such as

text: The Dress

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text: Newspapers use soy ink regularly, especially for color because it creates a sharper and brighter image.  Color newspaper inks are more competitive to petroleum-based inks as well.  They are only about five to ten percent more because the price is more due to the cost of the pigment, which is not as big a factor with black inks. Color soy inks are more widely accepted because they become the most quickly cost effective after savings in terms of excess pigment, VOC and printer cleanup costs.  This “overall cost” for soy inks is significantly lower than the initial market price, and it is at this point that they become competitive with their petroleum counterparts. Soy inks also work well for label printing as they allow a reduction in ink coverage by 85% compared to water-based inks.

text: Newspapers use soy ink regularly, especially for color because it creates a sharper and brighter image.  Color newspaper inks are more competitive to petroleum-based inks as well.  They are only about five to ten percent more because the price is more due to the cost of the pigment, which is not as big a factor with black inks. Color soy inks are more widely accepted because they become the most quickly cost effective after savings in terms of excess pigment, VOC and printer cleanup costs.  This “overall cost” for soy inks is significantly lower than the initial market price, and it is at this point that they become competitive with their petroleum counterparts. Soy inks also work well for label printing as they allow a reduction in ink coverage by 85% compared to water-based inks.

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text: |colspan="3" style="background-color:#FF99FF"|Northern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|North Eastern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Bangkok & field Region|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Central-West Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#FF99FF"|Central-East Region|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Southern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-

text: |colspan="3" style="background-color:#FF99FF"|Northern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|North Eastern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Bangkok & field Region|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Central-West Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#FF99FF"|Central-East Region|-|colspan="3" style="background-color:#99CCCC"|3 February 2013|-|colspan="3" style="background-color:#FF99FF"|Southern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-

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answers: 3: The answer is mostly relevant and complete, with noticeable gaps or inaccuracies.

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answers: a rainbow includes all the colors of visible light

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answers: |colspan="3" style="background-color:#FF99FF"|Bangkok & field Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#FF99FF"|Bangkok & field Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#FF99FF"|Bangkok & field Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|-|colspan="3" style="background-color:#FF99FF"|Southern Region|-|colspan="3" style="background-color:#99CCCC"|2 February 2013|

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text: Livid (blue-gray) is the opposite concept from brown. Brown colors are mainly dark orange and dark red colors—warm colors on the warm color side of the color wheel, while blue-gray (livid) colors are mainly dark blue and dark azure colors—colors on the opposite side of the color wheel—cool colors on the cool color side of the color wheel.

text: Livid (blue-gray) is the opposite concept from

text: brown

text: . Brown colors are mainly dark

text: orange

text: and dark

text: red

text: colors—warm colors on the warm color side of the

text: color wheel

text: , while blue-gray (livid) colors are mainly dark

text: blue

text: and dark

text: azure

text: colors—colors on the opposite side of the color wheel—cool colors on the cool color side of the color wheel.

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text: Industrial melanism is mostly concerned with the visual effects of melanization. The idea is that the darker pigmentation helps to camouflage the organisms better in an environment darkened by pollution and therefore heightens the fitness by making it less accessible to predators; but there are a few other ideas about why melanization can help improve fitness in air-polluted areas for these populations that are not correlated to any visual effect at all. It is theorized that organisms that experience melanization have better immunity to toxic chemicals put into the environment by industrial pollution. Other studies have been conceived to find other aspects of melanization contributing to the survivability of the organism other than visual inconspicuousness. In the black arches moth (Lymantria monacha), it has been determined that the darker pigmented forms have also developed a stronger immune response to foreign objects with the attribution of the melanic pigment. The same melanic pigment that contributes to the visual coloration of the moth is also involved in the encapsulation process of foreign invaders through the immune defense of the dark-colored form of the organism. This enhanced defense against foreign invaders is helpful in an environment contaminated by industrial pollution because the toxins that are put out into the air have less chance of negatively affecting the inhabitants of that environment.

text: Industrial melanism is mostly concerned with the visual effects of melanization. The idea is that the darker pigmentation helps to camouflage the organisms better in an environment darkened by pollution and therefore heightens the fitness by making it less accessible to predators; but there are a few other ideas about why melanization can help improve fitness in air-polluted areas for these populations that are not correlated to any visual effect at all. It is theorized that organisms that experience melanization have better immunity to toxic chemicals put into the environment by industrial pollution. Other studies have been conceived to find other aspects of melanization contributing to the survivability of the organism other than visual inconspicuousness. In the black arches moth (

text: Lymantria monacha

text: ), it has been determined that the darker pigmented forms have also developed a stronger immune response to foreign objects with the attribution of the melanic pigment. The same melanic pigment that contributes to the visual coloration of the moth is also involved in the encapsulation process of foreign invaders through the immune defense of the dark-colored form of the organism. This enhanced defense against foreign invaders is helpful in an environment contaminated by industrial pollution because the toxins that are put out into the air have less chance of negatively affecting the inhabitants of that environment.

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answers: melanic

text: In a charge-coupled device Line Array CCD telecine, a “white” light is shone through the exposed film image into a prism, which separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics modulate into a video signal which can then be recorded onto video tape or broadcast.

text: In a

text: charge-coupled device

text: Line Array CCD telecine, a “white” light is shone through the exposed film image into a prism, which separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics

text: modulate

text: into a video signal which can then be recorded onto video tape or broadcast.

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text: There exists some correspondence, more or less precise, between hue values and color terms (names). One approach in color science is to use traditional color terms but try to give them more precise definitions. See spectral color for names of highly saturated colors with the hue from ≈ 0° (red) up to ≈ 275° (violet), and line of purples for color terms of the remaining part of the color wheel.

text: There exists some correspondence, more or less precise, between hue values and

text: color term

text: s (names). One approach in color science is to use traditional color terms but try to give them more precise definitions. See

entity_section: Table of spectral or near-spectral colors

text: spectral color

text: for names of highly saturated colors with the hue from ≈ 0° (red) up to ≈ 275° (violet), and

text: line of purples

text: for color terms of the remaining part of the color wheel.

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answers: red

text: There are two types of LEDs: colored LEDs and white LEDs. Colored LEDs emit a specific color light (monochromatic light), regardless of the color of the transparent plastic lens that encases the LED's chip. The plastic may be colored for cosmetic reasons, but does not substantially affect the color of the light emitted.  Holiday lights of this type do not suffer from color fading because the light is determined by the LED's chip rather than the plastic lens.

text: There are two types of LEDs: colored LEDs and white LEDs. Colored LEDs emit a specific color light (

text: monochromatic

text: light), regardless of the color of the transparent plastic lens that encases the LED's chip. The plastic may be colored for cosmetic reasons, but does not substantially affect the color of the light emitted.  Holiday lights of this type do not suffer from color fading because the light is determined by the LED's chip rather than the plastic lens.

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answers: monochromatic light

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answers: Colored

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answers: monochromatic light

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answers: monochromatic

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answers: Colored

text: A color circle based on spectral wavelengths appears with red at one end of the spectrum and violet at the other. A wedge-shaped gap represents colors that have no unique spectral frequency. These extra-spectral colors, the purples, form from additive mixture of colors from the ends of the spectrum.

text: A color circle based on spectral wavelengths appears with

text: red

text: at one end of the spectrum and

text: violet

text: at the other. A wedge-shaped gap represents colors that have no unique spectral frequency. These extra-spectral colors, the

text: purple

text: s, form from additive mixture of colors from the ends of the spectrum.

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text: Various color models have an explicit term for this property. The Munsell color model uses the term value, while the HSL color model, HCL color space and Lab color space use the term lightness. The HSV model uses the term value a little differently: a color with a low value is nearly black, but one with a high value is the pure, fully saturated color.

text: Various

text: color models

text: have an explicit term for this property. The

text: Munsell color model

text: uses the term value, while the

text: HSL color model

text: HCL color space

text: and

text: Lab color space

text: use the term lightness. The

text: HSV model

text: uses the term value a little differently: a color with a low value is nearly black, but one with a high value is the pure, fully saturated color.

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text: While synesthetes sometimes report seeing colors projected in space, they do not confuse their synesthetic colors with real colors in the external world.  Rather, they report that they are simultaneously aware of the external color and also the internal, synesthetic color:

text: While synesthetes sometimes report seeing colors projected in space, they do not confuse their synesthetic colors with real colors in the external world.  Rather, they report that they are simultaneously aware of the external color and also the internal, synesthetic color:

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text: Controversies exist around eliminating this disorder from breeding Collies.  Some veterinarians advocate only breeding dogs with no evidence of disease, but this would eliminate a large portion of potential breeding stock.  Because of this, others recommend only breeding mildly affected dogs, but this would never completely eradicate the condition.  Also, mild cases of choroidal hypoplasia may become pigmented and therefore undiagnosable by the age of three to seven months.  If puppies are not checked for CEA before this happens, they may be mistaken for normal and bred as such.  Checking for CEA by seven weeks of age can eliminate this possibility.  Diagnosis is also difficult in dogs with coats of dilute color because lack of pigment in the choroid of these animals can be confused with choroidal hypoplasia.  Also, because of the lack of choroidal pigment, mild choroidal hypoplasia is difficult to see, and therefore cases of CEA may be missed.

text: Controversies exist around eliminating this disorder from breeding Collies.  Some

text: veterinarian

text: s advocate only breeding dogs with no evidence of disease, but this would eliminate a large portion of potential breeding stock.  Because of this, others recommend only breeding mildly affected dogs, but this would never completely eradicate the condition.  Also, mild cases of choroidal hypoplasia may become pigmented and therefore undiagnosable by the age of three to seven months.  If puppies are not checked for CEA before this happens, they may be mistaken for normal and bred as such.  Checking for CEA by seven weeks of age can eliminate this possibility.  Diagnosis is also difficult in dogs with

text: coat

text: s of dilute color because lack of pigment in the choroid of these animals can be confused with choroidal hypoplasia.  Also, because of the lack of choroidal pigment, mild choroidal hypoplasia is difficult to see, and therefore cases of CEA may be missed.

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text: In the subtractive color system,  used in painting and color printing, green is created by a combination of yellow and blue, or yellow and cyan;  in the RGB color model, used on television and computer screens, it is one of the additive primary colors, along with red and blue, which are mixed in different combinations to create all other colors.    On the HSV color wheel, also known as the RGB color wheel,  the complement of green is magenta; that is, a color corresponding to an equal mixture of red and blue light (one of the purples). On a traditional color wheel, based on subtractive color, the complementary color to green is considered to be red.

text: In the

text: subtractive color

text: system,  used in painting and color printing, green is created by a combination of yellow and blue, or yellow and

text: cyan

text: ;  in the

text: RGB color model

text: , used on television and computer screens, it is one of the

text: additive primary colors

text: , along with red and blue, which are mixed in different combinations to create all other colors.    On the

text: HSV color wheel

text: , also known as the

text: RGB color wheel

text: ,  the

text: complement

text: of green is

text: magenta

text: ; that is, a color corresponding to an equal mixture of

text: red

text: and

text: blue

text: light (one of the

text: purple

text: s). On a traditional color wheel, based on subtractive color, the complementary color to green is considered to be red.

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text: Color is usually attributed to external bodies. However, color is actually the activity of the eye's retina. It is a sensation. The external body is perceived as the cause of the sensation of color. We say, "The body is red." In reality, though, color exists only in the retina of the eye. It is separate from the external object. Color is a mere sensation in the sense organ. The external object is perceived by the intellect's understanding as being the cause of sensations.

text: Color is usually attributed to external bodies. However, color is actually the activity of the eye's retina. It is a sensation. The external body is perceived as the cause of the sensation of color. We say, "The body is red." In reality, though, color exists only in the retina of the eye. It is separate from the external object. Color is a mere sensation in the sense organ. The external object is perceived by the intellect's understanding as being the cause of sensations.

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answers: Yes

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text: |-!colspan=12 style="background:#00337F; color:#FFFFFF;"| Regular season|-!colspan=12 style="background:#FFFFFF; color:#00337F;"|

text: |-!colspan=12 style="background:#00337F; color:#FFFFFF;"| Regular season|-!colspan=12 style="background:#FFFFFF; color:#00337F;"|

entity_name: 2015 America East Women's Basketball Tournament

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answers: Colors of the rainbow include red, green, blue, and yellow.

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text: Many species can see light with frequencies outside the human "visible spectrum". Bees and many other insects can detect ultraviolet light, which helps them to find nectar in flowers. Plant species that depend on insect pollination may owe reproductive success to ultraviolet "colors" and patterns rather than how colorful they appear to humans. Birds, too, can see into the ultraviolet (300–400 nm), and some have sex-dependent markings on their plumage that are visible only in the ultraviolet range. Many animals that can see into the ultraviolet range, however, cannot see red light or any other reddish wavelengths.  For example, bees' visible spectrum ends at about 590 nm, just before the orange wavelengths start. Birds, however, can see some red wavelengths, although not as far into the light spectrum as humans. It is an incorrect popular belief that the common goldfish is the only animal that can see both infrared and ultraviolet light, their color vision extends into the ultraviolet but not the infrared.

text: Many species can see light with frequencies outside the human "visible spectrum".

text: Bee

text: s and many other insects can detect ultraviolet light, which helps them to find

text: nectar

text: in flowers. Plant species that depend on insect pollination may owe reproductive success to ultraviolet "colors" and patterns rather than how colorful they appear to humans. Birds, too, can see into the ultraviolet (300–400 nm), and some have sex-dependent markings on their plumage that are visible only in the ultraviolet range. Many animals that can see into the ultraviolet range, however, cannot see red light or any other reddish wavelengths.  For example, bees' visible spectrum ends at about 590 nm, just before the orange wavelengths start. Birds, however, can see some red wavelengths, although not as far into the light spectrum as humans. It is an incorrect popular belief that the common goldfish is the only animal that can see both infrared and ultraviolet light, their color vision extends into the ultraviolet but not the infrared.

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answers: visible spectrum

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answers: can detect ultraviolet light

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answers: red

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answers: ultraviolet

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answers: orange

text: The specimen is illuminated with light of a specific wavelength (or wavelengths) which is absorbed by the fluorophores, causing them to emit light of longer wavelengths (i.e., of a different color than the absorbed light). The illumination light is separated from the much weaker emitted fluorescence through the use of a spectral emission filter. Typical components of a fluorescence microscope are a light source (xenon arc lamp or mercury-vapor lamp are common; more advanced forms are high-power LEDs and lasers), the excitation filter, the dichroic mirror (or dichroic beamsplitter), and the emission filter (see figure below). The filters and the dichroic are chosen to match the spectral excitation and emission characteristics of the fluorophore used to label the specimen. In this manner, the distribution of a single fluorophore (color) is imaged at a time. Multi-color images of several types of fluorophores must be composed by combining several single-color images.

text: The specimen is illuminated with light of a specific

text: wavelength

text: (or wavelengths) which is absorbed by the

text: fluorophores

text: , causing them to emit light of longer wavelengths (i.e., of a different color than the absorbed light). The illumination light is separated from the much weaker emitted fluorescence through the use of a spectral emission filter. Typical components of a fluorescence microscope are a light source (

text: xenon arc lamp

text: or

text: mercury-vapor lamp

text: are common; more advanced forms are high-power

text: LED

text: s and

text: laser

text: s), the

text: excitation filter

text: , the

text: dichroic mirror

text: (or

text: dichroic beamsplitter

text: ), and the

text: emission filter

text: (see figure below). The filters and the dichroic are chosen to match the spectral excitation and emission characteristics of the fluorophore used to label the specimen. In this manner, the distribution of a single fluorophore (color) is imaged at a time. Multi-color images of several types of fluorophores must be composed by combining several single-color images.

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answers: Yes

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answers: visible light

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answers: emit light of longer wavelengths

answers: NDQ_016549

answers: i.e., of a different color than the absorbed light

answers: NDQ_016550

answers: xenon

answers: NDQ_016551

answers: fluorophores

text: |-| style="text-align:left;" | | style="background:#FFF; color:#000;" | 78| style="background:#FFF; color:#000;" | 26| 22.7| .400| .339| .780| 2.2| 1.0| 0.62| 0.14| 7.2|- style="background:#f0f0f0;"| style="text-align:left;" | | 73| 7| 22.2| .476| .278| .742| 5.3| 1.5| 1.03| 0.52| 11.2|-| style="text-align:left;" | | 22| 1| 7.8| .458| .000| .750| 0.9| 0.2| 0.36| 0.05| 1.1|- style="background:#f0f0f0;"| style="text-align:left;" | | 30| 6| 13.3| .390| .000| .540| 5.0| 0.2| 0.43| 0.07| 2.7|-| style="text-align:left;" | | 54| 54| 20.5| .441| .000| .809| 6.6| 1.5| 0.80| 0.74| 6.5|- style="background:#f0f0f0;"| style="text-align:left;" | | 15| 2| 16.3| .463| .250| .750| 1.5| 2.0| 0.67| 0.07| 4.1|-| style="text-align:left;" | | 79| 79| 32.6| .454| .401| .815| 3.4| 2.7| 0.59| 0.13| 15.8|- style="background:#f0f0f0;"| style="text-align:left;" | | 45| 4| 19.0| .513| .200| style="background:#FFF; color:#000;" | .513| 3.2| 1.6| 0.89| 0.42| 5.0|-| style="text-align:left;" | | style="background:#FFF; color:#000;" | 76| style="background:#FFF; color:#000;" | 54| 26.0| .483| .167| .827| 3.2| 3.2| style="background:#FFF; color:#000;" | 1.22| 0.41| 8.3|- style="background:#f0f0f0;"| style="text-align:left;" | | 17| 17| 31.4| style="background:#FFF; color:#000;" | .563| .000| style="background:#FFF; color:#000;" | .817| 6.0| 0.9| 0.53| 1.76| style="background:#FFF; color:#000;" | 20.7|-| style="text-align:left;" | | style="background:#FFF; color:#000;" | 70| style="background:#FFF; color:#000;" | 22| style="background:#FFF; color:#000;" | 18.2| style="background:#FFF; color:#000;" | .659| style="background:#FFF; color:#000;" | .000| style="background:#FFF; color:#000;" | .626| style="background:#FFF; color:#000;" | 4.4| style="background:#FFF; color:#000;" | 0.9| style="background:#FFF; color:#000;" | 0.70| style="background:#FFF; color:#000;" | 0.79| style="background:#FFF; color:#000;" | 7.4|- style="background:#f0f0f0;"| style="text-align:left;" | | 75| 68| 28.0| .451| .373| .826| 4.6| 2.4| 1.15| 0.41| 13.5|-| style="text-align:left;" | | 17| 0| style="background:#FFF; color:#000;" | 8.1| style="background:#FFF; color:#000;" | .458| .000| .380| 0.8| style="background:#FFF; color:#000;" | 0.7| 0.12| 0.06| 1.5|- style="background:#f0f0f0;"| style="text-align:left;" | | 23| 3| style="background:#FFF; color:#000;" | 11.7| .341| .250| style="background:#FFF; color:#000;" | .800| style="background:#FFF; color:#000;" | 0.7| style="background:#FFF; color:#000;" | 1.6| style="background:#FFF; color:#000;" | 0.52| 0.04| style="background:#FFF; color:#000;" | 3.9|-| style="text-align:left;" | | 21| 1| 9.6| style="background:#FFF; color:#000;" | .415| style="background:#FFF; color:#000;" | .375| style="background:#FFF; color:#000;" | .789| style="background:#FFF; color:#000;" | 1.0| 1.4| 0.38| 0.05| style="background:#FFF; color:#000;" | 3.0|- style="background:#f0f0f0;"| style="text-align:left;" | | style="background:#FFF; color:#000;" | 72| style="background:#FFF; color:#000;" | 7| style="background:#FFF; color:#000;" | 19.4| style="background:#FFF; color:#000;" | .418| style="background:#FFF; color:#000;" | .390| .710| style="background:#FFF; color:#000;" | 3.7| style="background:#FFF; color:#000;" | 0.8| style="background:#FFF; color:#000;" | 0.40| style="background:#FFF; color:#000;" | 0.32| style="background:#FFF; color:#000;" | 8.6|-| style="text-align:left;" | | 35| 0| 16.3| .362| .379| .670| 1.1| 1.6| 0.37| 0.00| 4.5|- style="background:#f0f0f0;"| style="text-align:left;" | | 26| 1| 23.8| .414| style="background:#FFF; color:#000;" | .380| .800| 2.8| 1.2| 1.04| 0.12| 12.3|-| style="text-align:left;" | | 64| 58| 32.2| .450| .366| .801| 2.6| 6.1| 1.45| 0.20| 14.3|-! Totals! 82! —! —! .459! .369! .753! 38.1! 20.9! 8.60! 3.79! 98.5|}

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text: The color temperature of a light source is the temperature of an ideal black-body radiator that radiates light of comparable hue to that of the light source. Color temperature is a characteristic of visible light that has important applications in lighting, photography, videography, publishing, manufacturing, astrophysics, horticulture, and other fields. In practice, color temperature is only meaningful for light sources that do in fact correspond somewhat closely to the radiation of some black body, i.e., those on a line from reddish/orange via yellow and more or less white to blueish white; it does not make sense to speak of the color temperature of, e.g., a green or a purple light. Color temperature is conventionally expressed in kelvins, using the symbol K, a unit of measure for temperature based on the Kelvin scale.

text: The color temperature of a light source is the

text: temperature

text: of an ideal

text: black-body radiator

text: that radiates light of comparable

text: hue

text: to that of the light source. Color temperature is a characteristic of

text: visible light

text: that has important applications in

text: lighting

text: photography

text: videography

text: publishing

text: manufacturing

text: astrophysics

text: horticulture

text: , and other fields. In practice, color temperature is only meaningful for light sources that do in fact correspond somewhat closely to the radiation of some black body, i.e., those on a line from reddish/orange via yellow and more or less white to blueish white; it does not make sense to speak of the color temperature of, e.g., a green or a purple light. Color temperature is conventionally expressed in

text: kelvins

text: , using the symbol K, a

text: unit of measure

text: for temperature based on the Kelvin scale.

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answers: It does not make sense to speak of the color temperature

answers: NDQ_016543

answers: visible light

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answers: color temperature

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answers: blueish white

answers: NDQ_016550

answers: blueish white

answers: NDQ_016551

answers: reddish/orange

text: A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue.

text: A useful concept in understanding the perceived color of a non-monochromatic light source is the

text: dominant wavelength

text: , which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to

text: hue

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answers: akin to hue

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text: The body of the fish is light colored with six dark patches giving a banded appearance.  The ventral side is cream colored in the back with a series of dark bands toward the front, separated by cream colored or light brown bands.  The maxillary barbels are dark brown to black, mandibular barbels are cream colored.   The tail is milky-colored with a prominent black spot in each of the two lobes just behind the fork of the fin.

text: The body of the fish is light colored with six dark patches giving a banded appearance.  The ventral side is cream colored in the back with a series of dark bands toward the front, separated by cream colored or light brown bands.  The maxillary barbels are dark brown to black, mandibular barbels are cream colored.   The tail is milky-colored with a prominent black spot in each of the two lobes just behind the fork of the fin.

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text: The color defined as purple in the Munsell color system (Munsell 5P) is shown at right. The Munsell color system is a color space that specifies colors based on three color dimensions: hue, value (lightness), and chroma (color purity), spaced uniformly in three dimensions in the elongated oval at an angle shaped Munsell color solid according to the logarithmic scale which governs human perception. In order for all the colors to be spaced uniformly, it was found necessary to use a color wheel with five primary colors—red, yellow, green, blue, and purple.

text: The color defined as purple in the Munsell color system (Munsell 5P) is shown at right. The Munsell color system is a

text: color space

text: that specifies colors based on three color dimensions:

text: hue

text: , value (

text: lightness

text: ), and

text: chroma

text: (color purity), spaced uniformly in three dimensions in the elongated oval at an angle shaped Munsell

text: color solid

text: according to the

text: logarithmic scale

text: which governs

text: human perception

text: . In order for all the colors to be spaced uniformly, it was found necessary to use a color wheel with five primary colors—red, yellow, green, blue, and purple.

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text: Ancient colored walls at Dendera, Egypt, which were exposed for years to the elements, still possess their brilliant color, as vivid as when they were painted about 2,000 years ago. The Egyptians mixed their colors with a gummy substance, and applied them separately from each other without any blending or mixture. They appear to have used six colors: white, black, blue, red, yellow, and green. They first covered the area entirely with white, then traced the design in black, leaving out the lights of the ground color. They used minium for red, and generally of a dark tinge.

text: Ancient colored walls at

text: Dendera

text: Egypt

text: , which were exposed for years to the elements, still possess their brilliant color, as vivid as when they were painted about 2,000 years ago. The Egyptians mixed their colors with a gummy substance, and applied them separately from each other without any blending or mixture. They appear to have used six colors: white, black, blue, red, yellow, and green. They first covered the area entirely with white, then traced the design in black, leaving out the lights of the ground color. They used

text: minium

text: for red, and generally of a dark tinge.

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text: In 2000, the Israeli company Lumus was founded by Dr. Yaakov Amitai to develop and market its Light-guide Optical Element (LOE) technology for eyewear displays (see-through wearable displays). The LOE is a patented optical waveguide that makes use of multiple partial reflectors embedded in a single substrate to reflect a virtual image into the eye of the wearer. Specifically, the image is coupled into the LOE by a "Pod" (micro-display projector) that sits at the edge of the waveguide—in an eyeglass configuration, this is embedded in the temple of the glasses. The image travels through total internal reflection to the multiple array of partial reflectors and are reflected to the eye. While each partial reflector shows only a portion of the image,the optics are such that the wearer sees the combined array and perceives it as a single uniform image projected at infinity.The transparent display enables a virtual image to be seamlessly overlaid over the wearer's real world view. This is especially true when the source image comprises a black background with light color wording or symbology being displayed.  Black is essentially see-through color, while lighter colored objects, symbols or characters appear to float in the wearer's line of sight. Conversely, full-screen images like documents, internet pages, movies which are typically brighter colors can be displayed to look like a large virtual image floating a few meter's away from the wearer.

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text: In his Vocabolario (1681) he presented terms of art and technical terms, not only for the fine arts but for goldsmith's work, pietre dure, color pigments and tools.

text: In his Vocabolario (1681) he presented terms of art and technical terms, not only for the

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text: pietre dure

text: , color pigments and tools.

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text: CTIA/GTIA supports several options controlling Player/Missile color. The PRIOR/GPRIOR register value can switch the four Missiles between two color display options—each Missile (0 to 3) expresses the color of the associated Player object (0 to 3) or all Missiles show the color of register COLPF3/COLOR3. When Missiles are similarly colored they can be treated as a fifth player, but correct placement on screen still requires storing values in all four Missile Horizontal Position registers.  PRIOR/GPRIOR also controls a feature that causes the overlapping pixels of two Players to generate a third color allowing multi-colored Player objects at the expense of reducing the number of available objects.  Finally, PRIOR/GPRIOR can be used to change the foreground/background layering (called, "priority") of Player/Missile pixels vs Playfield pixels, and can create priority conflicts that predictably affect the colors displayed.

text: CTIA/GTIA supports several options controlling Player/Missile color. The

text: PRIOR/GPRIOR

text: register value can switch the four Missiles between two color display options—each Missile (0 to 3) expresses the color of the associated Player object (0 to 3) or all Missiles show the color of register

text: . When Missiles are similarly colored they can be treated as a fifth player, but correct placement on screen still requires storing values in all four Missile

entity_section: Missile Player/Missile Horizontal Coordinates

text: Horizontal Position registers

text: PRIOR/GPRIOR

text: also controls a feature that causes the overlapping pixels of two Players to generate a third color allowing multi-colored Player objects at the expense of reducing the number of available objects.  Finally,

text: PRIOR/GPRIOR

text: can be used to change the foreground/background layering (called, "priority") of Player/Missile pixels vs Playfield pixels, and can create priority conflicts that predictably affect the colors displayed.

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text: and when you see those colors gold and blue,

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text: |-!colspan=9 style="background:#FF7F00; color:#FFFFFF;"| Exhibition|-!colspan=9 style="background:#FF7F00; color:#FFFFFF;"| Out of Conference Schedule|-!colspan=9 style="background:#FF7F00; color:#FFFFFF;"| Southland Conference Schedule

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text: In color television and video cameras manufactured before the 1990s, the incoming light was separated by prisms and filters into the three RGB primary colors feeding each color into a separate video camera tube (or pickup tube). These tubes are a type of cathode ray tube, not to be confused with that of CRT displays.

text: In color

text: television and video camera

text: s manufactured before the 1990s, the incoming light was separated by

text: prism

text: s and filters into the three RGB primary colors feeding each color into a separate

text: video camera tube

text: (or pickup tube). These tubes are a type of cathode ray tube, not to be confused with that of CRT displays.

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text: The three color records are stacked as shown at right, with a UV filter on top to keep the non-visible ultraviolet radiation from exposing the silver-halide crystals, which are naturally sensitive to UV light.  Next are the fast and slow blue-sensitive layers, which, when developed, form the latent image.  When the exposed silver-halide crystal is developed, it is coupled with a dye grain of its complementary color.  This forms a dye "cloud" (like a drop of water on a paper towel) and is limited in its growth by development-inhibitor-releasing (DIR) couplers, which also serve to refine the sharpness of the processed image by limiting the size of the dye clouds. The dye clouds formed in the blue layer are actually yellow (the opposite or complementary color to blue).  There are two layers to each color; a "fast" and a "slow."  The fast layer features larger grains that are more sensitive to light than the slow layer, which has finer grain and is less sensitive to light.  Silver-halide crystals are naturally sensitive to blue light, so the blue layers are on the top of the film and they are followed immediately by a yellow filter, which stops any more blue light from passing through to the green and red layers and biasing those crystals with extra blue exposure.  Next are the red-sensitive record (which forms cyan dyes when developed); and, at the bottom, the green-sensitive record, which forms magenta dyes when developed.  Each color is separated by a gelatin layer that prevents silver development in one record from causing unwanted dye formation in another. On the back of the film base is an anti-halation layer that absorbs light which would otherwise be weakly reflected back through the film by that surface and create halos of light around bright features in the image. In color film, this backing is "rem-jet", a black-pigmented, non-gelatin layer which is removed in the developing process.

text: film base

text: is an anti-halation layer that absorbs light which would otherwise be weakly reflected back through the film by that surface and create halos of light around bright features in the image. In color film, this backing is "rem-jet", a black-pigmented, non-gelatin layer which is removed in the developing process.

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text: The status of some color words as abstract or descriptive is debatable. The color "pink" was originally a descriptive color word derived from the name of a flower called a "pink" (see dianthus); however, because the word "pink" (flower) has become very rare whereas "pink" (color) has become very common, many native speakers of English use "pink" as an abstract color word alone and furthermore consider it to be one of the basic color terms of English. The name "purple" is another example of this shift, as it was originally a word that referred to a dye (see Tyrian purple).

text: The status of some color words as abstract or descriptive is debatable. The color "

text: pink

text: " was originally a descriptive color word derived from the name of a flower called a "pink" (see

text: dianthus

text: ); however, because the word "pink" (flower) has become very rare whereas "pink" (color) has become very common, many native speakers of English use "pink" as an abstract color word alone and furthermore consider it to be one of the basic color terms of English. The name "

text: purple

text: " is another example of this shift, as it was originally a word that referred to a

text: dye

text: (see

text: Tyrian purple

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text: |-|- align="center" bgcolor=""| Ömer Aşık || style="background:black;color:#d40026;" | 15 || 0 || 9.9 || .462 || .0 || .300 || 2.1 || .1 || .13 || .53 || 1.0|- align="center" bgcolor="#f0f0f0"| Keith Bogans || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || 19.2 || .406 || .424 || .250 || 1.3 || .8 || .63 || .19 || 5.1|- align="center" bgcolor=""| Carlos Boozer || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || 31.7 || .433 || .0 || .800 || 9.7 || 1.8 || .56 || .44 || 12.6|- align="center" bgcolor="#f0f0f0"| Ronnie Brewer || style="background:black;color:#d40026;" | 16 || 0 || 16.3 || .480 || .429 || .765 || 2.1 || .9 || .75 || .38 || 4.0|- align="center" bgcolor="#f0f0f0"| Rasual Butler || 3 || 0 || 2.3 || style="background:black;color:#d40026;" | 1.000 ||  style="background:black;color:#d40026;" | 1.000 || .0 || .3 || .0 || .0 || .0 || 1.0|- align="center" bgcolor="#f0f0f0"| Luol Deng || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 42.9 || .426 || .324 || .839 || 6.6 || 2.7 || style="background:black;color:#d40026;" | 1.50 || .63 || 16.9|- align="center" bgcolor="#f0f0f0"| Taj Gibson || style="background:black;color:#d40026;" | 16 || 0 || 17.8 || .566 || .000 || .600 || 4.1 || 0.6 || .31  || 1.38 || 5.9|- align="center" bgcolor=""| Kyle Korver || style="background:black;color:#d40026;" | 16 || 0 || 17.3 || .388 || .423 || style="background:black;color:#d40026;" | 1.000 || 1.2 || 1.1 || .50 || .19 || 6.6|- align="center" bgcolor="f0f0f0"| Joakim Noah || style="background:black;color:#d40026;" | 16 ||  style="background:black;color:#d40026;" | 16 || 33.1 || .411 || .0 || .725 || style="background:black;color:#d40026;" | 10.2 || 2.5 || 1.0 || style="background:black;color:#d40026;" | 2.06 || 8.7|- align="center" bgcolor=""| Derrick Rose || style="background:black;color:#d40026;" | 16 ||  style="background:black;color:#d40026;" | 16 || 40.6 || .396 || .248 || .828 || 4.3 || style="background:black;color:#d40026;" | 7.7 ||  1.38 || .69 || style="background:black;color:#d40026;" | 27.1|- align="center" bgcolor="#f0f0f0"| Kurt Thomas || 7 || 0 || 10.6 || .556 || .000 || .000 || 2.7 || .4 || .14 || .43 || 2.9|- align="center" bgcolor="#f0f0f0"| C. J. Watson || style="background:black;color:#d40026;" | 16 || 0 || 8.5 || .339 || .200 || .909 || .9 || 1.9 || .50 || .0 || 3.2|}

text: |-|- align="center" bgcolor=""|

text: Ömer Aşık

text: || style="background:black;color:#d40026;" | 15 || 0 || 9.9 || .462 || .0 || .300 || 2.1 || .1 || .13 || .53 || 1.0|- align="center" bgcolor="#f0f0f0"|

text: Keith Bogans

text: || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || 19.2 || .406 || .424 || .250 || 1.3 || .8 || .63 || .19 || 5.1|- align="center" bgcolor=""|

text: Carlos Boozer

text: || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || 31.7 || .433 || .0 || .800 || 9.7 || 1.8 || .56 || .44 || 12.6|- align="center" bgcolor="#f0f0f0"|

text: Ronnie Brewer

text: || style="background:black;color:#d40026;" | 16 || 0 || 16.3 || .480 || .429 || .765 || 2.1 || .9 || .75 || .38 || 4.0|- align="center" bgcolor="#f0f0f0"|

text: Rasual Butler

text: || 3 || 0 || 2.3 || style="background:black;color:#d40026;" | 1.000 ||  style="background:black;color:#d40026;" | 1.000 || .0 || .3 || .0 || .0 || .0 || 1.0|- align="center" bgcolor="#f0f0f0"|

text: Luol Deng

text: || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 16 || style="background:black;color:#d40026;" | 42.9 || .426 || .324 || .839 || 6.6 || 2.7 || style="background:black;color:#d40026;" | 1.50 || .63 || 16.9|- align="center" bgcolor="#f0f0f0"|

text: Taj Gibson

text: || style="background:black;color:#d40026;" | 16 || 0 || 17.8 || .566 || .000 || .600 || 4.1 || 0.6 || .31  || 1.38 || 5.9|- align="center" bgcolor=""|

text: Kyle Korver

text: || style="background:black;color:#d40026;" | 16 || 0 || 17.3 || .388 || .423 || style="background:black;color:#d40026;" | 1.000 || 1.2 || 1.1 || .50 || .19 || 6.6|- align="center" bgcolor="f0f0f0"|

text: Joakim Noah

text: || style="background:black;color:#d40026;" | 16 ||  style="background:black;color:#d40026;" | 16 || 33.1 || .411 || .0 || .725 || style="background:black;color:#d40026;" | 10.2 || 2.5 || 1.0 || style="background:black;color:#d40026;" | 2.06 || 8.7|- align="center" bgcolor=""|

text: Derrick Rose

text: || style="background:black;color:#d40026;" | 16 ||  style="background:black;color:#d40026;" | 16 || 40.6 || .396 || .248 || .828 || 4.3 || style="background:black;color:#d40026;" | 7.7 ||  1.38 || .69 || style="background:black;color:#d40026;" | 27.1|- align="center" bgcolor="#f0f0f0"|

text: Kurt Thomas

text: || 7 || 0 || 10.6 || .556 || .000 || .000 || 2.7 || .4 || .14 || .43 || 2.9|- align="center" bgcolor="#f0f0f0"|

text: C. J. Watson

text: || style="background:black;color:#d40026;" | 16 || 0 || 8.5 || .339 || .200 || .909 || .9 || 1.9 || .50 || .0 || 3.2|}

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answers: A rainbow is made up of the colors of the visible spectrum.

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text: Mccreedy has also designed a series of bedroom furnishings called "My Blue Heaven" with Bernarda Beds, which Mccreedy describes as "Bed as Art", which feature his Mccreedy blue colors on their traditional white background. He has also produced other items, including tables. They are sold under the luxury brand  (stylized as CONORMCCREEDY), a company for which Mccreedy serves as the Founder and Creative Director . Works produced by the company have included some integrated natural glow pigments, created by infusing phosphor into Mccreedy's pigments.

text: Mccreedy has also designed a series of bedroom furnishings called "My Blue Heaven" with Bernarda Beds, which Mccreedy describes as "Bed as Art", which feature his Mccreedy blue colors on their traditional white background. He has also produced other items, including tables. They are sold under the luxury brand  (stylized as CONORMCCREEDY), a company for which Mccreedy serves as the Founder and Creative Director . Works produced by the company have included some integrated natural glow pigments, created by infusing phosphor into Mccreedy's pigments.

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text: In astronomy, color–color diagrams are a means of comparing the apparent magnitudes of stars at different wavelengths. Astronomers typically observe at narrow bands around certain wavelengths, and objects observed will have different brightnesses in each band. The difference in brightness between two bands is referred to as color. On color–color diagrams, the color defined by two wavelength bands is plotted on the horizontal axis, and then the color defined by another brightness difference (though usually there is one band involved in determining both colors) will be plotted on the vertical axis.

text: In

text: astronomy

text: , color–color diagrams are a means of comparing the

text: apparent magnitude

text: s of

text: star

text: s at different

text: wavelength

text: s.

text: Astronomer

text: s typically observe at narrow bands around certain wavelengths, and objects observed will have different

text: brightnesses

text: in each band. The difference in brightness between two bands is referred to as

text: color

text: . On color–color diagrams, the color defined by two wavelength bands is plotted on the horizontal

text: axis

text: , and then the color defined by another brightness difference (though usually there is one band involved in determining both colors) will be plotted on the vertical axis.

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text: Melanin is yellowish-brown to dark brown in the stromal pigment cells, and black in the iris pigment epithelium, which lies in a thin but very opaque layer across the back of the iris. Most human irises also show a condensation of the brownish stromal melanin in the thin anterior border layer, which by its position has an overt influence on the overall color. The degree of dispersion of the melanin, which is in subcellular bundles called melanosomes, has some influence on the observed color, but melanosomes in the iris of humans and other vertebrates are not mobile, and the degree of pigment dispersion cannot be reversed. Abnormal clumping of melanosomes does occur in disease and may lead to irreversible changes in iris color (see heterochromia, below). Colors other than brown or black are due to selective reflection and absorption from the other stromal components. Sometimes lipofuscin, a yellow "wear and tear" pigment, also enters into the visible eye color, especially in aged or diseased green eyes.

text: Melanin is yellowish-brown to dark brown in the stromal pigment cells, and black in the

text: iris pigment epithelium

text: , which lies in a thin but very opaque layer across the back of the iris. Most human irises also show a condensation of the brownish stromal melanin in the thin anterior border layer, which by its position has an overt influence on the overall color. The degree of dispersion of the melanin, which is in subcellular bundles called

text: melanosomes

text: , has some influence on the observed color, but melanosomes in the iris of humans and other vertebrates are not mobile, and the degree of pigment dispersion cannot be reversed. Abnormal clumping of melanosomes does occur in disease and may lead to irreversible changes in iris color (see

text: heterochromia

text: , below). Colors other than brown or black are due to selective reflection and absorption from the other stromal components. Sometimes

text: lipofuscin

text: , a yellow "wear and tear" pigment, also enters into the visible eye color, especially in aged or diseased green eyes.

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text: In 1949, the color names of Crayola crayons were reformed and became more scientific, more of the names of the colors of the crayons being based on the names of colors in the original 1930 edition of the Dictionary of Color and the color names of the Munsell color system. Crayola crayons set up a color naming system similar to that used in the Munsell Color Wheel, except that violet instead of purple was used as the secondary color on the color wheel between red and blue. The web color fuchsia is equivalent to the pure chroma on Munsell Color Wheel of the Munsell color system that is designated as "5RP" (reddish purple) i.e., a purple that is shaded toward red (the color we can achieve today with computers is a much more saturated pure color wheel chroma hue than the original color chip shown on the Munsell color wheel diagram in the Munsell color system article). In 1972, a new Crayola crayon color was introduced called hot magenta which is the closest equivalent to the web color fuchsia  in Crayola crayons. (See List of Crayola crayon colors.)

text: In 1949, the color names of Crayola crayons were reformed and became more scientific, more of the names of the colors of the crayons being based on the names of colors in the original 1930 edition of the Dictionary of Color and the color names of the

text: Munsell color system

text: . Crayola crayons set up a color naming system similar to that used in the Munsell Color Wheel, except that

text: violet

text: instead of

text: purple

text: was used as the secondary color on the

text: color wheel

text: between red and blue. The web color fuchsia is equivalent to the pure chroma on Munsell Color Wheel of the Munsell color system that is designated as "5RP" (reddish purple) i.e., a purple that is shaded toward

text: red

text: (the color we can achieve today with computers is a much more saturated pure color wheel

text: chroma

text: hue than the original color chip shown on the Munsell color wheel diagram in the Munsell color system article). In 1972, a new Crayola crayon color was introduced called hot magenta which is the closest equivalent to the web color fuchsia  in Crayola crayons. (See

text: List of Crayola crayon colors

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text: New techniques developed in the nineteenth and twentieth centuries revolutionized book illustrations and put new resources at the disposal of artists and designers. In the early nineteenth century, the photogravure process allowed for photographs to be reproduced in books. In this process, light-sensitive gelatin was used to transfer the image to a metal plate, which would then be etched. Another process, chromolithography, which was developed in France in the mid-nineteenth century, permitted color printing. The process was extremely labor-intensive and expensive though as the artist would have to prepare a separate plate for each color used. In the late twentieth century, the process known as offset lithography made color printing cheaper and less-time consuming for the artist. The process used a chemical process to transfer a photographic negative to a rubber surface before printing.

text: New techniques developed in the nineteenth and twentieth centuries revolutionized book illustrations and put new resources at the disposal of artists and designers. In the early nineteenth century, the

text: photogravure

text: process allowed for photographs to be reproduced in books. In this process, light-sensitive gelatin was used to transfer the image to a metal plate, which would then be etched. Another process,

text: chromolithography

text: , which was developed in France in the mid-nineteenth century, permitted color printing. The process was extremely labor-intensive and expensive though as the artist would have to prepare a separate plate for each color used. In the late twentieth century, the process known as

text: offset lithography

text: made color printing cheaper and less-time consuming for the artist. The process used a chemical process to transfer a photographic negative to a rubber surface before printing.

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text: Color vision in squirrel monkeys has been extensively studied as a stand-in for human ailments. In humans, two genes for color vision are found on the X chromosome. Typically, one gene (OPN1LW) produces a pigment that is most sensitive to the 564 nm wavelength, while the other gene (OPN1MW) produces a pigment most sensitive to 534 nm. In squirrel monkeys, there is only one gene on the X chromosome but it exists in three varieties: one is most sensitive to 538 nm, one to 551 nm, and one to 561 nm. Since males have only one X chromosome, they are dichromatic, although with different sensitivities. Females, on the other hand, have two X chromosomes, so some of them can have copies of two different alleles. The three alleles seem to be equally common, leading to one-third of females being dichromatic, while two-thirds are trichromatic. Recently, gene therapy has given the human OPN1LW gene to adult male squirrel monkeys, producing behavior consistent with trichromatic color vision.

text: Color vision

text: in squirrel monkeys has been extensively studied as a stand-in for human ailments. In humans, two

text: gene

text: s for color vision are found on the

text: X chromosome

text: . Typically, one gene (

text: ) produces a pigment that is most sensitive to the 564 nm

text: wavelength

text: , while the other gene (

text: ) produces a pigment most sensitive to 534 nm. In squirrel monkeys, there is only one gene on the X chromosome but it exists in three varieties: one is most sensitive to 538 nm, one to 551 nm, and one to 561 nm. Since males have only one X chromosome, they are

text: dichromatic

text: , although with different sensitivities. Females, on the other hand, have two X chromosomes, so some of them can have copies of two different

text: allele

text: s. The three alleles seem to be equally common, leading to one-third of females being dichromatic, while two-thirds are

text: trichromatic

text: . Recently,

text: gene therapy

text: has given the human OPN1LW gene to adult male squirrel monkeys, producing behavior consistent with trichromatic color vision.

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text: One common application of the RGB color model is the display of colors on a cathode ray tube (CRT), liquid crystal display (LCD), plasma display, or organic light emitting diode (OLED) display such as a television, a computer’s monitor, or a large scale screen. Each pixel on the screen is built by driving three small and very close but still separated RGB light sources. At common viewing distance, the separate sources are indistinguishable, which tricks the eye to see a given solid color. All the pixels together arranged in the rectangular screen surface conforms the color image.

text: One common application of the RGB color model is the display of colors on a

text: cathode ray tube

text: (CRT),

text: liquid crystal display

text: (LCD),

text: plasma display

text: , or

text: organic light emitting diode

text: (OLED) display such as a television, a computer’s monitor, or a large scale screen. Each

text: pixel

text: on the screen is built by driving three small and very close but still separated RGB light sources. At common viewing distance, the separate sources are indistinguishable, which tricks the eye to see a given solid color. All the pixels together arranged in the rectangular screen surface conforms the color image.

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text: Compare the subtractive colors to the additive colors in the two primary color charts in the article on primary colors to see the distinction between electric colors as reproducible from light on a computer screen (additive colors) and the pigment colors reproducible with pigments (subtractive colors); the additive colors are significantly brighter because they are produced from light instead of pigment.

text: Compare the subtractive colors to the additive colors in the two primary color charts in the article on

text: primary colors

text: to see the distinction between electric colors as reproducible from light on a computer screen (additive colors) and the pigment colors reproducible with pigments (subtractive colors); the additive colors are significantly brighter because they are produced from light instead of pigment.

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text: Color is the element of art that is produced when light, striking an object, is reflected back to the eye. There are three properties to color. The first is hue, which simply means the name we give to a color (red, yellow, blue, green, etc.). The second property is intensity, which refers to the vividness of the color. A color's intensity is sometimes referred to as its "colorfulness", its "saturation", its "purity" or its "strength".The third and final property of color is its value, meaning how light or dark it is.  The terms shade and tint refer to value changes in colors. In painting, shades are created by adding black to a color, while tints are created by adding white to a color.

text: Color

text: is the element of art that is produced when light, striking an object, is reflected back to the eye. There are three properties to color. The first is

text: hue

text: , which simply means the name we give to a color (red, yellow, blue, green, etc.). The second property is intensity, which refers to the vividness of the color. A color's intensity is sometimes referred to as its "

text: colorfulness

text: ", its "saturation", its "purity" or its "strength".The third and final property of color is its

text: value

text: , meaning how light or dark it is.  The terms

text: shade and tint

text: refer to value changes in colors. In painting, shades are created by adding black to a color, while tints are created by adding white to a color.

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text: The Adobe RGB (1998) color space is an RGB color space developed by Adobe Systems, Inc. in 1998.  It was designed to encompass most of the colors achievable on CMYK color printers, but by using RGB primary colors on a device such as a computer display.  The Adobe RGB (1998) color space encompasses roughly 50% of the visible colors specified by the CIELAB color space – improving upon the gamut of the sRGB color space, primarily in cyan-green hues.

text: The Adobe RGB (1998) color space is an

text: RGB color space

text: developed by

text: Adobe Systems, Inc.

text: in 1998.  It was designed to encompass most of the colors achievable on

text: CMYK

text: color

text: printers

text: , but by using

text: RGB

text: primary color

text: s on a device such as a

text: computer display

text: .  The Adobe RGB (1998)

text: color space

text: encompasses roughly 50% of the

text: visible colors

text: specified by the

text: CIELAB color space

text: – improving upon the

text: gamut

text: of the

text: sRGB color space

text: , primarily in cyan-green

text: hue

text: s.

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text: The receptors are each responsive to a wide range of wavelengths. For example, the long wavelength "red" receptor has its peak sensitivity in the yellow-green, some way from the red end (longest wavelength) of the visible spectrum. The sensitivity of normal color vision actually depends on the overlap between the absorption ranges of the three systems: different colors are recognized when the different types of cone are stimulated to different degrees. Red light, for example, stimulates the long wavelength cones much more than either of the others, and reducing the wavelength causes the other two cone systems to be increasingly stimulated, causing a gradual change in hue.

text: The receptors are each responsive to a wide range of wavelengths. For example, the long wavelength "red" receptor has its peak sensitivity in the yellow-green, some way from the red end (longest wavelength) of the visible spectrum. The sensitivity of normal color vision actually depends on the overlap between the absorption ranges of the three systems: different colors are recognized when the different types of cone are stimulated to different degrees. Red light, for example, stimulates the long wavelength cones much more than either of the others, and reducing the wavelength causes the other two cone systems to be increasingly stimulated, causing a gradual change in hue.

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text: Before the development of synthetic pigments, and the refinement of techniques for extracting mineral pigments, batches of color were often inconsistent. With the development of a modern color industry, manufacturers and professionals have cooperated to create international standards for identifying, producing, measuring, and testing colors.

text: Before the development of synthetic pigments, and the refinement of techniques for extracting mineral pigments, batches of color were often inconsistent. With the development of a modern color industry, manufacturers and professionals have cooperated to create international standards for identifying, producing, measuring, and testing colors.

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text: Color is an important characteristic of many ceramic products. Pigments with cobalt-based ceramics are generally used for colored glazes in the ceramic industries for floor or wall whitewares. Ceramic pigments are considered to be inorganic crystalline structures that develop a stable color. They have a high resistance with respect to light, environment, and high temperature chemicals. The broad horizon of their colors is quite large: green, blue, violet, yellow, black and brown. Synthetic approaches such as sol-gel technology, solution combustion method, polymeric precursor method, and so on are using cobalt-based pigments more recently.

text: Color is an important characteristic of many ceramic products. Pigments with cobalt-based ceramics are generally used for colored glazes in the ceramic industries for floor or wall whitewares. Ceramic pigments are considered to be inorganic crystalline structures that develop a stable color. They have a high resistance with respect to light, environment, and high temperature chemicals. The broad horizon of their colors is quite large: green, blue, violet, yellow, black and brown. Synthetic approaches such as sol-gel technology, solution combustion method, polymeric precursor method, and so on are using cobalt-based pigments more recently.

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text: Bangia is an extant genus of division Rhodophyta that grows in marine or freshwater habitats. Bangia has small thalli with rapid growth and high reproductive output, and exhibits behavior characteristic of r-selected species. The plants are attached by down-growing rhizoids, usually in dense purple-black to rust-colored clumps. The chloroplasts of Bangia, like others in the division Rhodophyta, contain chlorophyll a and sometimes chlorophyll d, as well as accessory pigments such as phycobilin pigments and xanthophylls. Depending on the relative proportions of these pigments and the light conditions, the overall color of the plant can range from green to red to purple to grey; however, the red pigment, phycoerythrin, is usually dominant.

text: Bangia is an extant genus of division

text: Rhodophyta

text: that grows in marine or

text: freshwater

text: habitats. Bangia has small thalli with rapid growth and high reproductive output, and exhibits behavior characteristic of

text: r-selected

text: species. The plants are attached by down-growing

text: rhizoid

text: s, usually in dense purple-black to rust-colored clumps. The chloroplasts of Bangia, like others in the division Rhodophyta, contain

text: chlorophyll a

text: and sometimes

text: chlorophyll d

text: , as well as accessory pigments such as

text: phycobilin

text: pigments and

text: xanthophyll

text: s. Depending on the relative proportions of these pigments and the light conditions, the overall color of the plant can range from green to red to purple to grey; however, the red pigment,

text: phycoerythrin

text: , is usually dominant.

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text: When the disk is spun, arcs of pale color are visible at different places on the disk. One possible reason people see colors may be that the color receptors in the human eye respond at different rates to red, green, and blue. Or, more specifically, that the latencies of the center and the surrounding mechanisms differ for the different types of color-specific ganglion cells.

text: When the disk is spun, arcs of pale color are visible at different places on the disk. One possible reason people see colors may be that the

text: color receptors

text: in the human eye respond at different rates to red, green, and blue. Or, more specifically, that the latencies of the center and the surrounding mechanisms differ for the different types of color-specific ganglion cells.

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text: Newton arrived at his conclusion by passing the red color from one prism through a second prism and found the color unchanged. From this, he concluded that the colors must already be present in the incoming light — thus, the prism did not create colors, but merely separated colors that are already there. He also used a lens and a second prism to recompose the spectrum back into white light. This experiment has become a classic example of the methodology introduced during the scientific revolution. The results of this experiment dramatically transformed the field of metaphysics, leading to John Locke's primary vs secondary quality distinction.

text: Newton arrived at his conclusion by passing the red color from one prism through a second prism and found the color unchanged. From this, he concluded that the colors must already be present in the incoming light — thus, the prism did not create colors, but merely separated colors that are already there. He also used a lens and a second prism to recompose the spectrum back into white light. This experiment has become a classic example of the methodology introduced during the

text: scientific revolution

text: . The results of this experiment dramatically transformed the field of

text: metaphysics

text: , leading to

text: John Locke

text: 's

text: primary vs secondary quality distinction

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text: Chroma key compositing, or chroma keying, is a special effects / post-production technique for compositing (layering) two images or video streams together based on color hues (chroma range). The technique has been used heavily in many fields to remove a background from the subject of a photo or video – particularly the newscasting, motion picture and videogame industries. A color range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in video production and post-production. This technique is also referred to as color keying, colour-separation overlay (CSO; primarily by the BBC), or by various terms for specific color-related variants such as green screen, and blue screen – chroma keying can be done with backgrounds of any color that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from most human skin colors. No part of the subject being filmed or photographed may duplicate the color used as the backing.

text: Chroma key compositing, or chroma keying, is a

text: special effects

text: post-production

text: technique for

text: compositing

text: (layering) two

text: image

text: s or

text: video

text: streams together based on color hues (

text: chroma

text: range). The technique has been used heavily in many fields to remove a

text: background

text: from the subject of a photo or video – particularly the

text: news

text: casting,

text: motion picture

text: and

text: videogame

text: industries. A color range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in

text: video production

text: and post-production. This technique is also referred to as color keying, colour-separation overlay (CSO; primarily by the

text: BBC

text: ), or by various terms for specific color-related variants such as green screen, and blue screen – chroma keying can be done with backgrounds of any color that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from most

text: human skin color

text: s. No part of the subject being filmed or photographed may duplicate the color used as the backing.

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text: Parfait The Shrine Maiden (Voiced by Yuko Miyamura): She one of the two "Shrine Maidens" who brings Lamunade into the Doki Doki space. She is rather bossy and seems to have an assertive attitude towards Lamunade, whom she calls "Lamuness", like Milk in the first series. She acts no different, but does get jealous and angry when she sees her man with another girl. She has long magenta colored hair, and magenta eyes and her color scheme is magenta colored. In the OVA, Parfait is a holy virgin in training. Beyond the third episode of the OVA, she pilots an experimental mecha naked, as the cockpit is filled with water as a shock absorber.

text: Parfait The Shrine Maiden (Voiced by

text: Yuko Miyamura

text: ): She one of the two "Shrine Maidens" who brings Lamunade into the Doki Doki space. She is rather bossy and seems to have an assertive attitude towards Lamunade, whom she calls "Lamuness", like Milk in the

text: first series

text: . She acts no different, but does get jealous and angry when she sees her man with another girl. She has long magenta colored hair, and magenta eyes and her color scheme is magenta colored. In the OVA, Parfait is a holy virgin in training. Beyond the third episode of the OVA, she pilots an experimental

text: mecha

text: naked, as the cockpit is filled with water as a shock absorber.

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text: Gat employs his concept of color to convey the blazing Mediterranean sun, the earth, from the sands and the flesh of the mountains. Heat is the Israel land factor in his works. The green surfaces of his canvases resemble oases' saturated shadows in a desert of fire. "I'm a painter of Israel's heat, not necessarily of its light'" he says. Gat adopts the harmonious synthetic color approach.By intentionally admixing strong colors to create a synthesis of contrasts ("in this country both the light and the shade are hot"), he joins an Israeli impressionist landscape tradition which developed in the thirties under the influence of French painting ("painting the landscape, we have no choice but to be impressionists" Menahem Shemi said at the time). The color contrasts in Gat's paintings also have an emotional quality. The express the painter's dynamic impression of the subject. The multiple rapid strokes,while conveying the dancing light, are also lines of rhythm, conveying not so much the rhythm of the landscape as the psychological rhythm of being moved by it. The line, rather than forming a structural foundation, constitutes a driving force, the embodiment of energy and movement in the painting process. It does not serve to separate areas; on the contrary, it unifies them with its vibration.the contour lines of the objects blend like arabesques in the general weave of the brushstrokes. Gat in both a colorist and a draftsman. The translucent air of Israel renders colors in a distance as strong as those near by, hence the colors are spread over the canvas in equal intensity. Thus Gat creates a uniform surface reminiscent of abstract painting which, in addition to its identification as a landscape having a spatial depth and linear perspective, constitutes yet another level of interpretation. Like in the abstract mode, Gat institutes a complex reworking of the canvas surface: opaque alongside transparent, dry with glowing, translucent and turbid, rough and smooth – all these qualities are distributed evenly over the canvas without a particular faithfulness to the depicted landscape.At the same time, Gat is not an advocate of the intellectual structuring of a composition.  Everything flows in this paintings and, like in a free sketch, he preserves the heat of the pictorial process.

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text: Black is the color of objects that do not emit or reflect light in any part of the visible spectrum; they absorb all such frequencies of light. Black is the darkest possible color.

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text: During the Roman Empire, the term minium could refer either to the pigment made from ground cinnabar or to the less expensive red lead. The name came from the river Minius in Iberia (now forming part of the Spanish-Portuguese border and known as Miño or Minho), located near the main Roman cinnabar mines. Pliny the Elder referred to it as flammeus, or flame color.  The minium of red lead was easy to make and less expensive than the pigment made from the mineral cinnabar, and it was bright and cheerful, so it became the most commonly used bright red in Medieval painting until the introduction of vermilion.

text: During the

text: Roman Empire

text: , the term minium could refer either to the pigment made from ground

text: cinnabar

text: or to the less expensive red lead. The name came from the river

text: Minius

text: in

text: Iberia

text: (now forming part of the Spanish-Portuguese border and known as Miño or Minho), located near the main Roman cinnabar mines.

text: Pliny the Elder

text: referred to it as flammeus, or flame color.  The minium of red lead was easy to make and less expensive than the pigment made from the mineral

text: cinnabar

text: , and it was bright and cheerful, so it became the most commonly used bright red in Medieval painting until the introduction of

text: vermilion

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text: In theatre lighting, a bastard color is a color, typically in a color gel, wherein the predominant color is blended with small amounts of complementary colors; for example, a "bastard orange" gel would produce predominantly orange light with undertones of blue. Bastard colors appear warmer and more natural than pure colors and are used to replicate natural light.

text: In

text: theatre lighting

text: , a bastard color is a color, typically in a

text: color gel

text: , wherein the predominant color is blended with small amounts of complementary colors; for example, a "bastard orange" gel would produce predominantly

text: orange

text: light with undertones of

text: blue

text: . Bastard colors appear warmer and more natural than pure colors and are used to replicate

text: natural light

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text: The hue of human skin and hair is determined by the presence of pigments called melanins. Human skin color can range from darkest brown to lightest peach, or even nearly white or colorless in cases of albinism. Human hair ranges in color from white to red to blond to brown to black, which is most frequent. Hair color depends on the amount of melanin (an effective sun blocking pigment) in the skin and hair, with hair melanin concentrations in hair fading with increased age, leading to grey or even white hair. Most researchers believe that skin darkening is an adaptation that evolved as protection against ultraviolet solar radiation, which also helps balancing folate, which is destroyed by ultraviolet radiation. Light skin pigmentation protects against depletion of vitamin D, which requires sunlight to make. Skin pigmentation of contemporary humans is clinally distributed across the planet, and in general correlates with the level of ultraviolet radiation in a particular geographic area. Human skin also has a capacity to darken (tan) in response to exposure to ultraviolet radiation.

text: The hue of human skin and hair is determined by the presence of

text: pigment

text: s called

text: melanin

text: s. Human skin color can range from

text: darkest brown

text: to

text: lightest peach

text: , or even nearly white or colorless in cases of

text: albinism

text: . Human hair ranges in color from

text: white

text: to

text: red

text: to

text: blond

text: to

text: brown

text: to

text: black

text: , which is most frequent. Hair color depends on the amount of melanin (an effective sun blocking pigment) in the

text: skin

text: and hair, with hair melanin concentrations in hair fading with increased age, leading to

text: grey

text: or even white hair. Most researchers believe that skin darkening is an adaptation that evolved as protection against ultraviolet solar radiation, which also helps balancing

text: folate

text: , which is destroyed by

text: ultraviolet radiation

text: . Light skin pigmentation protects against depletion of

text: vitamin D

text: , which requires

text: sunlight

text: to make. Skin pigmentation of contemporary humans is clinally distributed across the planet, and in general correlates with the level of ultraviolet radiation in a particular geographic area. Human skin also has a capacity to darken (tan) in response to exposure to ultraviolet radiation.

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text: Visible light, a small portion of the electromagnetic spectrum, encompasses wavelengths between 380-750 nanometers, which humans perceive as the colors of the spectrum: red, orange, yellow, green, blue, indigo, and violet. Light behaves according to a well-defined set of rules: it travels in straight lines, unless otherwise refracted or reflected by another object, or curved by gravity.

text: Visible

text: light

text: , a small portion of the electromagnetic spectrum, encompasses wavelengths between 380-750 nanometers, which humans perceive as the colors of the spectrum: red, orange, yellow, green, blue, indigo, and violet. Light behaves according to a well-defined set of rules: it travels in straight lines, unless otherwise refracted or reflected by another object, or curved by gravity.

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answers: wavelengths between 380-750 nanometers

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text: In an anaglyph, the two images are superimposed in an additive light setting through two filters, one red and one cyan.  In a subtractive light setting, the two images are printed in the same complementary colors on white paper.  Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black. A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique. Process reconfigures the typical anaglyph image to have less parallax.

text: In an anaglyph, the two images are

text: superimposed

text: in an

text: additive light

text: setting through two filters, one red and one cyan.  In a

text: subtractive light

text: setting, the two images are printed in the same

text: complementary color

text: s on white paper.  Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black. A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique. Process reconfigures the typical anaglyph image to have less

text: parallax

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text: Color centers are largely responsible for the appearance of specific wavelengths of visible light all around us. Moving from longer (0.7 micrometer) to shorter (0.4 micrometer) wavelengths: red, orange, yellow, green and blue (ROYGB) can all be identified by our senses in the appearance of color by the selective absorption of specific light wave frequencies (or wavelengths). Mechanisms of selective light wave absorption include:

text: Color centers are largely responsible for the appearance of specific wavelengths of visible light all around us. Moving from longer (0.7 micrometer) to shorter (0.4 micrometer) wavelengths: red, orange, yellow, green and blue (ROYGB) can all be identified by our senses in the appearance of color by the selective absorption of specific light wave frequencies (or wavelengths). Mechanisms of selective light wave absorption include:

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answers: Color centers

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text: According to game designer Daniel Berlin, the team picked World War I as the game's setting as they believed that the weapons and gadgets featured in that period of time suit players with different playstyles. The game was named Battlefield 1, since the team considered World War I "the dawn of all-out warfare". Melee weapons were reworked so as to introduce more depth to the system. According to creative director Lars Gustavsson, the setting was a concept for a very long time, and it had been the "dream" for the team to create a game based on that period. According to Berlin, gameplay was the most important aspect when they were developing the game, and he promised that it would not be slowed down due to the game's historical setting. The story of the game is told through multiple protagonists, and explores the stories of unknown war heroes. Patrick Söderlund, an executive of Electronic Arts, originally rejected the idea of having a World War One shooter as he thought that it would not be fun to play. He later accepted the pitch after being convinced by a demo created by DICE. Aleksander Grøndal, Senior Producer at DICE, prepared his own research into the war by looking at visual references. He favored colored images of the war in an attempt to visualize what the soldiers lived through. “I wanted to see the pictures and I wanted to imagine how they’d look with a mobile lens,” Grøndal expressed when interviewed. “I wanted to start off with all the footage and imagine that footage in our game with a modern take.” He specifically favored Apocalypse: World War I, a 2014 colorized French documentary, and World War I in Colour by Charles Messenger, a 2004 book of colorized war time photographs. Grøndal favored colored material as he felt, "It's quite interesting and it sucks you in because it feels much closer when you see everything in color." Despite his personal penchant for colored visuals, his self ascribed "big inspiration" was Blueprint for Armageddon, a six-part audio documentary by Dan Carlin for the latter's Hardcore History podcast series.

text: According to game designer Daniel Berlin, the team picked World War I as the game's setting as they believed that the weapons and gadgets featured in that period of time suit players with different playstyles. The game was named Battlefield 1, since the team considered

text: World War I

text: "the dawn of all-out warfare". Melee weapons were reworked so as to introduce more depth to the system. According to creative director Lars Gustavsson, the setting was a concept for a very long time, and it had been the "dream" for the team to create a game based on that period. According to Berlin, gameplay was the most important aspect when they were developing the game, and he promised that it would not be slowed down due to the game's historical setting. The story of the game is told through multiple protagonists, and explores the stories of unknown war heroes. Patrick Söderlund, an executive of Electronic Arts, originally rejected the idea of having a World War One shooter as he thought that it would not be fun to play. He later accepted the pitch after being convinced by a demo created by DICE. Aleksander Grøndal, Senior Producer at DICE, prepared his own research into the war by looking at visual references. He favored

text: colored images

text: of the war in an attempt to visualize what the soldiers lived through. “I wanted to see the pictures and I wanted to imagine how they’d look with a mobile lens,” Grøndal expressed when interviewed. “I wanted to start off with all the footage and imagine that footage in our game with a modern take.” He specifically favored Apocalypse: World War I, a 2014 colorized French documentary, and World War I in Colour by Charles Messenger, a 2004 book of colorized war time photographs. Grøndal favored colored material as he felt, "It's quite interesting and it sucks you in because it feels much closer when you see everything in color." Despite his personal penchant for colored visuals, his self ascribed "big inspiration" was Blueprint for Armageddon, a six-part audio documentary by

text: Dan Carlin

text: for the latter's Hardcore History podcast series.

