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This exploration is one artist's view of visual reasoning through the study of depth perception. The experiment searched for pre-architectural forms through an investigation of geometric rectangular shapes and planar figures in anticipation of finding architectural volumes, that is, three-dimensional objects. I used three parameters to observe: the expected or planned, the anticipated, and the unforeseen. The pre-architectural sketching style used the disciplines of painting, sculpture, graphic arts, color theory, optics, and photography to formulate an architectural language. First, as artist (painter), I selected the medium of light as the brushstroke, color as the pigment, and photographic film plane as the canvas to capture image abstractions. Second, I used one-point perspective as the viewer's line of sight. Finally, I employed a series of shape abstractions to form a succession of transparent sections that composed the subject matter. This experiment sought to analyze visual perception by capturing the spatial depth of images, that is, a reproduction of something sculptural in likeness. The challenge was to reintegrate the abstracted Rectangular Shapes and Planar Figures. In order to achieve this physical abstraction, I created a modified camera obscura. This exploration produced clearly defined images-as-products that were interpreted as pre-architectural forms, which allowed me to translate color abstractions into architectural form studies, or models-as-products. Thus, the experiment created architectural volumes using light and color in order to draw points, lines, planes, and spatial depth. / Master of Architecture

In this thesis, I explore Latino masculinities and contest their uniformity through transforming an oral history conducted with my father into a collection of short stories. Following storytelling traditions of Latino/Mexican culture, I converted an oral history interviews with my dad into a collection of short stories. From these short stories I extracted themes relating to the micro and macro manifestations of gender policing. Drawing from Judith Butler's Theory of performativity and Gloria Anzaldua's theory of Borderland identities, I rethink masculinity and offer Jose Esteban Munoz's theory of disidentification. With these theories in conversation, I analyze the themes of the short stories I present. In Chapter One, I investigate the potential of verguenza and respeto, or shame and respect, to complicate masculinity. In Chapter Two, I critically analyze my father's interaction with INS officials during his interview to become a U.S. resident. In these two sets of stories, I use disidentification to uncover the third space relationship with masculinity. I see this relationship at the intersections of race, class, gender and ability, the identities which come together to leave my father in the borderlands. Ultimately, I complicate masculinity through these analyses, offering a space for a nonoppressive masculinity.

Color theory was first formalized in the seventeenth century by Isaac Newton just a couple of decades after the first microscope was built. But it was not until the twentieth century that technological advances led to the integration of color theory, optical spectroscopy and light microscopy through spectral image processing. However, while the focus of image processing often concerns modeling of how images are perceived by humans, the goal of image processing in natural sciences and medicine is the objective analysis. This thesis is focused on color theory that promotes quantitative analysis rather than modeling how images are perceived by humans. Color and fluorescent dyes are routinely added to biological specimens visualizing features of interest. By applying spectral image processing to histopathology, subjectivity in diagnosis can be minimized, leading to a more objective basis for a course of treatment planning. Also, mathematical models for spectral image processing can be used in biotechnology research increasing accuracy and throughput, and decreasing bias. This thesis presents a model for spectral image formation that applies to both fluorescence and transmission light microscopy. The inverse model provides estimates of the relative concentration of each individual component in the observed mixture of dyes. Parameter estimation for the model is based on decoupling light intensity and spectral information. This novel spectral decomposition method consists of three steps: (1) photon and semiconductor noise modeling providing smoothing parameters, (2) image data transformation to a chromaticity plane removing  intensity variation while maintaining chromaticity differences, and (3) a piecewise linear decomposition combining advantages of spectral angle mapping and linear decomposition yielding relative dye concentrations. The methods described herein were used for evaluation of molecular biology techniques as well as for quantification and interpretation of image-based measurements. Examples of successful applications comprise quantification of colocalization, autofluorescence removal, classification of multicolor rolling circle products, and color decomposition of histological images.

