text:
Talk:Color space

Usefulness
This article is fairly technical. I think the introduction should be expanded with a brief explanation of how color spaces are actually used by artists and graphic designers today, i.e. what problems they solve. In particular, laypersons are now exposed to color space terminology via popular PC software such as Adobe Photoshop, and these readers are probably more interested in "What is it and how is it useful?" than "How was it developed?". 151.199.131.100 11:47, 15 July 2006 (UTC)

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I agree. I could understand nothing from it.

Untitled Comments
I'm not sure what to do about this, but I think it important to mention that there are older systems, particularly the Mussell (Hue, Value, Chroma) system which predates nearly all of the other systems and, IIRC, was designed for painters to be able to talk more accurately about the paint colors they wanted.

LAB, is another popular color space, which should be mentioned. I used to work on a research project to match dental porcelain colors to actual tooth colors, and I had to write a program to calculate color differences. The LAB system is perceptually equalized so that the color differences are quantifiable, but it is nearly impossible to think in the LAB system. On the other hand it's pretty easy to visualize the proper color once you know it's Hue, Value and Chroma, so products are generally sold by Munsell color, but the Munsell system is not perceptually equalized because the color difference between one hew and another is arbitrary, so I had to convert everything over to LAB before any calculations could be done.

My point here, is that there is lots of important information about Color Spaces which has nothing to do with RGB, or CMYK. In particular, I think the notion of regular and irregular color spaces ought to be included somehow. On the other hand I did this work a long time ago (when I was 16) so my memory is a little fuzzy, and I have no references immediately available on the subject. MRC

 * Actually, the hues in Munsell are more perceptually uniformly spaced than in L*a*b*. It's just that if you go in an arbitrary direction in Munsell (varying hue, value, and chroma all at once), the distance between colors doesn't particularly imply their perceptual difference.  Unfortunately, human color vision is non-Euclidean, so it is impossible to have a three-dimensional color space for which distance between points in that space accurately quantifies color differences.  But yes, this article is very lacking: it's missing any kind of historical discussion, and it completely misses many of the most useful color spaces.  --jacobolus (t) 06:46, 17 May 2007 (UTC)

From the article:
 * Note: this article needs expert input: at the moment, it is extremely informal, and needs lots of work by experts in the field to give a good account of this highly technical field.

From the article:
 * "For example, although several specific color spaces are based on the RGB model, there is no such thing as the RGB color space."

 * In 1931, Commission internationale de l'éclairage, or CIE, developed a Red-Green-Blue (RGB) model of human color vision. Their results were combined into the specifications of the "CIE RGB color space". -Dawn McGatney 69.139.231.9 (talk) 17:24, 18 March 2008 (UTC)

I've been working a bit on the HSV color space page. Maveric brought up an interesting point; should we be making the distinction between a color model and a color space? As I understand it, (someone correct me if I'm wrong) the color space is the region of possible colors that is described by a particular color model. Color models would include RGB, CMYK, and so on, but sometimes, two different color models will describe the same color space (such as HSV and RGB). Or would the term gamut be more appropriate to describe the collection of possible colors defined by a color space?

I found colors can be represented in Stokes vector. Is there any identical color model to this Stokes vector form?
 * Report: http://blue.ribbon.to/~harpy/color_stokes_vector_en.html
 * Demonstration: http://blue.ribbon.to/~harpy/imagej/hue/

The parameters of HSB are same that of partialy polalized light. Hue is represented in [0 - PI] in Stokes vector, not [0 - 2PI].
 * Hue is the azimuth of linearly polarized light.
 * Satuation is the degree of polarization.
 * Brightness is the total intensity of the light.

Stokes vector form of color is very useful for color transform. For example, hue rotation is performed by just a matrix product. -- goto

Reviving the old question above: We should really try to be clear, in all color-related articles, on the difference between color space and color model, if indeed there is such a distinction. The terms seem to be used interchangeably; the article as it currently stands makes a fairly good distinction between them, but confusion could result, especially since the article begins with a definition of color model, rather than color space (and even more confusingly, because color model [used to] redirect to color space).

Additionally, there are problems such as Lab color space opening with "CIE L*a*b (CIELAB) is the most complete color model used conventionally...", odd because it does not say "The Lab color space is..." and because it does say "...is [a] color model." And of course, there are these:

 * RGB color model which strangely does not link to RGB color space, a separate article
 * HSV color space which has no corresponding "model" article, and opens with "The Hue Saturation Value (or HSV) model..."
 * CMYK and YUV (no "space" or "model", and YUV is described as "...a color space in which the Y stands for the luminance component..."---though, if we're going to distinguish "space" from "model", a color space has no Y or any other component, though a color model does)

Etc. Anyway, this could probably use some clarification across all the color articles. -- Wapcaplet 19:42, 5 Mar 2004 (UTC)

 * Man, you're more than welcome to kick some life into these articles! I was checking them out recently, and after finding a lot more inconsistencies than the ones you outline above, I started polishing them. All my edits do however acknowledge the fact that more work needs to be done on those topics, as you can see from my summaries. I just didn't have the guts to make really radical changes in the articles, although I did my share (e.g. separating RGB color space from RGB color model, along with some radical edits within gamut and color space). --Gutza 00:45, 6 Mar 2004 (UTC)

I like the work you've done to this article - bravo! I'm not so sure I like the idea of having a separate model/space article for each model/space. Though, having either one redirect to the other could just cause more confusion, so maybe it is good to keep 'em separate. It just doesn't seem like there'd be much to say about XYZ color space, aside from the fact that it's defined by the XYZ color model. It's about time we had an article on gamut though (which is looking really good!). Dunno if I'm ready to dive in and clean all these up yet either... but hopefully we can get the ball rolling. -- Wapcaplet 01:13, 6 Mar 2004 (UTC)

 * Ok, don't want to sound rude (why does that syntagm always induce the feeling that something rude follows?), but have you had the curiosity to diff those articles to the state before my changes? I mean, I agree with most of the points you criticise (e.g. XYZ color space irrelevance, color space/color model redirects), but the respective articles had the respective faults and were also in a much worse shape before I edited them today. That's why I feel obliged to reiterate: if you feel like diving into radical edits, by all means, be my guest! These articles stayed in an awful shape for months, so I can only feel good for raising the flag.

 * The only thing I don't agree with in your comments is the fact that you seem not to agree with the idea of "separate model/space article[s] for each model/space". Given the particularities of each model and each space, I don't think it's out of line to have distinct articles on each of the mainstream color models/spaces. IMHO that can also be useful for other authors as well: an author who wants to refer specifically to sRGB for instance would be happy to be able to link to the sRGB article directly instead of explaining what sRGB is within an otherwise unrelated article. --Gutza 02:09, 6 Mar 2004 (UTC)

I think I may have been unclear; what I meant was that I am not sure I see the benefit of having both RGB color space and RGB color model, for instance (at the risk of contradicting my earlier statement that the two concepts should be made distinct). Certainly, I agree that each color system---RGB, CMYK, HSV, etc.---should have its own article, as there is a lot to say about each. I fear that having both RGB color space and RGB color model risks a lot of unnecessary duplication, since the two subjects are so closely related; perhaps a title such as RGB color system or just plain RGB might be better, as it avoids the problem with "space" and "model" being subtly different; the distinction between "space" and "model" can then be made in (I hope) a more neutrally-titled article, if such a distinction is necessary for that article.

Whether there should be a separate color model article, I don't know. I'm fairly sure you know more about it than I do, so your input on that would be good. -- Wapcaplet 02:50, 6 Mar 2004 (UTC)

 * The reason why I separated RGB color model from RGB color space is the fact that there are several color spaces based on the RGB model, but there's only one RGB model. (Please note that RGB and RGBA point to the RGB color model article, because that's most probably what something referring to RGB means.)

 * Another reason is that RGB is the color space champion, everybody uses RGB color spaces on a daily basis, we just don't realize it (when scanning documents, printing or editing images, or even surfing the web). Also, everybody's buying digital cameras these days, people will want to know more and more about these topics. That's why I think it's important to make that distinction.

 * With CMYK things are even more complicated: there are probably even more color spaces for CMYK, but people don't "feel" those as color spaces, but rather as "profiles" used to describe the output device.

 * Anyway, what I'd like to end up with would be the RGB color model and CMYK color model to be the "article proper" explaining the actual model and generic formats, while RGB color space and CMYK color space would be something similar to what RGB color space is right now: just a short note on the fact that "an RGB color space is any color space based on the RGB color model", along with a list of the most proeminent color spaces in use (sRGB and Adobe RGB for instance). That way the coordinates are established, links to the relevant articles are provided, and anyone interested in the topic can read more about it in those respective articles.

 * The question whether color space should be distinct from color model. I don't really know, I can only give an opinion. If we were to treat the problem rigurously encyclopedical, they should be distinct articles. They should only be distinct however in a highly specialized encyclopedia where we would assume that all readers are graphic designers familiar with the concepts in the first place. If the target is the layman, which I think is the case in a generic encyclopedia, then I think the right way to go is combining the two in one article explaining the differences (much like how it is now). --Gutza 14:02, 6 Mar 2004 (UTC)

Valid points. I never really considered that there are many different RGB and CMYK color spaces. I suppose the same would be true of other color spaces as well; would it be true to say that a color space is influenced not only by the corresponding color model, but also by the environmental conditions (lighting) and properties of the output device (printing inks, monitor phosphors)?

I agree with having RGB color model as a main article, and RGB color space as a more detailed discussion of RGB color spaces. For most color models, it won't be necessary (not as of now, at least) to have a separate color space article, so those should be unified into the main HSV/YUV/CIE color model articles until there's a need to split them off. I agree that color space should remain a single article, unless there becomes a strong need to have a separate color model article. (Or should the main article be color model instead of color space?)

