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O Rio Grande do Sul é um dos principais produtores de geodos de ágatas do mundo. Na região do Salto do Jacuí existe um tipo de ágata cinza, ideal para tingimento, chamada “Umbu”. Essas ágatas porosas permitem a introdução de alguns corantes em sua estrutura, tornando-as coloridas artificialmente. Este trabalho teve como objetivo avaliar a colorimetria como ferramenta para o controle das cores no tingimento de ágatas. Avaliou-se a resistência da cor em função do tempo e locais de exposição para ágatas tingidas com corantes orgânicos e inorgânicos. Estudaram-se as ágatas coloridas com os seguintes corantes orgânicos: verde brilhante (verde), rodamina B (rosa), cristal violeta (roxo) e vermelho sangue (vermelho). Também se avaliaram as colorações dos seguintes procedimentos clássicos de tingimento: ferrocianeto de potássio/sulfato de ferro (azul), nitrato de ferro/calcinação (vermelho), ácido crômico/carbonato de amônio (verde) e açúcar/ácido sulfúrico (preto). O procedimento experimental consistiu em expor chapas de ágatas em três ambientes com luminosidade distintas (escuro, doméstico e ao ar livre), por um período de 30 semanas, sendo a variação da cor analisada, com um espectrofotômetro Minolta 2600 d, utilizando o sistema colorimétrico L* a* b* aliada à colorimetria diferencial.Os resultados demonstraram que a colorimetria diferencial se mostrou uma ferramenta eficiente para avaliar a perda de cor em ágatas coloridas artificialmente. Os métodos clássicos de tingimento em verde e vermelho produzem cores estáveis. Já os procedimentos clássicos para coloração azul e preto apresentam variações, podendo ser considerados fotossensíveis. Todos os corantes orgânicos estudados (anilinas) sofrem degradação pela luz. / The State of Rio Grande do Sul in Brazil, is one of the main world producers of geodes of agates: (a stone having a cavity lined with crystals). The gray type of agates, found in the region of Salto do Jacuí, called: “UMBÚ”, is ideal for coloring. These porous agates are suitable to some artificial colorings applications on their walls. The purpose of this paper is to analyze the measurements of agates colored by means of a colorimeter. The aging factor of colored agates with organic and inorganic dyes was evaluated. The colored agates with following organic colorings were analyzed: Brilliant green, rhodamine B (pink), crystal violet (purple), and blood red. The coloring of the following standard procedures of dyeing were also evaluated: Ferrocyanid of potassium/sulfate of iron (blue), nitrate of iron/calcinations (red), chromic acid/carbonate of ammonium (green), and sugar/sulfuric acid (black). The experimental procedures consisted of exposing agate plates in three places with distinct luminosity (dark, in door/domestic, and outdoors). The color variation was analyzed with a Minolta 2600d spectrophotometer, using the L* a* b* colorimetrical system as related to the colorimetric differential.The results have demonstrated that the colorimetric differential revealed itself as an efficient tool to evaluate the loss of artificially colored agates. The standards procedures for dyeing in green and red produce stable colors. The standard procedures, for dyeing in blue and black, offer variations, as they can be considered photosensitive. All the studied organic colorings (anilines) are degraded by the light.

O Rio Grande do Sul é um dos principais produtores de geodos de ágatas do mundo. Na região do Salto do Jacuí existe um tipo de ágata cinza, ideal para tingimento, chamada “Umbu”. Essas ágatas porosas permitem a introdução de alguns corantes em sua estrutura, tornando-as coloridas artificialmente. Este trabalho teve como objetivo avaliar a colorimetria como ferramenta para o controle das cores no tingimento de ágatas. Avaliou-se a resistência da cor em função do tempo e locais de exposição para ágatas tingidas com corantes orgânicos e inorgânicos. Estudaram-se as ágatas coloridas com os seguintes corantes orgânicos: verde brilhante (verde), rodamina B (rosa), cristal violeta (roxo) e vermelho sangue (vermelho). Também se avaliaram as colorações dos seguintes procedimentos clássicos de tingimento: ferrocianeto de potássio/sulfato de ferro (azul), nitrato de ferro/calcinação (vermelho), ácido crômico/carbonato de amônio (verde) e açúcar/ácido sulfúrico (preto). O procedimento experimental consistiu em expor chapas de ágatas em três ambientes com luminosidade distintas (escuro, doméstico e ao ar livre), por um período de 30 semanas, sendo a variação da cor analisada, com um espectrofotômetro Minolta 2600 d, utilizando o sistema colorimétrico L* a* b* aliada à colorimetria diferencial.Os resultados demonstraram que a colorimetria diferencial se mostrou uma ferramenta eficiente para avaliar a perda de cor em ágatas coloridas artificialmente. Os métodos clássicos de tingimento em verde e vermelho produzem cores estáveis. Já os procedimentos clássicos para coloração azul e preto apresentam variações, podendo ser considerados fotossensíveis. Todos os corantes orgânicos estudados (anilinas) sofrem degradação pela luz. / The State of Rio Grande do Sul in Brazil, is one of the main world producers of geodes of agates: (a stone having a cavity lined with crystals). The gray type of agates, found in the region of Salto do Jacuí, called: “UMBÚ”, is ideal for coloring. These porous agates are suitable to some artificial colorings applications on their walls. The purpose of this paper is to analyze the measurements of agates colored by means of a colorimeter. The aging factor of colored agates with organic and inorganic dyes was evaluated. The colored agates with following organic colorings were analyzed: Brilliant green, rhodamine B (pink), crystal violet (purple), and blood red. The coloring of the following standard procedures of dyeing were also evaluated: Ferrocyanid of potassium/sulfate of iron (blue), nitrate of iron/calcinations (red), chromic acid/carbonate of ammonium (green), and sugar/sulfuric acid (black). The experimental procedures consisted of exposing agate plates in three places with distinct luminosity (dark, in door/domestic, and outdoors). The color variation was analyzed with a Minolta 2600d spectrophotometer, using the L* a* b* colorimetrical system as related to the colorimetric differential.The results have demonstrated that the colorimetric differential revealed itself as an efficient tool to evaluate the loss of artificially colored agates. The standards procedures for dyeing in green and red produce stable colors. The standard procedures, for dyeing in blue and black, offer variations, as they can be considered photosensitive. All the studied organic colorings (anilines) are degraded by the light.