This dissertation explores the importance of the panorama for American Renaissance writers' participation in ideological formations in the antebellum period. I analyze how Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, William Wells Brown, Henry Box Brown, and Harriet Beecher Stowe use the panorama as a metaphorical site to contest their different positions on epistemological and sociopolitical agendas such as transcendentalism, masculinist expansionism, and radical abolitionism. Emerson uses the panorama as a key metaphor to underpin his transcendental idealism and situate it in contemporary debates on vision, gender, and race. Connecting the panorama with optical theories on light and color, Emerson appropriates them to theorize his transcendental optics and makes a hierarchical distinction between light/transparency/panorama as metaphors for spirit, masculinity, and race-neutral man versus color/opacity/myopic vision for body, femininity, and racial-colored skin. In his paean to the moving panorama, Thoreau expresses his desire for Emersonian correspondence between nature and the spirit through transcendental panoramic vision. However, Thoreau's esteem for nature's materiality causes his panoramic vision to be corporeal and empirical in its deviation from the decorporealized vision in Emerson?s notion of transparent eyeball. Hawthorne repudiates the Transcendentalists' and social reformers' totalizing and absolutist idealism through his critique of the panorama and the emphasis on opacity and ambiguity of the human mind and vision. Hawthorne reveals how the panorama satisfies the desire for visual and physical control over the rapidly expanding world and the fantasy of access to truth. Countering the dominant convention of the Mississippi panorama that objectifies slaves as a spectacle for romantic tourism, Box Brown and Wells Brown open up a new American subgenre of the moving panorama, the anti-slavery panorama. They reconstruct black masculinity by verbally and visually representing real-life stories of some male fugitive slaves and idealizing them as masculine heroes of the anti-slavery movement. In Uncle Tom's Cabin, Stowe criticizes how the favorable representation of slavery and the objectification of slaves in the Mississippi panorama and the picturesque help to construct her northern readers' uncompassionate and hard-hearted attitudes toward the cruel realities of slavery and presents Tom's sympathetic and humanized "eyes" as an alternative vision.

Das Buch gibt eine Einführung in die Digitale Bildverarbeitung. Der Inhalt des Buches gliedert sich in sechs Kapitel. Im ersten Kapitel werden die wichtigsten Definitionen und Anwendungsgebiete der Digitalen Bildverarbeitung sowie wesentliche Komponenten eines digitalen Bildverarbeitungssystems erklärt. Das zweite Kapitel befasst sich mit den Grundlagen digitaler Bilder, den Bilddatenformaten und Kompressionsverfahren. Die Grundlagen der Farbtheorie und ein kurzer Überblick über die wichtigsten Farbsysteme werden im dritten Kapitel vermittelt. Die zwei anschließenden Kapitel beschäftigen sich mit der Manipulation von Grauwerten. Der Schwerpunkt liegt hier auf den Punktoperationen und den Filtertechniken. Das letzte Kapitel behandelt die für die Lehrgebiete Photogrammetrie, Fernerkundung und Geoinformationssysteme überaus wichtigen Grundlagen der geometrischen Transformation.:Vorwort 1. Einführung in die digitale Bildverarbeitung 1.1 Definition der Bildverarbeitung 1.2 Anwendungsgebiete der Digitalen Bildverarbeitung 1.3 Komponenten eines Bildverarbeitungssystems 2. Digitale Bilder 2.1 Entstehung digitaler Bilder 2.2 Bildmatrix und Grauwerte 2.3 Digitale Bilder im Ortsbereich 2.3.1 Bildrepräsentation 2.3.2 Auflösung eines Pixels 2.3.3 Das Pixelkoordinatensystem 2.3.4 Grundsätzliche Festlegungen 2.3.5 Topologien oder Nachbarschaftsrelationen 2.3.6 Distanzen 2.4 Eigenschaften digitaler Bilder 2.4.1 Mittelwert und mittlere quadratische Abweichung 2.4.2 Varianz und Standardabweichung 2.4.3 Histogramm 2.4.4 Stochastische Einflüsse 2.5 Kompressionen und Datenformate 2.5.1 Ausgewählte Verfahren zur Bildkompression 2.5.2 Bilddatenformate 3. Farbtheorie 3.1 Was ist Farbe? 