We are making progress, I think :-) -- Wapcaplet 16:19, 6 Mar 2004 (UTC)

 * You're absolutely right throughout the posting above. To get it out of the way, yes, I also feel that the HSV/YUV/Lab models don't really need to be split. I might be wrong though, I haven't read much literature on these because I personally never use them in order to avoid converting my images back and forth and degrading them unnecessarily.

 * Regarding your first question, what you're describing is a device profile. In an academic sense, yes, that could also be called a color space. But it's not really what's usually meant by color space in common use. Let's clarify sRGB vs. Adobe RGB, which are the color spaces all digital camera owners will want to know about, so you can get a better idea. (I'm talking chiefly about Adobe RGB 1998 here, that makes the difference clearer.)

 * sRGB is a color space used to standardize generic monitors. It's basically the de facto RGB model default color space. It's used primarily for web design, that's what you'll read in most FAQ's out there, but should be used generically for all processes targeted at computer displays (interactive CD-ROMs, computer games, screen-savers, kiosk applications, whatever gets to be shown on a computer monitor).

 * Adobe RGB is a much wider color space. It has a huge gamut, and it's basically used to encode a much wider variation of colors in the same 24 bit structure as sRGB. There are two things which need to be pointed out regarding Adobe RGB:
 * The color space is much wider, but the number of colors which can be encoded in 24 bits is the same. The result is a wider distance between colors. The gamut is "thinner" if you wish, it's less dense than sRGB. The problem with this is that further manipulating the image will result in degrading it sooner than if you were to use sRGB (see the RGB article for a little more on this).
 * Not all monitors are able to display the whole Adobe RGB gamut. You can wind up using Adobe RGB just to find that you messed up your images in processing because you have the wrong feedback about what you're doing. Apple used to make some great monitors with a gamut about twice the size of a regular monitor's (I don't know if they still do, but I would expect them to).

 * I hope that makes it a little clearer. A color space (or "working color space", as they often call it) is a way to encode colors from the Lab space into the RGB model. On the other hand, you should also calibrate your input and output devices (scanner, digital camera, monitor, printer) and produce profiles for those devices in order to properly reproduce the original color space (for input devices) or desired color space (for output devices).

 * Now there's a trick to this. When converting an image to a different color model along with the color space, it's great if the target color space is the actual color space of the target device. That avoids converting to the target color model in one step, only to convert again to the proper color space within the respective color model in a subsequent step. That's great because every such conversion further damages the image. As a result, when converting your RGB image from whatever color space you were using to CMYK for print, it's recommended that you convert directly to the color space of the target device in one go. So basically you're incorporating the device profile in the target color space definition.

 * That's why technical documents generally say that the CMYK color spaces are device-dependent, as opposed to the RGB spaces which are device-independent. I don't care what you're displaying my Adobe RGB image on, just make sure you calibrate that thing to show the proper colors. That's because my image along with the color space information map the RGB triplets to "real world colors" within the Lab space. But if you want to print my image, tell me what you want to print it on, so I can convert it directly to your printer's proper CMYK space.

 * The terminology is pretty ambigous, I know, sounds like sometimes two things are the same, while other times they're distinct. I can only hope this posting sheds a little more light on hot the terms are generally used. Because academically color spaces and device profiles really are the same thing. --Gutza 18:04, 6 Mar 2004 (UTC)

The following paragraph is too RGB-specific for this general article, I think.

The RGB color model can be implemented in various specific incarnations, depending on the capabilities of the system used. By far the most common general use incarnation at the time of this writing is the 24 bit implementation, with 8 bits per channel. That means that each of the three channels in such an RGB implementation can store 256 discrete levels of color. Any color space based on the RGB model is thus limited to a gamut of 256×256×256=16.7 million colors. Therefore a "small", "restrictive" color space based on this RGB implementation will result in exactly the same number of colors as a "large", "generous" space. The only difference between the two is the volume their gamut cover, but that is always inverse proportional to its density on the reference space.

Smyth 12:23, 31 Aug 2004 (UTC)

 * No, it's not. It does use the means of the RGB example to prove a point, but that's only because RGB is the model understood by most people. If CMYK or some other bit depth would've been the most widespread, then I would've used the CMYK example with the respective depth to prove the same point: color space density over Lab space. I'll copy it back in the article.

 * Good job on the rest of the restructuring though, great copyediting!

 * -Gutza 12:52, 31 Aug 2004 (UTC)

 * Thanks, it was fun.

 * Smyth 13:08, 31 Aug 2004 (UTC)

I hope I haven't clashed with any work in progress by adding to the sRGB and Pantone artices, and adding every color space I could find to the Color space category. I didn't see this discussion until just now. Also: is there a discussion of ICC profiles anywhere? Notinasnaid 16:21, 31 Aug 2004 (UTC)

16-bit color channels: accuracy
"An implementation which uses 16 bits per component will result in exactly the same range of colors as the 8 bit version, but to a 256×256×256 ≈ 16.7 million times higher accuracy."

This is surely wrong. Is 16 bit/channel RGB 16 million times more accurate than 16 bit/channel greyscale, and is 16/channel bit CMYK 256 times more accurate than 16 bit RGB? No, surely not. On the other hand this replaced a section that said "twice as much" accuracy, and that's clearly wrong too. (Analogy: if you double the number of decimal places you do much more than double the accuracy of a number).

It might be safest just to say "substantially higher accuracy". Thoughts? Notinasnaid 09:23, 4 Feb 2005 (UTC)

 * I think "accuracy" is the wrong word to use. Accuracy refers to the precision with which some original reference point is measured. If the 16-bit image in question is a scan of a photograph, then the color accuracy would be how closely each pixel matches the color in the photo (under some kind of ideal lighting conditions). For a purely digital image, the term doesn't even apply. I would think accuracy should be measured as a percentage - a digital image is somewhere between 0% and 100% accurate (at least in terms of the colors represented). An increase in bits-per-channel obviously increases the number of distinct colors, but I think it's important to qualify that fact with a mention (preferably with some references) that humans can't distinguish that many, and most display hardware can't display that many. AFAIK, the only reasonable application for 16-bit/channel color is as an intermediate format for filtering, compositing, and other manipulation (to preserve as much existing "accuracy" as possible). Some mention is made of this now. I will rephrase. -- Wapcaplet 16:51, 4 Feb 2005 (UTC)

Much better. On reflection I think the original (not gone) phrasing was seeking 'precision' rather than 'accuracy'; and the precision is 256 times. Notinasnaid 22:09, 4 Feb 2005 (UTC)

It was said "It just doesn't seem like there'd be much to say about XYZ color space, aside from the fact that it's defined by the XYZ color model." Personally, I think it is very important that the CIE XYZ space is mentioned, as correct color space conversions are expressed as functions of XYZ coordinates of the spaces participating in the translation. I feel the following points are absent from the current article: - linearity of color spaces, with proper notation ("prime" notation for non-linear spaces, such as Y'PbPr, and R'G'B' vs linear RGB) - coordinates/definition of a color space (color primaries, white point) - quantization and gamma correction, along with most commonly used gamma curves - add more examples of color spaces - scRGB, explain "studio RGB" vs "computer RGB" - clarify which Y'PbPr/Y'CbCr spaces are being referenced - ITU-R BT 601, BT 709, SMPTE 170M etc etc.

Lastly, it should be pointed out that the R'G'B' spaces currently used in computer graphics/video are, in fact, represented on 32 bits. Indeed, 24 bits are actually used for color channels, but ease of addressing and manipulation dictated a full double word is used. The remaining 8 bits are used for storing transparency information (alpha). 10 bit formats are emerging (A2R10B10G10).

I'm somewhat of a newbie to editing Wiki, and so I didn't think it was proper to proceed with these modifications prior to bringing them to attention in the discussion page. 08:11, 12 April 2006 (UTC) D.

3D
A color space is multi-dimensional. A RGB color can thus be seen as a 3D object: Red=X, Green=Y, Blue=Z.

It needs to be pointed out that RGB, LAB, YIQ and HSV can be seen as 3D objects. An illustration of a 3D view of a colors space would make the concept much easier to understand! --Kasper Hviid 12:14, 26 Feb 2005 (UTC)
 * Here are two. I would be interesting in knowing how to model the other color spaces. -SharkD 08:09, 23 October 2006 (UTC)

Let's remove Color Model
I am unsure whether the article always uses "Color Model" as a word in itself, or whether its sometimes uses it as a synonymous for "Color Space".

In any case, the Color Model part needs to be stripped into a article on its own. However, I don't feel I have the knowledge to do this.

If I may quote from color management for photographers:

A color model is a method of grouping numeric values by a set of primaries. Most color models have three primary components (e.g., RGB, CMY, LCH, HSV, L*a*b*). Some application-specific color models use more components, for example, CMYK. Photoshop and other image editing applications work with multiple color models. Some scientific color models such as x,y,Y or L*a*b* encompass all of human vision and have a defined scale such that a particular color will always have the same set of values. It’s quite useful to be able to assign a numeric value to a color based upon how humans perceive colors. Other color models such as RGB or CMYK have no standard defined scale or reference. These color models are abstractions and cannot describe a specific color with out first defining the scale or reference. Having an RGB value such as R10/G30/B50 does not tell us how to reproduce that color; the values provided are simply a ratio of the primary components (in this case RGB) without a necessary scale. In this example we know there’s more blue than red, more green than red, but not as much green as blue. Without a scale to tell us the actual amounts we can’t reproduce this color. This is where a color space comes into play. A color space provides this additional and necessary information.

Think for a minute about the term color space. The first word, color, is fairly obvious. Let’s look at the term space in context. I have three sets of numbers to define red, green, and blue (R10/G130/B50) but how red or green or blue are these values? What is the scale? It is possible to plot any three primary values in three dimensions by treating the primaries as coordinates in space. This creates a solid or volume that represents all possible colors in that color space. This is a color space! The color space exists within the larger universe of human vision. Each color space is in a different position relative to this universe. Thus the same RGB values in each color space will be in a different location.