This thesis summarises research on the improved design, integration and expansion of past cortex-like computer vision models, following biologically-inspired methodologies. By adopting early theories and algorithms as a building block, particular interest has been shown for algorithmic parameterisation, feature extraction, invariance properties and classification. Overall, the major original contributions of this thesis have been: 1. The incorporation of a salient feature-based method for semantic feature extraction and refinement in object recognition. 2. The design and integration of colour features coupled with the existing morphological-based features for efficient and improved biologically-inspired object recognition. 3. The introduction of the illumination invariance property with colour constancy methods under a biologically-inspired framework. 4. The development and investigation of rotation invariance methods to improve robustness and compensate for the lack of such a mechanism in the original models. 5. Adaptive Gabor filter design that captures texture information, enhancing the morphological description of objects in a visual scene and improving the overall classification performance. 6. Instigation of pioneering research on Spiking Neural Network classification for biologically-inspired vision. Most of the above contributions have also been presented in two journal publications and five conference papers. The system has been fully developed and tested in computers using MATLAB under a variety of image datasets either created for the purposes of this work or obtained from the public domain. / © Cranfield University

In Canada, nursing education and practice are enacted in the context of a white settler nation-state. As part of their mandates, nursing schools uphold concepts such as multiculturalism, equity, and diversity; however, studies in North America reflect that the reality contradicts these directives and suggest that nursing schools are hegemonic white spaces. This study challenges this white hegemony through the gaze of racialized nurses. Through in-depth interviews, ten self-identified racialized nurses shared narratives looking back at their experiences in nursing school, and their accounts indicate how they faced the complexities of learning within environments where systemic racism is enacted. Using a women of colour feminist approach, this study asked the following question: What are the experiences of racialized nurses in nursing education programs in Canada? Intersectional analysis was used to examine and address the multiplicity of experiences that emerged from the interviews. Racialized nurses’ narratives reveal complex experiences with the following prevailing themes: Othering, the white gaze, navigating white spaces, accent as marker, always proving myself, and racism impacting health. Beyond racism, participants’ experiences were also affected by the intersection with other markers of difference while in nursing school, such as gender, religion, class, and age. Participants identified that they were seen through a white gaze while in nursing school and engaged with this study as an opportunity to challenge and resist the systemic structures of racism they encountered. The findings point to the reality that nursing schools are permeated by systemic structures of white privilege and racism, due to a legacy of colonialism and imperialism, and those structures have a severe impact on racialized students. Furthermore, this study indicates the need for critical evaluations of nursing schools, and to challenge the enactment and maintenance of racist practices of exclusion and marginalization of racialized students. / Graduate / 2019-04-19

This research has investigated the modification of cotton fabric and pigment dyeing system in order to improve the colouration properties, such as rub fastness, wash fastness, colour strength and fabric handle of the textile material. It involved four different approaches based on pre-cationization of the fabric, incorporation of crosslinkers into the binder formulation, UVO pre-treatment of the fabric, and wet fluorocarbon treatment and dry plasma polymerisation treatments.It has been reported that the Matrix OSD pigment dyeing system offers benefits in terms of processing cost and environmental impact and from the initial studies it was apparent that while dry rub fastness, mechanical rigidity and washing performance were generally acceptable the wet rub fastness of the printed fabrics presented a technical challenge. Therefore in this study the colour wet rub fastness was regarded as the main performance indicator to be targeted and improved. Cationizing the cotton fabrics prior to pigment dyeing improved the wet rub fastness performance of the Matrix OSD dyeing system, while the other fastness properties were in general unchanged. Similarly crosslinking treatments enhanced the colour fastness performance, due to the improvement of the bonding between the binder and fabrics. The crosslinking/crease resist pre-treatment offers better performance than the combined application method in terms of improving the wet rub fastness. Surface modification of textile materials is able to modify the textile wettability, adhesion, dyeability and handle and therefore has been studied with a view to improving the durability of the surface pigment dyed coating. However in this study the benefits of a UV/Ozone (UVO) pre-treatment previously observed for other long liquor fabric dyeing studies of textiles was not observed and it was established that the pigment dyeing performance was reduced after the sensitised photo-oxidation treatment. The investigation demonstrated that the fluorocarbon treatments had a beneficial effect on colour wash fastness and wet rub fastness, while dry rub fastness was marginally reduced at higher fluorocarbon application levels. Different fluorocarbons were examined in this study, and the aftertreatment with Shield F-01 and Shield extender FCD offered the best results. A range of plasma pre-treatments prior to pigment dyeing were also examined but only a marginal benefit on the colour fastness properties and to some extent slightly decreased dry rub fastness was observed. In contrast the plasma after-treatments, using both argon (Ar) and nitrogen (N2) atmospheres, improved the fastness, particularly wet fastness, particularly when the binder heat curing process was before plasma after-treatment.