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text: |- style="background-color:#bbffbb"| 1 || April 3 || @ Reds || 16–7 || Ohman (1–0) || Harang (0–1)|| || 42,591 || 1–0|- style="background-color:#ffbbbb"| 2 || April 5 || @ Reds || 8–6 || Arroyo (1–0) || Rusch (0–1)|| Weathers (1) || 27,287 || 1–1|- style="background-color:#bbffbb"| 3 || April 7 || Cardinals || 5–1 || Maddux (1–0) ||  Suppan (0–1) || || 40,869 || 2–1|- style="background-color:#bbffbb"| 4 || April 8 || Cardinals || 3–2 || Howry (1–0) || Thompson (1–1) || Dempster (1)|| 40,182 || 3–1|- style="background-color:#bbffbb"| 5 || April 9 || Cardinals || 8–4 || Williamson (1–0) || Isringhausen (0–1)|| || 39,839 || 4–1|- style="background-color:#ffbbbb"| 6 || April 11 || Reds || 9–2 || Arroyo (2–0) || Rusch (0–2) || || 36,708 || 4–2|- style="background-color:#bbffbb"| 7 || April 12 || Reds || 4–1 || Maddux (2–0) || Claussen (0–1) || Dempster (2) || 37,252 || 5–2|- style="background-color:#ffbbbb"| 8 || April 13 || Reds || 8–3 || Milton (2–0) || Zambrano (0–1) || || 40,881 || 5–3|- style="background-color:#bbffbb"| 9 || April 14 || @ Pirates || 8–6 || Marshall (1–0) || Santos (1–2) || || 20,233 || 6–3|- style="background-color:#ffbbbb"| 10 || April 15 || @ Pirates || 2–1 || Duke (1–1) || Williams (0–1) || Gonzalez (2) || 34,264 || 6–4|- style="background-color:#bbffbb"| 11 || April 16 || @ Pirates || 7–3 || Rusch (1–2) || Snell (0–1) || || 15,020 || 7–4|- style="background-color:#bbffbb"| 12 || April 17 || @ Dodgers || 4–1 || Maddux (3–0) || Tomko (1–1) || Dempster (3) || 33,511 || 8–4|- style="background-color:#ffbbbb"| 13 || April 18 || @ Dodgers || 2–1 || Saito (1–0) || Ohman (1–1) || || 37,342 || 8–5|- style="background-color:#bbffbb"| 14 || April 19 || @ Dodgers || 5–4 || Williamson (2–0) || Báez (0–1) || Dempster (4) || 41,288 || 9–5|- style="background-color:#ffbbbb"| 15 || April 21 || @ Cardinals || 9–3 || Mulder (2–0) || Williams (0–2) || || 41,379 || 9–6|- style="background-color:#ffbbbb"| 16 || April 22 || @ Cardinals || 4–1 || Ponson (2–0) || Rusch (1–3) || Isringhausen (5) || 41,424 || 9–7|- style="background-color:#bbffbb"| 17 || April 23 || @ Cardinals || 7–3 || Maddux (4–0) || Marquis (3–1) || || 41,373 || 10–7|- style="background-color:#bbffbb"| 18 || April 24 || Marlins || 6–3 || Aardsma (1–0) || Johnson (1–2) || Dempster (5) || 36,865 || 11–7|- style="background-color:#bbffbb"| 19 || April 25 || Marlins || 3–1 || Marshall (2–0) || Willis (1–1) || Dempster (6) || 38,680 || 12–7|- style="background-color:#ffbbbb"| 20 || April 26 || Marlins || 7–5 || Nolasco (1–0) ||   Williamson (2–1) || Borowski (3) || 39,611 || 12–8|- style="background-color:#bbffbb"| 21 || April 28 || Brewers || 6–2 || Maddux (5–0) || Bush (2–2) || || 39,522 || 13–8|- style="background-color:#ffbbbb"| 22 || April 29 || Brewers || 16–2 || Davis (1–2) || Rusch (1–4) || || 40,644 || 13–9|- style="background-color:#ffbbbb"| 23 || April 30 || Brewers || 9–0 || Capuano (4–2) ||  Zambrano (0–2) || || 39,229 || 13–10|- style="background-color:#bbffbb"| 24 || May 1 || Pirates || 2–1 || Howry (2–0) || Grabow (0–1)|| Dempster (7) || 36,602 || 14–10|- style="background-color:#ffbbbb"| 25 || May 2 || Pirates || 8–0 || Duke (2–2) || Guzmán (0–1) || || 39,110 || 14–11|- style="background-color:#ffbbbb"| 26 || May 3 || @ Diamondbacks || 5–1 || Batista (3–1) || Maddux (5–1)  || Valverde (8) || 25,335 || 14–12|- style="background-color:#ffbbbb"| 27 || May 4 || @ Diamondbacks || 6–0 || Cruz (1–0) || Hill (0–1) || || 24,565 || 14–13|- style="background-color:#ffbbbb"| 28 || May 5 || @ Padres || 1–0 || Cassidy (2–0) || Williamson (2–2) || || 37,123 || 14–14|- style="background-color:#ffbbbb"| 29 || May 6 || @ Padres || 2–1 || Cassidy (3–0) || Howry (2–1) || || 37,745 || 14–15|- style="background-color:#ffbbbb"| 30 || May 7 || @ Padres || 6–3 || Williams (3–1) ||  Guzmán (0–2) || Sweeney (1) || 39,847 || 14–16|- style="background-color:#ffbbbb"| 31 || May 8 || @ Padres || 8–3 || Young (3–2) || Maddux (5–2) || || 24,139 || 14–17|- style="background-color:#ffbbbb"| 32 || May 9 || @ Giants || 6–1 || Schmidt (3–2) || Hill (0–2) || || 39,357 || 14–18|- style="background-color:#bbffbb"| 33 || May 10 || @ Giants || 8–1 || Zambrano (1–2) || Cain (1–5) || || 39,655 || 15–18|- style="background-color:#ffbbbb"| 34 || May 11 || @ Giants || 9–3 || Wright (3–3) || Marshall (2–1) || || 38,132 || 15–19|- style="background-color:#ffbbbb"| 35 || May 12 || Padres || 10–5 || Sweeney (2–0) || Rusch (1–5)  || || 39,245 || 15–20|- style="background-color:#ffbbbb"| 36 || May 13 || Padres || 4–3 || Meredith (1–0) || Dempster (0–1) || Hoffman (7) || 40,095 || 15–21|- style="background-color:#ffbbbb"| 37 || May 14 || Padres || 9–0 || Hensley (2–2) || Hill (0–3) || || 39,570 || 15–22|- style="background-color:#bbffbb"| 38 || May 16 || Nationals || 4–0 || Zambrano (2–2) || Hernández (1–5) || || 39,298 || 16–22|- style="background-color:#bbffbb"| 39 || May 17 || Nationals || 5–0 || Marshall (3–1) || Day (2–4) || || 39,757 || 17–22|- style="background-color:#ffbbbb"| 40 || May 18 || Nationals || 5–3 || Ortiz (1–4) ||  Wood (0–1) || Cordero (4) || 40,517 || 17–23|- style="background-color:#ffbbbb"| 41 || May 19 || @ White Sox || 6–1 || Buehrle (5–2) || Maddux (5–3) || || 39,301 || 17–24|- style="background-color:#ffbbbb"| 42 || May 20 || @ White Sox || 7–0 || García (7–1) || Hill (0–4) || || 39,387 || 17–25|- style="background-color:#bbffbb"| 43 || May 21 || @ White Sox || 7–4 || Zambrano (3–2) || Cotts (0–2) || Dempster (8) || 38,645 || 18–25|- style="background-color:#ffbbbb"| 44 || May 22 || @ Marlins || 9–1 || Nolasco (3–1) || Marshall (3–2) || || 9,462 || 18–26|- style="background-color:#ffbbbb"| 45 || May 23 || @ Marlins || 5–4 || Kensing (1–1) || Dempster (0–2) || || 10,979 || 18–27|- style="background-color:#ffbbbb"| 46 || May 24 || @ Marlins || 9–3 || Moehler (2–4) || Maddux (5–4) || || 7,720 || 18–28|- style="background-color:#ffbbbb"| 47 || May 26 || Braves || 6–5 || Remlinger (2–2) || Dempster (0–3) || Ray (1) || 40,865 || 18–29|- style="background-color:#ffbbbb"| 48 || May 27 || Braves || 2–1 || Ramírez (1–0) || Marshall (3–3) || Remlinger (2) || 41,526 || 18–30|- style="background-color:#ffbbbb"| 49 || May 28 || Braves || 13–12 || Villarreal (7–0) || Eyre (0–1) || Ray (2) || 41,698 || 18–31|- style="background-color:#bbffbb"| 50 || May 29 || Reds || 7–3 || Wood (1–1) || Ramirez (2–4) || Dempster (9) || 40,072 || 19–31|- style="background-color:#bbffbb"| 51 || May 30 || Reds || 8–3 || Maddux (6–4) || Claussen (3–6) || || 39,000 || 20–31|- style="background-color:#ffbbbb"| 52 || May 31 || Reds || 3–2 || Milton (3–2) || Zambrano (3–3) || Coffey (2) || 39,810 || 20–32|- style="background-color:#bbffbb"| 53 || June 2 || @ Cardinals || 5–4 || Dempster (1–3) || Hancock (1–2) || || 45,799 || 21–32|- style="background-color:#bbffbb"| 54 || June 3 || @ Cardinals || 8–5 || Rusch (2–5) || Mulder (5–4) || Howry (1) || 45,820 || 22–32|- style="background-color:#ffbbbb"| 55 || June 4 || @ Cardinals || 9–6 || Marquis (8–4) || Maddux (6–5) || Isringhausen (18) || 45,753 || 22–33|- style="background-color:#bbffbb"| 56 || June 5 || @ Astros || 8–0 || Zambrano (4–3) || Buchholz (3–5) || || 32,814 || 23–33|- style="background-color:#ffbbbb"| 57 || June 6 || @ Astros || 4–1 || Rodríguez (7–3) || Wood (1–2) || || 35,903 || 23–34|- style="background-color:#ffbbbb"| 58 || June 7 || @ Astros || 1–0 || Sampson (1–0) || Marshall (3–4) || Lidge (15) || 42,492 || 23–35|- style="background-color:#ffbbbb"| 59 || June 8 || @ Reds || 7–1 || Arroyo (8–2) || Rusch (2–6) || || 26,059 || 23–36|- style="background-color:#bbffbb"| 60 || June 9 || @ Reds || 6–5 || Maddux (7–5) || Ramirez (2–5) || Dempster (10) || 41,064 || 24–36|- style="background-color:#bbffbb"| 61 || June 10 || @ Reds || 4–2 || Zambrano (5–3) || Claussen (3–7) || Dempster (11) || 34,141 || 25–36|- style="background-color:#bbffbb"| 62 || June 11 || @ Reds || 9–3 || Mármol (1–0) || Milton (4–3) || || 27,250 || 26–36|- style="background-color:#ffbbbb"| 63 || June 13 || Astros || 9–2 || Pettitte (6–7) || Marshall (3–5) || || 40,563 || 26–37|- style="background-color:#ffbbbb"| 64 || June 14 || Astros || 5–4 || Oswalt (6–3)|| Maddux (7–6) || Lidge (17) || 39,946 || 26–38|- style="background-color:#ffbbbb"| 65 || June 15 || Astros || 3–2 || Borkowski (1–0) || Howry (2–2) || Lidge (18) || 40,236 || 26–39|- style="background-color:#ffbbbb"| 66 || June 16 || Tigers || 5–3 || Robertson (7–3) || Rusch (2–7) || Jones (18) || 40,683 ||26–40|- style="background-color:#ffbbbb"| 67 || June 17 || Tigers || 9–3 || Verlander (8–4) || Mármol (1–1) || || 41,459 || 26–41|- style="background-color:#ffbbbb"| 68 || June 18 || Tigers || 12–3 || Rogers (10–3) || Prior (0–1) || || 39,938 || 26–42|- style="background-color:#bbffbb"| 69 || June 19 || @ Indians || 12–8 || Marshall (4–5) || Johnson (3–8) || || 26,769 || 27–42|- style="background-color:#ffbbbb"| 70 || June 20 || @ Indians || 4–2 || Lee (6–5) || Maddux (7–7) || Wickman (10) || 25,049 || 27–43|- style="background-color:#bbffbb"| 71 || June 21 || @ Indians || 9–2 || Zambrano (6–3) || Sabathia (5–4) || || 27,182 || 28–43|- style="background-color:#ffbbbb"| 72 || June 23 || @ Twins || 7–2 || Santana (8–4)|| Mármol (1–2) || || 34,361 || 28–44|- style="background-color:#ffbbbb"| 73 || June 24 || @ Twins || 3–0 || Bonser (2–1) || Prior (0–2) || Nathan (12) || 42,304 || 28–45|- style="background-color:#ffbbbb"| 74 || June 25 || @ Twins || 8–1 || Radke (6–7) || Marshall (4–6) || || 35,128 || 28–46|- style="background-color:#ffbbbb"| 75 || June 26 || Brewers || 6–0 || Capuano (9–4) || Maddux (7–8) || || 39,698 || 28–47|- style="background-color:#ffbbbb"| 76 || June 27 || Brewers || 8–5 || Shouse (1–0) || Dempster (1–4) || Turnbow (22) || 39,399 || 28–48|- style="background-color:#bbffbb"| 77 || June 28 || Brewers || 6–3 || Howry (3–2) || Kolb (2–2) || Dempster (12) || 39,321 || 29–48|- style="background-color:#ffbbbb"| 78 || June 29 || Brewers || 5–4 || González (1–0) || Prior (0–3) || Turnbow (23) || 39,144 || 29–49|- style="background-color:#ffbbbb"| 79 || June 30 || White Sox || 6–2 || Garland (7–3) || Marshall (4–7) || || 40,720 || 29–50|- style="background-color:#ffbbbb"| 80 || July 1 || White Sox || 8–6 || Cotts (1–2) || Dempster (1–5) || Jenks (25) || 41,027 || 29–51|- style="background-color:#bbffbb"| 81 || July 2 || White Sox || 15–11 || Zambrano (7–3) || Buehrle (9–5) || Howry (2) || 40,919 || 30–51|- style="background-color:#ffbbbb"| 82 || July 3 || @ Astros || 7–2 || Clemens (1–2) || Mármol (1–3) || || 41,655 || 30–52|- style="background-color:#ffbbbb"| 83 || July 4 || @ Astros || 7–2 || Pettitte (7–9) || Prior (0–4) || || 41,502 || 30–53|- style="background-color:#bbffbb"| 84 || July 5 || @ Astros || 1–0 || Marshall (5–7) || Oswalt (6–5) || Dempster (13) || 31,952 || 31–53|- style="background-color:#ffbbbb"| 85 || July 6 || @ Brewers || 2–0 || Capuano (10–4) || Maddux (7–9) || || 37,326 || 31–54|- style="background-color:#bbffbb"| 86 || July 7 || @ Brewers || 7–2 || Zambrano (8–3) || Jackson (1–2) || || 41,172 || 32–54|- style="background-color:#bbffbb"| 87 || July 8 || @ Brewers || 3–1 || Mármol (2–3) || Bush (5–7) || Dempster (14) || 42,268 || 33–54|- style="background-color:#bbffbb"| 88 || July 9 || @ Brewers || 11–4 || Rusch (3–7) || Davis (5–6) || || 41,528 || 34–54|- style="background-color:#ffbbbb"| 89 || July 14 || Mets || 6–3 || Trachsel (9–4) || Maddux (7–10) || || 40,782 || 34–55|- style="background-color:#bbffbb"| 90 || July 15 || Mets || 9–2 || Zambrano (9–3) || Glavine (11–3) || || 41,368 || 35–55|- style="background-color:#ffbbbb"| 91 || July 16 || Mets || 13–7 || Feliciano (3–2) || Marshall (5–8) || || 40,157 || 35–56|- style="background-color:#bbffbb"| 92 || July 18 || Astros || 4–2 || Mármol (3–3) || Oswalt (6–7) || Dempster (15) || 39,883 || 36–56|- style="background-color:#ffbbbb"| 93 || July 19 || Astros || 4–2 || Clemens (2–3) || Maddux (7–11) || Lidge (22) || 40,344 || 36–57|- style="background-color:#bbffbb"| 94 || July 20 || Astros || 4–1 || Zambrano (10–3) || Pettitte (8–10) || Dempster (16) || 40,208 || 37–57|- style="background-color:#ffbbbb"| 95 || July 21 || @ Nationals || 7–6 || Rauch (3–1) || Howry (3–3) || Cordero (15) || 35,442 || 37–58|- style="background-color:#ffbbbb"| 96 || July 22 || @ Nationals || 7–3 || Hernández (7–8) || Williamson (2–3) || || 38,021 || 37–59|- style="background-color:#ffbbbb"| 97 || July 23 || @ Nationals || 7–1 || Armas (7–5) || Mármol (3–4) || || 30,851 || 37–60|- style="background-color:#bbffbb"| 98 || July 24 || @ Mets || 8–7 || Maddux (8–11) || Trachsel (9–5) || Dempster (17) || 45,631 || 38–60|- style="background-color:#bbffbb"| 99 || July 25 || @ Mets || 8–6 || Zambrano (11–3) || Glavine (11–4) || Howry (3) || 47,686 || 39–60|- style="background-color:#ffbbbb"| 100 || July 26 || @ Mets || 1–0 || Heilman (1–3) || Rusch (3–8) || || 40,299 || 39–61|- style="background-color:#bbffbb"| 101 || July 27 || Cardinals || 5–4 || Novoa (1–0) || Johnson (0–2) || Dempster (18) || 40,346 || 40–61|- style="background-color:#bbffbb"| 102 || July 28 || Cardinals || 6–5 || Mármol (4–4) || Marquis (12–8) || Dempster (19) || 40,420 || 41–61|- style="background-color:#bbffbb"| 103 || July 29 || Cardinals || 4–2 || Maddux (9–11) || Reyes (2–5) || Dempster (20) || 41,302 || 42–61|- style="background-color:#bbffbb"| 104 || July 30 || Cardinals || 6–3 || Zambrano (12–3) || Carpenter (10–5) || || 40,033 || 43–61|- style="background-color:#ffbbbb"| 105 || July 31 || Diamondbacks || 15–4 || Webb (12–4) || Prior (0–5) || || 39,226 || 43–62|- style="background-color:#bbffbb"| 106 || August 1 || Diamondbacks || 9–3 || Hill (1–4) || Vargas (8–8) || || 38,970 || 44–62|- style="background-color:#bbbbbb"| --- || August 2 || Diamondbacks || colspan=5|Postponed (rain) Rescheduled for August 3 || 44–62|- style="background-color:#ffbbbb"| 107 || August 3 || Diamondbacks || 10–2 || Cruz (4–6) || Mármol (4–5) || || || 44–63|- style="background-color:#bbffbb"| 108 || August 3 || Diamondbacks || 7–3 || Mateo (1–0) || González (3–3) || || 40,715 || 45–63|- style="background-color:#ffbbbb"| 109 || August 4 || Pirates || 6–0 || Gorzelanny (2–2) || Zambrano (12–4) || || 39,973 || 45–64|- style="background-color:#bbffbb"| 110 || August 5 || Pirates || 7–5 || Prior (1–5) || Duke (7–10) || Dempster (21) || 41,007 || 46–64|- style="background-color:#bbffbb"| 111 || August 6 || Pirates || 6–1 || Hill (2–4) || Snell (9–8) || || 40,320 || 47–64|- style="background-color:#bbffbb"| 112 || August 8 || @ Brewers || 6–3 || Mármol (5–5) || Ohka (3–3) || Dempster (22) || 36,200 || 48–64|- style="background-color:#ffbbbb"| 113 || August 9 || @ Brewers || 6–3 || Bush (8–8) || Zambrano (12–5) || Cordero (4) || 36,012 || 48–65|- style="background-color:#ffbbbb"| 114 || August 10 || @ Brewers || 8–6 || Davis (8–6) || Prior (1–6) || Cordero (5) || 41,686 || 48–66|- style="background-color:#ffbbbb"| 115 || August 11 || @ Rockies || 10–2 || Cook (8–10) || Hill (2–5) || || 35,744 || 48–67|- style="background-color:#ffbbbb"| 116 || August 12 || @ Rockies || 8–4 || Fogg (8–7) || Guzmán (0–3) || || 43,485 || 48–68|- style="background-color:#bbffbb"| 117 || August 13 || @ Rockies || 8–7 || Novoa (2–0) || Corpas (0–1) || Dempster (23) || 35,408 || 49–68|- style="background-color:#bbffbb"| 118 || August 14 || @ Astros || 3–0 || Zambrano (13–5) || Oswalt (9–8) || Dempster (24) || 37,260 || 50–68|- style="background-color:#bbffbb"| 119 || August 15 || @ Astros || 8–6 || Hill (3–5) || Borkowski (1–1) || || 41,531 || 51–68|- style="background-color:#bbffbb"| 120 || August 16 || @ Astros || 1–0 || O'Malley (1–0) || Pettitte (11–13) || Howry (4) || 38,989 || 52–68|- style="background-color:#ffbbbb"| 121 || August 18 || Cardinals || 11–3 || Marquis (13–11) || Mármol (5–6) || || 40,346 || 52–69|- style="background-color:#bbffbb"| 122 || August 19 || Cardinals || 5–4 || Wuertz (1–0)|| Isringhausen (4–6) || || 40,864 || 53–69|- style="background-color:#ffbbbb"| 123 || August 20 || Cardinals || 5–3 || Carpenter (12–6) || Mateo (1–1) || Isringhausen (30) || 40,485 || 53–70|- style="background-color:#ffbbbb"| 124 || August 21 || Phillies || 6–5 || Lieber (6–9) || Hill (3–6) || Rhodes (3) || 38,950 || 53–71|- style="background-color:#ffbbbb"| 125 || August 22 || Phillies || 6–3 || Moyer (1–0) || O'Malley (1–1) || Madson (1) || 38,770 || 53–72|- style="background-color:#ffbbbb"| 126 || August 23 || Phillies || 2–1 || Myers (9–6) || Howry (3–4) || Geary (1) || 39,470 || 53–73|- style="background-color:#bbffbb"| 127 || August 24 || Phillies || 11–2 || Zambrano (14–5) || Hamels (6–7) || || 39,464 || 54–73|- style="background-color:#ffbbbb"| 128 || August 25 || @ Cardinals || 2–0 || Suppan (10–7) || Mateo (1–2) || Isringhausen (31) || 46,004 || 54–74|- style="background-color:#ffbbbb"| 129 || August 26 || @ Cardinals || 2–1 || Flores (1–1) || Novoa (2–1) || || 46,036 || 54–75|- style="background-color:#ffbbbb"| 130 || August 27 || @ Cardinals || 10–6 || Looper (7–1) || Howry (3–5) || || 44,937 || 54–76|- style="background-color:#ffbbbb"| 131 || August 28 || @ Pirates || 11–6 || Snell (12–8) || Guzmán (0–4) || || 12,666 || 54–77|- style="background-color:#ffbbbb"| 132 || August 29 || @ Pirates || 7–6 || Capps (5–1) || Dempster (1–6) || || 14,618 || 54–78|- style="background-color:#ffbbbb"| 133 || August 30 || @ Pirates || 10–9 || McLeary (1–0) || Dempster (1–7) || || 12,730 || 54–79|- style="background-color:#bbffbb"| 134 || September 1 || Giants || 6–2 || Hill (4–6) || Lowry (7–8) || || 38,582 || 55–79|- style="background-color:#ffbbbb"| 135 || September 2 || Giants || 4–2 || Cain (11–9) || Marshall (5–9) || Stanton (4) || 40,135 || 55–80|- style="background-color:#ffbbbb"| 136 || September 3 || Giants || 7–4 || Schmidt (11–8) || Wuertz (1–1) || Stanton (5) || 40,702 || 55–81|- style="background-color:#ffbbbb"| 137 || September 4 || Pirates || 5–4 || Maholm (7–10) || Zambrano (14–6) || Torres (2) || 37,994 || 55–82|- style="background-color:#ffbbbb"| 138 || September 5 || Pirates || 6–5 || Grabow (4–1) || Dempster (1–8) || Torres (3) || 31,494 || 55–83|- style="background-color:#bbffbb"| 139 || September 6 || Pirates || 7–2 || Wuertz (2–1) || Grabow (4–2) || || 32,557 || 56–83|- style="background-color:#ffbbbb"| 140 || September 7 || Pirates || 7–5 || Bayliss (1–0) || Eyre (0–2) || Torres (4) || 27,105 || 56–84|- style="background-color:#ffbbbb"| 141 || September 8 || @ Braves || 8–4 || Hudson (12–10) || Guzmán (0–5) || || 30,977 || 56–85|- style="background-color:#ffbbbb"| 142 || September 9 || @ Braves || 7–3 || James (9–3) || Miller (0–1) || || 40,584 || 56–86|- style="background-color:#ffbbbb"| 143 || September 10 || @ Braves || 2–1 || Cormier (3–4) || Mateo (1–3) || Wickman (13) || 28,212 || 56–87|- style="background-color:#bbffbb"| 144 || September 11 || @ Braves || 8–3 || Hill (5–6) || Smoltz (12–9) || || 19,444 || 57–87|- style="background-color:#bbffbb"| 145 || September 12 || Dodgers || 9–8 || Aardsma (2–0) || Hamulack (0–3) || || 35,618 || 58–87|- style="background-color:#ffbbbb"| 146 || September 13 || Dodgers || 6–0 || Penny (16–8) || Guzmán (0–6) || || 35,868 || 58–88|- style="background-color:#bbffbb"| 147 || September 14 || Dodgers || 6–5 || Eyre (1–2) || Tomko (8–7) || Howry (5) || 31,361 || 59–88|- style="background-color:#ffbbbb"| 148 || September 15 || Reds || 4–0 || Arroyo (14–9) || Mármol (5–7) || || 37,188 || 59–89|- style="background-color:#bbffbb"| 149 || September 16 || Reds || 4–0 || Hill (6–6) || Michalak (1–3) || || 40,526 || 60–89|- style="background-color:#bbffbb"| 150 || September 17 || Reds || 11–3 || Zambrano (15–6) || Milton (8–8) || || 39,164 || 61–89|- style="background-color:#bbffbb"| 151 || September 18 || @ Phillies || 11–6 || Wuertz (3–1) || Lieber (8–10) || || 31,101 || 62–89|- style="background-color:#ffbbbb"| 152 || September 19 || @ Phillies || 4–1 || Moyer (3–2) || Miller (0–2) || Gordon (32) || 31,892 || 62–90|- style="background-color:#ffbbbb"| 153 || September 20 || @ Phillies || 6–2 || Myers (12–6) || Walrond (0–1) || || 35,269 || 62–91|- style="background-color:#ffbbbb"| 154 || September 22 || @ Reds || 4–2 || Michalak (2–3) || Hill (6–7) || Coffey (8) || 21,332 || 62–92|- style="background-color:#bbffbb"| 155 || September 23 || @ Reds || 11–4 || Zambrano (16–6) || Lohse (2–5) || || 28,264 || 63–92|- style="background-color:#ffbbbb"| 156 || September 24 || @ Reds || 3–2 || Harang (15–11) || Dempster (1–9) || || 22,226 || 63–93|- style="background-color:#ffbbbb"| 157 || September 25 || @ Reds || 5–4 || Schoeneweis (2–0) || Eyre (1–3) || Weathers (12) || 16,278 || 63–94|- style="background-color:#bbffbb"| 158 || September 26 || Brewers || 14–6 || Marshall (6–9) || Villanueva (1–2) || || 31,932 || 64–94|- style="background-color:#bbffbb"| 159 || September 27 || Brewers || 3–2 || Howry (4–5) || Cordero (3–1) || || 36,273 || 65–94|- style="background-color:#ffbbbb"| 160 || September 29 || Rockies || 5–2 || Fogg (11–9) || Zambrano (16–7) || Fuentes (30) || 33,721 || 65–95|- style="background-color:#ffbbbb"| 161 || September 30 || Rockies || 11–9 || Ramírez (4–3) || Ryu (0–1) || || 39,483 || 65–96|- style="background-color:#bbffbb"| 162 || October 1 || Rockies || 8–5 || Aardsma (3–0) || Affeldt (4–2) || || 39,609 || 66–96

text: |- style="background-color:#bbffbb"| 1 || April 3 || @

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text: || 8–6 ||

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text: || 7–3 ||

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text: || 5–4 ||

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text: (2–0) ||

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text: (0–1) ||

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text: || 9–3 ||

text: Mulder

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text: || 7–3 ||

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text: || 6–3 ||

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text: (1–0) ||

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text: (1–2) ||

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text: || 3–1 ||

text: Marshall

text: (2–0) ||

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text: || 7–5 ||

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text: (1–0) ||

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text: || 6–2 ||

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text: (5–0) ||

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text: || 16–2 ||

text: Davis

text: (1–2) ||

text: Rusch

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text: || 9–0 ||

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text: (4–2) ||

text: Zambrano

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text: || 2–1 ||

text: Howry

text: (2–0) ||

text: Grabow

text: Dempster

text: (7) || 36,602 || 14–10|- style="background-color:#ffbbbb"| 25 || May 2 ||

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text: || 8–0 ||

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text: (2–2) ||

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text: || 5–1 ||

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text: (3–1) ||

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text: || 6–0 ||

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text: || 1–0 ||

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text: (2–0) ||

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text: Padres

text: || 2–1 ||

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text: (3–0) ||

text: Howry

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text: || 6–3 ||

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text: (3–1) ||

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text: Padres

text: || 8–3 ||

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text: (3–2) ||

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text: || 6–1 ||

text: Schmidt

text: (3–2) ||

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text: (0–2) || || 39,357 || 14–18|- style="background-color:#bbffbb"| 33 || May 10 || @

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text: || 8–1 ||

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text: (1–2) ||

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text: (1–5) || || 39,655 || 15–18|- style="background-color:#ffbbbb"| 34 || May 11 || @

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text: || 9–3 ||

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text: Sweeney

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text: Rusch

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text: (1–0) ||

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text: (0–1) ||

text: Hoffman

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text: || 9–0 ||

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text: Hill

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text: || 4–0 ||

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text: (2–2) ||

text: Hernández

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text: || 6–1 ||

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text: || 7–4 ||

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text: (3–2) ||

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text: || 6–5 ||

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text: Ramírez

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text: || 13–12 ||

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text: || 7–3 ||

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text: || 8–3 ||

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text: || 3–2 ||

text: Milton

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text: || 8–0 ||

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text: || 4–1 ||

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text: || 1–0 ||

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text: Reds

text: || 7–1 ||

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text: || 6–5 ||

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text: || 9–3 ||

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text: Indians

text: || 9–2 ||

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text: Twins

text: || 7–2 ||

text: Santana

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text: Twins

text: || 3–0 ||

text: Bonser

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text: Prior

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text: Twins

text: || 8–1 ||

text: Radke

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text: Marshall

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text: Brewers

text: || 6–0 ||

text: Capuano

text: (9–4) ||

text: Maddux

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text: Brewers

text: || 8–5 ||

text: Shouse

text: (1–0) ||

text: Dempster

text: (1–4) ||

text: Turnbow

text: (22) || 39,399 || 28–48|- style="background-color:#bbffbb"| 77 || June 28 ||

text: Brewers

text: || 6–3 ||

text: Howry

text: (3–2) ||

text: Kolb

text: (2–2) ||

text: Dempster

text: (12) || 39,321 || 29–48|- style="background-color:#ffbbbb"| 78 || June 29 ||

text: Brewers

text: || 5–4 ||

text: González

text: (1–0) ||

text: Prior

text: (0–3) ||

text: Turnbow

text: (23) || 39,144 || 29–49|- style="background-color:#ffbbbb"| 79 || June 30 ||

text: White Sox

text: || 6–2 ||

text: Garland

text: (7–3) ||

text: Marshall

text: (4–7) || || 40,720 || 29–50|- style="background-color:#ffbbbb"| 80 || July 1 ||

text: White Sox

text: || 8–6 ||

text: Cotts

text: (1–2) ||

text: Dempster

text: (1–5) ||

text: Jenks

text: (25) || 41,027 || 29–51|- style="background-color:#bbffbb"| 81 || July 2 ||

text: White Sox

text: || 15–11 ||

text: Zambrano

text: (7–3) ||

text: Buehrle

text: (9–5) ||

text: Howry

text: (2) || 40,919 || 30–51|- style="background-color:#ffbbbb"| 82 || July 3 || @

text: Astros

text: || 7–2 ||

text: Clemens

text: (1–2) ||

text: Mármol

text: (1–3) || || 41,655 || 30–52|- style="background-color:#ffbbbb"| 83 || July 4 || @

text: Astros

text: || 7–2 ||

text: Pettitte

text: (7–9) ||

text: Prior

text: (0–4) || || 41,502 || 30–53|- style="background-color:#bbffbb"| 84 || July 5 || @

text: Astros

text: || 1–0 ||

text: Marshall

text: (5–7) ||

text: Oswalt

text: (6–5) ||

text: Dempster

text: (13) || 31,952 || 31–53|- style="background-color:#ffbbbb"| 85 || July 6 || @

text: Brewers

text: || 2–0 ||

text: Capuano

text: (10–4) ||

text: Maddux

text: (7–9) || || 37,326 || 31–54|- style="background-color:#bbffbb"| 86 || July 7 || @

text: Brewers

text: || 7–2 ||

text: Zambrano

text: (8–3) ||

text: Jackson

text: (1–2) || || 41,172 || 32–54|- style="background-color:#bbffbb"| 87 || July 8 || @

text: Brewers

text: || 3–1 ||

text: Mármol

text: (2–3) ||

text: Bush

text: (5–7) ||

text: Dempster

text: (14) || 42,268 || 33–54|- style="background-color:#bbffbb"| 88 || July 9 || @

text: Brewers

text: || 11–4 ||

text: Rusch

text: (3–7) ||

text: Davis

text: (5–6) || || 41,528 || 34–54|- style="background-color:#ffbbbb"| 89 || July 14 ||

text: Mets

text: || 6–3 ||

text: Trachsel

text: (9–4) ||

text: Maddux

text: (7–10) || || 40,782 || 34–55|- style="background-color:#bbffbb"| 90 || July 15 ||

text: Mets

text: || 9–2 ||

text: Zambrano

text: (9–3) ||

text: Glavine

text: (11–3) || || 41,368 || 35–55|- style="background-color:#ffbbbb"| 91 || July 16 ||

text: Mets

text: || 13–7 ||

text: Feliciano

text: (3–2) ||

text: Marshall

text: (5–8) || || 40,157 || 35–56|- style="background-color:#bbffbb"| 92 || July 18 ||

text: Astros

text: || 4–2 ||

text: Mármol

text: (3–3) ||

text: Oswalt

text: (6–7) ||

text: Dempster

text: (15) || 39,883 || 36–56|- style="background-color:#ffbbbb"| 93 || July 19 ||

text: Astros

text: || 4–2 ||

text: Clemens

text: (2–3) ||

text: Maddux

text: (7–11) ||

text: Lidge

text: (22) || 40,344 || 36–57|- style="background-color:#bbffbb"| 94 || July 20 ||

text: Astros

text: || 4–1 ||

text: Zambrano

text: (10–3) ||

text: Pettitte

text: (8–10) ||

text: Dempster

text: (16) || 40,208 || 37–57|- style="background-color:#ffbbbb"| 95 || July 21 || @

text: Nationals

text: || 7–6 ||

text: Rauch

text: (3–1) ||

text: Howry

text: (3–3) ||

text: Cordero

text: (15) || 35,442 || 37–58|- style="background-color:#ffbbbb"| 96 || July 22 || @

text: Nationals

text: || 7–3 ||

text: Hernández

text: (7–8) ||

text: Williamson

text: (2–3) || || 38,021 || 37–59|- style="background-color:#ffbbbb"| 97 || July 23 || @

text: Nationals

text: || 7–1 ||

text: Armas

text: (7–5) ||

text: Mármol

text: (3–4) || || 30,851 || 37–60|- style="background-color:#bbffbb"| 98 || July 24 || @

text: Mets

text: || 8–7 ||

text: Maddux

text: (8–11) ||

text: Trachsel

text: (9–5) ||

text: Dempster

text: (17) || 45,631 || 38–60|- style="background-color:#bbffbb"| 99 || July 25 || @

text: Mets

text: || 8–6 ||

text: Zambrano

text: (11–3) ||

text: Glavine

text: (11–4) ||

text: Howry

text: (3) || 47,686 || 39–60|- style="background-color:#ffbbbb"| 100 || July 26 || @

text: Mets

text: || 1–0 ||

text: Heilman

text: (1–3) ||

text: Rusch

text: (3–8) || || 40,299 || 39–61|- style="background-color:#bbffbb"| 101 || July 27 ||

text: Cardinals

text: || 5–4 ||

text: Novoa

text: (1–0) ||

text: Johnson

text: (0–2) ||

text: Dempster

text: (18) || 40,346 || 40–61|- style="background-color:#bbffbb"| 102 || July 28 ||

text: Cardinals

text: || 6–5 ||

text: Mármol

text: (4–4) ||

text: Marquis

text: (12–8) ||

text: Dempster

text: (19) || 40,420 || 41–61|- style="background-color:#bbffbb"| 103 || July 29 ||

text: Cardinals

text: || 4–2 ||

text: Maddux

text: (9–11) ||

text: Reyes

text: (2–5) ||

text: Dempster

text: (20) || 41,302 || 42–61|- style="background-color:#bbffbb"| 104 || July 30 ||

text: Cardinals

text: || 6–3 ||

text: Zambrano

text: (12–3) ||

text: Carpenter

text: (10–5) || || 40,033 || 43–61|- style="background-color:#ffbbbb"| 105 || July 31 ||

text: Diamondbacks

text: || 15–4 ||

text: Webb

text: (12–4) ||

text: Prior

text: (0–5) || || 39,226 || 43–62|- style="background-color:#bbffbb"| 106 || August 1 ||

text: Diamondbacks

text: || 9–3 ||

text: Hill

text: (1–4) ||

text: Vargas

text: (8–8) || || 38,970 || 44–62|- style="background-color:#bbbbbb"| --- || August 2 ||

text: Diamondbacks

text: || colspan=5|Postponed (rain) Rescheduled for August 3 || 44–62|- style="background-color:#ffbbbb"| 107 || August 3 ||

text: Diamondbacks

text: || 10–2 ||

text: Cruz

text: (4–6) ||

text: Mármol

text: (4–5) || || || 44–63|- style="background-color:#bbffbb"| 108 || August 3 ||

text: Diamondbacks

text: || 7–3 ||

text: Mateo

text: (1–0) ||

text: González

text: (3–3) || || 40,715 || 45–63|- style="background-color:#ffbbbb"| 109 || August 4 ||

text: Pirates

text: || 6–0 ||

text: Gorzelanny

text: (2–2) ||

text: Zambrano

text: (12–4) || || 39,973 || 45–64|- style="background-color:#bbffbb"| 110 || August 5 ||

text: Pirates

text: || 7–5 ||

text: Prior

text: (1–5) ||

text: Duke

text: (7–10) ||

text: Dempster

text: (21) || 41,007 || 46–64|- style="background-color:#bbffbb"| 111 || August 6 ||

text: Pirates

text: || 6–1 ||

text: Hill

text: (2–4) ||

text: Snell

text: (9–8) || || 40,320 || 47–64|- style="background-color:#bbffbb"| 112 || August 8 || @

text: Brewers

text: || 6–3 ||

text: Mármol

text: (5–5) ||

text: Ohka

text: (3–3) ||

text: Dempster

text: (22) || 36,200 || 48–64|- style="background-color:#ffbbbb"| 113 || August 9 || @

text: Brewers

text: || 6–3 ||

text: Bush

text: (8–8) ||

text: Zambrano

text: (12–5) ||

text: Cordero

text: (4) || 36,012 || 48–65|- style="background-color:#ffbbbb"| 114 || August 10 || @

text: Brewers

text: || 8–6 ||

text: Davis

text: (8–6) ||

text: Prior

text: (1–6) ||

text: Cordero

text: (5) || 41,686 || 48–66|- style="background-color:#ffbbbb"| 115 || August 11 || @

text: Rockies

text: || 10–2 ||

text: Cook

text: (8–10) ||

text: Hill

text: (2–5) || || 35,744 || 48–67|- style="background-color:#ffbbbb"| 116 || August 12 || @

text: Rockies

text: || 8–4 ||

text: Fogg

text: (8–7) ||

text: Guzmán

text: (0–3) || || 43,485 || 48–68|- style="background-color:#bbffbb"| 117 || August 13 || @

text: Rockies

text: || 8–7 ||

text: Novoa

text: (2–0) ||

text: Corpas

text: (0–1) ||

text: Dempster

text: (23) || 35,408 || 49–68|- style="background-color:#bbffbb"| 118 || August 14 || @

text: Astros

text: || 3–0 ||

text: Zambrano

text: (13–5) ||

text: Oswalt

text: (9–8) ||

text: Dempster

text: (24) || 37,260 || 50–68|- style="background-color:#bbffbb"| 119 || August 15 || @

text: Astros

text: || 8–6 ||

text: Hill

text: (3–5) ||

text: Borkowski

text: (1–1) || || 41,531 || 51–68|- style="background-color:#bbffbb"| 120 || August 16 || @

text: Astros

text: || 1–0 ||

text: O'Malley

text: (1–0) ||

text: Pettitte

text: (11–13) ||

text: Howry

text: (4) || 38,989 || 52–68|- style="background-color:#ffbbbb"| 121 || August 18 ||

text: Cardinals

text: || 11–3 ||

text: Marquis

text: (13–11) ||

text: Mármol

text: (5–6) || || 40,346 || 52–69|- style="background-color:#bbffbb"| 122 || August 19 ||

text: Cardinals

text: || 5–4 ||

text: Wuertz

text: Isringhausen

text: (4–6) || || 40,864 || 53–69|- style="background-color:#ffbbbb"| 123 || August 20 ||

text: Cardinals

text: || 5–3 ||

text: Carpenter

text: (12–6) ||

text: Mateo

text: (1–1) ||

text: Isringhausen

text: (30) || 40,485 || 53–70|- style="background-color:#ffbbbb"| 124 || August 21 ||

text: Phillies

text: || 6–5 ||

text: Lieber

text: (6–9) ||

text: Hill

text: (3–6) ||

text: Rhodes

text: (3) || 38,950 || 53–71|- style="background-color:#ffbbbb"| 125 || August 22 ||

text: Phillies

text: || 6–3 ||

text: Moyer

text: (1–0) ||

text: O'Malley

text: (1–1) ||

text: Madson

text: (1) || 38,770 || 53–72|- style="background-color:#ffbbbb"| 126 || August 23 ||

text: Phillies

text: || 2–1 ||

text: Myers

text: (9–6) ||

text: Howry

text: (3–4) ||

text: Geary

text: (1) || 39,470 || 53–73|- style="background-color:#bbffbb"| 127 || August 24 ||

text: Phillies

text: || 11–2 ||

text: Zambrano

text: (14–5) ||

text: Hamels

text: (6–7) || || 39,464 || 54–73|- style="background-color:#ffbbbb"| 128 || August 25 || @

text: Cardinals

text: || 2–0 ||

text: Suppan

text: (10–7) ||

text: Mateo

text: (1–2) ||

text: Isringhausen

text: (31) || 46,004 || 54–74|- style="background-color:#ffbbbb"| 129 || August 26 || @

text: Cardinals

text: || 2–1 ||

text: Flores

text: (1–1) ||

text: Novoa

text: (2–1) || || 46,036 || 54–75|- style="background-color:#ffbbbb"| 130 || August 27 || @

text: Cardinals

text: || 10–6 ||

text: Looper

text: (7–1) ||

text: Howry

text: (3–5) || || 44,937 || 54–76|- style="background-color:#ffbbbb"| 131 || August 28 || @

text: Pirates

text: || 11–6 ||

text: Snell

text: (12–8) ||

text: Guzmán

text: (0–4) || || 12,666 || 54–77|- style="background-color:#ffbbbb"| 132 || August 29 || @

text: Pirates

text: || 7–6 ||

text: Capps

text: (5–1) ||

text: Dempster

text: (1–6) || || 14,618 || 54–78|- style="background-color:#ffbbbb"| 133 || August 30 || @

text: Pirates

text: || 10–9 ||

text: McLeary

text: (1–0) ||

text: Dempster

text: (1–7) || || 12,730 || 54–79|- style="background-color:#bbffbb"| 134 || September 1 ||

text: Giants

text: || 6–2 ||

text: Hill

text: (4–6) ||

text: Lowry

text: (7–8) || || 38,582 || 55–79|- style="background-color:#ffbbbb"| 135 || September 2 ||

text: Giants

text: || 4–2 ||

text: Cain

text: (11–9) ||

text: Marshall

text: (5–9) ||

text: Stanton

text: (4) || 40,135 || 55–80|- style="background-color:#ffbbbb"| 136 || September 3 ||

text: Giants

text: || 7–4 ||

text: Schmidt

text: (11–8) ||

text: Wuertz

text: (1–1) ||

text: Stanton

text: (5) || 40,702 || 55–81|- style="background-color:#ffbbbb"| 137 || September 4 ||

text: Pirates

text: || 5–4 ||

text: Maholm

text: (7–10) ||

text: Zambrano

text: (14–6) ||

text: Torres

text: (2) || 37,994 || 55–82|- style="background-color:#ffbbbb"| 138 || September 5 ||

text: Pirates

text: || 6–5 ||

text: Grabow

text: (4–1) ||

text: Dempster

text: (1–8) ||

text: Torres

text: (3) || 31,494 || 55–83|- style="background-color:#bbffbb"| 139 || September 6 ||

text: Pirates

text: || 7–2 ||

text: Wuertz

text: (2–1) ||

text: Grabow

text: (4–2) || || 32,557 || 56–83|- style="background-color:#ffbbbb"| 140 || September 7 ||

text: Pirates

text: || 7–5 ||

text: Bayliss

text: (1–0) ||

text: Eyre

text: (0–2) ||

text: Torres

text: (4) || 27,105 || 56–84|- style="background-color:#ffbbbb"| 141 || September 8 || @

text: Braves

text: || 8–4 ||

text: Hudson

text: (12–10) ||

text: Guzmán

text: (0–5) || || 30,977 || 56–85|- style="background-color:#ffbbbb"| 142 || September 9 || @

text: Braves

text: || 7–3 ||

text: James

text: (9–3) ||

text: Miller

text: (0–1) || || 40,584 || 56–86|- style="background-color:#ffbbbb"| 143 || September 10 || @

text: Braves

text: || 2–1 ||

text: Cormier

text: (3–4) ||

text: Mateo

text: (1–3) ||

text: Wickman

text: (13) || 28,212 || 56–87|- style="background-color:#bbffbb"| 144 || September 11 || @

text: Braves

text: || 8–3 ||

text: Hill

text: (5–6) ||

text: Smoltz

text: (12–9) || || 19,444 || 57–87|- style="background-color:#bbffbb"| 145 || September 12 ||

text: Dodgers

text: || 9–8 ||

text: Aardsma

text: (2–0) ||

text: Hamulack

text: (0–3) || || 35,618 || 58–87|- style="background-color:#ffbbbb"| 146 || September 13 ||

text: Dodgers

text: || 6–0 ||

text: Penny

text: (16–8) ||

text: Guzmán

text: (0–6) || || 35,868 || 58–88|- style="background-color:#bbffbb"| 147 || September 14 ||

text: Dodgers

text: || 6–5 ||

text: Eyre

text: (1–2) ||

text: Tomko

text: (8–7) ||

text: Howry

text: (5) || 31,361 || 59–88|- style="background-color:#ffbbbb"| 148 || September 15 ||

text: Reds

text: || 4–0 ||

text: Arroyo

text: (14–9) ||

text: Mármol

text: (5–7) || || 37,188 || 59–89|- style="background-color:#bbffbb"| 149 || September 16 ||

text: Reds

text: || 4–0 ||

text: Hill

text: (6–6) ||

text: Michalak

text: (1–3) || || 40,526 || 60–89|- style="background-color:#bbffbb"| 150 || September 17 ||

text: Reds

text: || 11–3 ||

text: Zambrano

text: (15–6) ||

text: Milton

text: (8–8) || || 39,164 || 61–89|- style="background-color:#bbffbb"| 151 || September 18 || @

text: Phillies

text: || 11–6 ||

text: Wuertz

text: (3–1) ||

text: Lieber

text: (8–10) || || 31,101 || 62–89|- style="background-color:#ffbbbb"| 152 || September 19 || @

text: Phillies

text: || 4–1 ||

text: Moyer

text: (3–2) ||

text: Miller

text: (0–2) ||

text: Gordon

text: (32) || 31,892 || 62–90|- style="background-color:#ffbbbb"| 153 || September 20 || @

text: Phillies

text: || 6–2 ||

text: Myers

text: (12–6) ||

text: Walrond

text: (0–1) || || 35,269 || 62–91|- style="background-color:#ffbbbb"| 154 || September 22 || @

text: Reds

text: || 4–2 ||

text: Michalak

text: (2–3) ||

text: Hill

text: (6–7) ||

text: Coffey

text: (8) || 21,332 || 62–92|- style="background-color:#bbffbb"| 155 || September 23 || @

text: Reds

text: || 11–4 ||

text: Zambrano

text: (16–6) ||

text: Lohse

text: (2–5) || || 28,264 || 63–92|- style="background-color:#ffbbbb"| 156 || September 24 || @

text: Reds

text: || 3–2 ||

text: Harang

text: (15–11) ||

text: Dempster

text: (1–9) || || 22,226 || 63–93|- style="background-color:#ffbbbb"| 157 || September 25 || @

text: Reds

text: || 5–4 ||

text: Schoeneweis

text: (2–0) ||

text: Eyre

text: (1–3) ||

text: Weathers

text: (12) || 16,278 || 63–94|- style="background-color:#bbffbb"| 158 || September 26 ||

text: Brewers

text: || 14–6 ||

text: Marshall

text: (6–9) ||

text: Villanueva

text: (1–2) || || 31,932 || 64–94|- style="background-color:#bbffbb"| 159 || September 27 ||

text: Brewers

text: || 3–2 ||

text: Howry

text: (4–5) ||

text: Cordero

text: (3–1) || || 36,273 || 65–94|- style="background-color:#ffbbbb"| 160 || September 29 ||

text: Rockies

text: || 5–2 ||

text: Fogg

text: (11–9) ||

text: Zambrano

text: (16–7) ||

text: Fuentes

text: (30) || 33,721 || 65–95|- style="background-color:#ffbbbb"| 161 || September 30 ||

text: Rockies

text: || 11–9 ||

text: Ramírez

text: (4–3) ||

text: Ryu

text: (0–1) || || 39,483 || 65–96|- style="background-color:#bbffbb"| 162 || October 1 ||

text: Rockies

text: || 8–5 ||

text: Aardsma

text: (3–0) ||

text: Affeldt

text: (4–2) || || 39,609 || 66–96

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answers: a rainbow includes all the colors of visible light.

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answers: The leaves appear green because they are green.

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text: The iris is usually strongly pigmented, with the color typically ranging between  brown, hazel, green, gray, or blue. Occasionally, the color of the iris is due to a lack of pigmentation, as in the pinkish-white of oculo-cutaneous albinism, or to obscuration of its pigment by blood vessels, as in the red of an abnormally vascularised iris. Despite the wide range of colors, the only pigment that contributes substantially to normal human iris color is the dark pigment melanin. The quantity of melanin pigment in the iris is one factor in determining the phenotypic eye color of a person. Structurally, this huge molecule is only slightly different from its equivalent found in skin and hair. Iris color is due to variable amounts of eumelanin (brown/black melanins) and pheomelanin (red/yellow melanins) produced by melanocytes. More of the former is found in brown eyed people and of the latter in blue and green-eyed people.

text: The iris is usually strongly

text: pigment

text: ed, with the

text: color

text: typically ranging between  brown, hazel, green, gray, or blue. Occasionally, the color of the iris is due to a lack of pigmentation, as in the pinkish-white of oculo-cutaneous

text: albinism

text: , or to obscuration of its pigment by blood vessels, as in the red of an abnormally vascularised iris. Despite the wide range of colors, the only pigment that contributes substantially to normal human iris color is the dark pigment

text: melanin

text: . The quantity of melanin pigment in the iris is one factor in determining the phenotypic eye color of a person. Structurally, this huge molecule is only slightly different from its equivalent found in

text: skin

text: and

text: hair

text: . Iris color is due to variable amounts of eumelanin (brown/black melanins) and pheomelanin (red/yellow melanins) produced by melanocytes. More of the former is found in brown eyed people and of the latter in blue and green-eyed people.

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text: Where white light is being deliberately separated into various color bands (for example, within a color video projector or color television camera), the similar dichroic prism is used instead. For cameras, however it is now more common to have an absorption filter array to filter individual pixels on a single CCD array.

text: Where

text: white light

text: is being deliberately separated into various color bands (for example, within a color

text: video projector

text: or

text: color television camera

text: ), the similar

text: dichroic prism

text: is used instead. For cameras, however it is now more common to have an absorption filter array to filter individual pixels on a single CCD array.

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text: Since the dyes in processed film block various part of visible light but are all fairly transparent to infrared, dark black sections of any processed film (where all visible colors are blocked) pass only infrared light and are commonly used (layering one over another if necessary for better visual light filtering) as a cheap alternative to expensive glass-backed filters. Such filters can be used both over color camera lenses, and to filter visible light from IR illumination sources. Such filter stock is most easily made available most simply by having any commercial color negative film developed after being fully exposed to light. The leaders of 35mm film are ideal for this, without wasting an entire roll of film. (Some special communication may be necessary in such submission, to ensure that all of the "black" negative film thus produced is indeed returned, and that there is no need to print the color-negative results on photographic paper). In the same way, visually opaque "black" color-positive film emulsions mounted in cardboard, as for routine slide projection, provide inexpensive cardboard-mounted infrared filters. Film sizes larger than 35 mm may be handled in the same way for larger filter production.

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text: The RGB (CMY) color wheel has largely replaced the traditional RYB color wheel because it is possible to display much brighter and more saturated colors using the primary and secondary colors of the RGB (CMY) color wheel. In the terminology of color theory, RGB color space (CMY color space) has a much larger color gamut than RYB color space.

text: The RGB (CMY) color wheel has largely replaced the traditional RYB color wheel because it is possible to display much brighter and more saturated colors using the primary and secondary colors of the RGB (CMY) color wheel. In the terminology of

text: color theory

text: RGB color space

text: CMY color space

text: ) has a much larger

text: color gamut

text: than

text: RYB color space

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text: Another common form of synesthesia is the association of sounds with colors. For some, everyday sounds such as doors opening, cars honking, or people talking can trigger seeing colors. For others, colors are triggered when musical notes and/or keys are being played. People with synesthesia related to music may also have perfect pitch because their ability to see/hear colors aids them in identifying notes or keys.

text: Another common form of synesthesia is the association of sounds with colors. For some, everyday sounds such as doors opening, cars honking, or people talking can trigger seeing colors. For others, colors are triggered when musical notes and/or keys are being played. People with synesthesia related to music may also have

text: perfect pitch

text: because their ability to see/hear colors aids them in identifying notes or keys.

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text: The color defined as green in the RGB color model, displayed on the right, is the brightest possible green that can be reproduced on a computer screen, and is the color named green in X11. It is one of the three primary colors used in the RGB color space along with red and blue. The three additive primaries in the RGB color system are the three colors of light chosen such as to provide the maximum range of colors that are capable of being represented on a computer or television set.

text: The color defined as green in the

text: RGB color model

text: , displayed on the right, is the brightest possible green that can be reproduced on a computer screen, and is the color named green in

text: . It is one of the three

text: primary color

text: s used in the

text: RGB color space

text: along with

text: red

text: and

text: blue

text: . The three additive primaries in the RGB color system are the three colors of light chosen such as to provide the maximum range of colors that are capable of being represented on a computer or television set.

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text: The color histogram can be built for any kind of color space, although the term is more often used for three-dimensional spaces like RGB or HSV.  For monochromatic images, the term intensity histogram may be used instead.  For multi-spectral images, where each pixel is represented by an arbitrary number of measurements (for example, beyond the three measurements in RGB), the color histogram is N-dimensional, with N being the number of measurements taken. Each measurement has its own wavelength range of the light spectrum, some of which may be outside the visible spectrum.

text: The color histogram can be built for any kind of color space, although the term is more often used for three-dimensional spaces like

text: RGB

text: or

text: HSV

text: .  For

text: monochromatic image

text: s, the term intensity histogram may be used instead.  For multi-spectral images, where each pixel is represented by an arbitrary number of measurements (for example, beyond the three measurements in RGB), the color histogram is N-dimensional, with N being the number of measurements taken. Each measurement has its own wavelength range of the light spectrum, some of which may be outside the visible spectrum.

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text: The GameCube controller was sold in several different colors over the console's lifespan. Standard colors included "Indigo" (Purple), "Jet Black", "Platinum" (Silver) and "Spice" (Orange); these were bundled their respective colored GameCube consoles and sold separately in many countries. Other standard colors sold separately included "Indigo/Clear" (Indigo top with a clear translucent bottom), "Emerald Blue" (Turquoise), and White; the latter two were only available in Japan.

text: The GameCube controller was sold in several different colors over the console's lifespan. Standard colors included "Indigo" (Purple), "Jet Black", "Platinum" (Silver) and "Spice" (Orange); these were bundled their respective colored GameCube consoles and sold separately in many countries. Other standard colors sold separately included "Indigo/Clear" (Indigo top with a clear translucent bottom), "Emerald Blue" (Turquoise), and White; the latter two were only available in Japan.

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text: Another common form of hacking is palette hacking, where color values are modified to change the colors a player sees in the game (this often goes hand-in-hand with graphics hacking); Palette values are commonly stored in Hex. This is fairly easy for NES games, the graphics of which use a pre-defined set of colors among which a game selects; palette hacking in this case entails changing which of those colors are selected. The matter is slightly more complicated with Super NES games and games for other systems, which store absolute RGB color values. Palette editors are usually simple and often are with Level editors, or Game specific graphics editors.

text: Another common form of hacking is palette hacking, where color values are modified to change the colors a player sees in the game (this often goes hand-in-hand with

text: graphics hacking

text: ); Palette values are commonly stored in

text: Hex

text: . This is fairly easy for

text: NES

text: games, the graphics of which use a pre-defined set of colors among which a game selects; palette hacking in this case entails changing which of those colors are selected. The matter is slightly more complicated with

text: Super NES

text: games and games for other systems, which store absolute

text: RGB

text: color values. Palette editors are usually simple and often are with Level editors, or Game specific graphics editors.

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text: | style="text-align:center;" colspan="7"||-  style="text-align:center; background:#e3e3e3;"|  style="border-style:none none solid solid; "|Result|  style="border-style:none none solid solid; "|Opponent|  style="border-style:none none solid solid; "|Type|  style="border-style:none none solid solid; "|Rd., Time|  style="border-style:none none solid solid; "|Date|  style="border-style:none none solid solid; "|Location|  style="border-style:none none solid solid; "|Notes|- align=center|Win|align=left| Tiger Flowers|KO|2 (10)|1922-06-05|align=left| Ponce de Leon Park, Atlanta, Georgia|align=left||- align=center|Win|align=left| George Godfrey|KO|1 (12)|1921-08-17|align=left| Riverside Club, Covington, Kentucky|align=left||- align=center|Win|align=left| George Godfrey|KO|2 (10)|1920-11-17|align=left| Hot Springs, Arkansas|align=left||- align=center|Win|align=left| Sam McVea|NWS|10|1920-08-14|align=left| East Chicago, Indiana|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| George Godfrey|PTS|10|1920-05-01|align=left| Unknown Location|align=left||- align=center|Loss|align=left| Harry Wills|PTS|15|1920-04-23|align=left| Stockyards Stadium, Denver, Colorado|align=left|For World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Harry Wills|PTS|15|1919-11-05|align=left| Convention Hall, Tulsa, Oklahoma|align=left|For World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Harry Wills|NWS|10|1919-09-30|align=left| Syracuse Arena, Syracuse, New York|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|NWS|8|1919-07-04|align=left| Sportsman's Park, Saint Louis, Missouri|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|TKO|8 (20)|1918-05-19|align=left| Vista Allegre Bull Ring, Panama City|align=left||- align=center|Loss|align=left| Harry Wills|KO|6 (20)|1918-04-14|align=left| Vista Allegre Bull Ring, Panama City|align=left|Lost World "Colored" Heavyweight Title.|- align=center|Win|align=left| Kid Norfolk|KO|2 (20)|1917-12-17|align=left| Stockyards Stadium, Denver, Colorado|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Harry Wills|NWS|12|1917-11-12|align=left| Toledo Coliseum, Toledo, Ohio|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|NWS|10|1917-09-20|align=left| Clermont Avenue Rink, Brooklyn, New York|align=left|Newspaper Decision|- align=center|Win|align=left| Joe Jeanette|NWS|12|1917-09-14|align=left| Toledo Coliseum, Toledo, Ohio|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|NWS|6|1917-05-11|align=left| Cambria A.C., Philadelphia, Pennsylvania|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|PTS|20|1916-08-12|align=left| Teatro Roma, Avellaneda, Buenos Aires|align=left|Retains World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|KO|7 (10)|1916-05-12|align=left| Syracuse Arena, Syracuse, New York|align=left|Retains World "Colored" Heavyweight Title.|- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|NWS|12|1916-05-02|align=left| East Market St. Rink, Akron, Ohio|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|NWS|8|1916-04-25|align=left| Saint Louis Coliseum, Saint Louis, Missouri|align=left|Newspaper Decision|- align=center|Win|align=left| Sam McVea|NWS|10|1916-04-07|align=left| Syracuse Arena, Syracuse, New York|align=left|Newspaper Decision|- align=center|Loss|align=left| Harry Wills|NWS|10|1916-03-07|align=left| Broadway Arena, Brooklyn, New York|align=left|Newspaper Decision|- align=center|Win|align=left| Sam McVea|NWS|10|1916-02-17|align=left| Madison Square Garden, New York, New York|align=left|Newspaper Decision|- align=center|Win|align=left| Harry Wills|KO|19 (20)|1916-02-11|align=left| Tommy Burns Arena, Louisiana, New Orleans|align=left|Won World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Harry Wills|PTS|20|1916-01-03|align=left| Tulane A.C., Louisiana, New Orleans|align=left|For World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Harry Wills|NWS|10|1915-12-03|align=left| Harlem S.C., New York, New York|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|NWS|10|1915-11-23|align=left| American A.C., New York, New York|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|PTS|10|1915-09-30|align=left| Denver, Colorado|align=left||- align=center|Loss|align=left| Sam McVea|PTS|12|1915-06-29|align=left| Atlas A.A., Boston, Massachusetts|align=left|For World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Joe Jeanette|PTS|12|1915-04-13|align=left| Atlas A.A., Boston, Massachusetts|align=left|Lost World "Colored" Heavyweight Title.|- align=center|Win|align=left| Harry Wills|KO|14 (20)|1914-11-26|align=left| Vernon Arena, Vernon, California|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Gunboat Smith|KO|3 (12)|1914-10-20|align=left| Atlas A.A., Boston, Massachusetts|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Joe Jeanette|NWS|10|1914-10-01|align=left| Stadium A.C., New York, New York|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Harry Wills|NWS|10|1914-05-01|align=left| National Baseball Park, New Orleans, Louisiana|align=left|Newspaper Decision|- align=center|Win|align=left| Joe Jeanette|PTS|20|1913-12-20|align=left| Luna Park Arena, Paris|align=left||- align=center|Loss|align=left| Gunboat Smith|PTS|12|1913-11-17|align=left| Atlas A.A., Boston, Massachusetts|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Joe Jeanette|NWS|10|1913-10-03|align=left| Madison Square Garden, New York, New York|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|PTS|20|1913-03-24|align=left| Olympic Stadium, Brisbane, Queensland|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Sam McVea|KO|13 (20)|1912-12-26|align=left| Sydney Stadium, Sydney, New South Wales|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Sam McVea|TKO|11 (20)|1912-10-09|align=left| Exhibition Stadium, Perth, Western Australia|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Sam McVea|PTS|20|1912-08-03|align=left| Sydney Stadium, Sydney, New South Wales|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Sam McVea|PTS|20|1912-04-08|align=left| Sydney Stadium, Sydney, New South Wales|align=left|Won World "Colored" Heavyweight Title.|- align=center|Loss|align=left| Sam McVea|PTS|20|1911-12-26|align=left| Sydney Stadium, Sydney, New South Wales|align=left|Lost World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|NWS|10|1911-09-05|align=left| Madison Square Garden, New York, New York|align=left|Newspaper Decision|- align=center|Win|align=left| Philadelphia Jack O'Brien|TKO|5 (10)|1911-08-15|align=left| Twentieth Century A.C., New York, New York|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Sam McVea|PTS|20|1911-04-01|align=left| Cirque de Paris, Paris|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|PTS|12|1911-01-10|align=left| Armory A.A., Boston, Massachusetts|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|PTS|15|1910-09-06|align=left| Armory A.A., Boston, Massachusetts|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Stanley Ketchel|NWS|6|1910-04-27|align=left| National A.C., Philadelphia, Pennsylvania|align=left|Newspaper Decision|- align=center|Win|align=left| Dixie Kid|KO|3 (8)|1910-01-10|align=left| Phoenix A.C., Memphis, Tennessee|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Dixie Kid|RTD|5 (12)|1909-09-28|align=left| Armory A.A., Boston, Massachusetts|align=left|Retained World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|NWS|6|1908-09-01|align=left| National A.C, New York, New York|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Joe Jeanette|PTS|12|1908-03-03|align=left| Armory A.A., Boston, Massachusetts|align=left||- align=center|Win|align=left| Young Peter Jackson|PTS|20|1907-11-12|align=left| Pacific A.C., Los Angeles, California|align=left|Retained World "Colored" Middleweight Title.|- align=center|style="background:#abcdef;"|Draw|align=left| Joe Jeanette|PTS|12|1907-01-11|align=left| Unity Cycle Club, Lawrence, Massachusetts|align=left||- align=center|Win|align=left| Young Peter Jackson|PTS|15|1906-11-21|align=left| Rochester, New York|align=left||- align=center|Loss|align=left| Young Peter Jackson|TKO|5|1906-06-13|align=left| Southbridge, Massachusetts|align=left||- align=center|Loss|align=left| Jack Johnson|PTS|15|1906-04-26|align=left| Lincoln A.C., Chelsea, Massachusetts|align=left|For World "Colored" Heavyweight Title.|- align=center|Win|align=left| Joe Jeanette|PTS|15|1906-04-05|align=left| Lincoln A.C., Chelsea, Massachusetts|align=left||- align=center|Loss|align=left| Joe Jeanette|TKO|8 (12)|1905-12-25|align=left| Unity Cycle Club, Lawrence, Massachusetts|align=left||- align=center|style="background:#ddd;"|NC|align=left| Jack Blackburn|NC|1 (6)|1905-10-07|align=left| National A.C., Philadelphia, Pennsylvania|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Young Peter Jackson|PTS|15|1905-09-29|align=left| Germania Maennerchor Hall, Baltimore, Maryland|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Jack Blackburn|PTS|10|1905-09-20|align=left| Lyric A.C., Allentown, Pennsylvania|align=left||- align=center|Win|align=left| Young Peter Jackson|PTS|15|1905-06-16|align=left| Douglas A.C., Chelsea, Massachusetts|align=left||- align=center|Win|align=left| Young Peter Jackson|PTS|15|1905-05-26|align=left| Highland A.C., Marlborough, Massachusetts|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Jack Blackburn|PTS|15|1904-12-09|align=left| Marlborough Theater, Marlborough, Massachusetts|align=left||- align=center|style="background:#abcdef;"|Draw|align=left| Barbados Joe Walcott|PTS|15|1904-09-05|align=left| Lake Massabesic Coliseum, Manchester, New Hampshire|align=left|For World Welterweight Title.|- align=center|style="background:#abcdef;"|Draw|align=left| Jack Blackburn|NWS|6|1904-01-11|align=left| Washington S.C., Philadelphia, Pennsylvania|align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left| Jack Blackburn|PTS|12|1903-12-23|align=left| Central A.C., Boston, Massachusetts|align=left||- align=center|Win|align=left| Joe Gans|PTS|15|1903-12-08|align=left| Criterion A.C., Boston, Massachusetts|align=left|

text: | style="text-align:center;" colspan="7"||-  style="text-align:center; background:#e3e3e3;"|  style="border-style:none none solid solid; "|Result|  style="border-style:none none solid solid; "|Opponent|  style="border-style:none none solid solid; "|Type|  style="border-style:none none solid solid; "|Rd., Time|  style="border-style:none none solid solid; "|Date|  style="border-style:none none solid solid; "|Location|  style="border-style:none none solid solid; "|Notes|- align=center|Win|align=left|

text: Tiger Flowers

text: |KO|2 (10)|1922-06-05|align=left|

text: Ponce de Leon Park

text: Atlanta, Georgia

text: |align=left||- align=center|Win|align=left|

text: George Godfrey

text: |KO|1 (12)|1921-08-17|align=left| Riverside Club,

text: Covington

text: Kentucky

text: |align=left||- align=center|Win|align=left|

text: George Godfrey

text: |KO|2 (10)|1920-11-17|align=left| Hot Springs,

text: Arkansas

text: |align=left||- align=center|Win|align=left|

text: Sam McVea

text: East Chicago

text: Indiana

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: George Godfrey

text: |PTS|10|1920-05-01|align=left| Unknown Location|align=left||- align=center|Loss|align=left|

text: Harry Wills

text: |PTS|15|1920-04-23|align=left| Stockyards Stadium,

text: Denver

text: Colorado

text: |align=left|For

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Harry Wills

text: |PTS|15|1919-11-05|align=left| Convention Hall,

text: Tulsa

text: Oklahoma

text: |align=left|For

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|10|1919-09-30|align=left| Syracuse Arena,

text: Syracuse

text: New York

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|8|1919-07-04|align=left| Sportsman's Park,

text: Saint Louis

text: Missouri

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |TKO|8 (20)|1918-05-19|align=left| Vista Allegre Bull Ring,

text: Panama City

text: |align=left||- align=center|Loss|align=left|

text: Harry Wills

text: |KO|6 (20)|1918-04-14|align=left| Vista Allegre Bull Ring,

text: Panama City

text: |align=left|Lost

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Kid Norfolk

text: |KO|2 (20)|1917-12-17|align=left| Stockyards Stadium,

text: Denver

text: Colorado

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Harry Wills

text: |NWS|12|1917-11-12|align=left| Toledo Coliseum,

text: Toledo

text: Ohio

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|10|1917-09-20|align=left| Clermont Avenue Rink,

text: Brooklyn

text: New York

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Joe Jeanette

text: |NWS|12|1917-09-14|align=left| Toledo Coliseum,

text: Toledo

text: Ohio

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|6|1917-05-11|align=left| Cambria A.C.,

text: Philadelphia

text: Pennsylvania

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: |PTS|20|1916-08-12|align=left| Teatro Roma,

text: Avellaneda

text: Buenos Aires

text: |align=left|Retains

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: |KO|7 (10)|1916-05-12|align=left| Syracuse Arena,

text: Syracuse

text: New York

text: |align=left|Retains

text: World "Colored" Heavyweight Title

text: .|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: |NWS|12|1916-05-02|align=left| East Market St. Rink,

text: Akron

text: Ohio

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|8|1916-04-25|align=left| Saint Louis Coliseum,

text: Saint Louis

text: Missouri

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Sam McVea

text: |NWS|10|1916-04-07|align=left| Syracuse Arena,

text: Syracuse

text: New York

text: |align=left|Newspaper Decision|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|10|1916-03-07|align=left| Broadway Arena,

text: Brooklyn

text: New York

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Sam McVea

text: Madison Square Garden

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Harry Wills

text: |KO|19 (20)|1916-02-11|align=left| Tommy Burns Arena,

text: Louisiana

text: New Orleans

text: |align=left|Won

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Harry Wills

text: |PTS|20|1916-01-03|align=left| Tulane A.C.,

text: Louisiana

text: New Orleans

text: |align=left|For

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Harry Wills

text: |NWS|10|1915-12-03|align=left| Harlem S.C.,

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: |NWS|10|1915-11-23|align=left| American A.C.,

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: Denver

text: Colorado

text: |align=left||- align=center|Loss|align=left|

text: Sam McVea

text: |PTS|12|1915-06-29|align=left| Atlas A.A.,

text: Boston

text: Massachusetts

text: |align=left|For

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Joe Jeanette

text: |PTS|12|1915-04-13|align=left| Atlas A.A.,

text: Boston

text: Massachusetts

text: |align=left|Lost

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Harry Wills

text: |KO|14 (20)|1914-11-26|align=left| Vernon Arena,

text: Vernon

text: California

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Gunboat Smith

text: |KO|3 (12)|1914-10-20|align=left| Atlas A.A.,

text: Boston

text: Massachusetts

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Joe Jeanette

text: |NWS|10|1914-10-01|align=left| Stadium A.C.,

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Harry Wills

text: |NWS|10|1914-05-01|align=left| National Baseball Park,

text: New Orleans

text: Louisiana

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Joe Jeanette

text: |PTS|20|1913-12-20|align=left| Luna Park Arena,

text: Paris

text: |align=left||- align=center|Loss|align=left|

text: Gunboat Smith

text: |PTS|12|1913-11-17|align=left| Atlas A.A.,

text: Boston

text: Massachusetts

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Joe Jeanette

text: Madison Square Garden

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: Olympic Stadium

text: Brisbane

text: Queensland

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Sam McVea

text: |KO|13 (20)|1912-12-26|align=left| Sydney Stadium,

text: Sydney

text: New South Wales

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Sam McVea

text: |TKO|11 (20)|1912-10-09|align=left| Exhibition Stadium,

text: Perth

text: Western Australia

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Sam McVea

text: |PTS|20|1912-08-03|align=left| Sydney Stadium,

text: Sydney

text: New South Wales

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Sam McVea

text: |PTS|20|1912-04-08|align=left| Sydney Stadium,

text: Sydney

text: New South Wales

text: |align=left|Won

text: World "Colored" Heavyweight Title

text: .|- align=center|Loss|align=left|

text: Sam McVea

text: |PTS|20|1911-12-26|align=left| Sydney Stadium,

text: Sydney

text: New South Wales

text: |align=left|Lost

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: Madison Square Garden

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Philadelphia Jack O'Brien

text: |TKO|5 (10)|1911-08-15|align=left| Twentieth Century A.C.,

text: New York

text: New York

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Sam McVea

text: |PTS|20|1911-04-01|align=left| Cirque de Paris,

text: Paris

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: |PTS|12|1911-01-10|align=left| Armory A.A.,

text: Boston

text: Massachusetts

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: |PTS|15|1910-09-06|align=left| Armory A.A.,

text: Boston

text: Massachusetts

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Stanley Ketchel

text: |NWS|6|1910-04-27|align=left| National A.C.,

text: Philadelphia

text: Pennsylvania

text: |align=left|Newspaper Decision|- align=center|Win|align=left|

text: Dixie Kid

text: |KO|3 (8)|1910-01-10|align=left| Phoenix A.C.,

text: Memphis

text: Tennessee

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Dixie Kid

text: |RTD|5 (12)|1909-09-28|align=left| Armory A.A.,

text: Boston

text: Massachusetts

text: |align=left|Retained

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: |NWS|6|1908-09-01|align=left| National A.C,

text: New York

text: New York

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Joe Jeanette

text: |PTS|12|1908-03-03|align=left| Armory A.A.,

text: Boston

text: Massachusetts

text: |align=left||- align=center|Win|align=left|

text: Young Peter Jackson

text: |PTS|20|1907-11-12|align=left| Pacific A.C.,

text: Los Angeles

text: California

text: |align=left|Retained

text: World "Colored" Middleweight Title

text: .|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Joe Jeanette

text: |PTS|12|1907-01-11|align=left| Unity Cycle Club,

text: Lawrence

text: Massachusetts

text: |align=left||- align=center|Win|align=left|

text: Young Peter Jackson

text: Rochester

text: New York

text: |align=left||- align=center|Loss|align=left|

text: Young Peter Jackson

text: Southbridge

text: Massachusetts

text: |align=left||- align=center|Loss|align=left|

text: Jack Johnson

text: |PTS|15|1906-04-26|align=left| Lincoln A.C.,

text: Chelsea

text: Massachusetts

text: |align=left|For

text: World "Colored" Heavyweight Title

text: .|- align=center|Win|align=left|

text: Joe Jeanette

text: |PTS|15|1906-04-05|align=left| Lincoln A.C.,

text: Chelsea

text: Massachusetts

text: |align=left||- align=center|Loss|align=left|

text: Joe Jeanette

text: |TKO|8 (12)|1905-12-25|align=left| Unity Cycle Club,

text: Lawrence

text: Massachusetts

text: |align=left||- align=center|style="background:#ddd;"|NC|align=left|

text: Jack Blackburn

text: |NC|1 (6)|1905-10-07|align=left| National A.C.,

text: Philadelphia

text: Pennsylvania

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Young Peter Jackson

text: |PTS|15|1905-09-29|align=left| Germania Maennerchor Hall,

text: Baltimore

text: Maryland

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Jack Blackburn

text: |PTS|10|1905-09-20|align=left| Lyric A.C.,

text: Allentown

text: Pennsylvania

text: |align=left||- align=center|Win|align=left|

text: Young Peter Jackson

text: |PTS|15|1905-06-16|align=left| Douglas A.C.,

text: Chelsea

text: Massachusetts

text: |align=left||- align=center|Win|align=left|

text: Young Peter Jackson

text: |PTS|15|1905-05-26|align=left| Highland A.C.,

text: Marlborough

text: Massachusetts

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Jack Blackburn

text: |PTS|15|1904-12-09|align=left| Marlborough Theater,

text: Marlborough

text: Massachusetts

text: |align=left||- align=center|style="background:#abcdef;"|Draw|align=left|

text: Barbados Joe Walcott

text: |PTS|15|1904-09-05|align=left| Lake Massabesic Coliseum,

text: Manchester

text: New Hampshire

text: |align=left|For World Welterweight Title.|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Jack Blackburn

text: |NWS|6|1904-01-11|align=left| Washington S.C.,

text: Philadelphia

text: Pennsylvania

text: |align=left|Newspaper Decision|- align=center|style="background:#abcdef;"|Draw|align=left|

text: Jack Blackburn

text: |PTS|12|1903-12-23|align=left| Central A.C.,

text: Boston

text: Massachusetts

text: |align=left||- align=center|Win|align=left|

text: Joe Gans

text: |PTS|15|1903-12-08|align=left| Criterion A.C.,

text: Boston

text: Massachusetts

text: |align=left|

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answers: yes

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answers: visible light

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answers: style="text-align:center;" colspan="7"|||

answers: NDQ_016549

answers: The leaves appear blue.

answers: NDQ_016550

answers: color blue

answers: NDQ_016551

answers: #e3e3e3

text: Early color cameras used the obvious technique of using separate red, green and blue image tubes in conjunction with a color separator, a technique still in use with 3CCD solid state cameras today.  It was also possible to construct a color camera that used a single image tube.  One technique has already been described (Trinicon above).  A more common technique and a simpler one from the tube construction standpoint was to overlay the photosensitive target with a color striped filter having a fine pattern of vertical stripes of green, cyan and clear filters (i.e. Green; Green+Blue & Green+Blue+Red) repeating across the target.  The advantage of this arrangement was that for virtually every color, the video level of the green component was always less than the cyan, and similarly the cyan was always less than the white.  Thus the contributing images could be separated without any reference electrodes in the tube.  If the three levels were the same, then that part of the scene was green.  This method suffered from the disadvantage that the light levels under the three filters were almost certain to be different, with the green filter passing not more than one third of the available light.

text: Early color cameras used the obvious technique of using separate red, green and blue image tubes in conjunction with a

text: color separator

text: , a technique still in use with

text: solid state cameras today.  It was also possible to construct a color camera that used a single image tube.  One technique has already been described (Trinicon above).  A more common technique and a simpler one from the tube construction standpoint was to overlay the photosensitive target with a color striped filter having a fine pattern of vertical stripes of green, cyan and clear filters (i.e. Green; Green+Blue & Green+Blue+Red) repeating across the target.  The advantage of this arrangement was that for virtually every color, the video level of the green component was always less than the cyan, and similarly the cyan was always less than the white.  Thus the contributing images could be separated without any reference electrodes in the tube.  If the three levels were the same, then that part of the scene was green.  This method suffered from the disadvantage that the light levels under the three filters were almost certain to be different, with the green filter passing not more than one third of the available light.

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answers: Yes

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answers: visible light

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answers: If the three levels were the same

answers: NDQ_016549

answers: Green+Blue & Green+Blue+Red

answers: NDQ_016550

answers: red

answers: NDQ_016551

answers: red

text: Fish and some members of their food chain have color receptors in their eyes optimized for the light of their “space”. Eyes that can see a single space color can detect changes in light intensity. This is equivalent to a world in black, white and shades of gray. In this simplest level of visual information processing, an animal can recognize that something is different in its space—i.e., that there is food or a predator “over there”. Most animals living in a lighted world have an additional visual resource: color vision.  By definition, that requires that they have color receptors containing at least two different visual pigments. To efficiently perform this function in water illuminated with light, an aquatic animal would have visual pigments sensitive to the background “space” color and one or more visual pigments offset from this blue-green region, say, in the red or ultraviolet region of the spectrum. This imparts a clear survival advantage to these animals because they can detect not only changes in light intensity but also contrasts in color.  Many fish, for example, have two color receptors, one in the blue region of the spectra (425-490 nm) and the other in the near UV (320-380 nm). Insects and shrimp, members of the fish food chain, have blue, green (530 nm) and near UV receptors.  In fact, some aquatic animals have up to ten different classes of visual pigment in their eyes. By comparison, humans have three with maximum sensitivities in the blue (442 nm), green (543 nm) and yellow (570 nm). It is the differential responses of these receptor cells that enable color vision.

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answers: Yes

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answers: 442 nm

answers: NDQ_016548

answers: pigments offset from this blue-green region

answers: NDQ_016549

answers: black, white and shades of gray

answers: NDQ_016550

answers: red or ultraviolet

answers: NDQ_016551

answers: blue

text: During the period 1955-1965 at Michigan and Indiana, De Valois developed techniques for measuring both electrophysiological and psychophysical responses of macaque monkeys to chromatic stimuli. In an attempt to understand the neurophysiology underlying color vision, he applied these techniques to evaluate the responses of single cells in the primate visual system . De Valois performed a set of experiments that addressed a scientific controversy that had its roots in the nineteenth century color vision theories of Young, Helmholtz, and Hering. Starting from observations on color matching, Young and Helmholtz had proposed that color vision was based on the presence of three sets of particles or three types of nervous fibres in the eye that were preferentially sensitive to reds, greens, and blue.  Hering, starting from observations on color appearance, had proposed that the percept of color emerged from spectrally-opponent mechanisms in the visual system that contrasted red vs green and blue vs yellow. A number of experiments had shown that the spectral responses of photopigments in the three types of cone cells found in the retina could provide a biophysical correlate for the first stage of trichromatic color vision, an explanation in line with the postulates of Young and Helmholtz. However the discovery of chromatically-antagonistic neurons in monkey lateral geniculate nucleus (LGN) by De Valois and his associates demonstrated a neural substrate for a second stage of color processing, similar to that proposed by Hering. In two publications  they described four types of cells: one set that had excitatory responses in the long (“red”) wavelength region and inhibitory responses at middle (“green”) wavelengths (R+G- ), and vice versa (G+ R-); and a second set that had excitatory responses to short (“blue”) wavelength and inhibitory responses to middle and long (“yellow”) wavelengths B+Y- ,and  vice versa (Y+ B-). One sees the influence of this work in the 1981 Current Contents designation of his paper, "Analysis of Response Patterns of LGN Cells,"   as a 'Citation Classic'

text: During the period 1955-1965 at Michigan and Indiana, De Valois developed techniques for measuring both electrophysiological and psychophysical responses of macaque monkeys to chromatic stimuli. In an attempt to understand the neurophysiology underlying color vision, he applied these techniques to evaluate the responses of single cells in the primate visual system . De Valois performed a set of experiments that addressed a scientific controversy that had its roots in the nineteenth century color vision theories of Young, Helmholtz, and Hering. Starting from observations on color matching,

text: Young and Helmholtz

text: had proposed that color vision was based on the presence of three sets of particles or three types of nervous fibres in the eye that were preferentially sensitive to reds, greens, and blue.

text: Hering

text: , starting from observations on color appearance, had proposed that the percept of color emerged from spectrally-opponent mechanisms in the visual system that contrasted red vs green and blue vs yellow. A number of experiments had shown that the spectral responses of photopigments in the three types of cone cells found in the

text: retina

text: could provide a biophysical correlate for the first stage of trichromatic color vision, an explanation in line with the postulates of Young and Helmholtz. However the discovery of chromatically-antagonistic neurons in monkey lateral geniculate nucleus (LGN) by De Valois and his associates demonstrated a neural substrate for a second stage of color processing, similar to that proposed by Hering. In two publications  they described four types of cells: one set that had excitatory responses in the long (“red”) wavelength region and inhibitory responses at middle (“green”) wavelengths (R+G- ), and vice versa (G+ R-); and a second set that had excitatory responses to short (“blue”) wavelength and inhibitory responses to middle and long (“yellow”) wavelengths B+Y- ,and  vice versa (Y+ B-). One sees the influence of this work in the 1981 Current Contents designation of his paper, "Analysis of Response Patterns of LGN Cells,"   as a 'Citation Classic'

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answers: 0: The answer is not relevant or complete at all.

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answers: Young and Helmholtz

answers: NDQ_016543

answers: chromatic

answers: NDQ_016548

answers: Hering

answers: NDQ_016549

answers: yellow

answers: NDQ_016550

answers: reds

answers: NDQ_016551

answers: reds

text: For a wasp species, Parachartergus fraternus is average in size. A typical Parachartergus fraternus forager is about 11 mm long, 3 mm wide across its thorax, and weighs about 0.05 g. Queens do not differ morphologically from workers and are therefore similar in size. The dorsal and ventral parts of the body are blackish which is a characteristic of this species. The abdomen has a fusiform shape with short hairs that can only be seen with a microscope. The abdomen is linked to the thorax by a pedunculum. At rest, the wings are longitudinally bent with the last distal part being clear and colorless (almost white). The wings also have very pronounced veins. The eyes of the wasp are big and compound with a large number of facets. The antennae are bent at a sharp angle and the mouthparts are orange colored. The age of the wasp is determined by examining the progressive pigmentation of the transverse apodeme, which is located at the base of each sternum. The youngest wasps have no pigmentation, middle aged wasps have brown coloring, and the oldest wasps have black coloring.

text: For a wasp species, Parachartergus fraternus is average in size. A typical Parachartergus fraternus forager is about 11 mm long, 3 mm wide across its

text: thorax

text: , and weighs about 0.05 g. Queens do not differ morphologically from workers and are therefore similar in size. The

text: dorsal

text: and

text: ventral

text: parts of the body are blackish which is a characteristic of this species. The abdomen has a

text: fusiform

text: shape with short hairs that can only be seen with a

text: microscope

text: . The abdomen is linked to the thorax by a pedunculum. At rest, the wings are longitudinally bent with the last distal part being clear and colorless (almost white). The wings also have very pronounced veins. The eyes of the wasp are big and compound with a large number of facets. The antennae are bent at a sharp angle and the mouthparts are orange colored. The age of the wasp is determined by examining the progressive pigmentation of the transverse apodeme, which is located at the base of each sternum. The youngest wasps have no pigmentation, middle aged wasps have brown coloring, and the oldest wasps have black coloring.

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answers: NDQ_016542

answers: Yes

answers: NDQ_016543

answers: The age of the wasp

answers: NDQ_016548

answers: pigmentation

answers: NDQ_016549

answers: colorless

answers: NDQ_016550

answers: blackish

answers: NDQ_016551

answers: blackish

text: Studies of various tattoo pigments have shown that a number of pigments (most containing iron oxide or titanium dioxide) change color when irradiated with Q-switched laser energy. Some tattoo colors including flesh tones, light red, white, peach and light brown containing pigments as well as some green and blue tattoo pigments, changed to black when irradiated with Q-switched laser pulses. The resulting gray-black color may require more treatments to remove. If tattoo darkening does occur, after 8 weeks the newly darkened tattoo can be treated as if it were black pigment.

text: Studies of various tattoo pigments have shown that a number of pigments (most containing iron oxide or titanium dioxide) change color when irradiated with Q-switched laser energy. Some tattoo colors including flesh tones, light red, white, peach and light brown containing pigments as well as some green and blue tattoo pigments, changed to black when irradiated with Q-switched laser pulses. The resulting gray-black color may require more treatments to remove. If tattoo darkening does occur, after 8 weeks the newly darkened tattoo can be treated as if it were black pigment.

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text: To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain.

text: To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain.

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text: Romanian clearly distinguishes between the colors green () and blue (). It also uses separate words for different hues of the same color, e.g. light blue (), blue (albastru), dark-blue (bleu- or ), along with a word for turquoise () and azure ( or ).

text: Romanian

text: clearly distinguishes between the colors green () and blue (). It also uses separate words for different hues of the same color, e.g. light blue (), blue (albastru), dark-blue (bleu- or ), along with a word for turquoise () and azure ( or ).

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: green () and blue

text: Objection, 1974 (18.25 min.): sound, color; 16 mm

text: Objection, 1974 (18.25 min.): sound, color; 16 mm

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text: Subtractive coloring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye.

text: Subtractive color

text: ing uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye.

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text: The brown color of leaves is not the result of a pigment, but rather cell walls, which may be evident when no coloring pigment is visible.

text: The brown color of leaves is not the result of a pigment, but rather cell walls, which may be evident when no coloring pigment is visible.

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text: There are several ways of selecting colors, including palettes, color choosers and using an eyedropper tool to select a colour on the canvas. The built-in color choosers include RGB/HSV selector or scales, water-color selector, CMYK selector and a color-wheel selector. Colors can also be selected using hexadecimal color codes as used in HTML color selection. GIMP has native support for indexed colour and RGB color spaces; other color spaces are supported using decomposition where each channel of the new color space becomes a black-and-white image. CMYK, LAB and HSV (hue, saturation, value) are supported this way. Color blending can be achieved using the Blend tool, by applying a gradient to the surface of an image and using GIMP's color modes. Gradients are also integrated into tools such as the brush tool, when the user paints this way the output color slowly changes. There are a number of default gradients included with GIMP; a user can also create custom gradients with tools provided. Gradient plug-ins are also available.

text: There are several ways of selecting colors, including palettes, color choosers and using an eyedropper tool to select a colour on the canvas. The built-in color choosers include

text: RGB

text: HSV

text: selector or scales, water-color selector,

text: CMYK

text: selector and a color-wheel selector. Colors can also be selected using hexadecimal color codes as used in HTML color selection. GIMP has native support for indexed colour and

text: RGB

text: color spaces; other color spaces are supported using decomposition where each channel of the new color space becomes a black-and-white image. CMYK,

text: LAB

text: and

text: HSV

text: hue

text: saturation

text: value

text: ) are supported this way. Color blending can be achieved using the Blend tool, by applying a

text: gradient

text: to the surface of an image and using GIMP's color modes. Gradients are also integrated into tools such as the brush tool, when the user paints this way the output color slowly changes. There are a number of default gradients included with GIMP; a user can also create custom gradients with tools provided. Gradient plug-ins are also available.

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text: The Romans were already familiar with the ability of a prism to generate a rainbow of colors.Newton is traditionally regarded as the founder of spectroscopy, but he was not the first scientist who studied and reported on the solar spectrum. The works of Athanasius Kircher (1646), Jan Marek Marci (1648), Robert Boyle (1664), and Francesco Maria Grimaldi (1665), predate Newton's optics experiments (1666–1672).Newton published his experiments and theoretical explanations of dispersion of light in his 'Opticks'. His experiments demonstrated that white light could be split up into component colors by means of a prism and that these components could be recombined to generate white light. He demonstrated that the prism is not imparting or creating the colors but rather separating constituent parts of the white light.Newton's corpuscular theory of light was gradually succeeded by the wave theory.  It was not until the 19th century that the quantitative measurement of dispersed light was recognized and standardized. As with many subsequent spectroscopy experiments, Newton's sources of white light included flames, the sun and stars. Subsequent experiments with prisms provided the first indications that spectra were associated uniquely with chemical constituents. Scientists observed the emission of distinct patterns of color when salts were added to alcohol flames.

text: The Romans were already familiar with the ability of a prism to generate a rainbow of colors.Newton is traditionally regarded as the founder of spectroscopy, but he was not the first scientist who studied and reported on the solar spectrum. The works of

text: Athanasius Kircher

text: Jan Marek Marci

text: Robert Boyle

text: (1664), and

text: Francesco Maria Grimaldi

text: (1665), predate Newton's optics experiments (1666–1672).Newton published his experiments and theoretical explanations of

text: dispersion of light

text: in his '

text: Opticks

text: '. His experiments demonstrated that white light could be split up into component colors by means of a prism and that these components could be recombined to generate white light. He demonstrated that the prism is not imparting or creating the colors but rather separating constituent parts of the white light.Newton's

text: corpuscular theory

text: of light was gradually succeeded by the

text: wave theory

text: .  It was not until the 19th century that the quantitative measurement of dispersed light was recognized and standardized. As with many subsequent spectroscopy experiments, Newton's sources of white light included

text: flame

text: s, the

text: sun

text: and

text: stars

text: . Subsequent experiments with prisms provided the first indications that spectra were associated uniquely with chemical constituents. Scientists observed the emission of distinct patterns of color when

text: salts

text: were added to

text: alcohol

text: flames.

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text: The Fechner color effect is an illusion of color seen when looking at certain rapidly changing or moving black-and-white patterns. They are also called pattern induced flicker colors (PIFCs). Not everyone sees the same colors.

text: The Fechner color effect is an

text: illusion

text: of

text: color

text: seen when looking at certain rapidly changing or moving black-and-white patterns. They are also called pattern induced flicker colors (PIFCs). Not everyone sees the same colors.

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text: Color paints are mixed together to create darkness, because each color absorbs certain frequencies of light. Theoretically, mixing together the three primary colors, or the three secondary colors, will absorb all visible light and create black. In practice it is difficult to prevent the mixture from taking on a brown tint.

text: Color

text: paints

text: are mixed together to create darkness, because each color absorbs certain frequencies of light. Theoretically, mixing together the three primary colors, or the three secondary colors, will absorb all visible light and create black. In practice it is difficult to prevent the mixture from taking on a brown tint.