Going back to the chocolate chip cookie analogy, suppose a color model is a cookie recipe with only three ingredients. I give you this recipe, which simply calls for 1-flour, 8-butter and 2-chocolate chips. You don’t have enough information to make the cookies. However if I provide you the recipe with a specific scale—1 cup of flour, 8 tablespoons of butter, and 2 cups of chocolate chips—I’ve provided the necessary information, the scale, to make a dozen chocolate chip cookies. If I provide additional information such as the brand of chocolate chips, you can reproduce exactly the same cookies I made. I can give you the cookie recipe in the metric scale such as liters and grams and you can still makes the same cookies even though the numbers are different. A color space is a color model that has a known reference and scale, in this case primaries (the ingredients) and scale (specific quantities of these ingredients).

 * I'm not sure if I agree with everything above, but it seems to contradict the third paragraph of the introduction. I don't believe that a bunch of color swatches constitutes a color space. An unsophisticated color model, yes, but color space, no. PAR 02:01, 16 July 2006 (UTC)

 * I haven't looked into this in detail, but Wikipedia includes both RGB color space and RGB color model articles. Certainly, people do get confused between them. However, as color spaces often dervive from color models, this article at least needs to note that. It may say too much; there is no overall coordination between articles, so there is more repetition than is desirable. This can only be resolved by having an active coordinating project, not piecemeal. What seems to have happened in this article is that the author(s) of the opening paragraphs haven't followed the Wikipedia standard to define the term in the opening sentence, and have in fact decided to define a different term. Notinasnaid 09:09, 17 July 2006 (UTC)

 * It seems to me that the color space article spends most of its time talking about color models. and the color model article spends most of its time talking about color spaces. -SharkD 15:48, 26 October 2006 (UTC)

Image too dark
The image for subtractive color mixing seems too dark. Is this intentional? Otherwise, we could just make a negative of the additive mixing image and use that instead. -SharkD 08:11, 23 October 2006 (UTC)
 * I think that it is reflecting the reality of CMYK colors, which are nothing like the complements of RGB colors. Notinasnaid 10:42, 23 October 2006 (UTC)
 * The other, side-by-side gradient image is a better comparison of the CMYK and RGB models. Having the color mixing images be from different palettes might be misleading. -SharkD 06:44, 27 October 2006 (UTC)

 * It's not a particularly good comparison, because many saturated (particularly dark) CMYK colors cannot be displayed on a computer display. --jacobolus (t) 06:49, 17 May 2007 (UTC)

ISCC-NBS
Why is there absolutele no mention of the ISCC-NBS color model? --Metallurgist 00:41, 15 November 2006 (UTC)

Cone Contrast Space
From the article: However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application.

Cone Contrast Space if defined by the change in response of the three cone types. The origin of this space (0,0,0) is defined by the current state of adaptation of the three cone types, so it is certainly not absolute or arbitrary. And it is the most useful space to use if you want to model the visual system. Drichters 02:23, 23 February 2007 (UTC)

Remission?
I have reverted the edit changing "reflected" to "remitted." While "remission" may be a term of art in spectroscopy, it is not generally used in color science. For example, the term "remission" does not appear in the index of Wyszecki and Stiles's second edition, a definitive reference in color science. Lovibond 16:22, 25 June 2007 (UTC)
 * I think it was me who changed that part. Per definition (at least as i know it) reflected light does not 'interact' (for lack of a better term - i'm not native english) with the object reflecting it. Remitted light on the other hand does, which is why you can see the object's color. Only mirrors really reflect light (photons?).

 * Perhaps according to some definitions, but not in color science. Also, please be sure to sign your edits on this page with four tildes, thus: ~ -- thanks! Lovibond 15:23, 10 July 2007 (UTC)

Merge with List of color spaces and their uses
I would just get rid of the list article and use this navigation template in all color space articles. It needs to be expanded, of course, but that's easy. I prefer navigation templates to "list of..." articles unless the meaning of each element in the list needs to be explained.--Adoniscik (talk) 04:07, 21 January 2008 (UTC)
 * The point of the list page is that a lot of color spaces are used for specific purposes, and an index (with summary) is appropriate to allow readers the opportunity to select the space that best suits them. That said I fully agree that adding a navigation template as well is a good thing. Tletnes (talk) 20:03, 12 November 2008 (UTC)

pure colours?
The article mentions "pure colors" but doesn't give any information on what a pure colour is. —Preceding unsigned comment added by 203.214.49.35 (talk) 08:08, 13 August 2009 (UTC)

"There is no RGB color space" This is wrong according to Wikipedia!
"For example, although several specific color spaces are based on the RGB model, there is no such thing as the RGB color space."

Ok, this sentence contradicts with Wikipedia itself! http://en.wikipedia.org/wiki/RGB_color_space

Please, fix this guys. — Preceding unsigned comment added by Comptrol (talk • contribs) 09:30, 30 June 2011 (UTC)

 * The two words are usually used interchangeably in scientific literature, and I think the separation between them that Wikipedia uses (“color model” meaning the idea / mathematical construction, “color space” meaning explicitly relatable to colorimetric data) is basically original research. For what it’s worth, “color space” is the only one of these with a formal technical definition (in the CIE’s international lighting vocabulary, the standard scientific source for such definitions). Unfortunately fixing the usage across Wikipedia is a somewhat substantial project. –jacobolus (t) 12:25, 1 July 2011 (UTC)

Section headers
Section headers need improving. 188.223.18.19 (talk) 02:28, 13 March 2012 (UTC)

 * Suggest away! –jacobolus (t) 03:45, 13 March 2012 (UTC)

 * This is their idea of improvement. Δρ.Κ. λόγοςπράξις 03:49, 13 March 2012 (UTC)

model or space?
Why does this article begin with a definition of 'color model'. It is not clear to me, a non-specialist, whether color model and color space can be used interchangeably, or if this is just poor article structure. I would have thought a page on color space should begin with an unambiguous definition of color space. 86.31.69.235 (talk) 09:55, 31 May 2012 (UTC)

 * I fixed that. Hopefully the difference between color space and color model is clear now. I'm thinking next where to introduce a classification of color spaces, which is missing from this article. Colorchaser (talk) 17:02, 23 November 2015 (UTC)

Real Color Wheel
Does the "Real Color Wheel" deserve mention in this article? See: http://www.realcolorwheel.com/colorwheel.htm It seems to represent important work in defining an improved color space. Thanks! --Lbeaumont (talk) 14:10, 27 March 2014 (UTC)

 * Looks interesting, maybe as an approach to defining a color model even if not a color space. Even then, it's not in itself a reliable source  because it's self-published original/primary material.  (It's also a rambling essay with some bad science sprinkled in.)  Is there a reliable published secondary source that can establish its notability as a color model and explain the color model part of it in itself and how it's defined?  DavRosen (talk) 19:26, 27 March 2014 (UTC)

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Merger proposal
I propose that the two articles Gamut and Color space be merged considering the amount of overlap in their content.  Ren   Zut  ↂ 11:05, 14 November 2017 (UTC)
 * IMO Inconceivable to do that merger. IMO they are both important terms that should be covered and IMO fundamentally different. Gamut is an attribute of color spaces and also of anything that produces color. IMO it inconceivable to not have an article on Color Space. That would be like eliminating the article on "Ocean" and merging it into the "Sea level" article because they have content in common.  North8000  (talk) 04:20, 20 November 2017 (UTC)
 * Considering that more than 50 percent of the content of those articles overlap, I think it is not justified to have separate articles at this point (may be later, yes if needed). Alternatives to this would be to remove all overlap and highlight the differences properly. However, highlighting the differences will hardly be enough to qualify for a separate article. So one may be included in the other. Merging will remove overlap as well as confusion with the other term, helping readers understand both the terms better. Ren   Zut  ↂ 18:41, 22 November 2017 (UTC)
 * Respectfully, you are not addressing the main point made, which in essence is that these are fundamentally different topics, even if they do have overlap in material.  North8000  (talk) 13:29, 23 November 2017 (UTC)
 * Oppose Gamut and color space are two completely separate concepts. Both are highly notable topics, and should be covered in different articles. A gamut is a set of colors, akin to a set of physical objects. Color spaces and color models are like geometric spaces and and associated coordinate systems used to quantify and measure colors and hence gamuts. It is fine to reduce the amount of overlap, but keep separate articles on separate concepts. --Mark viking (talk) 21:37, 22 November 2017 (UTC)

Color scales
Hello all, I'am searching around but I'am unable to find any article for color scale, colors scales, color scales. This item is important for cartography, datavisualization, scientific graphs., etc. There are rainbow scales, heat map scale, sequential scales/gradiant scales/color ramp, diverging scales, qualitative color scales (see example on colorbrewer2.org by Cynthia Brewer). Cynthia and others have written academic article more or less on it while treating about semiotics and color theory. Rainbow scales are known to be BAD (source), etc. I'am checking up with you before to create the article : did any of you saw an article about color scales ? Yug (talk)  14:17, 12 May 2018 (UTC)

Proposed merge from Draft:Color and mathematics
I just saw the notice put up to merge Draft:Color and mathematics into this. There is some good writing and explanation at Draft:Color and mathematics and an excellent "see also" list, and IMO it's not really a distinct topic. So a merge might be a good idea. North8000 (talk) 17:45, 18 March 2019 (UTC)

We should note that this is not the "colorspace" sometimes used in code in projects like ffmpeg
This actually often creates some confusion (in code, and related technical documentations, discussions). They use "colorspace" to mean yuv2rgb matrices ("matrix coefficients")! While this article is somehow mainly about the "color primaries" concept in H.273! See ITU-T H.273. Hym3242 (talk) 03:33, 13 March 2024 (UTC)

title: Talk:Color space


text: Talk:List of city listings by country

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:List of city listings by country


text:
Czesław Miłosz

Czesław Miłosz (, ,   ; 30 June 1911 – 14 August 2004) was a Polish-American   poet, prose writer, translator, and diplomat. He primarily wrote his poetry in Polish. Regarded as one of the great poets of the 20th century, he won the 1980 Nobel Prize in Literature. In its citation, the Swedish Academy called Miłosz a writer who "voices man's exposed condition in a world of severe conflicts".