3.2 Farbsysteme 3.2.1 RGB- und CMY- Farbsystem 3.2.2 Das Farbdreieck (Maxwell’sches Dreieck) 3.2.3 Das IHS- Modell 3.2.4 Das CIE- Farbmodell 3.3 Bildwiedergabe 3.4 Farbmanipulation 4. Punktoperationen 4.1 Schwellwertoperation zur Erzeugung von Binärbildern 4.2 Arithmetische Bildoperationen 4.3 Logische oder Boolesche Kombinationen 4.4 Kontrast- und Helligkeitsänderungen 4.4.1 Kontrastübertragungsfunktionen 4.4.2 Kontrastveränderung durch Histogrammanpassungen 4.4.3 Äquidensitenherstellung 5. Filteroperationen 5.1 Lineare Filter 5.1.1 Tiefpassfilter 5.1.2 Hochpassfilter 5.1.2.5 Schärfung 5.2 Morphologische Filter 5.2.1 Medianfilter 5.2.2 Minimum- und Maximumfilter 5.2.3 Dilatation und Erosion im Binärbild 5.2.4 Opening und Closing 6. Geometrische Bildtransformationen 6.1 Koordinatentransformationen im 2D-Raum 6.2 Direkte und indirekte Transformation 6.2.1 Direkte Transformation 6.2.2 Indirekte Transformation 6.3 Resampling 6.3.1 Nächster Nachbar 6.3.2 Bilineare Interpolation 6.3.3 Interpolationen höherer Ordnung 6.3.4 Zusammenfassung der Interpolationsmethoden Quellennachweis Sachregister / The book provides an introduction into digital image processing. The content of the book is divided into six chapters. In the first chapter, the most important definitions and areas of application of digital image processing as well as essential components of a digital image processing system are explained. The second chapter deals with the basics of digital images, image data formats and compression methods. The basics of color theory and a brief overview of the most important color systems are presented in the third chapter. The following two chapters deal with the manipulation of gray values. The focus here is on point operations and filtering techniques. The last chapter deals with the fundamentals of geometric transformation, which are extremely important for the areas of photogrammetry, remote sensing and geographic information systems.:Vorwort 1. Einführung in die digitale Bildverarbeitung 1.1 Definition der Bildverarbeitung 1.2 Anwendungsgebiete der Digitalen Bildverarbeitung 1.3 Komponenten eines Bildverarbeitungssystems 2. Digitale Bilder 2.1 Entstehung digitaler Bilder 2.2 Bildmatrix und Grauwerte 2.3 Digitale Bilder im Ortsbereich 2.3.1 Bildrepräsentation 2.3.2 Auflösung eines Pixels 2.3.3 Das Pixelkoordinatensystem 2.3.4 Grundsätzliche Festlegungen 2.3.5 Topologien oder Nachbarschaftsrelationen 2.3.6 Distanzen 2.4 Eigenschaften digitaler Bilder 2.4.1 Mittelwert und mittlere quadratische Abweichung 2.4.2 Varianz und Standardabweichung 2.4.3 Histogramm 2.4.4 Stochastische Einflüsse 2.5 Kompressionen und Datenformate 2.5.1 Ausgewählte Verfahren zur Bildkompression 2.5.2 Bilddatenformate 3. Farbtheorie 3.1 Was ist Farbe? 3.2 Farbsysteme 3.2.1 RGB- und CMY- Farbsystem 3.2.2 Das Farbdreieck (Maxwell’sches Dreieck) 3.2.3 Das IHS- Modell 3.2.4 Das CIE- Farbmodell 3.3 Bildwiedergabe 3.4 Farbmanipulation 4. Punktoperationen 4.1 Schwellwertoperation zur Erzeugung von Binärbildern 4.2 Arithmetische Bildoperationen 4.3 Logische oder Boolesche Kombinationen 4.4 Kontrast- und Helligkeitsänderungen 4.4.1 Kontrastübertragungsfunktionen 4.4.2 Kontrastveränderung durch Histogrammanpassungen 4.4.3 Äquidensitenherstellung 5. Filteroperationen 5.1 Lineare Filter 5.1.1 Tiefpassfilter 5.1.2 Hochpassfilter 5.1.2.5 Schärfung 5.2 Morphologische Filter 5.2.1 Medianfilter 5.2.2 Minimum- und Maximumfilter 5.2.3 Dilatation und Erosion im Binärbild 5.2.4 Opening und Closing 6. Geometrische Bildtransformationen 6.1 Koordinatentransformationen im 2D-Raum 6.2 Direkte und indirekte Transformation 6.2.1 Direkte Transformation 6.2.2 Indirekte Transformation 6.3 Resampling 6.3.1 Nächster Nachbar 6.3.2 Bilineare Interpolation 6.3.3 Interpolationen höherer Ordnung 6.3.4 Zusammenfassung der Interpolationsmethoden Quellennachweis Sachregister

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[ES] Hoy en día es posible observar una difusión global del color blanco en el panorama de la arquitectura contemporánea. Las cuestiones vinculadas al empleo de este particular color penetran con profundas raíces en los tiempos antiguos, en la cultura, en la historia. Para buscar las razones tras el uso del blanco, la presente investigación propone un punto de vista holístico, analizando el mito, la poética y la ciencia del blanco en arquitectura. Estas tres claves de lectura del fenómeno del blanco conducen a diferentes razones para explicar su empleo. Claves de lectura que se separan exclusivamente para obtener un estudio más ordenado del tema, pero que en la complejidad de la arquitectura actúan de forma inseparable. La tesis estudia y analiza el escenario de la arquitectura contemporánea a