Ce travail vise à penser les événements couleurs, activés par la projection, comme effets chromatiques, en considérant que ceux-ci peuvent engendrer des perceptions temporelles de durée et d’instant. Il s’agit de penser la couleur en tant que cinéma, son interférence sur la relation avec le temps à l’intérieur et à l’extérieur des plans, ainsi que sa relation avec le spectateur comme part constituante de l’oeuvre. Celui-ci est livré à une expérience de l’ordre de la sensation esthétique. L’objectif principal de ce travail est d’élargir le sens attribué à l’élément couleur au cinéma et de mettre en exergue le rapport entre les manifestations chromatiques et la perception du temps. À partir de ces points, il est également possible de reconsidérer certaines problématiques existant entre la couleur, l’espace et le temps, inspirées par l’évidence de la continuité-discontinuité qui, en tout cas au cinéma, n’est pas nécessairement un dilemme. Ainsi, il s’agit alors de faire coexister dans une approche phénoménologique certaines conceptions de Bergson et de Bachelard concernant la perception du temps. Dans cette démarche, nous ne procéderons pas en isolant les éléments des théories, mais plutôt en les analysant dans une cohabitation transdisciplinaire avec les autres dispositifs cinématographiques. Cette étude permet non seulement de tisser une compréhension sur l’action de l’effet couleur dans le cinéma et dans l’Art contemporain, mais rend possible également d’élargir la compréhension autour de ce sujet et d’approfondir les modalités de la jonction du visuel et du sensationnel dans les chambres de projections. / This study is about experiencing time through the colour effect. It focuses on building an approach in movement between cinema and contemporary art in projection rooms. To define the relation between works such as experimental films, performances and installations, as we will discuss in this document, we need to be connected with the idea of « conceptual cinema. » It is made by different aesthetic and temporal expressions, which focuses on colour. This colour that comes out of the holes in the wall or from flashlights on the screen creates a vibrant movement made by its projection and its reverberation into the room. In this room, the audience has an experience where time and consciousness seem to expand. My main target in this text is to expose an aesthetic reflection about colour and time. These concepts access multi disciplinarily theories that are necessary to broaden and deepen our analysis. Thus, it was essential to analyse the method and to mix theories of Art and cinema, using an aesthetic, phenomenology and philosophical – continuous Duration and discontinuous Instants – viewpoint proposed by Henri Bergson and Gaston Bachelard.

The majority of colours in the natural world are produced via the wavelength selective absorption of light by pigmentation. Some species of both flora and fauna, however, are particularly eye-catching and visually remarkable as a result of the sub-micron, light-manipulating architecture of their outer-integument material. This thesis describes detailed investigations of a range of previously unstudied photonic structures that underpin the creation of the interesting visual appearances of several such species of flora and fauna. These structures were examined using a variety of methods, including optical microscopy, scanning and transmission electron microscopy, focused ion-beam milling and atomic force microscopy. This enabled detailed characterisation of the species’ photonic systems. The degree of order discerned in the species’ photonic structures ranged from: ‘ordered’ systems, where multiple layers of two materials produces metallic and often mirror-like reflections; to ‘quasi-ordered’ systems, where an average periodicity of the structure in all directions gives rise to diffuse, coloured scatter; to disordered systems, where no discernible order is observed, which results in a diffuse, broad-band, white appearance. In addition to this, the range of systems also encompassed: periodicities in one-dimension in the form of multilayering; ‘quasi-two-dimensional’ structures in the form of aligned fibres; and three-dimensional structures formed from arrangements of spherical particles. Alongside this experimental characterisation, an in-depth series of supporting theoretical analyses were undertaken. For the one-dimensional systems studied here, the models’ theoretical reflectance was calculated using analytical methods. For other systems, with more complex structural-geometries, theoretical simulations of their electromagnetic response to incident radiation were carried out using finite-difference-time-domain and finite-element-method numerical modelling approaches. Theoretical modelling results were compared to experimental measurements of each sample's optical properties. These were primarily reflectance measurements, which were taken using a range of techniques appropriate for each specific investigation. In addition to this, a synthetic sample, mimicking the white-appearance and remarkable polarisation-dependant reflectance of one insect’s photonic structure, was created using polymer electrospinning. Using these experimental measurements and theoretical simulation predictions, the structural colour production mechanisms adopted by several species of flora and fauna were elucidated.

