Made available in DSpace on 2014-08-20T14:30:16Z (GMT). No. of bitstreams: 1 Dissertacao_Gloria_Beatriz_de_Azevedo_Cubas.pdf: 366173 bytes, checksum: 72f44b204986b41bc060a7a0f6a0541d (MD5) Previous issue date: 2009-04-24 / O objetivo deste estudo foi avaliar a influência de óxidos metálicos presentes na composição de revestimentos refratários, utilizados no preparo de troquéis para confecção de restaurações cerâmicas livres de metal, na coloração de cerâmicas. Para a avaliação, foram utilizadas cinco cerâmicas (Vitadur Alpha, Vision Esthetic, Noritake, Halo Vintage e IPS Classic V) e quatro revestimentos refratários para troquel (Duravest, Vitadurvest, Ducera Lay e Fortune). Com o auxílio de uma gelatina duplicadora elástica (Duplicador VIPI) foram confeccionados 100 corpos de prova com 3 cm de diâmetro e 2 cm de altura, os quais serviram de molde para vazamento dos revestimentos, com os quais foram confeccionados 25 troquéis refratários com cada um dos revestimentos, constituindo quatro grupos. Os troqueis foram submetidos a uma queima inicial para eliminação de gases e óxidos.Posteriormente, foi realizada a aplicação das cerâmicas sobre os troquéis. Para cada revestimento, cinco troquéis foram confeccionados para cada cerâmica testada (n=5), resultando em 20 grupos experimentais. As cerâmicas foram queimadas e glazeadas conforme orientação dos fabricantes. Ainda, 5 espécimes de cada cerâmica foram confeccionados sem o uso de revestimento refratário, servindo como controles. A análise da cor das cerâmicas foi realizada com o auxílio de um espectrocolorímetro. Os revestimentos produziram alterações de cor significativas (p<0.05) nas cerâmicas testadas. Foram detectadas alterações de cor significativas (LE*) na cerâmica Vision Esthetic para todos os revestimentos.Também foram encontradas alterações significativas nos parâmetros a*, b* e L* utilizando dois revestimentos (Duravest e Fortune) em três das cinco cerâmicas testadas, variando o parâmetro de cor afetado conforme a combinação do revestimento e da cerâmica. Conclui-se que houve influência dos revestimentos sobre a coloração das cerâmicas testadas, resultando em alterações cromáticas clinicamente inaceitáveis (LE*)

Abstract This thesis presents extensions to the local binary pattern (LBP) texture analysis operator. The operator is defined as a gray-scale invariant texture measure, derived from a general definition of texture in a local neighborhood. It is made invariant against the rotation of the image domain, and supplemented with a rotation invariant measure of local contrast. The LBP is proposed as a unifying texture model that describes the formation of a texture with micro-textons and their statistical placement rules. The basic LBP is extended to facilitate the analysis of textures with multiple scales by combining neighborhoods with different sizes. The possible instability in sparse sampling is addressed with Gaussian low-pass filtering, which seems to be somewhat helpful. Cellular automata are used as texture features, presumably for the first time ever. With a straightforward inversion algorithm, arbitrarily large binary neighborhoods are encoded with an eight-bit cellular automaton rule, resulting in a very compact multi-scale texture descriptor. The performance of the new operator is shown in an experiment involving textures with multiple spatial scales. An opponent-color version of the LBP is introduced and applied to color textures. Good results are obtained in static illumination conditions. An empirical study with different color and texture measures however shows that color and texture should be treated separately. A number of different applications of the LBP operator are presented, emphasizing real-time issues. A very fast software implementation of the operator is introduced, and different ways of speeding up classification are evaluated. The operator is successfully applied to industrial visual inspection applications and to image retrieval.