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text: Color filters are needed because the typical photosensors detect light intensity with little or no wavelength specificity, and therefore cannot separate color information.Since sensors are made of semiconductors they obey solid-state physics.

text: Color filters are needed because the typical photosensors detect light intensity with little or no

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text: specificity, and therefore cannot separate color information.Since sensors are made of

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text: |-! colspan="9" style="background:#00407A; color:#FFFFFF;"| Exhibition|-! colspan="9" style="background:#00407A; color:#FFFFFF;"| Non-conference regular season|-! colspan="9" style="background:#00407A; color:#FFFFFF;"| Conference USA regular season|-! colspan="9" style="background:#00407A; color:#FFFFFF;"| |-! colspan="9" style="background:#00407A; color:#FFFFFF;"|

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entity_name: 2016 Conference USA Women's Basketball Tournament

text: |-! colspan="9" style="background:#00407A; color:#FFFFFF;"|

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text: Light sources for copying artwork generally were quartz halogen lights. Backlighting was generally provided by the use a darkroom photographic enlarger colorhead modified for use with the camera. This form of controlled light provide colored light balanced for the color sensitivity of the film used and provided color light for the separate exposures that are made through the mattes.

text: Light sources for copying artwork generally were

text: quartz halogen

text: lights. Backlighting was generally provided by the use a darkroom

text: photographic enlarger

text: colorhead modified for use with the camera. This form of controlled light provide colored light balanced for the color sensitivity of the film used and provided color light for the separate exposures that are made through the mattes.

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text: The color circle is used for, among other purposes, illustrating additive color mixture. Combining two colored lights from different parts of the spectrum may produce a third color that appears like a light from another part of the spectrum, even though dissimilar wavelengths are involved. This type of color matching is known as metameric matching.  Thus a combination of green and red light might produce a color close to yellow in apparent hue. The newly formed color lies between the two original colors on the color circle, but they are usually represented as being joined by a straight line on the circle, the location of the new color closer to the (white) centre of the circle indicating that the resulting hue is less saturated (i.e., paler) than either of the two source colors. The combination of any two colors in this way are always less saturated than the two pure spectral colors individually.

text: The color circle is used for, among other purposes, illustrating

text: additive color

text: mixture. Combining two colored lights from different parts of the spectrum may produce a third color that appears like a light from another part of the spectrum, even though dissimilar wavelengths are involved. This type of color matching is known as

text: metameric

text: matching.  Thus a combination of green and red light might produce a color close to yellow in apparent hue. The newly formed color lies between the two original colors on the color circle, but they are usually represented as being joined by a straight line on the circle, the location of the new color closer to the (white) centre of the circle indicating that the resulting hue is less saturated (i.e., paler) than either of the two source colors. The combination of any two colors in this way are always less saturated than the two pure spectral colors individually.

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text: Color Bleeding - The transfer of color between nearby objects or, caused by the colored reflection of indirect light. This is a visible effect that appears when a scene is rendered with Radiosity or full global illumination, or can otherwise be simulated by adding colored lights to a 3D scene.

text: Color Bleeding - The transfer of color between nearby objects or, caused by the colored reflection of indirect light. This is a visible effect that appears when a scene is rendered with Radiosity or full global illumination, or can otherwise be simulated by adding colored lights to a 3D scene.

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text: The principle of univariance states that one and the same visual receptor cell can be excited by different combinations of wavelength and intensity, so that the brain can not know the color of a certain point of the retinal image. One individual photoreceptor type can therefore not differentiate between a change in wavelength and a change in intensity. Thus the wave length information can be extracted only by comparing the responses across different types of receptors. The principle of univariance was first described by W.A.H. Rushton.

text: The principle of univariance states that one and the same

text: visual receptor cell

text: can be excited by different combinations of wavelength and intensity, so that the brain can not know the color of a certain point of the retinal image. One individual photoreceptor type can therefore not differentiate between a change in wavelength and a change in intensity. Thus the wave length information can be extracted only by comparing the responses across different types of receptors. The principle of univariance was first described by

text: W.A.H. Rushton

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text: McCracken states the following. "I was always primarily interested in form alone, but then to make a form, you have to make it out of something. So color seemed a natural material to use, because color is abstract. If you make a form that appears to be composed of color, then you have something, an object, that's pretty abstract. Just form alone would be more abstract, of course, because it's just a mental idea, but you don't have anything there for your perceptions to grapple with unless you make it out of a material. However, if you make it out of metal, or stone, or wood, or whatever, then you have something that to my mind may overemphasize the physical aspect and therefore be difficult to perceive as purely mental. An important thought behind this is that all things are essentially mental - that matter, while quite real on the one hand, is on the other hand composed of energy, and in turn, of pure thought."

text: McCracken states the following. "I was always primarily interested in form alone, but then to make a form, you have to make it out of something. So color seemed a natural material to use, because color is abstract. If you make a form that appears to be composed of color, then you have something, an object, that's pretty abstract. Just form alone would be more abstract, of course, because it's just a mental idea, but you don't have anything there for your perceptions to grapple with unless you make it out of a material. However, if you make it out of metal, or stone, or wood, or whatever, then you have something that to my mind may overemphasize the physical aspect and therefore be difficult to perceive as purely mental. An important thought behind this is that all things are essentially mental - that matter, while quite real on the one hand, is on the other hand composed of energy, and in turn, of pure thought."

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text: A color space maps a range of physically produced colors (from mixed light, pigments, etc.) to an objective description of color sensations registered in the eye, typically in terms of tristimulus values, but not usually in the LMS space defined by the cone spectral sensitivities. The tristimulus values associated with a color space can be conceptualized as amounts of three primary colors in a tri-chromatic additive color model. In some color spaces, including LMS and XYZ spaces, the primary colors used are not real colors, in the sense that they cannot be generated with any light spectrum.

text: A color space maps a range of physically produced colors (from mixed light,

text: pigment

text: s, etc.) to an objective description of color sensations registered in the eye, typically in terms of tristimulus values, but not usually in the LMS space defined by the cone spectral sensitivities. The tristimulus values associated with a color space can be conceptualized as amounts of three

text: primary color

text: s in a tri-chromatic

text: additive

text: color model

text: . In some color spaces, including LMS and XYZ spaces, the primary colors used are not real colors, in the sense that they cannot be generated with any light spectrum.

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answers: tri-chromatic

text: |-!colspan=9 style="background:#; color:#FFFFFF;"| Non-conference regular season|-!colspan=9 style="background:#; color:#FFFFFF;"| Atlantic Sun regular season|-!colspan=9 style="background:#; color:#FFFFFF;"|

text: |-!colspan=9 style="background:#; color:#FFFFFF;"| Non-conference regular season|-!colspan=9 style="background:#; color:#FFFFFF;"| Atlantic Sun regular season|-!colspan=9 style="background:#; color:#FFFFFF;"|

entity_name: 2017 Atlantic Sun Women's Basketball Tournament

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answers: Colors of the rainbow include red, green, blue, yellow, and black.

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answers: Green leaves are green.

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text: Before the 19th century, cobalt was predominantly used as a pigment. Since the Middle Ages, it has been used in the production of smalt, a blue colored glass. Smalt is produced by melting a mixture of the roasted mineral smaltite, quartz and potassium carbonate, yielding a dark blue silicate glass which is finely ground after the production. Smalt was widely used for the coloration of glass and as pigment for paintings. In 1780, Sven Rinman discovered cobalt green, and in 1802 Louis Jacques Thénard discovered cobalt blue. Cobalt pigments such as cobalt blue (cobalt aluminate), cerulean blue (cobalt(II) stannate), various hues of cobalt green (a mixture of cobalt(II) oxide and zinc oxide), and cobalt violet (cobalt phosphate) are used as artist's pigments because of their superior chromatic stability. Aureolin (cobalt yellow) is now largely replaced by more lightfast yellow pigments.

text: Before the 19th century, cobalt was predominantly used as a pigment. Since the Middle Ages, it has been used in the production of

text: smalt

text: , a blue colored glass. Smalt is produced by melting a mixture of the roasted mineral

text: smaltite

text: quartz

text: and

text: potassium carbonate

text: , yielding a dark blue silicate glass which is finely ground after the production. Smalt was widely used for the coloration of glass and as pigment for paintings. In 1780,

text: Sven Rinman

text: discovered

text: cobalt green

text: , and in 1802

text: Louis Jacques Thénard

text: discovered cobalt blue. Cobalt pigments such as

text: cobalt blue

text: (cobalt aluminate),

text: cerulean

text: blue (cobalt(II) stannate), various hues of

text: cobalt green

text: (a mixture of

text: cobalt(II) oxide

text: and

text: zinc oxide

text: ), and cobalt violet (

text: cobalt phosphate

text: ) are used as artist's pigments because of their superior chromatic stability.

text: Aureolin

text: (cobalt yellow) is now largely replaced by more lightfast yellow pigments.

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text: No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the CIE 1931 color space chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.

text: No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the

text: CIE 1931 color space

text: chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.

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text: Real colors are colors that can be produced by a physical light source. Any additive mixture of two real colors is also a real color. When colors are displayed in the CIE 1931 XYZ color space, additive mixture results in a color along the line between the colors being mixed. By mixing any three colors, one can therefore create any color contained in the triangle they describe—this is called the gamut formed by those three colors, which are called primary colors. Any colors outside of this triangle cannot be obtained by mixing the chosen primaries.

text: Real colors are colors that can be produced by a physical light source. Any

text: additive mixture

text: of two real colors is also a real color. When colors are displayed in the

text: CIE 1931 XYZ color space

text: , additive mixture results in a color along the line between the colors being mixed. By mixing any three colors, one can therefore create any color contained in the triangle they describe—this is called the

text: gamut

text: formed by those three colors, which are called

text: primary color

text: s. Any colors outside of this triangle cannot be obtained by mixing the chosen primaries.

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text: The phenomenon is not entirely understood. One possible reason people see colors may be that the color receptors in the human eye respond at different rates to red, green, and blue. More specifically, the latencies of the center and the surrounding mechanisms differ for the different types of color-specific ganglion cells.

text: The phenomenon is not entirely understood. One possible reason people see colors may be that the

text: color receptors

text: in the human eye respond at different rates to red, green, and blue. More specifically, the latencies of the center and the surrounding mechanisms differ for the different types of color-specific ganglion cells.

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text: The modern RGB color wheel replaced the traditional old-fashioned RYB color wheel because it is possible to display much brighter and more saturated colors using the primary and secondary colors of the RGB color wheel. In the terminology of color theory, RGB color space has a much larger color gamut than RYB color space.

text: The modern RGB color wheel replaced the traditional old-fashioned RYB color wheel because it is possible to display much brighter and more saturated colors using the primary and secondary colors of the RGB color wheel. In the terminology of

text: color theory

text: RGB color space

text: has a much larger

text: color gamut

text: than

text: RYB color space

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text: In color printing, the color called process magenta, pigment magenta, or printer's magenta is one of the three primary pigment colors which, along with yellow and cyan, constitute the three subtractive primary colors of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the hue magenta is the complement of green: magenta pigments absorb green light; thus magenta and green are opposite colors.

text: In

text: color printing

text: , the color called process magenta, pigment magenta, or printer's magenta is one of the three primary pigment colors which, along with

text: yellow

text: and

text: cyan

text: , constitute the three

text: subtractive primary colors

text: of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the hue magenta is the

text: complement

text: of

text: green

text: : magenta

text: pigment

text: s absorb green light; thus magenta and green are opposite colors.

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text: The sparkle effect of the pigments in coating applications is controlled by the quantity of the added pigment. The effect is visible already at concentrations of 0.1% in the paint system. The intensity is steadily increased up to pigment concentrations of about 2%. The single light spots arising from the pigment structure and orientation in the paint system seem to spring back and forth when a painted metal plate is tilted. Also, the color of the other components of the paint has an influence in addition to the concentration of the pigment. A dark color, for example, forms a high contrast to the bright light spots and strengthens the effect. Favorable is also the use of a covering varnish in order to achieve an optimal effect.

text: The sparkle effect of the pigments in coating applications is controlled by the quantity of the added pigment. The effect is visible already at concentrations of 0.1% in the paint system. The intensity is steadily increased up to pigment concentrations of about 2%. The single light spots arising from the pigment structure and orientation in the paint system seem to spring back and forth when a painted metal plate is tilted. Also, the color of the other components of the paint has an influence in addition to the concentration of the pigment. A dark color, for example, forms a high contrast to the bright light spots and strengthens the effect. Favorable is also the use of a covering varnish in order to achieve an optimal effect.

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text: At right is the web color magenta. It is one of the three secondary colors in the RGB color model.On the RGB color wheel, magenta is the color between rose and violet, and halfway between red and blue.

text: At right is the

text: web color

text: magenta. It is one of the three secondary colors in the

text: RGB color model

text: .On the

text: RGB color wheel

text: , magenta is the color between

text: rose

text: and

text: violet

text: , and halfway between

text: red

text: and

text: blue

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text: Perceptual constancies are sources of illusions. Color constancy and brightness constancy are responsible for the fact that a familiar object will appear the same color regardless of the amount of light or color of light reflecting from it. An illusion of color or contrast difference can be created when the luminosity or color of the area surrounding an unfamiliar object is changed. The contrast of the object will appear darker against a black field that reflects less light compared to a white field even though the object itself did not change in color. Similarly, the eye will compensate for color contrast depending on the color cast of the surrounding area.

text: Perceptual constancies are sources of illusions.

text: Color constancy

text: and brightness constancy are responsible for the fact that a familiar object will appear the same color regardless of the amount of light or color of light reflecting from it. An illusion of color or contrast difference can be created when the luminosity or color of the area surrounding an unfamiliar object is changed. The contrast of the object will appear darker against a black field that reflects less light compared to a white field even though the object itself did not change in color. Similarly, the eye will compensate for color contrast depending on the color cast of the surrounding area.

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text: With regard to 1), they find that color terms are not acquired any later than other relevant lexemes to distinguish objects. It had been thought, for example, that since color is not necessarily unique to a given object, and diverse objects are more likely to share common color than a common shape, that color terms lagged behind shape terms in development. This was found not to be the case.

text: With regard to 1), they find that color terms are not acquired any later than other relevant lexemes to distinguish objects. It had been thought, for example, that since color is not necessarily unique to a given object, and diverse objects are more likely to share common color than a common shape, that color terms lagged behind shape terms in development. This was found not to be the case.

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text: In an attempt to accommodate more traditional and intuitive color mixing models, computer graphics pioneers at PARC and NYIT developed the HSV model in the mid-1970s, formally described by Alvy Ray Smith in the August 1978 issue of Computer Graphics. In the same issue, Joblove and Greenberg described the HSL model—whose dimensions they labeled hue, relative chroma, and intensity—and compared it to HSV (). Their model was based more upon how colors are organized and conceptualized in human vision in terms of other color-making attributes, such as hue, lightness, and chroma; as well as upon traditional color mixing methods—e.g., in painting—that involve mixing brightly colored pigments with black or white to achieve lighter, darker, or less colorful colors.

text: In an attempt to accommodate more traditional and intuitive color mixing models, computer graphics pioneers at

text: PARC

text: and

text: NYIT

text: developed the HSV model in the mid-1970s, formally described by

text: Alvy Ray Smith

text: in the August 1978 issue of

text: Computer Graphics

text: . In the same issue, Joblove and Greenberg described the HSL model—whose dimensions they labeled hue, relative chroma, and intensity—and compared it to HSV (). Their model was based more upon how colors are organized and conceptualized in

text: human vision

text: in terms of other color-making attributes, such as hue, lightness, and chroma; as well as upon traditional color mixing methods—e.g., in painting—that involve mixing brightly colored pigments with black or white to achieve lighter, darker, or less colorful colors.

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text: This means that a monochromat can see 100 different colors, a dichromat can see 10,000 different colors, a trichromat can see 1,000,000 different colors, a tetrachromat can see 100,000,000 different colors, and a pentachromat can see 10,000,000,000 different colors.

text: This means that a

text: monochromat

text: can see 100 different colors, a

text: dichromat

text: can see 10,000 different colors, a

text: trichromat

text: can see 1,000,000 different colors, a

text: tetrachromat

text: can see 100,000,000 different colors, and a

text: pentachromat

text: can see 10,000,000,000 different colors.

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answers: can see 10,000 different colors

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answers: NDQ_016550

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answers: monochromat

text: Kipp's early work in the 1950s focused on geometric, plaster reliefs and cast bronzes (see No. 1 - 1959 or Directional I). He moved on to large, geometric, welded pieces composed of post and beam elements emphasizing the vertical during the 1960s (see Andy's Cart Blanche, Muscoot or Hudson Bay). Finding it difficult to transport large, heavy, welded pieces, he turned to angled sections and sheets of steel and aluminum that could be bolted together on site. Typically the pieces were painted with bright colors and the thin edges were often defined with bright, complementary colors (see Long Distance,Chicksaw or Kobi). In the late 1970s, Kipp's steel sheets began to move into the air on thin legs (see Lockport 1977, Salute to Knowledge or Yoakum Jack).

text: Kipp's early work in the 1950s focused on geometric, plaster reliefs and cast bronzes (see No. 1 - 1959 or Directional I). He moved on to large, geometric, welded pieces composed of post and beam elements emphasizing the vertical during the 1960s (see Andy's Cart Blanche, Muscoot or Hudson Bay). Finding it difficult to transport large, heavy, welded pieces, he turned to angled sections and sheets of steel and aluminum that could be bolted together on site. Typically the pieces were painted with bright colors and the thin edges were often defined with bright, complementary colors (see Long Distance,Chicksaw or Kobi). In the late 1970s, Kipp's steel sheets began to move into the air on thin legs (see Lockport 1977, Salute to Knowledge or Yoakum Jack).

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text: Pigments are coloured chemicals (such as melanin) in animal tissues. For example, the Arctic fox has a white coat in winter (containing little pigment), and a brown coat in summer (containing more pigment). Many animals, including mammals, birds, and amphibians, are unable to synthesize most of the pigments that colour their fur or feathers, other than the brown or black melanins that give many mammals their earth tones. For example, the bright yellow of an American goldfinch, the startling orange of a juvenile red-spotted newt, the deep red of a cardinal and the pink of a flamingo are all produced by carotenoid pigments synthesized by plants. In the case of the flamingo, the bird eats pink shrimps, which are themselves unable to synthesize carotenoids. The shrimps derive their body colour from microscopic red algae, which like most plants are able to create their own pigments, including both carotenoids and (green) chlorophyll. Animals that eat green plants do not become green, however, as chlorophyll does not survive digestion.

text: Pigments are coloured chemicals (such as

text: melanin

text: ) in animal tissues. For example, the

text: Arctic fox

text: has a white coat in winter (containing little pigment), and a brown coat in summer (containing more pigment). Many animals, including

text: mammals

text: birds

text: , and

text: amphibians

text: , are unable to synthesize most of the pigments that colour their fur or feathers, other than the brown or black melanins that give many mammals their earth tones. For example, the bright yellow of an

text: American goldfinch

text: , the startling orange of a juvenile

text: red-spotted newt

text: , the deep red of a

text: cardinal

text: and the pink of a

text: flamingo

text: are all produced by

text: carotenoid

text: pigments synthesized by plants. In the case of the flamingo, the bird eats pink shrimps, which are themselves unable to synthesize carotenoids. The shrimps derive their body colour from microscopic red algae, which like most plants are able to create their own pigments, including both carotenoids and (green)

text: chlorophyll

text: . Animals that eat green plants do not become green, however, as chlorophyll does not survive digestion.

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answers: Yes

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text: The arrangement of colors around the color circle is often considered to be in correspondence with the wavelengths of light, as opposed to hues, in accord with the original color circle of Isaac Newton.  Modern color circles include the purples, however, between red and violet. Color scientists and psychologists often use the additive primaries, red, green and blue; and often refer to their arrangement around a circle as a color circle as opposed to a color wheel.

text: The arrangement of colors around the color circle is often considered to be in correspondence with the

text: wavelength

text: s of

text: light

text: , as opposed to hues, in accord with the original color circle of

text: Isaac Newton

text: .  Modern color circles include the

text: purple

text: s, however, between red and violet. Color scientists and psychologists often use the

text: additive primaries

text: , red,

text: green

text: and blue; and often refer to their arrangement around a circle as a color circle as opposed to a color wheel.

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text: Ibarra was also known for creating his own paper.  Creating different mottled paper grades depends on the way in which colors are deposited and manipulated. His technique consisted of preparing paper in a rubber bath which served as background. It was necessary to prepare this in one or two liters of cold water with about 50 grams of “Alquitira” rubber (Tragacanto), stirred at intervals while adding up to six liters of water as the rubber is undoing the process (which usually takes up to three days), then passing it through a filter, strainer, or cheesecloth. Once he had a proper background, he prepared the colors, which are pigments found in vegetables, and poured them into the bath, where they rushed to the bottom instead of floating as needed. The colors were mixed on a smooth surface with a creamy mass binding.  Then he would stir it with a spatula. The densities of the mixture of colors allowed him to control the colors being added (he used drops of ox gall was when he preferred a smoother finish).  If the color of the pigment was too creamy, he added contrast. Once the colors were prepared and spread, he manipulated them with sticks, needles, combs, etc., to form the drawings.

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text: |-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Exhibition  |-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Non-Conference Regular Season|-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Big East Conference Regular Season|-!colspan=9 style="background:#FF0000; color:#FFFFFF;"|

text: |-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Exhibition  |-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Non-Conference Regular Season|-!colspan=9 style="background:#FF0000; color:#FFFFFF;"| Big East Conference Regular Season|-!colspan=9 style="background:#FF0000; color:#FFFFFF;"|

entity_name: 2012 Big East Men's Basketball Tournament

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text: There are three main color pigments of goldfish but some are just a reflection that reflects a color other than these three color pigments.

text: There are three main color pigments of goldfish but some are just a reflection that reflects a color other than these three color pigments.

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text: Cold open -- Color conversion filter --Color corrected fluorescent light --Color correction --Color gel --Color grading --Color rendering index --Color timer -- Colour-separation overlay -- Columbia Pictures -- Compositing -- Composition --Computer-generated imagery -- Continuity -- Continuity editing --Continuity clerk -- Cooke triplet lens --Costume design -- Costume designer --Costume drama -- Costume supervisor --Costumer -- Crafts service --Crane shot -- Crashbox --Creative Artists Agency -- Creative geography -- Cross cutting -- Cross lighting -- Cross-dressing in film and television --Cue (theatrical) -- Cult film --Cutaway--Cut in--Cutting on action

text: Cold open

text: Color conversion filter

text: Color corrected fluorescent light

text: Color correction

text: Color gel

text: Color grading

text: Color rendering index

text: Color timer

text: Colour-separation overlay

text: Columbia Pictures

text: Compositing

text: Composition

text: Computer-generated imagery

text: Continuity

text: Continuity editing

text: Continuity clerk

text: Cooke triplet lens

text: Costume design

text: Costume designer

text: Costume drama

text: Costume supervisor

text: Costumer

text: Crafts service

text: Crane shot

text: Crashbox

text: Creative Artists Agency

text: Creative geography

text: Cross cutting

text: Cross lighting

text: Cross-dressing in film and television

text: Cue (theatrical)

text: Cult film

text: Cutaway

text: Cut in

text: Cutting on action

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text: Protanopes, deuteranopes, and tritanopes are dichromats; that is, they can match any color they see with some mixture of just two primary colors (whereas normally humans are trichromats and require three primary colors). These individuals normally know they have a color vision problem and it can affect their lives on a daily basis. Two percent of the male population exhibit severe difficulties distinguishing between red, orange, yellow, and green. A certain pair of colors, that seem very different to a normal viewer, appear to be the same color (or different shades of same color) for such a dichromat. The terms protanopia, deuteranopia, and tritanopia come from Greek and literally mean "inability to see (anopia) with the first (prot-), second (deuter-), or third (trit-) [cone]", respectively.

text: Protanopes, deuteranopes, and tritanopes are dichromats; that is, they can match any color they see with some mixture of just two

text: primary color

text: s (whereas normally humans are

text: trichromats

text: and require three primary colors). These individuals normally know they have a color vision problem and it can affect their lives on a daily basis. Two percent of the male population exhibit severe difficulties distinguishing between red, orange, yellow, and green. A certain pair of colors, that seem very different to a normal viewer, appear to be the same color (or different shades of same color) for such a dichromat. The terms protanopia, deuteranopia, and tritanopia come from Greek and literally mean "inability to see (anopia) with the first (prot-), second (deuter-), or third (trit-) [cone]", respectively.

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text: XPS specifies a set of document layout functionality for paged, printable documents. It also has support for features such as color gradients, transparencies, CMYK color spaces, printer calibration, multiple-ink systems and print schemas. XPS supports the Windows Color System color management technology for color conversion precision across devices and higher dynamic range. It includes a software raster image processor (RIP) (downloadable separately). The print subsystem supports named colors, simplifying color definition for images transmitted to printers supporting those colors.

text: XPS specifies a set of document layout functionality for paged, printable documents. It also has support for features such as

text: color gradient

text: s,

text: transparencies

text: CMYK

text: color space

text: s,

text: printer calibration

text: , multiple-ink systems and print

text: schemas

text: . XPS supports the

text: Windows Color System

text: color management

text: technology for color conversion precision across devices and

text: higher dynamic range

text: . It includes a software

text: raster image processor (RIP)

text: (downloadable separately). The print subsystem supports

text: named colors

text: , simplifying color definition for images transmitted to printers supporting those colors.

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text: Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange.

text: Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange.

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text: Using additive colors such as those on computer screens, it is possible to create a much brighter purple than with pigments where the mixing subtracts frequencies from the component primary colors. The equivalent color on a computer to the pigment color red-violet shown above would be this electric purple, i.e. the much brighter purple you can see reproduced on the screen of a computer. This color is pure purple conceived as computer artists conceive it, as the color on the color wheel halfway between color wheel violet and electric magenta. Thus, electric purple is the purest and brightest purple that it is possible to display on a computer screen.

text: Using additive colors such as those on computer screens, it is possible to create a much brighter purple than with pigments where the mixing subtracts frequencies from the component primary colors. The equivalent color on a computer to the pigment color red-violet shown above would be this electric purple, i.e. the much brighter purple you can see reproduced on the screen of a computer. This color is pure purple conceived as computer artists conceive it, as the color on the

text: color wheel

text: halfway between color wheel violet and electric magenta. Thus, electric purple is the purest and brightest purple that it is possible to display on a computer screen.

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text: In Katan's most recent compositions, the shapes and colors of the solids intertwine, casting light and colors through matter… These works are inspired by the recent discovery of the elementary particles in the primordial fireball at time zero (the very first moments of the universe), when the infinitely small collided with the infinitely big… The power of changing lights enhances and transforms matter. Colors and shapes merge, then alternately combine and separate, and the viewer's optic nerve finishes the painting. At time zero, why are some bosons (elementary particles mediating fundamental interactions) such as photons, a.k.a. light particles, massless while others are massive? What caused this phenomenon to occur? First you enjoy a moment of peace and purity, the gentle breeze of colors and matter blowing through your mind… Then total chaos breaks out, fueled by luminous upheavals and apocalyptic visions, slowly rising and receding to finally let life emerge from the symbolic eggshells—and a new order arises. The changing colors of the LEDs shine through the translucent solids depending on the viewer's frame of mind—and creative remote control. Matter and light are the sacred essence of all creation, the founding elements of life and mankind… The brighter the signs, the deeper they echo within… Then our eyes are caught by the colors projected by LEDs through a spinning helicoid, inviting us to enter the ever-changing magnetic vortex of polar lights and their haunting mystery.

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answers: Colors and shapes

text: in their vicinity list. Also, all the nodes in the same color group as an object

text: in their vicinity list. Also, all the nodes in the same color group as an object

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answers: yellow

text: Hue is a term describing a pure color, that is, a color not modified by tinting or shading (see below). In additive colors, hues are formed by combining two primary colors. When two primary colors are combined in equal intensities, the result is a "secondary color".

text: Hue is a term describing a pure color, that is, a color not modified by tinting or shading (see below). In additive colors, hues are formed by combining two primary colors. When two primary colors are combined in equal intensities, the result is a "secondary color".

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answers: Yes

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text: The word gamboge comes from gambogium, the Latin word for the pigment, which derives from Gambogia, the Latin word for Cambodia. Its first recorded use as a color name in English was in 1634.

text: The word gamboge comes from gambogium, the

text: Latin

text: word for the pigment, which derives from Gambogia, the Latin word for

text: Cambodia

text: . Its first recorded use as a color name in

text: English

text: was in 1634.

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text: But, like many colors, it also had a negative association, with heat, destruction and evil. A prayer to god Isis said: "Oh Isis, protect me from all things evil and red." The ancient Egyptians began manufacturing pigments in about 4000 BC. Red ochre was widely used as a pigment for wall paintings, particularly as the skin color of men. An ivory painter's palette found inside the tomb of King Tutankhamun had small compartments with pigments of red ochre and five other colors. The Egyptians used the root of the rubia, or madder plant, to make a dye, later known as alizarin, and also used it to color white power to use as a pigment, which became known as madder lake, alizarin or alizarin crimson.

text: But, like many colors, it also had a negative association, with heat, destruction and evil. A prayer to god

text: Isis

text: said: "Oh Isis, protect me from all things evil and red." The ancient Egyptians began manufacturing pigments in about 4000 BC. Red ochre was widely used as a pigment for wall paintings, particularly as the skin color of men. An ivory painter's palette found inside the tomb of King

text: Tutankhamun

text: had small compartments with pigments of red ochre and five other colors. The Egyptians used the root of the

text: rubia

text: , or madder plant, to make a dye, later known as

text: alizarin

text: , and also used it to color white power to use as a pigment, which became known as

text: madder lake

text: , alizarin or alizarin crimson.

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text: In a charge-coupled device (CCD) telecine, a white light is shined through the exposed film image onto a prism, which separates the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into an electronic signal, and the telecine electronics modulate these into a video signal that can then be color graded.

text: In a

text: charge-coupled device

text: (CCD)

text: telecine

text: , a white light is shined through the exposed film image onto a

text: prism

text: , which separates the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into an electronic signal, and the telecine electronics modulate these into a video signal that can then be color graded.

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answers: red, green

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text: Reflectorless total stations can measure distances to any object that is reasonably light in color, up to a few hundred meters.

text: Reflectorless total stations can measure distances to any object that is reasonably light in color, up to a few hundred

text: meters

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answers: NDQ_016551

answers: color

text: There are hundreds of commercially available pigments for visual artists to use and mix (in various media such as oil, watercolor, acrylic and pastel).  A common approach is to use just a limited palette of pigments (often between four and eight) that can be physically mixed to any color that the artist desires in the final work.  There are no specific set of pigments that are primary colors, the choice of pigment depends entirely on the artist's subjective preference of subject and style of art as well as material considerations like lightfastness and mixing heuristics.  Contemporary classical realists have often advocated that a limited palette of white, red, yellow and black pigment (often described as the "Zorn palette") is sufficient for compelling work.

text: There are hundreds of commercially available pigments for visual artists to use and mix (in various media such as oil, watercolor, acrylic and pastel).  A common approach is to use just a limited palette of pigments (often between four and eight) that can be physically mixed to any color that the artist desires in the final work.  There are no specific set of pigments that are primary colors, the choice of pigment depends entirely on the artist's subjective preference of subject and style of art as well as material considerations like lightfastness and mixing heuristics.  Contemporary classical realists have often advocated that a limited palette of white, red, yellow and black pigment (often described as the "Zorn palette") is sufficient for compelling work.

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answers: Yes

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answers: visible light

answers: NDQ_016548

answers: pigments

answers: NDQ_016549

answers: blue

answers: NDQ_016550

answers: white, red, yellow

answers: NDQ_016551

answers: white, red

text: investigated the non-increasing sequences of numbers  with the property that there exists a proper edge coloring of a given graph  with  edges of the first color,  edges of the first color, etc. They observed that, if a sequence  is feasible in this sense, and is greater in lexicographic order than a sequence  with the same sum, then  is also feasible. For, if  in lexicographic order, then  can be transformed into  by a sequence of steps, each of which reduces one of the numbers  by one unit and increases another later number  with  by one unit. In terms of edge colorings, starting from a coloring that realizes , each of these same steps may be performed by swapping colors  and  on a Kempe chain, a maximal path of edges that alternate between the two colors. In particular, any graph has an equitable edge coloring, an edge coloring with an optimal number of colors in which every two color classes differ in size by at most one unit.

text: investigated the non-increasing sequences of numbers  with the property that there exists a proper edge coloring of a given graph  with  edges of the first color,  edges of the first color, etc. They observed that, if a sequence  is feasible in this sense, and is greater in

text: lexicographic order

text: than a sequence  with the same sum, then  is also feasible. For, if  in lexicographic order, then  can be transformed into  by a sequence of steps, each of which reduces one of the numbers  by one unit and increases another later number  with  by one unit. In terms of edge colorings, starting from a coloring that realizes , each of these same steps may be performed by swapping colors  and  on a

text: Kempe chain

text: , a maximal path of edges that alternate between the two colors. In particular, any graph has an

text: equitable

text: edge coloring, an edge coloring with an optimal number of colors in which every two color classes differ in size by at most one unit.

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answers: Yes

answers: NDQ_016543

answers: visible light

answers: NDQ_016548

answers: a Kempe chain

answers: NDQ_016549

answers: Kempe chain

answers: NDQ_016550

answers: first color

answers: NDQ_016551

answers: first color

text: Chemical colors are more durable properties of an external object, such as the red color of an apple. A chemical color is incomprehensible because we don't know its cause. Its appearance is only known from experience and it is not an essential part of the object. Chemical colors result from changes in an object's surface. A slight change in the surface may result in a different color. Color, therefore, is not an essential property of an object. This confirms the subjective nature of color.

text: Chemical colors are more durable properties of an external object, such as the red color of an apple. A chemical color is incomprehensible because we don't know its cause. Its appearance is only known from experience and it is not an essential part of the object. Chemical colors result from changes in an object's surface. A slight change in the surface may result in a different color. Color, therefore, is not an essential property of an object. This confirms the subjective nature of color.

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answers: visible light

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text: The conventional color descriptions are traditional in astronomy, and represent colors relative to the mean color of an A-class star, which is considered to be white. The apparent color descriptions are what the observer would see if trying to describe the stars under a dark sky without aid to the eye, or with binoculars. However, most stars in the sky, except the brightest ones, appear white or bluish white to the unaided eye because they are too dim for color vision to work. Red supergiants are cooler and redder than dwarfs of the same spectral type, and stars with particular spectral features such as carbon stars may be far redder than any black body.

text: The conventional color descriptions are traditional in astronomy, and represent colors relative to the mean color of an A-class star, which is considered to be white. The apparent color descriptions are what the observer would see if trying to describe the stars under a dark sky without aid to the eye, or with binoculars. However, most stars in the sky, except the brightest ones, appear white or bluish white to the unaided eye because they are too dim for color vision to work. Red supergiants are cooler and redder than dwarfs of the same spectral type, and stars with particular spectral features such as carbon stars may be far redder than any black body.

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answers: Yes

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answers: carbon

text: Han purple in its pure form is actually a dark blue, that is close to electric indigo. It is a purple in the way the term is used in colloquial English, i.e., it is a color between red and blue. It is not, however, a purple in the way the term is used in color theory, i.e. a nonspectral color between red and violet on the 'line of purples' on the CIE chromaticity diagram. Perhaps the most accurate designation for the color would be to call it 'Han indigo', although it could also be regarded as a bright shade of ultramarine (classifying ultramarine as a color and not a pigment).

text: Han purple in its pure form is actually a dark blue, that is close to

text: electric indigo

text: . It is a

text: purple

text: in the way the term is used in

text: colloquial

text: English

text: , i.e., it is a color between

text: red

text: and

text: blue

text: . It is not, however, a purple in the way the term is used in

text: color theory

text: , i.e. a

text: nonspectral color

text: between

text: red

text: and

text: violet

text: on the 'line of purples' on the

entity_section: CIE xy chromaticity diagram and the CIE xyY color space

text: CIE chromaticity diagram

text: . Perhaps the most accurate designation for the color would be to call it 'Han indigo', although it could also be regarded as a bright shade of

text: ultramarine

text: (classifying ultramarine as a color and not a pigment).

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text: The color opponent process is a color theory that states that the human visual system interprets information about color by processing signals from cones and rods in an antagonistic manner.  The three types of cones (L for long, M for medium and S for short) have some overlap in the wavelengths of light to which they respond, so it is more efficient for the visual system to record differences between the responses of cones, rather than each type of cone's individual response. The opponent color theory suggests that there are three opponent channels: red versus green, blue versus yellow, and black versus white (the last type is achromatic and detects light-dark variation, or luminance). Responses to one color of an opponent channel are antagonistic to those to the other color.  That is, opposite opponent colors are never perceived together – there is no "greenish red" or "yellowish blue".

text: The color opponent process is a color theory that states that the human

text: visual system

text: interprets information about

text: color

text: by processing signals from

text: cones

text: and

text: rods

text: in an antagonistic manner.  The three types of cones (L for long, M for medium and S for short) have some overlap in the

text: wavelength

text: s of

text: light

text: to which they respond, so it is more efficient for the visual system to record differences between the responses of cones, rather than each type of cone's individual response. The opponent color theory suggests that there are three opponent channels:

text: red

text: versus

text: green

text: blue

text: versus

text: yellow

text: , and

text: black

text: versus

text: white

text: (the last type is

text: achromatic

text: and detects light-dark variation, or

text: luminance

text: ). Responses to one color of an opponent channel are antagonistic to those to the other color.  That is, opposite opponent colors are never perceived together – there is no "greenish red" or "yellowish blue".

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text: ChromaFlair paints contain no conventional absorbing pigments; rather, the pigment is a light interference pigment. The color observed is created entirely by the refractive properties of the flakes, analogous to the perception of rainbow colors in oil slicks.

text: ChromaFlair paints contain no conventional absorbing

text: pigment

text: s; rather, the pigment is a

text: light interference pigment

text: . The color observed is created entirely by the refractive properties of the flakes, analogous to the perception of rainbow colors in

text: oil slick

text: s.

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text: Developers are depicted as floating objects moving across the tree. They are active or disabled based on the activity of the user. Objects are shown active near the files that are being modified by the users. When a user performs a change to a file, it is depicted as a colored beam. The color is decided on the type of the changes that are being performed on the files such as color green when an add operation is being performed, color orange when files are being modified and color red when users are deleting the files.

text: Developers are depicted as floating objects moving across the tree. They are active or disabled based on the activity of the user. Objects are shown active near the files that are being modified by the users. When a user performs a change to a file, it is depicted as a colored beam. The color is decided on the type of the changes that are being performed on the files such as color green when an add operation is being performed, color orange when files are being modified and color red when users are deleting the files.

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text: Violet colors composed by mixing blue and red light are within the purple colors (the word "purple" is used in the common sense for any color between blue and red). In color theory, a purple is a color along the line of purples on the CIE chromaticity diagram and excludes violet. Violet light from the rainbow, which can be referred as spectral violet, has only short wavelengths.

text: Violet colors composed by mixing blue and red light are within the purple colors (the word "purple" is used in the common sense for any color between blue and red). In

text: color theory

text: , a purple is a color along the

text: line of purples

text: on the

text: CIE chromaticity diagram

text: and excludes violet. Violet light from the

text: rainbow

text: , which can be referred as spectral violet, has only short wavelengths.

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answers: Violet light

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answers: mix blue and red light

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answers: violet

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answers: blue

answers: NDQ_016551

answers: blue

text: There are three different colors of gems that appear in the game; red, green, and blue. Stages will always specify how many of each color you must gather. Sometimes the gems are already present when the mission starts, but at other times a player must manufacture them. This is done with rocks. When a rock is dropped on a certain object, both the rock and the object will be destroyed and up to four gems will form. If there are walls or other objects right next to where the rock makes contact, it will prevent one gem from forming there. Placing a rock on a Troddler (including zombies) will result in red gems. Sometimes a mission will require you to rescue only a few Troddlers, thus leaving a few spare victims if you are required to create some red gems. Hurling a rock onto another rock results in the formation of green gems. When a non-Troddler enemy is plunked with a rock, blue gems appear.

text: There are three different colors of gems that appear in the game; red, green, and blue. Stages will always specify how many of each color you must gather. Sometimes the gems are already present when the mission starts, but at other times a player must manufacture them. This is done with rocks. When a rock is dropped on a certain object, both the rock and the object will be destroyed and up to four gems will form. If there are walls or other objects right next to where the rock makes contact, it will prevent one gem from forming there. Placing a rock on a Troddler (including zombies) will result in red gems. Sometimes a mission will require you to rescue only a few Troddlers, thus leaving a few spare victims if you are required to create some red gems. Hurling a rock onto another rock results in the formation of green gems. When a non-Troddler enemy is plunked with a rock, blue gems appear.

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answers: Yes

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answers: visible

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answers: rock and the object will be destroyed

answers: NDQ_016549

answers: blue gems

answers: NDQ_016550

answers: green

answers: NDQ_016551

answers: green

text: Color vision is the ability of an organism or machine to distinguish objects based on the wavelengths (or frequencies) of the light they reflect, emit, or transmit. Colors can be measured and quantified in various ways; indeed, a person's perception of colors is a subjective process whereby the brain responds to the stimuli that are produced when incoming light reacts with the several types of cone cells in the eye. In essence, different people see the same illuminated object or light source in different ways.

text: Color vision is the ability of an organism or machine to distinguish objects based on the

text: wavelength

text: s (or

text: frequencies

text: ) of the

text: light

text: they

text: reflect

text: emit

text: , or

text: transmit

text: Color

text: s can be measured and quantified in various ways; indeed, a person's perception of colors is a subjective process whereby the

text: brain

text: responds to the stimuli that are produced when incoming light reacts with the several types of

text: cone cell

text: s in the

text: eye

text: . In essence, different people see the same illuminated object or light source in different ways.

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answers: It can be measured and quantified

answers: NDQ_016543

answers: wavelengths

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answers: reflect

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answers: in different ways

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answers: wavelengths

answers: NDQ_016551

answers: colors

text: For example, in order to meet the expectations for good color rendering in retail applications, research suggests using the well-established CRI along with another metric called gamut area index (GAI). GAI represents the relative separation of object colors illuminated by a light source; the greater the GAI, the greater the apparent saturation or vividness of the object colors. As a result, light sources which balance both CRI and GAI are generally preferred over ones that have only high CRI or only high GAI.

text: For example, in order to meet the expectations for good color rendering in retail applications, research suggests using the well-established CRI along with another metric called gamut area index (GAI). GAI represents the relative separation of object colors illuminated by a light source; the greater the GAI, the greater the apparent saturation or vividness of the object colors. As a result, light sources which balance both CRI and GAI are generally preferred over ones that have only high CRI or only high GAI.

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answers: greater the apparent saturation or vividness

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answers: color

answers: NDQ_016551

answers: colors

text: Coloris sees players eliminating colored squares by altering the color of other squares to make them the same color as the squares nearby.

text: Coloris sees players eliminating colored squares by altering the color of other squares to make them the same color as the squares nearby.

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answers: coloris

answers: NDQ_016550

answers: Color

answers: NDQ_016551

answers: colors

text: |-!colspan=8 style="background:#56A0D3; color:#FFFFFF;"| Spring Game|-!colspan=8 style="background:#56A0D3; color:#FFFFFF;"| Regular Season|-!colspan=8 style="background:#56A0D3; color:#FFFFFF;"| Bowl Game

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text: There are two cases: in the trivial case, one of the three prisoners wears the single off-color hat. Each of the other two prisoners can see that one prisoner is wearing the off-color hat.In the non-trivial case, the three prisoners wear hats of the same color, while D wears the off-color hat.After a while, all three prisoners should be able to deduce that, because neither of the others was able to state the color of his own hat, D must wear the off-color hat.

text: There are two cases: in the trivial case, one of the three prisoners wears the single off-color hat. Each of the other two prisoners can see that one prisoner is wearing the off-color hat.In the non-trivial case, the three prisoners wear hats of the same color, while D wears the off-color hat.After a while, all three prisoners should be able to deduce that, because neither of the others was able to state the color of his own hat, D must wear the off-color hat.

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answers: the same color

text: Newton's own color circle has yellow directly opposite the boundary between indigo and violet. These results, that the complement of yellow is a wavelength shorter than 450 nm, are derivable from the modern CIE 1931 system of colorimetry if it is assumed that the yellow is about 580 nm or shorter wavelength, and the specified white is the color of a blackbody radiator of temperature 2800 K or lower (that is, the white of an ordinary incandescent light bulb). More typically, with a daylight-colored or around 5000 to 6000 K white, the complement of yellow will be in the blue wavelength range, which is the standard modern answer for the complement of yellow.

text: Newton's own color circle has yellow directly opposite the boundary between indigo and violet. These results, that the complement of yellow is a wavelength shorter than 450 nm, are derivable from the modern

text: CIE 1931

text: system of colorimetry if it is assumed that the yellow is about 580 nm or shorter wavelength, and the specified white is the color of a blackbody radiator of temperature 2800

text: K

text: or lower (that is, the white of an ordinary incandescent light bulb). More typically, with a daylight-colored or around 5000 to 6000 K white, the complement of yellow will be in the blue wavelength range, which is the standard modern answer for the complement of yellow.

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text: As a color of low intensity, brown is a tertiary color: a mix of the three subtractive primary colors is brown if the cyan content is low. Brown exists as a color perception only in the presence of a brighter color contrast. Yellow, orange, red, or rose objects are still perceived as such if the general illumination level is low, despite reflecting the same amount of red or orange light as a brown object would in normal lighting conditions.

text: As a color of low intensity, brown is a

text: tertiary color

text: : a mix of the three subtractive

text: primary color

text: s is brown if the

text: cyan

text: content is low. Brown exists as a color perception only in the presence of a brighter color contrast. Yellow, orange, red, or rose objects are still perceived as such if the general illumination level is low, despite reflecting the same amount of red or orange light as a brown object would in normal lighting conditions.

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text: The Rec. 2020 (UHDTV/UHD-1/UHD-2) color space can reproduce colors that can not be shown with the Rec. 709 (HDTV) color space. The RGB primaries used by Rec. 2020 are equivalent to monochromatic light sources on the CIE 1931 spectral locus. The wavelength of the Rec. 2020 primary colors is 630 nm for the red primary color, 532 nm for the green primary color, and 467 nm for the blue primary color. In coverage of the CIE 1931 color space the Rec. 2020 color space covers 75.8%, the digital cinema reference projector color space covers 53.6%, the Adobe RGB color space covers 52.1%, and the Rec. 709 color space covers 35.9%.

text: The Rec. 2020 (UHDTV/UHD-1/UHD-2) color space can reproduce colors that can not be shown with the

text: Rec. 709

text: (HDTV) color space. The RGB primaries used by Rec. 2020 are equivalent to monochromatic light sources on the

text: CIE 1931 spectral locus

text: . The

text: wavelength

text: of the Rec. 2020

text: primary color

text: s is 630

text: nm

text: for the red primary color, 532 nm for the green primary color, and 467 nm for the blue primary color. In coverage of the

text: CIE 1931 color space

text: the Rec. 2020 color space covers 75.8%, the

text: digital cinema

text: reference projector color space covers 53.6%, the

text: Adobe RGB color space

text: covers 52.1%, and the Rec. 709 color space covers 35.9%.

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text: The breed standards of various cat fancier organizations may treat the Himalayan and Exotic Shorthair (or simply Exotic) as variants of the Persian, or as separate breeds.  The Cat Fanciers' Association (CFA) treats the Himalayan as a color-pattern class of both the Persian and the Exotic, which have separate but nearly identical standards (differing in coat length). The Fédération Internationale Féline (FIFe) entirely subsumes what other registries call the Himalayan as simply among the allowed coloration patterns for the Persian and the Exotic, treated as separate breeds. The International Cat Association (TICA) treats them both as variants of the Persian.  The World Cat Federation (WCF) treats the Persian and Exotic Shorthair as separate breeds, and subsumes the Himalayan coloration as colorpoint varieties under each.

text: The

text: breed standard

text: s of various cat fancier organizations may treat the Himalayan and Exotic Shorthair (or simply Exotic) as variants of the Persian, or as separate breeds.  The Cat Fanciers' Association (CFA) treats the Himalayan as a color-pattern class of both the Persian and the Exotic, which have separate but nearly identical standards (differing in coat length). The

text: Fédération Internationale Féline

text: (FIFe) entirely subsumes what other registries call the Himalayan as simply among the allowed coloration patterns for the Persian and the Exotic, treated as separate breeds. The International Cat Association (TICA) treats them both as variants of the Persian.  The

text: World Cat Federation

text: (WCF) treats the Persian and Exotic Shorthair as separate breeds, and subsumes the Himalayan coloration as colorpoint varieties under each.

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text: Rhodoxanthin is a xanthophyll pigment with a purple color that is found in small quantities in a variety of plants including Taxus baccata.  It is also found in the feathers of some birds.  As a food additive it is used under the E number E161f as a food coloring; it is not approved for use in the EU or USA however is approved in Australia and New Zealand (where it is listed under its INS number 161f).

text: Rhodoxanthin is a

text: xanthophyll

text: pigment

text: with a purple color that is found in small quantities in a variety of plants including

text: Taxus baccata

text: .  It is also found in the feathers of some birds.  As a

text: food additive

text: it is used under the

text: E number

text: E161f as a

text: food coloring

text: ; it is not approved for use in the EU or USA however is approved in Australia and New Zealand (where it is listed under its INS number 161f).

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answers: The rainbow includes all the colors of visible light

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text: |- style="background-color:#ffbbbb"| 1 || April 2 || @ Brewers || 7 – 1 || Sheets (1-0) || Lowe (0-1) || || 45,341 || 0-1|- style="background-color:#ffbbbb"| 2 || April 3 || @ Brewers || 4 – 3 || Shouse (1-0) || Wolf (0-1) || Cordero (1) || 22,603 || 0-2|- style="background-color:#bbffbb"| 3 || April 4 || @ Brewers || 5 – 4 || Schmidt (1-0) || Suppan (0-1) || Saito (1) || 23,649 || 1-2|- style="background-color:#bbffbb"| 4 || April 6 || @ Giants || 2 – 1 || Penny (1-0) ||  Lowry (0-1) || Saito (2) || 43,146 || 2-2|- style="background-color:#bbffbb"| 5 || April 7 || @ Giants || 4 – 1 || Lowe (1-1) || Ortiz (0-1) || Saito (3) || 42,098 || 3-2|- style="background-color:#bbffbb"| 6 || April 8 || @ Giants || 10 – 4 || Wolf (1-1) || Zito (0-2) || || 39,343 || 4-2|- style="background-color:#ffbbbb"| 7 || April 9 || Rockies || 6 – 3 || Francis (1-0) || Schmidt (1-1) || || 56,000 || 4-3|- style="background-color:#bbffbb"| 8 || April 10 || Rockies || 2 – 1 || Beimel (1-0) || Kim (1-1) || Saito (4) || 40,560 || 5-3|- style="background-color:#bbffbb"| 9 || April 11 || Rockies || 3 – 0 || Penny (2-0) || Hirsh (1-1) || Saito (5) || 35,852 || 6-3|- style="background-color:#bbffbb"| 10 || April 13 || Padres || 9 – 1 || Lowe (2-1) || Wells (0-1) || || 49,090 || 7-3|- style="background-color:#ffbbbb"| 11 || April 14 || Padres || 7 – 4 || Peavy (2-0) || Schmidt (1-2) || || 55,942 || 7-4|- style="background-color:#bbffbb"| 12 || April 15 || Padres || 9 – 3 || Wolf (2-1) || Young (1-1) || || 55,298 || 8-4|- style="background-color:#bbffbb"| 13 || April 16 || @ D-backs || 5 – 1 || Penny (3-0) || González (1-1) || || 27,427 || 9-4|- style="background-color:#bbffbb"| 14 || April 17 || @ D-backs || 6 – 4 || Billingsley (1-0) || Peña (0-1) || Saito (6) || 25,735 || 10-4|- style="background-color:#ffbbbb"| 15 || April 18 || @ Rockies || 7 – 2 || Buchholz (1-0) || Lowe (2-2)|| || 20,366 || 10-5|- style="background-color:#bbffbb"| 16 || April 19 || @ Rockies || 8 – 1 || Hendrickson (1-0) || Cook (0-1) || || 19,135 || 11-5|- style="background-color:#bbffbb"| 17 || April 20 || Pirates || 10 – 2 || Wolf (3-1) || Armas (0-2) || || 43,845 || 12-5|- style="background-color:#bbffbb"| 18 || April 21 || Pirates || 7 – 3 (10) || Broxton (1-0) || Bayliss (1-1) || || 48,995 || 13-5|- style="background-color:#ffbbbb"| 19 || April 22 || Pirates || 7 – 5 || Gorzelanny (3-0) || Tomko (0-1) || Torres (6) || 46,741 || 13-6|- style="background-color:#ffbbbb"| 20 || April 24 || Giants || 5 – 3 || Morris (3-0) || Lowe (2-3) || Benítez (5) || 44,001 || 13-7|- style="background-color:#ffbbbb"| 21 || April 25 || Giants || 6 – 4 || Lowry (2-2) || Wolf (3-2) || Benítez (6) || 43,963 || 13-8|- style="background-color:#ffbbbb"| 22 || April 26 || Giants || 5 – 4 || Correia (1-1) || Beimel (1-1) || Benítez (7) || 56,000 || 13-9|- style="background-color:#bbffbb"| 23 || April 27 || @ Padres || 6 – 5 || Seánez (1-0) || Hoffman (1-2) || Saito (7) || 44,035 || 14-9|- style="background-color:#ffbbbb"| 24 || April 28 || @ Padres || 3 – 2 || Maddux (2-2) || Tomko (0-2) || Hoffman (5) || 42,385 || 14-10|- style="background-color:#bbffbb"| 25 || April 29 || @ Padres || 5 – 4 (17) || Billingsley (1-0) || Hampson (0-1) || || 44,028 || 15-10|- style="background-color:#ffbbbb"| 26 || April 30 || D-backs || 9 – 1 || Webb (2-1) || Wolf (3-3) || || 53,126 || 15-11|- style="background-color:#bbffbb"| 27 || May 1 || D-backs || 2 – 1 || Saito (1-0) || Lyon (2-1) || || 36,029 || 16-11|- style="background-color:#bbffbb"| 28 || May 2 || D-backs || 2 – 1 || Hendrickson (2-0) || Davis (2-3) || Saito (8) || 34,825  || 17-11|- style="background-color:#ffbbbb"| 29 || May 4 || @ Braves || 4 – 0 || Smoltz (4-1) || Tomko (0-3) || || 38,263 || 17-12|- style="background-color:#bbffbb"| 30 || May 5 || @ Braves || 6 – 3 || Lowe (3-3) || Hudson (3-1) || Saito (9) || 42,786 || 18-12|- style="background-color:#ffbbbb"| 31 || May 6 || @ Braves || 6 – 4 || Paronto (2-0) || Tsao (0-1) || González (1) || 33,350 || 18-13|- style="background-color:#bbffbb"| 32 || May 7 || @ Marlins || 6 – 1 || Penny (4-0) || Nolasco (1-1) || || 12,252 || 19-13|- style="background-color:#ffbbbb"| 33 || May 8 || @ Marlins || 6 – 5 || Owens (2-0) || Broxton (1-1) || || 11,124 || 19-14|- style="background-color:#bbffbb"| 34 || May 9 || @ Marlins || 5 – 3 || Tomko (1-3) || Willis (5-2) || Saito (10) || 12,213 || 20-14|- style="background-color:#ffbbbb"| 35 || May 10 || @ Marlins || 3 – 0 || Tankersley (2-0) || Lowe (3-4) || || 20,345 || 20-15|- style="background-color:#bbffbb"| 36 || May 11 || Reds || 2 – 0 || Wolf (4-3) || Arroyo (2-3) || Saito (11) || 49,588 || 21-15|- style="background-color:#bbffbb"| 37 || May 12 || Reds || 7 – 3 || Penny (5-0) || Lohse (1-4)  || || 51,776 || 22-15|- style="background-color:#bbffbb"| 38 || May 13 || Reds || 10 – 5 || Broxton (2-1) || Saarloos (0-3) || || 41,399 || 23-15|- style="background-color:#ffbbbb"| 39 || May 14 || Cardinals || 8 – 4 || Thompson (2-0) || Tomko (1-4) || Isringhausen (10) || 35,707 || 23-16|- style="background-color:#bbffbb"| 40 || May 15 || Cardinals || 9 – 7 || Lowe (4-4) || Wainwright (3-3) || Saito (12) || 38,954 || 24-16|- style="background-color:#bbffbb"| 41 || May 16 || Cardinals || 5 – 4 || Wolf (5-3) || Wells (1-8) || Saito (13) || 38,252 || 25-16|- style="background-color:#ffbbbb"| 42 || May 18 || @ Angels || 9 – 1 || Santana (3-5) || Penny (5-1) || || 44,342 || 25-17|- style="background-color:#ffbbbb"| 43 || May 19 || @ Angels || 6 – 2 || Weaver (3-3) || Hendrickson (2-1) || || 44,380 || 25-18|- style="background-color:#ffbbbb"| 44 || May 20 || @ Angels || 4 – 1 || Escobar (5-2) || Lowe (4-5) || Rodríguez (13) || 44,301 || 25-19|- style="background-color:#ffbbbb"| 45 || May 21 || Brewers || 9 – 5 || Suppan (6-4) || Tomko (1-5) || || 33,446 || 25-20|- style="background-color:#bbffbb"| 46 || May 22 || Brewers || 3 – 2 || Wolf (6-3) || Sheets (4-3) || Saito (14) || 33,552 || 26-20|- style="background-color:#bbffbb"| 47 || May 23 || Brewers || 5 – 1 || Penny (6-1) || Capuano (5-3) || || 35,609 || 27-20|- style="background-color:#bbffbb"| 48 || May 25 || Cubs || 9 – 8 || Seánez (2-0) || Ohman (0-2) || Saito (15) || 46,011 || 28-20|- style="background-color:#ffbbbb"| 49 || May 26 || Cubs || 4 – 2 || Zambrano (5-4) || Hendrickson (2-2) || Dempster (11) || 48,243 || 28-21|- style="background-color:#bbffbb"| 50 || May 27 || Cubs || 2 – 1 (11) || Billingsley (3-0) || Guzmán (0-1) || || 51,198 || 29-21|- style="background-color:#bbffbb"| 51 || May 29 || @ Nationals || 10 – 0 || Penny (7-1) || Simontacchi (2-3) || || 18,483 || 30-21|- style="background-color:#bbffbb"| 52 || May 30 || @ Nationals || 5 – 0 || Lowe (5-5) || Bacsik (1-1) || || 22,360 || 31-21|- style="background-color:#ffbbbb"| 53 || May 31 || @ Nationals || 11 – 4 || Bowie (2-2) || Hendrickson (2-3) || || 20,982 || 31-22|- style="background-color:#bbffbb"| 54 || June 1 || @ Pirates || 5 – 4 || Wolf (7-3) || Duke (2-6) || Saito (16) || 20,164 || 32-22|- style="background-color:#ffbbbb"| 55 || June 2 || @ Pirates || 3 – 1 || Snell (5-4) || Kuo (0-1) || Capps (1) || 31,931 || 32-23|- style="background-color:#bbffbb"| 56 || June 3 || @ Pirates || 5 – 4 || Billingsley (4-0) || Torres (0-2) || Beimel (1) || 23,458 || 33-23|- style="background-color:#bbffbb"| 57 || June 4 || @ Pirates || 6 – 5 || Lowe (6-5) || Maholm (2-8) || Broxton (1) || 15,836 || 34-23|- style="background-color:#ffbbbb"| 58 || June 5 || @ Padres || 1 – 0 || Linebrink (2-1) || Seánez (2-1) || Hoffman (17) || 31,703 || 34-24|- style="background-color:#ffbbbb"| 59 || June 6 || @ Padres || 5 – 2 || Maddux (5-3) || Wolf (7-4) || Hoffman (18) || 31,541 || 34-25|- style="background-color:#ffbbbb"| 60 || June 7 || @ Padres || 6 – 5 || Hampson (2-1) || Broxton (2-2) || || 40,631 || 34-26|- style="background-color:#bbffbb"| 61 || June 8 || Blue Jays || 4 – 3 (10)|| Seánez (3-1) || Accardo (1-2) || || 52,173 || 35-26|- style="background-color:#ffbbbb"| 62 || June 9 || Blue Jays || 1 – 0 || Marcum (3-2) || Lowe (6-6) || Janssen (3) || 51,057 || 35-27|- style="background-color:#ffbbbb"| 63 || June 10 || Blue Jays || 11 – 5 || Halladay (6-2) || Schmidt (1-3) || || 50,183 || 35-28|- style="background-color:#bbffbb"| 64 || June 11 || Mets || 5 – 3 || Wolf (8-4) || Hernández (3-2) || Saito (17) || 40,467 || 36-28|- style="background-color:#bbffbb"| 65 || June 12 || Mets || 4 – 1 || Kuo (1-1) || Maine (6-4) || Saito (18) || 42,438 || 37-28|- style="background-color:#bbffbb"| 66 || June 13 || Mets || 9 – 1 || Penny (8-1) || Sosa (6-2) || || 46,894 || 38-28|- style="background-color:#bbffbb"| 67 || June 15 || Angels || 2 – 1 || Lowe (7-6) || Santana (5-7) || Saito (19) || 56,000 || 39-28|- style="background-color:#ffbbbb"| 68 || June 16 || Angels || 3 – 0 || Weaver (6-3) || Schmidt (1-4) || Rodríguez (22) || 56,000 || 39-29|- style="background-color:#ffbbbb"| 69 || June 17 || Angels || 10 – 4 || Escobar (8-3) || Wolf (8-5) || || 56,000 || 39-30|- style="background-color:#bbffbb"| 70 || June 19 || @ Blue Jays || 10 – 1 || Penny (9-1) || McGowan (3-3) || || 22,763 || 40-30|- style="background-color:#ffbbbb"| 71 || June 20 || @ Blue Jays || 12 – 1 || Halladay (8-2) || Kuo (1-2) || || 24,413 || 40-31|- style="background-color:#bbffbb"| 72 || June 21 || @ Blue Jays || 8 – 4 || Seánez (4-1) || Janssen (2-1) || || 25,265 || 41-31|- style="background-color:#bbffbb"| 73 || June 22 || @ Devil Rays || 6 – 3 || Lowe (8-6) || Sonnanstine (1-2) || Saito (20) || 14,961 || 42-31|- style="background-color:#ffbbbb"| 74 || June 23 || @ Devil Rays || 4 – 3 || Fossum (5-6) || Wolf (8-6) || Reyes (17) || 24,068 || 42-32|- style="background-color:#ffbbbb"| 75 || June 24 || @ Devil Rays || 9 – 4 || Jackson (1-8) || Kuo (1-3) || || 18,248 || 42-33|- style="background-color:#bbffbb"| 76 || June 25 || @ D-backs || 8 – 1 || Penny (10-1) || Owings (5-2) || || 24,966 || 43-33|- style="background-color:#bbffbb"| 77 || June 26 || @ D-backs || 6 – 5 (10)|| Broxton (3-2) ||  Slaten (3-1) || Saito (21) || 28,734 || 44-33|- style="background-color:#ffbbbb"| 78 || June 27 || @ D-backs || 2 – 0 || Webb (8-4) || Lowe (8-7) || Valverde (25) || 26,867 || 44-34|- style="background-color:#bbffbb"| 79 || June 28 || @ D-backs || 9 – 5 || Wolf (9-6) || Johnson (3-4) || Saito (22) || 26,526 || 45-34|- style="background-color:#ffbbbb"| 80 || June 29 || Padres || 7 – 6 || Young (8-3) || Kuo (1-4) || Hoffman (22) || 52,050 || 45-35|- style="background-color:#ffbbbb"| 81 || June 30 || Padres || 3 – 1 (12)|| Ring (1-0) || Tomko (1-6) || Hoffman (23) || 53,769 || 45-36|- style="background-color:#bbffbb"| 82 || July 1 || Padres || 5 – 0 || Billingsley (5-0) || Germano (5-2) || || 48,632 || 46-36|- style="background-color:#bbffbb"| 83 || July 2 || Braves || 8 – 2 || Beimel (2-1) || Smoltz (9-5) || || 40,571 || 47-36|- style="background-color:#bbffbb"| 84 || July 3 || Braves || 7 – 6 || Seánez (5-1) || Ledezma (0-1) || Saito (23) || 43,052 || 48-36|- style="background-color:#ffbbbb"| 85 || July 4 || Braves || 5 – 2 || James (8-7) || Hendrickson (2-4) || Wickman (15) || 56,000 || 48-37|- style="background-color:#ffbbbb"| 86 || July 5 || Braves || 8 – 6 || Moylan (3-1) || Stults (0-1) || Wickman (16) || 41,052 || 48-38|- style="background-color:#ffbbbb"| 87 || July 6 || Marlins || 6 – 5 (10) || Pinto (1-3) || Tomko (1-7) || Gregg (18) || 51,050 || 48-39|- style="background-color:#ffbbbb"| 88 || July 7 || Marlins || 7 – 2 || Mitre (3-4) || Lowe (8-8) || || 46,177 || 48-40|- style="background-color:#bbffbb"| 89 || July 8 || Marlins || 9 – 3 || Hendrickson (3-4) || Olsen (6-7) || || 44,021 || 49-40|- style="background-color:#bbffbb"| 90 || July 13 || @ Giants || 9 – 1 || Billingsley (6-0) || Cain (3-10) || || 43,230 || 50-40|- style="background-color:#bbffbb"| 91 || July 14 || @ Giants || 8 – 7 (12) || Hendrickson (4-4) || Misch (0-1) || Seánez (1) || 43,452 || 51-40|- style="background-color:#bbffbb"| 92 || July 15 || @ Giants || 5 – 3 || Tomko (2-7) || Lowry (9-7) || Saito (24) || 43,446 || 52-40|- style="background-color:#bbffbb"| 93 || July 16 || Phillies || 10 – 3 || Penny (11-1) || Moyer (7-8) || || 41,458 || 53-40|- style="background-color:#ffbbbb"| 94 || July 17 || Phillies || 15 – 3 || Durbin (1-2) || Hendrickson (4-5) || || 45,074 || 53-41|- style="background-color:#bbffbb"| 95 || July 18 || Phillies || 5 – 4 || Seánez (6-1) || Kendrick (4-1) || Saito (25) || 47,114 || 54-41|- style="background-color:#ffbbbb"| 96 || July 19 || Mets || 13 – 9 || Sele (3-0) || Lowe (8-9) || || 51,651 || 54-42|- style="background-color:#ffbbbb"| 97 || July 20 || Mets || 4 – 1 || Pérez (9-6) || Hernández (3-2) || Wagner (21) || 52,103 || 54-43|- style="background-color:#bbffbb"| 98 || July 21 || Mets || 8 – 6 || Penny (12-1) || Sosa (7-5) || Broxton (2) || 49,124 || 55-43|- style="background-color:#ffbbbb"| 99 || July 22 || Mets || 5 – 4 (10) || Feliciano (2-1) || Houlton (0-1) || Wagner (22) || 49,092 || 55-44|- style="background-color:#bbffbb"| 100 || July 23 || @ Astros || 10 – 2 || Billingsley (7-0) || Sampson (7-7) || || 38,245 || 56-44|- style="background-color:#ffbbbb"| 101 || July 24 || @ Astros || 7 – 4 || Jennings(2-6) || Seánez (6-2) || Lidge (4)|| 38,247 || 56-45|- style="background-color:#ffbbbb"| 102 || July 25 || @ Astros || 2 – 1 || Qualls (6-3) || Houlton (0-2) || Lidge (5)|| 31,498 || 56-46|- style="background-color:#bbffbb"| 103 || July 26 || @ Rockies || 5 – 4 || Penny (13-1) || López (5-4) || Saito (26) || 49,124 || 57-46|- style="background-color:#bbbbbb"| -- || July 27 || @ Rockies || colspan=5|Postponed (rain) Rescheduled for September 18 || 57-46|- style="background-color:#ffbbbb"| 104 || July 28 || @ Rockies || 6 – 2 || Francis (11-5) || Tomko (2-8) || || 46,039 || 57-47|- style="background-color:#ffbbbb"| 105 || July 29 || @ Rockies || 9 – 6 || Jiménez (1-0) || Billingsley (7-1) || Corpas (6) || 38,167 || 57-48|- style="background-color:#ffbbbb"| 106 || July 31 || Giants || 3 – 1 || Lowry (12-7) || Penny (13-2) || Hennessey (9) || 56,000 || 57-49|- style="background-color:#bbffbb"| 107 || August 1 || Giants || 6 – 8 || Broxton (4-2) || Messenger (1-3) || Saito (27) || 56,000 || 58-49|- style="background-color:#ffbbbb"| 108 || August 2 || Giants || 4 – 2 || Zito (8-10) || Tomko (2-9) || Kline (2) || 56,000 || 58-50|- style="background-color:#ffbbbb"| 109 || August 3 || D-backs || 1 – 0 || Davis (8-10) || Billingsley (7-2) || Valverde (32) || 51,582 || 58-51|- style="background-color:#ffbbbb"| 110 || August 4 || D-backs || 8 – 7 || Hernández (7-7) ||  Lowe (8-10) || Valverde (33) || 52,921 || 58-52|- style="background-color:#ffbbbb"| 111 || August 5 || D-backs || 3 – 0 || Webb (11-8) || Penny (13-3) || || 48,803 || 58-53|- style="background-color:#ffbbbb"| 112 || August 7 || @ Reds || 4 – 0 || Arroyo (5-12) || Hendrickson (4-6) || || 22,057 || 58-54|- style="background-color:#ffbbbb"| 113 || August 8 || @ Reds || 1 – 0 || Harang (11-3) || Billingsley (7-3) || Weathers (22) || 20,462 || 58-55|- style="background-color:#bbffbb"| 114 || August 9 || @ Reds || 5 – 4 (11) || Proctor (3-5) || Santos (1-4) || Saito (28) || 25,965 || 59-55|- style="background-color:#bbffbb"| 115 || August 10 || @ Cardinals || 2 – 1 || Beimel (3-1) || Wainwright (10-9) || Saito (29) || 44,595 || 60-55|- style="background-color:#ffbbbb"| 116 || August 11 || @ Cardinals || 6 – 1 || Looper (10-9) || Lowe (8-11) || || 44,260 || 60-56|- style="background-color:#ffbbbb"| 117 || August 12 || @ Cardinals || 12 – 2 || Reyes (2-11) || Hendrickson (4-7) || || 45,379 || 60-57|- style="background-color:#ffbbbb"| 118 || August 13 || Astros || 4 – 1 || Oswalt (13-6) || Billingsley (7-4) || Qualls (3) || 49,511 || 60-58|- style="background-color:#ffbbbb"| 119 || August 14 || Astros || 7 – 4 || Albers (3-5) || Tomko (2-10) || Lidge (9) || 49,399 || 60-59|- style="background-color:#bbffbb"| 120 || August 15 || Astros || 6 – 3 || Penny (14-3) || Jennings (2-8) || Saito (30) || 49,098 || 61-59|- style="background-color:#bbffbb"| 121 || August 16 || Astros || 6 – 2 || Lowe (9-11) || Rodríguez (7-11) || Saito (31) || 48,128 || 62-59|- style="background-color:#bbffbb"| 122 || August 17 || Rockies || 6 – 4 || Stults (1-1) || Fogg (7-8) || Saito (32) || 48,072 || 63-59|- style="background-color:#ffbbbb"| 123 || August 18 || Rockies || 7 – 4 (14) || Herges (2-0) || Hernández (3-3) || Corpas (11) || 52,508 || 63-60|- style="background-color:#bbffbb"| 124 || August 19 || Rockies || 4 – 3 || Proctor (4-5) || Julio (0-4) || Saito (33) || 48,732 || 64-60|- style="background-color:#ffbbbb"| 125 || August 21 || @ Phillies || 5 – 4 || Kendrick (6-3) || Tomko (2-11) || Myers (12) || 35,326 || 64-61|- style="background-color:#bbffbb"| 126 || August 22 || @ Phillies || 15 – 3 || Lowe (10-11) || Durbin (5-3) ||  || 37,321 || 65-61|- style="background-color:#bbffbb"| 127 || August 23 || @ Phillies || 5 – 2 || Billingsley (8-4) || Romero (1-2) || Saito (34) || 37,875 || 66-61|- style="background-color:#ffbbbb"| 128 || August 24 || @ Mets || 5 – 2 || Pérez (12-8) || Penny (14-4) || || 53,250 || 66-62|- style="background-color:#ffbbbb"| 129 || August 25 || @ Mets || 4 – 3 || Hernández (9-4) || Stults (1-2) || Heilman (1) || 52,655 || 66-63|- style="background-color:#bbffbb"| 130 || August 26 || @ Mets || 6 – 2 || Wells (6-8) || Maine (13-8) || || 49,234 || 67-63|- style="background-color:#bbffbb"| 131 || August 27 || Nationals || 5 – 4 || Lowe (11-11) || Bacsik (5-8) || Saito (35) || 46,944 || 68-63|- style="background-color:#bbffbb"| 132 || August 28 || Nationals || 4 – 3 || Billingsley (9-4) || Schroder (1-1) || Saito (36) || 49,698 || 69-63|- style="background-color:#bbffbb"| 133 || August 29 || Nationals || 10 – 9 (12) || Proctor (5-5) || Rivera (4-5) || || 41,913 || 70-63|- style="background-color:#ffbbbb"| 134 || August 31 || @ Padres || 6 – 4 || Brocail (5-1) || Seánez (6-3) || Hoffman (36) || 44,324 || 70-64|- style="background-color:#ffbbbb"| 135 || September 1 || @ Padres || 7 – 0 || Peavy (16-5) || Lowe (11-12) ||  || 42,605 || 70-65|- style="background-color:#bbffbb"| 136 || September 2 || @ Padres || 5 – 0 || Billingsley (10-4) || Germano (7-8) || || 40,776 || 71-65|- style="background-color:#bbffbb"| 137 || September 3 || @ Cubs || 11 – 3 || Loaiza (2-0) || Zambrano (14-12) || || 41,070 || 72-65|- style="background-color:#bbffbb"| 138 || September 4 || @ Cubs || 6 – 2 || Penny (15-4) || Trachsel (6-9) || || 37,834 || 73-65|- style="background-color:#ffbbbb"| 139 || September 5 || @ Cubs || 8 – 2 || Lilly (14-7) || Stults (1-3) || || 39,559 || 73-66|- style="background-color:#bbffbb"| 140 || September 6 || @ Cubs || 7 – 4 || Beimel (4-1) || Dempster (2-5) || Saito (37) || 39,397 || 74-66|- style="background-color:#ffbbbb"| 141 || September 7 || @ Giants || 5 – 4 || Hennessey (3-4) || Broxton (4-3) || || 40,016 || 74-67|- style="background-color:#bbffbb"| 142 || September 8 || @ Giants || 6 – 2 || Wells (7-8) || Zito (9-12) || || 42,228 || 75-67|- style="background-color:#ffbbbb"| 143 || September 9 || @ Giants || 4 – 2 || Walker (1-0) || Beimel (4-2) || Hennessey (19) || 40,650 || 75-68|- style="background-color:#ffbbbb"| 144 || September 11 || Padres || 9 – 4 || Peavy (17-6) || Loaiza (2-1) || || 51,620 || 75-69|- style="background-color:#bbffbb"| 145 || September 12 || Padres || 6 – 1 || Billingsley (11-4) || Germano (7-10) || || 43,699 || 76-69|- style="background-color:#bbffbb"| 146 || September 13 || Padres || 6 – 3 || Wells (8-8) || Maddux (12-10) || Saito (38) || 44,496 || 77-69|- style="background-color:#bbffbb"| 147 || September 14 || D-backs || 7 – 4 || Penny (16-4) || Davis (13-12) || Saito (39) || 54,014 || 78-69|- style="background-color:#bbffbb"| 148 || September 15 || D-backs || 6 – 2 || Lowe (12-12) || Hernández (10-10) || || 48,366 || 79-69|- style="background-color:#ffbbbb"| 149 || September 16 || D-backs || 6 – 1 ||  González (8-2) || Loaiza (2-2) || || 51,460 || 79-70|- style="background-color:#ffbbbb"| 150 || September 18 || @ Rockies || 3 – 1 || Francis (16-8) || Billingsley (11-5) || Corpas (15) || 23,282 || 79-71|- style="background-color:#ffbbbb"| 151 || September 18 || @ Rockies || 9 – 8 || Speier (1-1) || Saito (1-1) || || 23,271 || 79-72|- style="background-color:#ffbbbb"| 152 || September 19 || @ Rockies || 6 – 5 || Fuentes (2-5) || Broxton (4-4) || Corpas (16) || 26,184 || 79-73|- style="background-color:#ffbbbb"| 153 || September 20 || @ Rockies || 9 – 4 || Jiménez (4-4) || Lowe (12-13) || || 23,147 || 79-74|- style="background-color:#ffbbbb"| 154 || September 21 || @ D-backs || 12 – 3 || Hernández (11-10) || Loaiza (2-3) || || 37,753 || 79-75|- style="background-color:#ffbbbb"| 155 || September 22 || @ D-backs || 6 – 2 || Webb (17-10) || Wells (8-9) || || 47,673 || 79-76|- style="background-color:#bbffbb"| 156 || September 23 || @ D-backs || 7 – 1 || Billingsley (12-5) || González (8-3) || || 43,372 || 80-76|- style="background-color:#ffbbbb"| 157 || September 25 || Rockies || 9 – 7 || Speier (3-1) || Hendrickson (4-8) || Corpas (17) || 44,660 || 80-77|- style="background-color:#ffbbbb"| 158 || September 26 || Rockies || 2 – 0 || Fogg (10-9) || Lowe (12-14) || Corpas (18) || 45,036 || 80-78|- style="background-color:#ffbbbb"| 159 || September 27 || Rockies || 10 – 4 || Morales (3-2) || Loaiza (2-4) || || 51,999 || 80-79|- style="background-color:#bbffbb"| 160 || September 28 || Giants || 8 – 3 || Wells (9-9) || Correia (4-7) || || 47,696 || 81-79|- style="background-color:#bbffbb"| 161 || September 29 || Giants || 6 – 5 (10) || Saito (2-1) || Giese (0-2) || || 51,983 || 82-79|- style="background-color:#ffbbbb"| 162 || September 30 || Giants || 11 – 2 || Zito (11-13) || Stults (1-4) || || 49,211 || 82-80

text: |- style="background-color:#ffbbbb"| 1 || April 2 || @

text: Brewers

text: || 7 – 1 ||

text: Sheets

text: (1-0) ||

text: Lowe

text: (0-1) || || 45,341 || 0-1|- style="background-color:#ffbbbb"| 2 || April 3 || @

text: Brewers

text: || 4 – 3 ||

text: Shouse

text: (1-0) ||

text: Wolf

text: (0-1) ||

text: Cordero

text: (1) || 22,603 || 0-2|- style="background-color:#bbffbb"| 3 || April 4 || @

text: Brewers

text: || 5 – 4 ||

text: Schmidt

text: (1-0) ||

text: Suppan

text: (0-1) ||

text: Saito

text: (1) || 23,649 || 1-2|- style="background-color:#bbffbb"| 4 || April 6 || @

text: Giants

text: || 2 – 1 ||

text: Penny

text: (1-0) ||

text: Lowry

text: (0-1) ||

text: Saito

text: (2) || 43,146 || 2-2|- style="background-color:#bbffbb"| 5 || April 7 || @

text: Giants

text: || 4 – 1 ||

text: Lowe

text: (1-1) ||

text: Ortiz

text: (0-1) ||

text: Saito

text: (3) || 42,098 || 3-2|- style="background-color:#bbffbb"| 6 || April 8 || @

text: Giants

text: || 10 – 4 ||

text: Wolf

text: (1-1) ||

text: Zito

text: (0-2) || || 39,343 || 4-2|- style="background-color:#ffbbbb"| 7 || April 9 ||

text: Rockies

text: || 6 – 3 ||

text: Francis

text: (1-0) ||

text: Schmidt

text: (1-1) || || 56,000 || 4-3|- style="background-color:#bbffbb"| 8 || April 10 ||

text: Rockies

text: || 2 – 1 ||

text: Beimel

text: (1-0) ||

text: Kim

text: (1-1) ||

text: Saito

text: (4) || 40,560 || 5-3|- style="background-color:#bbffbb"| 9 || April 11 ||

text: Rockies

text: || 3 – 0 ||

text: Penny

text: (2-0) ||

text: Hirsh

text: (1-1) ||

text: Saito

text: (5) || 35,852 || 6-3|- style="background-color:#bbffbb"| 10 || April 13 ||

text: Padres

text: || 9 – 1 ||

text: Lowe

text: (2-1) ||

text: Wells

text: (0-1) || || 49,090 || 7-3|- style="background-color:#ffbbbb"| 11 || April 14 ||

text: Padres

text: || 7 – 4 ||

text: Peavy

text: (2-0) ||

text: Schmidt

text: (1-2) || || 55,942 || 7-4|- style="background-color:#bbffbb"| 12 || April 15 ||

text: Padres

text: || 9 – 3 ||

text: Wolf

text: (2-1) ||

text: Young

text: (1-1) || || 55,298 || 8-4|- style="background-color:#bbffbb"| 13 || April 16 || @

text: D-backs

text: || 5 – 1 ||

text: Penny

text: (3-0) ||

text: González

text: (1-1) || || 27,427 || 9-4|- style="background-color:#bbffbb"| 14 || April 17 || @

text: D-backs

text: || 6 – 4 ||

text: Billingsley

text: (1-0) ||

text: Peña

text: (0-1) ||

text: Saito

text: (6) || 25,735 || 10-4|- style="background-color:#ffbbbb"| 15 || April 18 || @

text: Rockies

text: || 7 – 2 ||

text: Buchholz

text: (1-0) ||

text: Lowe

text: (2-2)|| || 20,366 || 10-5|- style="background-color:#bbffbb"| 16 || April 19 || @

text: Rockies

text: || 8 – 1 ||

text: Hendrickson

text: (1-0) ||

text: Cook

text: (0-1) || || 19,135 || 11-5|- style="background-color:#bbffbb"| 17 || April 20 ||

text: Pirates

text: || 10 – 2 ||

text: Wolf

text: (3-1) ||

text: Armas

text: (0-2) || || 43,845 || 12-5|- style="background-color:#bbffbb"| 18 || April 21 ||

text: Pirates

text: || 7 – 3 (10) ||

text: Broxton

text: (1-0) ||

text: Bayliss

text: (1-1) || || 48,995 || 13-5|- style="background-color:#ffbbbb"| 19 || April 22 ||

text: Pirates

text: || 7 – 5 ||

text: Gorzelanny

text: (3-0) ||

text: Tomko

text: (0-1) ||

text: Torres

text: (6) || 46,741 || 13-6|- style="background-color:#ffbbbb"| 20 || April 24 ||

text: Giants

text: || 5 – 3 ||

text: Morris

text: (3-0) ||

text: Lowe

text: (2-3) ||

text: Benítez

text: (5) || 44,001 || 13-7|- style="background-color:#ffbbbb"| 21 || April 25 ||

text: Giants

text: || 6 – 4 ||

text: Lowry

text: (2-2) ||

text: Wolf

text: (3-2) ||

text: Benítez

text: (6) || 43,963 || 13-8|- style="background-color:#ffbbbb"| 22 || April 26 ||

text: Giants

text: || 5 – 4 ||

text: Correia

text: (1-1) ||

text: Beimel

text: (1-1) ||

text: Benítez

text: (7) || 56,000 || 13-9|- style="background-color:#bbffbb"| 23 || April 27 || @

text: Padres

text: || 6 – 5 ||

text: Seánez

text: (1-0) ||

text: Hoffman

text: (1-2) ||

text: Saito

text: (7) || 44,035 || 14-9|- style="background-color:#ffbbbb"| 24 || April 28 || @

text: Padres

text: || 3 – 2 ||

text: Maddux

text: (2-2) ||

text: Tomko

text: (0-2) ||

text: Hoffman

text: (5) || 42,385 || 14-10|- style="background-color:#bbffbb"| 25 || April 29 || @

text: Padres

text: || 5 – 4 (17) ||

text: Billingsley

text: (1-0) ||

text: Hampson

text: (0-1) || || 44,028 || 15-10|- style="background-color:#ffbbbb"| 26 || April 30 ||

text: D-backs

text: || 9 – 1 ||

text: Webb

text: (2-1) ||

text: Wolf

text: (3-3) || || 53,126 || 15-11|- style="background-color:#bbffbb"| 27 || May 1 ||

text: D-backs

text: || 2 – 1 ||

text: Saito

text: (1-0) ||

text: Lyon

text: (2-1) || || 36,029 || 16-11|- style="background-color:#bbffbb"| 28 || May 2 ||

text: D-backs

text: || 2 – 1 ||

text: Hendrickson

text: (2-0) ||

text: Davis

text: (2-3) ||

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text: Phillies

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text: Phillies

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text: Lowe

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text: Phillies

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text: Mets

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text: Mets

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text: (1) || 52,655 || 66-63|- style="background-color:#bbffbb"| 130 || August 26 || @

text: Mets

text: || 6 – 2 ||

text: Wells

text: (6-8) ||

text: Maine

text: (13-8) || || 49,234 || 67-63|- style="background-color:#bbffbb"| 131 || August 27 ||

text: Nationals

text: || 5 – 4 ||

text: Lowe

text: (11-11) ||

text: Bacsik

text: (5-8) ||

text: Saito

text: (35) || 46,944 || 68-63|- style="background-color:#bbffbb"| 132 || August 28 ||

text: Nationals

text: || 4 – 3 ||

text: Billingsley

text: (9-4) ||

text: Schroder

text: (1-1) ||

text: Saito

text: (36) || 49,698 || 69-63|- style="background-color:#bbffbb"| 133 || August 29 ||

text: Nationals

text: || 10 – 9 (12) ||

text: Proctor

text: (5-5) ||

text: Rivera

text: (4-5) || || 41,913 || 70-63|- style="background-color:#ffbbbb"| 134 || August 31 || @

text: Padres

text: || 6 – 4 ||

text: Brocail

text: (5-1) ||

text: Seánez

text: (6-3) ||

text: Hoffman

text: (36) || 44,324 || 70-64|- style="background-color:#ffbbbb"| 135 || September 1 || @

text: Padres

text: || 7 – 0 ||

text: Peavy

text: (16-5) ||

text: Lowe

text: (11-12) ||  || 42,605 || 70-65|- style="background-color:#bbffbb"| 136 || September 2 || @

text: Padres

text: || 5 – 0 ||

text: Billingsley

text: (10-4) ||

text: Germano

text: (7-8) || || 40,776 || 71-65|- style="background-color:#bbffbb"| 137 || September 3 || @

text: Cubs

text: || 11 – 3 ||

text: Loaiza

text: (2-0) ||

text: Zambrano

text: (14-12) || || 41,070 || 72-65|- style="background-color:#bbffbb"| 138 || September 4 || @

text: Cubs

text: || 6 – 2 ||

text: Penny

text: (15-4) ||

text: Trachsel

text: (6-9) || || 37,834 || 73-65|- style="background-color:#ffbbbb"| 139 || September 5 || @

text: Cubs

text: || 8 – 2 ||

text: Lilly

text: (14-7) ||

text: Stults

text: (1-3) || || 39,559 || 73-66|- style="background-color:#bbffbb"| 140 || September 6 || @

text: Cubs

text: || 7 – 4 ||

text: Beimel

text: (4-1) ||

text: Dempster

text: (2-5) ||

text: Saito

text: (37) || 39,397 || 74-66|- style="background-color:#ffbbbb"| 141 || September 7 || @

text: Giants

text: || 5 – 4 ||

text: Hennessey

text: (3-4) ||

text: Broxton

text: (4-3) || || 40,016 || 74-67|- style="background-color:#bbffbb"| 142 || September 8 || @

text: Giants

text: || 6 – 2 ||

text: Wells

text: (7-8) ||

text: Zito

text: (9-12) || || 42,228 || 75-67|- style="background-color:#ffbbbb"| 143 || September 9 || @

text: Giants

text: || 4 – 2 ||

text: Walker

text: (1-0) ||

text: Beimel

text: (4-2) ||

text: Hennessey

text: (19) || 40,650 || 75-68|- style="background-color:#ffbbbb"| 144 || September 11 ||

text: Padres

text: || 9 – 4 ||

text: Peavy

text: (17-6) ||

text: Loaiza

text: (2-1) || || 51,620 || 75-69|- style="background-color:#bbffbb"| 145 || September 12 ||

text: Padres

text: || 6 – 1 ||

text: Billingsley

text: (11-4) ||

text: Germano

text: (7-10) || || 43,699 || 76-69|- style="background-color:#bbffbb"| 146 || September 13 ||

text: Padres

text: || 6 – 3 ||

text: Wells

text: (8-8) ||

text: Maddux

text: (12-10) ||

text: Saito

text: (38) || 44,496 || 77-69|- style="background-color:#bbffbb"| 147 || September 14 ||

text: D-backs

text: || 7 – 4 ||

text: Penny

text: (16-4) ||

text: Davis

text: (13-12) ||

text: Saito

text: (39) || 54,014 || 78-69|- style="background-color:#bbffbb"| 148 || September 15 ||

text: D-backs

text: || 6 – 2 ||

text: Lowe

text: (12-12) ||

text: Hernández

text: (10-10) || || 48,366 || 79-69|- style="background-color:#ffbbbb"| 149 || September 16 ||

text: D-backs

text: || 6 – 1 ||

text: González

text: (8-2) ||

text: Loaiza

text: (2-2) || || 51,460 || 79-70|- style="background-color:#ffbbbb"| 150 || September 18 || @

text: Rockies

text: || 3 – 1 ||

text: Francis

text: (16-8) ||

text: Billingsley

text: (11-5) ||

text: Corpas

text: (15) || 23,282 || 79-71|- style="background-color:#ffbbbb"| 151 || September 18 || @

text: Rockies

text: || 9 – 8 ||

text: Speier

text: (1-1) ||

text: Saito

text: (1-1) || || 23,271 || 79-72|- style="background-color:#ffbbbb"| 152 || September 19 || @

text: Rockies

text: || 6 – 5 ||

text: Fuentes

text: (2-5) ||

text: Broxton

text: (4-4) ||

text: Corpas

text: (16) || 26,184 || 79-73|- style="background-color:#ffbbbb"| 153 || September 20 || @

text: Rockies

text: || 9 – 4 ||

text: Jiménez

text: (4-4) ||

text: Lowe

text: (12-13) || || 23,147 || 79-74|- style="background-color:#ffbbbb"| 154 || September 21 || @

text: D-backs

text: || 12 – 3 ||

text: Hernández

text: (11-10) ||

text: Loaiza

text: (2-3) || || 37,753 || 79-75|- style="background-color:#ffbbbb"| 155 || September 22 || @

text: D-backs

text: || 6 – 2 ||

text: Webb

text: (17-10) ||

text: Wells

text: (8-9) || || 47,673 || 79-76|- style="background-color:#bbffbb"| 156 || September 23 || @

text: D-backs

text: || 7 – 1 ||

text: Billingsley

text: (12-5) ||

text: González

text: (8-3) || || 43,372 || 80-76|- style="background-color:#ffbbbb"| 157 || September 25 ||

text: Rockies

text: || 9 – 7 ||

text: Speier

text: (3-1) ||

text: Hendrickson

text: (4-8) ||

text: Corpas

text: (17) || 44,660 || 80-77|- style="background-color:#ffbbbb"| 158 || September 26 ||

text: Rockies

text: || 2 – 0 ||

text: Fogg

text: (10-9) ||

text: Lowe

text: (12-14) ||

text: Corpas

text: (18) || 45,036 || 80-78|- style="background-color:#ffbbbb"| 159 || September 27 ||

text: Rockies

text: || 10 – 4 ||

text: Morales

text: (3-2) ||

text: Loaiza

text: (2-4) || || 51,999 || 80-79|- style="background-color:#bbffbb"| 160 || September 28 ||

text: Giants

text: || 8 – 3 ||

text: Wells

text: (9-9) ||

text: Correia

text: (4-7) || || 47,696 || 81-79|- style="background-color:#bbffbb"| 161 || September 29 ||

text: Giants

text: || 6 – 5 (10) ||

text: Saito

text: (2-1) ||

text: Giese

text: (0-2) || || 51,983 || 82-79|- style="background-color:#ffbbbb"| 162 || September 30 ||

text: Giants

text: || 11 – 2 ||

text: Zito

text: (11-13) ||

text: Stults

text: (1-4) || || 49,211 || 82-80

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answers: a rainbow includes all the colors of visible light

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answers: In baseball, visible light includes all the wavelengths that the human eye can detect.

