The field of telehealth has developed rapidly in recent years. It provides medical support particularly to those who are living in remote areas and in emergency cases. Although developments in both technology and practice have been rapid, there are still many gaps in our knowledge with regard to the effective application of telehealth. This study investigated human colour perception in telehealth, specifically the colour red as one of the key symptoms when diagnosing different pathologies. The quality of medical images is safety critical when transmitting the symptoms of pathologies in telehealth, as distorted or degraded colours may result in errors. The study focused on the use of digital images in teleconsultation, particularly on images showing cellulitis (bacterial skin infection) and conjunctivitis (red eye) as case studies, as both of these pathologies involve the colour red in their diagnosis. The study proposed and tested the use of an image quality scale, which represented the level of image resolution; a red colour scale, which represented the intensity of redness in an image; and a confidence scale, which represented the levels of confidence that telehealth users had when judging the colour red. The research involved a series of experiments using hypothetico-deductive and formal hypothesis testing with two groups of participants, medical doctors and non-medical participants. The experiments were conducted in collaboration with the local National Health Service (NHS) Accident and Emergency (A&E) department at Aberdeen Royal Infirmary (ARI). Medical experts in ophthalmology and dermatology were also involved in selecting and verifying the relevant images. The study found that doctors and non-doctors were consistent in the majority of the experiments. The accuracy of the participants was demonstrably higher when using a colour scale with pictures, more so for the non-doctor group than the doctor group. It also found that the level of accuracy for both doctors and nondoctors was higher when using red colour scale of three divisions than when using a scale of five divisions. This result was supported by previous studies, which used telehealth for diagnosing extreme cases. The study also found that when the image quality was poor the participants had higher error rates and less consistency in their answers. The study found poor correlation between accuracy, confidence and time for both participant groups. The study found that most participants in both doctor and non-doctor groups had high confidence most of the time, whether the accuracy was high or low. It was also found that medical background or clinical experience had no effect on the accuracy level across the experiment sets. In some cases, doctors with no or little experience had higher accuracy than those with greater experience. This result may have significant implications for the feasibility of involving non-doctors in the management of telehealth systems, especially in tasks not requiring medical skills, such as colour classification. This has the potential to provide a considerable saving in resources and costs for healthcare providers. An auto-evaluation system was introduced, and proposed for further study, in order to improve the current telehealth diagnostic protocol and to avoid or prevent errors by making red colour classification more objective and accurate.

We investigate some problems commonly found when dealing with stereo images. Working within the context of visual effects for films, we explore software solutions to issues arising with stereo images captured on-set. These images originate from a wide variety of hardware which may or may not provide additional data support for post-production needs. Generic software solutions are thus greatly to be preferred. This dissertation documents contributions in the following three areas. Each project was undertaken at Double Negative and investigated with the aim of improving the post-production pipeline for 3D films. Colour matching is the process whereby the colours of one view from a stereo pair are matched with those of the other view. This process is necessary due to the fact that slight differences in hardware and viewing angle can result in some surprisingly large colour discrepancies. Chapter 3 presents a novel approach to colour matching between stereo pairs of images, with a new tool for visual effects artists given in section 6.2.Vertical alignment of stereo images is key to providing a comfortable experience for the viewer, yet we are rarely presented with perfectly aligned footage from the outset. In chapter 4 we discuss the importance of correcting misalignments for both the final audience and the artists working on these images. We provide a tool for correcting misalignments in section 6.3.Disparity maps are used in many areas of post-production, and so in chapter 5 we investigate ways in which disparity map generation can be improved for the benefit of many existing tools at Double Negative. In addition, we povide an extensive exploration of the requirements of 3D films in order to make them presentable in the cinema. Through these projects, we have provided improvements to the stereo workflow and shown that academic research is a necessary component of developing tools for the visual effects pipeline. We have provided new algorithms to improve the 3D experience for moviegoers, as well as artists, and conclude by discussing the future work that will provide further gains in the field.