partir del color, pero teniendo conciencia que este representa solo un parámetro entre los muchos que realizan la forma y el espacio de la arquitectura. De las obras del pasado, de los tratados y de las teorías, hoy llega una narración llena de alternancias - de épocas de revival, pero también de renacimientos y vanguardias -, un verdadero mito en el que el color blanco, a pesar de todo, resiste con constancia hasta establecerse en la memoria actual. Al acercarse a la época hodierna, los contornos de ese mito se vuelven más nítidos y precisos, y las cuestiones históricas y culturales se unen con las innovadas necesidades de la práctica arquitectónica contemporánea. Varios arquitectos emplean el blanco para sus obras y para lograr determinadas y distintas ideas. Se define entonces una poética del blanco, es decir, una forma esencialmente subjetiva de pensar y construir arquitectura. Para investigar estas instancias individuales y específicas, al análisis de obras de arquitectura se une una serie de diálogos sobre el blanco que enriquecen el tema con las experiencias directas de los arquitectos. Aunque el color sea un fenómeno por su naturaleza muy subjetivo, el empleo del blanco en arquitectura es soportado por la ciencia y, en particular, por algunas ventajas físicas y químicas. La construcción del blanco es posible gracias a varias técnicas que amplían y extienden su larga tradición constructiva gracias a la innovada eficacia de métodos antiguos, pero también con nuevas tecnologías y materiales. El estudio se enfoca en particular en el análisis de la cultura arquitectónica española, portuguesa e italiana; la investigación no se limita a estos ámbitos geográficos, extendiéndose a considerar un horizonte global para la arquitectura blanca. El análisis de las obras de arquitectura blanca publicadas en revistas científicas de relevancia internacional proporciona un dato estadístico y objetivo de la condición global de la cuestión. La definición de la tendencia contemporánea al empleo del blanco, se remonta a la segunda mitad del siglo XX, cuando algunas obras acogen los valores del mito y los renuevan de una forma actual. No obstante, la difusión global del blanco en arquitectura se debe a su capacidad de representar ideales diferentes y múltiples. Se deduce, entonces, que el blanco no es el color de una homogeneización, sino que representa un factor común a muchas experiencias de la contemporaneidad. / [CA] Hui en dia és possible observar una difusió global del color blanc en el panorama de l'arquitectura contemporània. Les qüestions vinculades a l'ús d'aquest particular color, penetren amb profundes arrels en l'antiguitat, en la cultura, en la història. Per a cercar les raons de l'ús del blanc, la present investigació proposa un punt de vista holístic, analitzant el mite, la poètica i la ciència del blanc en arquitectura. Aquestes tres claus de lectura del fenòmen del blanc conduïxen a diferents raons per explicar el seu ús. Claus de lectura que se separen exclusivament per a obtindre un estudi més ordenat del tema, però que en la complexitat de l'arquitectura actuen de forma inseparable. La tesi estudia i analitza l'escenari de l'arquitectura contemporània a partir del color, però tenint consciència que aquest representa només un paràmetre entre els molts que realitzen la forma i l'espai de l'arquitectura. De les obres del passat, dels tractats i de les teories, hui arriba una narració plena d'alternances - d'èpoques de revival, però també de renaixements i avantguardes -, un vertader mite en què el color blanc, malgrat tot, resisteix amb constància fins a establir-se en la memòria actual. A l'acostar-se a l'època hodierna, els contorns d'eixe mite es tornen més nítids i precisos, i les qüestions històriques i culturals s'uneixen amb les innovades necessitats de la pràctica arquitectònica contemporània. Diversos arquitectes empren el blanc per a les seues obres i per a aconseguir determinades i distintes idees. Es defineix llavors una poètica del blanc, és a dir, una forma essencialment subjectiva de pensar i construir arquitectura. Per a investigar estes instàncies individuals i específiques, a l'anàlisi d'obres d'arquitectura s'unix una sèrie de diàlegs sobre el blanc que enriquixen el tema amb les experiències directes dels arquitectes. Encara que el color siga un fenòmen per la seua naturalesa molt subjectiu, l'ús del blanc en arquitectura és recolzat per la ciència i, en