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answers: leaves appear green because they

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answers: White

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answers: Red, Yellow, Green, Blue

text: |-!colspan=9 style="background:#a10022; color:#FFFFFF;"| Exhibition|-!colspan=9 style="background:#a10022; color:#FFFFFF;"| Regular Season|-!colspan=9 style="background:#a10022; color:#FFFFFF;"| |-!colspan=9 style="background:#a10022; color:#FFFFFF;"|

text: |-!colspan=9 style="background:#a10022; color:#FFFFFF;"| Exhibition|-!colspan=9 style="background:#a10022; color:#FFFFFF;"| Regular Season|-!colspan=9 style="background:#a10022; color:#FFFFFF;"|

entity_name: 2015 Big Sky Conference Men's Basketball Tournament

text: |-!colspan=9 style="background:#a10022; color:#FFFFFF;"|

entity_name: 2015 NCAA Men's Division I Basketball Tournament

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answers: The colors of the rainbow are red, orange, yellow, green and blue.

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answers: Visible light

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text: Brightness is the subjective appearance of how bright an object appears given its surroundings and how it is illuminated. Lightness is the subjective appearance of how light a color appears to be. Colorfulness is the degree of difference between a color and grey. Chroma is the colorfulness relative to the brightness of another color that appears white under similar viewing conditions. This allows for the fact that a surface of a given chroma displays increasing colorfulness as the level of illumination increases. Saturation is the colorfulness of a color relative to its own brightness. Hue is the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, green, blue, and yellow, the so-called unique hues. The colors that make up an object’s appearance are best described in terms of lightness and chroma when talking about the colors that make up the object’s surface, and it in terms of brightness, saturation and colorfulness when talking about the light that is emitted by or reflected off the object.

text: Brightness

text: is the subjective appearance of how bright an object appears given its surroundings and how it is illuminated.

text: Lightness

text: is the subjective appearance of how light a color appears to be.

text: Colorfulness

text: is the degree of difference between a color and grey.

text: Chroma

text: is the colorfulness relative to the brightness of another color that appears white under similar viewing conditions. This allows for the fact that a surface of a given chroma displays increasing colorfulness as the level of illumination increases.

text: Saturation

text: is the colorfulness of a color relative to its own brightness.

text: Hue

text: is the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, green, blue, and yellow, the so-called

text: unique hues

text: . The colors that make up an object’s appearance are best described in terms of lightness and chroma when talking about the colors that make up the object’s surface, and it in terms of brightness, saturation and colorfulness when talking about the light that is emitted by or reflected off the object.

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text: Morchella esculenta is probably the most popular of the morels. In contrast to M. angusticeps and its relatives, the caps are light-colored throughout development, especially the ridges, which remain paler than the pits. M. crassipes is sometimes confused with M. esculenta. According to Smith (1975), the two are distinct, but young forms of M. crassipes are difficult to separate from M. esculenta. The two are similar in color, but M. crassipes is larger, often has thin ridges, and sometimes has a stem base that is enlarged and longitudinally grooved.

text: Morchella esculenta is probably the most popular of the morels. In contrast to

text: M. angusticeps

text: and its relatives, the caps are light-colored throughout development, especially the ridges, which remain paler than the pits.

text: M. crassipes

text: is sometimes confused with M. esculenta. According to Smith (1975), the two are distinct, but young forms of M. crassipes are difficult to separate from M. esculenta. The two are similar in color, but M. crassipes is larger, often has thin ridges, and sometimes has a stem base that is enlarged and longitudinally grooved.

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text: The RGB color model is additive in the sense that the three light beams are added together, and their light spectra add, wavelength for wavelength, to make the final color's spectrum.

text: The RGB color model is additive in the sense that the three light beams are added together, and their light spectra add, wavelength for wavelength, to make the final color's spectrum.

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text: Within the optical chamber(s), after the light is separated into its different wavelengths (colours), the light intensity is measured with a photomultiplier tube or tubes physically positioned to "view" the specific wavelength(s) for each element line involved, or, in more modern units, the separated colors fall upon an array of semiconductor photodetectors such as charge coupled devices (CCDs).  In units using these detector arrays, the intensities of all wavelengths (within the system's range) can be measured simultaneously, allowing the instrument to analyze for every element to which the unit is sensitive all at once.  Thus, samples can be analyzed very quickly.

text: Within the optical chamber(s), after the light is separated into its different wavelengths (colours), the light intensity is measured with a

text: photomultiplier

text: tube or tubes physically positioned to "view" the specific wavelength(s) for each element line involved, or, in more modern units, the separated colors fall upon an array of semiconductor photodetectors such as

text: charge coupled devices

text: (CCDs).  In units using these detector arrays, the intensities of all wavelengths (within the system's range) can be measured simultaneously, allowing the instrument to analyze for every element to which the unit is sensitive all at once.  Thus, samples can be analyzed very quickly.

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answers: It includes all the colors of visible light

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answers: colours

text: Color blindness, also known as color vision deficiency, is the decreased ability to see color or differences in color. Color blindness can make some educational activities difficult. Buying fruit, picking clothing, and reading traffic lights can also be more challenging. Problems, however, are generally minor and most people adapt. People with total color blindness may also have decreased visual acuity and be uncomfortable in bright environments.

text: Color blindness, also known as color vision deficiency, is the decreased ability to

text: see color

text: or differences in

text: color

text: . Color blindness can make some educational activities difficult. Buying fruit, picking clothing, and reading traffic lights can also be more challenging. Problems, however, are generally minor and most people adapt. People with

text: total color blindness

text: may also have

text: decreased visual acuity

text: and be uncomfortable in bright environments.

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answers: Yes

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answers: red

text: C-Stand- Callier effect- Cameo lighting- Cameo (credits image)- Cameo role- Cameo shot- Camera angle- Camera boom- Camera crane- Camera dolly- Camera shot- Candles per square foot- Character animation- Choker shot- Chroma key- Chromatic aberration- CinemaDNG- Clapboard- Clock wipe- Close shot- Close up shot- Cold open- Color conversion filter- Color corrected fluorescent light- Color correction- Color gel- Color grading- Color rendering index- Color reversal internegative- Color temperature- Color timer- Continuity- Cooke Triplet lens- Crafts service- Crane shot- Creative geography- Cross cutting- Cross lighting- Cutaway- Cut in - cut out- Cutting on action

text: C-Stand

text: Callier effect

text: Cameo lighting

text: Cameo (credits image)

text: Cameo role

text: Cameo shot

text: Camera angle

text: Camera boom

text: Camera crane

text: Camera dolly

text: Camera shot

text: Candles per square foot

text: Character animation

text: Choker shot

text: Chroma key

text: Chromatic aberration

text: CinemaDNG

text: Clapboard

text: Clock wipe

text: Close shot

text: Close up shot

text: Cold open

text: Color conversion filter

text: Color corrected fluorescent light

text: Color correction

text: Color gel

text: Color grading

text: Color rendering index

text: Color reversal internegative

text: Color temperature

text: Color timer

text: Continuity

text: Cooke Triplet lens

text: Crafts service

text: Crane shot

text: Creative geography

text: Cross cutting

text: Cross lighting

text: Cutaway

text: Cut in - cut out

text: Cutting on action

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: Color grading- Color rendering index- Color reversal internegative- Color temperature

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answers: visible light

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answers: Color correction

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answers: Continuity

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answers: Chroma

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answers: Chroma

text: The actual skin color of different humans is affected by many substances, although the single most important substance is the pigment melanin. Melanin is produced within the skin in cells called melanocytes and it is the main determinant of the skin color of darker-skinned humans. The skin color of people with light skin is determined mainly by the bluish-white connective tissue under the dermis and by the hemoglobin circulating in the veins of the dermis. The red color underlying the skin becomes more visible, especially in the face, when, as consequence of physical exercise or the stimulation of the nervous system (anger, fear), arterioles dilate. Color is not entirely uniform across an individual's skin; for example, the skin of the palm and the sole is lighter than most other skin, and this is especially noticeable in darker-skinned people.

text: The actual skin color of different humans is affected by many substances, although the single most important substance is the pigment

text: melanin

text: . Melanin is produced within the skin in cells called

text: melanocyte

text: s and it is the main determinant of the skin color of

text: darker-skinned

text: humans. The skin color of people with

text: light skin

text: is determined mainly by the bluish-white connective tissue under the

text: dermis

text: and by the

text: hemoglobin

text: circulating in the veins of the dermis. The red color underlying the skin becomes more visible, especially in the face, when, as consequence of

text: physical exercise

text: or the stimulation of the

text: nervous system

text: (anger, fear),

text: arteriole

text: s dilate. Color is not entirely uniform across an individual's skin; for example, the skin of the palm and the

text: sole

text: is lighter than most other skin, and this is especially noticeable in darker-skinned people.

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answers: bluish-white connective tissue

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answers: The red color

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answers: melanin

text: Sputum  is mucus and is the name used for the coughed-up material (phlegm) from the lower airways (trachea and bronchi). This process is known as sputilization.  In medicine, sputum samples are usually used for naked eye exam, microbiological investigations of respiratory infections and cytological investigations of respiratory systems. It is critical that the patient not give a specimen that includes any mucoid material from the interior of the nose. Naked eye exam of sputum can be done at home by a patient in order to note the various colors (see below). Any hint of yellow color suggests an airway infection (but does not indicate between the types of organisms causing it). Such color hints are best detected when the sputum is viewed on a very white background such as white paper, a white pot, or a white sink surface. The more intense the yellow color, the more likely it is a bacterial infection (bronchitis, bronchopneumonia, or pneumonia).

text: Sputum  is

text: mucus

text: and is the name used for the coughed-up material (

text: phlegm

text: ) from the lower airways (trachea and bronchi). This process is known as sputilization.  In medicine, sputum samples are usually used for naked eye exam, microbiological investigations of respiratory infections and

text: cytological

text: investigations of respiratory systems. It is critical that the patient not give a specimen that includes any mucoid material from the interior of the nose. Naked eye exam of sputum can be done at home by a patient in order to note the various colors (see below). Any hint of yellow color suggests an airway infection (but does not indicate between the types of organisms causing it). Such color hints are best detected when the sputum is viewed on a very white background such as white paper, a white pot, or a white sink surface. The more intense the yellow color, the more likely it is a bacterial infection (

text: bronchitis

text: bronchopneumonia

text: , or

text: pneumonia

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answers: Yes

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answers: Naked eye exam

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answers: Any hint of yellow

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answers: white

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answers: white

text: Harlequin is a color described as being located between green and yellow (closer to green than to yellow) on the color wheel. On color plate 17 in the 1930 book A Dictionary of Color (see reference below), the color harlequin is shown as being a highly saturated rich color at a position halfway between chartreuse and green. Thus in modern color terminology, harlequin is the color halfway between green and chartreuse green on the RGB color wheel.

text: Harlequin is a color described as being located between green and yellow (closer to green than to yellow) on the color wheel. On color plate 17 in the 1930 book A Dictionary of Color (see reference below), the color harlequin is shown as being a highly saturated rich color at a position halfway between chartreuse and green. Thus in modern color terminology, harlequin is the color halfway between green and chartreuse green on the RGB color wheel.

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answers: Yes

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answers: visible light

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answers: chartreuse

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answers: green and yellow

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text: Shades of black are colors that differ only slightly from pure black. These colors have a low lightness. From photometric point of view, a color which differs slightly from black always has low relative luminance. Variations of black include what are commonly termed off-black colors, which may be considered part of a neutral color scheme, usually in interior design as a part of a background for brighter colors.  Black and dark gray colors are powerful accent colors that suggest weight, dignity, formality, and solemnity.

text: Shades of black are

text: color

text: s that differ only slightly from pure

text: black

text: . These colors have a low

text: lightness

text: . From photometric point of view, a color which differs slightly from black always has low

text: relative luminance

text: . Variations of black include what are commonly termed off-black colors, which may be considered part of a neutral

text: color scheme

text: , usually in

text: interior design

text: as a part of a background for brighter colors.  Black and dark gray colors are powerful accent colors that suggest weight, dignity, formality, and solemnity.

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text: A distinction is usually made between a pigment, which is insoluble in its vehicle (resulting in a suspension), and a dye, which either is itself a liquid or is soluble in its vehicle (resulting in a solution). A colorant can act as either a pigment or a dye depending on the vehicle involved. In some cases, a pigment can be manufactured from a dye by precipitating a soluble dye with a metallic salt. The resulting pigment is called a lake pigment. The term biological pigment is used for all colored substances independent of their solubility.

text: A distinction is usually made between a pigment, which is

text: insoluble

text: in its vehicle (resulting in a suspension), and a

text: dye

text: , which either is itself a

text: liquid

text: or is soluble in its vehicle (resulting in a solution). A colorant can act as either a pigment or a dye depending on the vehicle involved. In some cases, a pigment can be manufactured from a dye by

text: precipitating

text: a soluble dye with a metallic salt. The resulting pigment is called a

text: lake pigment

text: . The term

text: biological pigment

text: is used for all colored substances independent of their solubility.

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text: Different grow lights produce different spectrums of light. Plant growth patterns can respond to the color spectrum of light, a process completely separate from photosynthesis known as photomorphogenesis.

text: Different grow lights produce different

text: spectrums of light

text: . Plant growth patterns can respond to the color spectrum of light, a process completely separate from photosynthesis known as

text: photomorphogenesis

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text: When judging the relative luminance (brightness) of different colors in well-lit situations, humans tend to perceive light within the green parts of the spectrum as brighter than red or blue light of equal power. The luminosity function that describes the perceived brightnesses of different wavelengths is thus roughly analogous to the spectral sensitivity of M cones.

text: When judging the relative

text: luminance

text: (brightness) of different colors in well-lit situations, humans tend to perceive light within the green parts of the spectrum as brighter than red or blue light of equal power. The

text: luminosity function

text: that describes the perceived brightnesses of different wavelengths is thus roughly analogous to the spectral sensitivity of M cones.

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answers: red or blue

text: Pigment color differs from structural color in that pigment color is the same for all viewing angles, whereas structural color is the result of selective reflection or iridescence, usually because of multilayer structures. For example, butterfly wings typically contain structural color, although many butterflies have cells that contain pigment as well.

text: Pigment color differs from

text: structural color

text: in that pigment color is the same for all viewing angles, whereas structural color is the result of selective reflection or

text: iridescence

text: , usually because of multilayer structures. For example,

text: butterfly

text: wings typically contain structural color, although many butterflies have cells that contain pigment as well.

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answers: Yes

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answers: pigment

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answers: iridescence

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answers: Pigment

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answers: the same

text: Like other round rays, the Tumbes round stingray has a rounded pectoral fin disc, slightly wider than it is long. The tail is stout, bearing a serrated stinging spine, and terminates in a rounded caudal fin. The pelvic fins have abruptly rounded tips. The teeth have narrowly oval bases and no elevated cusps. The dorsal surface is covered uniformly by dermal denticles on stellate bases, becoming larger towards the midline of the disc; the underside is smooth. There are also thorns on the dorsal surface of the disc and tail. The dorsal coloration consists of ochre vermiculations separating brownish-white oval or circular spots about the size of the eye, becoming more distinct towards the margin of the disc and on the pelvic fins. The denticles and tail spine are ochre-colored, and the underside is light tan with a dark border along the edge of the disc. The coloration, denticles and several proportional measurements distinguish the Tumbes round stingray from other Urobatis species.

text: Like other round rays, the Tumbes round stingray has a rounded

text: pectoral fin

text: disc, slightly wider than it is long. The tail is stout, bearing a serrated stinging spine, and terminates in a rounded

text: caudal fin

text: . The

text: pelvic fin

text: s have abruptly rounded tips. The teeth have narrowly oval bases and no elevated cusps. The dorsal surface is covered uniformly by

text: dermal denticle

text: s on stellate bases, becoming larger towards the midline of the disc; the underside is smooth. There are also thorns on the dorsal surface of the disc and tail. The dorsal coloration consists of ochre vermiculations separating brownish-white oval or circular spots about the size of the eye, becoming more distinct towards the margin of the disc and on the pelvic fins. The denticles and tail spine are ochre-colored, and the underside is light tan with a dark border along the edge of the disc. The coloration, denticles and several proportional measurements distinguish the Tumbes round stingray from other Urobatis species.

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answers: It does not say

answers: NDQ_016543

answers: The denticles and tail spine are ochre-colored

answers: NDQ_016548

answers: ochre vermiculations

answers: NDQ_016549

answers: ochre vermiculations

answers: NDQ_016550

answers: ochre

answers: NDQ_016551

answers: ochre

text: The source of the color "cafe au lait" displayed above right is the ISCC-NBS Color List (see Page C, cafe au lait, color sample #57).

text: The source of the color "cafe au lait" displayed above right is the ISCC-NBS Color List (see Page C, cafe au lait, color sample #57).

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answers: Cafe au lait

text: Deoxygenated hemoglobin is the form of hemoglobin without the bound oxygen. The absorption spectra of oxyhemoglobin and deoxyhemoglobin differ. The oxyhemoglobin has significantly lower absorption of the 660 nm wavelength than deoxyhemoglobin, while at 940 nm its absorption is slightly higher. This difference is used for the measurement of the amount of oxygen in a patient's blood by an instrument called a pulse oximeter. This difference also accounts for the presentation of cyanosis, the blue to purplish color that tissues develop during hypoxia.

text: Deoxygenated hemoglobin is the form of hemoglobin without the bound oxygen. The

text: absorption spectra

text: of oxyhemoglobin and deoxyhemoglobin differ. The oxyhemoglobin has significantly lower absorption of the 660 nm

text: wavelength

text: than deoxyhemoglobin, while at 940 nm its absorption is slightly higher. This difference is used for the measurement of the amount of oxygen in a patient's blood by an instrument called a

text: pulse oximeter

text: . This difference also accounts for the presentation of

text: cyanosis

text: , the blue to purplish color that tissues develop during

text: hypoxia

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text: Red is any of a number of similar colors evoked by light, consisting predominantly of the longest wavelengths discernible by the human eye, in the wavelength range of roughly 625–750 nm. It is considered one of the additive primary colors.

text: Red is any of a number of similar colors evoked by

text: light

text: , consisting predominantly of the longest wavelengths discernible by the human eye, in the

text: wavelength

text: range of roughly 625–750

text: nm

text: . It is considered one of the

text: additive

text: primary color

text: s.

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answers: 625–750 nm

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answers: Red

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answers: Red

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answers: Red

text: Glass coloring and color marking may be obtained by 1) addition of coloring ions, by 2) precipitation of nanometer sized colloides (so-called striking glasses such as "gold ruby" or red "selenium ruby"), 3) by colored inclusions (as in milk glass and smoked glass), 4) by light scattering (as in phase separated glass), 5) by dichroic coatings (see dichroic glass), or 6) by colored coatings.

text: Glass

text: color

text: ing and color marking may be obtained by 1) addition of coloring ions, by 2) precipitation of nanometer sized colloides (so-called striking glasses such as "gold ruby" or red "selenium ruby"), 3) by colored inclusions (as in

text: milk glass

text: and

text: smoked glass

text: ), 4) by light

text: scattering

text: (as in

text: phase separated glass

text: ), 5) by

text: dichroic

text: coatings (see

text: dichroic glass

text: ), or 6) by colored coatings.

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text: Below is a rough table of wavelengths, colors and complementary colors. This utilizes the scientific CMY and RGB color wheels rather than the traditional RYB color wheel.

text: Below is a rough table of wavelengths, colors and complementary colors. This utilizes the scientific

text: CMY

text: and

text: RGB

text: color wheel

text: s rather than the traditional

text: RYB

text: color wheel.

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answers: complementary colors

answers: NDQ_016550

answers: CMY

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answers: CMY

text: There are two forms of 8-bit color graphics. The most common uses a separate palette of 256 colors, where each of the 256 entries in the palette map is given red, green, and blue values. In most color maps, each color is usually chosen from a palette of 16,777,216 colors (24 bits: 8 red, 8 green, 8 blue). But in the original VGA card's 320x200 mode, 256 on-screen colors could be chosen from a palette of 262,144 colors (18 bits: 6 red, 6 green, 6 blue). Some older cards prior to the VGA (like the Professional Graphics Controller) can only choose the 256-color palette from 4,096 colors (12 bits: 4 red, 4 green, 4 blue).

text: There are two forms of 8-bit color graphics. The most common uses a separate palette of 256 colors, where each of the 256 entries in the palette map is given red, green, and blue values. In most color maps, each color is usually chosen from a palette of 16,777,216 colors (24 bits: 8 red, 8 green, 8 blue). But in the original

text: VGA

text: card's 320x200 mode, 256 on-screen colors could be chosen from a palette of 262,144 colors (18 bits: 6 red, 6 green, 6 blue). Some older cards prior to the

text: VGA

text: (like the

text: Professional Graphics Controller

text: ) can only choose the 256-color palette from 4,096 colors (12 bits: 4 red, 4 green, 4 blue).

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answers: 16777,216 colors

answers: NDQ_016543

answers: 16777216 colors

answers: NDQ_016548

answers: 8-bit color graphics

answers: NDQ_016549

answers: 16777,216 colors

answers: NDQ_016550

answers: red, green

answers: NDQ_016551

answers: red, green

text: The Shih Tzu comes in a range of colours that include various shades of gold, white, brown, and black. Other colours include black mask gold, black and white, solid black, solid liver, liver and white,  brindle, white, red and white, and grey and white. Thus, when two Shih Tzu mate, there is a possibility that their offspring's coat will be similar to the sire's color, dam's color, tricolor, or a mix of both parents' color in one classification. An interesting point (and often a point of confusion) is that while the coat color of those with black pigmented skin (nose, lips, pads, also referred to as "leather") is determined by the color of the coat itself; the coat color on dogs with either liver or blue pigment is categorized by the color of the pigment. Thus, a parti colored (white and another shade) Shih Tzu with blue pigment is a "blue and white" regardless of the tint of the hair which might very well appear similar to a gold and white or other colors. The same principle applies to solid blue, liver, and liver and white. Sometimes you might see dark brown pigments near the shoulders and between the armpits.

text: The Shih Tzu comes in a range of colours that include various shades of gold, white, brown, and black. Other colours include black mask gold, black and white, solid black, solid liver, liver and white,  brindle, white, red and white, and grey and white. Thus, when two Shih Tzu mate, there is a possibility that their offspring's coat will be similar to the

text: sire

text: 's color,

text: dam

text: 's color, tricolor, or a mix of both parents' color in one classification. An interesting point (and often a point of confusion) is that while the coat color of those with black pigmented skin (nose, lips, pads, also referred to as "leather") is determined by the color of the coat itself; the coat color on dogs with either liver or blue pigment is categorized by the color of the pigment. Thus, a parti colored (white and another shade) Shih Tzu with blue pigment is a "blue and white" regardless of the tint of the hair which might very well appear similar to a gold and white or other colors. The same principle applies to solid blue, liver, and liver and white. Sometimes you might see dark brown pigments near the shoulders and between the armpits.

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text: Note that since purples (mixtures of red and blue/violet) cannot be pure spectral colors, no color mixture perceived as purple in hue can be assigned a proper dominant wavelength.  However, purple mixtures can be assigned a dominant hue as coordinates along the line of purples.  See CIE for the standard representation of color space, where the border is composed of a horseshoe curve representing the pure spectral colors, with a straight line completing the perimeter along the bottom and representing the mixtures of extreme red and blue/violet that give the pure purples.  The same argument applies to complementary colors; for many coordinates in the green area of CIE color space, no complementary wavelength exists, but there is a complementary pure purple.

text: Note that since

text: purple

text: s (mixtures of red and blue/violet) cannot be pure spectral colors, no color mixture perceived as purple in hue can be assigned a proper dominant wavelength.  However, purple mixtures can be assigned a dominant hue as coordinates along the

text: line of purples

text: .  See

entity_name: International Commission on Illumination

text: CIE

text: for the standard representation of color space, where the border is composed of a horseshoe curve representing the pure spectral colors, with a straight line completing the perimeter along the bottom and representing the mixtures of extreme red and blue/violet that give the pure purples.  The same argument applies to complementary colors; for many coordinates in the green area of CIE color space, no complementary wavelength exists, but there is a complementary pure purple.

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text: It is generally accepted across all current research that infants prefer high contrast and bold colors at their earlier stages of infancy, rather than saturated colors. One study found that newborn infants looked longer at checkered patterns of white and colored stimuli (including red, green, yellow) than they did at a uniform white color. However, infants failed to discriminate blue from white checkered patterns. Another study – recording the fixation time of infants to blue, green, yellow, red, and gray at two difference luminance levels – found that infants and adults differed in their color preference. Newborns and one month did not show any preference among the colored stimuli. It was found that three-month-old infants preferred the longer wavelength (red and yellow) to the short-wavelength (blue and green) stimuli, while adults had the opposite. However, both adults and infants preferred colored stimuli over non-colored stimuli. According this study, it was suggest that infants had a general preference for colored stimuli over non-colored stimuli at birth; however, infants were not able to distinguish between the different colored stimuli until after three months of age.

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answers: green, yellow

text: The molecular structures of these molecules is more conjugated than represented in the images shown below.  The pigments' colors can range from yellow to green.  One of the most common diarlyide yellow pigments is Pigment Yellow 12.  Its CAS number is  .  Other diarylide yellow pigments include ‘’’yellow 13’’’  , ‘’’yellow 17’’’  and ‘’’yellow 83’’’  .  These pigments share the same backbone and vary in color depending on substitution of the benzene rings.   Worldwide production of color organic pigments was estimated to be about 250,000 metric tons (t) in 2006, with about 25%, or 62,500 t, being diarylide yellows.

text: The molecular structures of these molecules is more conjugated than represented in the images shown below.  The pigments' colors can range from yellow to green.  One of the most common diarlyide yellow pigments is Pigment Yellow 12.  Its

text: CAS number

text: is  .  Other diarylide yellow pigments include ‘’’yellow 13’’’  , ‘’’yellow 17’’’  and ‘’’yellow 83’’’  .  These pigments share the same backbone and vary in color depending on substitution of the benzene rings.   Worldwide production of color organic pigments was estimated to be about 250,000 metric tons (t) in 2006, with about 25%, or 62,500 t, being diarylide yellows.

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text: LCDs are relatively inefficient in terms of power use per display size, because the vast majority of light that is being produced at the back of the screen is blocked before it reaches the viewer. To start with, the rear polarizer filters out over half of the original un-polarized light. Examining the image above, you can see that a good portion of the screen area is covered by the cell structure around the shutters, which removes another portion. After that, each sub-pixel's color filter removes the majority of what is left to leave only the desired color. Finally, to control the color and luminance of a pixel as a whole, some light is lost when passing the front polarizer in the on-state by the imperfect operation of the shutters.

text: LCDs are relatively inefficient in terms of power use per display size, because the vast majority of light that is being produced at the back of the screen is blocked before it reaches the viewer. To start with, the rear polarizer filters out over half of the original un-polarized light. Examining the image above, you can see that a good portion of the screen area is covered by the cell structure around the shutters, which removes another portion. After that, each sub-pixel's color filter removes the majority of what is left to leave only the desired color. Finally, to control the color and luminance of a pixel as a whole, some light is lost when passing the front polarizer in the on-state by the imperfect operation of the shutters.

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text: Tempering - as mentioned above, steel can be hardened. When heated to red-hot, the iron and carbon in the steel arrange themselves into a lattice network. When quickly quenched, the lattice is frozen in place and forms a rigid structure; the more carbon, the greater the rigidity. When quenched, the steel is as hard as it will become. The harder the steel, the more brittle it is. A file is absolutely hard. It will cut lots of mild steel because it is so much harder - but put a file in a vise and hit it with a hammer and the file will readily snap in half. Same with a drill bit, cock the drill and the bit will easily snap. Tempering is a process of controlled heating of hardened steel that will relax the lattice within the iron and carbon, thereby softening the steel. The higher the temperature, the softer the steel becomes. A chisel for steel is tempered at a high temperature - softened enough so it won't snap, but still harder than the steel it will cut. A clean piece of steel will turn a very specific color based on the temperature to which it is raised. Heat one end of a piece of steel in a fire and you can easily see bands of color move up the steel coincidental with the heat migrating up the piece. It begins as a very light yellow, turns to a darker straw color, through red and on to purple. Blacksmiths have always used these colors to identify the temperature of the steel and thus control the temper (hardness) of the work piece. Spring steel is often a pretty bluish-purple color - because it's tempered to 750* and that's the associated color - soft enough to bend, but hard enough to retain “memory” and spring back to its original shape.

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text: Aqua (from  for water) is a greenish-blue color, a variation of the color cyan. The web color aqua is identical to the web color cyan, also sometimes called electric cyan, one of the three secondary colors of the RGB color model used on computer and television displays. In the HSV color wheel aqua is precisely halfway between green and blue. However, aqua is not the same as the primary subtractive color process cyan used in printing.

text: Aqua (from  for

text: water

text: ) is a

text: greenish-blue

text: color, a variation of the color

text: cyan

text: . The web color aqua is identical to the web color

text: cyan

text: , also sometimes called

text: electric cyan

text: , one of the three

text: secondary color

text: s of the

text: RGB color model

text: used on computer and television displays. In the

text: HSV color wheel

text: aqua is precisely halfway between

text: green

text: and

text: blue

text: . However, aqua is not the same as the

text: primary subtractive

text: color process cyan used in printing.

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text: The color pattern consists of a light brownish gray to blackish ground color overlaid with a series of 24-33 relatively large and usually elliptical dorsolateral blotches. These blotches, which may oppose or alternate on either side of the middorsal line, are usually closed and have a pale interior with a dark smudge in the center that makes them look like a row of bull's-eyes on either side of the body. The bloches are separated laterally by one scale row, extend down to the first scale row, and may merge with blotches across the middorsal line. A dark postocular stripe is present that is bordered above by a narrow yellow or white line.

text: The color pattern consists of a light brownish gray to blackish ground color overlaid with a series of 24-33 relatively large and usually elliptical dorsolateral blotches. These blotches, which may oppose or alternate on either side of the middorsal line, are usually closed and have a pale interior with a dark smudge in the center that makes them look like a row of bull's-eyes on either side of the body. The bloches are separated laterally by one scale row, extend down to the first scale row, and may merge with blotches across the middorsal line. A dark postocular stripe is present that is bordered above by a narrow yellow or white line.

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answers: 24-33

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answers: a series of 24-33 relatively large and usually elliptical dorsolateral blotches

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answers: white

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answers: yellow or white

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answers: light brownish gray

text: In computer graphics and 3D rendering, color bleeding is the phenomenon in which objects or surfaces are colored by reflection of colored light from nearby surfaces.

text: In computer graphics and

text: 3D rendering

text: , color bleeding is the phenomenon in which objects or surfaces are colored by

text: reflection

text: of colored light from nearby surfaces.

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answers: Yes

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answers: color bleeding

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answers: color

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answers: color

text: Color realism is a fine art style where accurately portrayed colors create a sense of space and form. It employs a flattening of objects into areas of color, where the modulations occur more as a result of an object interacting with the color and light of its environment than the sculptural modeling of form or presentation of textural detail. The actual color of an object, or 'local color', is held secondary to how that color interacts with surrounding light sources that may alter the look of the original color. Warm light of the sun, cool light from the sky, and warm reflected light bouncing off other objects are all examples of how a local color may be affected by its location in space.

text: Color realism is a

text: fine art

text: style where accurately portrayed colors create a sense of space and form. It employs a flattening of objects into areas of color, where the modulations occur more as a result of an object interacting with the color and light of its environment than the sculptural modeling of form or presentation of textural detail. The actual color of an object, or 'local color', is held secondary to how that color interacts with surrounding light sources that may alter the look of the original color. Warm light of the sun, cool light from the sky, and warm reflected light bouncing off other objects are all examples of how a local color may be affected by its location in space.

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answers: colors

text: Color changing inks colored magnetizable inks are prepared by including chromatic pigments of high color strength. The magnetic pigments’ strong inherent color generally reduces the spectrum of achievable shades. Generally, pigments should be used at high concentrations to ensure that sufficient magnetizable material is applied even in thin offset coats. Some magnetic pigment are best suited for colored magnetizable inks due to their lower blackness.Homogenous magnetization (no preferred orientation) is easily obtained on pigment made of spherical particles. Best results are achieved when remanence and coercive field strength are very low and the saturating magnetization is high.

text: Color changing inks

text: colored magnetizable inks are prepared by including chromatic pigments of high color strength. The magnetic pigments’ strong inherent color generally reduces the spectrum of achievable shades. Generally, pigments should be used at high concentrations to ensure that sufficient magnetizable material is applied even in thin offset coats. Some magnetic pigment are best suited for colored magnetizable inks due to their lower blackness.Homogenous magnetization (no preferred orientation) is easily obtained on pigment made of spherical particles. Best results are achieved when remanence and coercive field strength are very low and the saturating magnetization is high.

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answers: blackness

text: A Egg object could be defined such that weight and color are simple attributes as in the following

text: A Egg object could be defined such that weight and color are simple attributes as in the following

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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answers: yellow

text: Optimal object color limits:While still studying, MacAdam published in 1935 two papers on the theory of optimal object colors in which he showed the results of his calculations of the optimal object color solid raised over the CIE chromaticity diagram, using the newly established CIE standard observer and illuminant C and A data from 1932. (3, 4)

text: Optimal object color limits:While still studying, MacAdam published in 1935 two papers on the theory of optimal object colors in which he showed the results of his calculations of the optimal object

text: color solid

text: raised over the

text: CIE chromaticity diagram

text: , using the newly established

text: CIE

text: standard observer and

text: illuminant

text: C and A data from 1932. (3, 4)

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answers: tqa2:L_0836/T_4250/a2ca200a8bac21916ace9869b0aa05c0

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answers: tqa2:L_0836/T_4250/b8955e9b011ce1dd20b7909ad6af6304

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answers: tqa2:L_0836/T_4250/bdbbb71ec030f43674e5da5902dac9c7

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answers: tqa2:L_0836/T_4250/adfb03070f0655bae197669c8ac81920

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answers: tqa2:L_0836/T_4250/618fca6fd4187b2c522487d1d923f10a

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answers: tqa2:L_0836/T_4251/461b0feb4f72911f37359121c745d19e

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answers: tqa2:L_0836/T_4251/cb1bf3d6066c4cf0833f4575b67c5a91

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answers: tqa2:L_0836/T_4251/7e5f5319dee4759acdebea1e11844587

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answers: tqa2:L_0836/T_4251/2586a45c34104d32b872628df5cb95cb

answers: 0

answers: tqa2:L_0836/T_4251/40786587e70acca3f0d3545b9f542e94

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answers: tqa2:L_0836/T_4251/95f5d24b848714bf58ff3ae762ae4238

answers: 0

answers: tqa2:L_0836/T_4251/e68d6f2915c4db253e52833ae265f647

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answers: tqa2:L_0836/T_4251/b6a5df5ab7b34c7a3ad2e6d6a0e8d4b6

answers: 0

answers: tqa2:L_0836/T_4251/9fbdbd2944060fa1f0cd58d307e5be3c

answers: 0

answers: NDQ_016542

answers: 0

answers: NDQ_016543

answers: 0

answers: NDQ_016548

answers: 0

answers: NDQ_016549

answers: 0

answers: NDQ_016550

answers: 0

answers: NDQ_016551

answers: 0

answers: NDQ_016542

answers: chromaticity diagram

answers: NDQ_016543

answers: CIE

answers: NDQ_016548

answers: chromaticity diagram

answers: NDQ_016549

answers: C and A

answers: NDQ_016550

answers: C and A

answers: NDQ_016551

answers: C and A

text: |- style="text-align:center;background-color:#bbffbb"| 1 || April 3 || Yankees || 15–2 || Oakland || Johnson (1–0) || || 35,077 || 1–0 |- style="text-align:center;background-color:#ffbbbb"| 2 || April 4 || Yankees || 3–4 || Oakland || Proctor (0–1) || || 31,284 || 1–1 |- style="text-align:center;background-color:#ffbbbb"| 3 || April 5 || Yankees || 4–9 || Oakland || Wright (0–1) || || 30,165 || 1–2 |- style="text-align:center;background-color:#ffbbbb"| 4 || April 7 || Yankees || 1–4 || Angels || Chacón (0–1) || || 44,221 || 1–3 |- style="text-align:center;background-color:#ffbbbb"| 5 || April 8 || Yankees || 2–3 || Angels || Johnson (1–1) || || 44,044 || 1–4 |- style="text-align:center;background-color:#bbffbb"| 6 || April 9 || Yankees || 10–1 || Angels || Mussina (1–0) || || 44,020 || 2–4 |- style="text-align:center;background-color:#bbffbb"| 7 || April 11 || Kansas City || 7–9 || Yankees || Proctor (1–1) || Rivera (1) || 54,698 || 3–4 |- style="text-align:center;background-color:#bbffbb"| 8 || April 12 || Kansas City || 5–12 || Yankees || Chacón (1–1) || || 41,448 || 4–4  |- style="text-align:center;background-color:#bbffbb"| 9 || April 13 || Kansas City || 3–9 || Yankees || Johnson (2–1) || || 54,381 || 5–4 |- style="text-align:center;background-color:#ffbbbb"| 10 || April 14 || Yankees || 1–5 || Minnesota || Mussina (1–1) || || 30,622 || 5–5  |- style="text-align:center;background-color:#ffbbbb"| 11 || April 15 || Yankees || 5–6 || Minnesota || Rivera (0–1) || || 42,316 || 5–6 |- style="text-align:center;background-color:#bbffbb"| 12 || April 16 || Yankees || 9–3 || Minnesota || Wang (1–0) || || 22,627 || 6–6 |- style="text-align:center;background-color:#ffbbbb"| 13 || April 18 || Yankees || 5–10 || Toronto || Johnson (2–2) || || 48,776 || 6–7 |- style="text-align:center;background-color:#bbffbb"| 14 || April 19 || Yankees || 3–1 || Toronto || Mussina (2–1) || Rivera (2) || 32,886 || 7–7 |- style="text-align:center;background-color:#ffbbbb"| 15 || April 21 || Baltimore || 6–5 || Yankees || Wang (1–1) || || 51,282 || 7–8  |- style="text-align:center;background-color:#bbffbb"| 16 || April 22 || Baltimore || 1–6 || Yankees || Chacón (2–1) || || 50,872 || 8–8 |- style="text-align:center;background-color:#bbffbb"| 17 || April 23 || Baltimore || 1–7 || Yankees || Johnson (3–2) || || 47,996 || 9–8 |- style="text-align:center;background-color:#bbffbb"| 18 || April 25 || Tampa Bay || 1–9 || Yankees || Mussina (3–1) || || 36,334 || 10–8 |- style="text-align:center;background-color:#ffbbbb"| 19 || April 26 || Tampa Bay || 4–2 || Yankees || Rivera (0–2) || || 35,642 || 10–9 |- style="text-align:center;background-color:#bbffbb"| 20 || April 27 || Tampa Bay || 1–4 || Yankees || Chacón (2–1) || Rivera (3) || 45,826 || 11–9 |- style="text-align:center;background-color:#ffbbbb"| 21 || April 28 || Toronto || 7–2 || Yankees || Wright (0–2) || || 47,204 || 11–10  |- style="text-align:center;background-color:#bbffbb"| 22 || April 29 || Toronto || 6–17 || Yankees || Johnson (4–2) || || 50,119 || 12–10 |- style="text-align:center;background-color:#bbffbb"| 23 || April 30 || Toronto || 1–4 || Yankees || Mussina (4–1) || Rivera (4) || 52,954 || 13–10 |- style="text-align:center;background-color:#ffbbbb"| 24 || May 1 || Yankees || 7–3 || Boston || Small (0–1) || || 36,339 || 13–11|- style="text-align:center;background-color:#bbbbbb"| – || May 2 || Yankees || || Boston || Postponed || || || 13–11|- style="text-align:center;background-color:#bbffbb"| 25 || May 3 || Yankees || 4–2 || Tampa Bay || Farnsworth (1–0) || Rivera (5) || 17,059 || 14–11|- style="text-align:center;background-color:#bbffbb"| 26 || May 4 || Yankees || 10–5 || Tampa Bay || Johnson (5–2) || || 22,164 || 15–11 |- style="text-align:center;background-color:#bbffbb"| 27 || May 5 || Yankees || 8–7 || Texas || Mussina (5–1) || Rivera (6) || 39,002 || 16–11  |- style="text-align:center;background-color:#bbffbb"| 28 || May 6 || Yankees || 6–1 || Texas || Chacón (4–1) || || 48,634 || 17–11  |- style="text-align:center;background-color:#bbffbb"| 29 || May 7 || Yankees || 8–5 || Texas || Wang (2–1) || || 46,013 || 18–11  |- style="text-align:center;background-color:#ffbbbb"| 30 || May 9 || Boston || 14–3 || Yankees || Johnson (5–3) || || 54,688 || 18–12 |- style="text-align:center;background-color:#bbffbb"| 31 || May 10 || Boston || 3–7 || Yankees || Mussina (6–1) || || 54,769 || 19–12  |- style="text-align:center;background-color:#ffbbbb"| 32 || May 11 || Boston || 5–3 || Yankees || Villone (0–1) || || 54,956 || 19–13  |- style="text-align:center;background-color:#bbffbb"| 33 || May 12 || Oakland || 0–2 || Yankees || Wang (3–1) || Rivera (7) || 47,797 || 20–13  |- style="text-align:center;background-color:#bbffbb"| 34 || May 13 || Oakland || 3–4 || Yankees || Wright (1–2) || Farnsworth (1) || 53,907 || 21–13  |- style="text-align:center;background-color:#ffbbbb"| 35 || May 14 || Oakland || 6–1 || Yankees || Johnson (5–4) || ||  52,587 || 21–14  |- style="text-align:center;background-color:#ffbbbb"| 36 || May 15 || Texas || 4–3 || Yankees || Farnsworth (1–1) || || 41,115 || 21–15  |- style="text-align:center;background-color:#bbffbb"| 37 || May 16 || Texas || 13–14 || Yankees || Rivera (1–2) || || 40,757 || 22–15  |- style="text-align:center;background-color:#bbffbb"| 38 || May 17 || Texas || 3–4 || Yankees || Wang (4–1) || Rivera (8) || 52,547 || 23–15  |- style="text-align:center;background-color:#ffbbbb"| 39 || May 18 || Texas || 6–2 || Yankees || Wright (1–3) || || 47,194 || 23–16 |- style="text-align:center;background-color:#ffbbbb"| 40 || May 19 || Yankees || 6–7 || Mets || Rivera (1–3) || || 56,289 || 23–17  |- style="text-align:center;background-color:#bbffbb"| 41 || May 20 || Yankees || 5–4 || Mets || Rivera (2–3) || || 56,185 || 24–17  |- style="text-align:center;background-color:#ffbbbb"| 42 || May 21 || Yankees || 3–4 || Mets || Small (0–2) || || 56,205 || 24–18  |- style="text-align:center;background-color:#ffbbbb"| 43 || May 22 || Yankees || 5–9 || Boston || Wang (4–2) || || 36,342 || 24–19  |- style="text-align:center;background-color:#bbffbb"| 44 || May 23 || Yankees || 7–5 || Boston || Wright (2–3) || Rivera (9) || 36,290 || 25–19  |- style="text-align:center;background-color:#bbffbb"| 45 || May 24 || Yankees || 8–6 || Boston || Johnson (6–4) || Rivera (10) || 36,375 || 26–19  |- style="text-align:center;background-color:#ffbbbb"| 46 || May 26 || Kansas City || 7–6 || Yankees || Farnsworth (1–2) || || 48,035 || 26–20|- style="text-align:center;background-color:#bbffbb"| 47 || May 27 || Kansas City || 4–15 || Yankees || Wang (5–2) || || 54,216 || 27–20  |- style="text-align:center;background-color:#bbffbb"| 48 || May 28 || Kansas City || 5–6 || Yankees || Wright (3–3) || Rivera (11) || 54,372 || 28–20  |- style="text-align:center;background-color:#bbffbb"| 49 || May 29 || Yankees || 4–0 || Detroit || Johnson (7–4) || || 39,759 || 29–20 |- style="text-align:center;background-color:#bbffbb"| 50 || May 30 || Yankees || 11–6 || Detroit || Rivera (3–3) || || 24,765 || 30–20 |- style="text-align:center;background-color:#bbffbb"| 51 || May 31 || Yankees || 6–1 || Detroit || Mussina (7–1) || || 23,737 || 31–20 |- style="text-align:center;background-color:#ffbbbb"| 52 || June 1 || Yankees || 6–7 || Detroit || Farnsworth (1–3) || || 27,231 || 31–21|- style="text-align:center;background-color:#bbffbb"| 53 || June 2 || Yankees || 6–5 || Baltimore || Farnsworth (2–3) || || 48,168 || 32–21|- style="text-align:center;background-color:#bbffbb"| 54 || June 3 || Yankees || 6–5 || Baltimore || Proctor (2–1) || Wang (1) || 48,195 || 33–21|- style="text-align:center;background-color:#ffbbbb"| 55 || June 4 || Yankees || 4–11 || Baltimore || Small (0–3) || || 47,535 || 33–22 |- style="text-align:center;background-color:#bbffbb"| 56 || June 5 || Boston || 5–13 || Yankees || Mussina (8–1) || || 55,246 || 34–22  |- style="text-align:center;background-color:#bbffbb"| 57 || June 6 || Boston || 1–2 || Yankees || Wang (6–2) || Rivera (12) || 55,141 || 35–22  |- style="text-align:center;background-color:#bbbbbb"| – || June 7 || Boston ||  || Yankees || Postponed || || ||    35–22  |- style="text-align:center;background-color:#ffbbbb"| 58 || June 8 || Boston || 9–3 || Yankees || Wright (3–4) || || 55,225 || 35–23 |- style="text-align:center;background-color:#ffbbbb"| 59 || June 9 || Oakland || 6–5 || Yankees || Johnson (7–5) || || 53,837 || 35–24 |- style="text-align:center;background-color:#ffbbbb"| 60 || June 10 || Oakland || 5–2 || Yankees || Mussina (8–2) || || 53,779 || 35–25  |- style="text-align:center;background-color:#ffbbbb"| 61 || June 11 || Oakland || 6–5 || Yankees || Farnsworth (2–4) || || 54,570 || 35–26  |- style="text-align:center;background-color:#bbffbb"| 62 || June 13 || Cleveland || 0–1 || Yankees || Wang (7–2) || Rivera (13) || 50,365 || 36–26  |- style="text-align:center;background-color:#bbffbb"| 63 || June 14 || Cleveland || 1–6 || Yankees || Johnson (7–5)  || || 53,448 || 37–26  |- style="text-align:center;background-color:#ffbbbb"| 64 || June 15 || Cleveland || 8–4 || Yankees || Mussina (8–3) || || 54,648 || 37–27  |- style="text-align:center;background-color:#bbffbb"| 65 || June 16 || Yankees || 7–5 || Washington || Rivera (4–3) || || 44,749 || 38–27  |- style="text-align:center;background-color:#ffbbbb"| 66 || June 17 || Yankees || 9–11 || Washington || Rivera (4–4) || || 45,085 || 38–28  |- style="text-align:center;background-color:#ffbbbb"| 67 || June 18 || Yankees || 2–3 || Washington || Wang (7–3)  || || 45,157 || 38–29 |- style="text-align:center;background-color:#ffbbbb"| 68 || June 19 || Yankees || 2–4 || Philadelphia || Johnson (8–6) || || 44,747 || 38–30 |- style="text-align:center;background-color:#bbffbb"| 69 || June 20 || Yankees || 9–7 || Philadelphia || Beam (1–0) || Rivera (14) || 44,775 || 39–30  |- style="text-align:center;background-color:#bbffbb"| 70 || June 21 || Yankees || 5–0 || Philadelphia || Wright (4–4) || || 45,111 || 40–30  |- style="text-align:center;background-color:#bbffbb"| 71 || June 23 || Florida || 5–6 || Yankees || Wang (8–3) || Rivera (15) || 54,025 || 41–30  |- style="text-align:center;background-color:#bbbbbb"| – || June 24 || Florida ||  || Yankees || Postponed || || ||   41–30  |- style="text-align:center;background-color:#bbffbb"| 72 || June 25 || Florida || 1–2 || Yankees || Mussina (9–3) || Rivera (16) || 53,615 || 42–30  |- style="text-align:center;background-color:#bbffbb"| 73 || June 25 || Florida || 1–2 || Yankees || Chacón (4–2) || || 6,809 || 42–31  |- style="text-align:center;background-color:#bbffbb"| 74 || June 26 || Atlanta || 2–5 || Yankees || Johnson (9–6) || Rivera (17)|| 54,226 || 43–31|- style="text-align:center;background-color:#ffbbbb"| 75 || June 27 || Atlanta || 5–2 || Yankees || Wright (4–5) || || 53,763 || 43–32  |- style="text-align:center;background-color:#bbffbb"| 76 || June 28 || Atlanta || 3–4 || Yankees || Villone (1–1) || || 54,186 || 44–32  |- style="text-align:center;background-color:#bbffbb"| 77 || June 30 || Mets || 0–2 || Yankees || Villone (2–1) || Rivera (18) || 55,245 || 45–32 |- style="text-align:center;background-color:#ffbbbb"| 78 || July 1 || Mets || 8–3 || Yankees || Johnson (9–7) || || 55,132 || 45–33|- style="text-align:center;background-color:#bbffbb"| 79 || July 2 || Mets || 7–16 || Yankees || Villone (3–1) || || 55,212 || 46–33|- style="text-align:center;background-color:#ffbbbb"| 80 || July 3 || Yankees || 2–5 || Cleveland || Wang (8–4) ||  || 42,706 || 46–34|- style="text-align:center;background-color:#ffbbbb"| 81 || July 4 || Yankees || 1–19 || Cleveland || Chacón (4–3) || || 29,638 || 46–35 |- style="text-align:center;background-color:#bbffbb"| 82 || July 5 || Yankees || 11–3 || Cleveland || Mussina (10–3) || || 31,265 || 47–35  |- style="text-align:center;background-color:#bbffbb"| 83 || July 6 || Yankees || 10–4 || Cleveland || Johnson (10–7) || || 34,982 || 48–35  |- style="text-align:center;background-color:#bbffbb"| 84 || July 7 || Yankees || 1–0 || Tampa Bay || Wright (5–5) || Rivera (19) || 25,584 || 49–35  |- style="text-align:center;background-color:#bbffbb"| 85 || July 8 || Yankees || 5–1 || Tampa Bay || Wang (9–4) || || 34,982 || 50–35  |- style="text-align:center;background-color:#ffbbbb"| 86 || July 9 || Yankees || 5–6 || Tampa Bay || Proctor (2–2) || || 31,583 || 50–36 |- style="text-align:center;background-color:#bbffbb"| 87 || July 14 || White Sox || 5–6 || Yankees || Farnsworth (3–4) || Rivera (20) || 55,069 || 51–36  |- style="text-align:center;background-color:#bbffbb"| 88 || July 15 || White Sox || 3–14 || Yankees || Mussina (11–3) || || 55,019 || 52–36  |- style="text-align:center;background-color:#bbffbb"| 89 || July 16 || White Sox || 4–6 || Yankees || Wright (6–5) || Rivera (21) || 53,781 || 53–36 |- style="text-align:center;background-color:#bbffbb"| 90 || July 17 || Seattle || 2–4 || Yankees || Wang (10–4) || Rivera (22) || 53,444 || 54–36 |- style="text-align:center;background-color:#bbffbb"| 91 || July 18 || Seattle || 4–5 || Yankees || Proctor (3–2) || || 52,992 || 55–36|- style="text-align:center;background-color:#ffbbbb"| 92 || July 19 || Seattle || 3–2 || Yankees || Johnson (10–8) || || 54,121 || 55–37 |- style="text-align:center;background-color:#ffbbbb"| 93 || July 20 || Yankees || 4–5 || Toronto || Rivera (4–5) || || 42,336 || 55–38 |- style="text-align:center;background-color:#ffbbbb"| 94 || July 21 || Yankees || 3–7 || Toronto || Wright (6–6) || || 40,149 || 55–39  |- style="text-align:center;background-color:#bbffbb"| 95 || July 22 || Yankees || 5–4 || Toronto || Wang (11–4) || Rivera (23) || 50,014 || 56–39  |- style="text-align:center;background-color:#ffbbbb"| 96 || July 23 || Yankees || 5–13 || Toronto || Ponson (0–1) || || 42,337 || 56–40  |- style="text-align:center;background-color:#bbffbb"| 97 || July 24 || Yankees || 6–2 || Texas || Johnson (11–8) ||  || 43,206 || 57–40 |- style="text-align:center;background-color:#bbffbb"| 98 || July 25 || Yankees || 7–4 || Texas || Mussina (12–3) || Rivera (24) || 42,171 || 58–40  |- style="text-align:center;background-color:#bbffbb"| 99 || July 26 || Yankees || 8–7 || Texas || Chacón (4–3) || Rivera (25) || 43,527 || 59–40|- style="text-align:center;background-color:#bbffbb"| 100 || July 28 || Tampa Bay || 0–6 || Yankees || Wang (12–4) || || 53,979 || 60–40  |- style="text-align:center;background-color:#ffbbbb"| 101 || July 29 || Tampa Bay || 19–6 || Yankees || Johnson (11–9) || || 54,485 || 60–41|- style="text-align:center;background-color:#bbffbb"| 102 || July 30 || Tampa Bay || 2–4 || Yankees || Mussina (13–3) || Rivera (26) || 54,102 || 61–41 |- style="text-align:center;background-color:#bbffbb"| 103 || August 1 || Toronto || 1–5 || Yankees || Wright (7–6) || || 52,237 || 62–41|- style="text-align:center;background-color:#bbffbb"| 104 || August 2 || Toronto || 2–7 || Yankees || Wang (13–4) || || 54,414 || 63–41|- style="text-align:center;background-color:#bbffbb"| 105 || August 3 || Toronto || 1–8 || Yankees || Lidle (1–0) ||  || 52,156 || 64–41|- style="text-align:center;background-color:#bbffbb"| 106 || August 4 || Yankees || 5–4 || Baltimore || Proctor (4–2) || Rivera (27) || 44,840 || 65–41 |- style="text-align:center;background-color:#ffbbbb"| 107 || August 5 || Yankees || 0–5 || Baltimore || Mussina (13–4) || || 49,159 || 65–42  |- style="text-align:center;background-color:#bbffbb"| 108 || August 6 || Yankees || 6–1 || Baltimore || Wright (8–6) || Rivera (28)|| 45,563 || 66–42  |- style="text-align:center;background-color:#ffbbbb"| 109 || August 8 || Yankees || 5–6 || White Sox || Proctor (4–3) || || 39,872 || 66–43  |- style="text-align:center;background-color:#bbffbb"| 110 || August 9 || Yankees || 7–6 || White Sox || Johnson (12–9) || Rivera (29) || 39,406 || 66–44 |- style="text-align:center;background-color:#ffbbbb"| 111 || August 10 || Yankees || 4–5 || White Sox || Mussina (13–5) || || 39,289 || 67–44  |- style="text-align:center;background-color:#ffbbbb"| 112 || August 11 || Angels || 7–4 || Yankees || Lidle (1–1) || || 54,450 || 67–45|- style="text-align:center;background-color:#bbffbb"| 113 || August 12 || Angels || 2–5 || Yankees || Wright (9–6) || Rivera (30) || 54,157 || 68–45 |- style="text-align:center;background-color:#ffbbbb"| 114 || August 13 || Angels || 5–3 || Yankees || Wang (13–5) || || 54,309 || 68–46|- style="text-align:center;background-color:#bbffbb"| 115 || August 14 || Angels || 2–7 || Yankees || Johnson (13–9) || || 52,100 || 69–46  |- style="text-align:center;background-color:#bbffbb"| 116 || August 15 || Baltimore || 3–6 || Yankees || Mussina (11–3) || Rivera (31) || 52,418 || 70–46  |- style="text-align:center;background-color:#ffbbbb"| 117 || August 16 || Baltimore || 3–2 || Yankees || Proctor (5–3) || || 54,244 || 70–47 |- style="text-align:center;background-color:#ffbbbb"| 118 || August 17 || Baltimore || 12–2 || Yankees || Lidle (1–2) || || 54,333 || 70–48 |- style="text-align:center;background-color:#bbffbb"| 119 || August 18 || Yankees || 12–4 || Boston || Wang (14–5) || || 36,325 || 71–48|- style="text-align:center;background-color:#bbffbb"| 120 || August 18 || Yankees || 14–11 || Boston || Myers (1–0) || || 36,071 || 72–48|- style="text-align:center;background-color:#bbffbb"| 121 || August 19 || Yankees || 13–5 || Boston || Johnson (14–9) || || 35,738 || 73–48 |- style="text-align:center;background-color:#bbffbb"| 122 || August 20 || Yankees || 8–5 || Boston || Rivera (5–5) || || 36,155 || 74–48 |- style="text-align:center;background-color:#bbffbb"| 123 || August 21 || Yankees || 2–1 || Boston || Lidle (2–2) || Farnsworth (2) || 35,829 || 75–48 |- style="text-align:center;background-color:#ffbbbb"| 124 || August 22 || Yankees || 5–6 || Seattle || Villone (3–2) || || 42,454 || 75–49  |- style="text-align:center;background-color:#bbffbb"| 125 || August 23 || Yankees || 9–2 || Seattle || Wang (15–5) || || 41,380 || 76–49  |- style="text-align:center;background-color:#ffbbbb"| 126 || August 24 || Yankees || 2–4 || Seattle || Johnson (14–10) ||  || 44,634 || 76–50 |- style="text-align:center;background-color:#ffbbbb"| 127 || August 25 || Yankees || 5–6 || Angels || Myers (1–1) || || 44,253 || 77–51  |- style="text-align:center;background-color:#ffbbbb"| 128 || August 26 || Yankees || 7–12 || Angels || Bruney (0–1) || || 44,185 || 78–52|- style="text-align:center;background-color:#bbffbb"| 129 || August 27 || Yankees || 11–8 || Angels || Karstens (1–0) || || 44,225 || 79–52 |- style="text-align:center;background-color:#bbbbbb"| – || August 29 || Yankees || || Detroit || Postponed || || ||  79–52 |- style="text-align:center;background-color:#bbffbb"| 130 || August 30 || Yankees || 2–0 || Detroit || Wang (16–5) || Rivera (32) || 52,585 || 80–52 |- style="text-align:center;background-color:#ffbbbb"| 131 || August 30 || Yankees || 3–5 || Detroit || Proctor (5–4) || || 54,509 || 80–53|- style="text-align:center;background-color:#bbffbb"| 132 || August 31 || Yankees || 6–4 || Detroit || Johnson (15–10) || Rivera (33)|| 54,771 || 81–53|- style="text-align:center;background-color:#bbffbb"| 133 || September 1 || Minnesota || 1–8 || Yankees || Lidle (3–2) || || 54,311 || 80–53|- style="text-align:center;background-color:#ffbbbb"| 134 || September 2 || Minnesota || 6–1 || Yankees || Karstens (1–1) || || 53,220 || 80–54|- style="text-align:center;background-color:#bbffbb"| 135 || September 3 || Minnesota || 1–10 || Yankees || Rasner (1–0) ||  || 55,155 || 81–54|- style="text-align:center;background-color:#bbffbb"| 136 || September 4 || Yankees || 12–5 || Kansas City || Beam (2–0) || || 27,123 || 82–54 |- style="text-align:center;background-color:#ffbbbb"| 137 || September 5 || Yankees || 0–5 || Kansas City || Mussina (13–6) || || 25,104 || 82–55  |- style="text-align:center;background-color:#bbffbb"| 138 || September 6 || Yankees || 8–3 || Kansas City || Johnson (16–10) ||  || 16,421 || 83–55  |- style="text-align:center;background-color:#ffbbbb"| 139 || September 8 || Yankees || 4–9 || Baltimore || Lidle (3–3) || || 36,214 || 83–56  |- style="text-align:center;background-color:#bbffbb"| 140 || September 9 || Yankees || 3–2 || Baltimore || Wang (17–5) || Farnsworth (3)|| 45,827 || 84–56 |- style="text-align:center;background-color:#bbffbb"| 141 || September 10 || Yankees || 9–4 || Baltimore || Wright (10–7) || || 40,125 || 85–56|- style="text-align:center;background-color:#bbffbb"| 142 || September 11 || Yankees || 9–6 || Baltimore || Johnson (17–10) || Farnsworth (4) || 21,742 || 86–56 |- style="text-align:center;background-color:#bbffbb"| 143 || September 12 || Tampa Bay || 4–12 || Yankees || Mussina (14–6) || || 54,570 || 87–56 |- style="text-align:center;background-color:#bbffbb"| 144 || September 13 || Tampa Bay || 4–8 || Yankees || Bruney (1–1) || || 52,265 || 88–56|- style="text-align:center;background-color:#bbffbb"| 145 || September 14 || Tampa Bay || 4–7 || Yankees || Rasner (2–0) || || 51,965 || 89–56  |- style="text-align:center;background-color:#bbbbbb"| – || September 15 || Boston || || Yankees || Postponed || ||  ||    89–56  |- style="text-align:center;background-color:#ffbbbb"| 146 || September 16 || Boston || 5–2 || Yankees || Wang (17–6) || || 55,091 || 89–57  |- style="text-align:center;background-color:#bbffbb"| 147 || September 16 || Boston || 5–7 || Yankees || Proctor (6–4) || Farnsworth (5) || 55,167 || 90–57  |- style="text-align:center;background-color:#ffbbbb"| 148 || September 17 || Boston || 6–3 || Yankees || Villone (3–3) || || 55,002 || 90–58  |- style="text-align:center;background-color:#ffbbbb"| 149 || September 17 || Boston || 5–4 || Yankees || Farnsworth (3–5) || || 55,221 || 90–59|- style="text-align:center;background-color:#bbffbb"| 150 || September 18 || Yankees || 7–6 || Toronto || Rasner (3–0) || Veras (1) || 32,286 || 91–59  |- style="text-align:center;background-color:#bbffbb"| 151 || September 19 || Yankees || 6–3 || Toronto || Karstens (2–1) || Farnsworth (6) || 30,793 || 92–59 |- style="text-align:center;background-color:#ffbbbb"| 152 || September 20 || Yankees || 2–3 || Toronto || Henn (0–1) || || 33,029 || 92–60  |- style="text-align:center;background-color:#bbffbb"| 153 || September 22 || Yankees || 4–1 || Tampa Bay || Wang (18–6) || Rivera (34) || 26,337 || 93–60 |- style="text-align:center;background-color:#ffbbbb"| 154 || September 23 || Yankees || 0–8 || Tampa Bay || Johnson (17–11) || || 33,492 || 93–61  |- style="text-align:center;background-color:#ffbbbb"| 155 || September 24 || Yankees || 4–11 || Tampa Bay || Mussina (14–7) || || 31,422 || 93–62  |- style="text-align:center;background-color:#bbffbb"| 156 || September 25 || Yankees || 16–1 || Tampa Bay || Wright (11–7) || || 24,053 || 94–62  |- style="text-align:center;background-color:#bbffbb"| 157 || September 26 || Baltimore || 4–5 || Yankees || Lidle (4–3) || Proctor (1) || 53,420 || 95–62|- style="text-align:center;background-color:#bbffbb"| 158 || September 27 || Baltimore || 5–16 || Yankees || Wang (19–6) || || 53,040 || 96–62  |- style="text-align:center;background-color:#ffbbbb"| 159 || September 28 || Baltimore || 7–1 || Yankees || Rasner (3–1) || || 54,046 || 96–63  |- style="text-align:center;background-color:#bbffbb"| 160 || September 29 || Toronto || 2–7 || Yankees || Mussina (15–7) || || 52,331 || 97–63  |- style="text-align:center;background-color:#ffbbbb"| 161 || September 30 || Toronto || 6–5 || Yankees || Myers (1–2) || || 54,576 || 97–64 |- style="text-align:center;background-color:#ffbbbb"| 162 || October 1 || Toronto || 5–7 || Yankees || Farnsworth (3–6) || || 54,886 || 97–65

text: |- style="text-align:center;background-color:#bbffbb"| 1 || April 3 || Yankees || 15–2 ||

text: Oakland

text: Johnson

text: (1–0) || || 35,077 || 1–0 |- style="text-align:center;background-color:#ffbbbb"| 2 || April 4 || Yankees || 3–4 ||

text: Oakland

text: Proctor

text: (0–1) || || 31,284 || 1–1 |- style="text-align:center;background-color:#ffbbbb"| 3 || April 5 || Yankees || 4–9 ||

text: Oakland

text: Wright

text: (0–1) || || 30,165 || 1–2 |- style="text-align:center;background-color:#ffbbbb"| 4 || April 7 || Yankees || 1–4 ||

text: Angels

text: Chacón

text: (0–1) || || 44,221 || 1–3 |- style="text-align:center;background-color:#ffbbbb"| 5 || April 8 || Yankees || 2–3 ||

text: Angels

text: Johnson

text: (1–1) || || 44,044 || 1–4 |- style="text-align:center;background-color:#bbffbb"| 6 || April 9 || Yankees || 10–1 ||

text: Angels

text: Mussina

text: (1–0) || || 44,020 || 2–4 |- style="text-align:center;background-color:#bbffbb"| 7 || April 11 ||

text: Kansas City

text: || 7–9 || Yankees ||

text: Proctor

text: (1–1) ||

text: Rivera

text: (1) || 54,698 || 3–4 |- style="text-align:center;background-color:#bbffbb"| 8 || April 12 ||

text: Kansas City

text: || 5–12 || Yankees ||

text: Chacón

text: (1–1) || || 41,448 || 4–4  |- style="text-align:center;background-color:#bbffbb"| 9 || April 13 ||

text: Kansas City

text: || 3–9 || Yankees ||

text: Johnson

text: (2–1) || || 54,381 || 5–4 |- style="text-align:center;background-color:#ffbbbb"| 10 || April 14 || Yankees || 1–5 ||

text: Minnesota

text: Mussina

text: (1–1) || || 30,622 || 5–5  |- style="text-align:center;background-color:#ffbbbb"| 11 || April 15 || Yankees || 5–6 ||

text: Minnesota

text: Rivera

text: (0–1) || || 42,316 || 5–6 |- style="text-align:center;background-color:#bbffbb"| 12 || April 16 || Yankees || 9–3 ||

text: Minnesota

text: Wang

text: (1–0) || || 22,627 || 6–6 |- style="text-align:center;background-color:#ffbbbb"| 13 || April 18 || Yankees || 5–10 ||

text: Toronto

text: Johnson

text: (2–2) || || 48,776 || 6–7 |- style="text-align:center;background-color:#bbffbb"| 14 || April 19 || Yankees || 3–1 ||

text: Toronto

text: Mussina

text: (2–1) ||

text: Rivera

text: (2) || 32,886 || 7–7 |- style="text-align:center;background-color:#ffbbbb"| 15 || April 21 ||

text: Baltimore

text: || 6–5 || Yankees ||

text: Wang

text: (1–1) || || 51,282 || 7–8  |- style="text-align:center;background-color:#bbffbb"| 16 || April 22 ||

text: Baltimore

text: || 1–6 || Yankees ||

text: Chacón

text: (2–1) || || 50,872 || 8–8 |- style="text-align:center;background-color:#bbffbb"| 17 || April 23 ||

text: Baltimore

text: || 1–7 || Yankees ||

text: Johnson

text: (3–2) || || 47,996 || 9–8 |- style="text-align:center;background-color:#bbffbb"| 18 || April 25 ||

text: Tampa Bay

text: || 1–9 || Yankees ||

text: Mussina

text: (3–1) || || 36,334 || 10–8 |- style="text-align:center;background-color:#ffbbbb"| 19 || April 26 ||

text: Tampa Bay

text: || 4–2 || Yankees ||

text: Rivera

text: (0–2) || || 35,642 || 10–9 |- style="text-align:center;background-color:#bbffbb"| 20 || April 27 ||

text: Tampa Bay

text: || 1–4 || Yankees ||

text: Chacón

text: (2–1) ||

text: Rivera

text: (3) || 45,826 || 11–9 |- style="text-align:center;background-color:#ffbbbb"| 21 || April 28 ||

text: Toronto

text: || 7–2 || Yankees ||

text: Wright

text: (0–2) || || 47,204 || 11–10  |- style="text-align:center;background-color:#bbffbb"| 22 || April 29 ||

text: Toronto

text: || 6–17 || Yankees ||

text: Johnson

text: (4–2) || || 50,119 || 12–10 |- style="text-align:center;background-color:#bbffbb"| 23 || April 30 ||

text: Toronto

text: || 1–4 || Yankees ||

text: Mussina

text: (4–1) ||

text: Rivera

text: (4) || 52,954 || 13–10 |- style="text-align:center;background-color:#ffbbbb"| 24 || May 1 || Yankees || 7–3 ||

text: Boston

text: Small

text: (0–1) || || 36,339 || 13–11|- style="text-align:center;background-color:#bbbbbb"| – || May 2 || Yankees || ||

text: Boston

text: || Postponed || || || 13–11|- style="text-align:center;background-color:#bbffbb"| 25 || May 3 || Yankees || 4–2 ||

text: Tampa Bay

text: Farnsworth

text: (1–0) ||

text: Rivera

text: (5) || 17,059 || 14–11|- style="text-align:center;background-color:#bbffbb"| 26 || May 4 || Yankees || 10–5 ||

text: Tampa Bay

text: Johnson

text: (5–2) || || 22,164 || 15–11 |- style="text-align:center;background-color:#bbffbb"| 27 || May 5 || Yankees || 8–7 ||

text: Texas

text: Mussina

text: (5–1) ||

text: Rivera

text: (6) || 39,002 || 16–11  |- style="text-align:center;background-color:#bbffbb"| 28 || May 6 || Yankees || 6–1 ||