Miłosz survived the German occupation of Warsaw during World War II and became a cultural attaché for the Polish government during the postwar period. When communist authorities threatened his safety, he defected to France and ultimately chose exile in the United States, where he became a professor at the University of California, Berkeley. His poetry—particularly about his wartime experience—and his appraisal of Stalinism in a prose book, The Captive Mind, brought him renown as a leading émigré artist and intellectual.

Throughout his life and work, Miłosz tackled questions of morality, politics, history, and faith. As a translator, he introduced Western works to a Polish audience, and as a scholar and editor, he championed a greater awareness of Slavic literature in the West. Faith played a role in his work as he explored his Catholicism and personal experience. He wrote in Polish and English.

Miłosz died in Kraków, Poland, in 2004. He is interred in Skałka, a church known in Poland as a place of honor for distinguished Poles.

Origins and early life
Czesław Miłosz was born on 30 June 1911, in the village of Šeteniai (Szetejnie), Kovno Governorate, Russian Empire (now Kėdainiai district, Kaunas County, Lithuania). He was the son of Aleksander Miłosz (1883–1959), a Polish civil engineer, and his wife, Weronika (née Kunat; 1887–1945).

Miłosz was born into a prominent family. On his mother's side, his grandfather was Zygmunt Kunat, a descendant of a Polish family that traced its lineage to the 13th century and owned an estate in Krasnogruda (in present-day Poland). Having studied agriculture in Warsaw, Zygmunt settled in Šeteniai after marrying Miłosz's grandmother, Jozefa, a descendant of the noble Syruć family, which was of Lithuanian origin. One of her ancestors, Szymon Syruć, had been personal secretary to Stanisław I, King of Poland and Grand Duke of Lithuania. Miłosz's paternal grandfather, Artur Miłosz, was also from a noble family and fought in the 1863 January Uprising for Polish independence. Miłosz's grandmother, Stanisława, was a doctor's daughter from Riga, Latvia, and a member of the German-Polish von Mohl family. The Miłosz estate was in Serbiny, a name that Miłosz's biographer Andrzej Franaszek has suggested could indicate Serbian origin; it is possible the Miłosz family originated in Serbia and settled in present-day Lithuania after being expelled from Germany centuries earlier. Miłosz's father was born and educated in Riga. Miłosz's mother was born in Šeteniai and educated in Kraków.

Despite this noble lineage, Miłosz's childhood on his maternal grandfather's estate in Šeteniai lacked the trappings of wealth or the customs of the upper class. He memorialized his childhood in a 1955 novel, The Issa Valley, and a 1959 memoir, Native Realm. In these works, he described the influence of his Catholic grandmother, Jozefa, his burgeoning love for literature, and his early awareness, as a member of the Polish gentry in Lithuania, of the role of class in society. Miłosz's early years were marked by upheaval. When his father was hired to work on infrastructure projects in Siberia, he and his mother traveled to be with him. After World War I broke out in 1914, Miłosz's father was conscripted into the Russian army, tasked with engineering roads and bridges for troop movements. Miłosz and his mother were sheltered in Vilnius when the German army captured it in 1915. Afterward, they once again joined Miłosz's father, following him as the front moved further into Russia, where, in 1917, Miłosz's brother, Andrzej, was born. Finally, after moving through Estonia and Latvia, the family returned to Šeteniai in 1918. But the Polish–Soviet War broke out in 1919, during which Miłosz's father was involved in a failed attempt to incorporate the newly independent Lithuania into the Second Polish Republic, resulting in his expulsion from Lithuania and the family's move to what was then known as Wilno, which had come under Polish control after the Polish–Lithuanian War of 1920. The Polish-Soviet War continued, forcing the family to move again. At one point during the conflict, Polish soldiers fired at Miłosz and his mother, an episode he recounted in Native Realm. The family returned to Wilno after the war ended in 1921.

Despite the interruptions of wartime wanderings, Miłosz proved to be an exceptional student with a facility for languages. He ultimately learned Polish, Lithuanian, Russian, English, French, and Hebrew. After graduation from Sigismund Augustus Gymnasium in Wilno, he entered Stefan Batory University in 1929 as a law student. While at university, Miłosz joined a student group called Academic Club of Wilno Wanderers and Intellectuals and a student poetry group called Żagary, along with the young poets Jerzy Zagórski, Teodor Bujnicki, Aleksander Rymkiewicz, Jerzy Putrament, and Józef Maśliński. His first published poems appeared in the university's student magazine in 1930.

In 1931, he visited Paris, where he first met his distant cousin, Oscar Milosz, a French-language poet of Lithuanian descent who had become a Swedenborgian. Oscar became a mentor and inspiration. Returning to Wilno, Miłosz's early awareness of class difference and sympathy for those less fortunate than himself inspired his defense of Jewish students at the university who were being harassed by an anti-Semitic mob. Stepping between the mob and the Jewish students, Miłosz fended off attacks. One student was killed when a rock was thrown at his head.

Miłosz's first volume of poetry, A Poem on Frozen Time, was published in Polish in 1933. In the same year, he publicly read his poetry at an anti-racist "Poetry of Protest" event in Wilno, occasioned by Hitler's rise to power in Germany. In 1934, he graduated with a law degree, and the poetry group Żagary disbanded. Miłosz relocated to Paris on a scholarship to study for one year and write articles for a newspaper back in Wilno. In Paris, he frequently met with his cousin Oscar.

By 1936, he had returned to Wilno, where he worked on literary programs at Polish Radio Wilno. His second poetry collection, Three Winters, was published that same year, eliciting from one critic a comparison to Adam Mickiewicz. After only one year at Radio Wilno, Miłosz was dismissed due to an accusation that he was a left-wing sympathizer: as a student, he had adopted socialist views from which, by then, he had publicly distanced himself, and he and his boss, Tadeusz Byrski, had produced programming that included performances by Jews and Byelorussians, which angered right-wing nationalists. After Byrski made a trip to the Soviet Union, an anonymous complaint was lodged with the management of Radio Wilno that the station housed a communist cell, and Byrski and Miłosz were dismissed. In summer 1937, Miłosz moved to Warsaw, where he found work at Polish Radio and met his future wife, Janina Miłosz (née Dłuska; 1909–1986), who was at the time married to another man.

World War II
Miłosz was in Warsaw when it was bombarded as part of the German invasion of Poland in September 1939. Along with colleagues from Polish Radio, he escaped the city, making his way to Lwów. But when he learned that Janina had remained in Warsaw with her parents, he looked for a way back. The Soviet invasion of Poland thwarted his plans, and, to avoid the incoming Red Army, he fled to Bucharest. There he obtained a Lithuanian identity document and Soviet visa that allowed him to travel by train to Kyiv and then Wilno. After the Red Army invaded Lithuania, he procured fake documents that he used to enter the part of German-occupied Poland the Germans had dubbed the "General Government". It was a difficult journey, mostly on foot, that ended in summer 1940. Finally back in Warsaw, he reunited with Janina.

Like many Poles at the time, to evade notice by German authorities, Miłosz participated in underground activities. For example, with higher education officially forbidden to Poles, he attended underground lectures by Władysław Tatarkiewicz, the Polish philosopher and historian of philosophy and aesthetics. He translated Shakespeare's As You Like It and T. S. Eliot's The Waste Land into Polish. Along with his friend the novelist Jerzy Andrzejewski, he also arranged for the publication of his third volume of poetry, Poems (Miłosz), under a pseudonym in September 1940. The pseudonym was "Jan Syruć" and the title page said the volume had been published by a fictional press in Lwów in 1939; in fact, it may have been the first clandestine book published in occupied Warsaw. In 1942, Miłosz arranged for the publication of an anthology of Polish poets, Invincible Song: Polish Poetry of War Time, by an underground press.

Miłosz's riskiest underground wartime activity was aiding Jews in Warsaw, which he did through an underground socialist organization called Freedom. His brother, Andrzej, was also active in helping Jews in Nazi-occupied Poland; in 1943, Andrzej transported the Polish Jew Seweryn Tross and his wife from Vilnius to Warsaw. Miłosz took in the Trosses, found them a hiding place, and supported them financially. The Trosses ultimately died during the Warsaw Uprising. Miłosz helped at least three other Jews in similar ways: Felicja Wołkomińska and her brother and sister.

Despite his willingness to engage in underground activity and vehement opposition to the Nazis, Miłosz did not join the Polish Home Army. In later years, he explained that this was partly out of an instinct for self-preservation and partly because he saw its leadership as right-wing and dictatorial. He also did not participate in the planning or execution of the Warsaw Uprising. According to Polish literary historian Irena Grudzińska-Gross, he saw the uprising as a "doomed military effort" and lacked the "patriotic elation" for it. He called the uprising "a blameworthy, lightheaded enterprise", but later criticized the Red Army for failing to support it when it had the opportunity to do so. As German troops began torching Warsaw buildings in August 1944, Miłosz was captured and held in a prisoner transit camp; he was later rescued by a Catholic nun—a stranger to him—who pleaded with the Germans on his behalf. Once freed, he and Janina escaped the city, ultimately settling in a village outside Kraków, where they were staying when the Red Army swept through Poland in January 1945, after Warsaw had been largely destroyed.

