Die Gestaltung der Beleuchtung und das farbliche Design an Wissensarbeitsplätzen ist durch viele technische und gestalterische Neuerungen ein aktuelles Thema arbeitswissenschaftlicher Forschung. LEDs, Tageslichtnachahmung und dynamisches Licht sind aktuelle Innovationen, die den Arbeitsalltag immer mehr durchdringen. Zum einen müssen nun diese Konzepte ergonomisch untersucht und gestaltet werden, um zu einer Erhöhung von Leistung, Sicherheit, Informationsfluss oder Wohlbefinden zu kommen. Andererseits sind die Anforderungen der Nutzer von Belang, da sich eine licht- und farbtechnische Gestaltung an diesen orientieren sollte. Aus diesem Grund wurde an der Professur Arbeitswissenschaft der TU Chemnitz eine empirische Studie zu Wissensarbeitsplätzen durchgeführt. Nutzer wurden mittels eines teilstandardisierten Fragebogens zu Ihren Anforderungen an Beleuchtung und Farbgestaltung am Arbeitsplatz und vergleichend in ihrer Wohnung befragt.

The purpose of this study has been to explore which experiences of exposure transnational adoptees choses to tell about in their Instagram accounts and create an understanding for their experiences and thoughts with the help from theories and earlier research. We have by performing a netnografic study, found our empiric material from two transnational adoptees accounts on Instagram to answer our question formulations: Which experiences of exposure does transnational adoptees publish on Instagram? and: How does transnational adoptees explain the correlation between these experiences and their adoption? It appears in our empiric conclusion and in the analysis that themes of affiliation, indebtedness, racism, colour blindness and identity occur in both transnational adoptees account when it comes to exposure in relation to adoption. These experiences and thoughts are analysed with help from earlier research and theories. The theories we used are postcolonial perspective, stigma theory, intersectionality and social identity theory. In the discussion, conclusions are made about the analysis, where it among other things shows that experiences and thoughts of indebtedness appears to be a larger theme than in our selected earlier research. This phenomenon can be understood using the postcolonial theory, that gives a possible explanation about the occurrence of indebtedness. We discuss further about the relations between physical appearance, affiliation, and lack of racial reflection as how they appear to be distinctive factors for exposedness of the transnational adoptees in this study.

The topic of this thesis is Hand Gesture Recognition and Hand Tracking for user interface applications. 3 systems were produced, as well as datasets for recognition and tracking, along with UI applications to prove the concept of the technology. These represent significant contributions to resolving the hand recognition and tracking problems for 2d systems. The systems were designed to work in video only contexts, be computationally light, provide recognition and tracking of the user's hand, and operate without user driven fine tuning and calibration. Existing systems require user calibration, use depth sensors and do not work in video only contexts, or are computationally heavy requiring GPU to run in live situations. A 2-step static hand gesture recognition system was created which can recognize 3 different gestures in real-time. A detection step detects hand gestures using machine learning models. A validation step rejects false positives. The gesture recognition system was combined with hand tracking. It recognizes and then tracks a user's hand in video in an unconstrained setting. The tracking uses 2 collaborative strategies. A contour tracking strategy guides a minimization based template tracking strategy and makes it real-time, robust, and recoverable, while the template tracking provides stable input for UI applications. Lastly, an improved static gesture recognition system addresses the drawbacks due to stratified colour sampling of the detection boxes in the detection step. It uses the entire presented colour range and clusters it into constituent colour modes which are then used for segmentation, which improves the overall gesture recognition rates. One dataset was produced for static hand gesture recognition which allowed for the comparison of multiple different machine learning strategies, including deep learning. Another dataset was produced for hand tracking which provides a challenging series of user scenarios to test the gesture recognition and hand tracking system. Both datasets are significantly larger than other available datasets. The hand tracking algorithm was used to create a mouse cursor control application, a paint application for Android mobile devices, and a FPS video game controller. The latter in particular demonstrates how the collaborating hand tracking can fulfill the demanding nature of responsive aiming and movement controls.

Vor dem Hintergrund des heutigen Verständnisses der biologischen Psychologie zur Entstehung von Farbempfindung als selbstregulierende Energiewandlung und -wirkung wird der Beitrag gewürdigt, den Wilhelm Ostwald vor über 100 Jahren mit seiner ‚biologischen Energetik’ einbrachte. Energetische Intentionen und Interpretationen bestimmten auch dessen ,Psychologische Farbenlehre’ als das erklärte Kernstück einer modernen Farbenlehre. Obwohl im Sinne einer kritischen Rezeption auch Grenzen jener Farbenlehre aufgezeigt werden, offenbart sich aber Ostwalds energetische Konzeption durchaus als visionäre Vorleistung, die sich in vielen Aspekten mit heutigen einschlägigen Wissensbeständen deckt. Aus der Perspektive enger Beziehungen zwischen Wissenschaft und Kunst wird zudem auf befruchtende Wechselwirkungen, insbesondere die Ausstrahlung der Ostwald’schen ‚Energetik’ auf die visuellen Künste im 20. Jahrhundert hingewiesen. / With today's understanding of colour perception as a self-regulating process of energy transformation and effects, biological psychology honours the contribution made by Wilhelm Ostwald over 100 years ago with his concept of ’biological energetics’. Energy considerations and interpretations determined also his ’psychological theory of colour’, the declared core of modern colour science. Even if critical reception has revealed also the limitations of this colour theory, Ostwald's energetic concept can certainly be seen as a pioneering vision, retaining its validity in many aspects in today's scientific knowledge base. In the context of close relationships between science and art, furthermore, attention must be drawn to fertile interactions, in particular in the influences of Ostwald’s ’energetics’ on the visual arts in the 20th century.