This thesis describes the first implementation of a colour encoded structured light (CESL) range-finder capable of measuring the shape of time-varying or moving surfaces. The system is shown to have mean square accuracies of better than 0.5mm when measuring the shape of the human mouth during continuous speech sampled at 50Hz, and better than 0.2mm when measuring static objects of similar dimensions. In order to sample range at video-rates, the images of the scene to be digitised are stored on video tape. This allows the image processing to be performed off-line so the sampling rate of the system only depends on the frame-rate of the video equipment used. The work was motivated by the need to acquire information on mouth shape for acoustics of speech experiments so that the results presented are for measurements of mouth shape and objects relating to the field. The reasons for producing a new system, and the choice of CESL are discussed. The work covers the entire implementation of the range-finder, including code and slide design, feature extraction, feature interpretation, calibration and 3D reconstruction, and performance evaluation. A modification on the Blackman and Tukey classical power density spectrum (PDS) estimator was used for feature extraction which was shown to perform better than other techniques evaluated. The accuracy of detected features and the probability that they were not spurious was determined, based on the feature confidence output by the PDS estimator. Detected features were tracked to produce segments, and encoded as a directed acyclic graph (DAG) which was then matched with the original code sequence using a fast but sub-optimal technique. An existing camera calibration technique was used which was extended to include a second step for projector calibration. The projector model used was linear, had the correct number of degrees of freedom, and was particular to our stripe system.

This work seeks to explore the relationship between two arts: music and painting. The aim of this thesis is the creation and execution of an interdisciplinary performance in which music and painting dialogue live, "Painting music", to investigate how both arts relate and influence each other when they are part of a single artistic act and how performers and audience perceive this relationship. To do so, we will investigate interdisciplinary performances, synesthesia (union of perceptions) and the different ways in which painting and music can relate to each other.

Based on colour psychology research from Rikard Küller, stating that colour and light biologically activate human senses (Küller, 1981), the studio thesis design project ”Paletten” explores how colour can provide spatial experience in architecture. As a study it investigates the raw example of a white sterile health care center and suggests an alternative designed health care center in Grubbe, Umeå implemented with colour reflection strategies. Within the subtopic of wellbeing the project further explores the possibilities of flow, transparency and light which challenge the spatial boundaries between public and private areas. The project critically reflects on how nordic contemporary architecture operates within an idea of colour being treated as an ornament rather than a spatial part of a project. In regards of creating future healthy architecture within the topic of well-being, colour has through its impact on our emotions, the power of providing a perception of mental well-being. Colour may then not only be used as a spatial experience, but as a tool to create meaningful future architecture, providing space that heals. By wisely introducing the usage of colour in architecture, our future spaces may provide an increased experience for its users and further present architecture made in consideration of what and whom it is built for. / Baserat på forskning inom färgpsykologi av Rikard Küller, som hävdar att färg och ljus biologiskt aktiverar mänskliga sinnen (Küller, 1981), utforskar designprojektet "Paletten" hur färg i rumsligt sammanhang kan skapa emotionella upplevelser. Som en studie undersöks en vit och steril vårdcentral och vidare föreslås en alternativ designad vårdcentral i Grubbe, Umeå implementerad med färgreflektion. Inom ämnet välmående utforskar projektet vidare mänskliga flöden, materiell transparens och ljusinsläpp som tillsammans utmanar gränsen mellan offentliga och privata ytor. Projektet reflekterar kritiskt över hur nordisk samtida arkitektur behandlar färg som utsmyckning snarare än en rumslig del av ett projekt. När det gäller att skapa framtida hälsosam arkitektur inom ämnet välmående, har färg genom sin inverkan på våra känslor förmågan att ge en uppfattning om mentalt välmående. Färg kan därpå användas som ett verktyg för att skapa hälsosam arkitektur. Genom att eftertänksamt introducera användning av färg i arkitektur kan våra framtida utrymmen ge en förstärkt upplevelse och ytterligare presentera arkitektur designad med hänsyn till vad och vem den faktiskt är byggd för.

Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm.  This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.