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L’innovation du lieu hospitalier intéresse le domaine de conception et de création dans une lecture et une démarche esthétique et poïétique. Cette recherche vise à alimenter des réflexions en esthétique et en poïétique, par le biais des interrogations sur la couleur et la lumière. La démarche conceptuelle s’achève par un va-et-vient entre pratique et théorie, entre sensibilité et système nerveux, entre complexité et simplicité. Je cherche à travers cette recherche, à trouver une autre identité aux espaces sanitaires en Tunisie, respectant à la fois, les exigences technico médicales et l’identité patrimoniale. Je pose les problématiques de la démarche et de la méthodologie, de la réflexion et de la lecture, du théorique et d’empirique. Les différentes parties de cette recherche doctorale portent sur la relation entre conceptions couleur et lumière et certaines interrogations en matière de poïétique et d’esthétique. / Innovation hospital design interested field and creation in reading and aesthetic and poietic approach. This research aims to contribute to reflections on aesthetics and poietics, through questions about color and light. The conceptual approach ends with a back and forth between theory and practice, between sensitivity and nervous system, between complexity and simplicity. I'm looking through this research, to find another identity sanitary spaces Tunisia, respecting both the technical requirements and medical heritage identity. I put the problems of the approach and methodology, reflection and reading, the theoretical and empirical. The different parts of this doctoral research focuses on the relationship between color and light designs and some questions for poietic and aesthetic.

Magister Scientiae Dentium - MSc(Dent) / The objective of this study was to assess coronal discoloration due to four commonly used endodontic sealers with gutta-percha, using spectrophotometric analysis. Extracted human teeth were obturated with the experimental sealers and GP. The sealers that were tested included AH Plus, EndoRez, and Kerr Pulp Canal Sealer. The teeth were maintained in a moist environment at 37 C. Immediate pretreatment readings of the crowns of the extracted teeth with a spectrometer were used as baseline data. Subsequent readings were taken every two weeks for two months. Results were analysed using Wilcoxson Signed Rank sum test and Kruskal Wallis test. / South Africa

Across avian systems, plumage ornamentation is often considered a signal of individual fitness, condition, sex, or status, and varies due to genetics or environmental sources. In species with structural coloration, plumage variation results from differences in the amount of energy allocated to feather growth during molt, presenting a unique opportunity to study the link between individual quality and ornamentation. In cooperative breeding species, such as the Florida Scrub-Jay (Aphelocoma coerulescens), the role of structural color as a signal is particularly important because helpers may delay breeding for one to several years and competition for space is high. Florida Scrub-Jay juveniles are sexually dimorphic in the ultraviolet range, and plumage color predicts social dominance and condition, but not adult reproductive fitness. Little is known about the consistency of ultraviolet reflectance across molts, and I tested the following questions: 1) does plumage color change across molts within individuals; 2) how do environmental variables and stress affect structural color; and 3) does adult color or change in color predict reproductive fitness? I measured relative change in color within individuals by comparing their juvenile and first set of adult feathers after pre-basic molt. I used several measures of nutritional condition, social dynamics, habitat quality, and parasite infection to model color, and I experimentally administered corticosterone during pre-basic molt to examine the effects of increased stress on color. Plumage reflectance was compared with breeding status to investigate the role of color in breeding space acquisition. Plumage reflectance was significantly different within individuals across molts, but juvenile and adult color were correlated. Adults were significantly less bright than juveniles, with higher proportions of UV chroma and hues shifted toward UV wavelengths. Variation in feather color was best explained by sex, mass, parasite infection, and an interaction between area of oak scrub and group size. Juvenile feather color was also strongly associated with mother ID, but this was not the case for adults even though adult color was correlated with juvenile color. Adult chroma was reduced in birds treated with corticosterone, and hues were shifted toward longer wavelengths. No measure of adult color predicted acquisition of breeding space, but change in brightness and hue were significant predictors of acquisition for females, where breeders tended to experience greater reductions in brightness and shifts toward UV hues compared to helpers. This may be due to sex-specific differences in reproductive strategies in Florida Scrub-Jays. Females tend to disperse farther distances and breed earlier than males, potentially expending more energy foraying and searching for breeding space, which could reduce brightness if it is linked with condition. These results suggest that sexual selection is not a dominant factor in plumage ornamentation for Florida Scrub-Jays, and understanding the interaction between plumage color, personality, and reproductive fitness should be a priority for future research.