The textile industry is developing at a fast pace, and is constantly changing. It is constantly evolving new methods for recycling and further research is important for future needs. The ability to recycle a textile blended material is a step towards a more sustainable industry. There are however different difficulties around the various processes that have to be removed for recycling. The purpose of the study is to find methods for removing dyes from polyester and cotton blended textile waste for recycling. To investigate the subject, a literature study combined with interviews with experts was performed. The results of the study shows that it is possible to remove dye from cotton and polyester individually. To remove dye from cotton chlorine and hydrogen peroxide are used. Another method is to use a reducing agent hydrosulphite and after use together with lye. There are several ways to remove colour from polyester, although it will almost always have a residue of colour left. One can either melt the pigment into the fibre by using heat. Another method is to use chemicals which increase the amorphous areas in the fibres and the colour will be penetrated. Finally, when investigating a method for removing dye from a polyester and cotton textile blend. The study has highlighted the need of developing new methods without destroying the quality of the fibres. By this study it has been concluded removing dye from fibres are difficult but can be achieved with certain chemicals and processes. It is concluded in the study, removing dye from polyester and cotton individually can be succeed. However, removing colour from a blended fabric is rather difficult. The study has focus on discussing the difficulties when decolouring a blended textile.

The purpose of this study was to research what effect a game narrative can have on players’ colour expectations in a game scene. To answer the proposed research question a practical experiment was conducted. 6 testers were given one narrative belonging to a non-existent game and were then tasked with colouring a 2D image said to belong to the same game, based on this narrative. They then repeated the process a second time with a new narrative. Semi-structured interviews were then conducted in an attempt to determine the reasoning behind the participants’ colour choices and any eventual factors that might have affected said choices. Clear indications suggesting that the narrative did indeed affect the colour expectations of players in a game scene was found. The analysis further showed patterns indicating that low values of saturation and brightness were associated with negative concepts, while high values of saturation and brightness were associated with positive concepts. The analysis also led to a hypothesis suggesting that the cultural background of one of the participants had a major impact on the participant’s interpretation of the narrative, which resulted in a result that differed from the other participants’ results. / Syftet med den här studien var att studera vilken effekt ett spelnarrativ kan ha på spelares färgförväntningar i en spelscen. För att kunna svara på forskningsfrågan genomförde vi ett praktiskt experiment. 6 testare i åldrarna 20 – 30, alla speldesignstudenter, gavs ett narrativ tillhörande ett icke-existerande spel. De fick sen i uppgift att färglägga en 2D bild tillhörande samma spel, baserat på narrativet. De blev sedan ombedda att läsa ett andra narrativ och upprepa färgläggningsprocessen, nu baserat på det andra narrativet istället. Efter detta hölls en semi-strukturerad intervju med testaren för att avgöra anledningar till färgvalen och faktorer som skulle kunnat påverka valen. Det fanns tydliga indikationer att narrativen påverkade färgassociationerna i spelscenen. Analysen visade på att låga värden i mättnad och intensitet var associerade med negativa koncept, medan höga värden i mättnad och intensitet var associerade med positiva koncept. Analysen ledde också till en hypotes att den kulturella bakgrunden hos en av testarna hade stor påverkan på testarens tolkning av narrativet, vilket resulterade i ett resultat som skilde sig från de andra testarnas resultat.