Syftet med arbetet var att utveckla en individuellt utformad färgstödd notinstuderings- metod för att underlätta inlärning samt stärka musikaliskt uttryck avseende musikens riktning och karaktär. Det är inte ovanligt att musikstudenter kämpar med notläsning något som ofta kan förklaras av svårigheter i de väsentliga funktioner som behövs vid inlärning. Färger har en psykologisk inverkan på människan och det finns generella uppfattningar om vad de betyder. Dessa färgassociationer låg som grund för färgläggningsmetoden. I utvecklandet av färgläggningsmetoden spelades tio orkesterutdrag för cello. På åtta av dessa representerades musikens olika karaktärsdrag av specifika färger i noterna. Utdrag före och efter metodutvecklingen spelades in och bedömdes enligt en bedöm- ningsmall. De objektiva delarna av resultatet visade generellt inga större skillnader i det klingande utfallet. Däremot var förändringen i den subjektiva upplevelsen av instuderingsproces- sen mer påtagligt positiv. Fortsatt forskning med modifierad metod kan stärka resultat och ge värdefull kunskap. Förhoppningsvis inspirerar detta arbete både lärare och stu- denter till att på ett individuellt anpassat sätt använda färgläggning eller andra kreativa metoder för att förbättra instuderingsprocessen av notbaserad musik. / The overall objective of the present study was to develop an individually designed col- our based musical study method to facilitate learning and to improve musical expres- sion regarding direction and character in music. It is not unusual that music students struggle with reading music, something that can be explained by difficulties in the es- sential functions necessary in a learning process. Colours have a psychological effect on humans and there are general opinions of their individual meaning. The colouring method was based on these colour associations. During the development of the colouring method ten orchestra excerpts for cello was used. On eight of these are the different characters in the music represented by specific colours on the music sheet. The objective parts of the result showed generally no major differences in the sounding outcome. However, a positive change in the subjective experience of the learning pro- cess became apparent. Continued research with somewhat modified method could strengthen the result and give valuable knowledge. Hopefully, the present study will inspire both teachers and students to, in an individual adapted way, use creative meth- ods such as colouring to facilitate the studying process of note-based music.

One of the state-of-the-art highlights of deep learning in the past ten years is the introduction of generative adversarial networks (GANs), which had achieved great success in their ability to generate images comparable to real photos with minimum human intervention. These networks can generalise to a multitude of desired outputs, especially in image-to-image problems and image syntheses. This thesis proposes a computer graphics pipeline for 3D rendering by utilising generative adversarial networks (GANs). This thesis is motivated by regression models and convolutional neural networks (ConvNets) such as U-Net architectures, which can be directed to generate realistic global illumination effects, by using a semi-supervised GANs model (Pix2pix) that is comprised of PatchGAN and conditional GAN which is then accompanied by a U-Net structure. Pix2pix had been chosen for this thesis for its ability for training as well as the quality of the output images. It is also different from other forms of GANs by utilising colour labels, which enables further control and consistency of the geometries that comprises the output image. The series of experiments were carried out with laboratory created image sets, to pursue the possibility of which deep learning and generative adversarial networks can lend a hand to enhance the pipeline and speed up the 3D rendering process. First, ConvNet is applied in combination with Support Vector Machine (SVM) in order to pair 3D objects with their corresponding shadows, which can be applied in Augmenter Reality (AR) scenarios. Second, a GANs approach is presented to generate shadows for non-shadowed 3D models, which can also be beneficial in AR scenarios. Third, the possibility of generating high quality renders of image sequences from low polygon density 3D models using GANs. Finally, the possibility to enhance visual coherence of the output image sequences of GAN by utilising multi-colour labels. The results of the adopted GANs model were able to generate realistic outputs comparable to the lab generated 3D rendered ground-truth and control group output images with plausible scores on PSNR and SSIM similarity index metrices.