In the preface to his 1953 book The Captive Mind, Miłosz wrote, "I do not regret those years in Warsaw, which was, I believe, the most agonizing spot in the whole of terrorized Europe. Had I then chosen emigration, my life would certainly have followed a very different course. But my knowledge of the crimes which Europe has witnessed in the twentieth century would be less direct, less concrete than it is". Immediately after the war, Miłosz published his fourth poetry collection, Rescue; it focused on his wartime experiences and contains some of his most critically praised work, including the 20-poem cycle "The World," composed like a primer for naïve schoolchildren, and the cycle "Voices of Poor People". The volume also contains some of his most frequently anthologized poems, including "A Song on the End of the World", "Campo dei Fiori (poem)", and "A Poor Christian Looks at the Ghetto".

Diplomatic career
From 1945 to 1951, Miłosz served as a cultural attaché for the newly formed People's Republic of Poland. It was in this capacity that he first met Jane Zielonko, the future translator of The Captive Mind, with whom he had a brief relationship. He moved from New York City to Washington, D.C., and finally to Paris, organizing and promoting Polish cultural occasions such as musical concerts, art exhibitions, and literary and cinematic events. Although he was a representative of Poland, which had become a Soviet satellite country behind the Iron Curtain, he was not a member of any communist party. In The Captive Mind, he explained his reasons for accepting the role:"My mother tongue, work in my mother tongue, is for me the most important thing in life. And my country, where what I wrote could be printed and could reach the public, lay within the Eastern Empire. My aim and purpose was to keep alive freedom of thought in my own special field; I sought in full knowledge and conscience to subordinate my conduct to the fulfillment of that aim. I served abroad because I was thus relieved from direct pressure and, in the material which I sent to my publishers, could be bolder than my colleagues at home. I did not want to become an émigré and so give up all chance of taking a hand in what was going on in my own country."Miłosz did not publish a book while he was a representative of the Polish government. Instead, he wrote articles for various Polish periodicals introducing readers to British and American writers like Eliot, William Faulkner, Ernest Hemingway, Norman Mailer, Robert Lowell, and W. H. Auden. He also translated into Polish Shakespeare's Othello and the work of Walt Whitman, Carl Sandburg, Pablo Neruda, and others.

In 1947, Miłosz's son, Anthony, was born in Washington, D.C.

In 1948, Miłosz arranged for the Polish government to fund a Department of Polish Studies at Columbia University. Named for Adam Mickiewicz, the department featured lectures by Manfred Kridl, Miłosz's friend who was then on the faculty of Smith College, and produced a scholarly book about Mickiewicz. Mickiewicz's granddaughter wrote a letter to Dwight D. Eisenhower, then the president of Columbia University, to express her approval, but the Polish American Congress, an influential group of Polish émigrés, denounced the arrangement in a letter to Eisenhower that they shared with the press, which alleged a communist infiltration at Columbia. Students picketed and called for boycotts. One faculty member resigned in protest. Despite the controversy, the department was established, the lectures took place, and the book was produced, but the department was discontinued in 1954 when funding from Poland ceased.

In 1949, Miłosz visited Poland for the first time since joining its diplomatic corps and was appalled by the conditions he saw, including an atmosphere of pervasive fear of the government. After returning to the U.S., he began to look for a way to leave his post, even soliciting advice from Albert Einstein, whom he met in the course of his duties.

As the Polish government, influenced by Joseph Stalin, became more oppressive, his superiors began to view Miłosz as a threat: he was outspoken in his reports to Warsaw and met with people not approved by his superiors. Consequently, his superiors called him "an individual who ideologically is totally alien". Toward the end of 1950, when Janina was pregnant with their second child, Miłosz was recalled to Warsaw, where in December 1950 his passport was confiscated, ostensibly until it could be determined that he did not plan to defect. After intervention by Poland's foreign minister, Zygmunt Modzelewski, Miłosz's passport was returned. Realizing that he was in danger if he remained in Poland, Miłosz left for Paris in January 1951.

Asylum in France
Upon arriving in Paris, Miłosz went into hiding, aided by the staff of the Polish émigré magazine Kultura. With his wife and son still in the United States, he applied to enter the U.S. and was denied. At the time, the U.S. was in the grip of McCarthyism, and influential Polish émigrés had convinced American officials that Miłosz was a communist. Unable to leave France, Miłosz was not present for the birth of his second son, John Peter, in Washington, D.C., in 1951.

With the United States closed to him, Miłosz requested—and was granted—political asylum in France. After three months in hiding, he announced his defection at a press conference and in a Kultura article, "No", that explained his refusal to live in Poland or continue working for the Polish regime. He was the first artist of note from a communist country to make public his reasons for breaking ties with his government. His case attracted attention in Poland, where his work was banned and he was attacked in the press, and in the West, where prominent individuals voiced criticism and support. For example, the future Nobel laureate Pablo Neruda, then a supporter of the Soviet Union, attacked him in a communist newspaper as "The Man Who Ran Away". On the other hand, Albert Camus, another future Nobel laureate, visited Miłosz and offered his support. Another supporter during this period was the Swiss philosopher Jeanne Hersch, with whom Miłosz had a brief romantic affair.

Miłosz was finally reunited with his family in 1953, when Janina and the children joined him in France. That same year saw the publication of The Captive Mind, a nonfiction work that uses case studies to dissect the methods and consequences of Soviet communism, which at the time had prominent admirers in the West. The book brought Miłosz his first readership in the United States, where it was credited by some on the political left (such as Susan Sontag) with helping to change perceptions about communism. The German philosopher Karl Jaspers described it as a "significant historical document". It became a staple of political science courses and is considered a classic work in the study of totalitarianism.

Miłosz's years in France were productive. In addition to The Captive Mind, he published two poetry collections (Daylight (1954) and A Treatise on Poetry (1957)), two novels (The Seizure of Power (1955) and The Issa Valley (1955)), and a memoir (Native Realm (1959)). All were published in Polish by an émigré press in Paris.

Andrzej Franaszek has called A Treatise on Poetry Miłosz's magnum opus, while the scholar Helen Vendler compared it to The Waste Land, a work "so powerful that it bursts the bounds in which it was written—the bounds of language, geography, epoch". A long poem divided into four sections, A Treatise on Poetry surveys Polish history, recounts Miłosz's experience of war, and explores the relationship between art and history.

In 1956, Miłosz and Janina were married.

University of California, Berkeley
In 1960, Miłosz was offered a position as a visiting lecturer at the University of California, Berkeley. With this offer, and with the climate of McCarthyism abated, he was able to move to the United States. He proved to be an adept and popular teacher, and was offered tenure after only two months. The rarity of this, and the degree to which he had impressed his colleagues, are underscored by the fact that Miłosz lacked a PhD and teaching experience. Yet his deep learning was obvious, and after years of working administrative jobs that he found stifling, he told friends that he was in his element in a classroom. With stable employment as a tenured professor of Slavic languages and literatures, Miłosz was able to secure American citizenship and purchase a home in Berkeley.

Miłosz began to publish scholarly articles in English and Polish on a variety of authors, including Fyodor Dostoevsky. But despite his successful transition to the U.S., he described his early years at Berkeley as frustrating, as he was isolated from friends and viewed as a political figure rather than a great poet. (In fact, some of his Berkeley faculty colleagues, unaware of his creative output, expressed astonishment when he won the Nobel Prize.) His poetry was not available in English, and he was not able to publish in Poland.

As part of an effort to introduce American readers to his poetry, as well as to his fellow Polish poets' work, Miłosz conceived and edited the anthology Postwar Polish Poetry, which was published in English in 1965. American poets like W.S. Merwin, and American scholars like Clare Cavanagh, have credited it with a profound impact. It was many English-language readers' first exposure to Miłosz's poetry, as well as that of Polish poets like Wisława Szymborska, Zbigniew Herbert, and Tadeusz Różewicz. (In the same year, Miłosz's poetry also appeared in the first issue of Modern Poetry in Translation, an English-language journal founded by prominent literary figures Ted Hughes and Daniel Weissbort. The issue also featured Miroslav Holub, Yehuda Amichai, Ivan Lalić, Vasko Popa, Zbigniew Herbert, and Andrei Voznesensky.) In 1969, Miłosz's textbook The History of Polish Literature was published in English. He followed this with a volume of his own work, Selected Poems (1973), some of which he translated into English himself. This was his first anthology of poetry published in English language.

At the same time, Miłosz continued to publish in Polish with an émigré press in Paris. His poetry collections from this period include King Popiel and Other Poems (1962), Bobo’s Metamorphosis (1965), City Without a Name (1969), and From the Rising of the Sun (1974).

During Miłosz's time at Berkeley, the campus became a hotbed of student protest, notably as the home of the Free Speech Movement, which has been credited with helping to "define a generation of student activism" across the United States. Miłosz's relationship to student protesters was sometimes antagonistic: he called them "spoiled children of the bourgeoisie" and their political zeal naïve. At one campus event in 1970, he mocked protesters who claimed to be demonstrating for peace and love: "Talk to me about love when they come into your cell one morning, line you all up, and say 'You and you, step forward—it’s your time to die—unless any of your friends loves you so much he wants to take your place!'" Comments like these were in keeping with his stance toward American counterculture of the 1960s in general. For example, in 1968, when Miłosz was listed as a signatory of an open letter of protest written by poet and counterculture figure Allen Ginsberg and published in The New York Review of Books, Miłosz responded by calling the letter "dangerous nonsense" and insisting that he had not signed it.

After 18 years, Miłosz retired from teaching in 1978. To mark the occasion, he was awarded a "Berkeley Citation", the University of California's equivalent of an honorary doctorate. But when his wife, Janina, fell ill and required expensive medical treatment, Miłosz returned to teaching seminars. This year also marked the publication of his second English-language poetry anthology, Bells in Winter.

Nobel laureate
On 9 October 1980, the Swedish Academy announced that Miłosz had won the Nobel Prize in Literature. The award catapulted him to global fame. On the day the prize was announced, Miłosz held a brief press conference and then left to teach a class on Dostoevsky. In his Nobel lecture, Miłosz described his view of the role of the poet, lamented the tragedies of the 20th century, and paid tribute to his cousin Oscar.