text: Texas

text: Chacón

text: (4–1) || || 48,634 || 17–11  |- style="text-align:center;background-color:#bbffbb"| 29 || May 7 || Yankees || 8–5 ||

text: Texas

text: Wang

text: (2–1) || || 46,013 || 18–11  |- style="text-align:center;background-color:#ffbbbb"| 30 || May 9 ||

text: Boston

text: || 14–3 || Yankees ||

text: Johnson

text: (5–3) || || 54,688 || 18–12 |- style="text-align:center;background-color:#bbffbb"| 31 || May 10 ||

text: Boston

text: || 3–7 || Yankees ||

text: Mussina

text: (6–1) || || 54,769 || 19–12  |- style="text-align:center;background-color:#ffbbbb"| 32 || May 11 ||

text: Boston

text: || 5–3 || Yankees ||

text: Villone

text: (0–1) || || 54,956 || 19–13  |- style="text-align:center;background-color:#bbffbb"| 33 || May 12 ||

text: Oakland

text: || 0–2 || Yankees ||

text: Wang

text: (3–1) ||

text: Rivera

text: (7) || 47,797 || 20–13  |- style="text-align:center;background-color:#bbffbb"| 34 || May 13 ||

text: Oakland

text: || 3–4 || Yankees ||

text: Wright

text: (1–2) ||

text: Farnsworth

text: (1) || 53,907 || 21–13  |- style="text-align:center;background-color:#ffbbbb"| 35 || May 14 ||

text: Oakland

text: || 6–1 || Yankees ||

text: Johnson

text: (5–4) || ||  52,587 || 21–14  |- style="text-align:center;background-color:#ffbbbb"| 36 || May 15 ||

text: Texas

text: || 4–3 || Yankees ||

text: Farnsworth

text: (1–1) || || 41,115 || 21–15  |- style="text-align:center;background-color:#bbffbb"| 37 || May 16 ||

text: Texas

text: || 13–14 || Yankees ||

text: Rivera

text: (1–2) || || 40,757 || 22–15  |- style="text-align:center;background-color:#bbffbb"| 38 || May 17 ||

text: Texas

text: || 3–4 || Yankees ||

text: Wang

text: (4–1) ||

text: Rivera

text: (8) || 52,547 || 23–15  |- style="text-align:center;background-color:#ffbbbb"| 39 || May 18 ||

text: Texas

text: || 6–2 || Yankees ||

text: Wright

text: (1–3) || || 47,194 || 23–16 |- style="text-align:center;background-color:#ffbbbb"| 40 || May 19 || Yankees || 6–7 ||

text: Mets

text: Rivera

text: (1–3) || || 56,289 || 23–17  |- style="text-align:center;background-color:#bbffbb"| 41 || May 20 || Yankees || 5–4 ||

text: Mets

text: Rivera

text: (2–3) || || 56,185 || 24–17  |- style="text-align:center;background-color:#ffbbbb"| 42 || May 21 || Yankees || 3–4 ||

text: Mets

text: Small

text: (0–2) || || 56,205 || 24–18  |- style="text-align:center;background-color:#ffbbbb"| 43 || May 22 || Yankees || 5–9 ||

text: Boston

text: Wang

text: (4–2) || || 36,342 || 24–19  |- style="text-align:center;background-color:#bbffbb"| 44 || May 23 || Yankees || 7–5 ||

text: Boston

text: Wright

text: (2–3) ||

text: Rivera

text: (9) || 36,290 || 25–19  |- style="text-align:center;background-color:#bbffbb"| 45 || May 24 || Yankees || 8–6 ||

text: Boston

text: Johnson

text: (6–4) ||

text: Rivera

text: (10) || 36,375 || 26–19  |- style="text-align:center;background-color:#ffbbbb"| 46 || May 26 ||

text: Kansas City

text: || 7–6 || Yankees ||

text: Farnsworth

text: (1–2) || || 48,035 || 26–20|- style="text-align:center;background-color:#bbffbb"| 47 || May 27 ||

text: Kansas City

text: || 4–15 || Yankees ||

text: Wang

text: (5–2) || || 54,216 || 27–20  |- style="text-align:center;background-color:#bbffbb"| 48 || May 28 ||

text: Kansas City

text: || 5–6 || Yankees ||

text: Wright

text: (3–3) ||

text: Rivera

text: (11) || 54,372 || 28–20  |- style="text-align:center;background-color:#bbffbb"| 49 || May 29 || Yankees || 4–0 ||

text: Detroit

text: Johnson

text: (7–4) || || 39,759 || 29–20 |- style="text-align:center;background-color:#bbffbb"| 50 || May 30 || Yankees || 11–6 ||

text: Detroit

text: Rivera

text: (3–3) || || 24,765 || 30–20 |- style="text-align:center;background-color:#bbffbb"| 51 || May 31 || Yankees || 6–1 ||

text: Detroit

text: Mussina

text: (7–1) || || 23,737 || 31–20 |- style="text-align:center;background-color:#ffbbbb"| 52 || June 1 || Yankees || 6–7 ||

text: Detroit

text: Farnsworth

text: (1–3) || || 27,231 || 31–21|- style="text-align:center;background-color:#bbffbb"| 53 || June 2 || Yankees || 6–5 ||

text: Baltimore

text: Farnsworth

text: (2–3) || || 48,168 || 32–21|- style="text-align:center;background-color:#bbffbb"| 54 || June 3 || Yankees || 6–5 ||

text: Baltimore

text: Proctor

text: (2–1) ||

text: Wang

text: (1) || 48,195 || 33–21|- style="text-align:center;background-color:#ffbbbb"| 55 || June 4 || Yankees || 4–11 ||

text: Baltimore

text: Small

text: (0–3) || || 47,535 || 33–22 |- style="text-align:center;background-color:#bbffbb"| 56 || June 5 ||

text: Boston

text: || 5–13 || Yankees ||

text: Mussina

text: (8–1) || || 55,246 || 34–22  |- style="text-align:center;background-color:#bbffbb"| 57 || June 6 ||

text: Boston

text: || 1–2 || Yankees ||

text: Wang

text: (6–2) ||

text: Rivera

text: (12) || 55,141 || 35–22  |- style="text-align:center;background-color:#bbbbbb"| – || June 7 ||

text: Boston

text: ||  || Yankees || Postponed || || ||    35–22  |- style="text-align:center;background-color:#ffbbbb"| 58 || June 8 ||

text: Boston

text: || 9–3 || Yankees ||

text: Wright

text: (3–4) || || 55,225 || 35–23 |- style="text-align:center;background-color:#ffbbbb"| 59 || June 9 ||

text: Oakland

text: || 6–5 || Yankees ||

text: Johnson

text: (7–5) || || 53,837 || 35–24 |- style="text-align:center;background-color:#ffbbbb"| 60 || June 10 ||

text: Oakland

text: || 5–2 || Yankees ||

text: Mussina

text: (8–2) || || 53,779 || 35–25  |- style="text-align:center;background-color:#ffbbbb"| 61 || June 11 ||

text: Oakland

text: || 6–5 || Yankees ||

text: Farnsworth

text: (2–4) || || 54,570 || 35–26  |- style="text-align:center;background-color:#bbffbb"| 62 || June 13 ||

text: Cleveland

text: || 0–1 || Yankees ||

text: Wang

text: (7–2) ||

text: Rivera

text: (13) || 50,365 || 36–26  |- style="text-align:center;background-color:#bbffbb"| 63 || June 14 ||

text: Cleveland

text: || 1–6 || Yankees ||

text: Johnson

text: (7–5)  || || 53,448 || 37–26  |- style="text-align:center;background-color:#ffbbbb"| 64 || June 15 ||

text: Cleveland

text: || 8–4 || Yankees ||

text: Mussina

text: (8–3) || || 54,648 || 37–27  |- style="text-align:center;background-color:#bbffbb"| 65 || June 16 || Yankees || 7–5 ||

text: Washington

text: Rivera

text: (4–3) || || 44,749 || 38–27  |- style="text-align:center;background-color:#ffbbbb"| 66 || June 17 || Yankees || 9–11 ||

text: Washington

text: Rivera

text: (4–4) || || 45,085 || 38–28  |- style="text-align:center;background-color:#ffbbbb"| 67 || June 18 || Yankees || 2–3 ||

text: Washington

text: Wang

text: (7–3)  || || 45,157 || 38–29 |- style="text-align:center;background-color:#ffbbbb"| 68 || June 19 || Yankees || 2–4 ||

text: Philadelphia

text: Johnson

text: (8–6) || || 44,747 || 38–30 |- style="text-align:center;background-color:#bbffbb"| 69 || June 20 || Yankees || 9–7 ||

text: Philadelphia

text: Beam

text: (1–0) ||

text: Rivera

text: (14) || 44,775 || 39–30  |- style="text-align:center;background-color:#bbffbb"| 70 || June 21 || Yankees || 5–0 ||

text: Philadelphia

text: Wright

text: (4–4) || || 45,111 || 40–30  |- style="text-align:center;background-color:#bbffbb"| 71 || June 23 ||

text: Florida

text: || 5–6 || Yankees ||

text: Wang

text: (8–3) ||

text: Rivera

text: (15) || 54,025 || 41–30  |- style="text-align:center;background-color:#bbbbbb"| – || June 24 ||

text: Florida

text: ||  || Yankees || Postponed || || ||   41–30  |- style="text-align:center;background-color:#bbffbb"| 72 || June 25 ||

text: Florida

text: || 1–2 || Yankees ||

text: Mussina

text: (9–3) ||

text: Rivera

text: (16) || 53,615 || 42–30  |- style="text-align:center;background-color:#bbffbb"| 73 || June 25 ||

text: Florida

text: || 1–2 || Yankees ||

text: Chacón

text: (4–2) || || 6,809 || 42–31  |- style="text-align:center;background-color:#bbffbb"| 74 || June 26 ||

text: Atlanta

text: || 2–5 || Yankees ||

text: Johnson

text: (9–6) ||

text: Rivera

text: (17)|| 54,226 || 43–31|- style="text-align:center;background-color:#ffbbbb"| 75 || June 27 ||

text: Atlanta

text: || 5–2 || Yankees ||

text: Wright

text: (4–5) || || 53,763 || 43–32  |- style="text-align:center;background-color:#bbffbb"| 76 || June 28 ||

text: Atlanta

text: || 3–4 || Yankees ||

text: Villone

text: (1–1) || || 54,186 || 44–32  |- style="text-align:center;background-color:#bbffbb"| 77 || June 30 ||

text: Mets

text: || 0–2 || Yankees ||

text: Villone

text: (2–1) ||

text: Rivera

text: (18) || 55,245 || 45–32 |- style="text-align:center;background-color:#ffbbbb"| 78 || July 1 ||

text: Mets

text: || 8–3 || Yankees ||

text: Johnson

text: (9–7) || || 55,132 || 45–33|- style="text-align:center;background-color:#bbffbb"| 79 || July 2 ||

text: Mets

text: || 7–16 || Yankees ||

text: Villone

text: (3–1) || || 55,212 || 46–33|- style="text-align:center;background-color:#ffbbbb"| 80 || July 3 || Yankees || 2–5 ||

text: Cleveland

text: Wang

text: (8–4) ||  || 42,706 || 46–34|- style="text-align:center;background-color:#ffbbbb"| 81 || July 4 || Yankees || 1–19 ||

text: Cleveland

text: Chacón

text: (4–3) || || 29,638 || 46–35 |- style="text-align:center;background-color:#bbffbb"| 82 || July 5 || Yankees || 11–3 ||

text: Cleveland

text: Mussina

text: (10–3) || || 31,265 || 47–35  |- style="text-align:center;background-color:#bbffbb"| 83 || July 6 || Yankees || 10–4 ||

text: Cleveland

text: Johnson

text: (10–7) || || 34,982 || 48–35  |- style="text-align:center;background-color:#bbffbb"| 84 || July 7 || Yankees || 1–0 ||

text: Tampa Bay

text: Wright

text: (5–5) ||

text: Rivera

text: (19) || 25,584 || 49–35  |- style="text-align:center;background-color:#bbffbb"| 85 || July 8 || Yankees || 5–1 ||

text: Tampa Bay

text: Wang

text: (9–4) || || 34,982 || 50–35  |- style="text-align:center;background-color:#ffbbbb"| 86 || July 9 || Yankees || 5–6 ||

text: Tampa Bay

text: Proctor

text: (2–2) || || 31,583 || 50–36 |- style="text-align:center;background-color:#bbffbb"| 87 || July 14 ||

text: White Sox

text: || 5–6 || Yankees ||

text: Farnsworth

text: (3–4) ||

text: Rivera

text: (20) || 55,069 || 51–36  |- style="text-align:center;background-color:#bbffbb"| 88 || July 15 ||

text: White Sox

text: || 3–14 || Yankees ||

text: Mussina

text: (11–3) || || 55,019 || 52–36  |- style="text-align:center;background-color:#bbffbb"| 89 || July 16 ||

text: White Sox

text: || 4–6 || Yankees ||

text: Wright

text: (6–5) ||

text: Rivera

text: (21) || 53,781 || 53–36 |- style="text-align:center;background-color:#bbffbb"| 90 || July 17 ||

text: Seattle

text: || 2–4 || Yankees ||

text: Wang

text: (10–4) ||

text: Rivera

text: (22) || 53,444 || 54–36 |- style="text-align:center;background-color:#bbffbb"| 91 || July 18 ||

text: Seattle

text: || 4–5 || Yankees ||

text: Proctor

text: (3–2) || || 52,992 || 55–36|- style="text-align:center;background-color:#ffbbbb"| 92 || July 19 ||

text: Seattle

text: || 3–2 || Yankees ||

text: Johnson

text: (10–8) || || 54,121 || 55–37 |- style="text-align:center;background-color:#ffbbbb"| 93 || July 20 || Yankees || 4–5 ||

text: Toronto

text: Rivera

text: (4–5) || || 42,336 || 55–38 |- style="text-align:center;background-color:#ffbbbb"| 94 || July 21 || Yankees || 3–7 ||

text: Toronto

text: Wright

text: (6–6) || || 40,149 || 55–39  |- style="text-align:center;background-color:#bbffbb"| 95 || July 22 || Yankees || 5–4 ||

text: Toronto

text: Wang

text: (11–4) ||

text: Rivera

text: (23) || 50,014 || 56–39  |- style="text-align:center;background-color:#ffbbbb"| 96 || July 23 || Yankees || 5–13 ||

text: Toronto

text: Ponson

text: (0–1) || || 42,337 || 56–40  |- style="text-align:center;background-color:#bbffbb"| 97 || July 24 || Yankees || 6–2 ||

text: Texas

text: Johnson

text: (11–8) ||  || 43,206 || 57–40 |- style="text-align:center;background-color:#bbffbb"| 98 || July 25 || Yankees || 7–4 ||

text: Texas

text: Mussina

text: (12–3) ||

text: Rivera

text: (24) || 42,171 || 58–40  |- style="text-align:center;background-color:#bbffbb"| 99 || July 26 || Yankees || 8–7 ||

text: Texas

text: Chacón

text: (4–3) ||

text: Rivera

text: (25) || 43,527 || 59–40|- style="text-align:center;background-color:#bbffbb"| 100 || July 28 ||

text: Tampa Bay

text: || 0–6 || Yankees ||

text: Wang

text: (12–4) || || 53,979 || 60–40  |- style="text-align:center;background-color:#ffbbbb"| 101 || July 29 ||

text: Tampa Bay

text: || 19–6 || Yankees ||

text: Johnson

text: (11–9) || || 54,485 || 60–41|- style="text-align:center;background-color:#bbffbb"| 102 || July 30 ||

text: Tampa Bay

text: || 2–4 || Yankees ||

text: Mussina

text: (13–3) ||

text: Rivera

text: (26) || 54,102 || 61–41 |- style="text-align:center;background-color:#bbffbb"| 103 || August 1 ||

text: Toronto

text: || 1–5 || Yankees ||

text: Wright

text: (7–6) || || 52,237 || 62–41|- style="text-align:center;background-color:#bbffbb"| 104 || August 2 ||

text: Toronto

text: || 2–7 || Yankees ||

text: Wang

text: (13–4) || || 54,414 || 63–41|- style="text-align:center;background-color:#bbffbb"| 105 || August 3 ||

text: Toronto

text: || 1–8 || Yankees ||

text: Lidle

text: (1–0) ||  || 52,156 || 64–41|- style="text-align:center;background-color:#bbffbb"| 106 || August 4 || Yankees || 5–4 ||

text: Baltimore

text: Proctor

text: (4–2) ||

text: Rivera

text: (27) || 44,840 || 65–41 |- style="text-align:center;background-color:#ffbbbb"| 107 || August 5 || Yankees || 0–5 ||

text: Baltimore

text: Mussina

text: (13–4) || || 49,159 || 65–42  |- style="text-align:center;background-color:#bbffbb"| 108 || August 6 || Yankees || 6–1 ||

text: Baltimore

text: Wright

text: (8–6) ||

text: Rivera

text: (28)|| 45,563 || 66–42  |- style="text-align:center;background-color:#ffbbbb"| 109 || August 8 || Yankees || 5–6 ||

text: White Sox

text: Proctor

text: (4–3) || || 39,872 || 66–43  |- style="text-align:center;background-color:#bbffbb"| 110 || August 9 || Yankees || 7–6 ||

text: White Sox

text: Johnson

text: (12–9) ||

text: Rivera

text: (29) || 39,406 || 66–44 |- style="text-align:center;background-color:#ffbbbb"| 111 || August 10 || Yankees || 4–5 ||

text: White Sox

text: Mussina

text: (13–5) || || 39,289 || 67–44  |- style="text-align:center;background-color:#ffbbbb"| 112 || August 11 ||

text: Angels

text: || 7–4 || Yankees ||

text: Lidle

text: (1–1) || || 54,450 || 67–45|- style="text-align:center;background-color:#bbffbb"| 113 || August 12 ||

text: Angels

text: || 2–5 || Yankees ||

text: Wright

text: (9–6) ||

text: Rivera

text: (30) || 54,157 || 68–45 |- style="text-align:center;background-color:#ffbbbb"| 114 || August 13 ||

text: Angels

text: || 5–3 || Yankees ||

text: Wang

text: (13–5) || || 54,309 || 68–46|- style="text-align:center;background-color:#bbffbb"| 115 || August 14 ||

text: Angels

text: || 2–7 || Yankees ||

text: Johnson

text: (13–9) || || 52,100 || 69–46  |- style="text-align:center;background-color:#bbffbb"| 116 || August 15 ||

text: Baltimore

text: || 3–6 || Yankees ||

text: Mussina

text: (11–3) ||

text: Rivera

text: (31) || 52,418 || 70–46  |- style="text-align:center;background-color:#ffbbbb"| 117 || August 16 ||

text: Baltimore

text: || 3–2 || Yankees ||

text: Proctor

text: (5–3) || || 54,244 || 70–47 |- style="text-align:center;background-color:#ffbbbb"| 118 || August 17 ||

text: Baltimore

text: || 12–2 || Yankees ||

text: Lidle

text: (1–2) || || 54,333 || 70–48 |- style="text-align:center;background-color:#bbffbb"| 119 || August 18 || Yankees || 12–4 ||

text: Boston

text: Wang

text: (14–5) || || 36,325 || 71–48|- style="text-align:center;background-color:#bbffbb"| 120 || August 18 || Yankees || 14–11 ||

text: Boston

text: Myers

text: (1–0) || || 36,071 || 72–48|- style="text-align:center;background-color:#bbffbb"| 121 || August 19 || Yankees || 13–5 ||

text: Boston

text: Johnson

text: (14–9) || || 35,738 || 73–48 |- style="text-align:center;background-color:#bbffbb"| 122 || August 20 || Yankees || 8–5 ||

text: Boston

text: Rivera

text: (5–5) || || 36,155 || 74–48 |- style="text-align:center;background-color:#bbffbb"| 123 || August 21 || Yankees || 2–1 ||

text: Boston

text: Lidle

text: (2–2) ||

text: Farnsworth

text: (2) || 35,829 || 75–48 |- style="text-align:center;background-color:#ffbbbb"| 124 || August 22 || Yankees || 5–6 ||

text: Seattle

text: Villone

text: (3–2) || || 42,454 || 75–49  |- style="text-align:center;background-color:#bbffbb"| 125 || August 23 || Yankees || 9–2 ||

text: Seattle

text: Wang

text: (15–5) || || 41,380 || 76–49  |- style="text-align:center;background-color:#ffbbbb"| 126 || August 24 || Yankees || 2–4 ||

text: Seattle

text: Johnson

text: (14–10) ||  || 44,634 || 76–50 |- style="text-align:center;background-color:#ffbbbb"| 127 || August 25 || Yankees || 5–6 ||

text: Angels

text: Myers

text: (1–1) || || 44,253 || 77–51  |- style="text-align:center;background-color:#ffbbbb"| 128 || August 26 || Yankees || 7–12 ||

text: Angels

text: Bruney

text: (0–1) || || 44,185 || 78–52|- style="text-align:center;background-color:#bbffbb"| 129 || August 27 || Yankees || 11–8 ||

text: Angels

text: Karstens

text: (1–0) || || 44,225 || 79–52 |- style="text-align:center;background-color:#bbbbbb"| – || August 29 || Yankees || ||

text: Detroit

text: || Postponed || || ||  79–52 |- style="text-align:center;background-color:#bbffbb"| 130 || August 30 || Yankees || 2–0 ||

text: Detroit

text: Wang

text: (16–5) ||

text: Rivera

text: (32) || 52,585 || 80–52 |- style="text-align:center;background-color:#ffbbbb"| 131 || August 30 || Yankees || 3–5 ||

text: Detroit

text: Proctor

text: (5–4) || || 54,509 || 80–53|- style="text-align:center;background-color:#bbffbb"| 132 || August 31 || Yankees || 6–4 ||

text: Detroit

text: Johnson

text: (15–10) ||

text: Rivera

text: (33)|| 54,771 || 81–53|- style="text-align:center;background-color:#bbffbb"| 133 || September 1 ||

text: Minnesota

text: || 1–8 || Yankees ||

text: Lidle

text: (3–2) || || 54,311 || 80–53|- style="text-align:center;background-color:#ffbbbb"| 134 || September 2 ||

text: Minnesota

text: || 6–1 || Yankees ||

text: Karstens

text: (1–1) || || 53,220 || 80–54|- style="text-align:center;background-color:#bbffbb"| 135 || September 3 ||

text: Minnesota

text: || 1–10 || Yankees ||

text: Rasner

text: (1–0) ||  || 55,155 || 81–54|- style="text-align:center;background-color:#bbffbb"| 136 || September 4 || Yankees || 12–5 ||

text: Kansas City

text: Beam

text: (2–0) || || 27,123 || 82–54 |- style="text-align:center;background-color:#ffbbbb"| 137 || September 5 || Yankees || 0–5 ||

text: Kansas City

text: Mussina

text: (13–6) || || 25,104 || 82–55  |- style="text-align:center;background-color:#bbffbb"| 138 || September 6 || Yankees || 8–3 ||

text: Kansas City

text: Johnson

text: (16–10) ||  || 16,421 || 83–55  |- style="text-align:center;background-color:#ffbbbb"| 139 || September 8 || Yankees || 4–9 ||

text: Baltimore

text: Lidle

text: (3–3) || || 36,214 || 83–56  |- style="text-align:center;background-color:#bbffbb"| 140 || September 9 || Yankees || 3–2 ||

text: Baltimore

text: Wang

text: (17–5) ||

text: Farnsworth

text: (3)|| 45,827 || 84–56 |- style="text-align:center;background-color:#bbffbb"| 141 || September 10 || Yankees || 9–4 ||

text: Baltimore

text: Wright

text: (10–7) || || 40,125 || 85–56|- style="text-align:center;background-color:#bbffbb"| 142 || September 11 || Yankees || 9–6 ||

text: Baltimore

text: Johnson

text: (17–10) ||

text: Farnsworth

text: (4) || 21,742 || 86–56 |- style="text-align:center;background-color:#bbffbb"| 143 || September 12 ||

text: Tampa Bay

text: || 4–12 || Yankees ||

text: Mussina

text: (14–6) || || 54,570 || 87–56 |- style="text-align:center;background-color:#bbffbb"| 144 || September 13 ||

text: Tampa Bay

text: || 4–8 || Yankees ||

text: Bruney

text: (1–1) || || 52,265 || 88–56|- style="text-align:center;background-color:#bbffbb"| 145 || September 14 ||

text: Tampa Bay

text: || 4–7 || Yankees ||

text: Rasner

text: (2–0) || || 51,965 || 89–56  |- style="text-align:center;background-color:#bbbbbb"| – || September 15 ||

text: Boston

text: || || Yankees || Postponed || ||  ||    89–56  |- style="text-align:center;background-color:#ffbbbb"| 146 || September 16 ||

text: Boston

text: || 5–2 || Yankees ||

text: Wang

text: (17–6) || || 55,091 || 89–57  |- style="text-align:center;background-color:#bbffbb"| 147 || September 16 ||

text: Boston

text: || 5–7 || Yankees ||

text: Proctor

text: (6–4) ||

text: Farnsworth

text: (5) || 55,167 || 90–57  |- style="text-align:center;background-color:#ffbbbb"| 148 || September 17 ||

text: Boston

text: || 6–3 || Yankees ||

text: Villone

text: (3–3) || || 55,002 || 90–58  |- style="text-align:center;background-color:#ffbbbb"| 149 || September 17 ||

text: Boston

text: || 5–4 || Yankees ||

text: Farnsworth

text: (3–5) || || 55,221 || 90–59|- style="text-align:center;background-color:#bbffbb"| 150 || September 18 || Yankees || 7–6 ||

text: Toronto

text: Rasner

text: (3–0) ||

text: Veras

text: (1) || 32,286 || 91–59  |- style="text-align:center;background-color:#bbffbb"| 151 || September 19 || Yankees || 6–3 ||

text: Toronto

text: Karstens

text: (2–1) ||

text: Farnsworth

text: (6) || 30,793 || 92–59 |- style="text-align:center;background-color:#ffbbbb"| 152 || September 20 || Yankees || 2–3 ||

text: Toronto

text: Henn

text: (0–1) || || 33,029 || 92–60  |- style="text-align:center;background-color:#bbffbb"| 153 || September 22 || Yankees || 4–1 ||

text: Tampa Bay

text: Wang

text: (18–6) ||

text: Rivera

text: (34) || 26,337 || 93–60 |- style="text-align:center;background-color:#ffbbbb"| 154 || September 23 || Yankees || 0–8 ||

text: Tampa Bay

text: Johnson

text: (17–11) || || 33,492 || 93–61  |- style="text-align:center;background-color:#ffbbbb"| 155 || September 24 || Yankees || 4–11 ||

text: Tampa Bay

text: Mussina

text: (14–7) || || 31,422 || 93–62  |- style="text-align:center;background-color:#bbffbb"| 156 || September 25 || Yankees || 16–1 ||

text: Tampa Bay

text: Wright

text: (11–7) || || 24,053 || 94–62  |- style="text-align:center;background-color:#bbffbb"| 157 || September 26 ||

text: Baltimore

text: || 4–5 || Yankees ||

text: Lidle

text: (4–3) ||

text: Proctor

text: (1) || 53,420 || 95–62|- style="text-align:center;background-color:#bbffbb"| 158 || September 27 ||

text: Baltimore

text: || 5–16 || Yankees ||

text: Wang

text: (19–6) || || 53,040 || 96–62  |- style="text-align:center;background-color:#ffbbbb"| 159 || September 28 ||

text: Baltimore

text: || 7–1 || Yankees ||

text: Rasner

text: (3–1) || || 54,046 || 96–63  |- style="text-align:center;background-color:#bbffbb"| 160 || September 29 ||

text: Toronto

text: || 2–7 || Yankees ||

text: Mussina

text: (15–7) || || 52,331 || 97–63  |- style="text-align:center;background-color:#ffbbbb"| 161 || September 30 ||

text: Toronto

text: || 6–5 || Yankees ||

text: Myers

text: (1–2) || || 54,576 || 97–64 |- style="text-align:center;background-color:#ffbbbb"| 162 || October 1 ||

text: Toronto

text: || 5–7 || Yankees ||

text: Farnsworth

text: (3–6) || || 54,886 || 97–65

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answers: NDQ_016542

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answers: a rainbow includes all the colors of visible light.

answers: NDQ_016543

answers: The Yankees beat the Angels 7–9 on April 11.

answers: NDQ_016548

answers: The leaves appear green because they are green.

answers: NDQ_016549

answers: if only blue light strikes green leaves, the leaves appear blue

answers: NDQ_016550

answers: #bbffbb

answers: NDQ_016551

answers: #bbffbb

text: To perform digital colorization, a digitized copy of the best monochrome film print available is needed. Technicians, with the aid of computer software, associate a range of gray levels to each object, and indicate to the computer any movement of the objects within a shot. The software also is capable of sensing variations in the light level from frame to frame and correcting it if necessary. The technician selects a color for each object based on (1) common "memory" colors such as blue sky, white clouds, flesh tones and green grass, and (2) based on any known information about the movie. For example, if there are color publicity photos or props from the movie available to examine, authentic colors may be applied. (3) In the absence of any better information, the technician chooses a color that fits the gray level and that the technician feels is consistent with what a director might have chosen for the scene. The computer software then associates a variation of the basic color with each gray level in the object, while keeping intensity levels the same as in the monochrome original. The software then follows each object from frame to frame, applying the same color until the object leaves the frame. As new objects come into the frame, the technician must associate colors to each new object in the same way as described above. This technique was patented in 1991.

text: To perform digital colorization, a digitized copy of the best

text: monochrome

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text: Wax with colorful pigments added has been used as a medium in encaustic painting, and is used today in the manufacture of crayons, china markers and colored pencils.  Carbon paper, used for making duplicate typewritten documents was coated with carbon black suspended in wax, typically montan wax, but has largely been superseded by photocopiers and computer printers.  In another context, lipstick and mascara are blends of various fats and waxes colored with pigments, and both beeswax and lanolin are used in other cosmetics.  Ski wax is used in skiing and snowboarding.  Also, the sports of surfing and skateboarding often use wax to enhance the performance.

text: Wax with colorful pigments added has been used as a medium in

text: encaustic painting

text: , and is used today in the manufacture of

text: crayon

text: s,

text: china markers

text: and colored

text: pencil

text: s.

text: Carbon paper

text: , used for making duplicate

text: typewritten

text: documents was coated with

text: carbon black

text: suspended in wax, typically

text: montan wax

text: , but has largely been superseded by

text: photocopier

text: s and

text: computer printer

text: s.  In another context,

text: lipstick

text: and

text: mascara

text: are blends of various fats and waxes colored with pigments, and both

text: beeswax

text: and

text: lanolin

text: are used in other

text: cosmetics

text: Ski wax

text: is used in

text: skiing

text: and

text: snowboarding

text: .  Also, the sports of surfing and

text: skateboarding

text: often use wax to enhance the performance.

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text: Before the Industrial Revolution, many pigments were known by the location where they were produced. Pigments based on minerals and clays often bore the name of the city or region where they were mined. Raw Sienna and Burnt Sienna came from Siena, Italy, while Raw Umber and Burnt Umber came from Umbria. These pigments were among the easiest to synthesize, and chemists created modern colors based on the originals that were more consistent than colors mined from the original ore bodies. But the place names remained.

text: Before the

text: Industrial Revolution

text: , many pigments were known by the location where they were produced. Pigments based on minerals and clays often bore the name of the city or region where they were mined.

text: Raw Sienna

text: and

text: Burnt Sienna

text: came from

text: Siena

text: Italy

text: , while

text: Raw Umber

text: and

text: Burnt Umber

text: came from

text: Umbria

text: . These pigments were among the easiest to synthesize, and chemists created modern colors based on the originals that were more consistent than colors mined from the original ore bodies. But the place names remained.

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text: Smoothness is a measure of how similar colors that are close together are.  There is an assumption that objects are more likely to be colored with a small number of colors.  So if we detect two pixels with the same color they most likely belong to the same object.

text: Smoothness is a measure of how similar colors that are close together are.  There is an assumption that objects are more likely to be colored with a small number of colors.  So if we detect two pixels with the same color they most likely belong to the same object.

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text: Historically and culturally, many famous natural pigments have been replaced with synthetic pigments, while retaining historic names. In some cases, the original color name has shifted in meaning, as a historic name has been applied to a popular modern color. By convention, a contemporary mixture of pigments that replaces a historical pigment is indicated by calling the resulting color a hue, but manufacturers are not always careful in maintaining this distinction. The following examples illustrate the shifting nature of historic pigment names:

text: Historically and culturally, many famous natural pigments have been replaced with synthetic pigments, while retaining historic names. In some cases, the original color name has shifted in meaning, as a historic name has been applied to a popular modern color. By convention, a contemporary mixture of pigments that replaces a historical pigment is indicated by calling the resulting color a hue, but manufacturers are not always careful in maintaining this distinction. The following examples illustrate the shifting nature of historic pigment names:

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answers: In some cases, the original color name has shifted in meaning

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text: Despite varying bit depths among the CGA graphics modes (see below), CGA processes colors in its palette in four bits, yielding 2 = 16 different colors. The four color bits are arranged according to the RGBI color model: the lower three bits represent red, green, and blue color components; a fourth "intensifier" bit, when set, increases the brightness of all three color components (red, green, and blue).  In graphics modes, colors are set per-pixel; in text modes, colors are set per-character, with an independent foreground and background color for each character.

text: Despite varying

text: bit depths

text: among the CGA graphics modes (see below), CGA processes colors in its

text: palette

text: in four bits, yielding 2 = 16 different colors. The four color bits are arranged according to the

text: RGBI

text: color model: the lower three bits represent red, green, and blue color components; a fourth "intensifier" bit, when set, increases the brightness of all three color components (red, green, and blue).  In graphics modes, colors are set per-pixel; in text modes, colors are set per-character, with an independent foreground and background color for each character.

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text: As a matter of convenience, painters typically also add one or more paints made with an iron oxide pigment (the so-called "earth" pigments) and sold under the marketing names yellow ochre, raw sienna, raw umber, burnt sienna, burnt umber and/or venetian red. Exactly the same brown or ochre colors can be matched with either of the six paint palettes, but it is tedious to do. As dark colors also require inconvenient mixing, most painters prefer to add a premixed dark neutral paint containing a carbon (black) pigment and a tinting pigment to produce a slight color bias, usually sold under the marketing names indigo, payne's gray, neutral tint or sepia.

text: As a matter of convenience, painters typically also add one or more paints made with an iron oxide pigment (the so-called "earth" pigments) and sold under the marketing names yellow ochre, raw sienna, raw umber, burnt sienna, burnt umber and/or venetian red. Exactly the same brown or ochre colors can be matched with either of the six paint palettes, but it is tedious to do. As dark colors also require inconvenient mixing, most painters prefer to add a premixed dark neutral paint containing a carbon (black) pigment and a tinting pigment to produce a slight color bias, usually sold under the marketing names indigo, payne's gray, neutral tint or sepia.

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text: Chevreul also realized that the "halo" that one sees after looking at a color is the opposing color (also known as complementary color). For example: After looking at a red object, one may see a cyan echo/halo of the original object. This complementary color (as an example, cyan for red) is due to retinal persistence. Neoimpressionist painters interested in the interplay of colors made extensive use of complementary colors in their paintings. In his works, Chevreul advised artists to think and paint not just the color of the central object, but to add colors and make appropriate adjustments to achieve a harmony among colors. It seems that the harmony Chevreul wrote about is what Seurat came to call "emotion".

text: Chevreul also realized that the "halo" that one sees after looking at a color is the opposing color (also known as

text: complementary color

text: ). For example: After looking at a red object, one may see a cyan echo/halo of the original object. This complementary color (as an example, cyan for red) is due to

text: retina

text: l persistence. Neoimpressionist painters interested in the interplay of colors made extensive use of complementary colors in their paintings. In his works, Chevreul advised artists to think and paint not just the color of the central object, but to add colors and make appropriate adjustments to achieve a harmony among colors. It seems that the harmony Chevreul wrote about is what Seurat came to call "emotion".

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text: Every pixel is made up of three separate subpixel cells, each with different colored phosphors. One subpixel has a red light phosphor, one subpixel has a green light phosphor and one subpixel has a blue light phosphor. These colors blend together to create the overall color of the pixel, the same as a triad of a shadow mask CRT or color LCD. Plasma panels use pulse-width modulation (PWM) to control brightness: by varying the pulses of current flowing through the different cells thousands of times per second, the control system can increase or decrease the intensity of each subpixel color to create billions of different combinations of red, green and blue. In this way, the control system can produce most of the visible colors. Plasma displays use the same phosphors as CRTs, which accounts for the extremely accurate color reproduction when viewing television or computer video images (which use an RGB color system designed for CRT displays).

text: Every

text: pixel

text: is made up of three separate subpixel cells, each with different colored phosphors. One subpixel has a red light phosphor, one subpixel has a green light phosphor and one subpixel has a blue light phosphor. These colors blend together to create the overall color of the pixel, the same as a

text: triad

text: of a

text: shadow mask

text: CRT or color LCD. Plasma panels use pulse-width modulation (PWM) to control brightness: by varying the pulses of current flowing through the different cells thousands of times per second, the control system can increase or decrease the intensity of each subpixel color to create billions of different combinations of red, green and blue. In this way, the control system can produce most of the visible colors. Plasma displays use the same phosphors as CRTs, which accounts for the extremely accurate color reproduction when viewing television or computer video images (which use an RGB color system designed for CRT displays).

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answers: In this way the control system can produce most of the visible colors

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answers: subpixel has a blue light phosphor

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answers: red, green and blue

text: In computer and television screen color displays, the corners of the gamut triangle are defined by commercially available phosphors chosen to be as near as possible to pure red and pure green and pure blue, and thus are within the area of real colors; note that these color space diagrams inevitably display, instead of real colors outside your computer screen's gamut triangle, the nearest color which is inside the gamut triangle. See page Gamut for more information about the color range available on display devices.

text: In computer and television screen color displays, the corners of the gamut triangle are defined by commercially available

text: phosphor

text: s chosen to be as near as possible to pure red and pure green and pure blue, and thus are within the area of real colors; note that these color space diagrams inevitably display, instead of real colors outside your computer screen's gamut triangle, the nearest color which is inside the gamut triangle. See page

text: Gamut

text: for more information about the color range available on display devices.

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text: Surprisingly, given their ability to change color, all octopodes and most cephalopods are considered to be color blind.  Coleoid cephalopods (octopus, squid, cuttlefish) have a single photoreceptor type and lack the ability to determine color by comparing detected photon intensity across multiple spectral channels.  When camouflaging themselves, they use their chromatophores to change brightness and pattern according to the background they see, but their ability to match the specific color of a background may come from cells such as iridophores and leucophores that reflect light from the environment.  They also produce visual pigments throughout their body, and may sense light levels directly from their body. Evidence of color vision has been found in the sparkling enope squid (Watasenia scintillans), which achieves color vision by the use of three distinct retinal molecules (A1, sensitive to red; A2, to purple, and A4, to yellow?) which bind to its opsin.

text: Surprisingly, given their ability to change color, all octopodes and most cephalopods are considered to be

text: color blind

text: .  Coleoid cephalopods (octopus, squid, cuttlefish) have a single photoreceptor type and lack the ability to determine color by comparing detected photon intensity across multiple spectral channels.  When

text: camouflaging

text: themselves, they use their chromatophores to change brightness and pattern according to the background they see, but their ability to match the specific color of a background may come from cells such as

text: iridophore

text: s and

text: leucophore

text: s that reflect light from the environment.  They also produce visual pigments throughout their body, and may sense light levels directly from their body. Evidence of

text: color vision

text: has been found in the

text: sparkling enope squid

text: (Watasenia scintillans), which achieves color vision by the use of three distinct

text: retinal

text: molecules (A1, sensitive to red; A2, to purple, and A4, to yellow?) which bind to its

text: opsin

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text: Sutton was the photographer for James Clerk Maxwell's pioneering 1861 demonstration of color photography. In a practical trial of a thought-experiment Maxwell had published in 1855, Sutton took three separate black-and-white photographs of a multicolored ribbon, one through a blue filter, one through a green filter, and one through a red filter. Using three projectors equipped with similar filters, the three photographs were projected superimposed on a screen. The additive primaries variously blended to reproduce a gamut of color. The photographic materials available to Sutton were mainly sensitive to blue light, barely sensitive to green and practically insensitive to red, so the result was only a partial success. Forty years later, adequately panchromatic plates and films had made excellent color reproduction possible by this method, as demonstrated by the work of Sergey Prokudin-Gorsky. The principle of reproducing a full range of color by three-color analysis and synthesis is based on the nature of human color vision and underlies nearly all practical chemical and electronic color imaging technologies. Sutton's ribbon image is sometimes called the first color photograph. There were, in fact, earlier and possibly better color photographs made by experimenters who used a completely different, more purely chemical process, but the colors rapidly faded when exposed to light for viewing. Sutton's photographs preserved the color information in black-and-white silver images containing no actual coloring matter, so they are very light-fast and durable and the set may reasonably be described as the first permanent color photograph.

text: Sutton was the photographer for

text: James Clerk Maxwell

text: 's pioneering 1861 demonstration of

text: color photography

text: . In a practical trial of a

text: thought-experiment

text: Maxwell had published in 1855, Sutton took three separate black-and-white photographs of a multicolored ribbon, one through a blue

text: filter

text: , one through a green filter, and one through a red filter. Using three projectors equipped with similar filters, the three photographs were projected superimposed on a screen. The

text: additive primaries

text: variously blended to reproduce a

text: gamut

text: of color. The photographic materials available to Sutton were mainly sensitive to blue light, barely sensitive to green and practically insensitive to red, so the result was only a partial success. Forty years later, adequately

text: panchromatic

text: plates and films had made excellent color reproduction possible by this method, as demonstrated by the work of

text: Sergey Prokudin-Gorsky

text: . The principle of reproducing a full range of color by three-color analysis and synthesis is based on the nature of human

text: color vision

text: and underlies nearly all practical chemical and electronic color imaging technologies. Sutton's ribbon image is sometimes called the first color photograph. There were, in fact, earlier and possibly better color photographs made by experimenters who used a completely different, more purely chemical process, but the colors rapidly faded when exposed to light for viewing. Sutton's photographs preserved the color information in black-and-white silver images containing no actual coloring matter, so they are very light-fast and durable and the set may reasonably be described as the first permanent color photograph.

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text: The SeaChanger Color Engine is an electro-mechanical device that is used to control light color in entertainment-industry lighting applications. The unit employs four overlapped color filter wheels, inserted into a light beam near its source, to produce colored light. This is in contrast to color scrollers, which insert color filter ribbons into a light beam. The color engine, which was released by Ocean Thin Films in 2005, is designed to fit into the Source Four lighting instrument made by Electronic Theatre Controls.

text: The SeaChanger Color Engine is an electro-mechanical device that is used to control light color in entertainment-industry

text: lighting

text: applications. The unit employs four overlapped color filter wheels, inserted into a light beam near its source, to produce colored light. This is in contrast to

text: color scroller

text: s, which insert color filter ribbons into a light beam. The color engine, which was released by Ocean Thin Films in 2005, is designed to fit into the

text: Source Four

text: lighting instrument made by

text: Electronic Theatre Controls

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answers: color

answers: NDQ_016551

answers: Color

text: When defining primaries, the goal is often to leave as many real colors in gamut as possible. Since the region of real colors is not a triangle (see illustration), it is not possible to pick three real colors that span the whole region. The gamut can be increased by selecting more than three real primary colors, but since the region of real colors is not a polygon, there always will be some colors at the edge left out. Therefore, one selects colors outside of the region of real colors as primary colors; in other words, imaginary primary colors. Mathematically, the gamut created in this way contains so-called "imaginary colors".

text: When defining primaries, the goal is often to leave as many real colors in gamut as possible. Since the region of real colors is not a triangle (see illustration), it is not possible to pick three real colors that span the whole region. The gamut can be increased by selecting more than three real primary colors, but since the region of real colors is not a polygon, there always will be some colors at the edge left out. Therefore, one selects colors outside of the region of real colors as primary colors; in other words, imaginary primary colors. Mathematically, the gamut created in this way contains so-called "imaginary colors".

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answers: imaginary primary colors

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answers: imaginary primary colors

answers: NDQ_016551

answers: imaginary primary colors

text: The test consists of showing a pair of vertically oriented lights consisting of combinations of either red, green or yellow-white.  The test subject is asked to identify the two colors (some of which are identical).  Nine color pairs are administered during the test, beginning with a red/green combination, to allow the patient to see these two colors prior to seeing a white light, which decreases testing errors.  The examinee is shown the target for only two seconds, as color-deficient patients can sometimes correctly identify the colors with prolonged exposure.  The yellow-white light, or one of the identical paired lights, employs a 50% neutral gray filter to reduce luminance cues to the color-deficient patient.  Random presentation reduces memorization of the test sequence by motivated persons.

text: The test consists of showing a pair of vertically oriented lights consisting of combinations of either red, green or yellow-white.  The test subject is asked to identify the two colors (some of which are identical).  Nine color pairs are administered during the test, beginning with a red/green combination, to allow the patient to see these two colors prior to seeing a white light, which decreases testing errors.  The examinee is shown the target for only two seconds, as color-deficient patients can sometimes correctly identify the colors with prolonged exposure.  The yellow-white light, or one of the identical paired lights, employs a 50% neutral gray filter to reduce luminance cues to the color-deficient patient.  Random presentation reduces memorization of the test sequence by motivated persons.

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answers: red, green

answers: NDQ_016551

answers: red, green

text: Complementary colors can create some striking optical effects. The shadow of an object appears to  contain some of the complementary color of the object. For example, the shadow of a red apple will appear to contain a little blue-green. This effect is often copied by painters who want to create more luminous and realistic shadows. Also, if you stare at a square of color for a long period of time (thirty seconds to a minute), and then look at a white paper or wall, you will briefly see an afterimage of the square in its complementary color.

text: Complementary colors can create some striking optical effects. The shadow of an object appears to  contain some of the complementary color of the object. For example, the shadow of a red apple will appear to contain a little blue-green. This effect is often copied by painters who want to create more luminous and realistic shadows. Also, if you stare at a square of color for a long period of time (thirty seconds to a minute), and then look at a white paper or wall, you will briefly see an

text: afterimage

text: of the square in its complementary color.

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text: Fanti, although being pro-authenticity, has never claimed that there weren't any traces of pictural pigments; he only stated in his papers that the manner in which the image was made is not known to him and that the image has not been made by weaving "colored thread". Fanti and his collaborators claimed that certain parts did contain pigments but, when zooming to a certain extent between the fibers, pigments were not found between them but only on the fabric's surface, due to the intrinsic characteristics of the extremely fine byssus fabric. Rinaldi insists upon the fact that Fanti and his associates never said in any paper whatsoever that the Manoppello Image corresponded "exactly" to the Turin Shroud, and that such an extrapolated statement has only been made public by sister Blandine Schlömer, a Trappist nun from Manopello in charge of communicating with the media. Rinaldi shows that Fanti changed his theory many times, claiming pigments were absent, then only visible in particular zones such as the eyes and finally that, yes, it contains pigments but only the manner they were deposited on the byssus is unknown to him. These  never-ending adjustments of the pro-authenticity arguments may have led some to extrapolate to such a degree, according to Rinaldi.

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text: Unlike spectral colors (which may be implemented, for example, by nearly monochromatic light of laser, with precision much finer than human chromaticity resolution), colors on the line of purples are more difficult to implement practically. The sensitivity of cones to both of the spectral colors at the opposite extremes of what the human eye can see is quite low (see luminosity function), so commonly observed purple colors do not achieve a high level of brightness.

text: Unlike spectral colors (which may be implemented, for example, by nearly monochromatic

text: light

text: of

text: laser

text: , with precision much finer than

text: human chromaticity resolution

text: ), colors on the line of purples are more difficult to implement practically. The sensitivity of cones to both of the spectral colors at the opposite extremes of what the human eye can see is quite low (see

text: luminosity function

text: ), so commonly observed purple colors do not achieve a high level of brightness.

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answers: spectral colors

text: Color constancy is a feature of the human internal model of perception, which provides humans with the ability to assign a relatively constant color to objects even under different illumination conditions. This is helpful for object recognition as well as identification of light sources in an environment. For example, humans see an object approximately as the same color when the sun is bright or when the sun is dim.

text: Color constancy

text: is a feature of the human internal model of perception, which provides humans with the ability to assign a relatively constant color to objects even under different illumination conditions. This is helpful for object recognition as well as identification of light sources in an environment. For example, humans see an object approximately as the same color when the sun is bright or when the sun is dim.

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text: Brown is a composite color. In the CMYK color model used in printing or painting, brown is made by combining red, black, and yellow, pink and black,  or red, yellow, and blue. In the RGB color model used to project colors onto television screens and computer monitors, brown is made by combining red and green, in specific proportions. The brown color is seen widely in nature, in wood, soil, human hair color, eye color and skin pigmentation. Brown is the color of dark wood or rich soil. According to public opinion surveys in Europe and the United States, brown is the least favorite color of the public; the color most often associated with plainness, the rustic, and poverty.

text: Brown is a composite

text: color

text: . In the

text: CMYK color model

text: used in printing or painting, brown is made by combining

text: red

text: black

text: , and

text: yellow

text: , pink and black,  or red, yellow, and blue. In the

text: RGB color model

text: used to project colors onto television screens and computer monitors, brown is made by combining red and green, in specific proportions. The brown color is seen widely in nature, in wood, soil, human

text: hair

text: color,

text: eye color

text: and

text: skin pigmentation

text: . Brown is the

text: color

text: of dark wood or rich soil. According to public opinion surveys in Europe and the United States, brown is the least favorite color of the public; the color most often associated with plainness, the rustic, and

text: poverty

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text: The color defined as blue in the RGB color model, X11 blue, is shown at right. This color is the brightest possible blue that can be reproduced on a computer screen, and is the color named blue in X11. It is one of the three primary colors used on the RGB color space, along with red and green. The three additive primaries in the RGB color system are the three colors of light chosen such as to provide the maximum gamut of colors that are capable of being represented on a computer or television set.

text: The color defined as blue in the

text: RGB color model

text: X11 blue

text: , is shown at right. This color is the brightest possible blue that can be reproduced on a computer screen, and is the color named blue in

text: . It is one of the three

text: primary color

text: s used on the

text: RGB color space

text: , along with

text: red

text: and

text: green

text: . The three additive primaries in the RGB color system are the three colors of

text: light

text: chosen such as to provide the maximum

text: gamut

text: of colors that are capable of being represented on a

text: computer

text: or

text: television set

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text: Common pigment types include mineral salts such as white oxides: zinc, titanium, and the red to yellow cadmium pigments. Another class consists of earth types, e.g. sienna or umber. Still another group of pigments comes from living organisms, such as madder root.

text: Common pigment types include mineral salts such as white oxides:

text: zinc

text: titanium

text: , and the red to yellow

text: cadmium pigments

text: . Another class consists of

text: earth types

text: , e.g.

text: sienna

text: or

text: umber

text: . Still another group of pigments comes from living organisms, such as

text: madder root

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text: The horse's limited ability to see color is sometimes taken into consideration when designing obstacles for the horse to jump, since the animal will have a harder time distinguishing between the obstacle and the ground if the two are only a few shades different. Therefore, most people paint their jump rails a different color from the footing or the surrounding landscape so that the horse may better judge the obstacle on the approach. Studies have shown that horses are less likely to knock a rail down when the jump is painted with two or more contrasting colors, rather than one single color. It is especially difficult for horses to distinguish between yellows and greens.

text: The horse's limited ability to see color is sometimes taken into consideration when designing obstacles for the horse to jump, since the animal will have a harder time distinguishing between the obstacle and the ground if the two are only a few shades different. Therefore, most people paint their jump rails a different color from the footing or the surrounding landscape so that the horse may better judge the obstacle on the approach. Studies have shown that horses are less likely to knock a rail down when the jump is painted with two or more contrasting colors, rather than one single color. It is especially difficult for horses to distinguish between yellows and greens.

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text: The color of a person's hair is created by the pigment melanin, found in the core of each hair. Melanin is also responsible for the color of the skin and of the eyes. There are only two types of pigment; dark (eumelanin) or light (phaeomelanin). Combined in various combinations, these pigments create all natural hair colors.

text: The color of a person's hair is created by the pigment

text: melanin

text: , found in the core of each hair. Melanin is also responsible for the color of the skin and of the eyes. There are only two types of pigment; dark (

text: eumelanin

text: ) or light (

text: phaeomelanin

text: ). Combined in various combinations, these pigments create all natural hair colors.

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text: A color solid is the three-dimensional representation of a color model, an analog of the two-dimensional color wheel.  The added spatial dimension allows a color solid to depict an added dimension of color variation.  Whereas a two-dimensional color wheel typically depicts the variables of hue (red, green, blue, etc.) and brightness (gradations of light and dark), a color solid adds the variable of saturation, allowing the sphere to depict all conceivable colors in an organized three-dimensional structure.

text: A color solid is the three-dimensional representation of a

text: color model

text: , an analog of the two-dimensional

text: color wheel

text: .  The added spatial

text: dimension

text: allows a color solid to depict an added dimension of

text: color

text: variation.  Whereas a two-dimensional color wheel typically depicts the variables of

text: hue

text: (red, green, blue, etc.) and

text: brightness

text: (gradations of light and dark), a color solid adds the variable of

text: saturation

text: , allowing the sphere to depict all conceivable colors in an organized three-dimensional structure.

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answers: a color solid adds the variable of saturation

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text: Hunt defines that "two colors are complementary when it is possible to reproduce the tristimulus values of a specified achromatic stimulus by an additive mixture of these two stimuli." That is, when two colored lights can be mixed to match a specified white (achromatic, non-colored) light, the colors of those two lights are complementary. This definition, however, does not constrain what version of white will be specified. In the nineteenth century, the scientists Grassmann and Helmholtz did experiments in which they concluded that finding a good complement for spectral yellow was difficult, but that the result was indigo, that is, a wavelength that today's color scientists would call violet. Helmholtz says "Yellow and indigo blue" are complements. Grassmann reconstructs Newton's category boundaries in terms of wavelengths and says "This indigo therefore falls within the limits of color between which, according to Helmholtz, the complementary colors of yellow lie."

text: Hunt defines that "two colors are complementary when it is possible to reproduce the tristimulus values of a specified achromatic stimulus by an additive mixture of these two stimuli." That is, when two colored lights can be mixed to match a specified white (achromatic, non-colored) light, the colors of those two lights are

text: complementary

text: . This definition, however, does not constrain what version of white will be specified. In the nineteenth century, the scientists

text: Grassmann

text: and

text: Helmholtz

text: did experiments in which they concluded that finding a good complement for spectral yellow was difficult, but that the result was indigo, that is, a wavelength that today's color scientists would call violet. Helmholtz says "Yellow and indigo blue" are complements. Grassmann reconstructs Newton's category boundaries in terms of wavelengths and says "This indigo therefore falls within the limits of color between which, according to Helmholtz, the complementary colors of yellow lie."

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text: The gamut of reflective colors in nature has a similar, though more rounded, shape. An object that reflects only a narrow band of wavelengths will have a color close to the edge of the CIE diagram, but it will have a very low luminosity at the same time. At higher luminosities, the accessible area in the CIE diagram becomes smaller and smaller, up to a single point of white, where all wavelengths are reflected exactly 100 per cent; the exact coordinates of white are determined by the color of the light source.

text: The gamut of reflective colors in nature has a similar, though more rounded, shape. An object that reflects only a narrow band of wavelengths will have a color close to the edge of the CIE diagram, but it will have a very low luminosity at the same time. At higher luminosities, the accessible area in the CIE diagram becomes smaller and smaller, up to a single point of white, where all wavelengths are reflected exactly 100 per cent; the exact coordinates of white are determined by the color of the light source.

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answers: Yes

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text: |- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-

text: |- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-

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answers: 3: The answer has limited relevance and completeness, with noticeable gaps or inaccuracies.

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text: Dominant wavelength (or sometimes equivalent wavelength) is a physical analog to the perceptual attribute hue. On a chromaticity diagram, a line is drawn from a white point through the coordinates of the color in question, until it intersects the spectral locus. The wavelength at which the line intersects the spectrum locus is identified as the color's dominant wavelength if the point is on the same side of the white point as the spectral locus, and as the color's complementary wavelength if the point is on the opposite side.

text: Dominant wavelength

text: (or sometimes equivalent wavelength) is a physical analog to the perceptual attribute hue. On a

text: chromaticity diagram

text: , a line is drawn from a

text: white point

text: through the coordinates of the color in question, until it intersects the

text: spectral locus

text: . The wavelength at which the line intersects the spectrum locus is identified as the color's

text: dominant wavelength

text: if the point is on the same side of the white point as the spectral locus, and as the color's

text: complementary wavelength

text: if the point is on the opposite side.

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text: One of the unique aspects of Gjende is that the water has a distinct green color.  The green color is the result from glacier runoff containing clay (rock flour).  Looking down towards Memurubu one can see the river Muru coloring the water with a light colored runoff.

text: One of the unique aspects of Gjende is that the water has a distinct green color.  The green color is the result from glacier runoff containing clay (

text: rock flour

text: ).  Looking down towards Memurubu one can see the river Muru coloring the water with a light colored runoff.

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text: Images from infrared cameras tend to be monochrome because the cameras generally use an image sensor that does not distinguish different wavelengths of infrared radiation. Color image sensors require a complex construction to differentiate wavelengths, and color has less meaning outside of the normal visible spectrum because the differing wavelengths do not map uniformly into the system of color vision used by humans.

text: Images from infrared cameras tend to be

text: monochrome

text: because the cameras generally use an

text: image sensor

text: that does not distinguish different

text: wavelength

text: s of infrared radiation. Color image sensors require a complex construction to differentiate wavelengths, and color has less meaning outside of the normal visible spectrum because the differing wavelengths do not map uniformly into the system of

text: color vision

text: used by humans.

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text: (See Color vision, Additive color, Hue for more information.)

text: (See

text: Color vision

text: Additive color

text: Hue

text: for more information.)

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text: Afterimages (spectra) appear after a mechanical shock to the eye. The eye's activity is convulsively divided. Transitory pathological spectra appear from glare or dazzle. The retina's activity is disorganized from over-stimulation. A dazzled eye sees red when looking at brightness and green when looking into darkness. The retina's activity is forcefully divided by the powerful stimulation. When the eye strains to see in dim light, the retina is voluntarily activated and intensively divided. Blue eyeglasses counter the effect of orange candlelight and produce the effect of daylight. An additional proof of the subjective nature of color, namely that it is a function of the eye itself and is only secondarily related to external objects, is given by the daguerreotype. It objectively shows that color is not essential to the appearance of an object. Also, people who are color blind would see color if it was in the object and not in the eye.

text: Afterimages (spectra) appear after a mechanical shock to the eye. The eye's activity is convulsively divided. Transitory pathological spectra appear from glare or dazzle. The retina's activity is disorganized from over-stimulation. A dazzled eye sees red when looking at brightness and green when looking into darkness. The retina's activity is forcefully divided by the powerful stimulation. When the eye strains to see in dim light, the retina is voluntarily activated and intensively divided. Blue eyeglasses counter the effect of orange candlelight and produce the effect of daylight. An additional proof of the subjective nature of color, namely that it is a function of the eye itself and is only secondarily related to external objects, is given by the

text: daguerreotype

text: . It objectively shows that color is not essential to the appearance of an object. Also, people who are

text: color blind

text: would see color if it was in the object and not in the eye.

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text: The LLE was founded on the University of Rochester's campus in 1970, by Dr. Moshe Lubin. Working with outside companies such as Kodak the team built Delta, a four beam laser system in 1972.  Construction started on the current LLE site in 1976.  The facility opened in 1978 a six beam laser systems and a 24 beam system follows two years later.  In 1985, Donna Strickland and Gérard Mourou invent a method to amplify lasers pulses by "chirping".  This method change a single wavelength of laser light into a spectrum of wavelengths.  The system amplifies the laser at each wavelength and then reconstitutes the beam into one color.  Chirp pulsed amplification became instrumental in building the National Ignition Facility and the Omega EP system.  In 1995, the omega laser was increased to 60 beams system and in 2008 the Omega extended performance system was opened.

text: The LLE was founded on the

text: University of Rochester

text: 's campus in 1970, by Dr. Moshe Lubin. Working with outside companies such as

text: Kodak

text: the team built Delta, a four beam laser system in 1972.  Construction started on the current LLE site in 1976.  The facility opened in 1978 a six beam laser systems and a 24 beam system follows two years later.  In 1985,

text: Donna Strickland

text: and

text: Gérard Mourou

text: invent a method to amplify lasers pulses by

text: "chirping"

text: .  This method change a single wavelength of laser light into a spectrum of wavelengths.  The system amplifies the laser at each wavelength and then reconstitutes the beam into one color.  Chirp pulsed amplification became instrumental in building the

text: National Ignition Facility

text: and the Omega EP system.  In 1995, the omega laser was increased to 60 beams system and in 2008 the Omega extended performance system was opened.

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answers: Yes

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answers: visible light

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answers: change a single wavelength

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answers: This method change a single wavelength

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answers: one color

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answers: color

text: As an astronomical object sets or rises, the light it emits travels through the atmosphere, which works as a prism separating the light into different colors. The color of the upper limb of an astronomical object could go from blue to green to violet depending on the decrease in concentration of pollutants as they spread throughout an increasing volume of atmosphere. The lower limb of an astronomical object is always red.<br>The green rim is very thin, and is difficult or impossible to see with the naked eye. In usual conditions a green rim of an astronomical object gets fainter, when an astronomical object is very low above the horizon because of atmospheric reddening, but sometimes the conditions are right to see a green rim just above the horizon. The following quote describes probably the longest green rim, which sometimes could have been green flash, observation. It was seen on and off for 35 long minutes by members of the Richard Evelyn Byrd party from the Little America exploration base.

text: As an

text: astronomical object

text: sets or rises, the light it emits travels through the

text: atmosphere

text: , which works as a

text: prism

text: separating the light into different colors. The color of the upper limb of an astronomical object could go from blue to green to violet depending on the decrease in concentration of

text: pollutants

text: as they spread throughout an increasing volume of atmosphere. The lower limb of an astronomical object is always red.<br>The green rim is very thin, and is difficult or impossible to see with the naked eye. In usual conditions a green rim of an astronomical object gets fainter, when an astronomical object is very low above the

text: horizon

text: because of atmospheric reddening, but sometimes the conditions are right to see a green rim just above the horizon. The following quote describes probably the longest green rim, which sometimes could have been green flash, observation. It was seen on and off for 35 long minutes by members of the

text: Richard Evelyn Byrd

text: party from the

text: Little America exploration base

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answers: The lower limb of an astronomical object is always red

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text: To understand false color, a look at the concept behind true color is helpful. An image is called a "true-color" image when it offers a natural color rendition, or when it comes close to it. This means that the colors of an object in an image appear to a human observer the same way as if this observer were to directly view the object: A green tree appears green in the image, a red apple red, a blue sky blue, and so on. When applied to black-and-white images, true-color means that the perceived lightness of a subject is preserved in its depiction.

text: To understand false color, a look at the concept behind true color is helpful. An image is called a "true-color" image when it offers a natural

text: color

text: rendition, or when it comes close to it. This means that the colors of an object in an image

text: appear to a human observer

text: the same way as if this observer were to directly view the object: A green tree appears green in the image, a red apple red, a blue sky blue, and so on. When applied to black-and-white images, true-color means that the perceived lightness of a subject is preserved in its depiction.

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text: His company, Olyoptics, was one of the first to use computers to do color separation. Although other companies at the time were experimenting with computers, Oliff and his crew were the first to blend the color guide artist with the separator

text: His company,

text: Olyoptics

text: , was one of the first to use computers to do color separation. Although other companies at the time were experimenting with computers, Oliff and his crew were the first to blend the color guide artist with the separator

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text: On the CIE color coordinate space, a straight line drawn between the point for a given color and the point for the color of the illuminant can be extrapolated out so that it intersects the perimeter of the space in two points.  The point of intersection nearer to the color in question reveals the dominant wavelength of the color as the wavelength of the pure spectral color at that intersection point. The point of intersection on the opposite side of the color space gives the complementary wavelength, which when added to the color in question in the right proportion will yield the color of the illuminant (since the illuminant point necessarily sits between these points on a straight line in CIE space, according to the definition just given).

text: On the

text: CIE

text: color coordinate space

text: , a straight line drawn between the point for a given color and the point for the color of the illuminant can be extrapolated out so that it intersects the perimeter of the space in two points.  The point of intersection nearer to the color in question reveals the dominant wavelength of the color as the wavelength of the pure spectral color at that intersection point. The point of intersection on the opposite side of the color space gives the complementary wavelength, which when added to the color in question in the right proportion will yield the color of the illuminant (since the illuminant point necessarily sits between these points on a straight line in CIE space, according to the definition just given).

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answers: color of the illuminant

answers: NDQ_016551

answers: color of the illuminant

text: Most of the colors listed do not reach the maximal (spectral) colorfulness, or are not usually seen with it, but they can be saturated enough to be perceived closely to their dominant wavelength spectral colors. Ranges of wavelengths and frequencies are only approximate.

text: Most of the colors listed do not reach the maximal (spectral)

text: colorfulness

text: , or are not usually seen with it, but they can be saturated enough to be perceived closely to their

text: dominant wavelength

text: spectral colors. Ranges of wavelengths and frequencies are only approximate.

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answers: dominant wavelength

answers: NDQ_016551

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text: The Fauves (many of whom would become Cubists), were heavily influenced by Neo-Impressionism, calling upon rational and scientific thought and creating highly abstract visions with the goal of producing the effects of real color-light. Mechanical brushwork suppressed the personality of the artist in an act of conspicuous defiance against the Impressionists. The Symbolists too would strip away the casual and accidental features of reality, revealing the true 'essence of form.' Whether such a revelation could be backed up by a scientific theory or not, there were still examples that could be codified. The problem was that pigments reflect light, they are not a light source themselves. Colors in the spectra of light did not respond in the same way as color pigments painted on canvas. For example, red and blue light rays result in white light, but the same colors in pigments make violet.

text: The

text: Fauves

text: (many of whom would become

text: Cubists

text: ), were heavily influenced by

text: Neo-Impressionism

text: , calling upon rational and scientific thought and creating highly abstract visions with the goal of producing the effects of real color-light. Mechanical brushwork suppressed the personality of the artist in an act of conspicuous defiance against the

text: Impressionists

text: . The

text: Symbolists

text: too would strip away the casual and accidental features of reality, revealing the true 'essence of form.' Whether such a revelation could be backed up by a scientific theory or not, there were still examples that could be codified. The problem was that pigments reflect light, they are not a light source themselves. Colors in the spectra of light did not respond in the same way as color pigments painted on canvas. For example, red and blue light rays result in white light, but the same colors in pigments make violet.

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answers: red and blue

text: A polychlorinated biphenyl (PCB) was reported ( published in 2009 ) in air samples collected in Chicago, Philadelphia, the Arctic, and several sites around the Great Lakes. PCB is a global pollutant and was measured in the wastewater effluent from paint production. The widespread distribution of PCB suggests volatilization of this compound from surfaces, roofs etc. PCB is present in consumer goods including newspapers, magazines, and cardboard boxes, which usually contain color pigments. Therefore exist hypothesis that PCB congeners are present as byproduct in some current commercial pigments.

text: A polychlorinated biphenyl (PCB) was reported ( published in 2009 ) in air samples collected in Chicago, Philadelphia, the Arctic, and several sites around the Great Lakes. PCB is a global pollutant and was measured in the wastewater effluent from paint production. The widespread distribution of PCB suggests volatilization of this compound from surfaces, roofs etc. PCB is present in consumer goods including newspapers, magazines, and cardboard boxes, which usually contain color pigments. Therefore exist hypothesis that PCB congeners are present as byproduct in some current commercial pigments.

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text: The appearance of pigments is intimately connected to the color of the source light. Sunlight has a high color temperature, and a fairly uniform spectrum, and is considered a standard for white light. Artificial light sources tend to have great peaks in some parts of their spectrum, and deep valleys in others. Viewed under these conditions, pigments will appear different colors.

text: The appearance of pigments is intimately connected to the color of the source light. Sunlight has a high

text: color temperature

text: , and a fairly uniform spectrum, and is considered a standard for white light. Artificial light sources tend to have great peaks in some parts of their spectrum, and deep valleys in others. Viewed under these conditions, pigments will appear different colors.

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text: The sharp absorption bands of neodymium cause the glass color to change under different lighting conditions, being reddish-purple under daylight or yellow incandescent light, but blue under white fluorescent lighting, or greenish under trichromatic lighting. This color-change phenomenon is highly prized by collectors. In combination with gold or selenium, beautiful red colors result. Since neodymium coloration depends upon "forbidden" f-f transitions deep within the atom, there is relatively little influence on the color from the chemical environment, so the color is impervious to the thermal history of the glass. However, for the best color, iron-containing impurities need to be minimized in the silica used to make the glass. The same forbidden nature of the f-f transitions makes rare-earth colorants less intense than those provided by most d-transition elements, so more has to be used in a glass to achieve the desired color intensity. The original Moser recipe used about 5% of neodymium oxide in the glass melt, a sufficient quantity such that Moser referred to these as being "rare earth doped" glasses. Being a strong base, that level of neodymium would have affected the melting properties of the glass, and the lime content of the glass might have had to be adjusted accordingly.

text: The sharp absorption bands of neodymium cause the glass color to change under different lighting conditions, being reddish-purple under

text: daylight

text: or yellow

text: incandescent light

text: , but blue under white

text: fluorescent light

text: ing, or greenish under

text: trichromatic

text: lighting. This color-change phenomenon is highly prized by collectors. In combination with

text: gold

text: or

text: selenium

text: , beautiful red colors result. Since neodymium coloration depends upon "

text: forbidden

text: " f-f transitions deep within the atom, there is relatively little influence on the color from the chemical environment, so the color is impervious to the thermal history of the glass. However, for the best color,

text: iron

text: -containing impurities need to be minimized in the

text: silica

text: used to make the glass. The same forbidden nature of the f-f transitions makes

text: rare-earth

text: colorants less intense than those provided by most d-transition elements, so more has to be used in a glass to achieve the desired color intensity. The original Moser recipe used about 5% of neodymium oxide in the glass melt, a sufficient quantity such that Moser referred to these as being "rare earth doped" glasses. Being a strong base, that level of neodymium would have affected the melting properties of the glass, and the

text: lime

text: content of the glass might have had to be adjusted accordingly.

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answers: Yes

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answers: greenish

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answers: yellow

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answers: gold or selenium

text: Plants absorb light primarily using the pigment chlorophyll. The green part of the light spectrum is not absorbed but is reflected which is the reason that most plants have a green color. Besides chlorophyll, plants also use pigments such as carotenes and xanthophylls. Algae also use chlorophyll, but various other pigments are present, such as phycocyanin, carotenes, and xanthophylls in green algae, phycoerythrin in red algae (rhodophytes) and fucoxanthin in brown algae and diatoms resulting in a wide variety of colors.

text: Plants absorb light primarily using the

text: pigment

text: chlorophyll

text: . The green part of the light spectrum is not absorbed but is reflected which is the reason that most plants have a green color. Besides chlorophyll, plants also use pigments such as

text: carotene

text: s and

text: xanthophyll

text: s. Algae also use chlorophyll, but various other pigments are present, such as

text: phycocyanin

text: carotene

text: s, and

text: xanthophyll

text: s in

text: green algae

text: phycoerythrin

text: in

text: red algae

text: (rhodophytes) and

text: fucoxanthin

text: in

text: brown algae

text: and

text: diatoms

text: resulting in a wide variety of colors.

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answers: chlorophyll

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text: The source of this color is the ISCC-NBS Dictionary of Color Names (1955), a color dictionary used by stamp collectors to identify the colors of stamps—See color sample of the color Gold (Color Sample Gold (T) #84) displayed on indicated web page:

text: The source of this color is the ISCC-NBS Dictionary of Color Names (1955), a color dictionary used by stamp collectors to identify the colors of stamps—See color sample of the color Gold (Color Sample Gold (T) #84) displayed on indicated web page:

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answers: It includes all the colors of visible light

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answers: a color dictionary

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answers: Gold

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answers: Gold

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answers: Gold

text: MSOT provides anatomical, dynamic and molecular information, but quantifying the features of MSOT images is not straightforward because constituents of the target tissue absorb and scatter the illuminating light. As a result, the illuminating light is attenuated as one moves deeper into the tissue, and the extent of attenuation depends on wavelength. The measured spectral signature of photoabsorbers inside tissue may therefore differ from the absorption spectrum of the same molecule measured inside the cuvette of a spectrophotometer. This discrepancy, termed “spectral coloring”, depends on the number and types of photoabsorbers in the propagation path. Spectral coloring poses a challenge to spectral unmixing, which requires accurate knowledge of the absorption spectrum. Moreover, optoacoustic imaging, with a resolution in the range of 1-100 µm, cannot resolve individual photoabsorbing molecules. As a result, the spectral response of the photoabsorber of interest is a linear combination of the spectral responses of background tissue constituents, such as oxy- and deoxy-hemoglobin, melanin, water, lipids and unknown metabolites, which further complicates unmixing. Recently, eigenspectra MSOT has been developed to model more accurately the spectral responses of different photoabsorbers in three-dimensional tissue. This may help improve spectral unmixing and therefore image quality.

text: melanin

text: , water, lipids and unknown

text: metabolites

text: , which further complicates unmixing. Recently, eigenspectra MSOT has been developed to model more accurately the spectral responses of different photoabsorbers in three-dimensional tissue. This may help improve spectral unmixing and therefore image quality.

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text: Many of the light sources that emit white light emit light at almost all visible wavelengths (sun light, incandescent lamps of various Color temperatures). This has led to the notion that white light can be defined as a mixture of "all colors" or "all visible wavelengths". This misconception is widespread and might originally stem from the fact that Newton discovered that sunlight is composed of light with wavelengths across the visible spectrum. Concluding that since "all colors" produce white light then white must be made up of "all colors" is a common logical error called affirming the consequent, which might be the cause of the misunderstanding.

text: Many of the light sources that emit white light emit light at almost all visible wavelengths (sun light, incandescent lamps of various

text: Color temperature

text: s). This has led to the notion that white light can be defined as a mixture of "all colors" or "all visible wavelengths". This misconception is widespread and might originally stem from the fact that

text: Newton

text: discovered that sunlight is composed of light with wavelengths across the visible spectrum. Concluding that since "all colors" produce white light then white must be made up of "all colors" is a common logical error called

text: affirming the consequent

text: , which might be the cause of the misunderstanding.

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answers: This has led to the notion that white light can be defined as a mixture of "all colors"

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answers: visible

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text: and  describe polynomial time algorithms for coloring any graph with  colors, meeting the bound given by Vizing's theorem; see Misra & Gries edge coloring algorithm.

text: and  describe polynomial time algorithms for coloring any graph with  colors, meeting the bound given by Vizing's theorem; see

text: Misra & Gries edge coloring algorithm

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answers: Vizing's theorem

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text: Patients with cerebral achromatopsia deny having any experience of color when asked and fail standard clinical assessments like the Farnsworth-Munsell 100-hue test (a test of color ordering with no naming requirements). Patients may often not notice their loss of color vision and merely describe the world they see as being "drab". Most describe seeing the world in "shades of gray". This observation notes a key difference between cerebral and congenital achromatopsia, as those born with achromatopsia have never had an experience of color or gray.

text: Patients with cerebral achromatopsia deny having any experience of color when asked and fail standard clinical assessments like the Farnsworth-Munsell 100-hue test (a test of color ordering with no naming requirements). Patients may often

text: not notice their loss of color vision

text: and merely describe the world they see as being "drab". Most describe seeing the world in "shades of gray". This observation notes a key difference between cerebral and congenital achromatopsia, as those born with achromatopsia have never had an experience of color or gray.

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text: The temperature of a star determines its spectral type via its effect on the physical properties of plasma in its photosphere. A star's energy emission as a function of wavelength is influenced by both its temperature and composition. A key indicator of this energy distribution is given by the color index, B − V, which measures the star's magnitude in blue (B) and green-yellow (V) light by means of filters. This difference in magnitude provides a measure of a star's temperature.

text: The temperature of a star determines its

text: spectral type

text: via its effect on the physical properties of

text: plasma

text: in its

text: photosphere

text: . A star's energy emission as a function of wavelength is influenced by both its temperature and composition. A key indicator of this energy distribution is given by the

text: color index

text: , B − V, which measures the star's

text: magnitude

text: in blue (B) and green-yellow (V) light by means of filters. This difference in magnitude provides a measure of a star's temperature.

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answers: blue (B)

text: The source of the color "cafe noir" displayed at right is the ISCC-NBS Color List (see Page C, cafe noir, color sample #81).

text: The source of the color "cafe noir" displayed at right is the ISCC-NBS Color List (see Page C, cafe noir, color sample #81).

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answers: color sample #81

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answers: cafe noir

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answers: color

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answers: cafe noir

text: |-!colspan=9 style="background:#660066; color:#FFFFFF;"|  Exhibition|-!colspan=9 style="background:#660066; color:#FFFFFF;"|  Regular season|-!colspan=9 style="background:#660066; color:#FFFFFF;"| |-!colspan=9 style="background:#660066; color:#FFFFFF;"|

text: |-!colspan=9 style="background:#660066; color:#FFFFFF;"|  Exhibition|-!colspan=9 style="background:#660066; color:#FFFFFF;"|  Regular season|-!colspan=9 style="background:#660066; color:#FFFFFF;"|

entity_name: 2014 Patriot League Men's Basketball Tournament

text: |-!colspan=9 style="background:#660066; color:#FFFFFF;"|

entity_name: 2014 CollegeInsider.com Postseason Tournament

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answers: The colors of the rainbow are red, orange, yellow, green and blue.

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text: In an additive set of colors, as in coincident projected lights or in electronic visual displays, the primary colors normally used are red, green and blue (but the precise visible light spectra for each color can vary significantly). In a subtractive set of colors, as in mixing of pigments or dyes for printing, the colors magenta, yellow and cyan are normally used. See RGB color model, and CMYK color model for more on these popular sets of primary colors.

text: In an additive set of colors, as in coincident projected lights or in

text: electronic visual display

text: s, the primary colors normally used are

text: red

text: green

text: and

text: blue

text: (but the precise visible light spectra for each color can vary significantly). In a subtractive set of colors, as in mixing of pigments or dyes for printing, the colors

text: magenta

text: yellow

text: and

text: cyan

text: are normally used. See

text: RGB color model

text: , and

text: CMYK color model

text: for more on these popular sets of primary colors.

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text: Nodular melanoma (NM) is the most aggressive form of melanoma. It tends to grow more rapidly in thickness (penetrate the skin) than in diameter. Instead of arising from a pre-existing mole, it may appear in a spot where a lesion did not previously exist . Since NM tends to grow in depth more quickly than it does in width, and can occur in a place that did not have a previous lesion, the prognosis is often worse because it takes longer for a person to be aware of the changes. NM is most often darkly pigmented; however, some NM lesions can be light brown, multicolored or even colorless (non-pigmented). A light-colored or non-pigmented NM lesion may escape detection because the appearance is not alarming, however an ulcerated and/or bleeding lesion is common. Polypoid melanoma is a virulent variant of nodular melanoma.

text: Nodular melanoma (NM) is the most aggressive form of

text: melanoma

text: . It tends to grow more rapidly in thickness (penetrate the skin) than in diameter. Instead of arising from a pre-existing mole, it may appear in a spot where a lesion did not previously exist . Since NM tends to grow in depth more quickly than it does in width, and can occur in a place that did not have a previous lesion, the prognosis is often worse because it takes longer for a person to be aware of the changes. NM is most often darkly pigmented; however, some NM lesions can be light brown, multicolored or even colorless (non-pigmented). A light-colored or non-pigmented NM lesion may escape detection because the appearance is not alarming, however an ulcerated and/or bleeding lesion is common.

text: Polypoid melanoma

text: is a virulent variant of nodular melanoma.

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text: Trichromatic color vision is the ability of humans and some other animals to see different colors, mediated by interactions among three types of color-sensing cone cells. The trichromatic color theory began in the 18th century, when Thomas Young proposed that color vision was a result of three different  photoreceptor cells. Hermann von Helmholtz later expanded on Young's ideas using color-matching experiments which showed that people with normal vision needed three wavelengths to create the normal range of colors. Physiological evidence for trichromatic theory was later given by Gunnar Svaetichin (1956).

text: Trichromatic color vision is the ability of humans and some other animals to see different

text: color

text: s, mediated by interactions among three types of color-sensing

text: cone cell

text: s. The

text: trichromatic color theory

text: began in the 18th century, when

text: Thomas Young

text: proposed that color vision was a result of three different

text: photoreceptor cell

text: s.

text: Hermann von Helmholtz

text: later expanded on Young's ideas using color-matching experiments which showed that people with normal vision needed three wavelengths to create the normal range of colors. Physiological evidence for trichromatic theory was later given by

text: Gunnar Svaetichin

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text: Classical dyes and pigments produce color by the absorption and reflection of light; these are the materials that make a major impact on the color of our daily lives. In 2000, world production of organic dyes was 800,000 tonnes and of organic pigments, 250,000 tonnes. There is also a very large production of inorganic pigments. Organic dyes are used mainly to color textile fibers, paper, hair, leather, while pigments are used largely in inks, paints and plastics.

text: Classical

text: dye

text: s and

text: pigment

text: s produce color by the absorption and reflection of light; these are the materials that make a major impact on the color of our daily lives. In 2000, world production of

text: organic

text: dyes was 800,000 tonnes and of organic pigments, 250,000 tonnes. There is also a very large production of

text: inorganic

text: pigments. Organic dyes are used mainly to color

text: textile fibers

text: paper

text: hair

text: leather

text: , while pigments are used largely in

text: ink

text: s,

text: paint

text: s and

text: plastic

text: s.