Sanke är ett nystartat företag som genom sin hemsida ska sälja produkter som producerats i norra och västra Afrika. Konkurrensen mellan olika företag skapar oändliga valmöjligheter för kunden vilket blir ett problem för de företag som vill nå ut i mediebruset. Därför var målet med examensarbetet är att ge Sanke ett enhetligt grafiskt utseende för att öka medvetenheten och igenkännandet av företaget och dess varumärke. Detta har genomförts genom att utforma en grafisk profil som återspeglar företagets kärnvärden. Genom en intervju med Sanke fastställdes företagets kärnvärden. Dessa användes sedan för att skapa nio olika förslag på grafiska profiler som målgruppen genom en webbenkät gett återkoppling på. Resultatet av målgruppens återkoppling blev Sankes grafiska profil. Den grafiska profilen omfattades av en logotyp, profilfärger och hustypsnitt samt riktlinjer för hanterande av elementen och deras samspel. Slutsatsen blev att det faktum att kärnvärden och färgkonnotationer kan ha olika betydelse för olika individer kan ha försvårat bedömningen av förslagen, men att målgruppen till en vis del visat en gemensam uppfattning. / Sanke is a new company which, through its website will sell products produced in northern and western Africa. Competition between companies createsendless choices for customers, which becomes a problem for the companies that want to reach their customers through the media noise. Therefore, the goal of this project was to provide Sanke a consistent graphical look to increase awareness and recognition of the company and its brand. This was done by designing a visual identity that reflects the company's core values. The company's core values wereestablished through an interview with Sanke. The core values were then used to create nine different proposals for visual identities that the target group through a web survey provided feedback on. The result of the target group’s feedback became Sanke’s visual identity. The visual identity contained a logotype, colours and typefaces as well as guidelines for handling the elements and their interactions. It was concluded that the fact that the core values and colour connotations may have different meanings for different individuals may have complicated the assessment of the proposals. But the target group had in a sense, a common understanding.

As manifestações culturais e artísticas surgiram no setor têxtil ainda nos primórdios da humanidade, utilizando-se, desde então, de pigmentos vegetais, e criando uma verdadeira aliança entre o ser humano, a natureza e o mundo do desenho. A moda retrata aspectos do vestuário desde o início da história do homem até a atualidade, relatando a estreita ligação com as tendências globalizadas. A moda, enquanto conseqüência do mundo econômico, reflete os acontecimentos sociais, culturais, políticos, econômicos e ambientais. O presente estudo visa a introduzir os conceitos estruturais a respeito da cor, desde a sua definição até a ilustração dos ícones aos quais está associada. Introduz ainda a estamparia, que é das mais exigentes técnicas têxteis, e também a que mais se aproxima da Arte, indicando sua origem, fontes de inspiração, os diversos processos de fabricação e sua aplicação, desde os processos manuais até os digitais. Esta pesquisa versa sobre a importante e estratégica etapa de Pesquisa de Tendências, através de várias fontes, principalmente a Internet, a seleção de produtos junto aos vários profissionais, e, finalmente, o desenvolvimento de produtos têxteis nas fábricas, a necessidade de utilização de todo o maquinário disponível na tecelagem, na tinturaria e na estamparia. / Cultural and artistic demonstrations started in the textile sector at the very beginning of humankind, creating a alliance between the human being, nature and the world of design. They outline fashion and have displayed features of clothing since the early ages, telling the strong connection with world trends. Fashion is a reflexion of social, political, economical (and currently environmental) events, as a consequence of the economic world. The present research aims to introduce the structural concepts of color, from its definition to the illustration of the icons to which it is associated. It also introduces prints, which is one of the most demanding textile techniques, and is also the closest to art, demonstrating sources of inspiration, several manufacturing processes and applications, from manual to technological processes. It shows the import and strategic stage of trends research, from several sources, mainly by internet; the selection of products along several professionals and, finally the development of textile products in the factories a requirement of the use of all available machinery weaving as well as coloring and printing.

Advanced monitoring of water quality in order to perform a real-time hazard analysis prior to Water Treatment Works (WTW) is more of a necessity nowadays, both to give warning of any contamination and also to avoid downtime of the WTW. Downtimes could be a major contributor to risk. Any serious accident will cause a significant loss in customer and investor confidence. This has challenged the industry to become more efficient, integrated and attractive, with benefits for its workforce and society as a whole. The reality is that water companies are not yet prepared to invest heavily in trials, before another company announces its success in implementing a new monitoring strategy. This has slowed down the development of the water industry. This research has taken the theoretical idea that the use of advanced online monitoring technique in the water industry would be beneficial and a step further; demonstrating by means of a state-of-the-art assessment, usability trials, case studies and demonstration that the barriers to mainstream adoption can be overcome. The findings of this work have been presented in four peer-reviewed papers. The research undertaken has shown that Turbidity levels in rivers can be measured from the rivers' mean flow rate, using either Doppler Ultrasound device for real-time readings or based on past performance history. In both cases, the Turbidity level can also help estimate both the Colour and Conductivity levels of the subject river. Recalibration of the equations used is a prerequisite as each individual river has its own unique "finger print".