With the growth of computer power, Digital Image Processing plays a more and more important role in the modern world, including the field of industry, medical, communications, spaceflight technology etc. There is no clear definition how to divide the digital image processing, but normally, digital image processing includes three main steps: low-level, mid-level and highlevel processing. Low-level processing involves primitive operations, such as: image preprocessing to reduce the noise, contrast enhancement, and image sharpening. Mid-level processing on images involves tasks such as segmentation (partitioning an image into regions or objects), description of those objects to reduce them to a form suitable for computer processing, and classification (recognition) of individual objects. Finally, higher-level processing involves "making sense" of an ensemble of recognised objects, as in image analysis. Based on the theory just described in the last paragraph, this thesis is organised in three parts: Colour Edge and Face Detection; Hand motion detection; Hand Gesture Detection and Medical Image Processing. II In Colour Edge Detection, two new images G-image and R-image are built through colour space transform, after that, the two edges extracted from G-image and R-image respectively are combined to obtain the final new edge. In Face Detection, a skin model is built first, then the boundary condition of this skin model can be extracted to cover almost all of the skin pixels. After skin detection, the knowledge about size, size ratio, locations of ears and mouth is used to recognise the face in the skin regions. In Hand Motion Detection, frame differe is compared with an automatically chosen threshold in order to identify the moving object. For some special situations, with slow or smooth object motion, the background modelling and frame differencing are combined in order to improve the performance. In Hand Gesture Recognition, 3 features of every testing image are input to Gaussian Mixture Model (GMM), and then the Expectation Maximization algorithm (EM)is used to compare the GMM from testing images and GMM from training images in order to classify the results. In Medical Image Processing (mammograms), the Artificial Neural Network (ANN) and clustering rule are applied to choose the feature. Two classifier, ANN and Support Vector Machine (SVM), have been applied to classify the results, in this processing, the balance learning theory and optimized decision has been developed are applied to improve the performance.

The evolution and development of eyespot and non-eyespot colour pattern elements was studied in Vanessa butterflies using a phylogenetic approach. A Bayesian phylogeny of the genus Vanessa was reconstructed from 7750 DNA base pairs from 10 genes. Twenty-four non-eyespot and forty-four eyespot color pattern elements from the Nymphalid ground plan were defined and studied and their evolutionary history was traced on the Vanessa phylogeny. Ancestral character states were predicted and the direction of evolutionary changes was inferred for all characters. Five serially arranged eyespots were predicted for the ancestral Vanessa on all wing surfaces. Homologous eyespot and non-eyespot characters on the surfaces of the forewing were more similar than those on the surfaces of the hindwing. Homologous eyespot characters on the dorsal surfaces of fore and hindwings show more similarities than the ventral surfaces, in contrast to what was found for non-eyespot characters. Independent Contrast analysis was also used to study correlations between eyespot characters. Independent Contrast analysis revealed significant correlations between eyespots 2 and 5 and eyespots 3 and 4 on all wing surfaces. This consistency among highly variable eyespot characters suggested a structural hypothesis: the existence of a Far-Posterior (F-P) compartment boundary and organizer could be responsible for the observed correlations. This hypothesis was tested in several ways. First, examination of wing patterns across species from all families of butterflies revealed correspondence between wing cells 1 and 4 and between cells 2 and 3. Second, evaluation of spontaneous mitotic clones in butterflies and moths reveals a peak abundance of clonal boundaries along the vein dividing wing cells 2 and 3. Finally, experimentally generated FLP/FRT mitotic wing clones produced in Drosophila, reveal a clonal boundary posterior to the L5 wing vein, which is homologous to the vein dividing wing cells 3 and 4 in butterflies. Collectively, this suggests the existence of an additional compartment boundary associated with an organizer in wing cell 3 responsible for patterning the posterior portion of insect wings. A model is proposed that predicts that the wing developmental compartment boundaries produce unique combinations of gene expression for each wing sector, permitting eyespot individuation. / February 2016

This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