particular, per alguns avantatges físics i químics. La construcció del blanc és possible gràcies a diverses tècniques que amplien i estenen la seua llarga tradició constructiva gràcies a la innovada eficàcia de métodes antics, però també amb noves tecnologies i materials. L'estudi s'enfoca en particular en l'anàlisi de la cultura arquitectònica espanyola, portuguesa i italiana; la investigació no es limita a aquestos àmbits geogràfics, estenent-se a considerar un horitzó global per a l'arquitectura blanca. L'anàlisi de les obres d'arquitectura blanca publicades en revistes científiques de rellevància internacional proporciona una dada estadística i un objectiu de la condició global de la qüestió. La definició de la tendència contemporània a l'ús del blanc, es remunta a la Segona meitat del segle XX, quan algunes obres acullen els valors del mite i els renoven d'una forma actual. No obstant això, la difusió global del blanc en arquitectura es deu a la seua capacitat de representar ideals diferents i múltiples. Es dedueix, llavors, que el blanc no és el color d'una homogeneïtzació, sinó que representa un factor comú a moltes experiències de la contemporaneïtat. / [EN] Today it is possible to observe a global diffusion of white color in the panorama of contemporary architecture. The issues linked to the use of this particular color, penetrate with deep roots in ancient times, in culture, in history. To find the reasons for the use of white, this research proposes a holistic point of view, analyzing the myth, the poetics and the science of white in architecture. The three keys to reading the phenomenon of white lead to different reasons to explain its use. Reading keys that are separated exclusively to obtain a more orderly study of the theme, but that in the complexity of architecture act in an inseparable way. The thesis studies and analyzes the scenario of contemporary architecture starting from color, being aware that this represents only one parameter among the many that realize the shape and space of architecture. From the works of the past, from the treatises and from the theories, today arrives a narration of continuous alternations - of epochs of revival, but also of rebirths and vanguards -, a true myth in which the white color, In spite of everything, it endures with constancy until it is established in the present memory. As we approach today's times, the outlines of this myth become clearer and more precise, and historical and cultural issues are combined with the innovated needs of contemporary architectural practice. Various architects use white for their works and to materialize certain and different ideas. This defines a poetics of white, or in other words, an essentially subjective form of thinking and building architecture. To analyze these individual and specific instances, the analysis of architectural works is accompanied by a series of dialogues on white that enrich the theme with the direct experience of architects. Although color is a very subjective phenomenon by its nature, the use of white in architecture is supported by science and, in particular, by some physical and chemical advantages. The construction of white is possible thanks to various techniques that expand and extend its long construction tradition thanks to the renewed efficiency of ancient methods, but also with new technologies and materials. The study focuses in particular on the analysis of Spanish, Portuguese and Italian architectural culture, but the research is not limited to these geographical areas, extending in considering a global horizon for white architecture. The analysis of works of white architecture published in scientific journals of international importance, provides a statistical and objective data of the global condition of the issue. The definition of the contemporary tendency to use white dates back to the second half of the twentieth century, when some works embrace the values of myth and renew it in a contemporary way. Despite this, the global diffusion of white in architecture is due to its capacity to represent different and multiple ideals. It is therefore deduced that white is not the color of homogenization, but on the contrary it is a common factor in many contemporary experiences. / Marco, PD. (2020). Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160488

This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter. / Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.