Doctor of Philosophy / Department of Biological & Agricultural Engineering / Naiqian Zhang / One of precision agriculture researches currently focuses on the relationship between plant phenotype, genotype, and ambient environment, including critical investigations of a multi-sensor-integrated phenotyping platform and data mining technology for big data. This study examined the designs of two phenotyping platforms and developed machine vision (MV) technology to estimate wheat growth status and count wheat head. The GreenSeeker, an infrared thermometer (IRT), a web camera, and a global positioning system (GPS) receiver were integrated into one handheld phenotyping platform, named as Phenocorn. The Phenocorn allowed simultaneous collection of the normalized difference vegetative index (NDVI) and canopy temperature (CT) with precise assignment of all measurements to plot location by GPS data points. The Phenocorn was tested using a field trial of 10 historical and current elite wheat (Triticum aestivium) breeding lines at the International Maize and Wheat Improvement Center (CIMMYT) in Ciudad Obregon, Mexico, during the 2013 and 2014 growing seasons. Results showed that the NDVI data, PVC (percent vegetation coverage) data, and temperature data obtained by the handheld phenocorn could availably reflect the wheat growing status in the field, and the handheld phenocorn could be used as an instrument to do plant phenotyping information collection. This study also used the modular design method to design the mechanical structures of a robot-based phenotyping platform, named as Phenorobot. Its control system was based on a Controller Area Network (CAN bus). The basic function performances such as steering function, lifter load, and movement features were tested in the laboratory. Proposed design indicators were achieved, demonstrating its potential utilization for field experiments. Image acquisition is one of the main data collection methods for plant phenotyping research. The method for extracting plant phenotyping traits based on MV was explored in this research. Experiments for detecting the wheat development based on the images taken in the field were designed and carried out from March to June 2015, and a method based on color analysis to estimate percent vegetation coverage (PVC) of wheat was developed. A wheat growth model based on the PVC was used for the wheat growth status analysis. In addition, a wheat head counting method was developed and divided into three steps: wheat head image segmentation, leaf debris elimination, and wheat head counting. This paper proposes the first wheat head counting model (WCM) based on the pixels group measurement of wheat heads. Compared to the Joint Points Counting (JPC) method (Liu et al., 2014) and the Wheatear Shape Index (WSI) method (Frédéric et al., 2012), the WCM more accurately counted wheat heads from images taken in the experiments.

The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.

The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.

Subjects were 101 Mexican-American adults (53 females, 48 males), age range 17-72, and most often were in the blue-collar job level. Instructions were that (a) 18 pairs of slides would be shown; (b) each slide would be projected for 15 seconds; (c) each of the two models was to be judged on intelligence, attractiveness, friendliness, happiness, and success; and (d) the rating scale would be marked corresponding to the left or right slide. Results indicated the lighter-skinned models were judged more favorably than the darker ones on all five dimensions. To the extent this study sheds light on an important cultural value, it is hoped the treatment of Mexican-Americans in therapy will be facilitated and improved.

The present study examined the effect of first-list stimulus context (color versus no color) and two degrees of first-list learning (twenty trials versus five trials) on cue selection and transfer of training. College students learned two paired-associate lists consisting of highly similar trigrams as the stimulus terms and nouns as the response terms. The second list consisted of twelve items presented on homogeneous white backgrounds for eighteen trials. Four secondlist items represented each of three transfer paradigms--A -B,A-B; A-B,A-C; and A-BC-D. It was concluded that color context draws attention to the color-backed items during the early stages of learning but is not selected for encoding until the later stages of learning.