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text: The HSI model commonly used for computer vision, which takes H as a hue dimension and the component average I ("intensity") as a lightness dimension, does not attempt to "fill" a cylinder by its definition of saturation. Instead of presenting color choice or modification interfaces to end users, the goal of HSI is to facilitate separation of shapes in an image. Saturation is therefore defined in line with the psychometric definition: chroma relative to lightness (). See the Use in image analysis section of this article.

text: The HSI model commonly used for computer vision, which takes H as a hue dimension and the component average I ("intensity") as a lightness dimension, does not attempt to "fill" a cylinder by its definition of saturation. Instead of presenting color choice or modification interfaces to end users, the goal of HSI is to facilitate separation of shapes in an image. Saturation is therefore defined in line with the psychometric definition: chroma relative to lightness (). See the

text: Use in image analysis

text: section of this article.

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text: The dorsal color pattern consists of light brown to deep reddish brown ground color overlaid with 12-18 broad brown or brownish crossbands. Laterally, these crossbands are more lightly colored in the center and usually contain one or two dark spots. The head is clearly marked on either side with two longitudinal light lines: the upper one is narrow and may be broken behind to the eye, while the lower one is wider and separated from the commissure by a dark band.

text: The dorsal color pattern consists of light brown to deep reddish brown ground color overlaid with 12-18 broad brown or brownish crossbands. Laterally, these crossbands are more lightly colored in the center and usually contain one or two dark spots. The head is clearly marked on either side with two longitudinal light lines: the upper one is narrow and may be broken behind to the eye, while the lower one is wider and separated from the commissure by a dark band.

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text: In biology, a pigment is any colored material of plant or animal cells. Many biological structures, such as skin, eyes, fur, and hair contain pigments (such as melanin).Animal skin coloration often comes about through specialized cells called chromatophores, which animals such as the octopus and chameleon can control to vary the animal's color. Many conditions affect the levels or nature of pigments in plant, animal, some protista, or fungus cells. For instance, the disorder called albinism affects the level of melanin production in animals.

text: In

text: biology

text: , a pigment is any

text: color

text: ed material of plant or animal cells. Many biological structures, such as

text: skin

text: eye

text: s,

text: fur

text: , and

text: hair

text: contain pigments (such as

text: melanin

text: Animal skin coloration

text: often comes about through specialized cells called

text: chromatophores

text: , which animals such as the

text: octopus

text: and

text: chameleon

text: can control to vary the animal's color. Many conditions affect the levels or nature of pigments in plant, animal, some

text: protista

text: , or

text: fungus

text: cells. For instance, the disorder called

text: albinism

text: affects the level of melanin production in animals.

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text: Stands for set text color. Sets the color of the text in the current text box. The input can be the name of a color or a number. If the input is a name, a quotation mark must precede it. The original text color is black, or color number 9. If no text is selected, settc sets the text color for the next characters typed. You can also set the text color by choosing Color from the Text menu. See setfont, setfontsize, and setstyle.

text: Stands for set text color. Sets the color of the text in the current text box. The input can be the name of a color or a number. If the input is a name, a quotation mark must precede it. The original text color is black, or color number 9. If no text is selected, settc sets the text color for the next characters typed. You can also set the text color by choosing Color from the Text menu. See setfont, setfontsize, and setstyle.

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answers: Sets the text color

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answers: The original text color is black, or color number 9.

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answers: The original text color is black, or color number 9.

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answers: color number 9

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text: Often described by using general terms, such as dark brown, yellowish brown, etc., soil colors are also described more technically by using Munsell soil color charts, which separate color into components of hue (relation to red, yellow and blue), value (lightness or darkness) and chroma (paleness or strength).

text: Often described by using general terms, such as dark brown, yellowish brown, etc., soil colors are also described more technically by using

text: Munsell soil color charts

text: , which separate color into components of hue (relation to red, yellow and blue), value (lightness or darkness) and chroma (paleness or strength).

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text: The charge is placed in an escutcheon (shield) of the Modern French type. It is a nearly rectangular upright isosceles trapezoid, rounded at the bottom, whose upper base is slightly longer than the lower one, from the middle of which extends downwards a pointed tip. Although the shield is an integral part of the coat of arms, Polish law stipulates, in certain cases, to only use the charge without the escutcheon. The shades of the principal tinctures, white (Argent) and red (Gules), which are the national colors of Poland, are specified as coordinates in the CIE 1976 color space (see Flag of PolandNational colors for details).

text: The charge is placed in an

text: escutcheon

text: (shield) of the Modern French type. It is a nearly rectangular upright

text: isosceles trapezoid

text: , rounded at the bottom, whose upper base is slightly longer than the lower one, from the middle of which extends downwards a pointed tip. Although the shield is an integral part of the coat of arms, Polish law stipulates, in certain cases, to only use the charge without the escutcheon. The shades of the principal tinctures, white (

text: Argent

text: ) and red (

text: Gules

text: ), which are the national colors of Poland, are specified as coordinates in the

text: CIE 1976

text: color space (see

text: Flag of PolandNational colors

text: for details).

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text: The "See It/Skip It/Rent It" review thumbnails, the DVD recommendations, and the "3 to See" segment were retained. For some films, the show used a new "Critics Roundup" segment (see below). In addition, instead of the traditional "The balcony is closed" sign-off, one of the hosts said, "We'll be at the movies," which echoed the "We'll see you at the movies" sign-off from the first seven seasons of Sneak Previews and the Tribune Entertainment-produced At the Movies. The show also featured a new upbeat theme arrangement and brighter color scheme. An attempt to liven up film clips during reviews by filling clip letterboxes with coloring was quickly discontinued after the first two episodes due to viewer complaints.

text: The "See It/Skip It/Rent It" review thumbnails, the DVD recommendations, and the "3 to See" segment were retained. For some films, the show used a new "Critics Roundup" segment (see

text: below

text: ). In addition, instead of the traditional "The balcony is closed" sign-off, one of the hosts said, "We'll be at the movies," which echoed the "We'll see you at the movies" sign-off from the first seven seasons of Sneak Previews and the Tribune Entertainment-produced At the Movies. The show also featured a new upbeat theme arrangement and brighter color scheme. An attempt to liven up film clips during reviews by filling clip

text: letterbox

text: es with coloring was quickly discontinued after the first two episodes due to viewer complaints.

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text: Psoralens are materials that make the skin more sensitive to UV light. They are called photosensitizing agents and are found in plants or manufactured artificially. Psoralens are taken as pills ( systemically) or can be applied directly to the skin, by soaking the skin in a solution that contains psoralen. The psoralens allow to lower the dose of the UVA energy. When they are combined with exposure to UVA in PUVA, they are highly effective at clearing psoriasis and vitiligo. Like UVB light treatments, the reason in case of vitiligo is that they increase the sensitivity of the Melanocyte, the cell that manufactures the skin color, to UV light. The melanocyte has sensors that see the UV light and tells it to manufacture the skin brown color. The color protects the body from the harming UV light. It can also be a connection with the skin's immune response.

text: Psoralens are materials that make the skin more sensitive to UV light. They are called photosensitizing agents and are found in plants or manufactured artificially. Psoralens are taken as pills ( systemically) or can be applied directly to the skin, by soaking the skin in a solution that contains psoralen. The psoralens allow to lower the dose of the UVA energy. When they are combined with exposure to UVA in PUVA, they are highly effective at clearing

text: psoriasis

text: and

text: vitiligo

text: . Like

text: UVB

text: light treatments, the reason in case of vitiligo is that they increase the sensitivity of the Melanocyte, the cell that manufactures the skin color, to UV light. The melanocyte has sensors that see the UV light and tells it to manufacture the skin brown color. The color protects the body from the harming UV light. It can also be a connection with the skin's immune response.

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text: This nudibranch displays a stunning set of colors: the body is purple, the cerata are orange and the rhinophores are scarlet. The neon orange appendages on the back of Flabellina iodinea are the cerata which extract oxygen from the sea water they are surrounded by and live in. The cerata are also extensions of the digestive system, and are used to store the stinging cells of the anemones and fan-like hydroids they eat. The red rhinophores are sensory structures used for detecting the presence of possible mates and prey. The purple, red, and orange colors are derived from a single carotenoid pigment, astaxanthin. The pigment appears in three modified states, leading to the three distinct colors.

text: This nudibranch displays a stunning set of colors: the body is purple, the cerata are orange and the

text: rhinophore

text: s are scarlet. The neon orange appendages on the back of Flabellina iodinea are the cerata which extract oxygen from the sea water they are surrounded by and live in. The cerata are also extensions of the digestive system, and are used to store the stinging cells of the anemones and fan-like hydroids they eat. The red rhinophores are sensory structures used for detecting the presence of possible mates and prey. The purple, red, and orange colors are derived from a single carotenoid pigment,

text: astaxanthin

text: . The pigment appears in three modified states, leading to the three distinct colors.

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text: In one method, twenty-five control subjects were tested using color-based depth effects through the use of five different colored pairs of squares. The different colors were blue, red, green, cyan and yellow. Subjects were placed in a dark room and the colored square stimuli were presented for 400 milliseconds each, and during this time the subjects were asked to attend to either the right or left square (evenly counterbalanced across subjects). Using a joystick, the subject indicated whether the square was behind, in front of, or in the same plane as its pair. According to the theory, the longer the wavelength of the color, the closer it should be perceived by the observer for positive chromostereopsis. Having a longer wavelength than the other colors, red should appear closest. To enhance this effect, subjects put on blazed-grating ChromaDepthTM glasses, which contain a prism structure to refract the light to an angle of approximately 1° and were tested again.

text: In one method, twenty-five control subjects were tested using color-based depth effects through the use of five different colored pairs of squares. The different colors were blue, red, green,

text: cyan

text: and yellow. Subjects were placed in a dark room and the colored square

text: stimuli

text: were presented for 400

text: milliseconds

text: each, and during this time the subjects were asked to attend to either the right or left square (evenly counterbalanced across subjects). Using a

text: joystick

text: , the subject indicated whether the square was behind, in front of, or in the same plane as its pair. According to the theory, the longer the wavelength of the color, the closer it should be perceived by the observer for positive chromostereopsis. Having a longer wavelength than the other colors, red should appear closest. To enhance this effect, subjects put on blazed-grating ChromaDepthTM

text: glasses

text: , which contain a

text: prism

text: structure to

text: refract

text: the

text: light

text: to an

text: angle

text: of approximately 1° and were tested again.

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answers: ChromaDepthTM glasses

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answers: longer wavelength

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answers: blue

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answers: blue, red

text: In the early 1950s, Stanley Merz of the Photo Control Company, Minneapolis, began development of the National School Studios’ Model 10 camera, and in 1952, NSS opened its first plant outside of Minneapolis in Winnipeg, Manitoba. During that same year, Eastman Kodak developed a new negative process and new photographic paper that streamlined color photo development. With the help of Kodak, NSS developed the school photography industry’s first cluster lens printer making it possible to print multiple photos from a single exposure. NSS was first to offer full-color (hand-colored) school photos starting in 1956. Package printing and the Model 10 camera, a replacement for the original box camera, were introduced in 1957, the chief advantage of which was a separate film magazine, better lighting control and better film metering. The company’s first color print processor was installed in 1958.

text: In the early 1950s, Stanley Merz of the Photo Control Company, Minneapolis, began development of the National School Studios’ Model 10

text: camera

text: , and in 1952, NSS opened its first

text: plant

text: outside of Minneapolis in

text: Winnipeg

text: Manitoba

text: . During that same year,

text: Eastman Kodak

text: developed a new negative process and new photographic paper that streamlined

text: color photo

text: development. With the help of Kodak, NSS developed the school photography industry’s first cluster lens printer making it possible to print multiple photos from a single exposure. NSS was first to offer full-color (hand-colored) school photos starting in 1956. Package printing and the Model 10 camera, a replacement for the original box camera, were introduced in 1957, the chief advantage of which was a separate film magazine, better

text: lighting control

text: and better

text: film metering

text: . The company’s first color print processor was installed in 1958.

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text: The game presented swirls of different colors stacked upon each other. The player would try to match up as many of the same colored swirls onscreen as possible, then, when satisfied with a combo, they would press the color, making them disappear. The more swirls one can gather together, the more points earned, as well as a reward of seeing the swirls disappear in different ways. The most rewarding way to see the swirls disappear is when they all go into the air and burst with firework-like sounds and cheers. If a swirl of a certain color is alone within a stack of other colored swirls, the player actually loses points.

text: The game presented swirls of different colors stacked upon each other. The player would try to match up as many of the same colored swirls onscreen as possible, then, when satisfied with a combo, they would press the color, making them disappear. The more swirls one can gather together, the more points earned, as well as a reward of seeing the swirls disappear in different ways. The most rewarding way to see the swirls disappear is when they all go into the air and burst with firework-like sounds and cheers. If a swirl of a certain color is alone within a stack of other colored swirls, the player actually loses points.

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text: Note: the object properties can be sorted in a different order from the one in which they are placed in actionscript. For coloring/markup, refer to the legend below.

text: Note: the object properties can be sorted in a different order from the one in which they are placed in actionscript. For coloring/markup, refer to the legend below.

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text: This argument is correct and can be formalized as follows. By the law of total probability, the probability that the hidden color is the same as the displayed color equals the weighted average of the probabilities that the hidden color is the same as the displayed color, given that the displayed color is black or white respectively (the weights are the probabilities of seeing black and white respectively). By symmetry, the two conditional probabilities that the colours are the same given we see black and given we see white are the same. Since they moreover average out to  they must both be equal to .

text: This argument is correct and can be formalized as follows. By the

text: law of total probability

text: , the probability that the hidden color is the same as the displayed color equals the weighted average of the probabilities that the hidden color is the same as the displayed color, given that the displayed color is black or white respectively (the weights are the probabilities of seeing black and white respectively). By symmetry, the two conditional probabilities that the colours are the same given we see black and given we see white are the same. Since they moreover average out to  they must both be equal to .

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text: Before the Industrial Revolution, the range of color available for art and decorative uses was technically limited. Most of the pigments in use were earth and mineral pigments, or pigments of biological origin. Pigments from unusual sources such as botanical materials, animal waste, insects, and mollusks were harvested and traded over long distances. Some colors were costly or impossible to obtain, given the range of pigments that were available. Blue and purple came to be associated with royalty because of their rarity.

text: Before the

text: Industrial Revolution

text: , the range of color available for art and decorative uses was technically limited. Most of the pigments in use were earth and

text: mineral

text: pigments, or pigments of biological origin. Pigments from unusual sources such as botanical materials, animal waste,

text: insect

text: s, and

text: mollusk

text: s were harvested and traded over long distances. Some colors were costly or impossible to obtain, given the range of pigments that were available.

text: Blue

text: and

text: purple

text: came to be associated with

text: royalty

text: because of their rarity.

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text: Artist-grade pencils are filled with higher concentrations of high-quality pigments than student-grade colored pencils. Their lightfastness – resistance to UV rays in sunlight – is also measured and documented. Core durability, break and water resistance, and brand popularity are also notable features of artist-grade colored pencils. Artist-grade pencils have the largest color ranges; 72 color sets are very common and there are several brands of 120 colors or more. They are also typically available as individual pencils.

text: Artist-grade pencils are filled with higher concentrations of high-quality pigments than student-grade colored pencils. Their lightfastness – resistance to

text: UV rays

text: in sunlight – is also measured and documented. Core durability, break and water resistance, and brand popularity are also notable features of artist-grade colored pencils. Artist-grade pencils have the largest color ranges; 72 color sets are very common and there are several brands of 120 colors or more. They are also typically available as individual pencils.

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text: In additive color devices such as computer displays and televisions, one of the primary light sources is typically a narrow-spectrum yellowish-green of dominant wavelength ~550nm; this "green" primary is combined with an orangish-red "red" primary and a purplish-blue "blue" primary to produce any color in betweenthe RGB color model. A unique green (green appearing neither yellowish nor bluish) is produced on such a device by mixing light from the green primary with some light from the blue primary.

text: In additive color devices such as computer displays and televisions, one of the

text: primary

text: light sources is typically a narrow-spectrum yellowish-green of dominant wavelength ~550nm; this "green" primary is combined with an orangish-red "red" primary and a purplish-blue "blue" primary to produce any color in betweenthe RGB color model. A

text: unique green

text: (green appearing neither yellowish nor bluish) is produced on such a device by mixing light from the green primary with some light from the blue primary.

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text: In the European Union, a sound sign or tone color can be trade marked as sound trademark if it has significant differentiation and can be graphically represented. These requirements are satisfied if the sound trademark is clear, precise, self-contained, easily accessible, intelligible, durable and objective. Therefore sound signs or tone colors can only be registered in the member states of the European Union if they are precisely graphically represented, e.g. by musical notation or a sonogram, or any other distinct method, e.g. a sound recording.

text: In the

text: European Union

text: , a sound sign or tone color can be trade marked as sound trademark if it has significant differentiation and can be graphically represented. These requirements are satisfied if the sound trademark is clear, precise, self-contained, easily accessible, intelligible, durable and objective. Therefore sound signs or tone colors can only be registered in the member states of the European Union if they are precisely graphically represented, e.g. by musical notation or a sonogram, or any other distinct method, e.g. a sound recording.

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text: |- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Wear Valley Independent Group win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Derwentside Independents win|-

text: |- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" | Wear Valley Independent Group win|-|- style="background-color:#F6F6F6" ! style="background-color:#ffffff" | | colspan="5" |

text: Derwentside Independents

text: win|-

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text: Biological pigments, also known simply as pigments or biochromes are substances produced by living organisms that have a color resulting from selective color absorption. Biological pigments include plant pigments and flower pigments. Many biological structures, such as skin, eyes, feathers, fur and hair contain pigments such as melanin in specialized cells called chromatophores.

text: Biological pigments, also known simply as pigments or biochromes are substances produced by living organisms that have a

text: color

text: resulting from selective

text: color absorption

text: . Biological pigments include plant pigments and flower pigments. Many biological structures, such as

text: skin

text: eye

text: s,

text: feathers

text: fur

text: and

text: hair

text: contain pigments such as

text: melanin

text: in specialized cells called

text: chromatophores

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text: The aim of color calibration is to measure and/or adjust the color response of a device (input or output) to a known state. In International Color Consortium (ICC) terms, this is the basis for an additional color characterization of the device and later profiling. In non-ICC workflows, calibration refers sometimes to establishing a known relationship to a standard color space in one go. The device that is to be calibrated is sometimes known as a calibration source; the color space that serves as a standard is sometimes known as a calibration target. Color calibration is a requirement for all devices taking an active part of a color-managed workflow.

text: The aim of color calibration is to measure and/or adjust the color response of a device (input or output) to a known state. In

text: International Color Consortium

text: (ICC) terms, this is the basis for an additional color characterization of the device and later profiling. In non-ICC workflows, calibration refers sometimes to establishing a known relationship to a standard

text: color space

text: in one go. The device that is to be calibrated is sometimes known as a calibration source; the color space that serves as a standard is sometimes known as a calibration target. Color calibration is a requirement for all devices taking an active part of a

text: color-managed

text: workflow.

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text: While aqueous inks often provide the broadest color gamut and most vivid color, most are not waterproof without specialized coating or lamination after printing. Most Dye-based inks, while usually the least expensive, are subject to rapid fading when exposed to light or ozone. Pigment-based aqueous inks are typically more costly but provide much better long-term durability and ultraviolet resistance. Inks marketed as "Archival Quality" are usually pigment-based.

text: While aqueous inks often provide the broadest

text: color gamut

text: and most vivid color, most are not waterproof without specialized coating or

text: lamination

text: after printing. Most

text: Dye

text: -based inks, while usually the least expensive, are subject to rapid fading when exposed to light or ozone.

text: Pigment

text: -based aqueous inks are typically more costly but provide much better long-term durability and

text: ultraviolet

text: resistance. Inks marketed as "

text: Archival Quality

text: " are usually pigment-based.

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text: |-!colspan=9 style="background:#B18E5F; color:#000000;"| Exhibition|-!colspan=9 style="background:#B18E5F; color:#000000;"| Non-conference regular season|-!colspan=9 style="background:#B18E5F; color:#000000;"| Big Sky regular season|-!colspan=9 style="background:#B18E5F; color:#000000;"| |-!colspan=9 style="background:#B18E5F; color:#000000;"|

text: |-!colspan=9 style="background:#B18E5F; color:#000000;"| Exhibition|-!colspan=9 style="background:#B18E5F; color:#000000;"| Non-conference regular season|-!colspan=9 style="background:#B18E5F; color:#000000;"| Big Sky regular season|-!colspan=9 style="background:#B18E5F; color:#000000;"|

entity_name: 2016 Big Sky Conference Men's Basketball Tournament

text: |-!colspan=9 style="background:#B18E5F; color:#000000;"|

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answers: The colors of the rainbow are red, orange, yellow, green and blue.

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text: Purple is a color intermediate between blue and  red. It is similar to violet, but unlike violet, which is a spectral color with its own wavelength on the visible spectrum of light, purple is a composite color made by combining red and blue.  According to surveys In Europe and the U.S., purple is the color most often associated with royalty, magic, mystery and piety. When combined with pink, it is associated with eroticism, femininity and seduction.

text: Purple is a color intermediate between

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text: visible spectrum

text: of light, purple is a composite color made by combining red and blue.  According to surveys In Europe and the U.S., purple is the color most often associated with royalty, magic, mystery and piety. When combined with pink, it is associated with

text: eroticism

text: , femininity and

text: seduction

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text: Earl Conee objects that having an ability to imagine seeing a color is neither necessary nor sufficient for knowing what it is like to see that color, meaning the ability hypothesis does not capture the nature of the new knowledge Mary acquires upon leaving the room. To show that ability is not necessary, Conee cites the example of someone who is able to see colors when she is looking at them, but who lacks the capacity to imagine colors when she is not. He argues that while staring at something that looks red to her, she would have knowledge of what it is like to see red, even though she lacks the ability to imagine what it is like. In order to show precisely that imaginative abilities are not sufficient for knowing what it is like, Conee introduces the following example: Martha, "who is highly skilled at visualizing an intermediate shade that she has not experienced between pairs of shades that she has experienced...happens not to have any familiarity with the shade known as cherry red". Martha has been told that cherry red is exactly midway between burgundy red and fire red (she has experienced these two shades of red, but not cherry). With this, Martha has the ability to imagine cherry red if she so chooses, but as long as she does not exercise this ability, to imagine cherry red, she does not know what it is like to see cherry red.

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text: Light and color can influence how people perceive the area around them. Different light sources affect how the colors of walls and other objects are seen. Specific hues of colors seen under natural sunlight may vary when seen under the light from an incandescent (tungsten) light-bulb: lighter colors may appear to be more orange or "brownish" and darker colors may appear even darker. Light and the color of an object can affect how one perceives its positioning. If light or shadow, or the color of the object, masks an object's true contour (outline of a figure) it can appear to be shaped differently from reality. Objects under a uniform light-source will promote better impression of three-dimensional shape. The color of an object may affect whether or not it seems to be in motion. In particular, the trajectories of objects under a light source whose intensity varies with space are more difficult to determine than identical objects under a uniform light source. This could possibly be interpreted as interference between motion and color perception, both of which are more difficult under variable lighting.

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text: Azure also describes the color of the mineral azurite, both in its natural form and as a pigment in various paint formulations. In order to preserve its deep color, azurite was ground coarsely. Fine-ground azurite produces a lighter, washed-out color. Traditionally, the pigment was considered unstable in oil paints, and was sometimes isolated from other colors and not mixed. Modern investigation of old paintings, however, shows that the pigment is very stable unless exposed to sulfur fumes.

text: Azure also describes the color of the mineral

text: azurite

text: , both in its natural form and as a pigment in various paint formulations. In order to preserve its deep color, azurite was ground coarsely. Fine-ground azurite produces a lighter, washed-out color. Traditionally, the pigment was considered unstable in oil paints, and was sometimes isolated from other colors and not mixed. Modern investigation of old paintings, however, shows that the pigment is very stable unless exposed to sulfur fumes.

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text: Another problem with water is that light attenuation is a function of the wavelength. This means that different color get attenuated faster than others, leading to color degradation. Red and orange light is the first to get attenuated, followed by yellows and greens. Blue is the less attenuated wavelength.

text: Another problem with water is that light attenuation is a function of the wavelength. This means that different color get attenuated faster than others, leading to color degradation. Red and orange light is the first to get attenuated, followed by yellows and greens. Blue is the less attenuated wavelength.

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text: Visual color measurement is the conventional and usual form of liquid color measurement.  In this case the sample is held up to a series of color standards in order to see which standard the sample most closely resembles.  This measurement is only approximate, but is the less expensive method as the only expense is the set of color standards to which the sample is matched.  This is by far the most commonly used method because of this inexpensive nature.

text: Visual color

text: measurement

text: is the conventional and usual form of liquid color measurement.  In this case the sample is held up to a series of color standards in order to see which standard the sample most closely resembles.  This measurement is only approximate, but is the less expensive method as the only expense is the set of color standards to which the sample is matched.  This is by far the most commonly used method because of this inexpensive nature.

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answers: tqa2:L_0836/T_4251/40786587e70acca3f0d3545b9f542e94

answers: 0

answers: tqa2:L_0836/T_4251/95f5d24b848714bf58ff3ae762ae4238

answers: 0

answers: tqa2:L_0836/T_4251/e68d6f2915c4db253e52833ae265f647

answers: 0

answers: tqa2:L_0836/T_4251/b6a5df5ab7b34c7a3ad2e6d6a0e8d4b6

answers: 0

answers: tqa2:L_0836/T_4251/9fbdbd2944060fa1f0cd58d307e5be3c

answers: 0

answers: NDQ_016542

answers: 4

answers: NDQ_016543

answers: 0

answers: NDQ_016548

answers: 0

answers: NDQ_016549

answers: 0

answers: NDQ_016550

answers: 0

answers: NDQ_016551

answers: 0

answers: NDQ_016542

answers: Visual color measurement

answers: NDQ_016543

answers: Visual

answers: NDQ_016548

answers: are held up to a series of color standards

answers: NDQ_016549

answers: Visual color measurement

answers: NDQ_016550

answers: liquid

answers: NDQ_016551

answers: liquid

text: |- style="background-color:#bbffbb"| 1 || April 2 || Orioles || 7 – 4 || Santana (1-0) || Bédard (0-1) || Nathan (1) || 48,711 || 1-0|- style="background-color:#bbffbb"| 2 || April 3 || Orioles || 3 – 2 ||Neshek (1-0)||Cabrera (0-1) ||Nathan (2) ||24,439 ||2-0|- style="background-color:#bbffbb"| 3 || April 4 || Orioles || 7 – 2 ||Ortiz (1-0) ||Wright (0-1)|| || 27,539|| 3-0|- style="background-color:#bbbbbb"| -- || April 6 || @ White Sox || colspan=5|Postponed (cold weather) rescheduled for July 6|| 3-0|- style="background-color:#ffbbbb"| 4 || April 7 || @ White Sox || 3 – 0 || Vázquez (1-0) || Silva (0-1)|| Jenks (1) || 33,278 || 3-1|- style="background-color:#bbffbb"| 5 || April 8 || @ White Sox || 3 – 1 || Santana (2-0) || Danks (0-1) || Nathan (3) || 27,653 || 4-1|- style="background-color:#ffbbbb"| 6 || April 9 || Yankees || 8 – 2 || Pavano (1-0) || Ponson (0-1) || || 26,047 || 4-2|- style="background-color:#ffbbbb"| 7 || April 10 || Yankees || 10 – 1 || Pettitte (1-0) || Bonser (0-1) || || 24,552 || 4-3|- style="background-color:#bbffbb"| 8 || April 11 || Yankees || 5 – 1 || Ortiz (2-0) || Farnsworth (0-1) || || 30,131 || 5-3|- style="background-color:#bbffbb"| 9 || April 12 || Devil Rays || 3 – 2 || Nathan (1-0) || Stokes (0-2) || || 15,869 || 6-3|- style="background-color:#ffbbbb"| 10 || April 13 || Devil Rays || 4 – 2 || Kazmir (2-0) || Santana (2-1) || Reyes (3) || 27,783 || 6-4|- style="background-color:#bbffbb"| 11 || April 14 || Devil Rays || 12 – 5 || Ponson (1-1) || Jackson (0-2) || || 35,269 || 7-4|- style="background-color:#ffbbbb"| 12 || April 15 || Devil Rays || 6 – 4 || Stokes (1-2) || Nathan (1-1) || Reyes (4) || 27,024 || 7-5|- style="background-color:#bbffbb"| 13 || April 17 || @ Mariners || 11 – 2 || Ortiz (3-0) || Weaver (0-2) || || 19,015 || 8-5|- style="background-color:#bbffbb"| 14 || April 18 || @ Mariners || 5 – 4 || Silva (1-1) || Hernández (2-1) || Nathan (4) ||20,871 || 9-5|- style="background-color:#bbffbb"| 15 || April 19 || @ Mariners || 6 – 5 || Santana (3-1) ||Washburn (0-2) || Nathan (5)|| 19,350 || 10-5|- style="background-color:#ffbbbb"| 16 || April 20 || @ Royals || 11 – 7 || Pérez (1-2) || Ponson (1-2) || Riske (2) || 31,813 || 10-6|- style="background-color:#bbffbb"| 17 || April 21 || @ Royals || 7 – 5 ||Neshek (2-0) ||Peralta (0-2) ||Nathan (6) || 20,566|| 11-6|- style="background-color:#ffbbbb"| 18 || April 22 || @ Royals || 3 – 1 || de la Rosa (2-1) || Ortiz (3-1) || Soria (2) || 14,801 || 11-7|- style="background-color:#ffbbbb"| 19 || April 23 || Indians || 7 – 3 (12) || Hernández (2-1) || Crain (0-1) || || 16,076 || 11-8|- style="background-color:#ffbbbb"| 20 || April 24 || Indians || 5 – 3 || Carmona (1-1) || Santana (3-2) || Borowski (8) || 20,849 || 11-9|- style="background-color:#ffbbbb"| 21 || April 25 || Royals || 4 – 3 || Pérez (2-2) || Ponson (1-3) || Soria (3) || 21,496 || 11-10|- style="background-color:#bbffbb"| 22 || April 26 || Royals || 1 – 0 (11) ||Rincón (1-0)|| Wellemeyer (0-1) || ||18,520 || 12-10|- style="background-color:#bbffbb"| 23 || April 27 || @ Tigers || 5 – 3 ||Crain (1-1)||Zumaya (0-1)||Nathan (7) || 31,147|| 13-10|- style="background-color:#bbffbb"| 24 || April 28 || @ Tigers || 11 – 3 || Silva (2-1) || Verlander (1-1) || || 39,547 || 14-10|- style="background-color:#ffbbbb"| 25 || April 29 || @ Tigers || 4 – 3 || Jones (1-1) || Crain (1-2) || ||36,483 || 14-11|- style="background-color:#bbffbb"| 26 || May 1 || @ Devil Rays || 9 – 1 ||Ponson (2-3) ||Jackson (0-4)|| ||8,773 || 15-11|- style="background-color:#ffbbbb"| 27 || May 2 || @ Devil Rays || 4 – 3 (10) || Reyes (1-0) || Guerrier (0-1) || || 9,101 || 15-12|- style="background-color:#ffbbbb"| 28 || May 3 || @ Devil Rays || 6 – 4 || Shields (3-0) || Ortiz (3-2) || Reyes (10) || 8,793 || 15-13|- style="background-color:#ffbbbb"| 29 || May 4 || Red Sox || 2 – 0 || Wakefield (3-3) || Silva (2-2) || Papelbon (9) || 34,951 || 15-14|- style="background-color:#bbffbb"| 30 || May 5 || Red Sox || 2 – 1 || Santana (4-2) || Tavárez (1-3) || Nathan (8) || 40,088 || 16-14|- style="background-color:#ffbbbb"| 31 || May 6 || Red Sox || 4 – 3 || Schilling (4-1) || Ponson (2-4) || Papelbon (10) || 27,807 || 16-15|- style="background-color:#bbffbb"| 32 || May 8 || White Sox || 7 – 4 (10) || Rincón (2-0) || Sisco (0-1) || || 21,979 || 17-15|- style="background-color:#ffbbbb"| 33 || May 9 || White Sox || 6 – 3 || Danks (1-4) || Ortiz (3-3) || || 24,367 || 17-16|- style="background-color:#ffbbbb"| 34 || May 10 || White Sox || 3 – 0 ||Contreras (3-3) || Silva (2-3) || || 23,663 || 17-17|- style="background-color:#ffbbbb"| 35 || May 11 || Tigers || 7 – 3 || Maroth (3-0) || Santana (4-3) || || 31,458 || 17-18|- style="background-color:#ffbbbb"| 36 || May 12 || Tigers || 8 – 2 || Durbin (3-1) || Ponson (2-5) || || 32,176 || 17-19|- style="background-color:#bbffbb"| 37 || May 13 || Tigers || 16 – 4 || Bonser (1-1) || Vasquez (0-1)|| || 25,037 || 18-19|- style="background-color:#ffbbbb"| 38 || May 15 || @ Indians ||15 – 7 ||Byrd (3-1) || Ortiz (3-4) || || 23,325 || 18-20|- style="background-color:#ffbbbb"| 39 || May 16 || @ Indians || 7 – 1 || Sabathia (6-1) ||Silva (2-4) || || 17,678 || 18-21|- style="background-color:#ffbbbb"| 40 || May 17 || @ Indians || 2 – 0 || Carmona (5-1) || Santana (4-4) || || 28,609 || 18-22|- style="background-color:#bbffbb"| 41 || May 18 || @ Brewers || 8 – 1 || Bonser (2-1) || Capuano (5-2) || || 44,759 || 19-22|- style="background-color:#bbffbb"| 42 || May 19 || @ Brewers || 5 – 2 || Baker (1-0) || Bush (3-4) || || 44,427 || 20-22|- style="background-color:#ffbbbb"| 43 || May 20 || @ Brewers || 6 – 5 || Wise (1-1) || Reyes (0-1) || Cordero (17) || 39,119 || 20-23|- style="background-color:#ffbbbb"| 44 || May 21 || @ Rangers || 14 – 4 || Padilla (2-6) || Silva (2-5) || || 24,814 || 20-24|- style="background-color:#bbffbb"| 45 || May 22 || @ Rangers || 7 – 1 || Santana (5-4) || Loe (1-4) || || 27,013 || 21-24|- style="background-color:#bbffbb"| 46 || May 23 || @ Rangers || 5 – 3 || Bonser (3-1) || Tejeda (4-4) || Nathan (9) || 24,370 || 22-24|- style="background-color:#bbffbb"| 47 || May 25 || Blue Jays || 4 – 3 || Guerrier (1-1)|| Downs (1-1)|| Nathan (10) || 26,781 || 23-24|- style="background-color:#ffbbbb"| 48 || May 26 || Blue Jays || 9 – 8 (13) || Tallet (1-1) || Guerrier (1-2) || || 31,434 || 23-25|- style="background-color:#bbffbb"| 49 || May 27 || Blue Jays || 4 – 2 || Silva (3-5) || Burnett (5-4) || Nathan (11) || 25,781 || 24-25|- style="background-color:#bbffbb"| 50 || May 28 || White Sox || 10 – 4 || Santana (6-4) || Contreras (4-5) || || 27,090 || 25-25|- style="background-color:#bbffbb"| 51 || May 29 || White Sox || 9 – 2 || Bonser (4-1) || Danks (3-5) || || 23,771 || 26-25|- style="background-color:#bbffbb"| 52 || May 30 || White Sox || 7 – 6 || Nathan (2-1) || MacDougal (1-2) || || 29,042 || 27-25|- style="background-color:#bbffbb"| 53 || June 1 || @ Athletics || 3 – 2 (10) || Neshek (3-0) || Calero (0-4) || Nathan (12) || 20,219 || 28-25|- style="background-color:#ffbbbb"| 54 || June 2 || @ Athletics || 1 – 0 || Blanton (5-3) || Silva (3-6) || || 30,576 || 28-26|- style="background-color:#ffbbbb"| 55 || June 3 || @ Athletics || 4 – 2 || Gaudin (6-1) || Santana (6-5) || Embree (4) || 25,388 || 28-27|- style="background-color:#ffbbbb"| 56 || June 4 || @ Angels || 16 – 3 || Weaver (5-3) || Bonser (4-2) || || 37,380 || 28-28|- style="background-color:#ffbbbb"| 57 || June 5 || @ Angels || 5 – 1 || Escobar (7-3) || Baker (1-1) || || 42,001 || 28-29|- style="background-color:#bbffbb"| 58 || June 6 || @ Angels || 8 – 5 || Slowey (1-0) || Lackey (9-4) || Nathan (13) || 36,453 || 29-29|- style="background-color:#ffbbbb"| 59 || June 8 || Nationals || 8 – 5 || Simontacchi (3-4) || Silva (3-7) || Rivera (2) || 25,144 || 29-30|- style="background-color:#ffbbbb"| 60 || June 9 || Nationals || 3 – 1 || Speigner (2-2) || Santana (6-6) || Cordero (8) || 39,742 || 29-31|- style="background-color:#bbffbb"| 61 || June 10 || Nationals || 6 – 3 || Bonser (5-2) || Bacsik (1-3) || Nathan (14) || 31,035 || 30-31|- style="background-color:#bbffbb"| 62 || June 12 || Braves || 7 – 3 || Slowey (2-0) || Davies (3-5) || || 25,868 || 31-31|- style="background-color:#bbffbb"| 63 || June 13 || Braves || 6 – 0 || Silva (4-7) || James (5-6) || || 27,903 || 32-31|- style="background-color:#bbffbb"| 64 || June 14 || Braves || 3 – 2 || Reyes (1-1) || Wickman (1-2) || || 26,714 || 33-31|- style="background-color:#ffbbbb"| 65 || June 15 || Brewers || 11 – 3 || Vargas (5-1) || Baker (1-2) || Shouse (1) || 27,977 || 33-32|- style="background-color:#ffbbbb"| 66 || June 16 || Brewers || 5 – 2 || Bush (4-6) || Bonser (5-3) || Cordero (25) || 37,117 || 33-33|- style="background-color:#bbffbb"| 67 || June 17 || Brewers || 10 – 9 || Nathan (3-1) || Spurling (1-1) || || 31,624 || 34-33|- style="background-color:#ffbbbb"| 68 || June 18 || @ Mets || 8 – 1 || Maine (7-4) || Silva (4-8) || || 37,319 || 34-34|- style="background-color:#bbffbb"| 69 || June 19 || @ Mets || 9 – 0 || Santana (7-6) || Sosa (6-3) || || 40,935 || 35-34|- style="background-color:#bbffbb"| 70 || June 20 || @ Mets || 6 – 2 || Baker (2-2) || Pérez (7-6) || || 44,517 || 36-34|- style="background-color:#ffbbbb"| 71 || June 22 || @ Marlins || 5 – 4 || Benítez (2-3) || Rincón (2-1) || Gregg (14) || 15,271 || 36-35|- style="background-color:#bbffbb"| 72 || June 23 || @ Marlins || 11 – 1 || Silva (5-8) || Johnson (0-2) || || 21,368 || 37-35|- style="background-color:#bbffbb"| 73 || June 24 || @ Marlins || 7 – 4 || Santana (8-6) || Kim (3-4) || || 15,035 || 38-35|- style="background-color:#ffbbbb"| 74 || June 25 || Blue Jays || 8 – 5 || Halladay (9-2) || Guerrier (1-3)|| Accardo (9) || 24,240 || 38-36|- style="background-color:#bbffbb"| 75 || June 26 || Blue Jays || 2 – 1 (12) || Rincón (3-1) || Tallet (2-2) || || 27,000 || 39-36|- style="background-color:#ffbbbb"| 76 || June 27 || Blue Jays || 5 – 4 || Towers (3-5) || Bonser (5-4) || Accardo (10) || 30,959 || 39-37|- style="background-color:#bbffbb"| 77 || June 28 || Blue Jays || 8 – 5 || Silva (6-8) || Frasor (1-3)|| Nathan (15) || 31,038 || 40-37|- style="background-color:#bbffbb"| 78 || June 29 || @ Tigers || 11 – 1 || Santana (9-6) || Verlander (9-3) || || 42,361 || 41-37|- style="background-color:#bbffbb"| 79 || June 30 || @ Tigers || 8 – 5 || Slowey (3-0) || Miller (3-2) || Nathan (16) || 41,588 || 42-37|- style="background-color:#ffbbbb"| 80 || July 1 || @ Tigers || 1 – 0 || Bonderman (9-1) || Baker (2-3) || Jones (20) || 41,078 || 42-38|- style="background-color:#ffbbbb"| 81 || July 2 || @ Yankees || 5 – 1 || Clemens (2-3) || Bonser (5-5) || || 53,036 || 42-39|- style="background-color:#ffbbbb"| 82 || July 3 || @ Yankees || 8 – 0 || Wang (8-4) || Silva (6-9) || || 53,862 || 42-40|- style="background-color:#bbffbb"| 83 || July 4 || @ Yankees || 6 – 2 || Santana (10-6) || Mussina (4-6) || || 52,040 || 43-40|- style="background-color:#ffbbbb"| 84 || July 5 || @ Yankees || 7 – 6 || Farnsworth (1-1) || Neshek (3-1) || Rivera (11) || 52,471 || 43-41|- style="background-color:#bbffbb"| 85 || July 6 || @ White Sox || 20 – 14 || Baker (3-3) || Garland (6-6) || || 31,543 || 44-41|- style="background-color:#bbffbb"| 86 || July 6 || @ White Sox || 12 – 0 || Garza (1-0) || Floyd (0-1) || || 32,426 || 45-41|- style="background-color:#ffbbbb"| 87 || July 7 || @ White Sox || 3 – 1 || Buehrle (6-4) || Bonser (5-6) || Jenks (23) || 36,791 || 45-42|- style="background-color:#ffbbbb"| 88 || July 8 || @ White Sox || 6 – 3 || Vázquez (6-5) || Silva (6-10) || || 32,724 || 45-43|- style="background-color:#bbffbb"| 89 || July 12 || Athletics || 6 – 2 || Baker (4-3) || Gaudin (8-4) || || 25,207 || 46-43|- style="background-color:#bbffbb"| 90 || July 13 || Athletics || 5 – 3 || Santana (11-6) || DiNardo (3-6) || Nathan (17) || 36,338 || 47-43|- style="background-color:#bbffbb"| 91 || July 14 || Athletics || 4 – 3 || Silva (6-10) || Blanton (8-6) || Nathan (18) || 36,066 || 48-43|- style="background-color:#bbffbb"| 92 || July 15 || Athletics || 4 – 3 || Neshek (4-1) || Kennedy (2-8) || || 36,737 || 49-43|- style="background-color:#ffbbbb"| 93 || July 17 || Tigers || 1 – 0 || Robertson (6-6) || Garza (1-1) || Jones (24) || 30,939 || 49-44|- style="background-color:#ffbbbb"| 94 || July 18 || Tigers || 3 – 2 || Miller (5-3) || Santana (10-7) || Jones (25) || 38,070 || 49-45|- style="background-color:#ffbbbb"| 95 || July 19 || Tigers || 4 – 3 (10) || Miner (1-1) || Nathan (3-2) || Jones (26) || 36,551 || 49-46|- style="background-color:#bbffbb"| 96 || July 20 || Angels || 7 – 5 || Silva (8-10) || Lackey (12-6) || Nathan (19) || 35,794 || 50-46|- style="background-color:#bbffbb"| 97 || July 21 || Angels || 5 – 2 || Neshek (5-1) || Shields (2-3) || Nathan (20) || 33,868 || 51-46|- style="background-color:#ffbbbb"| 98 || July 22 || Angels || 7 – 2 || Saunders (4-0) || Garza (1-2) || || 33,217 || 51-47|- style="background-color:#ffbbbb"| 99 || July 23 || @ Blue Jays || 6 – 4 || Marcum (6-4) || Santana (11-8) || Accardo (16) || 26,091 || 51-48|- style="background-color:#ffbbbb"| 100 || July 24 || @ Blue Jays || 7 – 0 || McGowan (7-5) || Baker (4-4) || || 30,669 || 51-49|- style="background-color:#ffbbbb"| 101 || July 25 || @ Blue Jays || 13 – 1 || Litsch (3-4) || Silva (8-11) || || 37,342 || 51-50|- style="background-color:#ffbbbb"| 102 || July 27 || @ Indians || 10 – 4 || Byrd (9-4) || Bonser (5-7) || || 37-292 || 51-51|- style="background-color:#bbffbb"| 103 || July 28 || @ Indians || 3 – 2 || Neshek (6-1) || Borowski (2-4) || Nathan (21) || 41,203 || 52-51|- style="background-color:#bbffbb"| 104 || July 29 || @ Indians || 4 – 1 || Reyes (2-1) ||Sabathia (13-6) || Nathan (22) || 37,102 || 53-51|- style="background-color:#bbffbb"| 105 || July 30 || Royals || 3 – 1 || Baker (5-4) || Meche (7-8) || Nathan (23) || 23,628 || 54-51|- style="background-color:#bbffbb"| 106 || July 31 || Royals || 5 – 3 || Silva (9-11) || de la Rosa (8-11) || Nathan (24) || 22,890 || 55-51|- style="background-color:#ffbbbb"| 107 || August 1 || Royals || 5 – 3 (10) || Greinke (5-5) || Rincón (3-2) || Soria (11) || 24,880 || 55-52|- style="background-color:#bbbbbb"| -- || August 2 || Royals ||colspan=5|Postponed (I-35W bridge collapse) rescheduled for August 31|| 55-52|- style="background-color:#ffbbbb"| 108 || August 3 || Indians || 5 – 4 || Sabathia (14-6) || Santana (11-9) || Borowski (30) || 31,664 || 55-53|- style="background-color:#bbffbb"| 109 || August 4 || Indians || 3 – 2 || Ortiz (4-4) || Laffey (0-1) || Nathan (25) || 33,663 || 56-53|- style="background-color:#bbffbb"| 110 || August 5 || Indians || 1 – 0 || Baker (6-4) || Carmona (13-6) || Nathan (26) || 38,334 || 57-53|- style="background-color:#ffbbbb"| 111 || August 6 || Indians || 4 – 0 || Byrd (10-4) || Silva (9-12) || || 28,314 || 57-54|- style="background-color:#ffbbbb"| 112 || August 7 || @ Royals || 5 – 1 || Bannister (8-6) || Bonser (5-8) || || 15,648 || 57-55|- style="background-color:#bbffbb"| 113 || August 8 || @ Royals || 11 – 4 || Santana (12-9) || Pérez (6-11) || || 21,503 || 58-55|- style="background-color:#ffbbbb"| 114 || August 9 || @ Royals || 1 – 0 || Davies (1-0) || Garza (1-3) || Soria (12) || 14,569 || 58-56|- style="background-color:#ffbbbb"| 115 || August 10 || @ Angels || 10 – 1 || Escobar (12-6) || Baker (6-5) || || 43,810 || 58-57|- style="background-color:#ffbbbb"| 116 || August 11 || @ Angels || 4 – 3 || Lackey (15-6) || Neshek (6-2) || Rodríguez (29) || 44,064 || 58-58|- style="background-color:#ffbbbb"| 117 || August 12 || @ Angels || 6 – 2 || Jer Weaver (8-5) || Bonser (5-9) || || 43,911 || 58-59|- style="background-color:#ffbbbb"| 118 || August 13 || @ Mariners || 4 – 3 || Putz (2-1) || Guerrier (1-4) || || 37,902 || 58-60|- style="background-color:#bbffbb"| 119 || August 14 || @ Mariners || 11 – 3 || Garza (2-3) || Ramírez (7-4) || || 33,729 || 59-60|- style="background-color:#bbffbb"| 120 || August 15 || @ Mariners || 6 – 1 || Neshek (7-2) || Washburn (8-10) || || 42,921 || 60-60|- style="background-color:#bbffbb"| 121 || August 17 || Rangers || 2 – 1 (10) || Guerrier (2-4) || Wright (3-5) || || 30,924 || 61-60|- style="background-color:#ffbbbb"| 122 || August 18 || Rangers || 5 – 0 || Loe (6-9) || Bonser (5-10) || || 41,037 || 61-61|- style="background-color:#bbffbb"| 123 || August 19 || Rangers || 1 – 0 || Santana (13-9) || Millwood (8-10) || Nathan (27) || 36,353 || 62-61|- style="background-color:#ffbbbb"| 124 || August 20 || Mariners || 9 – 4 || Ramírez (8-4) || Garza (2-4) || || 31,755 || 62-62|- style="background-color:#ffbbbb"| 125 || August 21 || Mariners || 7 – 2 || Washburn (9-10) || Baker (6-6) || || 42,373 || 62-63|- style="background-color:#bbffbb"| 126 || August 22 || Mariners || 8 – 4 || Silva (10-12) || Batista (13-9) || || 29,881 || 63-63|- style="background-color:#bbffbb"| 127 || August 23 || @ Orioles || 5 – 2 || Bonser (6-10) || Trachsel (6-8) || Guerrier (1) || 19,389 || 64-63|- style="background-color:#bbffbb"| 128 || August 24 || @ Orioles || 7 – 4 || Santana (14-9) || Hoey (1-2) || Nathan (28) || 29,742 || 65-63|- style="background-color:#bbffbb"| 129 || August 25 || @ Orioles || 8 – 1 || Garza (3-4) || Liz (0-1) || || 28,700 || 66-63|- style="background-color:#bbffbb"| 130 || August 26 || @ Orioles || 11 – 3 || Baker (7-6) || Bédard (13-5) || || 30,876 || 67-63|- style="background-color:#ffbbbb"| 131 || August 27 || @ Indians || 8 – 3 || Byrd (13-5) || Silva (10-13) || || 23,178 || 67-64|- style="background-color:#ffbbbb"| 132 || August 28 || @ Indians || 6 – 5 || Westbrook (5-7) || Bonser (6-11) || Borowski (38) || 24,784 || 67-65|- style="background-color:#ffbbbb"| 133 || August 29 || @ Indians || 4 – 3 || Sabathia (15-7) || Santana (14-10) || Borowski (39) || 27,303 || 67-66|- style="background-color:#ffbbbb"| 134 || August 31 || Royals || 9 – 4 || Davies (6-11) || Garza (3-5) || || 15,736 || 67-67|- style="background-color:#bbffbb"| 135 || August 31 || Royals || 5 – 0 || Baker (8-6) || Meche (7-12) || || 24,986 || 68-67|- style="background-color:#bbffbb"| 136 || September 1 || Royals || 6 – 4 || Silva (11-13) || Duckworth (2-4) || Nathan (29) || 21,738 || 69-67|- style="background-color:#ffbbbb"| 137 || September 2 || Royals || 8 – 1 || Bannister (12-7) || Bonser (6-12) || || 26,454 || 69-68|- style="background-color:#ffbbbb"| 138 || September 3 || Indians || 5 – 0 || Sabathia (16-7) || Santana (14-11) || || 24,105 || 69-69|- style="background-color:#ffbbbb"| 139 || September 4 || Indians || 7 – 5 (11) || Betancourt (4-0) || DePaula (0-1) || Borowski (40) || 16,218 || 69-70|- style="background-color:#ffbbbb"| 140 || September 5 || Indians || 6 – 2 || Carmona (15-8) || Baker (8-7) || Pérez (1) || 13,977 || 69-71|- style="background-color:#ffbbbb"| 141 || September 7 || @ White Sox || 11 – 10 (13) || Phillips (1-1) || Rincón (3-3) || || 34,104 || 69-72|- style="background-color:#ffbbbb"| 142 || September 8 || @ White Sox || 8 – 7 || Myers (4-0) || Cali (0-1) || Thornton (2) || 31,747 || 69-73|- style="background-color:#bbffbb"| 143 || September 9 || @ White Sox || 5 – 2 || Santana (15-11) || Garland (9-11) || Nathan (30) || 32,250 || 70-73|- style="background-color:#bbffbb"| 144 || September 10 || @ Royals || 4 – 2 || Bonser (7-12) || Buckner (0-1) || Nathan (31) || 10,525 || 71-73|- style="background-color:#bbffbb"| 145 || September 11 || @ Royals || 6 – 3 || Baker (9-7) || Davies (6-13) || Nathan (32) || 12,891 || 72-73|- style="background-color:#ffbbbb"| 146 || September 12 || @ Royals || 6 – 3 || Meche (8-12) || Silva (11-14) || || 10,102 || 72-74|- style="background-color:#ffbbbb"| 147 || September 14 || Tigers || 4 – 2 || Robertson (8-11) || Garza (3-6) || Jones (35) || 22,282 || 72-75|- style="background-color:#ffbbbb"| 148 || September 15 || Tigers || 4 – 3 || Zumaya (2-3) || Santana (15-12) || Jones (36) || 35,230 || 72-76|- style="background-color:#ffbbbb"| 149 || September 16 || Tigers || 6 – 4 || Jurrjens (3-1) || Baker (9-8) || Jones (37) || 21,771 || 72-77|- style="background-color:#bbffbb"| 150 || September 17 || Rangers || 5 – 4 || Nathan (4-2) || Benoit (7-4) || || 14,197 || 73-77|- style="background-color:#bbffbb"| 151 || September 18 || Rangers || 4 – 2 || Silva (12-14) || Millwood (9-13) || Nathan (33) || 18,226 || 74-77|- style="background-color:#bbffbb"| 152 || September 19 || Rangers || 4 – 2 || Garza (4-6) || Padilla (6-10) || Nathan (34) || 17,842 || 75-77|- style="background-color:#ffbbbb"| 153 || September 21 || White Sox || 6 – 4 || Buehrle (10-9) || Santana (15-13) || Jenks (39) || 27,928 || 75-78|- style="background-color:#ffbbbb"| 154 || September 22 || White Sox || 8 – 3 || J. Vázquez (14-8) || Baker (9-9) || || 31,737 || 75-79|- style="background-color:#bbffbb"| 155 || September 23 || White Sox || 7 – 1 || Slowey (4-0) || Floyd (1-5) || || 29,382 || 76-79|- style="background-color:#bbffbb"| 156 || September 24 || @ Tigers || 2 – 0 || Silva (13-14) || Robertson (8-13) || Nathan (35) || 32,716 || 77-79|- style="background-color:#ffbbbb"| 157 || September 25 || @ Tigers || 8 – 0 || Bazardo (2-1) || Garza (4-7) || || 31,394 || 77-80|- style="background-color:#ffbbbb"| 158 || September 26 || @ Tigers || 9 – 4 (6) || Byrdak (3-0) || Blackburn (0-1) || || 35,375 || 77-81|- style="background-color:#bbffbb"| 159 || September 27 || @ Red Sox || 5 – 4 || Bonser (8-12) || Beckett (20-7) || Nathan (36) || 36,743 || 78-81|- style="background-color:#ffbbbb"| 160 || September 28 || @ Red Sox || 5 – 2 || Matsuzaka (15-12) || Slowey (4-1) || Papelbon (37) || 36,843 || 78-82|- style="background-color:#ffbbbb"| 161 || September 29 || @ Red Sox || 6 – 4 || Wakefield (17-12) || Blackburn (0-2) || Okajima (5) || 36,619 || 78-83|- style="background-color:#bbffbb"| 162 || September 30 || @ Red Sox || 3 – 2 || Garza (5-7) || Tavárez (7-11) || Nathan (37) || 36,364 || 79-83

text: |- style="background-color:#bbffbb"| 1 || April 2 ||

text: Orioles

text: || 7 – 4 ||

text: Santana

text: (1-0) ||

text: Bédard

text: (0-1) ||

text: Nathan

text: (1) || 48,711 || 1-0|- style="background-color:#bbffbb"| 2 || April 3 ||

text: Orioles

text: || 3 – 2 ||

text: Neshek

text: Cabrera

text: (0-1) ||

text: Nathan

text: (2) ||24,439 ||2-0|- style="background-color:#bbffbb"| 3 || April 4 ||

text: Orioles

text: || 7 – 2 ||

text: Ortiz

text: (1-0) ||

text: Wright

text: (0-1)|| || 27,539|| 3-0|- style="background-color:#bbbbbb"| -- || April 6 || @

text: White Sox

text: || colspan=5|Postponed (cold weather) rescheduled for July 6|| 3-0|- style="background-color:#ffbbbb"| 4 || April 7 || @

text: White Sox

text: || 3 – 0 ||

text: Vázquez

text: (1-0) ||

text: Silva

text: Jenks

text: (1) || 33,278 || 3-1|- style="background-color:#bbffbb"| 5 || April 8 || @

text: White Sox

text: || 3 – 1 ||

text: Santana

text: (2-0) ||

text: Danks

text: (0-1) ||

text: Nathan

text: (3) || 27,653 || 4-1|- style="background-color:#ffbbbb"| 6 || April 9 ||

text: Yankees

text: || 8 – 2 ||

text: Pavano

text: (1-0) ||

text: Ponson

text: (0-1) || || 26,047 || 4-2|- style="background-color:#ffbbbb"| 7 || April 10 ||

text: Yankees

text: || 10 – 1 ||

text: Pettitte

text: (1-0) ||

text: Bonser

text: (0-1) || || 24,552 || 4-3|- style="background-color:#bbffbb"| 8 || April 11 ||

text: Yankees

text: || 5 – 1 ||

text: Ortiz

text: (2-0) ||

text: Farnsworth

text: (0-1) || || 30,131 || 5-3|- style="background-color:#bbffbb"| 9 || April 12 ||

text: Devil Rays

text: || 3 – 2 ||

text: Nathan

text: (1-0) ||

text: Stokes

text: (0-2) || || 15,869 || 6-3|- style="background-color:#ffbbbb"| 10 || April 13 ||

text: Devil Rays

text: || 4 – 2 ||

text: Kazmir

text: (2-0) ||

text: Santana

text: (2-1) ||

text: Reyes

text: (3) || 27,783 || 6-4|- style="background-color:#bbffbb"| 11 || April 14 ||

text: Devil Rays

text: || 12 – 5 ||

text: Ponson

text: (1-1) ||

text: Jackson

text: (0-2) || || 35,269 || 7-4|- style="background-color:#ffbbbb"| 12 || April 15 ||

text: Devil Rays

text: || 6 – 4 ||

text: Stokes

text: (1-2) ||

text: Nathan

text: (1-1) ||

text: Reyes

text: (4) || 27,024 || 7-5|- style="background-color:#bbffbb"| 13 || April 17 || @

text: Mariners

text: || 11 – 2 ||

text: Ortiz

text: (3-0) ||

text: Weaver

text: (0-2) || || 19,015 || 8-5|- style="background-color:#bbffbb"| 14 || April 18 || @

text: Mariners

text: || 5 – 4 ||

text: Silva

text: (1-1) ||

text: Hernández

text: (2-1) ||

text: Nathan

text: (4) ||20,871 || 9-5|- style="background-color:#bbffbb"| 15 || April 19 || @

text: Mariners

text: || 6 – 5 ||

text: Santana

text: (3-1) ||

text: Washburn

text: (0-2) ||

text: Nathan

text: (5)|| 19,350 || 10-5|- style="background-color:#ffbbbb"| 16 || April 20 || @

text: Royals

text: || 11 – 7 ||

text: Pérez

text: (1-2) ||

text: Ponson

text: (1-2) ||

text: Riske

text: (2) || 31,813 || 10-6|- style="background-color:#bbffbb"| 17 || April 21 || @

text: Royals

text: || 7 – 5 ||

text: Neshek

text: (2-0) ||

text: Peralta

text: (0-2) ||

text: Nathan

text: (6) || 20,566|| 11-6|- style="background-color:#ffbbbb"| 18 || April 22 || @

text: Royals

text: || 3 – 1 ||

text: de la Rosa

text: (2-1) ||

text: Ortiz

text: (3-1) ||

text: Soria

text: (2) || 14,801 || 11-7|- style="background-color:#ffbbbb"| 19 || April 23 ||

text: Indians

text: || 7 – 3 (12) ||

text: Hernández

text: (2-1) ||

text: Crain

text: (0-1) || || 16,076 || 11-8|- style="background-color:#ffbbbb"| 20 || April 24 ||

text: Indians

text: || 5 – 3 ||

text: Carmona

text: (1-1) ||

text: Santana

text: (3-2) ||

text: Borowski

text: (8) || 20,849 || 11-9|- style="background-color:#ffbbbb"| 21 || April 25 ||

text: Royals

text: || 4 – 3 ||

text: Pérez

text: (2-2) ||

text: Ponson

text: (1-3) ||

text: Soria

text: (3) || 21,496 || 11-10|- style="background-color:#bbffbb"| 22 || April 26 ||

text: Royals

text: || 1 – 0 (11) ||

text: Rincón

text: Wellemeyer

text: (0-1) || ||18,520 || 12-10|- style="background-color:#bbffbb"| 23 || April 27 || @

text: Tigers

text: || 5 – 3 ||

text: Crain

text: Zumaya

text: Nathan

text: (7) || 31,147|| 13-10|- style="background-color:#bbffbb"| 24 || April 28 || @

text: Tigers

text: || 11 – 3 ||

text: Silva

text: (2-1) ||

text: Verlander

text: (1-1) || || 39,547 || 14-10|- style="background-color:#ffbbbb"| 25 || April 29 || @

text: Tigers

text: || 4 – 3 ||

text: Jones

text: (1-1) ||

text: Crain

text: (1-2) || ||36,483 || 14-11|- style="background-color:#bbffbb"| 26 || May 1 || @

text: Devil Rays

text: || 9 – 1 ||

text: Ponson

text: (2-3) ||

text: Jackson

text: (0-4)|| ||8,773 || 15-11|- style="background-color:#ffbbbb"| 27 || May 2 || @

text: Devil Rays

text: || 4 – 3 (10) ||

text: Reyes

text: (1-0) ||

text: Guerrier

text: (0-1) || || 9,101 || 15-12|- style="background-color:#ffbbbb"| 28 || May 3 || @

text: Devil Rays

text: || 6 – 4 ||

text: Shields

text: (3-0) ||

text: Ortiz

text: (3-2) ||

text: Reyes

text: (10) || 8,793 || 15-13|- style="background-color:#ffbbbb"| 29 || May 4 ||

text: Red Sox

text: || 2 – 0 ||

text: Wakefield

text: (3-3) ||

text: Silva

text: (2-2) ||

text: Papelbon

text: (9) || 34,951 || 15-14|- style="background-color:#bbffbb"| 30 || May 5 ||

text: Red Sox

text: || 2 – 1 ||

text: Santana

text: (4-2) ||

text: Tavárez

text: (1-3) ||

text: Nathan

text: (8) || 40,088 || 16-14|- style="background-color:#ffbbbb"| 31 || May 6 ||

text: Red Sox

text: || 4 – 3 ||

text: Schilling

text: (4-1) ||

text: Ponson

text: (2-4) ||

text: Papelbon

text: (10) || 27,807 || 16-15|- style="background-color:#bbffbb"| 32 || May 8 ||

text: White Sox

text: || 7 – 4 (10) ||

text: Rincón

text: (2-0) ||

text: Sisco

text: (0-1) || || 21,979 || 17-15|- style="background-color:#ffbbbb"| 33 || May 9 ||

text: White Sox

text: || 6 – 3 ||

text: Danks

text: (1-4) ||

text: Ortiz

text: (3-3) || || 24,367 || 17-16|- style="background-color:#ffbbbb"| 34 || May 10 ||

text: White Sox

text: || 3 – 0 ||

text: Contreras

text: (3-3) ||

text: Silva

text: (2-3) || || 23,663 || 17-17|- style="background-color:#ffbbbb"| 35 || May 11 ||

text: Tigers

text: || 7 – 3 ||

text: Maroth

text: (3-0) ||

text: Santana

text: (4-3) || || 31,458 || 17-18|- style="background-color:#ffbbbb"| 36 || May 12 ||

text: Tigers

text: || 8 – 2 ||

text: Durbin

text: (3-1) ||

text: Ponson

text: (2-5) || || 32,176 || 17-19|- style="background-color:#bbffbb"| 37 || May 13 ||

text: Tigers

text: || 16 – 4 ||

text: Bonser

text: (1-1) ||

text: Vasquez

text: (0-1)|| || 25,037 || 18-19|- style="background-color:#ffbbbb"| 38 || May 15 || @

text: Indians

text: ||15 – 7 ||

text: Byrd

text: (3-1) ||

text: Ortiz

text: (3-4) || || 23,325 || 18-20|- style="background-color:#ffbbbb"| 39 || May 16 || @

text: Indians

text: || 7 – 1 ||

text: Sabathia

text: (6-1) ||

text: Silva

text: (2-4) || || 17,678 || 18-21|- style="background-color:#ffbbbb"| 40 || May 17 || @

text: Indians

text: || 2 – 0 ||

text: Carmona

text: (5-1) ||

text: Santana

text: (4-4) || || 28,609 || 18-22|- style="background-color:#bbffbb"| 41 || May 18 || @

text: Brewers

text: || 8 – 1 ||

text: Bonser

text: (2-1) ||

text: Capuano

text: (5-2) || || 44,759 || 19-22|- style="background-color:#bbffbb"| 42 || May 19 || @

text: Brewers

text: || 5 – 2 ||

text: Baker

text: (1-0) ||

text: Bush

text: (3-4) || || 44,427 || 20-22|- style="background-color:#ffbbbb"| 43 || May 20 || @

text: Brewers

text: || 6 – 5 ||

text: Wise

text: (1-1) ||

text: Reyes

text: (0-1) ||

text: Cordero

text: (17) || 39,119 || 20-23|- style="background-color:#ffbbbb"| 44 || May 21 || @

text: Rangers

text: || 14 – 4 ||

text: Padilla

text: (2-6) ||

text: Silva

text: (2-5) || || 24,814 || 20-24|- style="background-color:#bbffbb"| 45 || May 22 || @

text: Rangers

text: || 7 – 1 ||

text: Santana

text: (5-4) ||

text: Loe

text: (1-4) || || 27,013 || 21-24|- style="background-color:#bbffbb"| 46 || May 23 || @

text: Rangers

text: || 5 – 3 ||

text: Bonser

text: (3-1) ||

text: Tejeda

text: (4-4) ||

text: Nathan

text: (9) || 24,370 || 22-24|- style="background-color:#bbffbb"| 47 || May 25 ||

text: Blue Jays

text: || 4 – 3 ||

text: Guerrier

text: Downs

text: Nathan

text: (10) || 26,781 || 23-24|- style="background-color:#ffbbbb"| 48 || May 26 ||

text: Blue Jays

text: || 9 – 8 (13) ||

text: Tallet

text: (1-1) ||

text: Guerrier

text: (1-2) || || 31,434 || 23-25|- style="background-color:#bbffbb"| 49 || May 27 ||

text: Blue Jays

text: || 4 – 2 ||

text: Silva

text: (3-5) ||

text: Burnett

text: (5-4) ||

text: Nathan

text: (11) || 25,781 || 24-25|- style="background-color:#bbffbb"| 50 || May 28 ||

text: White Sox

text: || 10 – 4 ||

text: Santana

text: (6-4) ||

text: Contreras

text: (4-5) || || 27,090 || 25-25|- style="background-color:#bbffbb"| 51 || May 29 ||

text: White Sox

text: || 9 – 2 ||

text: Bonser

text: (4-1) ||

text: Danks

text: (3-5) || || 23,771 || 26-25|- style="background-color:#bbffbb"| 52 || May 30 ||

text: White Sox

text: || 7 – 6 ||

text: Nathan

text: (2-1) ||

text: MacDougal

text: (1-2) || || 29,042 || 27-25|- style="background-color:#bbffbb"| 53 || June 1 || @

text: Athletics

text: || 3 – 2 (10) ||

text: Neshek

text: (3-0) ||

text: Calero

text: (0-4) ||

text: Nathan

text: (12) || 20,219 || 28-25|- style="background-color:#ffbbbb"| 54 || June 2 || @

text: Athletics

text: || 1 – 0 ||

text: Blanton

text: (5-3) ||

text: Silva

text: (3-6) || || 30,576 || 28-26|- style="background-color:#ffbbbb"| 55 || June 3 || @

text: Athletics

text: || 4 – 2 ||

text: Gaudin

text: (6-1) ||

text: Santana

text: (6-5) ||

text: Embree

text: (4) || 25,388 || 28-27|- style="background-color:#ffbbbb"| 56 || June 4 || @

text: Angels

text: || 16 – 3 ||

text: Weaver

text: (5-3) ||

text: Bonser

text: (4-2) || || 37,380 || 28-28|- style="background-color:#ffbbbb"| 57 || June 5 || @

text: Angels

text: || 5 – 1 ||

text: Escobar

text: (7-3) ||

text: Baker

text: (1-1) || || 42,001 || 28-29|- style="background-color:#bbffbb"| 58 || June 6 || @

text: Angels

text: || 8 – 5 ||

text: Slowey

text: (1-0) ||

text: Lackey

text: (9-4) ||

text: Nathan

text: (13) || 36,453 || 29-29|- style="background-color:#ffbbbb"| 59 || June 8 ||

text: Nationals

text: || 8 – 5 ||

text: Simontacchi

text: (3-4) ||

text: Silva

text: (3-7) ||

text: Rivera

text: (2) || 25,144 || 29-30|- style="background-color:#ffbbbb"| 60 || June 9 ||

text: Nationals

text: || 3 – 1 ||

text: Speigner

text: (2-2) ||

text: Santana

text: (6-6) ||

text: Cordero

text: (8) || 39,742 || 29-31|- style="background-color:#bbffbb"| 61 || June 10 ||

text: Nationals

text: || 6 – 3 ||

text: Bonser

text: (5-2) ||

text: Bacsik

text: (1-3) ||

text: Nathan

text: (14) || 31,035 || 30-31|- style="background-color:#bbffbb"| 62 || June 12 ||

text: Braves

text: || 7 – 3 ||

text: Slowey

text: (2-0) ||

text: Davies

text: (3-5) || || 25,868 || 31-31|- style="background-color:#bbffbb"| 63 || June 13 ||

text: Braves

text: || 6 – 0 ||

text: Silva

text: (4-7) ||

text: James

text: (5-6) || || 27,903 || 32-31|- style="background-color:#bbffbb"| 64 || June 14 ||

text: Braves

text: || 3 – 2 ||

text: Reyes

text: (1-1) ||

text: Wickman

text: (1-2) || || 26,714 || 33-31|- style="background-color:#ffbbbb"| 65 || June 15 ||

text: Brewers

text: || 11 – 3 ||

text: Vargas

text: (5-1) ||

text: Baker

text: (1-2) ||

text: Shouse

text: (1) || 27,977 || 33-32|- style="background-color:#ffbbbb"| 66 || June 16 ||

text: Brewers

text: || 5 – 2 ||

text: Bush

text: (4-6) ||

text: Bonser

text: (5-3) ||

text: Cordero

text: (25) || 37,117 || 33-33|- style="background-color:#bbffbb"| 67 || June 17 ||

text: Brewers

text: || 10 – 9 ||

text: Nathan

text: (3-1) ||

text: Spurling

text: (1-1) || || 31,624 || 34-33|- style="background-color:#ffbbbb"| 68 || June 18 || @

text: Mets

text: || 8 – 1 ||

text: Maine

text: (7-4) ||

text: Silva

text: (4-8) || || 37,319 || 34-34|- style="background-color:#bbffbb"| 69 || June 19 || @

text: Mets

text: || 9 – 0 ||

text: Santana

text: (7-6) ||

text: Sosa

text: (6-3) || || 40,935 || 35-34|- style="background-color:#bbffbb"| 70 || June 20 || @

text: Mets

text: || 6 – 2 ||

text: Baker

text: (2-2) ||

text: Pérez

text: (7-6) || || 44,517 || 36-34|- style="background-color:#ffbbbb"| 71 || June 22 || @

text: Marlins

text: || 5 – 4 ||

text: Benítez

text: (2-3) ||

text: Rincón

text: (2-1) ||

text: Gregg

text: (14) || 15,271 || 36-35|- style="background-color:#bbffbb"| 72 || June 23 || @

text: Marlins

text: || 11 – 1 ||

text: Silva

text: (5-8) ||

text: Johnson

text: (0-2) || || 21,368 || 37-35|- style="background-color:#bbffbb"| 73 || June 24 || @

text: Marlins

text: || 7 – 4 ||

text: Santana

text: (8-6) ||

text: Kim

text: (3-4) || || 15,035 || 38-35|- style="background-color:#ffbbbb"| 74 || June 25 ||

text: Blue Jays

text: || 8 – 5 ||

text: Halladay

text: (9-2) ||

text: Guerrier

text: Accardo

text: (9) || 24,240 || 38-36|- style="background-color:#bbffbb"| 75 || June 26 ||

text: Blue Jays

text: || 2 – 1 (12) ||

text: Rincón

text: (3-1) ||

text: Tallet

text: (2-2) || || 27,000 || 39-36|- style="background-color:#ffbbbb"| 76 || June 27 ||

text: Blue Jays

text: || 5 – 4 ||

text: Towers

text: (3-5) ||

text: Bonser

text: (5-4) ||

text: Accardo

text: (10) || 30,959 || 39-37|- style="background-color:#bbffbb"| 77 || June 28 ||

text: Blue Jays

text: || 8 – 5 ||

text: Silva

text: (6-8) ||

text: Frasor

text: Nathan

text: (15) || 31,038 || 40-37|- style="background-color:#bbffbb"| 78 || June 29 || @

text: Tigers

text: || 11 – 1 ||

text: Santana

text: (9-6) ||

text: Verlander

text: (9-3) || || 42,361 || 41-37|- style="background-color:#bbffbb"| 79 || June 30 || @

text: Tigers

text: || 8 – 5 ||

text: Slowey

text: (3-0) ||

text: Miller

text: (3-2) ||

text: Nathan

text: (16) || 41,588 || 42-37|- style="background-color:#ffbbbb"| 80 || July 1 || @

text: Tigers

text: || 1 – 0 ||

text: Bonderman

text: (9-1) ||

text: Baker

text: (2-3) ||

text: Jones

text: (20) || 41,078 || 42-38|- style="background-color:#ffbbbb"| 81 || July 2 || @

text: Yankees

text: || 5 – 1 ||

text: Clemens

text: (2-3) ||

text: Bonser

text: (5-5) || || 53,036 || 42-39|- style="background-color:#ffbbbb"| 82 || July 3 || @

text: Yankees

text: || 8 – 0 ||

text: Wang

text: (8-4) ||

text: Silva

text: (6-9) || || 53,862 || 42-40|- style="background-color:#bbffbb"| 83 || July 4 || @

text: Yankees

text: || 6 – 2 ||

text: Santana

text: (10-6) ||

text: Mussina

text: (4-6) || || 52,040 || 43-40|- style="background-color:#ffbbbb"| 84 || July 5 || @

text: Yankees

text: || 7 – 6 ||

text: Farnsworth

text: (1-1) ||

text: Neshek

text: (3-1) ||

text: Rivera

text: (11) || 52,471 || 43-41|- style="background-color:#bbffbb"| 85 || July 6 || @

text: White Sox

text: || 20 – 14 ||

text: Baker

text: (3-3) ||

text: Garland

text: (6-6) || || 31,543 || 44-41|- style="background-color:#bbffbb"| 86 || July 6 || @

text: White Sox

text: || 12 – 0 ||

text: Garza

text: (1-0) ||

text: Floyd

text: (0-1) || || 32,426 || 45-41|- style="background-color:#ffbbbb"| 87 || July 7 || @

text: White Sox

text: || 3 – 1 ||

text: Buehrle

text: (6-4) ||

text: Bonser

text: (5-6) ||

text: Jenks

text: (23) || 36,791 || 45-42|- style="background-color:#ffbbbb"| 88 || July 8 || @

text: White Sox

text: || 6 – 3 ||

text: Vázquez

text: (6-5) ||

text: Silva

text: (6-10) || || 32,724 || 45-43|- style="background-color:#bbffbb"| 89 || July 12 ||

text: Athletics

text: || 6 – 2 ||

text: Baker

text: (4-3) ||

text: Gaudin

text: (8-4) || || 25,207 || 46-43|- style="background-color:#bbffbb"| 90 || July 13 ||

text: Athletics

text: || 5 – 3 ||

text: Santana

text: (11-6) ||

text: DiNardo

text: (3-6) ||

text: Nathan

text: (17) || 36,338 || 47-43|- style="background-color:#bbffbb"| 91 || July 14 ||

text: Athletics

text: || 4 – 3 ||

text: Silva

text: (6-10) ||

text: Blanton

text: (8-6) ||

text: Nathan

text: (18) || 36,066 || 48-43|- style="background-color:#bbffbb"| 92 || July 15 ||

text: Athletics

text: || 4 – 3 ||

text: Neshek

text: (4-1) ||

text: Kennedy

text: (2-8) || || 36,737 || 49-43|- style="background-color:#ffbbbb"| 93 || July 17 ||

text: Tigers

text: || 1 – 0 ||

text: Robertson

text: (6-6) ||

text: Garza

text: (1-1) ||

text: Jones

text: (24) || 30,939 || 49-44|- style="background-color:#ffbbbb"| 94 || July 18 ||

text: Tigers

text: || 3 – 2 ||

text: Miller

text: (5-3) ||

text: Santana

text: (10-7) ||

text: Jones

text: (25) || 38,070 || 49-45|- style="background-color:#ffbbbb"| 95 || July 19 ||

text: Tigers

text: || 4 – 3 (10) ||

text: Miner

text: (1-1) ||

text: Nathan

text: (3-2) ||

text: Jones

text: (26) || 36,551 || 49-46|- style="background-color:#bbffbb"| 96 || July 20 ||

text: Angels

text: || 7 – 5 ||

text: Silva

text: (8-10) ||

text: Lackey

text: (12-6) ||

text: Nathan

text: (19) || 35,794 || 50-46|- style="background-color:#bbffbb"| 97 || July 21 ||

text: Angels

text: || 5 – 2 ||

text: Neshek

text: (5-1) ||

text: Shields

text: (2-3) ||

text: Nathan

text: (20) || 33,868 || 51-46|- style="background-color:#ffbbbb"| 98 || July 22 ||

text: Angels

text: || 7 – 2 ||

text: Saunders

text: (4-0) ||

text: Garza

text: (1-2) || || 33,217 || 51-47|- style="background-color:#ffbbbb"| 99 || July 23 || @

text: Blue Jays

text: || 6 – 4 ||

text: Marcum

text: (6-4) ||

text: Santana

text: (11-8) ||

text: Accardo

text: (16) || 26,091 || 51-48|- style="background-color:#ffbbbb"| 100 || July 24 || @

text: Blue Jays

text: || 7 – 0 ||

text: McGowan

text: (7-5) ||

text: Baker

text: (4-4) || || 30,669 || 51-49|- style="background-color:#ffbbbb"| 101 || July 25 || @

text: Blue Jays

text: || 13 – 1 ||

text: Litsch

text: (3-4) ||

text: Silva

text: (8-11) || || 37,342 || 51-50|- style="background-color:#ffbbbb"| 102 || July 27 || @

text: Indians

text: || 10 – 4 ||

text: Byrd

text: (9-4) ||

text: Bonser

text: (5-7) || || 37-292 || 51-51|- style="background-color:#bbffbb"| 103 || July 28 || @

text: Indians

text: || 3 – 2 ||

text: Neshek

text: (6-1) ||

text: Borowski

text: (2-4) ||

text: Nathan

text: (21) || 41,203 || 52-51|- style="background-color:#bbffbb"| 104 || July 29 || @

text: Indians

text: || 4 – 1 ||

text: Reyes

text: (2-1) ||

text: Sabathia

text: (13-6) ||

text: Nathan

text: (22) || 37,102 || 53-51|- style="background-color:#bbffbb"| 105 || July 30 ||

text: Royals

text: || 3 – 1 ||

text: Baker

text: (5-4) ||

text: Meche

text: (7-8) ||

text: Nathan

text: (23) || 23,628 || 54-51|- style="background-color:#bbffbb"| 106 || July 31 ||

text: Royals

text: || 5 – 3 ||

text: Silva

text: (9-11) ||

text: de la Rosa

text: (8-11) ||

text: Nathan

text: (24) || 22,890 || 55-51|- style="background-color:#ffbbbb"| 107 || August 1 ||

text: Royals

text: || 5 – 3 (10) ||

text: Greinke

text: (5-5) ||

text: Rincón

text: (3-2) ||

text: Soria

text: (11) || 24,880 || 55-52|- style="background-color:#bbbbbb"| -- || August 2 ||

text: Royals

text: ||colspan=5|Postponed (

text: I-35W bridge collapse

text: ) rescheduled for August 31|| 55-52|- style="background-color:#ffbbbb"| 108 || August 3 ||

text: Indians

text: || 5 – 4 ||

text: Sabathia

text: (14-6) ||

text: Santana

text: (11-9) ||

text: Borowski

text: (30) || 31,664 || 55-53|- style="background-color:#bbffbb"| 109 || August 4 ||

text: Indians

text: || 3 – 2 ||

text: Ortiz

text: (4-4) ||

text: Laffey

text: (0-1) ||

text: Nathan

text: (25) || 33,663 || 56-53|- style="background-color:#bbffbb"| 110 || August 5 ||

text: Indians

text: || 1 – 0 ||

text: Baker

text: (6-4) ||

text: Carmona

text: (13-6) ||

text: Nathan

text: (26) || 38,334 || 57-53|- style="background-color:#ffbbbb"| 111 || August 6 ||

text: Indians

text: || 4 – 0 ||

text: Byrd

text: (10-4) ||

text: Silva

text: (9-12) || || 28,314 || 57-54|- style="background-color:#ffbbbb"| 112 || August 7 || @

text: Royals

text: || 5 – 1 ||

text: Bannister

text: (8-6) ||

text: Bonser

text: (5-8) || || 15,648 || 57-55|- style="background-color:#bbffbb"| 113 || August 8 || @

text: Royals

text: || 11 – 4 ||

text: Santana

text: (12-9) ||

text: Pérez

text: (6-11) || || 21,503 || 58-55|- style="background-color:#ffbbbb"| 114 || August 9 || @

text: Royals

text: || 1 – 0 ||

text: Davies

text: (1-0) ||

text: Garza

text: (1-3) ||

text: Soria

text: (12) || 14,569 || 58-56|- style="background-color:#ffbbbb"| 115 || August 10 || @

text: Angels

text: || 10 – 1 ||

text: Escobar

text: (12-6) ||

text: Baker

text: (6-5) || || 43,810 || 58-57|- style="background-color:#ffbbbb"| 116 || August 11 || @

text: Angels

text: || 4 – 3 ||

text: Lackey

text: (15-6) ||

text: Neshek

text: (6-2) ||

text: Rodríguez

text: (29) || 44,064 || 58-58|- style="background-color:#ffbbbb"| 117 || August 12 || @

text: Angels

text: || 6 – 2 ||

text: Jer Weaver

text: (8-5) ||

text: Bonser

text: (5-9) || || 43,911 || 58-59|- style="background-color:#ffbbbb"| 118 || August 13 || @

text: Mariners

text: || 4 – 3 ||

text: Putz

text: (2-1) ||

text: Guerrier

text: (1-4) || || 37,902 || 58-60|- style="background-color:#bbffbb"| 119 || August 14 || @

text: Mariners

text: || 11 – 3 ||

text: Garza

text: (2-3) ||

text: Ramírez

text: (7-4) || || 33,729 || 59-60|- style="background-color:#bbffbb"| 120 || August 15 || @

text: Mariners

text: || 6 – 1 ||

text: Neshek

text: (7-2) ||

text: Washburn

text: (8-10) || || 42,921 || 60-60|- style="background-color:#bbffbb"| 121 || August 17 ||

text: Rangers

text: || 2 – 1 (10) ||

text: Guerrier

text: (2-4) ||

text: Wright

text: (3-5) || || 30,924 || 61-60|- style="background-color:#ffbbbb"| 122 || August 18 ||

text: Rangers

text: || 5 – 0 ||

text: Loe

text: (6-9) ||

text: Bonser

text: (5-10) || || 41,037 || 61-61|- style="background-color:#bbffbb"| 123 || August 19 ||

text: Rangers

text: || 1 – 0 ||

text: Santana

text: (13-9) ||

text: Millwood

text: (8-10) ||

text: Nathan

text: (27) || 36,353 || 62-61|- style="background-color:#ffbbbb"| 124 || August 20 ||

text: Mariners

text: || 9 – 4 ||

text: Ramírez

text: (8-4) ||

text: Garza

text: (2-4) || || 31,755 || 62-62|- style="background-color:#ffbbbb"| 125 || August 21 ||

text: Mariners

text: || 7 – 2 ||

text: Washburn

text: (9-10) ||

text: Baker

text: (6-6) || || 42,373 || 62-63|- style="background-color:#bbffbb"| 126 || August 22 ||

text: Mariners

text: || 8 – 4 ||

text: Silva

text: (10-12) ||

text: Batista

text: (13-9) || || 29,881 || 63-63|- style="background-color:#bbffbb"| 127 || August 23 || @

text: Orioles

text: || 5 – 2 ||

text: Bonser

text: (6-10) ||

text: Trachsel

text: (6-8) ||

text: Guerrier

text: (1) || 19,389 || 64-63|- style="background-color:#bbffbb"| 128 || August 24 || @

text: Orioles

text: || 7 – 4 ||

text: Santana

text: (14-9) ||

text: Hoey

text: (1-2) ||

text: Nathan

text: (28) || 29,742 || 65-63|- style="background-color:#bbffbb"| 129 || August 25 || @

text: Orioles

text: || 8 – 1 ||

text: Garza

text: (3-4) ||

text: Liz

text: (0-1) || || 28,700 || 66-63|- style="background-color:#bbffbb"| 130 || August 26 || @

text: Orioles

text: || 11 – 3 ||

text: Baker

text: (7-6) ||

text: Bédard

text: (13-5) || || 30,876 || 67-63|- style="background-color:#ffbbbb"| 131 || August 27 || @

text: Indians

text: || 8 – 3 ||

text: Byrd

text: (13-5) ||

text: Silva

text: (10-13) || || 23,178 || 67-64|- style="background-color:#ffbbbb"| 132 || August 28 || @

text: Indians

text: || 6 – 5 ||

text: Westbrook

text: (5-7) ||

text: Bonser

text: (6-11) ||

text: Borowski

text: (38) || 24,784 || 67-65|- style="background-color:#ffbbbb"| 133 || August 29 || @

text: Indians

text: || 4 – 3 ||

text: Sabathia

text: (15-7) ||

text: Santana

text: (14-10) ||

text: Borowski

text: (39) || 27,303 || 67-66|- style="background-color:#ffbbbb"| 134 || August 31 ||

text: Royals

text: || 9 – 4 ||

text: Davies

text: (6-11) ||

text: Garza

text: (3-5) || || 15,736 || 67-67|- style="background-color:#bbffbb"| 135 || August 31 ||

text: Royals

text: || 5 – 0 ||

text: Baker

text: (8-6) ||

text: Meche

text: (7-12) || || 24,986 || 68-67|- style="background-color:#bbffbb"| 136 || September 1 ||

text: Royals

text: || 6 – 4 ||

text: Silva

text: (11-13) ||

text: Duckworth

text: (2-4) ||

text: Nathan

text: (29) || 21,738 || 69-67|- style="background-color:#ffbbbb"| 137 || September 2 ||

text: Royals

text: || 8 – 1 ||

text: Bannister

text: (12-7) ||

text: Bonser

text: (6-12) || || 26,454 || 69-68|- style="background-color:#ffbbbb"| 138 || September 3 ||

text: Indians

text: || 5 – 0 ||

text: Sabathia

text: (16-7) ||

text: Santana

text: (14-11) || || 24,105 || 69-69|- style="background-color:#ffbbbb"| 139 || September 4 ||

text: Indians

text: || 7 – 5 (11) ||

text: Betancourt

text: (4-0) ||

text: DePaula

text: (0-1) ||

text: Borowski

text: (40) || 16,218 || 69-70|- style="background-color:#ffbbbb"| 140 || September 5 ||