Many Poles became aware of Miłosz for the first time when he won the Nobel Prize. After a 30-year ban in Poland, his writing was finally published there in limited selections. He was also able to visit Poland for the first time since fleeing in 1951 and was greeted by crowds with a hero's welcome. He met with leading Polish figures like Lech Wałęsa and Pope John Paul II. At the same time, his early work, until then only available in Polish, began to be translated into English and many other languages.

In 1981, Miłosz was appointed the Norton Professor of Poetry at Harvard University, where he was invited to deliver the Charles Eliot Norton Lectures. He used the opportunity, as he had before becoming a Nobel laureate, to draw attention to writers who had been unjustly imprisoned or persecuted. The lectures were published as The Witness of Poetry (1983).

Miłosz continued to publish work in Polish through his longtime publisher in Paris, including the poetry collections Hymn of the Pearl (1981) and Unattainable Earth (1986), and the essay collection Beginning with My Streets (1986).

In 1986, Miłosz's wife, Janina, died.

In 1988, Miłosz's Collected Poems appeared in English; it was the first of several attempts to collect all his poetry into a single volume. After the fall of communism in Poland, he split his time between Berkeley and Kraków, and he began to publish his writing in Polish with a publisher based in Kraków. When Lithuania broke free from the Soviet Union in 1991, Miłosz visited for the first time since 1939. In 2000, he moved to Kraków.

In 1992, Miłosz married Carol Thigpen, an academic at Emory University in Atlanta, Georgia. They remained married until her death in 2002. His work from the 1990s includes the poetry collections Facing the River (1994) and Roadside Dog (1997), and the collection of short prose Miłosz’s ABC’s (1997). Miłosz's last stand-alone volumes of poetry were This (Miłosz) (2000), and The Second Space (2002). Uncollected poems written afterward appeared in English in New and Selected Poems (2004) and, posthumously, in Selected and Last Poems (2011).

Death
Czesław Miłosz died on 14 August 2004, at his Kraków home, aged 93. He was given a state funeral at the historic Mariacki Church in Kraków. Polish Prime Minister Marek Belka attended, as did the former president of Poland, Lech Wałęsa. Thousands of people lined the streets to witness his coffin moved by military escort to his final resting place at Skałka Roman Catholic Church, where he was one of the last to be commemorated. In front of that church, the poets Seamus Heaney, Adam Zagajewski, and Robert Hass read Miłosz's poem "In Szetejnie" in Polish, French, English, Russian, Lithuanian, and Hebrew—all the languages Miłosz knew. Media from around the world covered the funeral.

Protesters threatened to disrupt the proceedings on the grounds that Miłosz was anti-Polish, anti-Catholic, and had signed a petition supporting gay and lesbian freedom of speech and assembly. Pope John Paul II, along with Miłosz's confessor, issued public messages confirming that Miłosz had received the sacraments, which quelled the protest.

Family
Miłosz's brother, Andrzej Miłosz (1917–2002), was a Polish journalist, translator, and documentary film producer. His work included Polish documentaries about his brother.

Miłosz's son, Anthony, is a composer and software designer. He studied linguistics, anthropology, and chemistry at the University of California at Berkeley, and neuroscience at the University of California Medical Center in San Francisco. In addition to releasing recordings of his own compositions, he has translated some of his father's poems into English.

Honors
In addition to the Nobel Prize in Literature, Miłosz received the following awards:

 * Polish PEN Translation Prize (1974)
 * Guggenheim Fellowship for Creative Arts (1976)
 * Neustadt International Prize for Literature (1978)
 * National Medal of Arts (United States, 1989)
 * Robert Kirsch Award (1990)
 * Order of the White Eagle (Poland, 1994)

Miłosz was named a distinguished visiting professor or fellow at many institutions, including the University of Michigan and University of Oklahoma, where he was a Puterbaugh Fellow in 1999. He was an elected member of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, and the Serbian Academy of Sciences and Arts. He received honorary doctorates from Harvard University, the University of Michigan, the University of California at Berkeley, Jagiellonian University, Catholic University of Lublin, and Vytautas Magnus University in Lithuania. Vytautas Magnus University and Jagiellonian University have academic centers named for Miłosz.

In 1992, Miłosz was made an honorary citizen of Lithuania, where his birthplace was made into a museum and conference center. In 1993, he was made an honorary citizen of Kraków.

His books also received awards. His first, A Poem on Frozen Time, won an award from the Union of Polish Writers in Wilno. The Seizure of Power received the Prix Littéraire Européen (European Literary Prize). The collection Roadside Dog received a Nike Award in Poland.

In 1989, Miłosz was named one of the "Righteous Among the Nations" at Israel's Yad Vashem memorial to the Holocaust, in recognition of his efforts to save Jews in Warsaw during World War II.

Miłosz has also been honored posthumously. The Polish Parliament declared 2011, the centennial of his birth, the "Year of Miłosz". It was marked by conferences and tributes throughout Poland, as well as in New York City, at Yale University, and at the Dublin Writers Festival, among many other locations. The same year, he was featured on a Lithuanian postage stamp. Streets are named for him near Paris, Vilnius, and in the Polish cities of Kraków, Poznań, Gdańsk, Białystok, and Wrocław. In Gdańsk there is a Czesław Miłosz Square. In 2013, a primary school in Vilnius was named for Miłosz, joining schools in Mierzecice, Poland, and Schaumburg, Illinois, that bear his name.

Cultural impact
In 1978, the Russian-American poet Joseph Brodsky called Miłosz "one of the great poets of our time; perhaps the greatest". Miłosz has been cited as an influence by numerous writers—contemporaries and succeeding generations. For example, scholars have written about Miłosz's influence on the writing of Seamus Heaney, and Clare Cavanagh has identified the following poets as having benefited from Miłosz's influence: Robert Pinsky, Edward Hirsch, Rosanna Warren, Robert Hass, Charles Simic, Mary Karr, Carolyn Forché, Mark Strand, Ted Hughes, Joseph Brodsky, and Derek Walcott.

By being smuggled into Poland, Miłosz's writing was a source of inspiration to the anti-communist Solidarity movement there in the early 1980s. Lines from his poem "You Who Wronged" are inscribed on the Monument to the Fallen Shipyard Workers of 1970 in Gdańsk, where Solidarity originated.

Of the effect of Miłosz's edited volume Postwar Polish Poetry on English-language poets, Merwin wrote, "Miłosz’s book had been a talisman and had made most of the literary bickering among the various ideological encampments, then most audible in the poetic doctrines in English, seem frivolous and silly". Similarly, the British poet and scholar Donald Davie argued that, for many English-language writers, Miłosz's work encouraged an expansion of poetry to include multiple viewpoints and an engagement with subjects of intellectual and historical importance: "I have suggested, going for support to the writings of Miłosz, that no concerned and ambitious poet of the present day, aware of the enormities of twentieth-century history, can for long remain content with the privileged irresponsibility allowed to, or imposed on, the lyric poet".

Miłosz's writing continues to be the subject of academic study, conferences, and cultural events. His papers, including manuscripts, correspondence, and other materials, are housed at the Beinecke Rare Book and Manuscript Library at Yale University.

From May 2024, Czesław Miłosz's Nobel Prize medal, Nobel Prize notebook of Czesław Miłosz and a fair copy of his poem Rays of Dazzling Light (Polish: Jasności promieniste) are presented at a permanent exhibition in the Palace of the Commonwealth in Warsaw.

Nationality
Miłosz's birth in a time and place of shifting borders and overlapping cultures, and his later naturalization as an American citizen, have led to competing claims about his nationality. Although his family identified as Polish and Polish was his primary language, and although he frequently spoke of Poland as his country, he also publicly identified himself as one of the last citizens of the multi-ethnic Grand Duchy of Lithuania. Writing in a Polish newspaper in 2000, he claimed, "I was born in the very center of Lithuania and so have a greater right than my great forebear, Mickiewicz, to write 'O Lithuania, my country.'" But in his Nobel lecture, he said, "My family in the 16th century already spoke Polish, just as many families in Finland spoke Swedish and in Ireland English, so I am a Polish, not a Lithuanian, poet". Public statements such as these, and numerous others, inspired discussion about his nationality, including a claim that he was "arguably the greatest spokesman and representative of a Lithuania that, in Miłosz’s mind, was bigger than its present incarnation". Others have viewed Miłosz as an American author, hosting exhibitions and writing about him from that perspective and including his work in anthologies of American poetry.

But in The New York Review of Books in 1981, the critic John Bayley wrote, "nationality is not a thing [Miłosz] can take seriously; it would be hard to imagine a greater writer more emancipated from even its most subtle pretensions". Echoing this notion, the scholar and diplomat Piotr Wilczek argued that, even when he was greeted as a national hero in Poland, Miłosz "made a distinct effort to remain a universal thinker". Speaking at a ceremony to celebrate his birth centenary in 2011, Lithuanian President Dalia Grybauskaitė stressed that Miłosz's works "unite the Lithuanian and Polish people and reveal how close and how fruitful the ties between our people can be".

Catholicism
Though raised Catholic, Miłosz as a young man came to adopt a "scientific, atheistic position mostly", though he later returned to the Catholic faith. He translated parts of the Bible into Polish, and allusions to Catholicism pervade his poetry, culminating in a long 2001 poem, "A Theological Treatise". For some critics, Miłosz's belief that literature should provide spiritual fortification was outdated: Franaszek suggests that Miłosz's belief was evidence of a "beautiful naïveté", while David Orr, citing Miłosz's dismissal of "poetry which does not save nations or people", accused him of "pompous nonsense".

Miłosz expressed some criticism of both Catholicism and Poland (a majority-Catholic country), causing furor in some quarters when it was announced that he would be interred in Kraków's historic Skałka church. Cynthia Haven writes that, to some readers, Miłosz's embrace of Catholicism can seem surprising and complicates the understanding of him and his work.