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

ABSTRACT Navigating systems of leadership in Predominantly White Institutions (PWIs) in higher education as a Queer Woman of Color can be a challenging and complex process--one that integrates identity, experience, expertise, knowledge, patience, and most importantly the ability to risk; while remaining authentic and professional. It is a balance, which in my own experience and expertise requires constant reflection, evaluation, and adaptation. A negotiation of owning that one has power and agency, while realizing that the many intersecting identities that one holds influences how dominant culture perceives that power and agency. To reach authentic reflection and evaluation in leadership it is critical to examine and investigate one's own vocation to lead and to ask, what leads us and sustains us in that leadership? This dissertation will offer a counter-narrative of leadership in prose-poetry through a lens of intersectionality outside of the hegemonic or dominant ways that define the parameters of leadership. Through the use of personal narratives reinforced by scholarship using the methodology of Scholarly Personal Narrative (SPN), I explore my own experiences of trauma throughout my life that led to agency and inevitably to leadership. I additionally examine the overarching tenants and themes that continue to inform, sustain and strengthen my leadership. "Damned If You Do--Damned If You Don't" represents a phrase often used amongst marginalized communities that signifies the challenges of navigating one's own power and agency within oppressive dominant systems. This SPN dissertation will be supported by the paradigms of Critical Race Theory (CRT) with a specific focus on Counter-Narrative/Storytelling and Critical Race Gendered Epistemology or Feminist Black/Latino Theory, while also incorporating aspects of positive psychology. It will offer a counter-narrative in leadership that highlights how my multiple intersecting identities, coupled with my life experiences, create meaning and go on to further shape my approach to trauma, agency, and leadership. As a Queer woman of color in leadership, I find that by honoring and examining my own stories of trauma and agency, and how it led me to leadership. I am better equipped as a professional to honor the narratives, identities, and experiences of those that I serve.

Statistical graphics are often augmented by the use of color coding information contained in some variable. When this involves the shading of areas (and not only points or lines) - e.g., as in bar plots, pie charts, mosaic displays or heatmaps - it is important that the colors are perceptually based and do not introduce optical illusions or systematic bias. Here, we discuss how the perceptually-based Hue-Chroma-Luminance (HCL) color space can be used for deriving suitable color palettes for coding categorical data (qualitative palettes) and numerical variables (sequential and diverging palettes). / Series: Research Report Series / Department of Statistics and Mathematics

I am inspired by the mundane activities engaged in, in daily life. Every morning, I check the temperature of outside. At that time I think about the day ahead. Do I need an umbrella? What color am I enamored of today? This is a small but important part of my day. In this moment of my thought paths can be very intuitively chosen. When I water the plants or pour milk into a coffee, I get a similar feeling, something that might be categorized as a sensation of "time apart."I came to The United States to begin to gain an understanding of conceptual art. I could not make it myself and it always fascinated me. I had believed that conceptual art always concerned itself with larger global or political issues, was restrained, and unemotional. I have since change my mind. My new work is about sharing how beautiful the energy is when people join in laughter, how sad people appear to always drive so fast, how interesting it is that pigeons always stay in a specific place. I am interested in not just objects, but their sounds, their history, their physical properties, their potential for change, and the life surrounding them. That which "surrounds" the making is as important as that which is made... so to check the temperature of outside is (in the end) as integral as any aspect.

Artist Statement I am inspired by living in multiple environments and experiencing many regions of the United States. My imagery varies from references to landscapes to geometric abstractions of quilt patterns. My media consists of acrylics, oils, and pastels on supports including fabric, canvas, or paper. Mixed media allows me to add multiple layers in creating visual textures, depth, and energy to draw in my viewers. The media is glazed, flowed, dripped, sprayed, rolled, scraped, and scrubbed into my interpretations of natural elements and geometric patterns. My landscape paintings are of observations of nature, and I attempt to capture the power, motion, and energy of a moment in time. I paint from memory and purposely filter the images, simplifying and strengthening the focus of the captured moment. Rhythmic patterns in nature and seasonal light on the land are sources of my visual stimulation. My affinity for geometric shapes and patterns is sometimes expressed in abstract paintings of quilt patterns. I form rhythmic compositions and enhance the patterns with delicate brushwork and several glazed layers for added surface interest. These patterns of quilts are also reminiscent of landscapes from a bird’s eye view.