In the terrestrial biosphere forests have a significant role as a carbon sink. Under recent climate change, it is increasingly important to detect seasonal change or ‘phenology’ that can influence the global carbon cycle. Monitoring canopies using camera systems has offered an inexpensive means to quantify the phenological changes. However, the reliability is not well known. In order to examine the usefulness of cameras to observe forest phenology, we analysed canopy images taken in two deciduous forests in Japan and England and investigate which colour index is best for tracking forest phenology and predict carbon uptake by trees. A camera test using model leaves under controlled conditions has also carried out to examine sensitivity of colour indices for discriminating leaf colours. The main findings of the present study are: 1) Time courses of colour indices derived from images taken in deciduous forests showed typical patterns throughout the growing season. Although cameras are not calibrated instrument, analysis of images allowed detecting the timings of phenological events such as leaf onset and leaf fall; 2) The strength of the green channel (or chromatic coordinate of green) was useful to observe leaf expansion as well as damage by spring late frost. However, the results of the camera test using model leaves suggested that this index was not sufficiently sensitive to detect leaf senescence. Amongst colour indices, Hue was the most robust metric for different cameras, different atmospheric conditions and different distances. The test also revealed Hue was useful to track nitrogen status of leaves; 3) Modelling results using a light use efficiency model for GPP showed a strong relationship between GPP and Hue, which was stronger than the relationships using alternative traditional indices.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2015-04-27T15:57:22Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_CorrelacaoParametrosEstimados.pdf: 5807643 bytes, checksum: 3297e2d2466612b78a2f4fad2cc56280 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2015-04-28T13:43:38Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_CorrelacaoParametrosEstimados.pdf: 5807643 bytes, checksum: 3297e2d2466612b78a2f4fad2cc56280 (MD5) / Made available in DSpace on 2015-04-28T13:43:38Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_CorrelacaoParametrosEstimados.pdf: 5807643 bytes, checksum: 3297e2d2466612b78a2f4fad2cc56280 (MD5) Previous issue date: 2015 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / UFPA - Universidade Federal do Pará / FAPESPA - Fundação Amazônia de Amparo a Estudos e Pesquisas / Os testes Colour Assessment and Diagnosis (CAD) e Cambridge Colour Test (CCT) têm sido amplamente utilizados em pesquisas básicas e clínicas, devido à alta sensibilidade e especificidade de seus resultados. Estes testes utilizam diferentes paradigmas de estimulação para estimar os limiares de discriminação de cor. Pouco se sabe sobre a relação de cada paradigma na avaliação da discriminação de cor nesses testes. Sendo assim, este trabalho objetiva comparar os parâmetros de avaliação da discriminação de cor estimados pelos testes CAD e CCT em sujeitos tricromatas e com discromatopsia congênita. Foram avaliados 59 sujeitos tricromatas e 38 sujeitos discromatópsicos (16 protans, 22 deutans) com idade média de 26,32 ± 8,9 anos. Foram testados 66 sujeitos nos testes CAD e CCT, 29 sujeitos no teste CAD e 2 sujeitos no teste CCT. O fenótipo da visão de cores de todos os sujeitos foi determinado através de uma bateria de testes psicofísicos e a estimativa dos limiares de discriminação de cor foi avaliada pelos testes CAD e CCT. Os dados de limiares de discriminação de cor foram ajustados a funções de elipse. Os critérios analisados para cada sujeito foram: a área da elipse, o ângulo de rotação e tamanho dos vetores protan, deutan e tritan. Para cada um dos parâmetros foi realizada: estatística descritiva, análise da dispersão dos parâmetros entre os testes CAD e CCT e dos parâmetros em conjunto, razão entre os parâmetros, correlação dos parâmetros a três modelos matemáticos e análise de concordância. Os parâmetros de área e tamanho dos vetores deutan e tritan do subgrupo tricromata; área e tamanho do vetor tritan do subgrupo protan; e tamanho dos vetores protan e tritan do subgrupo deutan apresentaram equivalência entre os resultados de ambos os testes. Os parâmetros de área, ângulo de rotação e tamanho dos vetores protan e tritan apresentaram concordância de medidas entre os testes CAD e CCT. Fatores como as localizações distintas das coordenadas centrais dos testes CAD e CCT e a disposição espacial dos vetores no espaço de cor da CIE 1976 no teste CCT podem ter influenciado na determinação de limiares de discriminação cromática de ambos os testes. Apesar de utilizarem paradigmas distintos na configuração da estimulação, os testes CAD e CCT são equiparáveis. / The Colour Assessment and Diagnosis (CAD) and Cambridge Colour Test (CCT) tests are widely used in basic and clinic researches, because of high sensibility and specificity of your results. These tests use distinct paradigms of stimulation to estimate the color discrimination thresholds. It is not well known about the relationship of results of each paradigm in the evaluation of color discrimination in these tests. So, the present study aimed to compare the parameters of evaluation of color discrimination estimated from CAD and CCT tests. Fifty-nine trichromat subjects and thirty eight subjects with congenital dyschromatopsia (16 protans, 22 deutans) with mean age of 26,32 ±8,9 years-old were evaluated. 