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Les oxydes de chrome permettent d’obtenir une large variété de couleurs, conduisant à leur utilisation répandue dans les arts céramiques. À la manufacture de Sèvres, leurs propriétés colorantes ont été explorées dès la découverte du chrome à la fin du 18ème siècle. Les travaux initiés par Brongniart ont conduit à une série de 76 pigments pour porcelaine composés d’oxydes de chrome, régulièrement synthétisés au laboratoire de la manufacture. Nous avons mené une étude exhaustive de ces pigments, permettant une classification basée sur leur analyse minéralogique et mettant en évidence le rôle du Cr3+ dans ces pigments, avec l’absence de Cr6+. Le mélange de ces pigments avec un composant incolore est appliqué sur la porcelaine, et porté à haute température afin d’obtenir un émail, c’est-à-dire une couche décorative partiellement vitreuse à la surface de la porcelaine. Les pigments composés de chrome se retrouvent dans les décors verts, roses, bleu-vert, marron et noirs. Après avoir caractérisé la spéciation et l’environnement du chrome dans l’ensemble de ces pigments, cette thèse s’est concentrée sur un pigment particulier, majoritairement composé de gahnite au chrome ZnAl2O4:Cr3+. Ce type de pigment a été identifié dans une série d’œuvres produites par la manufacture, entre la fin du 19ème et le début du 20ème siècle, correspondant à la période de l’art nouveau. La solution solide complète ZnAl2-xCrxO4 a été étudiée afin de préciser l’environnement structural du chrome, montrant l’importance des seconds voisins Cr dans les variations de couleur. Au cours de la cuisson de l’émail, un mécanisme de dissolution progressive des grains de pigments a été mis en évidence, résultant de l’interaction avec le composant incolore en cours de vitrification. Notre travail montre la faible solubilité du Cr dans le verre et sa spéciation préférentielle dans les cristaux, entrainant parfois des changements de phases ou des modifications de composition le long de solutions solides lors du traitement thermique à haute température. Ces modifications ont permis de mieux comprendre l’origine de la couleur dans les décors de porcelaine ainsi que les mécanismes de formation des émaux. / Chromium oxides are widely used in the ceramic industry because they are characterized by a large variety of colors. At the French porcelain manufacture of Sèvres, their coloring properties have been explored since the discovery of chromium at the end of the 18th century. The researches initiated by Brongniart lead to a group of 76 pigments for porcelain composed of chromium oxides, regularly synthesized at the laboratory of the manufacture. An exhaustive study was done on these pigments, which enables to propose a classification based on their mineralogical analysis and highlights the role of Cr3+ in the color of the pigments, without Cr6+. The mixture of one or two pigments and an uncolored frit is applied on the porcelain, and fired at high temperature to obtain a glaze, i.e. a partly glassy decorative layer on the top of the porcelain. Pigments composed of chromium are used to obtain green, pink, greenish-blue, brown and black glazes. This thesis focuses on a particular pigment, mainly composed of gahnite doped with chromium ZnAl2O4:Cr3+. This kind of pigment was identified in a collection of artefacts produced by the manufacture between the end of the 19th century and the beginning of the 20th century. This period corresponds to the artistic movement Art Nouveau. The solid solution ZnAl2-xCrxO4 was studied to get the structural environment of Cr, showing the role of the second neighbor Cr in the color variation. During firing of the glaze, a mechanism of gradual dissolution of the initial grains of pigments was determined, resulting of reactions with the uncolored frit. Our work shows the low solubility of Cr in glass and its preferential speciation in crystals, leading to crystalline phase changes or modifications of composition along solid solutions during the thermal treatment at high temperature. These modifications enable to understand the origin of color in porcelain glazes and the mechanism of glaze formation.

Having multiple plastic responses to a change in the environment, such as increased temperature, can be adaptive for two major reasons: synergy (the plastic responses perform better when expressed simultaneously) or complementarity (each plastic response provides a greater net benefit in a different environmental context). We investigated these hypotheses for two forms of temperature-induced plasticity of Battus philenor caterpillars in southern Arizona populations: color change (from black to red at high temperatures) and heat avoidance behavior (movement from host to elevated refuges at high host temperatures). Field assays using aluminum models showed that the cooling effect of the red color is greatly reduced in a refuge position relative to that on a host. Field assays with live caterpillars demonstrated that refuge seeking is much more important for survival under hot conditions than coloration; however, in those assays, red coloration reduced the need to seek refuges. Our results support the complementarity hypothesis: refuge seeking facilitates survival during daily temperature peaks, while color change reduces the need to leave the host over longer warm periods. We propose that combinations of rapid but costly short-term behavioral responses and slow but efficient long-term morphological responses may be common when coping with temperature change.