Vineyards in New Zealand suffer bird damage caused by several avian species, including blackbirds and silvereyes. The introduced European Blackbird takes whole grapes which reduces yield. The self-introduced Australasian Silvereye pecks on grapes, leaving them on the vine to be further attacked by fungi and bacteria, and the subsequent off-odours can cause grapes to be refused by the winery or to suffer a price-reduction. Bird control methods remain primitive and largely ineffective during the long ripening period of wine grapes. An ecologically sound method to manage and reduce bird pressure requires deeper understanding of why some birds eat grapes, especially since grapes are not particularly nutritious. This work investigated the extent to which blackbirds and silvereyes are attracted by various compounds in ripening grapes. Since in natural grapes these compounds develop and change simultaneously, I developed an artificial grape in which a single parameter could be investigated. Artificial grapes (and sometimes nectar) were presented on a bird feeder table and the responses of birds to hexose sugars, the aromas 2-3-isobutylmethoxypyrazine and geraniol, tartaric and malic acids, grape tannins, and purple and green colour were recorded on timelapse video and analysed.

This thesis explores the idea of a liminal space, as being dreamlike, suspended in time and physically unlocatable. It questions and exploits the boundary between abstraction and figuration in painting. This investigation has been considered from a subjective viewpoint allowing a distancing of space to illuminate new perceptions and experiences through the language of painting. The project has sought to explore the relationship between the natural world and seeing, to deepen and emphasize the other worldliness of an in-between space. This third space has been evoked by a process of abstracting pictorial content, juxtaposition of elements, colour and composition. The thesis is constituted of practice-based 80%, accompanied by an exegesis 20%.

The impact of colour and lighting conditions on the emotions and performance of people is gaining greater importance in our urban societies. While large resources are allocated for well designed spaces with the right choices of colour and lighting conditions, there is little scientific evidence that supports these choices. Although the literature on light and colour is extensive, it does not present a uniform set of findings for a consistent perspective on the influence of colour and light. Most of the research reported in this field uses subjective measures to study the emotional effects of light and colour on people. It has been reported in literature that emotion manifests itself in three separate sections; (i) physiological (i.e. objective measures), (ii) psychological (subjective measures), (iii) behavioral, and it is necessary that studies not be limited to the assessment of a single response but include sample measures from each of the three manifestations. This research is built on the current body of knowledge that there is a need for a study on the emotional effects of light and colour on people using physiological and psychological measures, to ensure the objectivity and reproductivity of the experiments. It is well documented in literature that there is close correlation between emotions, heart rate (HR), and skin conductance (SC). Hence HR and SC are expected to be good physiological measures of environmental conditions on people. Thus this thesis reports changes in the HR, SC and self-assessment reports of arousal and valence (SAM) for people when exposed to different colour and intensity lights. The aim is to help provide an objective rationale for the choice for light intensity and colour by architects, interior designers and other professionals. The experiments were conducted on 15 participants who were exposed to 8 different colour and intensity light conditions. The participants' HR and SC were recorded under each colour and intensity light, and they were asked to complete SAM. The research demonstrates that there is a change in HR, SC, arousal and valence of participants due to change in the colour and intensity of lights. However, the direction of change was subject dependent, where the same colour and intensity light can have different effects on people. The research suggests that architects and designers of any space must take into account the individual differences of the predicted users when designing the lights and colours. It is also seen from the results that some colour and intensity lights have greater impact on the emotions of participants than others. Although it is not possible to correlate the colour and lighting conditions to a specific effect on all participants, general effects for some colour lights were drawn from the results. It is well documented in literature that HR and SC are a good measure of emotion. However the results of this study show very high inter subject variation in HR and SC. This is due to people having different HR and SC in normal conditions. This research demonstrates that the use of HR and SC to measure the effect of a stimulus on a group of people is unreliable because it is hard to compare the results.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

This study presents findings on the effect of domestic laundry detergents on the fastness to light of selected fibre reactive dyes applied to cotton. The study was carried out to elucidate the reasons for the accelerated colour loss of cotton garments washed under Australian domestic laundering conditions. Cotton fabric dyed with commonly used reactive dyes were laundered with water only, several domestic detergents and a laboratory formulated neutral detergent, and then exposed to light for two hours in the wet state. Quantities of detergent used were in accordance with the manufacturers recommendations. Exposures were repeated fifteen times equivalent to 30 hours exposure. Colour loss and colour difference were measured after 5, 10 and 15 wash cycles and 10, 20 and 30 hours exposure. When the fabric was exposed wet the colour faded more rapidly than when exposed dry to light. Detergents increased the colour loss even when the fabric was not exposed to light. The presence of an oxidizing bleach (sodium perborate) in the detergent increased colour loss during washing and wet exposure to light. Ultraviolet radiation from the light source, heat, moisture, alkali and oxidising bleach during exposure resulted in hydrolysis of the dye-fibre bond causing dye desorption during washing and rinsing. Water alone increased the fading of the dyes most likely due to presence of dissolved oxygen held within the fibre. The combination of ultraviolet radiation and oxidizing bleaches altered the chemistry of the dye and hence its shade. This was particularly evident on the black dye and one of the navy blue dyes.