Title: Colour reproduction accuracy of stochastic spectral sampling: an experi- mental evaluation Author: Bc. Attila Hencz �attila.hencz@matfyz.cz� Department: Department of Software and Computer Science Education Supervisor: doc. Alexander Wilkie, Dr. �wilkie@cgg.mff.cuni.cz�, Department of Software and Computer Science Education Abstract: We investigate the colorimetric accuracy of stochastic sampling in the wavelength domain for realistic rendering purposes. In particular, we consider the impact of three specific design choices in a rendering system on the accuracy of the overall result: how exactly spectral samples are splatted into the final result spectrum, how many spectral channels one uses in the result images, and the impact of Hero Wavelength Spectral Sampling (HWSS) compared to the stand- ard monochrome technique. We provide experimental results, comparisons and evaluation of sampling high-resolution spectra that originate from measurements of real paint samples found in colour atlases, and normed light sources defined by the CIE. The latter include both smooth and spiky spectra, so the used com- bination of reflectances and light spectra provides a representative body of input values that allows to draw conclusions that are relevant for practical rendering work. Keywords: physically based image...

The motivation for this MA work is based on the challenge to the preconception of hand-tufting through material, colour and light. When imagining a rug, a very specific image appears in our mind. Some details of that image could vary from person to person, but what is almost certain, dense and heavy, probably made out of wool, woven textile will pop up in front of our eyes. This work suggests a possibility of creating new expressions in design by the material driven approach. The investigation was led by practice based research including set up of experiments, experimental work and evaluation complementing the whole process. The exploration proved that qualities of monofilament yarn have a great ability to enhance colours as well as add certain kind of lightness to the hand-tufted piece. Furthermore, due to the transparency of monofilament yarn an interplay between the loops and the backing was possible, opening up for changes in colour perception. The outcome of the research is collection of woven and hand-tufted textiles contributing to the field of textiles by bringing new qualities to the hand-tufting technique.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space.

Många människor i dagens samhälle upplever att de känner sig otrygga när de rör sig i utvalda delar av staden. Detta är ofta platser som saknar tillräcklig ljussättning eller känns bortglömda i stadsrummet. En utav dessa platser är den miljö i stadens befintliga gångtunnlar som ibland inte används, på grund av personers rädsla för att vistas i dessa, trots att deras främsta syfte är just trygghet för fotgängare i stadsmiljöer. I denna studie undersöks hur ljus och färg kan användas som kommunikationsmedel, i syfte att skapa en tryggare känsla för användarna av dessa otrygga tunnlar. Arbetet har genomgått metoder som användarundersökning, intervju med sakkunnig och rumsliga observationer för att svara på forskningsfrågan. Teorier inom trygghetsfrämjande element har studerats, så väl som ljuset och färgens effekter på välbefinnande, samt kommunikativa förmåga. Ljuset i tunneln är ett examensarbete inom området för Informationsdesign och Rumslig gestaltning. Den slutgiltiga gestaltningen syftar till att informera de som arbetar med trygghetsarbete i form av ljus och färg, om vilka riktlinjer som bör finnas i åtanke i projektet, för att täcka användarna av dessa miljöers behov. / Many people in today’s society feel unsafe while walking in specific parts of a city. This may be the result in lack of lightning in these spaces, and it’s possible that these spaces don’t communicate a safe passage for the users.  This study aims to investigate how light and colour can be configured to communicate and conjure a safe passage through the experienced unsafe places. One of these unsafe places are pedestrian tunnels, who might not be used as thought, due to the anxiety of usage. Even thou these tunnels actually exist to bring safety to pedestrians in the city. This thesis has implemented through different methods such as user survey, interview with expertise, and spatial observation, in order to achieve new insight into this research. An already existing tunnel in Eskilstuna partly known for its lack of lightness, will serve as my case study for this Bachelor thesis in Information design, emphasis in Spatial design.