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text: || 6 – 2 ||

text: Carmona

text: (15-8) ||

text: Baker

text: (8-7) ||

text: Pérez

text: (1) || 13,977 || 69-71|- style="background-color:#ffbbbb"| 141 || September 7 || @

text: White Sox

text: || 11 – 10 (13) ||

text: Phillips

text: (1-1) ||

text: Rincón

text: (3-3) || || 34,104 || 69-72|- style="background-color:#ffbbbb"| 142 || September 8 || @

text: White Sox

text: || 8 – 7 ||

text: Myers

text: (4-0) ||

text: Cali

text: (0-1) ||

text: Thornton

text: (2) || 31,747 || 69-73|- style="background-color:#bbffbb"| 143 || September 9 || @

text: White Sox

text: || 5 – 2 ||

text: Santana

text: (15-11) ||

text: Garland

text: (9-11) ||

text: Nathan

text: (30) || 32,250 || 70-73|- style="background-color:#bbffbb"| 144 || September 10 || @

text: Royals

text: || 4 – 2 ||

text: Bonser

text: (7-12) ||

text: Buckner

text: (0-1) ||

text: Nathan

text: (31) || 10,525 || 71-73|- style="background-color:#bbffbb"| 145 || September 11 || @

text: Royals

text: || 6 – 3 ||

text: Baker

text: (9-7) ||

text: Davies

text: (6-13) ||

text: Nathan

text: (32) || 12,891 || 72-73|- style="background-color:#ffbbbb"| 146 || September 12 || @

text: Royals

text: || 6 – 3 ||

text: Meche

text: (8-12) ||

text: Silva

text: (11-14) || || 10,102 || 72-74|- style="background-color:#ffbbbb"| 147 || September 14 ||

text: Tigers

text: || 4 – 2 ||

text: Robertson

text: (8-11) ||

text: Garza

text: (3-6) ||

text: Jones

text: (35) || 22,282 || 72-75|- style="background-color:#ffbbbb"| 148 || September 15 ||

text: Tigers

text: || 4 – 3 ||

text: Zumaya

text: (2-3) ||

text: Santana

text: (15-12) ||

text: Jones

text: (36) || 35,230 || 72-76|- style="background-color:#ffbbbb"| 149 || September 16 ||

text: Tigers

text: || 6 – 4 ||

text: Jurrjens

text: (3-1) ||

text: Baker

text: (9-8) ||

text: Jones

text: (37) || 21,771 || 72-77|- style="background-color:#bbffbb"| 150 || September 17 ||

text: Rangers

text: || 5 – 4 ||

text: Nathan

text: (4-2) ||

text: Benoit

text: (7-4) || || 14,197 || 73-77|- style="background-color:#bbffbb"| 151 || September 18 ||

text: Rangers

text: || 4 – 2 ||

text: Silva

text: (12-14) ||

text: Millwood

text: (9-13) ||

text: Nathan

text: (33) || 18,226 || 74-77|- style="background-color:#bbffbb"| 152 || September 19 ||

text: Rangers

text: || 4 – 2 ||

text: Garza

text: (4-6) ||

text: Padilla

text: (6-10) ||

text: Nathan

text: (34) || 17,842 || 75-77|- style="background-color:#ffbbbb"| 153 || September 21 ||

text: White Sox

text: || 6 – 4 ||

text: Buehrle

text: (10-9) ||

text: Santana

text: (15-13) ||

text: Jenks

text: (39) || 27,928 || 75-78|- style="background-color:#ffbbbb"| 154 || September 22 ||

text: White Sox

text: || 8 – 3 ||

text: J. Vázquez

text: (14-8) ||

text: Baker

text: (9-9) || || 31,737 || 75-79|- style="background-color:#bbffbb"| 155 || September 23 ||

text: White Sox

text: || 7 – 1 ||

text: Slowey

text: (4-0) ||

text: Floyd

text: (1-5) || || 29,382 || 76-79|- style="background-color:#bbffbb"| 156 || September 24 || @

text: Tigers

text: || 2 – 0 ||

text: Silva

text: (13-14) ||

text: Robertson

text: (8-13) ||

text: Nathan

text: (35) || 32,716 || 77-79|- style="background-color:#ffbbbb"| 157 || September 25 || @

text: Tigers

text: || 8 – 0 ||

text: Bazardo

text: (2-1) ||

text: Garza

text: (4-7) || || 31,394 || 77-80|- style="background-color:#ffbbbb"| 158 || September 26 || @

text: Tigers

text: || 9 – 4 (6) ||

text: Byrdak

text: (3-0) ||

text: Blackburn

text: (0-1) || || 35,375 || 77-81|- style="background-color:#bbffbb"| 159 || September 27 || @

text: Red Sox

text: || 5 – 4 ||

text: Bonser

text: (8-12) ||

text: Beckett

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text: Nathan

text: (36) || 36,743 || 78-81|- style="background-color:#ffbbbb"| 160 || September 28 || @

text: Red Sox

text: || 5 – 2 ||

text: Matsuzaka

text: (15-12) ||

text: Slowey

text: (4-1) ||

text: Papelbon

text: (37) || 36,843 || 78-82|- style="background-color:#ffbbbb"| 161 || September 29 || @

text: Red Sox

text: || 6 – 4 ||

text: Wakefield

text: (17-12) ||

text: Blackburn

text: (0-2) ||

text: Okajima

text: (5) || 36,619 || 78-83|- style="background-color:#bbffbb"| 162 || September 30 || @

text: Red Sox

text: || 3 – 2 ||

text: Garza

text: (5-7) ||

text: Tavárez

text: (7-11) ||

text: Nathan

text: (37) || 36,364 || 79-83

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answers: a rainbow includes all the colors of visible light.

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answers: The Yankees beat the Orioles 7–4 on April 9.

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answers: The Yankees beat the Orioles 10-1 on April 10.

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answers: Colors of light

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text: A color-measuring apparatus commonly used in experiments in the 1900s was used in conjunction with partially silvered mirrors to split one beam of light into two beams. This resulted in two beams of light parallel to one another having the same intensity and color.  The beams of light were projected onto a white background, creating patches of light that were  squares.  The white light was added to one of the patches of colored light, the patch on the right.  A rod was inserted in the path of the two beams so that there would be no space in between the colored surfaces.  An additional rod was used to create a shadow where the white light scattered onto the patch that was not to receive addition of white light (the patch on the left side).  The amount of white light added was determined as one half of the luminosity of the colored light.  The red light source, for example, had more white light added than the yellow light source.  He began using two patches of red light, and in fact, the addition of white light to the light patch on the right caused a more yellow tone than the pure red light source.  The same results happened when the experimental light source was orange.  When the light source was green, the addition of white light caused the appearance of the patch to become yellow-green.  Subsequently, when white light was added to yellow-green light, the patch of light appeared primarily yellow.  In a mixture of blue-green light (with a slightly higher percentage of blue) with white light, the blue appeared to take on a reddish hue.  In the case of a violet light source, the addition of white light caused the violet light to take on a blue tint.

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answers: Yes

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text: In philosophy, there are several theories of color. Color realism holds that colors are physical properties that objects actually possess. Color fictionalism is an error theory that denies this.

text: In

text: philosophy

text: , there are several theories of

text: color

text: . Color realism holds that colors are

text: physical properties

text: that objects actually possess. Color fictionalism is an

text: error theory

text: that denies this.

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answers: Color realism

text: The color hardener can be applied using one of two procedures; integral color or cast-on color. Integral color is the procedure where the entire volume of concrete is dyed the base color. The entire volume of concrete is colored by adding the color hardener to the concrete truck, and allowing all the concrete in the truck to be dyed. Cast-on color is the procedure where the surface of the concrete is dyed the base color. The surface of the concrete is colored by spreading the color hardener onto the surface of the wet concrete and floating the powder into the top layer of the wet concrete.

text: The color hardener can be applied using one of two procedures; integral color or cast-on color. Integral color is the procedure where the entire volume of concrete is dyed the base color. The entire volume of concrete is colored by adding the color hardener to the concrete truck, and allowing all the concrete in the truck to be dyed. Cast-on color is the procedure where the surface of the concrete is dyed the base color. The surface of the concrete is colored by spreading the color hardener onto the surface of the wet concrete and floating the powder into the top layer of the wet concrete.

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answers: base color

text:
The International Commission on Illumination (CIE) developed the XYZ model for describing the colors of light spectra in 1931, but its goal was to match human visual metamerism, rather than to be perceptually uniform, geometrically. In the 1960s and 70s, attempts were made to transform XYZ colors into a more relevant geometry, influenced by the Munsell system. These efforts culminated in the 1976 CIELUV and CIELAB models. The dimensions of these models— and , respectively—are cartesian, based on the opponent process theory of color, but both are also often described using polar coordinates— or  and also HCL, where L* is lightness, C* is chroma, and h* is hue angle. Officially, both CIELAB and CIELUV were created for their color difference metrics ∆E* and ∆E*, particularly for use defining color tolerances, but both have become widely used as color order systems and color appearance models, including in computer graphics and computer vision. For example, gamut mapping in ICC color management is usually performed in CIELAB space, and Adobe Photoshop includes a CIELAB mode for editing images. CIELAB and CIELUV geometries are much more perceptually relevant than many others such as RGB, HSL, HSV, YUV/YIQ/YCbCr or XYZ, but are not perceptually perfect, and in particular have trouble adapting to unusual lighting conditions.<ref>MacEvoy 2010. "Modern Color Models"
Adobe (January 2007). "The Lab Color Mode in Photoshop". Technical Note 310838.
Steven K. Shevell (2003) The Science of Color. 2nd ed. Elsevier Science & Technology. ISBN 0-444-51251-9. {{nobr|pp. 202–206}}

text: The

text: International Commission on Illumination

text: (CIE) developed the

text: XYZ model

text: for describing the colors of light spectra in 1931, but its goal was to match human visual

text: metamerism

text: , rather than to be perceptually uniform, geometrically. In the 1960s and 70s, attempts were made to transform XYZ colors into a more relevant geometry, influenced by the Munsell system. These efforts culminated in the 1976

text: CIELUV

text: and

text: CIELAB

text: models. The dimensions of these models— and , respectively—are cartesian, based on the

text: opponent process

text: theory of color, but both are also often described using polar coordinates— or  and also

text: HCL

text: , where L* is lightness, C* is chroma, and h* is hue angle. Officially, both CIELAB and CIELUV were created for their

text: color difference

text: metrics ∆E* and ∆E*, particularly for use defining color tolerances, but both have become widely used as color order systems and color appearance models, including in computer graphics and computer vision. For example,

text: gamut mapping

text: in

text: ICC

text: color management

text:
is usually performed in CIELAB space, and Adobe Photoshop includes a CIELAB mode for editing images. CIELAB and CIELUV geometries are much more perceptually relevant than many others such as RGB, HSL, HSV, YUV/YIQ/YCbCr or XYZ, but are not perceptually perfect, and in particular have trouble adapting to unusual lighting conditions.<ref>MacEvoy 2010. "Modern Color Models"
Adobe (January 2007). "The Lab Color Mode in Photoshop". Technical Note 310838.
Steven K. Shevell (2003) The Science of Color. 2nd ed. Elsevier Science & Technology. ISBN 0-444-51251-9. {{nobr|pp. 202–206}}

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answers: The International Commission on Illumination

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answers: Light Spectra

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answers: RGB, HSL, HSV

text: Perception of color depends heavily on the context in which the perceived object is presented. For example, a white page under blue, pink, or purple light will reflect mostly blue, pink, or purple light to the eye, respectively; the brain, however, compensates for the effect of lighting (based on the color shift of surrounding objects) and is more likely to interpret the page as white under all three conditions, a phenomenon known as color constancy.

text: Perception of color depends heavily on the context in which the perceived object is presented. For example, a white page under blue, pink, or purple light will reflect mostly blue, pink, or purple light to the eye, respectively; the brain, however, compensates for the effect of lighting (based on the color shift of surrounding objects) and is more likely to interpret the page as white under all three conditions, a phenomenon known as

text: color constancy

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text: For the most part, computer vision algorithms used on color images are straightforward extensions to algorithms designed for grayscale images, for instance k-means or fuzzy clustering of pixel colors, or canny edge detection. At the simplest, each color component is separately passed through the same algorithm. It is important, therefore, that the features of interest can be distinguished in the color dimensions used. Because the R, G, and B components of an object’s color in a digital image are all correlated with the amount of light hitting the object, and therefore with each other, image descriptions in terms of those components make object discrimination difficult. Descriptions in terms of hue/lightness/chroma or hue/lightness/saturation are often more relevant.

text: For the most part, computer vision algorithms used on color images are straightforward extensions to algorithms designed for

text: grayscale

text: images, for instance

text: k-means

text: or

text: fuzzy

text: clustering

text: of pixel colors, or

text: canny

text: edge detection

text: . At the simplest, each color component is separately passed through the same algorithm. It is important, therefore, that the

text: features

text: of interest can be distinguished in the color dimensions used. Because the R, G, and B components of an object’s color in a digital image are all correlated with the amount of light hitting the object, and therefore with each other, image descriptions in terms of those components make object discrimination difficult. Descriptions in terms of hue/lightness/chroma or hue/lightness/saturation are often more relevant.

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text: When observing objects in a scene, colors appears constant.An apple looks red regardless of where it is viewed.In bright direct sunshine, under a blue sky with the sun obscured,during a colorful sunset, under a canopy of green leaves,and even under most man-made light sources,the color of the apple remains unchanging.

text: When observing objects in a scene, colors appears constant.An apple looks red regardless of where it is viewed.In bright direct sunshine, under a blue sky with the sun obscured,during a colorful sunset, under a canopy of green leaves,and even under most man-made light sources,the color of the apple remains unchanging.

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text: The principles on which color photography is based were first proposed by Scottish physicist James Clerk Maxwell in 1855 and presented at the Royal Society in London in 1861.  By that time, it was known that light comprises a spectrum of different wavelengths that are perceived as different colors as they are absorbed and reflected by natural objects.  Maxwell discovered that all natural colors in this spectrum may be reproduced with additive combinations of three primary colors—red, green, and blue—which, when mixed equally, produce white light.

text: The principles on which

text: color photography

text: is based were first proposed by Scottish physicist

text: James Clerk Maxwell

text: in 1855 and presented at the

text: Royal Society

text: in London in 1861.  By that time, it was known that

text: light

text: comprises a spectrum of different wavelengths that are perceived as different colors as they are absorbed and reflected by natural objects.  Maxwell discovered that all natural colors in this spectrum may be reproduced with additive combinations of three

text: primary color

text: s—

text: red

text: green

text: , and

text: blue

text: —which, when mixed equally, produce white light.

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text: Emulsions contain both a dispersed and a continuous phase, with the boundary between the phases called the "interface". Emulsions tend to have a cloudy appearance because the many phase interfaces scatter light as it passes through the emulsion. Emulsions appear white when all light is scattered equally. If the emulsion is dilute enough, higher-frequency and low-wavelength light will be scattered more, and the emulsion will appear bluer – this is called the "Tyndall effect". If the emulsion is concentrated enough, the color will be distorted toward comparatively longer wavelengths, and will appear more yellow. This phenomenon is easily observable when comparing skimmed milk, which contains little fat, to cream, which contains a much higher concentration of milk fat. One example would be a mixture of water and oil.

text: Emulsions contain both a dispersed and a continuous phase, with the boundary between the phases called the "interface". Emulsions tend to have a cloudy appearance because the many

text: phase interfaces

text: scatter

text: light as it passes through the emulsion. Emulsions appear

text: white

text: when all light is scattered equally. If the emulsion is dilute enough, higher-frequency and low-wavelength light will be scattered more, and the emulsion will appear

text: blue

text: r – this is called the "

text: Tyndall effect

text: ". If the emulsion is concentrated enough, the color will be distorted toward comparatively longer wavelengths, and will appear more

text: yellow

text: . This phenomenon is easily observable when comparing

text: skimmed milk

text: , which contains little fat, to

text: cream

text: , which contains a much higher concentration of milk fat. One example would be a mixture of water and oil.

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text: Because the carbon printing process uses pigments instead of dyes, it is capable of producing a far more archivally stable (permanent) print than any of the other color processes. Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions. The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of Lascaux, the wall paintings in the tombs of the Valley of the Kings and the frescoes of Pompeii are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color gamut than any of the other color processes, allowing for a greater range and subtlety of color reproduction.

text: Because the carbon printing process uses

text: pigments

text: instead of

text: dyes

text: , it is capable of producing a far more archivally stable (permanent) print than any of the other color processes. Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions. The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of

text: Lascaux

text: , the wall paintings in the tombs of the

text: Valley of the Kings

text: and the frescoes of

text: Pompeii

text: are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color

text: gamut

text: than any of the other color processes, allowing for a greater range and subtlety of color reproduction.

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answers: true colors

text: Normal (nonmetallic) objects reflect light and colors in the original color of the object being reflected.Metallic objects reflect lights and colors altered by the color of the metallic object itself.

text: Normal (nonmetallic) objects reflect light and colors in the original color of the object being reflected.Metallic objects reflect lights and colors altered by the color of the metallic object itself.

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text: This color matches the color of the Persian rose color sample in A Dictionary of Color—a highly saturated color close to the outer surface of the color sphere, just below the equator of the color sphere, about halfway between rose and magenta.  The color Persian rose may also be described as a color close to the purple boundary of the CIE chromaticity diagram about halfway between rose and magenta.

text: This color matches the color of the Persian rose color sample in A Dictionary of Color—a highly saturated color close to the outer surface of the

text: color sphere

text: , just below the equator of the color sphere, about halfway between rose and magenta.  The color Persian rose may also be described as a color close to the purple boundary of the

text: CIE chromaticity diagram

text: about halfway between rose and magenta.

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text: Research shows that animals sensitive to more than three color channels are likely to see the world in a very different way from humans. These animals are likely to experience different and more numerous unique hues, along with additional ways of mixing them.

text: Research shows that animals sensitive to more than three color channels are likely to see the world in a very different way from humans. These animals are likely to experience different and more numerous

text: unique hues

text: , along with additional ways of mixing them.

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text: An "object-box" (or cell) on the ends of the reflectors can hold selected objects to be viewed in the reflected pattern. Colorful transparent shapes (for instance pieces of glass or colored fluids moving in transparent containers) to create beautiful patterns. Objects smaller than the aperture create a spotted appearance of the pattern. Larger opaque objects and darker colors don't transmit much light and are usually avoided. If objects, fragments and/or liquids are loosely placed inside the cell and tumble when the cell is rotated, motion and change of colors and shapes can be introduced into the viewed pattern.

text: An "object-box" (or cell) on the ends of the reflectors can hold selected objects to be viewed in the reflected pattern. Colorful transparent shapes (for instance pieces of glass or colored fluids moving in transparent containers) to create beautiful patterns. Objects smaller than the aperture create a spotted appearance of the pattern. Larger opaque objects and darker colors don't transmit much light and are usually avoided. If objects, fragments and/or liquids are loosely placed inside the cell and tumble when the cell is rotated, motion and change of colors and shapes can be introduced into the viewed pattern.

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text: This method uses a similar principle to how a prism works to separate white light into its component colors. A gemological spectroscope is employed to analyze the selective absorption of light in the gem material. Essentially, when light passes from one medium to another, it bends. Blue light bends more than red light. How much the light bends will vary depending on the gem material. Coloring agents or chromophores show bands in the spectroscope and indicate which element is responsible for the gem's color.

text: This method uses a similar principle to how a

text: prism

text: works to separate white light into its component colors. A gemological

text: spectroscope

text: is employed to analyze the selective absorption of light in the gem material. Essentially, when light passes from one medium to another, it bends. Blue light bends more than red light. How much the light bends will vary depending on the gem material. Coloring agents or chromophores show bands in the spectroscope and indicate which element is responsible for the gem's color.

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text: A set of primary colors is a small, arbitrary set of pigmented physical media, lights or purely abstract elements of a mathematical colorspace model.  Distinct colors from a larger gamut can be specified in terms of a mixture of primary colors which facilitates technological applications such as painting, electronic displays and printing.  Any small set of pigments or lights are "imperfect" physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the human color vision system. The abstract (or "imaginary") primaries X, Y and Z of the CIEXYZ colorspace can be mathematically summed to specify essentially all colors that can be perceived but these primaries cannot be physically realized due to the underlying structure and overlapping spectral sensitivities of each of the human cone photoreceptors.  The precise set of primary colors that are used in a specific color application depend on gamut requirements as well as application-specific constraints such as cost, power consumption, lightfastness, mixing behavior etc.

text: A set of primary colors is a small, arbitrary set of

text: pigment

text: ed physical media, lights or purely abstract elements of a mathematical

text: colorspace

text: model.  Distinct colors from a larger

text: gamut

text: can be specified in terms of a mixture of primary colors which facilitates technological applications such as painting, electronic displays and printing.  Any small set of pigments or lights are "imperfect" physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the human

text: color vision

text: system. The abstract (or "imaginary") primaries X, Y and Z of the

text: CIEXYZ

text: colorspace can be mathematically summed to specify essentially all colors that can be perceived but these primaries cannot be physically realized due to the underlying structure and overlapping

text: spectral sensitivities

text: of each of the human cone photoreceptors.  The precise set of primary colors that are used in a specific color application depend on gamut requirements as well as application-specific constraints such as cost, power consumption, lightfastness, mixing behavior etc.

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text: The finest quality as per color grading is totally colorless, which is graded as "D" color diamond across the globe, meaning it is absolutely free from any color. The next grade has a very slight trace of color, which can be observed by any expert diamond valuer/grading laboratory. However, when studded in jewellery these very light colored diamonds do not show any color or it is not possible to make out color shades. These are graded as E color or F color diamonds.

text: The finest quality as per color grading is totally colorless, which is graded as "D" color diamond across the globe, meaning it is absolutely free from any color. The next grade has a very slight trace of color, which can be observed by any expert diamond valuer/grading laboratory. However, when studded in jewellery these very light colored diamonds do not show any color or it is not possible to make out color shades. These are graded as E color or F color diamonds.

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text: In full-color chromogenic materials, multiple layers of emulsion are sensitized to different wavelengths of light. Three layers are usually present, generally sensitive to red, green, and blue colored light. Cyan-colored dye is formed on the red-sensitive layer, magenta-colored dye is formed on the green-sensitive layer, and yellow-colored dye is formed on the blue-sensitive layer, following generally the CMY color model.

text: In full-color chromogenic materials, multiple layers of emulsion are sensitized to different wavelengths of

text: light

text: . Three layers are usually present, generally sensitive to red, green, and blue colored light. Cyan-colored dye is formed on the red-sensitive layer, magenta-colored dye is formed on the green-sensitive layer, and yellow-colored dye is formed on the blue-sensitive layer, following generally the

text: CMY

text: color model.

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text: The diarylide yellows are the most common yellow pigments used in printing as well as a wide variety of other applications.  Due to their stability, diarylide yellows are used in inks, coatings, and many plastics.  The pigment is insoluble. It is a standard pigment used in printing ink and packaging industry.  The diarylide yellow pigment Yellow 12 is one of the three main colored pigments used in the four color process of color printing.  As such, its use is ubiquitous in printing both in commercial applications and in home color printers, as well as in textile printing.

text: The diarylide yellows are the most common yellow pigments used in printing as well as a wide variety of other applications.  Due to their stability, diarylide yellows are used in

text: ink

text: s, coatings, and many

text: plastic

text: s.  The pigment is insoluble. It is a standard pigment used in printing ink and packaging industry.  The diarylide yellow pigment Yellow 12 is one of the three main colored pigments used in the four color process of

text: color printing

text: .  As such, its use is ubiquitous in printing both in commercial applications and in home color printers, as well as in

text: textile printing

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text: Reviewing Green Oculus a drawing and lens installation by Goodell, Donald Goddard wrote, "the lenses see the way we see - randomly, inattentively sporadically, imperfectly - focused and unfocused - voraciously. Most particularly they, and we, see the drawings, which represent what is written, the beginnings of life, as an act of the artist." ArtInfo reviewed Mesmer Eyes and wrote that "as the lenses rotated around eye-height, they distorted the view of the painting into an ever-changing array of abstractions. These visions were also captured in photographs taken by the artist of the installation. The work played with the mutability of perception and the literal forms of the biological tools we use to see." In 2014, Hyperallergic wrote about Mesmer that "Goodell’s works are  strokes and takes on Rothko’s twin but separated chapels in Texas and at the Tate. Like Rothko’s masterworks, Goodell’s little jewels trigger degrees of color perception and color separation that no single drawing is likely to reveal. (And unlike Rothko’s work, Goodell’s pieces aren’t melancholy and anxious!)"

text: Reviewing Green Oculus a drawing and lens installation by Goodell, Donald Goddard wrote, "the lenses see the way we see - randomly, inattentively sporadically, imperfectly - focused and unfocused - voraciously. Most particularly they, and we, see the drawings, which represent what is written, the beginnings of life, as an act of the artist." ArtInfo reviewed Mesmer Eyes and wrote that "as the lenses rotated around eye-height, they distorted the view of the painting into an ever-changing array of abstractions. These visions were also captured in photographs taken by the artist of the installation. The work played with the mutability of perception and the literal forms of the biological tools we use to see." In 2014,

text: Hyperallergic

text: wrote about Mesmer that "Goodell’s works are  strokes and takes on

text: Rothko’s

text: twin but separated chapels in Texas and at the Tate. Like Rothko’s masterworks, Goodell’s little jewels trigger degrees of color perception and color separation that no single drawing is likely to reveal. (And unlike Rothko’s work, Goodell’s pieces aren’t melancholy and anxious!)"

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answers: Green

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text: The color defined as yellow in the Munsell color system (Munsell 5Y) is shown at right.  The Munsell color system is a color space that specifies colors based on three color dimensions: hue, value (lightness), and chroma (color purity), spaced uniformly in three dimensions in the elongated oval at an angle shaped Munsell color solid according to the logarithmic scale which governs human perception.  In order for all the colors to be spaced uniformly, it was found necessary to use a color wheel with five primary colors—red, yellow, green, blue, and purple.

text: The color defined as yellow in the

text: Munsell color system

text: (Munsell 5Y) is shown at right.  The Munsell color system is a

text: color space

text: that specifies

text: color

text: s based on three color dimensions:

text: hue

text: , value (

text: lightness

text: ), and

text: chroma

text: (color purity), spaced uniformly in three dimensions in the elongated oval at an angle shaped Munsell

text: color solid

text: according to the

text: logarithmic scale

text: which governs

text: human perception

text: .  In order for all the colors to be spaced uniformly, it was found necessary to use a color wheel with five primary colors—red, yellow, green, blue, and purple.

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text: Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question.

text: Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color

text: sensation

text: in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called

text: metamers

text: of the color in question.

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text: The core X Window System drawing protocol does not have a way to efficiently draw transparent objects: A computer display is composed of individual pixels, which can only show a single color at a time. Thus transparency can only be achieved by mixing the colors of the transparent object to be drawn with the background color (alpha compositing). However, the standard X protocol only allows drawing with solid color, so the only way to achieve transparency is to fetch the background color from the screen, mix it with the object color, then write it back, which is fairly inefficient.

text: The core

text: X Window System

text: drawing protocol does not have a way to efficiently draw transparent objects: A computer display is composed of individual

text: pixel

text: s, which can only show a single color at a time. Thus transparency can only be achieved by mixing the colors of the transparent object to be drawn with the background color (

text: alpha compositing

text: ). However, the standard X protocol only allows drawing with solid color, so the only way to achieve transparency is to fetch the background color from the screen, mix it with the object color, then write it back, which is fairly inefficient.

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text: Artists' pigments and colored pencils labeled as purple are typically colored the red-violet color shown at right.  On an RYB color wheel, red-violet is the color between red and violet.

text: Artists' pigments and colored pencils labeled as purple are typically colored the red-violet color shown at right.  On an

text: RYB color wheel

text: , red-violet is the color between red and violet.

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text: Sophisticated color cameras with high color resolution are capable of detecting millions of colors to better distinguish more subtle color defects. Trichromatic color cameras (also called three-channel cameras) divide light into three bands, which can include red, green and/or blue within the visible spectrum as well as IR and UV.

text: Sophisticated color cameras with high color resolution are capable of detecting millions of colors to better distinguish more subtle color defects.

text: Trichromatic

text: color cameras (also called three-channel cameras) divide light into three bands, which can include red, green and/or blue within the visible spectrum as well as IR and UV.

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text: The colors available from both the basic types of white light LED is adjustable to a certain extent, with color temperatures in the range of 2,200 K (matching incandescent lamps) up to 7,000 K are widely available.  Higher CRI values can be obtained using more than three LED colors to cover a greater range of wavelengths.  Tunable lighting systems employ banks of colored LEDs that can be individually controlled, either using separate banks of each color, or multi-chip LEDs with the colors combined and controlled at the chip level.

text: The colors available from both the basic types of white light LED is adjustable to a certain extent, with

text: color temperature

text: s in the range of 2,200 K (matching incandescent lamps) up to 7,000 K are widely available.  Higher CRI values can be obtained using more than three LED colors to cover a greater range of wavelengths.  Tunable lighting systems employ banks of colored LEDs that can be individually controlled, either using separate banks of each color, or multi-chip LEDs with the colors combined and controlled at the chip level.

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text: As an illustrative model, artists typically use red, yellow, and blue primaries (RYB color model) arranged at three equally spaced points around their color wheel. Printers and others who use modern subtractive color methods and terminology use magenta, yellow, and cyan as subtractive primaries. Intermediate and interior points of color wheels and circles represent color mixtures.  In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).

text: As an illustrative model, artists typically use

text: red

text: yellow

text: , and

text: blue

text: primaries (

text: RYB color model

text: ) arranged at three equally spaced points around their color wheel. Printers and others who use modern subtractive color methods and terminology use

text: magenta

text: , yellow, and

text: cyan

text: as

text: subtractive primaries

text: . Intermediate and interior points of color wheels and circles represent color mixtures.  In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).

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answers: 4

answers: tqa2:L_0836/T_4251/b6a5df5ab7b34c7a3ad2e6d6a0e8d4b6

answers: 0

answers: tqa2:L_0836/T_4251/9fbdbd2944060fa1f0cd58d307e5be3c

answers: 0

answers: NDQ_016542

answers: 0

answers: NDQ_016543

answers: 4

answers: NDQ_016548

answers: 0

answers: NDQ_016549

answers: 0

answers: NDQ_016550

answers: 4

answers: NDQ_016551

answers: 4

answers: NDQ_016542

answers: The center is white or gray

answers: NDQ_016543

answers: All wavelengths

answers: NDQ_016548

answers: color mixtures

answers: NDQ_016549

answers: white or gray

answers: NDQ_016550

answers: red, yellow

answers: NDQ_016551

answers: red, yellow

text: |- style="background-color:#ffbbbb"| 1 || April 3 || Yankees || 2-15 || Johnson (1-0) || Zito (0-1) || – || 35,077 || 0-1|- style="background-color:#bbffbb"| 2 || April 4 || Yankees || 4-3 || Street (1-0) || Proctor (0-1) || – || 31,284 || 1-1|- style="background-color:#bbffbb"| 3 || April 5 || Yankees || 9-4 || Kennedy (1-0) || Wright (0-1) || – || 30,165 || 2-1|- style="background-color:#ffbbbb"| 4 || April 6 || @ Mariners || 2-6 || Meche (1-0) || Loaiza (0-1) || Putz (1) || 22,701 || 2-2|- style="background-color:#bbffbb"| 5 || April 7 || @ Mariners || 5-0 || Blanton (1-0) || Hernández (0-1) || – || 30,612 || 3-2|- style="background-color:#bbffbb"| 6 || April 8 || @ Mariners || 3-0 || Zito (1-1) || Moyer (0-1) || Street (1) || 37,904 || 4-2|- style="background-color:#bbffbb"| 7 || April 9 || @ Mariners || 6-4 || Harden (1-0) || Piñeiro (1-1) || Street (2) || 27,139 || 5-2|- style="background-color:#ffbbbb"| 8 || April 11 || @ Twins || 6-7 || Radke (2-0) || Haren (0-1) || Nathan (1) || 48,911 || 5-3|- style="background-color:#ffbbbb"| 9 || April 12 || @ Twins || 5-6 || Silva (1-1) || Loaiza (0-2) || Nathan (2) || 22,603 || 5-4|- style="background-color:#ffbbbb"| 10 || April 13 || @ Twins || 2-8 || Lohse (1-1) || Blanton (1-1) || – || 13,520 || 5-5|- style="background-color:#ffbbbb"| 11 || April 14 || Rangers || 3-6 || Millwood (1-2) || Zito (1-2) || – || 14,049 || 5-6|- style="background-color:#bbffbb"| 12 || April 15 || Rangers || 5-4 || Harden (2-0) || Padilla (2-1) || Street (3) || 16,186 || 6-6|- style="background-color:#ffbbbb"| 13 || April 16 || Rangers || 3-5 || Cordero (1-1) || Street (1-1) || – || 21,256 || 6-7|- style="background-color:#bbffbb"| 14 || April 18 || Tigers || 4-3 || Duchscherer (1-0) || Verlander (1-2) || Street (4) || 16,857 || 7-7|- style="background-color:#ffbbbb"| 15 || April 19 || Tigers || 4-11 || Rogers (3-1) || Blanton (1-2) || – || 18,309 || 7-8|- style="background-color:#ffbbbb"| 16 || April 20 || Tigers || 3-4 || Rodney (1-0) || Duchscherer (1-1) || – || 15,489 || 7-9|- style="background-color:#bbffbb"| 17 || April 21 || Angels || 5-3 || Harden (3-0) || Romero (1-2) || Calero (1) || 19,874 || 8-9|- style="background-color:#ffbbbb"| 18 || April 22 || Angels || 4-5 || Weaver (1-2) || Haren (0-2) || F. Rodríguez (6) || 22,670 || 8-10|- style="background-color:#ffbbbb"| 19 || April 23 || Angels || 3-4 || Escobar (3-1) || Loaiza (0-3) || F. Rodríguez (7) || 27,104 || 8-11|- style="background-color:#bbffbb"| 20 || April 24 || @ Rangers || 3-2 || Blanton (2-2) || Wilson (1-1) || Duchscherer (1) || 23,802 || 9-11|- style="background-color:#ffbbbb"| 21 || April 25 || @ Rangers || 5-6 || Cordero (3-2) || Gaudin (0-1) || – || 25,492 || 9-12|- style="background-color:#bbffbb"| 22 || April 26 || @ Rangers || 6-4 (10) || Duchscherer (2-1) || Wilson (1-2) || Kennedy (1) || 23,756 || 10-12|- style="background-color:#bbffbb"| 23 || April 28 || @ Royals || 5-3 || Haren (1-2) || Mays (0-3) || Saarloos (1) || 12,203 || 11-12|- style="background-color:#bbbbbb"| --- || April 29|| @ Royals || colspan=5|Postponed (rain) Rescheduled for August 18 || 11-12|- style="background-color:#bbffbb"| 24 || April 30 || @ Royals || 13-6 || Blanton (3-2) || Hudson (0-3) || – || 15,224 || 12-12|- style="background-color:#bbffbb"| 25 || May 1 || @ Angels || 1-0 || Zito (2-2) || Carrasco (0-2)|| Duchscherer (2) || 41,721 || 13-12|- style="background-color:#bbffbb"| 26 || May 2 || @ Angels || 10-3 || Halsey (1-0) || Lackey (3-2)|| – || 35,943 || 14-12|- style="background-color:#ffbbbb"| 27 || May 3 || Indians || 3-14 || Byrd (4-2) || Haren (1-3) || – || 18,248 || 14-13|- style="background-color:#bbffbb"| 28 || May 4 || Indians || 12-4 || Saarloos (1-0) || Johnson (2-2) || Gaudin (1) || 14,695 || 15-13|- style="background-color:#ffbbbb"| 29 || May 5 || Devil Rays || 1-3 || Kazmir (4-2) || Blanton (3-3) || Walker (2) || 12,552 || 15-14|- style="background-color:#bbffbb"| 30 || May 6 || Devil Rays || 3-2 || Kennedy (2-0) || Orvella (1-3) || – || 25,080 || 16-14|- style="background-color:#ffbbbb"| 31 || May 7 || Devil Rays || 2-3 || Hendrickson (2-2) || Halsey (1-1) || Walker (3) || 22,837 || 16-15|- style="background-color:#bbffbb"| 32 || May 9 || @ Blue Jays || 6-5 || Haren (2-3) || Towers (0-7) || Street (5) || 36,269 || 17-15|- style="background-color:#ffbbbb"| 33 || May 10 || @ Blue Jays || 7-9 || Rosario (1-0) || Blanton (3-4) || Ryan (8) || 19,269 || 17-16|- style="background-color:#ffbbbb"| 34 || May 11 || @ Blue Jays || 3-8 || Lilly (4-2) || Saarloos (1-1) || – || 23,974 || 17-17|- style="background-color:#ffbbbb"| 35 || May 12 || @ Yankees || 0-2 || Wang (3-1) || Zito (2-3) || Rivera (7) || 47,497 || 17-18|- style="background-color:#ffbbbb"| 36 || May 13 || @ Yankees || 3-4 || Wright (1-2) || Halsey (1-2) || Farnsworth (1) || 53,907 || 17-19|- style="background-color:#bbffbb"| 37 || May 14 || @ Yankees || 6-1 || Haren (3-3) || Johnson (5-4) || – || 52,587 || 18-19|- style="background-color:#bbffbb"| 38 || May 16 || Mariners || 12-6 || Blanton (4-4) || Hernández (3-5) || – || 16,397 || 19-19|- style="background-color:#bbffbb"| 39 || May 17 || Mariners || 7-2 || Zito (3-3) || Moyer (1-4) || – || 19,208 || 20-19|- style="background-color:#bbffbb"| 40 || May 18 || Mariners || 6-3 || Saarloos (2-1) || Piñeiro (4-4) || Street (6) || 18,136 || 21-19|- style="background-color:#bbffbb"| 41 || May 19 || Giants || 1-0 || Haren (4-3) || Lowry (1-1) || Street (7) || 35,077 || 22-19|- style="background-color:#ffbbbb"| 42 || May 20 || Giants || 2-4 (10) || Benítez (3-0) || Calero (0-1) || – || 35,077 || 22-20|- style="background-color:#ffbbbb"| 43 || May 21 || Giants || 0-6 || Cain (2-5) || Blanton (4-5) || – || 35,077 || 22-21|- style="background-color:#ffbbbb"| 44 || May 22 || @ White Sox || 4-5 (10) || Jenks (2-1) || Flores (0-1) || – || 39,354 || 22-22|- style="background-color:#ffbbbb"| 45 || May 23 || @ White Sox || 3-9 || Vázquez (5-3) || Saarloos (2-2) || – || 38,860 || 22-23|- style="background-color:#ffbbbb"| 46 || May 24 || @ White Sox || 2-3 || Buehrle (6-2) || Haren (4-4) || Jenks (13) || 38,434 || 22-24|- style="background-color:#ffbbbb"| 47 || May 25 || @ Rangers || 7-8 || Otsuka (1-1) || Street (1-2) || – || 22,006 || 22-25|- style="background-color:#ffbbbb"| 48 || May 26 || @ Rangers || 3-5 || Cordero (4-3) || Gaudin (0-2) || Otsuka (7) || 27,791 || 22-26|- style="background-color:#bbffbb"| 49 || May 27 || @ Rangers || 6-3 || Zito (4-3) || Loe (3-5) || Street (8) || 41,226 || 23-26|- style="background-color:#ffbbbb"| 50 || May 28 || @ Rangers || 3-4 || Padilla (5-3) || Saarloos (2-3) || Otsuka (8) || 38,905 || 23-27|- style="background-color:#ffbbbb"| 51 || May 29 || Royals || 4-6 || Etherton (1-0) || Haren (4-5) || Burgos (6) || 28,040 || 23-28|- style="background-color:#ffbbbb"| 52 || May 30 || Royals || 7-8 (10) || Dessens (3-5) || Roney (0-1) || Burgos (7) || 12,516 || 23-29|- style="background-color:#bbffbb"| 53 || May 31 || Royals || 7-0 || Blanton (5-5) || Elarton (1-6) || – || 25,181 || 24-29|- style="background-color:#bbffbb"| 54 || June 1 || Twins || 4-0 || Zito (5-3) || Bonser (1-1) || – || 12,025 || 25-29|- style="background-color:#ffbbbb"| 55 || June 2 || Twins || 1-2 || Santana (5-4) || Saarloos (2-4) || Nathan (7) || 16,138 || 25-30|- style="background-color:#bbffbb"| 56 || June 3 || Twins || 2-1 || Halsey (2-2) || Radke (4-7) || Street (9) || 23,194 || 26-30|- style="background-color:#bbffbb"| 57 || June 4 || Twins || 5-1 || Halsey (3-2) || Silva (2-7) || – || 25,247 || 27-30|- style="background-color:#bbffbb"| 58 || June 6 || @ Indians || 7-6 || Zito (6-3) || Betancourt (0-1) || Street (10) || 17,340 || 28-30|- style="background-color:#ffbbbb"| 59 || June 7 || @ Indians || 2-11 || Byrd (5-4) || Blanton (5-6) || – || 20,311 || 28-31|- style="background-color:#bbffbb"| 60 || June 8 || @ Indians || 4-1 || Loaiza (1-3) || Johnson (3-6) || Street (11) || 21,099 || 29-31|- style="background-color:#bbffbb"| 61 || June 9 || @ Yankees || 6-5 || Haren (5-5) || Johnson (7-5) || Street (12) || 53,837 || 30-31|- style="background-color:#bbffbb"| 62 || June 10 || @ Yankees || 5-2 || Saarloos (3-4) || Mussina (8-2) || Street (13) || 53,779 || 31-31|- style="background-color:#bbffbb"| 63 || June 11 || @ Yankees || 6-5 || Zito (7-3) || Kyle Farnsworth (2-4) || Street (14) || 54,570 || 32-31|- style="background-color:#bbffbb"| 64 || June 13 || Mariners || 2-0 || Blanton (6-6) || Moyer (3-6) || Street (15) || 15,216 || 33-31|- style="background-color:#bbffbb"| 65 || June 14 || Mariners || 7-2 || Haren (6-5) || Piñeiro (5-7) || – || 20,550 || 34-31|- style="background-color:#bbffbb"| 66 || June 15 || Mariners || 9-6 || Loaiza (2-3) || Washburn (4-8) || Street (16) || 16,563 || 35-31|- style="background-color:#bbffbb"| 67 || June 16 || Dodgers || 7-3 || Zito (8-3) || Tomko (5-6) || – || 30,161 || 36-31|- style="background-color:#bbffbb"| 68 || June 17 || Dodgers || 5-4 (17) || Karsay (1-0) || Seo (2-4) || – || 35,077 || 37-31|- style="background-color:#bbffbb"| 69 || June 18 || Dodgers || 5-2 || Blanton (7-6) || Sele (3-2) || Street (17) || 35,077 || 38-31|- style="background-color:#ffbbbb"| 70 || June 19 || @ Rockies || 0-7 || Kim (4-4) || Haren (6-6) || – || 21,964 || 38-32|- style="background-color:#ffbbbb"| 71 || June 20 || @ Rockies || 0-6 || Jennings (6-6) || Loaiza (2-4) || – || 21,753 || 38-33|- style="background-color:#bbffbb"| 72 || June 21 || @ Rockies || 3-2 (11) || Calero (1-1) || King (1-3) || – || 26,489 || 39-33|- style="background-color:#bbffbb"| 73 || June 23 || @ Giants || 4-3 || Calero (2-1) || Benítez (4-1) || Street (18) || 42,948 || 40-33|- style="background-color:#ffbbbb"| 74 || June 24 || @ Giants || 7-8 || Worrell (3-2) || Street (1-3) || – || 42,866 || 40-34|- style="background-color:#bbffbb"| 75 || June 25 || @ Giants || 10-4 || Loaiza (3-4) || Cain (6-6) || – || 42,414 || 41-34|- style="background-color:#ffbbbb"| 76 || June 27 || @ Padres || 0-3 || Young (7-3) || Zito (8-4) || Hoffman (19) || 34,102 || 41-35|- style="background-color:#ffbbbb"| 77 || June 28 || @ Padres || 1-8 || Hensley (5-6) || Blanton (7-7) || – || 39,874 || 41-36|- style="background-color:#bbffbb"| 78 || June 29 || @ Padres || 6-5 (14) || Flores (1-1) || Cassidy (4-4) || Gaudin (2) || 30,301 || 42-36|- style="background-color:#ffbbbb"| 79 || June 30 || Diamondbacks || 4-6 || Vargas (7-4) || Halsey (3-3) || Julio (7) || 16,756 || 42-37|- style="background-color:#ffbbbb"| 80 || July 1 || Diamondbacks || 2-7 || Batista (8-5) || Loaiza (3-5) || – || 19,024 || 42-38|- style="background-color:#ffbbbb"| 81 || July 2 || Diamondbacks || 1-3 || Webb (9-3) || Zito (8-5) || – || 19,130 || 42-39|- style="background-color:#bbffbb"| 82 || July 3 || Tigers || 5-3 || Blanton (8-7) || Robertson (8-4) || Street (19) || 35,077 || 43-39|- style="background-color:#bbffbb"| 83 || July 4 || Tigers || 2-1 (10) || Gaudin (1-2) || Rodney (4-3) || – || 21,096 || 44-39|- style="background-color:#ffbbbb"| 84 || July 5 || Tigers || 4-10 || Rogers (11-3) || Saarloos (3-5) || Colón (1) || 22,210 || 44-40|- style="background-color:#bbffbb"| 85 || July 6 || Angels || 7-5 || Street (2-3) || Shields (4-6) || – || 14,673 || 45-40|- style="background-color:#ffbbbb"| 86 || July 7 || Angels || 0-3 || Lackey (7-5) || Zito (8-6) || – || 20,711 || 45-41|- style="background-color:#ffbbbb"| 87 || July 8 || Angels || 4-6 || Weaver (6-0) || Blanton (8-8) || F. Rodríguez (20) || 25,289 || 45-42|- style="background-color:#ffbbbb"| 88 || July 9 || Angels || 2-4 || Santana (10-3) || Haren (6-7) || F. Rodríguez (21) || 26,603 || 45-43|- style="background-color:#bbffbb"| 89 || July 13 || @ Red Sox || 5-4 (11) || Street (3-3) || Tavárez (1-3) || Saarloos (2) || 36,141 || 46-43|- style="background-color:#bbffbb"| 90 || July 14 || @ Red Sox || 15-3 || Zito (9-6) || Beckett (11-5) || – || 36,319 || 47-43|- style="background-color:#ffbbbb"| 91 || July 15 || @ Red Sox || 0-7 || Schilling (11-3) || Haren (6-8) || – || 36,232 || 47-44|- style="background-color:#bbffbb"| 92 || July 16 || @ Red Sox || 8-1 || Blanton (9-8) || Snyder (1-1) || – || 35,643 || 48-44|- style="background-color:#ffbbbb"| 93 || July 17 || @ Orioles || 3-5 || Birkins (5-1) || Saarloos (3-6) || Ray (23) || 19,652 || 48-45|- style="background-color:#bbffbb"| 94 || July 18 || @ Orioles || 5-4 || Loaiza (4-5) || E. Rodríguez (0-1) || Street (20) || 20,827 || 49-45|- style="background-color:#bbffbb"| 95 || July 19 || @ Orioles || 5-1 || Zito (10-6) || Benson (9-9) || – || 29,407 || 50-45|- style="background-color:#ffbbbb"| 96 || July 21 || @ Tigers || 4-7 || Verlander (12-4) || Haren (6-9) || – || 40,687 || 50-46|- style="background-color:#bbffbb"| 97 || July 22 || @ Tigers || 9-5 || Blanton (10-8) || Ledezma (1-1) || – || 38,923 || 51-46|- style="background-color:#ffbbbb"| 98 || July 23 || @ Tigers || 4-8 || Robertson (9-6) || Loaiza (4-6) || – || 40,355 || 51-47|- style="background-color:#ffbbbb"| 99 || July 24 || Red Sox || 3-7 || Beckett (13-5) || Zito (10-7) || – || 33,370 || 51-48|- style="background-color:#ffbbbb"| 100 || July 25 || Red Sox || 5-13 || Schilling (13-3) || Windsor (0-1) || – || 34,077 || 51-49|- style="background-color:#bbffbb"| 101 || July 26 || Red Sox || 5-1 || Haren (7-9) || Snyder (2-2) || – || 35,077 || 52-49|- style="background-color:#bbffbb"| 102 || July 27 || Blue Jays || 5-2 || Blanton (11-8) || Lilly (9-9) || Street (21) || 19,251 || 53-49|- style="background-color:#ffbbbb"| 103 || July 28 || Blue Jays || 3-4 || Downs (5-1) || Loaiza (4-7) || Ryan (25) || 22,217 || 53-50|- style="background-color:#bbffbb"| 104 || July 29 || Blue Jays || 7-4 || Zito (11-7) || McGowan (1-1) || Street (22) || 25,627 || 54-50|- style="background-color:#bbffbb"| 105 || July 30 || Blue Jays || 6-5 || Street (4-3) || Ryan (1-1) || – || 29,709 || 55-50|- style="background-color:#bbffbb"| 106 || July 31 || @ Angels || 3-1 || Haren (8-9) || Santana (11-5) || – || 43,558 || 56-50|- style="background-color:#ffbbbb"| 107 || August 1 || @ Angels || 2-3 || Saunders (2-0) || Blanton (11-9) || F. Rodríguez (26) || 44,111 || 55-51|- style="background-color:#bbffbb"| 108 || August 2 || @ Angels || 3-2 || Calero || Shields (6-7) || Street (23) || 44,149 || 57-51|- style="background-color:#bbffbb"| 109 || August 4 || @ Mariners || 5-2 || Zito (12-7) || Washburn (5-11) || – || 44,277 || 58-51|- style="background-color:#bbffbb"| 110 || August 5 || @ Mariners || 5-2 || Haren (9-9) || Piñeiro (7-9) || Street (24) || 40,115 || 59-51|- style="background-color:#bbffbb"| 111 || August 6 || @ Mariners || 7-6 || Blanton (12-9) || Meche (9-6) || Street (25) || 37,437 || 60-51|- style="background-color:#bbffbb"| 112 || August 7 || Rangers || 7-4 || Loaiza (5-7) || Vólquez (0-1) || Calero (2) || 21,208 || 61-51|- style="background-color:#bbffbb"| 113 || August 8 || Rangers || 7-6 || Saarloos (4-6) || Millwood (10-8) || Street (26) || 21,650 || 62-51|- style="background-color:#ffbbbb"| 114 || August 9 || Rangers || 0-14 || Padilla (12-7) || Zito (12-8) || – || 30,127 || 62-52|- style="background-color:#bbffbb"| 115 || August 11 || Devil Rays || 5-2 || Haren (10-9) || Kazmir (10-8) || Street (27) || 20,758 || 63-52|- style="background-color:#bbffbb"| 116 || August 12 || Devil Rays || 6-3 || Blanton (13-9) || Fossum (6-5) || Street (28) || 26,523 || 64-52|- style="background-color:#bbffbb"| 117 || August 13 || Devil Rays || 3-1 || Loaiza (6-7) || Corcoran (4-4) || Street (29) || 28,692 || 65-52|- style="background-color:#bbffbb"| 118 || August 14 || Mariners || 5-4 || Kennedy (3-0) || Soriano (1-2) || Duchscherer (3) || 21,859 || 66-52|- style="background-color:#bbffbb"| 119 || August 15 || Mariners || 11-2 || Saarloos (5-6) || Piñeiro (7-11) || – || 23,726 || 67-52|- style="background-color:#bbffbb"| 120 || August 16 || Mariners || 4-0 || Haren (11-9) || Meche (9-8) || – || 34,077 || 68-52|- style="background-color:#ffbbbb"| 121 || August 18|| @ Royals || 1-7 || Hudson (6-4) || Blanton (13-10) || – || n/a || 68-53|- style="background-color:#ffbbbb"| 122 || August 18 || @ Royals || 3-5 || Burgos (3-5) || Street (4-4) || Nelson (2) || 23,952 || 68-54|- style="background-color:#bbffbb"| 123 || August 19 || @ Royals || 7-2 || Zito (13-8) || Redman (7-8) || – || 30,810 || 69-54|- style="background-color:#bbffbb"| 124 || August 20 || @ Royals || 6-4 || Saarloos (6-6) || Hernández (3-8) || – || 16,592 || 70-54|- style="background-color:#bbffbb"| 125 || August 21 || @ Blue Jays || 12-10 || Haren (12-9) || League (0-1) || Duchscherer (4) || 28,280 || 71-54|- style="background-color:#ffbbbb"| 126 || August 22 || @ Blue Jays || 3-4 || Burnett (6-5) || Halsey (3-4) || Ryan (28) || 30,071 || 71-55|- style="background-color:#bbffbb"| 127 || August 23 || @ Blue Jays || 6-0 || Loaiza (7-7) || Chacín (6-3) || – || 32,516 || 72-55|- style="background-color:#bbffbb"| 128 || August 25 || @ Rangers || 9-3 || Zito (14-8) || Vólquez (1-3) || – || 31,178 || 73-55|- style="background-color:#bbffbb"| 129 || August 26 || @ Rangers || 5-3 || Blanton (14-10) || Eaton (3-4) || Duchscherer (5) || 37,752 || 74-55|- style="background-color:#ffbbbb"| 130 || August 27 || @ Rangers || 0-3 || Padilla (13-8) || Haren (12-10) || Otsuka (28) || 25,708 || 74-56|- style="background-color:#bbffbb"| 131 || August 28 || Red Sox || 9-0 || Loaiza (8-7) || Gabbard (0-3) || – || 30,159 || 75-56|- style="background-color:#bbffbb"| 132 || August 29 || Red Sox || 2-1 || Saarloos (7-6) || Beckett (14-9) || Duchscherer (6) || 30,517 || 76-56|- style="background-color:#bbffbb"| 133 || August 30 || Red Sox || 7-2 || Zito (15-8) || Schilling (14-7) || – || 31,073 || 77-56|- style="background-color:#bbffbb"| 134 || September 1 || Orioles || 5-4 || Halsey (4-4) || Williams (2-4) || Duchscherer (7) || 31,179 || 78-56|- style="background-color:#ffbbbb"| 135 || September 2 || Orioles || 5-6 || Loewen (5-4) || Haren (12-11) || Ray (31) || 24,383 || 78-57|- style="background-color:#bbffbb"| 136 || September 3 || Orioles || 10-1 || Loaiza (9-7) || Penn (0-1) || – || 26,280 || 79-57|- style="background-color:#ffbbbb"| 137 || September 4 || Rangers || 1-8 || Tejeda (4-3) || Zito (15-9) || – || 23,949 || 79-58|- style="background-color:#ffbbbb"| 138 || September 5 || Rangers || 4-5 || Eaton (5-4) || Saarloos (7-7) || Otsuka (31) || 27,225 || 79-59|- style="background-color:#bbffbb"| 139 || September 6 || Rangers || 9-6 || Blanton (15-10) || Rupe (0-1) || Duchscherer (8) || 17,838 || 80-59|- style="background-color:#bbffbb"| 140 || September 8 || @ Devil Rays || 8-6 || Haren (13-11) || Shields (6-7) || Street (30) || 12,821 || 81-59|- style="background-color:#ffbbbb"| 141 || September 9 || @ Devil Rays || 6-9 || Miceli (1-1) || Loaiza (9-8) || McClung (6) || 22,016 || 81-60|- style="background-color:#bbffbb"| 142 || September 10 || @ Devil Rays || 9-7 || Kennedy (4-0) || Camp (7-3) || Street (31) || 16,791 || 82-60|- style="background-color:#ffbbbb"| 143 || September 11 || @ Twins || 4-9 || Silva (9-13) || Blanton (15-11) || Nathan (31) || 15,728 || 82-61|- style="background-color:#ffbbbb"| 144 || September 12 || @ Twins || 5-7 || Reyes (5-0) || Kennedy (4-1) || Nathan (32) || 20,991 || 82-62|- style="background-color:#bbffbb"| 145 || September 13 || @ Twins || 1-0 || Haren (14-11) || Garza (1-5) || Street (32) || 18,902 || 83-62|- style="background-color:#bbffbb"| 146 || September 15 || White Sox || 4-2 || Loaiza (10-8) || Garland (17-5) || Street (33) || 26,809 || 84-62|- style="background-color:#bbffbb"| 147 || September 16 || White Sox || 7-4 || Zito (16-9) || Thornton (5-3) || Street (34) || 32,169 || 85-62|- style="background-color:#bbffbb"| 148 || September 17 || White Sox || 5-4 || Blanton (16-11) || Contreras (13-8) || Duchscherer (9) || 28,806 || 86-62|- style="background-color:#ffbbbb"| 149 || September 18 || Indians || 2-7 || Westbrook (13-10) || Haren (14-12) || – || 17,352 || 86-63|- style="background-color:#bbffbb"| 150 || September 19 || Indians || 7-3 || Gaudin (2-2) || Lee (12-11) || – || 15,866 || 87-63|- style="background-color:#bbffbb"| 151 || September 20 || Indians || 4-3 || Loaiza (11-8) || Cabrera (3-3) || Street (35) || 25,131 || 88-63|- style="background-color:#bbffbb"| 152 || September 21 || Indians || 7-4 || Gaudin (3-2) || Sabathia (11-11) || Street (36) || 20,452 || 89-63|- style="background-color:#bbffbb"| 153 || September 22 || Angels || 5-4 (12) || Halsey (5-4) || F. Rodríguez (2-3) || – || 35,077 || 90-63|- style="background-color:#ffbbbb"| 154 || September 23 || Angels || 2-6 || Lackey (12-11) || Blanton (16-12) || – || 34,077 || 90-64|- style="background-color:#ffbbbb"| 155 || September 24 || Angels || 1-7 || Santana (15-8) || Haren (14-13) || – || 34,077 || 90-65|- style="background-color:#ffbbbb"| 156 || September 25 || @ Mariners || 9-10 (10) || Putz (4-1) || Calero (3-2) || – || 20,982 || 90-66|- style="background-color:#bbffbb"| 157 || September 26 || @ Mariners || 12-3 || Harden (4-0) || Woods (6-4) || – || 19,604 || 91-66|- style="background-color:#bbffbb"| 158 || September 27 || @ Mariners || 7-6 (10) || Witasick (1-0) || Sherrill (2-4) || Street (37) || 23,421 || 92-66|- style="background-color:#ffbbbb"| 159 || September 28 || @ Angels || 0-2 || Lackey (13-11) || Zito (16-10) || F. Rodríguez (46) || 41,944 || 92-67|- style="background-color:#ffbbbb"| 160 || September 29 || @ Angels || 0-6 || Santana (16-8) || Loaiza (11-9) || – || 43,948 || 92-68|- style="background-color:#ffbbbb"| 161 || September 30 || @ Angels || 6-7 || Carrasco (7-3) || Flores (1-2) || F. Rodríguez (47) || 43,944 || 92-69|- style="background-color:#bbffbb"| 162 || October 1 || @ Angels || 11-10 || Gaudin (4-2) || Bootcheck (0-1) || Flores (1) || 44,107 || 93-69

text: |- style="background-color:#ffbbbb"| 1 || April 3 ||

text: Yankees

text: || 2-15 ||

text: Johnson

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text: Zito

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text: Yankees

text: || 4-3 ||

text: Street

text: (1-0) ||

text: Proctor

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text: || 9-4 ||

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text: (1-0) ||

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text: Mariners

text: || 2-6 ||

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text: (1-0) ||

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text: Mariners

text: || 5-0 ||

text: Blanton

text: (1-0) ||

text: Hernández

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text: Zito

text: (1-1) ||

text: Moyer

text: (0-1) ||

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text: (1) || 37,904 || 4-2|- style="background-color:#bbffbb"| 7 || April 9 || @

text: Mariners

text: || 6-4 ||

text: Harden

text: (1-0) ||

text: Piñeiro

text: (1-1) ||

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text: || 6-7 ||

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text: (2-0) ||

text: Haren

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text: Twins

text: || 5-6 ||

text: Silva

text: (1-1) ||

text: Loaiza

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text: Twins

text: || 2-8 ||

text: Lohse

text: (1-1) ||

text: Blanton

text: (1-1) || – || 13,520 || 5-5|- style="background-color:#ffbbbb"| 11 || April 14 ||

text: Rangers

text: || 3-6 ||

text: Millwood

text: (1-2) ||

text: Zito

text: (1-2) || – || 14,049 || 5-6|- style="background-color:#bbffbb"| 12 || April 15 ||

text: Rangers

text: || 5-4 ||

text: Harden

text: (2-0) ||

text: Padilla

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text: Rangers

text: || 3-5 ||

text: Cordero

text: (1-1) ||

text: Street

text: (1-1) || – || 21,256 || 6-7|- style="background-color:#bbffbb"| 14 || April 18 ||

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text: || 4-3 ||

text: Duchscherer

text: (1-0) ||

text: Verlander

text: (1-2) ||

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text: Tigers

text: || 4-11 ||

text: Rogers

text: (3-1) ||

text: Blanton

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text: Tigers

text: || 3-4 ||

text: Rodney

text: (1-0) ||

text: Duchscherer

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text: || 5-3 ||

text: Harden

text: (3-0) ||

text: Romero

text: (1-2) ||

text: Calero

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text: || 4-5 ||

text: Weaver

text: (1-2) ||

text: Haren

text: (0-2) ||

text: F. Rodríguez

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text: (3-1) ||

text: Loaiza

text: (0-3) ||

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text: || 3-2 ||

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text: (2-2) ||

text: Wilson

text: (1-1) ||

text: Duchscherer

text: (1) || 23,802 || 9-11|- style="background-color:#ffbbbb"| 21 || April 25 || @

text: Rangers

text: || 5-6 ||

text: Cordero

text: (3-2) ||

text: Gaudin

text: (0-1) || – || 25,492 || 9-12|- style="background-color:#bbffbb"| 22 || April 26 || @

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text: || 6-4 (10) ||

text: Duchscherer

text: (2-1) ||

text: Wilson

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text: Royals

text: || 5-3 ||

text: Haren

text: (1-2) ||

text: Mays

text: (0-3) ||

text: Saarloos

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text: Royals

text: || colspan=5|Postponed (rain) Rescheduled for August 18 || 11-12|- style="background-color:#bbffbb"| 24 || April 30 || @

text: Royals

text: || 13-6 ||

text: Blanton

text: (3-2) ||

text: Hudson

text: (0-3) || – || 15,224 || 12-12|- style="background-color:#bbffbb"| 25 || May 1 || @

text: Angels

text: || 1-0 ||

text: Zito

text: (2-2) ||

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text: Angels

text: || 10-3 ||

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text: (1-0) ||

text: Lackey

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text: || 3-14 ||

text: Byrd

text: (4-2) ||

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text: || 12-4 ||

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text: (1-0) ||

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text: (2-2) ||

text: Gaudin

text: (1) || 14,695 || 15-13|- style="background-color:#ffbbbb"| 29 || May 5 ||

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text: || 1-3 ||

text: Kazmir

text: (4-2) ||

text: Blanton

text: (3-3) ||

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text: Devil Rays

text: || 3-2 ||

text: Kennedy

text: (2-0) ||

text: Orvella

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text: Devil Rays

text: || 2-3 ||

text: Hendrickson

text: (2-2) ||

text: Halsey

text: (1-1) ||

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text: Blue Jays

text: || 6-5 ||

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text: (2-3) ||

text: Towers

text: (0-7) ||

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text: (5) || 36,269 || 17-15|- style="background-color:#ffbbbb"| 33 || May 10 || @

text: Blue Jays

text: || 7-9 ||

text: Rosario

text: (1-0) ||

text: Blanton

text: (3-4) ||

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text: (8) || 19,269 || 17-16|- style="background-color:#ffbbbb"| 34 || May 11 || @

text: Blue Jays

text: || 3-8 ||

text: Lilly

text: (4-2) ||

text: Saarloos

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text: Yankees

text: || 0-2 ||

text: Wang

text: (3-1) ||

text: Zito

text: (2-3) ||

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text: (7) || 47,497 || 17-18|- style="background-color:#ffbbbb"| 36 || May 13 || @

text: Yankees

text: || 3-4 ||

text: Wright

text: (1-2) ||

text: Halsey

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text: Yankees

text: || 6-1 ||

text: Haren

text: (3-3) ||

text: Johnson

text: (5-4) || – || 52,587 || 18-19|- style="background-color:#bbffbb"| 38 || May 16 ||

text: Mariners

text: || 12-6 ||

text: Blanton

text: (4-4) ||

text: Hernández

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text: Mariners

text: || 7-2 ||

text: Zito

text: (3-3) ||

text: Moyer

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text: || 6-3 ||

text: Saarloos

text: (2-1) ||

text: Piñeiro

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text: || 1-0 ||

text: Haren

text: (4-3) ||

text: Lowry

text: (1-1) ||

text: Street

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text: Giants

text: || 2-4 (10) ||

text: Benítez

text: (3-0) ||

text: Calero

text: (0-1) || – || 35,077 || 22-20|- style="background-color:#ffbbbb"| 43 || May 21 ||

text: Giants

text: || 0-6 ||

text: Cain

text: (2-5) ||

text: Blanton

text: (4-5) || – || 35,077 || 22-21|- style="background-color:#ffbbbb"| 44 || May 22 || @

text: White Sox

text: || 4-5 (10) ||

text: Jenks

text: (2-1) ||

text: Flores

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text: White Sox

text: || 3-9 ||

text: Vázquez

text: (5-3) ||

text: Saarloos

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text: White Sox

text: || 2-3 ||

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text: (6-2) ||

text: Haren

text: (4-4) ||

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text: Rangers

text: || 7-8 ||

text: Otsuka

text: (1-1) ||

text: Street

text: (1-2) || – || 22,006 || 22-25|- style="background-color:#ffbbbb"| 48 || May 26 || @

text: Rangers

text: || 3-5 ||

text: Cordero

text: (4-3) ||

text: Gaudin

text: (0-2) ||

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text: Rangers

text: || 6-3 ||

text: Zito

text: (4-3) ||

text: Loe

text: (3-5) ||

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text: (8) || 41,226 || 23-26|- style="background-color:#ffbbbb"| 50 || May 28 || @

text: Rangers

text: || 3-4 ||

text: Padilla

text: (5-3) ||

text: Saarloos

text: (2-3) ||

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text: Royals

text: || 4-6 ||

text: Etherton

text: (1-0) ||

text: Haren

text: (4-5) ||

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text: || 7-8 (10) ||

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text: (3-5) ||

text: Roney

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text: Royals

text: || 7-0 ||

text: Blanton

text: (5-5) ||

text: Elarton

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text: Twins

text: || 4-0 ||

text: Zito

text: (5-3) ||

text: Bonser

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text: Twins

text: || 1-2 ||

text: Santana

text: (5-4) ||

text: Saarloos

text: (2-4) ||

text: Nathan

text: (7) || 16,138 || 25-30|- style="background-color:#bbffbb"| 56 || June 3 ||

text: Twins

text: || 2-1 ||

text: Halsey

text: (2-2) ||

text: Radke

text: (4-7) ||

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text: (9) || 23,194 || 26-30|- style="background-color:#bbffbb"| 57 || June 4 ||

text: Twins

text: || 5-1 ||

text: Halsey

text: (3-2) ||

text: Silva

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text: Indians

text: || 7-6 ||

text: Zito

text: (6-3) ||

text: Betancourt

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text: Street

text: (10) || 17,340 || 28-30|- style="background-color:#ffbbbb"| 59 || June 7 || @

text: Indians

text: || 2-11 ||

text: Byrd

text: (5-4) ||

text: Blanton

text: (5-6) || – || 20,311 || 28-31|- style="background-color:#bbffbb"| 60 || June 8 || @

text: Indians

text: || 4-1 ||

text: Loaiza

text: (1-3) ||

text: Johnson

text: (3-6) ||

text: Street

text: (11) || 21,099 || 29-31|- style="background-color:#bbffbb"| 61 || June 9 || @

text: Yankees

text: || 6-5 ||

text: Haren

text: (5-5) ||

text: Johnson

text: (7-5) ||

text: Street

text: (12) || 53,837 || 30-31|- style="background-color:#bbffbb"| 62 || June 10 || @

text: Yankees

text: || 5-2 ||

text: Saarloos

text: (3-4) ||

text: Mussina

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text: Street

text: (13) || 53,779 || 31-31|- style="background-color:#bbffbb"| 63 || June 11 || @

text: Yankees

text: || 6-5 ||

text: Zito

text: (7-3) ||

text: Kyle Farnsworth

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text: Street

text: (14) || 54,570 || 32-31|- style="background-color:#bbffbb"| 64 || June 13 ||

text: Mariners

text: || 2-0 ||

text: Blanton

text: (6-6) ||

text: Moyer

text: (3-6) ||

text: Street

text: (15) || 15,216 || 33-31|- style="background-color:#bbffbb"| 65 || June 14 ||

text: Mariners

text: || 7-2 ||

text: Haren

text: (6-5) ||

text: Piñeiro

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text: Mariners

text: || 9-6 ||

text: Loaiza

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text: Washburn

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text: Street

text: (16) || 16,563 || 35-31|- style="background-color:#bbffbb"| 67 || June 16 ||

text: Dodgers

text: || 7-3 ||

text: Zito

text: (8-3) ||

text: Tomko

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text: Dodgers

text: || 5-4 (17) ||

text: Karsay

text: (1-0) ||

text: Seo

text: (2-4) || – || 35,077 || 37-31|- style="background-color:#bbffbb"| 69 || June 18 ||

text: Dodgers

text: || 5-2 ||

text: Blanton

text: (7-6) ||

text: Sele

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text: Street

text: (17) || 35,077 || 38-31|- style="background-color:#ffbbbb"| 70 || June 19 || @

text: Rockies

text: || 0-7 ||

text: Kim

text: (4-4) ||

text: Haren

text: (6-6) || – || 21,964 || 38-32|- style="background-color:#ffbbbb"| 71 || June 20 || @

text: Rockies

text: || 0-6 ||

text: Jennings

text: (6-6) ||

text: Loaiza

text: (2-4) || – || 21,753 || 38-33|- style="background-color:#bbffbb"| 72 || June 21 || @

text: Rockies

text: || 3-2 (11) ||

text: Calero

text: (1-1) ||

text: King

text: (1-3) || – || 26,489 || 39-33|- style="background-color:#bbffbb"| 73 || June 23 || @

text: Giants

text: || 4-3 ||

text: Calero

text: (2-1) ||

text: Benítez

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text: Street

text: (18) || 42,948 || 40-33|- style="background-color:#ffbbbb"| 74 || June 24 || @

text: Giants

text: || 7-8 ||

text: Worrell

text: (3-2) ||

text: Street

text: (1-3) || – || 42,866 || 40-34|- style="background-color:#bbffbb"| 75 || June 25 || @

text: Giants

text: || 10-4 ||

text: Loaiza

text: (3-4) ||

text: Cain

text: (6-6) || – || 42,414 || 41-34|- style="background-color:#ffbbbb"| 76 || June 27 || @

text: Padres

text: || 0-3 ||

text: Young

text: (7-3) ||

text: Zito

text: (8-4) ||

text: Hoffman

text: (19) || 34,102 || 41-35|- style="background-color:#ffbbbb"| 77 || June 28 || @

text: Padres

text: || 1-8 ||

text: Hensley

text: (5-6) ||

text: Blanton

text: (7-7) || – || 39,874 || 41-36|- style="background-color:#bbffbb"| 78 || June 29 || @

text: Padres

text: || 6-5 (14) ||

text: Flores

text: (1-1) ||

text: Cassidy

text: (4-4) ||

text: Gaudin

text: (2) || 30,301 || 42-36|- style="background-color:#ffbbbb"| 79 || June 30 ||

text: Diamondbacks

text: || 4-6 ||

text: Vargas

text: (7-4) ||

text: Halsey

text: (3-3) ||

text: Julio

text: (7) || 16,756 || 42-37|- style="background-color:#ffbbbb"| 80 || July 1 ||

text: Diamondbacks

text: || 2-7 ||

text: Batista

text: (8-5) ||

text: Loaiza

text: (3-5) || – || 19,024 || 42-38|- style="background-color:#ffbbbb"| 81 || July 2 ||

text: Diamondbacks

text: || 1-3 ||

text: Webb

text: (9-3) ||

text: Zito

text: (8-5) || – || 19,130 || 42-39|- style="background-color:#bbffbb"| 82 || July 3 ||

text: Tigers

text: || 5-3 ||

text: Blanton

text: (8-7) ||

text: Robertson

text: (8-4) ||

text: Street

text: (19) || 35,077 || 43-39|- style="background-color:#bbffbb"| 83 || July 4 ||

text: Tigers

text: || 2-1 (10) ||

text: Gaudin

text: (1-2) ||

text: Rodney

text: (4-3) || – || 21,096 || 44-39|- style="background-color:#ffbbbb"| 84 || July 5 ||

text: Tigers

text: || 4-10 ||

text: Rogers

text: (11-3) ||

text: Saarloos

text: (3-5) ||

text: Colón

text: (1) || 22,210 || 44-40|- style="background-color:#bbffbb"| 85 || July 6 ||

text: Angels

text: || 7-5 ||

text: Street

text: (2-3) ||

text: Shields

text: (4-6) || – || 14,673 || 45-40|- style="background-color:#ffbbbb"| 86 || July 7 ||

text: Angels

text: || 0-3 ||

text: Lackey

text: (7-5) ||

text: Zito

text: (8-6) || – || 20,711 || 45-41|- style="background-color:#ffbbbb"| 87 || July 8 ||

text: Angels

text: || 4-6 ||

text: Weaver

text: (6-0) ||

text: Blanton

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text: F. Rodríguez

text: (20) || 25,289 || 45-42|- style="background-color:#ffbbbb"| 88 || July 9 ||

text: Angels

text: || 2-4 ||

text: Santana

text: (10-3) ||

text: Haren

text: (6-7) ||

text: F. Rodríguez

text: (21) || 26,603 || 45-43|- style="background-color:#bbffbb"| 89 || July 13 || @

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text: || 5-4 (11) ||

text: Street

text: (3-3) ||

text: Tavárez

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text: Saarloos

text: (2) || 36,141 || 46-43|- style="background-color:#bbffbb"| 90 || July 14 || @

text: Red Sox

text: || 15-3 ||

text: Zito

text: (9-6) ||

text: Beckett

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text: Red Sox

text: || 0-7 ||

text: Schilling

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text: Haren

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text: Red Sox

text: || 8-1 ||

text: Blanton

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text: Snyder

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text: Orioles

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text: Birkins

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text: Saarloos

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text: Ray

text: (23) || 19,652 || 48-45|- style="background-color:#bbffbb"| 94 || July 18 || @

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text: Loaiza

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text: E. Rodríguez

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text: Street

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text: Orioles

text: || 5-1 ||

text: Zito

text: (10-6) ||

text: Benson

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text: Tigers

text: || 4-7 ||

text: Verlander

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text: Haren

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text: Tigers

text: || 9-5 ||

text: Blanton

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text: Ledezma

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text: Tigers

text: || 4-8 ||

text: Robertson

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text: Loaiza

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text: Red Sox

text: || 3-7 ||

text: Beckett

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text: Zito

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text: Red Sox

text: || 5-13 ||

text: Schilling

text: (13-3) ||

text: Windsor

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text: Red Sox

text: || 5-1 ||

text: Haren

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text: Snyder

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text: Blue Jays

text: || 5-2 ||

text: Blanton

text: (11-8) ||

text: Lilly

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text: Street

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text: Blue Jays

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text: Downs

text: (5-1) ||

text: Loaiza

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text: Ryan

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text: Blue Jays

text: || 7-4 ||

text: Zito

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text: McGowan

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text: Street

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text: Blue Jays

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text: Street

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text: Ryan

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text: Angels

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text: Santana

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text: Angels

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text: Saunders

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text: Blanton

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text: F. Rodríguez

text: (26) || 44,111 || 55-51|- style="background-color:#bbffbb"| 108 || August 2 || @

text: Angels

text: || 3-2 ||

text: Calero

text: Shields

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text: Street

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text: Mariners

text: || 5-2 ||

text: Zito

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text: Washburn

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text: Mariners

text: || 5-2 ||

text: Haren

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text: Piñeiro

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text: Street

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text: Mariners

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text: Blanton

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text: Meche

text: (9-6) ||

text: Street

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text: Rangers

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text: Loaiza

text: (5-7) ||

text: Vólquez

text: (0-1) ||

text: Calero

text: (2) || 21,208 || 61-51|- style="background-color:#bbffbb"| 113 || August 8 ||

text: Rangers

text: || 7-6 ||

text: Saarloos

text: (4-6) ||

text: Millwood

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text: Street

text: (26) || 21,650 || 62-51|- style="background-color:#ffbbbb"| 114 || August 9 ||

text: Rangers

text: || 0-14 ||

text: Padilla

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text: Zito

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text: Devil Rays

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text: Haren

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text: Kazmir

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text: Street

text: (27) || 20,758 || 63-52|- style="background-color:#bbffbb"| 116 || August 12 ||

text: Devil Rays

text: || 6-3 ||

text: Blanton

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text: Fossum

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text: Street

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text: Devil Rays

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text: Loaiza

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text: Corcoran

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text: Street

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text: Mariners

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text: Kennedy

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text: Soriano

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text: Mariners

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text: Saarloos

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text: Piñeiro

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text: Mariners

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text: Haren

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text: Meche

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text: Royals

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text: Hudson

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text: Blanton

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text: Royals

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text: Street

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text: Nelson

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text: Royals

text: || 7-2 ||

text: Zito

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text: Redman

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text: Royals

text: || 6-4 ||

text: Saarloos

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text: Hernández

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text: Blue Jays

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text: Blue Jays

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text: Halsey

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text: Blue Jays

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text: Rangers

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text: Zito

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text: Vólquez

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text: Rangers

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text: Rangers

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text: Padilla

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text: Red Sox

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text: Gabbard

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text: Red Sox

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text: Zito

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text: Schilling

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text: Haren

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text: Orioles

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text: Penn

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text: Rangers

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text: Zito

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text: Rangers

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text: Eaton

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text: Saarloos

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text: Rangers

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text: Blanton

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text: Rupe

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text: Devil Rays

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text: Haren

text: (13-11) ||

text: Shields

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text: Devil Rays

text: || 6-9 ||

text: Miceli

text: (1-1) ||

text: Loaiza

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text: McClung

text: (6) || 22,016 || 81-60|- style="background-color:#bbffbb"| 142 || September 10 || @

text: Devil Rays

text: || 9-7 ||

text: Kennedy

text: (4-0) ||

text: Camp

text: (7-3) ||

text: Street

text: (31) || 16,791 || 82-60|- style="background-color:#ffbbbb"| 143 || September 11 || @

text: Twins

text: || 4-9 ||

text: Silva

text: (9-13) ||

text: Blanton

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text: Nathan

text: (31) || 15,728 || 82-61|- style="background-color:#ffbbbb"| 144 || September 12 || @

text: Twins

text: || 5-7 ||

text: Reyes

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text: Kennedy

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text: Nathan

text: (32) || 20,991 || 82-62|- style="background-color:#bbffbb"| 145 || September 13 || @

text: Twins

text: || 1-0 ||

text: Haren

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text: Garza

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text: Street

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text: White Sox

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text: Loaiza

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text: Garland

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text: Street

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text: White Sox

text: || 7-4 ||

text: Zito

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text: Thornton

text: (5-3) ||

text: Street

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text: White Sox

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text: Blanton

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text: Indians

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text: Haren

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text: Indians

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text: Indians

text: || 4-3 ||

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text: Cabrera

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text: Indians

text: || 7-4 ||

text: Gaudin

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text: Sabathia

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text: Angels

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text: F. Rodríguez

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text: Angels

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text: Lackey

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text: Blanton

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text: Angels

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text: Haren

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text: Mariners

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text: Putz

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text: Calero

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text: Mariners

text: || 12-3 ||

text: Harden

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text: Mariners

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text: Angels

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text: Lackey

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text: Zito

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text: Angels

text: || 0-6 ||

text: Santana

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text: Loaiza

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text: Angels

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text: F. Rodríguez

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text: Angels

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text: Gaudin

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text: Bootcheck

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text: Flores

text: (1) || 44,107 || 93-69

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answers: background-color:#bbffbbb"| 4

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answers: a rainbow includes all the colors of visible light.