Form
While Miłosz is best known for his poetry, his body of work spans multiple other literary genres: fiction (particularly the novel), memoir, criticism, personal essay, and lectures. His letters are also of interest to scholars and lay readers; for example, his correspondence with writers such as Jerzy Andrzejewski, Witold Gombrowicz, and Thomas Merton have been published.

At the outset of his career, Miłosz was known as a "catastrophist" poet—a label critics applied to him and other poets from the Żagary poetry group to describe their use of surreal imagery and formal inventiveness in reaction to a Europe beset by extremist ideologies and war. While Miłosz evolved away from the apocalyptic view of catastrophist poetry, he continued to pursue formal inventiveness throughout his career. As a result, his poetry demonstrates a wide-ranging mastery of form, from long or epic poems (e.g., A Treatise on Poetry) to poems of just two lines (e.g., "On the Death of a Poet" from the collection This), and from prose poems and free verse to classic forms such as the ode or elegy. Some of his poems use rhyme, but many do not. In numerous cases, Miłosz used form to illuminate meaning in his poetry; for example, by juxtaposing variable stanzas to accentuate ideas or voices that challenge each other.

Themes
Miłosz's work is known for its complexity; according to the scholars Leonard Nathan and Arthur Quinn, Miłosz "prided himself on being an esoteric writer accessible to a mere handful of readers". Nevertheless, some common themes are readily apparent throughout his body of work.

The poet, critic, and frequent Miłosz translator Robert Hass has described Miłosz as "a poet of great inclusiveness", with a fidelity to capturing life in all of its sensuousness and multiplicities. According to Hass, Miłosz's poems can be viewed as "dwelling in contradiction", where one idea or voice is presented only to be immediately challenged or changed. According to English poet Donald Davie, this allowance for contradictory voices—a shift from the solo lyric voice to a chorus—is among the most important aspects of Miłosz's work.

The poetic chorus is deployed not just to highlight the complexity of the modern world but also to search for morality, another of Miłosz's recurrent themes. Nathan and Quinn write, "Miłosz’s work is devoted to unmasking man’s fundamental duality; he wants to make his readers admit the contradictory nature of their own experience" because doing so "forces us to assert our preferences as preferences". That is, it forces readers to make conscious choices, which is the arena of morality. At times, Miłosz's exploration of morality was explicit and concrete, such as when, in The Captive Mind, he ponders the right way to respond to three Lithuanian women who were forcibly moved to a Russian communal farm and wrote to him for help, or when, in the poems "Campo Dei Fiori" and "A Poor Christian Looks at the Ghetto", he addresses survivor's guilt and the morality of writing about another's suffering.

Miłosz's exploration of morality takes place in the context of history, and confrontation with history is another of his major themes. Vendler wrote, "for Miłosz, the person is irrevocably a person in history, and the interchange between external event and the individual life is the matrix of poetry". Having experienced both Nazism and Stalinism, Miłosz was particularly concerned with the notion of "historical necessity", which, in the 20th century, was used to justify human suffering on a previously unheard-of scale. Yet Miłosz did not reject the concept entirely. Nathan and Quinn summarize Miłosz's appraisal of historical necessity as it appears in his essay collection Views from San Francisco Bay: "Some species rise, others fall, as do human families, nations, and whole civilizations. There may well be an internal logic to these transformations, a logic that when viewed from sufficient distance has its own elegance, harmony, and grace. Our reason tempts us to be enthralled by this superhuman splendor; but when so enthralled we find it difficult to remember, except perhaps as an element in an abstract calculus, the millions of individuals, the millions upon millions, who unwillingly paid for this splendor with pain and blood".

Miłosz's willingness to accept a form of logic in history points to another recurrent aspect of his writing: his capacity for wonder, amazement, and, ultimately, faith—not always religious faith, but "faith in the objective reality of a world to be known by the human mind but not constituted by that mind". At other times, Miłosz was more explicitly religious in his work. According to scholar and translator Michael Parker, "crucial to any understanding of Miłosz’s work is his complex relationship to Catholicism". His writing is filled with allusions to Christian figures, symbols, and theological ideas, though Miłosz was closer to Gnosticism, or what he called Manichaeism, in his personal beliefs, viewing the universe as ruled by an evil whose influence human beings must try to escape. From this perspective, "he can at once admit that the world is ruled by necessity, by evil, and yet still find hope and sustenance in the beauty of the world. History reveals the pointlessness of human striving, the instability of human things; but time also is the moving image of eternity". According to Hass, this viewpoint left Miłosz "with the task of those heretical Christians…to suffer time, to contemplate being, and to live in the hope of the redemption of the world".

Influences
Miłosz had numerous literary and intellectual influences, although scholars of his work—and Miłosz himself, in his writings—have identified the following as significant: Oscar Miłosz (who inspired Miłosz's interest in the metaphysical) and, through him, Emanuel Swedenborg; Lev Shestov; Simone Weil (whose work Miłosz translated into Polish); Dostoevsky; William Blake (whose concept of "Ulro" Miłosz borrowed for his book The Land of Ulro), and Eliot.

Poetry collections

 * 1933: Poemat o czasie zastygłym (A Poem on Frozen Time); Wilno: Kolo Polonistów Sluchaczy Uniwersytetu Stefana Batorego
 * 1936: Trzy zimy (Three Winters); Warsaw: Władysława Mortkowicz
 * 1940: Wiersze (Poems); Warsaw (clandestine publication)
 * 1945: Ocalenie (Rescue); Warsaw: Spółdzielnia Wydawnicza Czytelnik
 * 1954: Światło dzienne (Daylight); Paris: Instytut Literacki
 * 1957: Traktat poetycki (A Treatise on Poetry); Paris: Instytut Literacki
 * 1962: Król Popiel i inne wiersze (King Popiel and Other Poems); Paris: Instytut Literacki
 * 1965: Gucio zaczarowany (Gucio Enchanted); Paris: Instytut Literacki
 * 1969: Miasto bez imienia (City Without a Name); Paris: Instytut Literacki
 * 1974: Gdzie słońce wschodzi i kedy zapada (Where the Sun Rises and Where it Sets); Paris: Instytut Literacki
 * 1982: Hymn o Perle (Hymn of the Pearl); Paris: Instytut Literacki
 * 1984: Nieobjęta ziemia (Unattainable Earth); Paris: Instytut Literacki
 * 1989: Kroniki (Chronicles); Paris: Instytut Literacki
 * 1991: Dalsze okolice (Farther Surroundings); Kraków: Społeczny Instytut Wydawniczy Znak
 * 1994: Na brzegu rzeki (Facing the River); Kraków: Społeczny Instytut Wydawniczy Znak
 * 1997: Piesek przydrożny (Roadside Dog); Kraków: Społeczny Instytut Wydawniczy Znak
 * 2000: To (This), Kraków: Społeczny Instytut Wydawniczy Znak
 * 2002: Druga przestrzen (The Second Space); Kraków: Społeczny Instytut Wydawniczy Znak
 * 2003: Orfeusz i Eurydyka (Orpheus and Eurydice); Kraków: Wydawnictwo Literackie
 * 2006: Wiersze ostatnie (Last Poems) Kraków: Społeczny Instytut Wydawniczy Znak

Prose collections

 * 1953: Zniewolony umysł (The Captive Mind); Paris: Instytut Literacki
 * 1959: Rodzinna Europa (Native Realm); Paris: Instytut Literacki
 * 1969: The History of Polish Literature; London-New York: MacMillan
 * 1969: Widzenia nad Zatoką San Francisco (A View of San Francisco Bay); Paris: Instytut Literacki
 * 1974: Prywatne obowiązki (Private Obligations); Paris: Instytut Literacki
 * 1976: Emperor of the Earth; Berkeley: University of California Press
 * 1977: Ziemia Ulro (The Land of Ulro); Paris: Instytut Literacki
 * 1979: Ogród Nauk (The Garden of Science); Paris: Instytut Literacki
 * 1981: Nobel Lecture; New York: Farrar, Straus, Giroux
 * 1983: The Witness of Poetry; Cambridge, Massachusetts: Harvard University Press
 * 1985: Zaczynając od moich ulic (Starting from My Streets); Paris: Instytut Literacki
 * 1986: A mi Európánkról (About our Europe); New York: Hill and Wang
 * 1989: Rok myśliwego (A year of the hunter); Paris: Instytut Literacki
 * 1992: Szukanie ojczyzny (In Search of a Homeland); Kraków: Społeczny Instytut Wydawniczy Znak
 * 1995: Metafizyczna pauza (The Metaphysical Pause); Kraków: Społeczny Instytut Wydawniczy Znak
 * 1996: Legendy nowoczesności (Modern Legends, War Essays); Kraków: Wydawnictwo Literackie
 * 1997: Zycie na wyspach (Life on Islands); Kraków: Społeczny Instytut Wydawniczy Znak
 * 1997: Abecadło Milosza (Milosz's ABC's); Kraków: Wydawnictwo Literackie
 * 1998: Inne Abecadło (A Further Alphabet); Kraków: Wydawnictwo Literackie
 * 1999: Wyprawa w dwudziestolecie (An Excursion through the Twenties and Thirties); Kraków: Wydawnictwo Literackie
 * 2001: To Begin Where I Am: Selected Essays; New York: Farrar, Straus and Giroux
 * 2004: Spiżarnia literacka (A Literary Larder); Kraków: Wydawnictwo Literackie
 * 2004: Przygody młodego umysłu; Kraków: Społeczny Instytut Wydawniczy Znak
 * 2004: O podróżach w czasie; (On time travel) Kraków: Społeczny Instytut Wydawniczy Znak