Tertiary treatment methods were tested on secondary effluent from an abattoir biological wastewater treatment plant with the purpose of renovating it for re-use in the abattoir. The colour and dissolved organic matter could be removed to such an extent that the water would comply with water of insignificant health risk (Department of Health). The treatment process sequence proven to be effective in upgrading this water so insignificant health risk standard were coagulation with a polymer blend, separation, ozonation, filtration and activated carbon filtration. The development of biologically activated carbon in practice was accepted as inevitable and desirable for optimum water quality, but not tested. A deciding factor in the selection of an appropriate treatment was that the final water would also have acceptable corrosion properties. / Dissertation (MSc)--University of Pretoria, 2010. / Chemical Engineering / unrestricted

This research is based on a case study of a former all-white Afrikaans secondary school situated in Pretoria in the Gauteng province of South Africa. The aim of this case study was to investigate and report on the complex and dynamic communicative interactions that were apparent in the events, human relationships and other elements as they unfolded and revealed themselves in desegregated classrooms in this school. I utilised an interpretive qualitative research design as my guiding methodology. This incorporated the use of semi-structured interviews, observation, video recordings, and narrative inquiry as sources of rich and layered data. My object of research was the patterns of communicative interaction that occurred between teachers and learners and between learners. My goal was to obtain a clear analytical view of the ways in which teachers and learners from diverse racial, cultural and ethnic backgrounds interacted with one another in the classroom. For this purpose I made use of multiple methods of data collection and included a variety of techniques that enabled me to triangulate the findings so as to ensure the credibility and trustworthiness of the empirical investigation. An analysis of the findings revealed that the school in which the study was conducted was beset by challenges that created communication barriers between teachers and learners and between learners and learners. Such barriers to communication became evident in the use of language, in the school’s failure to accommodate cultural differences, in the dynamics of class participation, in the use of both verbal and nonverbal forms of communication and in the prevalence of racism. However, some of the teachers and learners were conscious of these challenges and attitudes and strove to create a non-racist environment in their school that would negate the effects of the racist paradigm wherever possible. The study suggests that there is a need for the South African government to take the initiative to support all desegregated schools in various practical ways if the effects of racism are not to be passed onto the next generation of adults in our country. Copyright / Dissertation (MEd)--University of Pretoria, 2010. / Curriculum Studies / unrestricted

Since resin composites were first presented to dentistry more than half a century ago, the composition of resin composites has developed significantly. One major change was that the reinforcing filler particles were reduced in size to generate materials of a given filler content that display better physical and mechanical properties. Resin composites may absorb water and chemicals from the surrounding environment but at the same time, composites may release constituents to their surroundings. The physical/mechanical properties of a restorative material provide an indication of how the material will function under stress in the oral environment. The aims of this research were to examine the effects of water at 37°C on the physical and mechanical properties, and the effect of food-simulating solvents of a variety of experimental and contemporary resin composites, on the surface properties. Eight representative resin composites were selected (Exp. VT, BL, NCB, TEC, GSO, XB, VDF and CXD). Due to the recent development of bulk fill materials on the market during the course of this research, the post-cure depth of cure of new bulk fill materials was also investigated. Five representative resin composites were selected: TBF, XB, FBF, VBF and SF. Water sorption and solubility were investigated at 37°C for 150 days. Sorption and solubility are affected by the degree of hydrophilicity of the resin matrix. The bulk fill materials examined showed the lowest water sorption and solubility. Laser scan micrometer (LSM) was used to investigate hygroscopic expansion. The extent of the hygroscopic expansion positively correlated with the amount of water sorption. The effect of water on fracture toughness was also examined. A self-adhesive hydrophilic resin matrix decreased in fracture toughness after 7 days of storage at 37°C. By contrast, the least water absorbed bulk fill material increased in fracture toughness over time. The effect of food-simulating solvents (distilled water, 75% ethanol/water and MEK) on surface micro-hardness, colour stability and gloss retention were investigated. The MEK solvent resulted in the lowest micro-hardness and the greatest colour change (ΔE) for most of the examined composites, while the 75% ethanol/water solution caused the greatest loss in gloss for most of the examined composites. A highly filled nano-composite showed the best result over time, regardless of the condition of storage. Surface micro-hardness profiles were used as an indirect method to assess the depth of cure of bulk fill resin composites. The examined bulk fill resin composites can be cured to an acceptable depth (4 mm).