La couleur est omniprésente dans nos quotidiens, mais sa représentation par le marketing fait apparaître aujourd’hui un double paradoxe : d’une part le recours à une rhétorique publicitaire invoquant des caractéristiques de la couleur qui sont précisément niées par sa fabrication industrielle, et d’autre part, la multiplication de l’image du nuancier dans des conditions d’impression qui s’opposent aux fonctions d’exemplification qu’il est sensé assumer. Cette thèse se propose de mettre en évidence, grâce aux outils de la poïétique, les mutations qu’a connu la construction de la pensée de la couleur par les manufactures, l’industrie et le commerce depuis le milieu du XIXème siècle en interrogeant ses divers modes d’échantillonnage, le nuancier notamment, tels qu’ils ont été instaurés par ses producteurs. Mais l’échantillonnage de la couleur est ici envisagé comme une interface d’expression maximum entre les producteurs et commerçants de couleur et ceux auxquels il est destiné : il relève de conduites créatrices spécifiques, il en génère aussi.L’objectif de ce travail est de parvenir à mesurer l’évolution respective des divers types d’information apportés, et donc communiqués, par le nuancier. La recherche s’ancre dans un corpus de documents sur lequel est appliqué une grilled’analyse permettant dans un premier temps de mettre en évidence les cinq territoires d’information qui ont été identifiés dans l’échantillonnage de la couleur, puis d’en explorer les caractéristiques quantitatives et qualitatives. Des concepts opératoires ont ainsi pu être élaborés pour cerner précisément deux conduites créatives distinctes : celle générant le nuancier et celle générant le recueil d’échantillons. L’amplitude chronologique de cette recherche ainsi que le parti-pris de laisser au terrain la possibilité de déployer toute sa richesse a imposé ses limites à l’entreprise. Celle-ci devait poser le cadre et les principaux repères d’un sujet encore peu exploré et élaborer des outils conceptuels aptes à être réutilisés. Une évaluation de la pertinence de la méthode, des outils et des concepts mis en oeuvre a été effectuée. Ses résultats sont encourageants puisqu’ils montrent que la recherche entreprise est féconde pour déceler les enjeux dont le nuancier, entre industrie et individu, est partie prenante. Elle a mis en évidence que l’analyse du nuancier, entité riche de ce dont elle résulte et de ce qu’elle induit, peut être employée pour contribuer à décrypter la société contemporaine. Il s’agira de prolonger cette première étape par de nouvelles investigations sur l’échantillonnage de la couleur. / Colour is omnipresent in our daily lives, but its representation in today’s marketing shows a double paradox: on the one hand, the use of advertising rhetoric, invoking characteristics of color – the same being manifestly denied by the manufacturing industry, and on the other hand, the multiplication of the image of color chart – but under printing-conditions that are opposed to the functions of exemplification it is supposed to fulfill. Using tools from poietic, this thesis intends to demonstrate what kind of changes manufacturers, industry and commerce has gone through in terms of construction of theidea of colour since the mid-nineteenth Century by questioning its various sampling modes, in particular how the color chart was introduced by manufacturers. Sampling of colour is here considered as an interface of maximum expression betweencolour producers and traders and those for whom it is intended: it originates from specific creative conducts - which it also generates. The purpose of this work is to measure the evolution of each type of provided - and obviously communicated - information through the color chart. The research is anchored to a body of documentation, upon which an analytical grid isapplied, first of all in order to define the five fields of information the colour sampling has allowed for. It also enables one to explore their quantitative and qualitative characteristics. Thus it has been possible to develop operational concepts in order to define precisely two distinct creative lines: one generating the color chart and the other generating the sample collection. The chronological amplitude of this research and the prejudice to let the field maintain its ability to display all its treasures, has imposed its own limitations to this research. It has defined the framework and the main landmarks of a - until now - poorly explored subject and developed the conceptual tools capable of being re-used. An evaluation has been performed on the adequacy of the methodology, the tools and on implemented concepts. The results are encouraging as they show that the undertaken research has successfully identified the issues the color chart, the rich entity of where it comes from and what it leads to can contribute to deciphering contemporary society. The purpose is to extend this first step by carrying out new investigations on the sampling of color.