Novels

 * 1955: Zdobycie władzy (The Seizure of Power); Paris: Instytut Literacki
 * 1955: Dolina Issy (The Issa Valley); Paris: Instytut Literacki
 * 1987: The Mountains of Parnassus; Yale University Press

Translations by Miłosz

 * 1968: Selected Poems by Zbigniew Herbert translated by Czesław Miłosz and Peter Dale Scott, Penguin Books
 * 1996: Talking to My Body by Anna Swir translated by Czesław Miłosz and Leonard Nathan, Copper Canyon Press

Profiles

 * Profile of the poet at Culture.pl
 * Czesław Miłosz biography and poetry on poezja.org
 * Profile at the American Academy of Poets. Retrieved 2010-08-04
 * Profile and works at the Poetry Foundation
 * Profile at the American Academy of Poets. Retrieved 2010-08-04
 * Profile and works at the Poetry Foundation

Articles

 * Interview with Nathan Gardels for the New York Review of Books, February 1986. Retrieved 2010-08-04
 * Georgia Review 2001. Retrieved 2010-08-04
 * Obituary The Economist. Retrieved 2010-08-04
 * Obituary New York Times. Retrieved 2010-08-04
 * Biography and selected works listing. The Book Institute. Retrieved 2010-08-04
 * Czeslaw Milosz Papers. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
 * Czeslaw Milosz Papers. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Biographies, memoirs, photographs

 * Czesław Miłosz 1911–2004 – The life („Gazeta.pl”)
 * Czesław Miłosz - biography and poems at poezja.org
 * My Milosz – the memories of Nobel Prize winners, including Seamus Heaney and Maria Janion
 * Genealogia Czesława Miłosza w: M.J. Minakowski, Genealogy descendants of the Great Diet
 * Barbara Gruszka-Zych, Mój Poeta – osobiste wspomnienia o Czesławie Miłoszu, VIDEOGRAF II, ISBN 978-83-7183-499-8
 * Milosz – the centenary since the birth

Archives

 * Czesław Miłosz Papers. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

title: Czesław Miłosz


text:
Carnivore

A carnivore, or meat-eater (Latin, caro, genitive carnis, meaning meat or "flesh" and vorare meaning "to devour"), is an animal or plant whose food and energy requirements are met by the consumption of animal tissues (mainly muscle, fat and other soft tissues) whether through hunting or scavenging.

Mammal order
The technical term for mammals in the order Carnivora is carnivoran, and they are so-named because most member species in the group have a carnivorous diet, but the similarity of the name of the order and the name of the diet causes confusion.

Many but not all carnivorans are meat eaters; a few, such as the large and small cats (Felidae) are obligate carnivores (see below). Other classes of carnivore are highly variable. The ursids, for example: While the Arctic polar bear eats meat almost exclusively (more than 90% of its diet is meat), almost all other bear species are omnivorous, and one species, the giant panda, is nearly exclusively herbivorous.

Dietary carnivory is not a distinguishing trait of the order. Many mammals with highly carnivorous diets are not members of the order Carnivora. Cetaceans, for example, all eat other animals, but are paradoxically members of the almost exclusively plant-eating hooved mammals.

Carnivorous diet
Animals that depend solely on animal flesh for their nutrient requirements in nature are called hypercarnivores or obligate carnivores, whilst those which also consume non-animal food are called mesocarnivores, or facultative carnivores, or omnivores (there are no clear distinctions). A carnivore at the top of the food chain (adults not preyed upon by other animals) is termed an apex predator, regardless of whether it is an obligate or facultative carnivore.

Outside the animal kingdom, there are several genera containing carnivorous plants (predominantly insectivores) and several phyla containing carnivorous fungi (preying mostly on microscopic invertebrates, such as nematodes, amoebae, and springtails).

Subcategories of carnivory
Carnivores are sometimes characterized by their type of prey. For example, animals that eat mainly insects and similar invertebrates are called insectivores, while those that eat mainly fish are called piscivores.

Carnivores may alternatively be classified according to the percentage of meat in their diet. The diet of a hypercarnivore consists of more than 70% meat, that of a mesocarnivore 30–70%, and that of a hypocarnivore less than 30%, with the balance consisting of non-animal foods, such as fruits, other plant material, or fungi.

Omnivores also consume both animal and non-animal food, and apart from their more general definition, there is no clearly defined ratio of plant vs. animal material that distinguishes a facultative carnivore from an omnivore.

Obligate carnivores

Obligate or "true" carnivores are those whose diet requires nutrients found only in animal flesh. While obligate carnivores might be able to ingest small amounts of plant matter, they lack the necessary physiology required to fully digest it. Some obligate carnivorous mammals will ingest vegetation as an emetic, a food that upsets their stomachs, to self-induce vomiting.

Obligate carnivores are diverse. The amphibian axolotl consumes mainly worms and larvae in its environment, but if necessary will consume algae. All felids, including domestic cats, require a diet of primarily animal flesh and organs. Specifically, cats have high protein requirements and their metabolisms appear unable to synthesize essential nutrients such as retinol, arginine, taurine, and arachidonic acid; thus, in nature, they must consume flesh to supply these nutrients.

Characteristics of carnivores
Characteristics commonly associated with carnivores include strength, speed, and keen senses for hunting, as well as teeth and claws for capturing and tearing prey. However, some carnivores do not hunt and are scavengers, lacking the physical characteristics to bring down prey; in addition, most hunting carnivores will scavenge when the opportunity arises. Carnivores have comparatively short digestive systems, as they are not required to break down the tough cellulose found in plants.

Many hunting animals have evolved eyes facing forward, enabling depth perception. This is almost universal among mammalian predators, while most reptile and amphibian predators have eyes facing sideways.

Prehistory of carnivory
Predation (the eating of one living creature by another for nutrition) predates the rise of commonly recognized carnivores by hundreds of millions (perhaps billions) of years. Indeed: It began with single-celled organisms, before multicellular creatures, and so carnivory predates the clear distinction between plants and animals (herbivory / carnivory).

Proterozoic origin
The earliest predators were microbial organisms, which engulfed or grazed on others. Because the earliest fossil record is the poorest, these first predators could date back anywhere between 1 and over 2.7 bya (billion years ago).

The rise of eukaryotic cells at around 2.7 bya, the rise of multicellular organisms at about 2 bya, and the rise of mobile predators (around 600 Mya – 2 bya, probably around 1 bya) have all been attributed to early predatory behavior, and many very early remains show evidence of boreholes or other markings attributed to small predator species.

Devonian land-predators
Among more familiar species, the first vertebrate carnivores were fish, and then amphibians that moved on to land. Early tetrapods were large amphibious piscivores. The first tetrapods, or land-dwelling vertebrates, were piscivorous amphibians called labyrinthodonts. They gave rise to insectivorous vertebrates and, later, to predators of other tetrapods.

Some scientists assert that Dimetrodon "was the first terrestrial vertebrate to develop the curved, serrated teeth that enable a predator to eat prey much larger than itself." While amphibians continued to feed on fish and later insects, reptiles began exploring two new food types: tetrapods (carnivory) and then plants (herbivory). Carnivory was a natural transition from insectivory for medium and large tetrapods, requiring minimal adaptation; in contrast, a complex set of adaptations was necessary for feeding on highly fibrous plant materials.

Mesozoic
In the Mesozoic, some theropod dinosaurs such as Tyrannosaurus rex are thought probably to have been obligate carnivores.

Though the theropods were the larger carnivores, several carnivorous mammal groups were already present. Most notable are the gobiconodontids, the triconodontid Jugulator, the deltatheroidans and Cimolestes. Many of these, such as Repenomamus, Jugulator and Cimolestes, were among the largest mammals in their faunal assemblages, capable of attacking dinosaurs.

Cenozoic
In the early-to-mid-Cenozoic, the dominant predator forms were mammals: hyaenodonts, oxyaenids, entelodonts, ptolemaiidans, arctocyonids and mesonychians, representing a great diversity of eutherian carnivores in the northern continents and Africa. In South America, sparassodonts were dominant, while Australia saw the presence of several marsupial predators, such as the dasyuromorphs and thylacoleonids. From the Miocene to the present, the dominant carnivorous mammals have been carnivoramorphs.

Most carnivorous mammals, from dogs to deltatheridiums, share several dental adaptations, such as carnassialiforme teeth, long canines and even similar tooth replacement patterns. Most aberrant are thylacoleonids, with a diprodontan dentition completely unlike that of any other mammal; and eutriconodonts like gobiconodontids and Jugulator, with a three-cusp anatomy which nevertheless functioned similarly to carnassials.

title: Carnivore


text:
Talk:Carnivore

Wiki Education assignment: BISC 2 Genetics, Ecology, and Evolution
— Assignment last updated by IRiptide (talk) 20:59, 3 November 2023 (UTC)

I Plan to adding health issues, where do they live, unhealthy diet, different types, type of teeth carnivores have
Hello I am Andy Vrabel a college student, I plan on adding whats in the top part. Andyvrabel (talk) 20:47, 20 October 2023 (UTC)

 * Hello, and welcome to Wikipedia. It's important to familiarize yourself with Wikipedia's standards and policies. Unfortunately I have had to revert (remove) your additions to the article. Everything in WP must be based upon reliable sources. There are different levels of source quality, and it's important that additions and sources be relevant and appropriate to the content of the article. Narrative additions to articles will frequently be reverted, because it's impossible to know if the information is true and accurate without a source provided. You might wish to visit Contributing to Wikipedia to get an overview of what is expected in editing articles.
 * Wikipedia can be exceptionally difficult to 'navigate' as a new editor; it's good to become familiar with the basic requirements for additions to articles, as well as visiting some of the guides and tutorials found at the 'contributing' page. One thing that you can always do is simply post your proposed additions here, where you can get feedback on them before adding them to the public-facing encyclopedia. cheers. anastrophe, an editor he is. 23:16, 20 October 2023 (UTC)

title: Talk:Carnivore