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answers: Visible light includes all the wavelengths that the human eye can detect

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answers: color:#ffbbbbb"| 1

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answers: if only blue light strikes green leaves, the leaves appear

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text: Scrambles are colorful triangular objects that fall toward the ship.  Each one must be shot and deflected several times to complete the wave.

text: Scrambles are colorful triangular objects that fall toward the ship.  Each one must be shot and deflected several times to complete the wave.

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answers: Colorful

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answers: colorful

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answers: colorful

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answers: colorful

text: The color shown in the color box above  is the color called "Fuchsia" in A Dictionary of Color. That is why the name fuchsia was chosen as the equivalent to one of the three secondary additive primary colors, electric magenta, because A Dictionary of Color was the primary reference on color names (besides the Munsell Book of Color) before the introduction of personal computers. The color shown above is somewhat brighter than most actual flowers of the fuchsia plant. The color shown as magenta in A Dictionary of Color is a somewhat different color than the color shown in that book as fuchsia—it is the original color magenta now called rich magenta or magenta (dye) (see the article on magenta for a color box displaying a sample of this original magenta).

text: The color shown in the color box above  is the color called "Fuchsia" in A Dictionary of Color. That is why the name fuchsia was chosen as the equivalent to one of the three secondary additive primary colors, electric

text: magenta

text: , because A Dictionary of Color was the primary reference on color names (besides the Munsell Book of Color) before the introduction of

text: personal computer

text: s. The color shown above is somewhat brighter than most actual flowers of the fuchsia plant. The color shown as magenta in A Dictionary of Color is a somewhat different color than the color shown in that book as fuchsia—it is the original color magenta now called rich magenta or magenta (dye) (see the article on magenta for a color box displaying a sample of this original magenta).

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answers: Yes

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answers: are the original color magenta

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answers: electric magenta

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answers: electric magenta

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text: There are several other patterns which will change the appearance of the color the animal shows. One of these is gray, which, together with the base color gene, will give rise to either gray black or gray moorit. Another is "badgerface", which shows as lighter coloration on the back, sides, neck, ears and face, with a darker color on the underbelly, under the tail, parts of the neck and around the eyes. Once again, this pattern will show as either grey badgerface or moorit badgerface. A further pattern is "mouflon". These sheep will be light-colored where badgerface sheep are dark, and dark where badgerface sheep are light.

text: There are several other patterns which will change the appearance of the color the animal shows. One of these is gray, which, together with the base color gene, will give rise to either gray black or gray moorit. Another is "badgerface", which shows as lighter coloration on the back, sides, neck, ears and face, with a darker color on the underbelly, under the tail, parts of the neck and around the eyes. Once again, this pattern will show as either grey badgerface or moorit badgerface. A further pattern is "mouflon". These sheep will be light-colored where badgerface sheep are dark, and dark where badgerface sheep are light.

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text: Buyn, Object Trouve (2012), 16mm, Color, 6 mn, With Byun Chong and Kiya Chong

text: Buyn, Object Trouve (2012), 16mm, Color, 6 mn, With Byun Chong and Kiya Chong

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text: The main objective of the game is to strategically construct a tower with multi-colored blocks.

text: The main objective of the game is to strategically construct a tower with multi-colored blocks.

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text: Chromatophores are color pigment changing cells that are directly stimulated by central motor neurons. They are primarily used for quick environmental adaptation for camouflaging. The process of changing the color pigment of their skin relies on a single highly developed chromatophore cell and many muscles, nerves, glail and sheath cells. Chromatophores contract and contain vesicles that stores three different liquid pigments. Each color is indicated by the three types of chromatophore cells: erythrophores, melanophores, and xanthophores. The first type is the erythrophores, which contains reddish pigments such as carotenoids and pteridines. The second type is the melanophores, which contains black and brown pigments such as the melanins. The third type is the xanthophores which contains yellow pigments in the forms of carotenoids. The various colors are made by the combination of the different layers of the chromatophores. These cells are usually located beneath the skin or scale the animals. There are two categories of colors generated by the cell – biochrome and schematochromes. Biochromes are colors chemically formed microscopic, natural pigments. Their chemical composition is created to take in some color of light and reflect the rest. In contrast, schematochromes (structural colors) are colors created by light reflections from a colorless surface and refractions by tissues. Schematochromes act like prisms, refracting and dispersing visible light to the surroundings, which will eventually reflect a specific combination of colors. These categories are determined by the movement of pigments within the chromatophores. The physiological color changes are short-term and fast, found in fishes, and are a result from an animal’s response to a change in the environment. In contrast, the morphological color changes are long-term changes, occurs in different stages of the animal, and are due the change of numbers of chromatophores. To change the color pigments, transparency, or opacity, the cells alter in form and size, and stretch or contract their outer covering.

text: Chromatophore

text: s are color pigment changing cells that are directly stimulated by central motor neurons. They are primarily used for quick environmental adaptation for camouflaging. The process of changing the color pigment of their skin relies on a single highly developed chromatophore cell and many muscles, nerves, glail and sheath cells. Chromatophores contract and contain vesicles that stores three different liquid pigments. Each color is indicated by the three types of chromatophore cells:

text: erythrophores

text: melanophores

text: , and

text: xanthophores

text: . The first type is the erythrophores, which contains reddish pigments such as carotenoids and pteridines. The second type is the melanophores, which contains black and brown pigments such as the melanins. The third type is the xanthophores which contains yellow pigments in the forms of carotenoids. The various colors are made by the combination of the different layers of the chromatophores. These cells are usually located beneath the skin or scale the animals. There are two categories of colors generated by the cell –

text: biochrome

text: and

text: schematochromes

text: . Biochromes are colors chemically formed microscopic, natural pigments. Their chemical composition is created to take in some color of light and reflect the rest. In contrast, schematochromes (structural colors) are colors created by light reflections from a colorless surface and refractions by tissues. Schematochromes act like prisms, refracting and dispersing visible light to the surroundings, which will eventually reflect a specific combination of colors. These categories are determined by the movement of pigments within the chromatophores. The physiological color changes are short-term and fast, found in fishes, and are a result from an animal’s response to a change in the environment. In contrast, the morphological color changes are long-term changes, occurs in different stages of the animal, and are due the change of numbers of chromatophores. To change the color pigments, transparency, or opacity, the cells alter in form and size, and stretch or contract their outer covering.

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text: Other properties of a color, such as its saturation or lightness, may be determined by the other substances that accompany pigments. Binders and fillers added to pure pigment chemicals also have their own reflection and absorption patterns, which can affect the final spectrum. Likewise, in pigment/binder mixtures, individual rays of light may not encounter pigment molecules, and may be reflected as is. These stray rays of source light contribute to a slightly less saturated color. Pure pigment allows very little white light to escape, producing a highly saturated color. A small quantity of pigment mixed with a lot of white binder, however, will appear desaturated and pale, due to the high quantity of escaping white light.

text: Other properties of a color, such as its saturation or lightness, may be determined by the other substances that accompany pigments. Binders and fillers added to pure pigment chemicals also have their own reflection and absorption patterns, which can affect the final spectrum. Likewise, in pigment/binder mixtures, individual rays of light may not encounter pigment molecules, and may be reflected as is. These stray rays of source light contribute to a slightly less saturated color. Pure pigment allows very little white light to escape, producing a highly saturated color. A small quantity of pigment mixed with a lot of white binder, however, will appear desaturated and pale, due to the high quantity of escaping white light.

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text: |- style="background-color:#ffbbbb"| 1 || April 3 || Padres || 7 - 0 || Peavy (1-0) || Zito (0-1) || || 42,773 || 0-1|- style="background-color:#ffbbbb"| 2 || April 4 || Padres || 5 - 3 || Meredith (1-0) || Hennessey (0-1) || Hoffman (1)|| 39,938 || 0-2|- style="background-color:#bbffbb"| 3 || April 5 || Padres || 5 - 3 || Morris (1-0) || Hensley (0-1)|| Benítez (1) || 37,914 || 1-2|- style="background-color:#ffbbbb"| 4 || April 6 || Dodgers || 2 - 1 || Penny (1-0) ||  Lowry (0-1) || Saito (2) || 43,146 || 1-3|- style="background-color:#ffbbbb"| 5 || April 7 || Dodgers || 4 - 1 || Lowe (1-1) || Ortiz (0-1) || Saito (3) || 42,098 || 1-4|- style="background-color:#ffbbbb"| 6 || April 8 || Dodgers || 10 - 4 || Wolf (1-1) || Zito (0-2) || || 39,343 || 1-5|- style="background-color:#ffbbbb"| 7 || April 9 || @ Padres || 1 - 0 || Young (1-0) || Cain (0-1) || Hoffman (2) || 31,388 || 1-6|- style="background-color:#bbffbb"| 8 || April 10 || @ Padres || 6 - 5 || Morris (2-0) || Hensley (0-2) || Benítez (2) || 28,878 || 2-6|- style="background-color:#ffbbbb"| 9 || April 11 || @ Padres || 4 - 0  || Maddux (1-1) || Lowry (0-2) ||  || 31,568 || 2-7|- style="background-color:#bbffbb"| 10 || April 13 || @ Pirates || 8 - 5 || Ortiz (1-1) || Duke (1-1)|| || 22,117 || 3-7|- style="background-color:#bbbbbb"| -- || April 14 || @ Pirates || colspan=5|Postponed (rain) Rescheduled for August 13 || 3-7|- style="background-color:#bbbbbb"| -- || April 15 || @ Pirates || colspan=5|Postponed (rain) Rescheduled for August 13 || 3-7|- style="background-color:#bbffbb"| 11 || April 16 || @ Rockies || 8 - 0 || Zito (1-2) || Francis (1-1) || || 18,222 || 4-7|- style="background-color:#ffbbbb"| 12 || April 17 || @ Rockies || 5 - 3 || Ramírez (1-0) || Correia (0-1) || Fuentes (3) || 18,207 || 4-8|- style="background-color:#bbffbb"| 13 || April 18 || Cardinals || 6 - 5 (12) || Sánchez (1-0) || Hancock (0-1) || || 40,532 || 5-8|- style="background-color:#bbffbb"| 14 || April 19 || Cardinals || 6 - 2 || Lowry (1-2) || Wells (1-3) || Hennessey (1) || 37,398 || 6-8|- style="background-color:#bbffbb"| 15 || April 20 || D-backs || 4 - 2 || Ortiz (2-1) || Davis (1-2) || Benítez (3) || 39,010 || 7-8|- style="background-color:#bbffbb"| 16 || April 21 || D-backs || 1 - 0 || Zito (2-2) || González (1-2) || Benítez (4) || 36,281 || 8-8|- style="background-color:#bbffbb"| 17 || April 22 || D-backs || 2 - 1 || Cain (1-1) || Petit (0-1) || || 36,868 || 9-8|- style="background-color:#bbffbb"| 18 || April 24 || @ Dodgers || 5 - 3 || Morris (3-0) || Lowe (2-3) || Benítez (5) || 44,001 || 10-8|- style="background-color:#bbffbb"| 19 || April 25 || @ Dodgers || 6 -4  || Lowry (2-2) ||Wolf (3-2) ||Benítez (6) || 43,963|| 11-8|- style="background-color:#bbffbb"| 20 || April 26 || @ Dodgers || 5 - 4 ||Correia (1-1) || Beimel (1-1) || Benítez (7)||56,000 || 12-8|- style="background-color:#ffbbbb"| 21 || April 27 || @ D-backs || 3 - 2 || Davis (2-2) || Zito (2-3) || Valverde (9) || 24,798 || 12-9|- style="background-color:#ffbbbb"| 22 || April 28 || @ D-backs || 5 - 4 || Nippert (1-0) || Chulk (0-1) || Valverde (10) || 32,147 || 12-10|- style="background-color:#ffbbbb"| 23 || April 29 || @ D-backs || 5 - 4 || Medders (1-0) || Morris (3-1) || Lyon (1) || 28,818 || 12-11|- style="background-color:#bbffbb"| 24 || April 30 || Rockies || 9 - 5 ||Lowry (3-2) ||Fogg (1-2) || || 34,689 || 13-11|- style=""|- style="background-color:#ffbbbb"| 25 || May 1 || Rockies || 9 - 7 ||Árias (1-0) ||Ortiz (2-2) || Fuentes (5)|| 33,210|| 13-12|- style="background-color:#bbffbb"| 26 || May 2 || Rockies|| 5 - 3||Hennessey (1-1) ||Francis (1-4) || ||32,557 ||14-12|- style="background-color:#ffbbbb"| 27 || May 3 || Phillies || 9 - 7 || Eaton (3-2) || Cain (1-2) || Myers (1) || 33,466 || 14-13|- style="background-color:#bbffbb"| 28 || May 4 || Phillies || 6 - 2 || Morris (4-1) || Moyer (3-2) || || 39,265 || 15-13|- style="background-color:#bbffbb"| 29 || May 5 || Phillies || 9 - 4 || Lowry (4-2) || Lieber (1-1) || || 40,796 || 16-13|- style="background-color:#ffbbbb"| 30 || May 6 || Phillies || 8 - 5 || Hamels (4-1) || Chulk (0-2) || Myers (2) || 38,738 || 16-14|- style="background-color:#bbffbb"| 31 || May 7 || Mets || 9 - 4 ||Zito (3-3) ||Pérez (3-3) || ||37,365 || 17-14|- style="background-color:#ffbbbb"| 32 || May 8 || Mets || 4 - 1 || Glavine (4-1) || Cain (1-3) || Wagner (7) || 39,455 || 17-15|- style="background-color:#ffbbbb"| 33 || May 9 || Mets || 5 - 3 || Heilman (3-2) || Benítez (0-1) || Wagner (8) || 41,832 || 17-16|- style="background-color:#ffbbbb"| 34 || May 10 || @ Rockies || 5 - 3 || Cook (2-1) || Lowry (4-3) || Fuentes (9) || 20,120 || 17-17|- style="background-color:#bbffbb"| 35 || May 11 || @ Rockies || 8 - 3 || Lincecum (1-0) || Fogg (1-4) || || 26,162 || 18-17|- style="background-color:#ffbbbb"| 36 || May 12 || @ Rockies || 6 - 2 ||Francis (2-4) ||Zito (3-4) || ||33,569 ||18-18|- style="background-color:#bbffbb"| 37 || May 13 || @ Rockies || 15 - 2 ||Cain (2-3) ||Buchholz (1-2) || ||24,243 ||19-18|- style="background-color:#ffbbbb"| 38 || May 15 || @ Astros || 6 - 5 (10) || Qualls (4-1) || Sánchez (1-1) || || 33,490 || 19-19|- style="background-color:#ffbbbb"| 39 || May 16 || @ Astros || 2 - 1 || Sampson (4-3) || Lowry (4-4) || Wheeler (9) || 33,533 || 19-20|- style="background-color:#bbffbb"| 40 || May 17 || @ Astros || 2 - 1 (12) || Chulk (1-2) || Lidge (1-2) || Benítez (8) || 36,815 || 20-20|- style="background-color:#ffbbbb"| 41 || May 18 || @ Athletics || 15 - 3 || Gaudin (3-1) || Zito (3-5) || || 35,077 || 20-21|- style="background-color:#ffbbbb"| 42 || May 19 || @ Athletics || 4 - 2 || Haren (4-2) || Cain (2-4) || Embree (1) || 35,077 || 20-22|- style="background-color:#bbffbb"| 43 || May 20 || @ Athletics || 4 - 1 || Morris (5-1) || Kennedy (1-3) || || 35,077 || 21-22|- style="background-color:#bbffbb"| 44 || May 21 || Astros || 4 - 0 || Lowry (5-4) || Sampson (4-4) || || 35,768 || 22-22|- style="background-color:#bbffbb"| 45 || May 22 || Astros || 4 - 2 || Lincecum (2-0) || Oswalt (6-3) || Benítez (9) || 35,134 || 23-22|- style="background-color:#bbffbb"| 46 || May 23 || Astros || 9 - 1 || Zito (4-5) || Albers (1-4) || || 35,521 || 24-22|- style="background-color:#ffbbbb"| 47 || May 25 || Rockies || 5 - 3 || Affeldt (2-1) || Benítez (0-2) || Fuentes (14) || 41,274 || 24-23|- style="background-color:#ffbbbb"| 48 || May 26 || Rockies || 6 - 1 || Cook (4-1) || Morris (5-2) || || 38,212 || 24-24|- style="background-color:#ffbbbb"| 49 || May 27 || Rockies || 6 - 4 (10) || Ramírez (2-1) || Kline (0-1) || Fuentes (15) || 41,708 || 24-25|- style="background-color:#ffbbbb"| 50 || May 29 || @ Mets || 5 - 4 (12) || Smith (2-0) || Benítez  (0-3) || || 47,940 || 24-26|- style="background-color:#bbffbb"| 51 || May 30 || @ Mets || 3 - 0 || Zito (5-5) || Glavine (5-3) || Hennessey (2) || 41,395 || 25-26|- style="background-color:#ffbbbb"| 52 || May 31 || @ Mets || 4 - 2 || Hernández (3-1) || Cain (2-5) || Wagner (13) || 44,228 || 25-27|- style=""|- style="background-color:#bbffbb"| 53 || June 1 || @ Phillies || 13 - 0 || Morris (6-2) || Eaton (5-4) || || 38,164 || 26-27|- style="background-color:#ffbbbb"| 54 || June 2 || @ Phillies || 5 - 2 || Hamels (8-2) || Lowry (5-5) || || 45,153 || 26-28|- style="background-color:#ffbbbb"| 55 || June 3 || @ Phillies || 9 - 8 || Alfonseca (3-1) || Correia (1-2) || || 39,293 || 26-29|- style="background-color:#bbffbb"| 56 || June 4 || @ Phillies || 8 - 1 || Zito (6-5) || Lieber (2-4) || || 33,967 || 27-29|- style="background-color:#ffbbbb"| 57 || June 5 || @ D-backs || 4 - 3 (10) || Lyon (4-2) || Correia (1-3) || || 25,848 || 27-30|- style="background-color:#ffbbbb"| 58 || June 6 || @ D-backs || 1 - 0 || Webb (6-3) || Morris (6-3) || Valverde (21) || 24,398 || 27-31|- style="background-color:#bbffbb"| 59 || June 7 || @ D-backs || 5 - 4 (11) || Taschner (1-0) || Medders (1-2) || Kline (1) || 21,984 || 28-31|- style="background-color:#ffbbbb"| 60 || June 8 || Athletics || 5 - 3 (10) || Calero (1-4) || Hennessey (1-2) || Embree (6) || 42,427 || 28-32|- style="background-color:#ffbbbb"| 61 || June 9 || Athletics || 6 - 0 || Haren (7-2) || Zito (6-6) || || 42,526 || 28-33|- style="background-color:#ffbbbb"| 62 || June 10 || Athletics || 2 - 0 || Casilla (2-0) || Cain (2-6) || || 42,345 || 28-34|- style="background-color:#bbffbb"| 63 || June 11 || Blue Jays || 4 - 3 || Morris (7-3) || Towers (2-4) || || 38,030 || 29-34|- style="background-color:#bbffbb"| 64 || June 12 || Blue Jays || 3 - 2 || Lowry (6-5) || Burnett (5-6) || Hennessey (3) || 37,574 || 30-34|- style="background-color:#ffbbbb"| 65 || June 13 || Blue Jays || 7 - 4 || McGowan (3-2) || Lincecum (2-1) || Accardo (7) || 40,086 || 30-35|- style="background-color:#ffbbbb"| 66 || June 15 || @ Red Sox || 10 - 2 || Tavárez (4-4) || Zito (6-7) || || 36,508 || 30-36|- style="background-color:#ffbbbb"| 67 || June 16 || @ Red Sox || 1 - 0 || Matsuzaka (8-5) || Cain (2-7) || Papelbon (16) || 36,381 || 30-37|- style="background-color:#ffbbbb"| 68 || June 17 || @ Red Sox || 9 - 5 || Wakefield (7-7) || Morris (7-4) || || 36,137 || 30-38|- style="background-color:#ffbbbb"| 69 || June 18 || @ Brewers || 5 - 4 || Gallardo (1-0) || Lowry (6-6) || || 41,631 || 30-39|- style="background-color:#ffbbbb"| 70 || June 19 || @ Brewers || 6 - 2 || Sheets (8-3) || Lincecum (2-2) || || 35,238 || 30-40|- style="background-color:#ffbbbb"| 71 || June 20 || @ Brewers || 7 - 5 || Vargas (6-1) || Zito (6-8)|| Cordero (27) || 35,151 || 30-41|- style="background-color:#ffbbbb"| 72 || June 22 || Yankees || 7 - 3 || Vizcaíno (4-1) || Cain (2-8) || Rivera (9) || 43,425 || 30-42|- style="background-color:#bbffbb"| 73 || June 23 || Yankees ||  6 - 5 (13) || Chulk (2-2) || Proctor (1-4) || || 43,485 || 31-42|- style="background-color:#bbffbb"| 74 || June 24 || Yankees || 7 - 2 || Lowry (7-6) || Mussina (3-5) || || 43,503 || 32-42|- style="background-color:#bbffbb"| 75 || June 25 || Padres || 4 - 3 (11) || Chulk (3-2) || Hampson (2-2) || || 41,140 || 33-42|- style="background-color:#ffbbbb"| 76 || June 26 || Padres || 3 - 2 (10) || Meredith (3-5) || Messenger (0-1) || Hoffman (20) || 41,329 || 33-43|- style="background-color:#ffbbbb"| 77 || June 27 || Padres || 4 - 2 || Maddux (7-4) || Cain (2-9) || Hoffman (21) || 42,527 || 33-44|- style="background-color:#ffbbbb"| 78 || June 29 || D-backs || 4 - 3 (10) || Peña (3-1) || Hennessey (1-3) || Valverde (26) || 39,146 || 33-45|- style="background-color:#bbffbb"| 79 || June 30 || D-backs || 4 - 1 || Lowry (8-6) || Davis (5-9) || Hennessey (4) || 41,515 || 34-45|- style=""|- style="background-color:#bbffbb"| 80 || July 1 || D-backs || 13 - 0 || Lincecum (3-2) || Owings (5-3) || || 42,154 || 35-45|- style="background-color:#ffbbbb"| 81 || July 3 || @ Reds || 7 - 3 || Harang (9-2) || Correia (1-4) || || 37,299 || 35-46|- style="background-color:#bbffbb"| 82 || July 4 || @ Reds || 9 - 5 || Cain (3-9) || Belisle (5-6) || || 24,092 || 36-46|- style="background-color:#ffbbbb"| 83 || July 5 || @ Reds || 6 - 3 || Arroyo (3-9) || Morris (7-5) || Weathers (16) || 30,080 || 36-47|- style="background-color:#bbffbb"| 84 || July 6 || @ Cardinals || 4 - 3 || Lowry (9-6) || Maroth (5-3) || Messenger (1) || 45,245 || 37-47|- style="background-color:#bbffbb"| 85 || July 7 || @ Cardinals || 7 - 6 || Lincecum (4-2) || Looper (6-7) || Hennessey (5) || 45,355 || 38-47|- style="background-color:#ffbbbb"| 86 || July 8 || @ Cardinals || 7 - 0 || Wellemeyer (3-2) || Zito (6-9) || || 44,613 || 38-48|- style="background-color:#ffbbbb"| 87 || July 13 || Dodgers || 9 - 1 || Billingsley (6-0) || Cain (3-10) || || 43,230 || 38-49|- style="background-color:#ffbbbb"| 88 || July 14 || Dodgers || 8 - 7 (12) || Hendrickson (4-4) || Misch (0-1) || Seánez (1) || 43,452 || 38-50|- style="background-color:#ffbbbb"| 89 || July 15 || Dodgers || 5 - 3 || Tomko (2-7) || Lowry (9-7) || Saito (24) || 43,446 || 38-51|- style="background-color:#ffbbbb"| 90 || July 16 || @ Cubs || 3 - 2 || Hill (6-6) || Correia (1-5) || Howry (6) || 40,282 || 38-52|- style="background-color:#bbffbb"| 91 || July 17 || @ Cubs || 4 - 2 || Zito (7-9) || Marmol (2-1) || Hennessey (6) || 41,102 || 39-52|- style="background-color:#ffbbbb"| 92 || July 18 || @ Cubs || 12 - 1 || Zambrano (12-7) || Cain (3-11) || Gallagher (1) || 39,792 || 39-53|- style="background-color:#ffbbbb"| 93 || July 19 || @ Cubs || 9 - 8 || Lilly (10-4) || Morris (7-6) || Howry (7) || 40,198 || 39-54|- style="background-color:#bbffbb"| 94 || July 20 || @ Brewers || 8 - 4 || Lowry (10-7) || Villanueva (6-2) || || 43,121 || 40-54|- style="background-color:#bbffbb"| 95 || July 21 || @ Brewers || 8 - 0 || Lincecum (5-2) || Bush (8-8) || || 43,180 || 41-54|- style="background-color:#ffbbbb"| 96 || July 22 || @ Brewers || 7 - 5 || Vargas (8-2) || Zito (7-10) || Cordero (31) || 42,554 || 41-55|- style="background-color:#ffbbbb"| 97 || July 23 || Braves || 4 - 2 || Smoltz (10-5) || Cain (3-12) || Wickman (17) || 42,679 || 41-56|- style="background-color:#ffbbbb"| 98 || July 24 || Braves || 7 - 5 (13) || Moylan (4-1) || Sánchez (1-2) || Yates (2) || 43,072 || 41-57|- style="background-color:#bbffbb"| 99 || July 25 || Braves || 2 - 1 || Lowry (11-7) || James (8-8) || Hennessey (7) || 42,834 || 42-57|- style="background-color:#bbffbb"| 100 || July 26 || Braves || 4 - 2 || Lincecum (6-2) || Carlyle (5-3)|| Hennessey (8) || 42,366 || 43-57|- style="background-color:#bbffbb"| 101 || July 27 || Marlins || 12 - 10 || Chulk (4-2) || Pinto (2-4) || ||42,831 || 44-57|- style="background-color:#bbffbb"| 102 || July 28 || Marlins || 4 - 3 || Taschner (2-0) || Gregg (0-4) || || 43,001 || 45-57|- style="background-color:#ffbbbb"| 103 || July 29 || Marlins || 8 - 5 || Mitre (5-5) || Morris (7-7) || Gregg (21) || 42,965 || 45-58|- style="background-color:#bbffbb"| 104 || July 31 || @ Dodgers || 3 - 1 || Lowry (12-7) || Penny (13-2) || Hennessey (9) || 56,000 || 46-58|- style=""|- style="background-color:#ffbbbb"| 105 || August 1|| @ Dodgers || 6 - 8 || Broxton (4-2) || Messenger (1-3) || Saito (27) || 56,000 || 46-59|- style="background-color:#bbffbb"| 106 || August 2|| @ Dodgers || 4 - 2 || Zito (8-10) || Tomko (2-9) || Kline (2) || 56,000 || 47-59|- style="background-color:#ffbbbb"| 107 || August 3|| @ Padres || 3 - 4 (10) || Bell (5-3) || Taschner (2-1) || || 43,523 || 47-60|- style="background-color:#ffbbbb"| 108 || August 4|| @ Padres || 2 - 3 (12) || Meredith (4-5) || Messenger (1-4) || || 42,497 || 47-61|- style="background-color:#ffbbbb"| 109 || August 5|| @ Padres || 4 - 5 || Brocail (4-1) || Chulk (4-3) || Hoffman (29) || 42,438 || 47-62|- style="background-color:#bbffbb"| 110 || August 6 || Nationals || 3 - 2 (11) || Hennessey (2-3) || King (1-1) || || 43,052 || 48-62|- style="background-color:#ffbbbb"| 111 || August 7 || Nationals || 6 - 8 || Schroder (1-0) || Correia (1-6) || Cordero (24) || 43,154 || 48-63|- style="background-color:#bbffbb"| 112 || August 8 || Nationals || 5 - 0 || Cain (4-12) || Redding (1-3) || || 42,991 || 49-63|- style="background-color:#ffbbbb"| 113 || August 9 || Nationals || 1 - 3 || Hanrahan (2-0) || Misch (0-2) || Cordero (25) || 41,555 || 49-64|- style="background-color:#ffbbbb"| 114 || August 10 || Pirates || 8 - 7 || Grabow (2-1) || Chulk (4-4) || Capps (10) || 41,923 || 49-65|- style="background-color:#ffbbbb"| 115 || August 11 || Pirates || 13 - 3 || Armas (2-3) || Lincecum (6-3) || || 43,105 || 49-66|- style="background-color:#ffbbbb"| 116 || August 12 || Pirates || 5 - 0 || Gorzelanny (11-6) || Zito (8-11) || || 41,976 || 49-67|- style="background-color:#ffbbbb"| 117 || August 13 || @ Pirates || 3 - 1 || Maholm (8-14) || Cain (4-13) || || || 49-68|- style="background-color:#bbffbb"| 118 || August 13 || @ Pirates || 10 - 3 || Lowry (13-7) || Youman (2-4) || || 25,434 || 50-68|- style="background-color:#ffbbbb"| 119 || August 14 || @ Braves || 5 - 4 || Wickman (3-2) || Kline (0-2) || || 36,186 || 50-69|- style="background-color:#ffbbbb"| 120 || August 15 || @ Braves || 6 - 3 || Hudson (14-5) || Ortiz (2-3) || Wickman (20) || 33,841 || 50-70|- style="background-color:#bbffbb"| 121 || August 16 || @ Braves || 9 - 3 || Lincecum (7-3) || James (9-9) || || 36,419 || 51-70|- style="background-color:#bbffbb"| 122 || August 17 || @ Marlins || 3 - 0 || Zito (9-11) || Olsen (9-10) || Hennessey (10) || 25,079 || 52-70|- style="background-color:#bbffbb"| 123 || August 18 || @ Marlins || 4 - 3 || Cain (5-13) || VandenHurk (3-4) || Hennessey (11) || 42,817 || 53-70|- style="background-color:#bbffbb"| 124 || August 19 || @ Marlins || 6 - 5 || Chulk (5-4) || Gardner (3-4) || Hennessey (12) || 15,351 || 54-70|- style="background-color:#bbffbb"| 125 || August 20 || @ Marlins || 8 - 7 || Taschner (3-1) || Wolf (0-1) || Wilson (1) || 10,907 || 55-70|- style="background-color:#ffbbbb"| 126 || August 21 || Cubs || 5 - 1 || Eyre (1-1) || Lincecum (7-4) || || 41,242 || 55-71|- style="background-color:#ffbbbb"| 127 || August 22 || Cubs || 4 - 2 || Marmol (3-1) || Misch (0-3) || Dempster (20) || 39,548 || 55-72|- style="background-color:#bbffbb"| 128 || August 23 || Cubs || 4 - 1 || Cain (6-13) || Zambrano (14-10) || Hennessey (13) || 41,558 || 56-72|- style="background-color:#bbffbb"| 129 || August 24 || Brewers || 11 - 6 || Lowry (14-7) || Capuano (5-11) || || 37,583 || 57-72|- style="background-color:#bbffbb"| 130 || August 25 || Brewers || 6 - 2 || Correia (2-6) || Gallardo (5-4) || Wilson (2) || 39,069 || 58-72|- style="background-color:#bbffbb"| 131 || August 26 || Brewers || 5 - 4 || Kline (1-2) || Linebrink (4-5) || Hennessey (14) || 40,997 || 59-72|- style="background-color:#bbffbb"| 132 || August 27 || Rockies || 4 - 1 || Wilson (1-0) || Julio (0-5) || Hennessey (15) || 35,726 || 60-72|- style="background-color:#bbffbb"| 133 || August 28 || Rockies || 3 - 1 || Cain (7-13) ||  Morales (0-2) || Hennessey (16) || 37,844 || 61-72|- style="background-color:#ffbbbb"| 134 || August 29 || Rockies || 8 - 0 || Francis (14-6) || Lowry (14-8) || || 38,397 || 61-73|- style="background-color:#bbffbb"| 135 || August 31 || @ Nationals || 3 - 2 || Correia (3-6) || Redding (3-5) || Hennessey (17) || 25,169 || 62-73|- style=""|- style="background-color:#ffbbbb"| 136 || September 1 || @ Nationals || 4 - 1 || Hanrahan (4-2) || Sánchez (1-3) || Cordero (29) || 30,221 || 62-74|- style="background-color:#ffbbbb"| 137 || September 2 || @ Nationals || 2 - 1 || Cordero (3-3) || Wilson (1-1) || || 27,310 || 62-75|- style="background-color:#ffbbbb"| 138 || September 3 || @ Rockies || 7 - 4 || Francis (15-6) || Cain (7-14) || Corpas (13) || 30,168 || 62-76|- style="background-color:#ffbbbb"| 139 || September 4 || @ Rockies || 6 - 5 || Corpas (4-2) || Hennessey (2-4) || || 20,553 || 62-77|- style="background-color:#bbffbb"| 140 || September 5 || @ Rockies || 5 - 3 || Correia (4-6) || Jiménez (3-3) || Hennessey (18) || 22,157 || 63-77|- style="background-color:#bbffbb"| 141 || September 7 || Dodgers || 5 - 4 || Hennessey (3-4) || Broxton (4-3) || || 40,016 || 64-77|- style="background-color:#ffbbbb"| 142 || September 8 || Dodgers || 6 - 2 || Wells (7-8) || Zito (9-12) || || 42,228 || 64-78|- style="background-color:#bbffbb"| 143 || September 9 || Dodgers || 4 - 2 || Walker (1-0) || Beimel (4-2) || Hennessey (19) || 40,650 || 65-78|- style="background-color:#ffbbbb"| 144 || September 10 || D-backs || 5 - 3 || Peguero (1-0) || Hennessey (3-5) || Peña (2) || 33,498 || 65-79|- style="background-color:#bbffbb"| 145 || September 11 || D-backs || 2 - 1 || Walker (2-0) || Wickman (3-4) || Wilson (3) || 33,633 || 66-79|- style="background-color:#ffbbbb"| 146 || September 12 || D-backs || 9 - 4 || Webb (16-10) || Sánchez (1-4) || || 37,083 || 66-80|- style="background-color:#ffbbbb"| 147 || September 14 || @ Padres || 5 - 4 (10) || Hoffman (4-4) || Giese (0-1) || || 32,053 || 66-81|- style="background-color:#ffbbbb"| 148 || September 15 || @ Padres || 6 - 0 || Tomko (3-11) || Cain (7-15) || || 41,554 || 66-82|- style="background-color:#ffbbbb"| 149 || September 16 || @ Padres || 5 - 1 || Peavy (18-6) || Lincecum (7-5) || || 34,000 || 66-83|- style="background-color:#bbffbb"| 150 || September 17 || @ D-backs || 8 - 5 || Munter (1-0) || Peña (5-4) || Wilson (4) || 31,122 || 67-83|- style="background-color:#ffbbbb"| 151 || September 18 || @ D-backs || 5 - 0 || Owings (7-8) || Sánchez (1-5) || || 44,220 || 67-84|- style="background-color:#ffbbbb"| 152 || September 19 || @ D-backs || 6 - 4 || Cruz (6-1) || Zito (9-13) || Valverde (46) || 42,855 || 67-85|- style="background-color:#ffbbbb"| 153 || September 20 || Reds || 4 - 2 || Bailey (3-2) || Cain (7-16) || Weathers (32) || 35,019 || 67-86|- style="background-color:#ffbbbb"| 154 || September 21 || Reds || 9 - 8 (11) || McBeth (3-2) || Munter (1-1) || Weathers (33) || 35,502 || 67-87|- style="background-color:#bbffbb"| 155 || September 22 || Reds || 2 - 0 || Hennessey (4-5) || Bray (3-3) || Wilson (5) || 36,375 || 68-87|- style="background-color:#bbffbb"| 156 || September 23 || Reds || 5 - 4 || Messenger (2-4) || Harang (16-5) || Wilson (6) || 38,029 || 69-87|- style="background-color:#bbffbb"| 157 || September 24 || Padres || 9 - 4 || Zito (10-13) || Young (9-8) || || 35,650 || 70-87|- style="background-color:#ffbbbb"| 158 || September 25 || Padres || 6 - 4 || Thatcher (1-1) || Wilson (1-2) || Hoffman (41) || 35,524 || 70-88|- style="background-color:#ffbbbb"| 159 || September 26 || Padres || 11 - 3 || Peavy (19-6) || Misch (0-4) || || 42,926 || 70-89|- style="background-color:#ffbbbb"| 160 || September 28 || @ Dodgers || 8 - 3 || Wells (9-9) || Correia (4-7) || || 47,696 || 70-90|- style="background-color:#ffbbbb"| 161 || September 29 || @ Dodgers || 6 - 5 (10) || Saito (2-1) || Giese (0-2) || || 51,983 || 70-91|- style="background-color:#bbffbb"| 162 || September 30 || @ Dodgers || 11 - 2 || Zito (11-13) || Stults (1-4) || || 49,211 || 71-91|- style=""

text: |- style="background-color:#ffbbbb"| 1 || April 3 ||

text: Padres

text: || 7 - 0 ||

text: Peavy

text: (1-0) ||

text: Zito

text: (0-1) || || 42,773 || 0-1|- style="background-color:#ffbbbb"| 2 || April 4 ||

text: Padres

text: || 5 - 3 ||

text: Meredith

text: (1-0) ||

text: Hennessey

text: (0-1) ||

text: Hoffman

text: (1)|| 39,938 || 0-2|- style="background-color:#bbffbb"| 3 || April 5 ||

text: Padres

text: || 5 - 3 ||

text: Morris

text: (1-0) ||

text: Hensley

text: Benítez

text: (1) || 37,914 || 1-2|- style="background-color:#ffbbbb"| 4 || April 6 ||

text: Dodgers

text: || 2 - 1 ||

text: Penny

text: (1-0) ||

text: Lowry

text: (0-1) ||

text: Saito

text: (2) || 43,146 || 1-3|- style="background-color:#ffbbbb"| 5 || April 7 ||

text: Dodgers

text: || 4 - 1 ||

text: Lowe

text: (1-1) ||

text: Ortiz

text: (0-1) ||

text: Saito

text: (3) || 42,098 || 1-4|- style="background-color:#ffbbbb"| 6 || April 8 ||

text: Dodgers

text: || 10 - 4 ||

text: Wolf

text: (1-1) ||

text: Zito

text: (0-2) || || 39,343 || 1-5|- style="background-color:#ffbbbb"| 7 || April 9 || @

text: Padres

text: || 1 - 0 ||

text: Young

text: (1-0) ||

text: Cain

text: (0-1) ||

text: Hoffman

text: (2) || 31,388 || 1-6|- style="background-color:#bbffbb"| 8 || April 10 || @

text: Padres

text: || 6 - 5 ||

text: Morris

text: (2-0) ||

text: Hensley

text: (0-2) ||

text: Benítez

text: (2) || 28,878 || 2-6|- style="background-color:#ffbbbb"| 9 || April 11 || @

text: Padres

text: || 4 - 0  ||

text: Maddux

text: (1-1) ||

text: Lowry

text: (0-2) ||  || 31,568 || 2-7|- style="background-color:#bbffbb"| 10 || April 13 || @

text: Pirates

text: || 8 - 5 ||

text: Ortiz

text: (1-1) ||

text: Duke

text: (1-1)|| || 22,117 || 3-7|- style="background-color:#bbbbbb"| -- || April 14 || @

text: Pirates

text: || colspan=5|Postponed (rain) Rescheduled for August 13 || 3-7|- style="background-color:#bbbbbb"| -- || April 15 || @

text: Pirates

text: || colspan=5|Postponed (rain) Rescheduled for August 13 || 3-7|- style="background-color:#bbffbb"| 11 || April 16 || @

text: Rockies

text: || 8 - 0 ||

text: Zito

text: (1-2) ||

text: Francis

text: (1-1) || || 18,222 || 4-7|- style="background-color:#ffbbbb"| 12 || April 17 || @

text: Rockies

text: || 5 - 3 ||

text: Ramírez

text: (1-0) ||

text: Correia

text: (0-1) ||

text: Fuentes

text: (3) || 18,207 || 4-8|- style="background-color:#bbffbb"| 13 || April 18 ||

text: Cardinals

text: || 6 - 5 (12) ||

text: Sánchez

text: (1-0) ||

text: Hancock

text: (0-1) || || 40,532 || 5-8|- style="background-color:#bbffbb"| 14 || April 19 ||

text: Cardinals

text: || 6 - 2 ||

text: Lowry

text: (1-2) ||

text: Wells

text: (1-3) ||

text: Hennessey

text: (1) || 37,398 || 6-8|- style="background-color:#bbffbb"| 15 || April 20 ||

text: D-backs

text: || 4 - 2 ||

text: Ortiz

text: (2-1) ||

text: Davis

text: (1-2) ||

text: Benítez

text: (3) || 39,010 || 7-8|- style="background-color:#bbffbb"| 16 || April 21 ||

text: D-backs

text: || 1 - 0 ||

text: Zito

text: (2-2) ||

text: González

text: (1-2) ||

text: Benítez

text: (4) || 36,281 || 8-8|- style="background-color:#bbffbb"| 17 || April 22 ||

text: D-backs

text: || 2 - 1 ||

text: Cain

text: (1-1) ||

text: Petit

text: (0-1) || || 36,868 || 9-8|- style="background-color:#bbffbb"| 18 || April 24 || @

text: Dodgers

text: || 5 - 3 ||

text: Morris

text: (3-0) ||

text: Lowe

text: (2-3) ||

text: Benítez

text: (5) || 44,001 || 10-8|- style="background-color:#bbffbb"| 19 || April 25 || @

text: Dodgers

text: || 6 -4  ||

text: Lowry

text: (2-2) ||

text: Wolf

text: (3-2) ||

text: Benítez

text: (6) || 43,963|| 11-8|- style="background-color:#bbffbb"| 20 || April 26 || @

text: Dodgers

text: || 5 - 4 ||

text: Correia

text: (1-1) ||

text: Beimel

text: (1-1) ||

text: Benítez

text: (7)||56,000 || 12-8|- style="background-color:#ffbbbb"| 21 || April 27 || @

text: D-backs

text: || 3 - 2 ||

text: Davis

text: (2-2) ||

text: Zito

text: (2-3) ||

text: Valverde

text: (9) || 24,798 || 12-9|- style="background-color:#ffbbbb"| 22 || April 28 || @

text: D-backs

text: || 5 - 4 ||

text: Nippert

text: (1-0) ||

text: Chulk

text: (0-1) ||

text: Valverde

text: (10) || 32,147 || 12-10|- style="background-color:#ffbbbb"| 23 || April 29 || @

text: D-backs

text: || 5 - 4 ||

text: Medders

text: (1-0) ||

text: Morris

text: (3-1) ||

text: Lyon

text: (1) || 28,818 || 12-11|- style="background-color:#bbffbb"| 24 || April 30 ||

text: Rockies

text: || 9 - 5 ||

text: Lowry

text: (3-2) ||

text: Fogg

text: (1-2) || || 34,689 || 13-11|- style=""|- style="background-color:#ffbbbb"| 25 || May 1 ||

text: Rockies

text: || 9 - 7 ||

text: Árias

text: (1-0) ||

text: Ortiz

text: (2-2) ||

text: Fuentes

text: (5)|| 33,210|| 13-12|- style="background-color:#bbffbb"| 26 || May 2 ||

text: Rockies

text: || 5 - 3||

text: Hennessey

text: (1-1) ||

text: Francis

text: (1-4) || ||32,557 ||14-12|- style="background-color:#ffbbbb"| 27 || May 3 ||

text: Phillies

text: || 9 - 7 ||

text: Eaton

text: (3-2) ||

text: Cain

text: (1-2) ||

text: Myers

text: (1) || 33,466 || 14-13|- style="background-color:#bbffbb"| 28 || May 4 ||

text: Phillies

text: || 6 - 2 ||

text: Morris

text: (4-1) ||

text: Moyer

text: (3-2) || || 39,265 || 15-13|- style="background-color:#bbffbb"| 29 || May 5 ||

text: Phillies

text: || 9 - 4 ||

text: Lowry

text: (4-2) ||

text: Lieber

text: (1-1) || || 40,796 || 16-13|- style="background-color:#ffbbbb"| 30 || May 6 ||

text: Phillies

text: || 8 - 5 ||

text: Hamels

text: (4-1) ||

text: Chulk

text: (0-2) ||

text: Myers

text: (2) || 38,738 || 16-14|- style="background-color:#bbffbb"| 31 || May 7 ||

text: Mets

text: || 9 - 4 ||

text: Zito

text: (3-3) ||

text: Pérez

text: (3-3) || ||37,365 || 17-14|- style="background-color:#ffbbbb"| 32 || May 8 ||

text: Mets

text: || 4 - 1 ||

text: Glavine

text: (4-1) ||

text: Cain

text: (1-3) ||

text: Wagner

text: (7) || 39,455 || 17-15|- style="background-color:#ffbbbb"| 33 || May 9 ||

text: Mets

text: || 5 - 3 ||

text: Heilman

text: (3-2) ||

text: Benítez

text: (0-1) ||

text: Wagner

text: (8) || 41,832 || 17-16|- style="background-color:#ffbbbb"| 34 || May 10 || @

text: Rockies

text: || 5 - 3 ||

text: Cook

text: (2-1) ||

text: Lowry

text: (4-3) ||

text: Fuentes

text: (9) || 20,120 || 17-17|- style="background-color:#bbffbb"| 35 || May 11 || @

text: Rockies

text: || 8 - 3 ||

text: Lincecum

text: (1-0) ||

text: Fogg

text: (1-4) || || 26,162 || 18-17|- style="background-color:#ffbbbb"| 36 || May 12 || @

text: Rockies

text: || 6 - 2 ||

text: Francis

text: (2-4) ||

text: Zito

text: (3-4) || ||33,569 ||18-18|- style="background-color:#bbffbb"| 37 || May 13 || @

text: Rockies

text: || 15 - 2 ||

text: Cain

text: (2-3) ||

text: Buchholz

text: (1-2) || ||24,243 ||19-18|- style="background-color:#ffbbbb"| 38 || May 15 || @

text: Astros

text: || 6 - 5 (10) ||

text: Qualls

text: (4-1) ||

text: Sánchez

text: (1-1) || || 33,490 || 19-19|- style="background-color:#ffbbbb"| 39 || May 16 || @

text: Astros

text: || 2 - 1 ||

text: Sampson

text: (4-3) ||

text: Lowry

text: (4-4) ||

text: Wheeler

text: (9) || 33,533 || 19-20|- style="background-color:#bbffbb"| 40 || May 17 || @

text: Astros

text: || 2 - 1 (12) ||

text: Chulk

text: (1-2) ||

text: Lidge

text: (1-2) ||

text: Benítez

text: (8) || 36,815 || 20-20|- style="background-color:#ffbbbb"| 41 || May 18 || @

text: Athletics

text: || 15 - 3 ||

text: Gaudin

text: (3-1) ||

text: Zito

text: (3-5) || || 35,077 || 20-21|- style="background-color:#ffbbbb"| 42 || May 19 || @

text: Athletics

text: || 4 - 2 ||

text: Haren

text: (4-2) ||

text: Cain

text: (2-4) ||

text: Embree

text: (1) || 35,077 || 20-22|- style="background-color:#bbffbb"| 43 || May 20 || @

text: Athletics

text: || 4 - 1 ||

text: Morris

text: (5-1) ||

text: Kennedy

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text: Red Sox

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text: Red Sox

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text: Red Sox

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text: Brewers

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text: D-backs

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text: Reds

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text: Reds

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text: Reds

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text: Cardinals

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text: Cardinals

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text: Cubs

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text: Cubs

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text: Cubs

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text: Cubs

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text: Brewers

text: || 8 - 4 ||

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text: Brewers

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text: Brewers

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text: Braves

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text: Braves

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text: Marlins

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text: Marlins

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text: Marlins

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text: Dodgers

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text: Dodgers

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text: Dodgers

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text: Padres

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text: Taschner

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text: Padres

text: || 2 - 3 (12) ||

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text: Padres

text: || 4 - 5 ||

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text: Nationals

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text: Nationals

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text: Nationals

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text: Cain

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text: Nationals

text: || 1 - 3 ||

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text: Pirates

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text: Grabow

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text: Pirates

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text: Armas

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text: Pirates

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text: Gorzelanny

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text: Zito

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text: Pirates

text: || 3 - 1 ||

text: Maholm

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text: Cain

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text: Pirates

text: || 10 - 3 ||

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text: Youman

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text: Braves

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text: Kline

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text: Braves

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text: Ortiz

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text: Wickman

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text: Braves

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text: Lincecum

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text: James

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text: Marlins

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text: Zito

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text: Olsen

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text: Hennessey

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text: Marlins

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text: Cain

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text: VandenHurk

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text: Marlins

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text: Chulk

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text: Gardner

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text: Hennessey

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text: Marlins

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text: Taschner

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text: Wolf

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text: Wilson

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text: Cubs

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text: Eyre

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text: Lincecum

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text: Cubs

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text: Marmol

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text: Misch

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text: Dempster

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text: Cubs

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text: Cain

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text: Zambrano

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text: Brewers

text: || 11 - 6 ||

text: Lowry

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text: Capuano

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text: Brewers

text: || 6 - 2 ||

text: Correia

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text: Gallardo

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text: Wilson

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text: Brewers

text: || 5 - 4 ||

text: Kline

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text: Linebrink

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text: Hennessey

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text: Rockies

text: || 4 - 1 ||

text: Wilson

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text: Julio

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text: Hennessey

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text: Rockies

text: || 3 - 1 ||

text: Cain

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text: Morales

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text: Hennessey

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text: Rockies

text: || 8 - 0 ||

text: Francis

text: (14-6) ||

text: Lowry

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text: Nationals

text: || 3 - 2 ||

text: Correia

text: (3-6) ||

text: Redding

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text: Hennessey

text: (17) || 25,169 || 62-73|- style=""|- style="background-color:#ffbbbb"| 136 || September 1 || @

text: Nationals

text: || 4 - 1 ||

text: Hanrahan

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text: Sánchez

text: (1-3) ||

text: Cordero

text: (29) || 30,221 || 62-74|- style="background-color:#ffbbbb"| 137 || September 2 || @

text: Nationals

text: || 2 - 1 ||

text: Cordero

text: (3-3) ||

text: Wilson

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text: Rockies

text: || 7 - 4 ||

text: Francis

text: (15-6) ||

text: Cain

text: (7-14) ||

text: Corpas

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text: Rockies

text: || 6 - 5 ||

text: Corpas

text: (4-2) ||

text: Hennessey

text: (2-4) || || 20,553 || 62-77|- style="background-color:#bbffbb"| 140 || September 5 || @

text: Rockies

text: || 5 - 3 ||

text: Correia

text: (4-6) ||

text: Jiménez

text: (3-3) ||

text: Hennessey

text: (18) || 22,157 || 63-77|- style="background-color:#bbffbb"| 141 || September 7 ||

text: Dodgers

text: || 5 - 4 ||

text: Hennessey

text: (3-4) ||

text: Broxton

text: (4-3) || || 40,016 || 64-77|- style="background-color:#ffbbbb"| 142 || September 8 ||

text: Dodgers

text: || 6 - 2 ||

text: Wells

text: (7-8) ||

text: Zito

text: (9-12) || || 42,228 || 64-78|- style="background-color:#bbffbb"| 143 || September 9 ||

text: Dodgers

text: || 4 - 2 ||

text: Walker

text: (1-0) ||

text: Beimel

text: (4-2) ||

text: Hennessey

text: (19) || 40,650 || 65-78|- style="background-color:#ffbbbb"| 144 || September 10 ||

text: D-backs

text: || 5 - 3 ||

text: Peguero

text: (1-0) ||

text: Hennessey

text: (3-5) ||

text: Peña

text: (2) || 33,498 || 65-79|- style="background-color:#bbffbb"| 145 || September 11 ||

text: D-backs

text: || 2 - 1 ||

text: Walker

text: (2-0) ||

text: Wickman

text: (3-4) ||

text: Wilson

text: (3) || 33,633 || 66-79|- style="background-color:#ffbbbb"| 146 || September 12 ||

text: D-backs

text: || 9 - 4 ||

text: Webb

text: (16-10) ||

text: Sánchez

text: (1-4) || || 37,083 || 66-80|- style="background-color:#ffbbbb"| 147 || September 14 || @

text: Padres

text: || 5 - 4 (10) ||

text: Hoffman

text: (4-4) ||

text: Giese

text: (0-1) || || 32,053 || 66-81|- style="background-color:#ffbbbb"| 148 || September 15 || @

text: Padres

text: || 6 - 0 ||

text: Tomko

text: (3-11) ||

text: Cain

text: (7-15) || || 41,554 || 66-82|- style="background-color:#ffbbbb"| 149 || September 16 || @

text: Padres

text: || 5 - 1 ||

text: Peavy

text: (18-6) ||

text: Lincecum

text: (7-5) || || 34,000 || 66-83|- style="background-color:#bbffbb"| 150 || September 17 || @

text: D-backs

text: || 8 - 5 ||

text: Munter

text: (1-0) ||

text: Peña

text: (5-4) ||

text: Wilson

text: (4) || 31,122 || 67-83|- style="background-color:#ffbbbb"| 151 || September 18 || @

text: D-backs

text: || 5 - 0 ||

text: Owings

text: (7-8) ||

text: Sánchez

text: (1-5) || || 44,220 || 67-84|- style="background-color:#ffbbbb"| 152 || September 19 || @

text: D-backs

text: || 6 - 4 ||

text: Cruz

text: (6-1) ||

text: Zito

text: (9-13) ||

text: Valverde

text: (46) || 42,855 || 67-85|- style="background-color:#ffbbbb"| 153 || September 20 ||

text: Reds

text: || 4 - 2 ||

text: Bailey

text: (3-2) ||

text: Cain

text: (7-16) ||

text: Weathers

text: (32) || 35,019 || 67-86|- style="background-color:#ffbbbb"| 154 || September 21 ||

text: Reds

text: || 9 - 8 (11) ||

text: McBeth

text: (3-2) ||

text: Munter

text: (1-1) ||

text: Weathers

text: (33) || 35,502 || 67-87|- style="background-color:#bbffbb"| 155 || September 22 ||

text: Reds

text: || 2 - 0 ||

text: Hennessey

text: (4-5) ||

text: Bray

text: (3-3) ||

text: Wilson

text: (5) || 36,375 || 68-87|- style="background-color:#bbffbb"| 156 || September 23 ||

text: Reds

text: || 5 - 4 ||

text: Messenger

text: (2-4) ||

text: Harang

text: (16-5) ||

text: Wilson

text: (6) || 38,029 || 69-87|- style="background-color:#bbffbb"| 157 || September 24 ||

text: Padres

text: || 9 - 4 ||

text: Zito

text: (10-13) ||

text: Young

text: (9-8) || || 35,650 || 70-87|- style="background-color:#ffbbbb"| 158 || September 25 ||

text: Padres

text: || 6 - 4 ||

text: Thatcher

text: (1-1) ||

text: Wilson

text: (1-2) ||

text: Hoffman

text: (41) || 35,524 || 70-88|- style="background-color:#ffbbbb"| 159 || September 26 ||

text: Padres

text: || 11 - 3 ||

text: Peavy

text: (19-6) ||

text: Misch

text: (0-4) || || 42,926 || 70-89|- style="background-color:#ffbbbb"| 160 || September 28 || @

text: Dodgers

text: || 8 - 3 ||

text: Wells

text: (9-9) ||

text: Correia

text: (4-7) || || 47,696 || 70-90|- style="background-color:#ffbbbb"| 161 || September 29 || @

text: Dodgers

text: || 6 - 5 (10) ||

text: Saito

text: (2-1) ||

text: Giese

text: (0-2) || || 51,983 || 70-91|- style="background-color:#bbffbb"| 162 || September 30 || @

text: Dodgers

text: || 11 - 2 ||

text: Zito

text: (11-13) ||

text: Stults

text: (1-4) || || 49,211 || 71-91|- style=""

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answers: a rainbow includes all the colors of visible light

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text: Few studies into the chemical nature of turacoverdin have been performed to date. Research by R.E. Moreau in the 1950s showed it to be less soluble in basic solutions than its chemical cousin turacin. While originally thought to contain little copper by its discoverer, who instead believed it to be iron-based, later spectroscopic analysis demonstrated high copper (and low iron) content in pigment from the green feathers of the Knysna turaco and the Schalow's turaco. Moreau also demonstrated that the green coloration of turacos might actually be due to the combined effect of two different turacoverdin pigments that differ slightly in polarity.

text: Few studies into the chemical nature of turacoverdin have been performed to date. Research by R.E. Moreau in the 1950s showed it to be less

text: soluble

text: in

text: basic

text: solution

text: s than its chemical cousin turacin. While originally thought to contain little copper by its discoverer, who instead believed it to be

text: iron

text: -based, later

text: spectroscopic

text: analysis demonstrated high copper (and low iron) content in pigment from the green feathers of the

text: Knysna turaco

text: and the

text: Schalow's turaco

text: . Moreau also demonstrated that the green coloration of turacos might actually be due to the combined effect of two different turacoverdin pigments that differ slightly in

text: polarity

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text: See Adiemus: Colores.

text: See

text: Adiemus: Colores

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text: Pigments are used for coloring paint, ink, plastic, fabric, cosmetics, food, and other materials. Most pigments used in manufacturing and the visual arts are dry colorants, usually ground into a fine powder. This powder is added to a binder (or vehicle), a relatively neutral or colorless material that suspends the pigment and gives the paint its adhesion.

text: Pigments are used for coloring

text: paint

text: ink

text: plastic

text: fabric

text: cosmetics

text: food

text: , and other materials. Most pigments used in

text: manufacturing

text: and the

text: visual arts

text: are dry

text: colorant

text: s, usually ground into a fine

text: powder

text: . This powder is added to a

text: binder

text: (or vehicle), a relatively neutral or colorless material that

text: suspends

text: the pigment and gives the paint its

text: adhesion

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text: Dominant white horses are born with pink skin and a white coat, which they retain throughout their lives. Although the term "dominant white" is typically associated with a pure white coat, such horses may be all-white, near-white, partially white, or exhibit an irregular spotting pattern similar to that of sabino horses. The amount of white hair depends on which mutation of W is involved. Non-white areas of skin and hair are most commonly seen along the dorsal midline of the horse, known as the topline, and are especially common in the mane and on the ears. They may also have interspersed specks or spots of non-white skin and hair. In addition, the hooves are most often white, but may have striping if there is pigmented skin on the coronary band just above the hoof. In some cases, foals born with residual non-white hair may lose some or all of this pigment with age, without the help of the gray factor. Dominant white spotting does not affect eye color, and most dominant white horses have brown eyes. The pink skin is devoid of pigment cells (melanocytes), and appears pink from the underlying network of capillaries. White hair is rooted in unpigmented pink skin. There are many other genetic factors that produce white, near-white, and off-white coat colors in horses, some of which are visually very similar to dominant white.

text: Dominant white horses are born with pink skin and a white coat, which they retain throughout their lives. Although the term "dominant white" is typically associated with a pure white coat, such horses may be all-white, near-white, partially white, or exhibit an irregular spotting pattern similar to that of

text: sabino horse

text: s. The amount of white hair depends on which mutation of W is involved. Non-white areas of skin and hair are most commonly seen along the

text: dorsal midline

text: of the horse, known as the

text: topline

text: , and are especially common in the

text: mane

text: and on the ears. They may also have interspersed specks or spots of non-white skin and hair. In addition, the

text: hooves

text: are most often white, but may have striping if there is pigmented skin on the

text: coronary band

text: just above the hoof. In some cases,

text: foal

text: s born with residual non-white hair may lose some or all of this pigment with age, without the help of the

text: gray

text: factor. Dominant white spotting does not affect eye color, and most dominant white horses have brown eyes. The pink skin is devoid of pigment cells (

text: melanocyte

text: s), and appears pink from the underlying network of

text: capillaries

text: . White hair is rooted in unpigmented pink skin. There are many other

text: genetic

text: factors that produce white, near-white, and off-white coat colors in horses, some of which are visually very similar to dominant white.

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text: Within the ontology of color there are various competing types of theories. One way of posing their relationship is in terms of whether they posit colors as sui generis properties (properties of a special kind that can't be reduced to more basic properties or constellations of such). This divides color primitivism from color reductionism. A primitivism about color is any theory that explains colors as unreducible properties. A reductionism is the opposite view, that colors are identical to or reducible to other properties. Typically a reductionist view of color explains colors as an object's disposition to cause certain effects in perceivers or the very dispositional power itself (this sort of view is often dubbed "relationalism", since it defines colors in terms of effects on perceivers, but it also often called simply dispositionalism - various forms of course exist). An example of a notable theorist that defends this kind of view is the philosopher Jonathan Cohen.

text: Within the ontology of color there are various competing types of theories. One way of posing their relationship is in terms of whether they posit colors as sui generis properties (properties of a special kind that can't be reduced to more basic properties or constellations of such). This divides color primitivism from color reductionism. A primitivism about color is any theory that explains colors as unreducible properties. A reductionism is the opposite view, that colors are identical to or reducible to other properties. Typically a reductionist view of color explains colors as an object's disposition to cause certain effects in perceivers or the very dispositional power itself (this sort of view is often dubbed "relationalism", since it defines colors in terms of effects on perceivers, but it also often called simply dispositionalism - various forms of course exist). An example of a notable theorist that defends this kind of view is the philosopher Jonathan Cohen.

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text: In biological (and biomimetic) uses, colours produced other than with pigments or dyes are called structural coloration. Microstructures, often multilayered, are used to produce bright but sometimes non-iridescent colours: quite elaborate arrangements are needed to avoid reflecting different colours in different directions. Structural coloration has been understood in general terms since Robert Hooke's 1665 book Micrographia, where Hooke correctly noted that since the iridescence of a peacock's feather was lost when it was plunged into water, but reappeared when it was returned to the air, pigments could not be responsible. It was later found that iridescence in the peacock is due to a complex photonic crystal.

text: In biological (and

text: biomimetic

text: ) uses, colours produced other than with

text: pigment

text: s or

text: dye

text: s are called

text: structural coloration

text: . Microstructures, often multilayered, are used to produce bright but sometimes non-iridescent colours: quite elaborate arrangements are needed to avoid reflecting different colours in different directions. Structural coloration has been understood in general terms since

text: Robert Hooke

text: 's 1665 book

text: Micrographia

text: , where Hooke correctly noted that since the iridescence of a

text: peacock

text: 's feather was lost when it was plunged into water, but reappeared when it was returned to the air, pigments could not be responsible. It was later found that iridescence in the peacock is due to a complex photonic crystal.

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text: The wavelength of the light emitted, and thus its color, depends on the band gap energy of the materials forming the p-n junction. In silicon or germanium diodes, the electrons and holes usually recombine by a non-radiative transition, which produces no optical emission, because these are indirect band gap materials. The materials used for the LED have a direct band gap with energies corresponding to near-infrared, visible, or near-ultraviolet light.

text: The

text: wavelength

text: of the light emitted, and thus its color, depends on the

text: band gap

text: energy of the materials forming the p-n junction. In

text: silicon

text: or

text: germanium

text: diodes, the electrons and holes usually recombine by a non-radiative transition, which produces no optical emission, because these are

text: indirect band gap

text: materials. The materials used for the LED have a

text: direct band gap

text: with energies corresponding to near-infrared, visible, or near-ultraviolet light.

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text: Inspired by Newton’s theory of music-color correspondences, the French Jesuit Louis-Bertrand Castel designed a color harpsichord (clavecin oculaire) with colored strips of paper which rose above the cover of the harpsichord whenever a particular key was hit (Campen 2007, Franssen 1991). Renowned masters like Telemann and Rameau were actively engaged in the development of a clavecins oculaire. The invention of the gas light in the nineteenth century created new technical possibilities for the color organ. In England between 1869 and 1873, the inventor Frederick Kastner developed an organ that he named a Pyrophone. The British inventor Alexander Rimington, a professor in fine arts in London, documented the phrase ‘Colour-Organ’ for the first time in a patent application in 1893. Inspired by Newton’s idea that music and color are both grounded in vibrations, he divided the color spectrum into intervals analogous to musical octaves and attributed colors to notes. The same notes in a higher octave produced the same color tone but then in a lighter value (Peacock 1988). Around the turn of the century, concerts with light and musical instruments were given quite regularly. As most technical problems had been conquered, the psychological questions concerning the effects of these performances came to the fore. The Russian composer Alexander Scriabin was particularly interested in the psychological effects on the audience when they experienced sound and color simultaneously. His theory was that when the correct color was perceived with the correct sound, ‘a powerful psychological resonator for the listener’ would be created. His most famous synesthetic work, which is still performed today, is Prometheus, Poem of Fire. On the score of Prometheus, he wrote next to the instruments separate parts for the tastiere per luce, the color organ (Campen 2007, Galeyev 2001, Gleich 1963).

text: Inspired by Newton’s theory of music-color correspondences, the French Jesuit Louis-Bertrand Castel designed a color harpsichord (clavecin oculaire) with colored strips of paper which rose above the cover of the harpsichord whenever a particular key was hit (Campen 2007, Franssen 1991). Renowned masters like

text: Telemann

text: and

text: Rameau

text: were actively engaged in the development of a clavecins oculaire. The invention of the gas light in the nineteenth century created new technical possibilities for the color organ. In England between 1869 and 1873, the inventor Frederick Kastner developed an organ that he named a Pyrophone. The British inventor Alexander Rimington, a professor in fine arts in London, documented the phrase ‘Colour-Organ’ for the first time in a patent application in 1893. Inspired by Newton’s idea that music and color are both grounded in vibrations, he divided the color spectrum into intervals analogous to musical octaves and attributed colors to notes. The same notes in a higher octave produced the same color tone but then in a lighter value (Peacock 1988). Around the turn of the century, concerts with light and musical instruments were given quite regularly. As most technical problems had been conquered, the psychological questions concerning the effects of these performances came to the fore. The Russian composer

text: Alexander Scriabin

text: was particularly interested in the psychological effects on the audience when they experienced sound and color simultaneously. His theory was that when the correct color was perceived with the correct sound, ‘a powerful psychological resonator for the listener’ would be created. His most famous synesthetic work, which is still performed today, is Prometheus, Poem of Fire. On the score of Prometheus, he wrote next to the instruments separate parts for the tastiere per luce, the color organ (Campen 2007, Galeyev 2001, Gleich 1963).

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answers: The invention of the gas light

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answers: are grounded in vibrations

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answers: when the correct color was perceived with the correct sound

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answers: color

text: Mate attractiveness to the newly born queens coincides with pigmentation. The more brightly colored queens were more likely to lay more eggs than their paler counterparts. As the newborn queens begin to age, pigmentation increased as well as the number of courtships from male stingless bees. In the case of an encounter between the physogastric queen and the newborn “virgin” queens, the larger queen may initiate buccal contact with the smaller queen. A rapidly growing virgin queen may incite her own imprisonment in specialized prison chambers. In one case, an abnormally large and pigmented virgin queen became overly agitated in her prison cell. The release of this queen prompted the interruption of brood cell construction, though the physogastric queen maintained her normal routine. Within a couple days, the virgin queen was found dead and was being carried off by workers.

text: Mate attractiveness to the newly born queens coincides with pigmentation. The more brightly colored queens were more likely to lay more eggs than their paler counterparts. As the newborn queens begin to age,

text: pigmentation

text: increased as well as the number of courtships from male stingless bees. In the case of an encounter between the physogastric queen and the newborn “virgin” queens, the larger queen may initiate

text: buccal

text: contact with the smaller queen. A rapidly growing virgin queen may incite her own imprisonment in specialized prison chambers. In one case, an abnormally large and pigmented virgin queen became overly agitated in her prison cell. The release of this queen prompted the interruption of brood cell construction, though the physogastric queen maintained her normal routine. Within a couple days, the virgin queen was found dead and was being carried off by workers.

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answers: paler

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answers: brightly

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text: Maund has also extended his argument particularly with reference of color. Color he sees as a dispositional property, not an objective one, an approach which allows for the facts of difference between person and person, and also leaves aside the claim that external objects are colored. Colors are therefore "virtual properties", in that it is as if things possessed them; although the naïve view attributes them to objects, they are intrinsic, non-relational inner experiences.

text: Maund has also extended his argument particularly with reference of color. Color he sees as a dispositional property, not an objective one, an approach which allows for the facts of difference between person and person, and also leaves aside the claim that external objects are colored. Colors are therefore "virtual properties", in that it is as if things possessed them; although the naïve view attributes them to objects, they are intrinsic, non-relational inner experiences.

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answers: Color

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answers: Color

text: The main drawback of histograms for classification is that the representation is dependent of the color of the object being studied, ignoring its shape and texture. Color histograms can potentially be identical for two images with different object content which happens to share color information. Conversely, without spatial or shape information, similar objects of different color may be indistinguishable based solely on color histogram comparisons. There is no way to distinguish a red and white cup from a red and white plate.  Put another way, histogram-based algorithms have no concept of a generic 'cup', and a model of a red and white cup is no use when given an otherwise identical blue and white cup. Another problem is that color histograms have high sensitivity to noisy interference such as lighting intensity changes and quantization errors. High dimensionality (bins) color histograms are also another issue. Some color histogram feature spaces often occupy more than one hundred dimensions.

text: The main drawback of histograms for classification is that the representation is dependent of the color of the object being studied, ignoring its shape and texture. Color histograms can potentially be identical for two images with different object content which happens to share color information. Conversely, without spatial or shape information, similar objects of different color may be indistinguishable based solely on color histogram comparisons. There is no way to distinguish a red and white cup from a red and white plate.  Put another way, histogram-based algorithms have no concept of a generic 'cup', and a model of a red and white cup is no use when given an otherwise identical blue and white cup. Another problem is that color histograms have high sensitivity to noisy interference such as lighting intensity changes and quantization errors. High dimensionality (bins) color histograms are also another issue. Some color histogram feature spaces often occupy more than one hundred dimensions.

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text: In Cubello, using the pointer function of the Wii Remote players aim and launch colored cubes at a three-dimensional object called a Cubello, itself consisting of many colored cubes, that floats and rotates in empty space. The object of the game is to strip the Cubello of cubes by matching four or more of the same color in order to reveal the Cubello's inner core.

text: In Cubello, using the pointer function of the Wii Remote players aim and launch colored cubes at a three-dimensional object called a Cubello, itself consisting of many colored cubes, that floats and rotates in empty space. The object of the game is to strip the Cubello of cubes by matching four or more of the same color in order to reveal the Cubello's inner core.

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text: "New gamboge" is synthetic yellow pigment. The pigment has a color similar to that of natural gamboge.

text: "New gamboge" is synthetic yellow

text: pigment

text: . The pigment has a color similar to that of natural gamboge.

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text: Players first must roll a special die that has four colors on it and two stars.  If a color is rolled, the player must knock out a brick of that color, out of the wall.  If the player rolls a star, the player may knock out any brick they wish (with a few exceptions, see below).  Players take turns using a motorized hammer known as the "Rammer Hammer", in an attempt to knock out the specified brick out of the wall, without making the wall collapse, OR making the "Knockout" brick fall off the wall.  If a player is successful in knocking out the brick, without the wall collapsing, or the "Knockout" brick falling off the wall, they must put the brick back, on the top of the wall.  Each player thereafter must accomplish the same task.

text: Players first must roll a special die that has four colors on it and two stars.  If a color is rolled, the player must knock out a brick of that color, out of the wall.  If the player rolls a star, the player may knock out any brick they wish (with a few exceptions, see below).  Players take turns using a motorized hammer known as the "Rammer Hammer", in an attempt to knock out the specified brick out of the wall, without making the wall collapse, OR making the "Knockout" brick fall off the wall.  If a player is successful in knocking out the brick, without the wall collapsing, or the "Knockout" brick falling off the wall, they must put the brick back, on the top of the wall.  Each player thereafter must accomplish the same task.

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text: The color of purple varieties is due to various anthocyanin pigments. The pigments are water-soluble, and have been proposed as possible food coloring agents.

text: The color of purple varieties is due to various

text: anthocyanin

text: pigments. The pigments are water-soluble, and have been proposed as possible

text: food coloring

text: agents.

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text: In the evolution of mammals, segments of color vision were lost, then for a few species of primates, regained by gene duplication. Eutherian mammals other than primates (for example, dogs, mammalian farm animals) generally have less-effective two-receptor (dichromatic) color perception systems, which distinguish blue, green, and yellow—but cannot distinguish oranges and reds. There is some evidence that a few mammals, such as cats, have redeveloped the ability to distinguish longer wavelength colors, in at least a limited way, via one-amino-acid mutations in opsin genes.  The adaptation to see reds is particularly important for primate mammals, since it leads to identification of fruits, and also newly sprouting reddish leaves, which are particularly nutritious.

text: In the evolution of mammals, segments of color vision were lost, then for a few species of primates, regained by

text: gene duplication

text: Eutherian

text: mammals other than primates (for example, dogs, mammalian farm animals) generally have less-effective two-receptor (

text: dichromat

text: ic) color perception systems, which distinguish blue, green, and yellow—but cannot distinguish oranges and reds. There is some evidence that a few mammals, such as cats, have redeveloped the ability to distinguish longer wavelength colors, in at least a limited way, via one-amino-acid mutations in opsin genes.  The adaptation to see reds is particularly important for primate mammals, since it leads to identification of fruits, and also newly sprouting reddish leaves, which are particularly nutritious.

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answers: oranges

text: T. mauritianus does not display an abundance of visual sexual dimorphism concerning their size or coloration. Outside of the breeding season, the male reproductive organs are held in the abdominal cavity. During the breeding season, the genitals appear and become darker in color. The males possess a gular sac that lies at the base of the jaw. This gland releases secretions that help males mark their territories and attract females during the mating season. The gular sac is present in some females, depending on which region Africa the bat is found. In areas such as Nigeria and Mozambique, the sac is absent in females, in West Africa it is reduced to a vestigial pouch, and in the Sudan it is fully present in both sexes, just more developed in males. In females, the genitals are located on the ventral side of the abdomen and are marked by two pigmented patches. During the mating season, they become deeply pigmented and extend out, becoming more prominent before and just after mating.

text: T. mauritianus does not display an abundance of visual

text: sexual dimorphism

text: concerning their size or coloration. Outside of the breeding season, the male reproductive organs are held in the abdominal cavity. During the breeding season, the genitals appear and become darker in color. The males possess a

text: gular sac

text: that lies at the base of the jaw. This gland releases secretions that help males mark their territories and attract females during the mating season. The gular sac is present in some females, depending on which region Africa the bat is found. In areas such as

text: Nigeria

text: and

text: Mozambique

text: , the sac is absent in females, in West Africa it is reduced to a

text: vestigial

text: pouch, and in the

text: Sudan