Nobel Biocare is a manufacturer within the dental implant industry whose products acts as an artificial coralroot in dental procedures. The company has high demands on their products which has led to a number of quality controls within the manufacturing process. One of these quality controls aims to inspect the colour of the product to establish whether the colour is within an acceptable range. This inspection is called colour inspection and is a manual process where the operator, piece by piece, controls the product in a light cabinet to examine the colour. To perform this process manually contributes to an inconsistent judgment because operators struggle to detect differences in nuance. This procedure entails perfectly good products to be thrown away because of the misjudgement of the colour. Not only is this process undesired when considering throwing away functional products, but it is also very time-consuming and demanding for the operator who performs the work. With this being said, Nobel Biocare sees a need to automate this process by investing in a vision system.  The purpose of this thesis is to examine the market of vision systems to find Nobel Biocare a proposal for how this process can be automated. Beyond presenting a recommended solution for the colour inspection process, the aim is to generate a foundation that Nobel can use for future implementation of vision systems.  The market research concluded that there was only one company that was able to offer a camera that can detect colour differences. This company called Cognex had multiple cameras that theoretically could solve the problem. Lack of time and the current situation with Covid-19 made it impossible to perform practical tests to validate the solution. This project should therefore be seen as a background for continuous work. / Nobel Biocare är en tillverkare av tandimplantat vars produkter fungerar som en konstgjord tandrot vid odontologiska ingrepp. Företaget och diverse lagstiftning ställer höga krav på produkterna vilket lett till att flertalet kvalitetskontroller äger rum inom tillverkningen. En av dessa kvalitetskontroller syftar till att inspektera produkternas färg för att avgöra huruvida färgen är inom godkänt intervall. Denna kontroll är idag en process där en operatör manuellt för in produkterna styckvis i ett ljusskåp för att undersöka färgen.  Att utföra färginspektionen manuellt bidrar till en inkonsekvent bedömning då operatörerna har svårt att skilja på nyansskillnader i färgen, vilket i sin tur leder till att godkända produkter kasseras i onödan. Utöver detta är den manuella hanteringen tidskrävande och påfrestande för operatören som utför arbetet. Som följd av detta ser Nobel Biocare ett behov av att automatisera denna process, vilket man vill göra med hjälp av ett visionsystem.  Detta examensarbete syftar således till att undersöka marknaden för visionsystem i hopp om att kunna rekommendera en lösning på hur färginspektionen kan komma att automatiseras. Utöver att presentera ett lösningsförslag var målet även att generera underlag som Nobel Biocare kan använda vid en framtida implementering av tekniken.   Från undersökningen av marknaden framkom det att endast ett företag kunde erbjuda ett visionsystem med förmågan att avläsa färg. Detta företag hade flertalet kameror som teoretiskt sett kan lösa problemet, inga praktiska tester kunde utföras inom ramen för examensarbetet vilket lett till att resultatet inte kan verifieras. Således resulterade detta arbete i en bakgrund för fortsatt arbete snarare än ett konkret lösningsförslag.

This study examines the online atmospheric cues of colour and music and their impact upon feeling and purchase intention of consumers in the online environment. The research design was experimental and used data from a questionnaire. A pilot test of the instrument was conducted. The final questionnaire contained 39 items and a demographic section. A total of 200 questionnaires were collected. Participants were exposed to a specific set of online atmospheric elements. Results indicated a difference in regard to purchase intention when exposed to different colour. Results also found a correlation between feeling and internet purchase intention. Managerial and theoretical implications are discussed along with future research suggestions.

This work places itself within the field of textile design and atmospheric design. The primary motive is to integrate and broaden the two fields by developing design proposals in textile design. The aim is to explore how to change the atmosphere of a space through the use of fabric manipulations, surface patterns, colours, light and shadow. The design method consisted of material explorations, light and shadow experiments, design of surface patterns, heat transfer print and pleating techniques. Colours were tested in combination with lights. The result is a collection of three textile dividers of space that by the impact of light change the current atmosphere in public spaces, and by doing so, the perception and mood are changed. The value of this work is to show design potentials for new expressional possibilities, a new approach to merge the fields of textile design and atmospheric design.

Submitted for the fulfillment of the requirements for the degree Master of Arts In the Department of IsiZulu Namagugu at the University of Zululand, 2002. / The topic of this thesis is informed by the writer's observation of the trend wherein modemist and traditionalist Zulu women tend to wear. as style, colourfully beaded outfits to decorate their fashion and wear. The colourful regalia is found in ceremonial dress, like isidwaba (cow-hide skirt) and other forms of dress made of cloth and textile. and decorated in beads. The decoration. as observed, is often designed to fit in a particular mode of interpretation, thus promoting the notion of fashion as form of communication interaction and definition of status. It is the hypothesis of the present writer that beads. designed and patterned in a specific way tend not only to communicate certain literal and figurative or poetic meanings, but also to declare fashion as a medium of communication, very much like ordinary speech does. In the context of this thesis Zulu womens' beadwork is a form of colour coding, literary and poetic speech communication and a declaration of fashion as a medium of social interaction, status, and social display. Thus, wearing their colourfully designed beadwork and fashion, Zulu women are always highly visible and recognisable. The thesis is thus confined to introducing the angle of fashion as statement and medium of literary and poetic communication in the creation of the modem and traditional status of a Zulu woman through beadwork. Colourcoding is key because the power of beadwork to communicateThe focus on Zulu Women is for the sake of creating a focus group of study and more so due to the observation by the present writer that in the context of modemist and traditionalist Zulu society, real or imaginary, it is women who wear more beads compared, to any other social group. meaningfully very much depends on the design and patteming of colours.