There has been limited research done to determine the impact of the use of colour on communication displays in the facilitation of graphic symbol location within an overlay. As many Augmentative and Alternative Communication systems are pictorial in nature, it is of importance that interventionists are aware of the potential impact that colour can have on the accuracy and rate of symbol location. The present study is based on a study by Wilkinson, Carlin and Jagaroo (2006) and used the same testing material (colour conditions) whilst modifying the type of exposure to these colour conditions. This study investigated the effect of sequential exposure of colour conditions on the rate and accuracy of graphic symbol location. The study used a comparative, non-experimental group design using sixty participants who conformed to specific selection criteria. Each participant was exposed to three colour conditions that were placed in a specific sequential order. The participants were required to match a target, graphic symbol within an array of symbols in the differing colour conditions. Two different types of graphic symbols were used meaningful (Type A) and arbitrary (Type B). Two different colour sets were also used with the colour conditions varying in each set. Set 1 were the sequentially ordered colour conditions of same colour, mixed colour and unique colour symbols (difficult to easy) while Set 2 were the sequentially ordered colour conditions of unique colour, mixed colour and same colour symbols (easy to difficult). The major findings of the study were as follows. In terms of rate, there was a significant interaction noted between the two symbol types and their sequential ordering. The time taken (rate) for the location of the nonreferential forms was slower than that taken for the meaningful symbols. The reasoning behind this result could be that the non-referential forms were not as familiar to the participants as the meaningful symbols were. Thus, the rate recording of the meaningful symbols and the non-referential forms described in the three colour conditions was different and could be noted in the results. In terms of accuracy, a significant impact was noted between the two symbol types when the first manner of sequential ordering was used, however, there were no significant differences noted when the second manner of sequential ordering was used. This implies greater accuracy was recorded when the second manner of sequential ordering was used as this ordering appeared to be “visually easier” for the location of symbols. / Dissertation (MA)--University of Pretoria, 2009. / Centre for Augmentative and Alternative Communication / unrestricted

Le terme « céladon » désigne à lui seul trois éléments différents : d’abord héros de fiction issu de « L’Astrée » d’Honoré d’Urfé, puis, par extension, nom de couleur en Europe désignant une nuance de vert pâle ; finalement porcelaine chinoise créée durant au Ier Millénaire avant J.-C dont l’émail revêt des nuances bleu-vert, le céladon questionne autant sur son identité chromatique que ses sources de références. En effet, trouble et peut-être inclassable, le céladon est désigné, en Chine, par le terme qīng cí qui signifie « porcelaine verte ou bleue ». La présente étude se propose d’étudier le céladon à travers un double regard. D’une part, un point de vue occidental notamment avec la question de la nomination et, d’autre part, à travers une perception extrême-orientale où il est question de comprendre une pratique archaïque dont les fondements poétiques sont nourris par des imaginaires particuliers (jade, bronze). Toute la complexité du céladon réside ainsi dans ce pouvoir d’ubiquité qui lui a été involontairement conféré. La notion de fictionnalisation apparaît ainsi d’elle-même. Ce sont en effet les usages de l’objet lui-même, de sa couleur mais aussi de son nom qui vont engendrer de multiples imaginaires, de multiples fictions. D’une région du monde à l’autre, la perception diffère participant toujours plus à faire du céladon un objet insaisissable. Comment des imaginaires peuvent-ils nourrir la création dans le domaine des couleurs en céramique ? Comment réutiliser un savoir-faire sans en dénaturer les fondements ? Comment innover à partir d’une pratique archaïque ? / The term “celadon” refers to three definitions. First, it is a hero of a french fiction, “L’Astrée” written by Honoré d’Urfé. Then and by extension, it becomes a color name in Europe and it indicates a shade of pale green. But, finally, it makes mainly reference to one special Chinese porcelain created during the First Millennium (1250 before J.-C) which gets a blue-green glaze. Celadon questions so much about its chromatic identity that its reference sources. Indeed, shady and maybe unclassifiable, celadon is designated, in China, by the words “qing ci” which mean “green or blue porcelain”. Consequently, this research is done through a double look. On one hand, an occidental point of view question the naming, then Far East Asian perception where it is about to understand an archaic practice the poetic foundations of which are fed by specific imaginary (jade, bronze). All the complexity of the celadon so lives in this power of ubiquity which was involuntarily conferred on him. The notion of fictionnalisation so appears by itself. It is indeed the uses of the very object, of its color but also its name that are going to engender multiple imagination, multiple fictions. Of a region from the world to the other one, the perception differs always participating more to make of the celadon as an imperceptible object. How can imagination feed the creation in the field of the ceramic colors? How to reuse a know-how without distorting foundations? How can we innovate from an archaic practice?

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space. / <p>The full thesis contains copyrighted material which has been removed in the published version.</p>