66 subjects were tested in CAD and CCT tests, 29 subjects in the CAD test and 2 subjects in the CCT test. The color vision phenotype of all subjects was determined through a battery of psychophysical tests and the estimative of color discrimination thresholds was evaluated by CAD and CCT tests. The data of color discrimination thresholds was fitted ellipses. The criteria analyzed to each subject were: area of the ellipses, angle of rotation of the ellipses and size of protan, deutan and tritan vectors. For each one of parameters was realized: descriptive statistic, analysis of dispersion of parameters between CAD e CCT tests and the combination of these parameters in each test, ratio between the parameters, correlation of parameters to three mathematical models and analysis of agreement. The parameters of area and size of deutan and tritan vectors of trichromat subgroup, area and size of tritan vector of protan subgroup, and size of protan and tritan vectors of deutan subgroup exhibited equivalence between the results of both tests. The parameters of area, angle of rotation and size of protan and tritan vectors showed agreement of measures between your results. Factors as the distincts localizations of neutral points of CAD and CCT tests and the spatial arrangement of the vectors in the CIE 1976 color space in the CCT test may have influenced the determination of chromatic discrimination thresholds of both tests. Despite using distinct paradigms in configuration of stimulation, the tests CAD and CCT are comparable.

Digital colour cameras are dramatically falling in price, making them a ordable for ubiquitous appliances in many applications. Change in colour perception with changing light conditions induce errors that may escape a user's awareness. Colour constancy algorithms are based on inferring light properties (usually the white point) to correct colour. Other attempts using more data for colour correction such as (ICC based) colour management characterise a capturing device under given conditions through an input device pro le. This pro le can be applied to correct for deviating colour perception. But this pro le is only valid for the speci c conditions at the time of the characterisation, but fails with changes in light. This research presents a solution to the problem of long time observations with changes in the scene's illumination for common natural (overcast or clear, blue sky) and arti cial sources (incandescent or uorescent lamps). Colour measurements for colour based reasoning need to be represented in a robustly de ned way. One such suitable and well de ned description is given by the CIE LAB colour space, a device-independent, visually linearised colour description. Colour transformations using ICC pro le are also based on CIE colour descriptions. Therefore, also the corrective colour processing has been based on ICC based colour management. To verify the viability of CIE LAB based corrective colour processing colour constancy algorithms (White Patch Retinex and Grey World Assumption) have been modi ed to operate on L a b colour tuples. Results were compared visually and numerically (using colour indexing) against those using the same algorithms operating on RGB colour tuples. We can take advantage of the fact that we are dealing with image streams over time, adding another dimension usable for analysis. A solution to the problem of slowly changing light conditions in scenes with a static camera perspective is presented. It takes advantage of the small (frame-to-frame) changes in appearance of colour within the scene over time. Reoccurring objects or (background) areas of the scene are tracked to gather data points for an analysis. As a result, a suitable colour space distortion model has been devised through a rst order Taylor approximation (a ne transformation). By performing a multidimensional linear regression analysis on the tracked data points, parameterisations for the a ne transformations were derived. Finally, the device pro le is updated by amalgamating the corrections from the model into the ICC pro le for a single, comprehensive transformation. Following applications of the ICC based colour pro les are very fast and can be used in real-time with the camera's capturing frame rate (for current normal web cameras and low spec desktop computers). As light conditions usually change on a much slower time scale than the capturing rate of a camera, the computationally expensive pro le adaptation generally showed to be usable for many frames. The goal was to set out and nd a solution for consistent colour capturing using digital cameras, which is capable of coping with changing light conditions. Theoretical backgrounds and strategies for such a system have been devised and implemented successfully.