The effect of varying combinations of irradiation treatment, freezing procedures and duration of storage on the color of naturally and artificially pigmented egg yolk determined by two objective methods was studied. The relationship between the two methods of color evaluation was also determined. Naturally pigmented yolks were obtained from eggs laid by pullets of a single strain of Single Comb White Leghorn fed a standard diet. Artificially pigmented yolk was prepared by addition of either beta-carotene or canthaxanthin to the naturally pigmented material. Color of yolk was assessed: 1. On the basis of pigment concentration determined by absorbance of acetone extract and expressed as beta-carotene equivalent (BCE) and 2. On the basis of chromaticity coordinates (x,y), lightness (%Y), dominant wavelength (DWL) and excitation purity (EP) determined by reflectance spectrophotometry. Both irradiation dose (0, 0.5, 1.0 and 2.0 Mrad) and time of irradiation (before or after freezing) had significant effect on the chromaticity coordinates, BCE values and excitation purity of naturally and artificially pigmented yolk samples. Higher radiation doses and irradiation before freezing were associated with decreased chromaticity coordinates, BCE values and excitation purity. In artificially pigmented samples increases in irradiation dose and irradiation before freezing resulted in significant decreases in lightness. Samples frozen and stored at -10 F° had consistently higher mean chromaticity values and lower excitation purity than those at -35 F°. The temperature effect on BCE values was inconsistent among experiments. After 30 days storage mean x-values were lower and mean y-values were higher than after 10 days storage. These changes were associated with almost no change in DWL or EP. Nitrogen-packed samples had consistently lower BCE values than air-packed and this difference was significant in all but Experiment 1. No corresponding differences were found in chromaticity coordinates, lightness, DWL or EP. Correlation analyses revealed highly significant (P≤0.01) linear relationships between BCE and both chromaticity values and lightness ranging from + 0.09 to + 0.79. / Land and Food Systems, Faculty of / Graduate

Many insect populations become darker at high elevations and high latitudes. Despite absence of empirical evidence, it is commonly believed that melanism allows more efficient basking by insects in sunlight, thereby raising body temperature and increasing activity. Variation in melanism within a single population of alpine Colias sulphur butterflies (Lepidoptera:Pieridae) allowed determination of the advantage, in cold environments, for this characteristic. Alternative hypotheses relating the effect of melanism to fecundity, predation, diel activity, and seasonal survivorship were tested by field and laboratory observation and experiment. At low temperature, melanistic females are more fecund. A balancing advantage for light coloured females does not exist at high temperatures. Dark individuals suffer lower predation rates at high altitude than do light individuals; the opposite is not true at low elevation. Duration of diel activity is markedly extended for darker butterflies under cool conditions, but only slightly for light individuals during warm sunny periods. Melanistic individuals are able to prolong the duration of activity for feeding, mate location, oviposition and escape from predation under cold conditions. This appears to the prime benefit for melanism in this population. This is the first demonstration, in a natural population, of the benefit of alpine melanism in insects. / Science, Faculty of / Zoology, Department of / Graduate

Eighteen two-year-olds and twenty four-year-olds were studied as to their knowledge and use of eleven colour terms: BLUE,GREEN,RED,YELLOW,BLACK,WHITE,GREY,BROWN,PURPLE, ORANGE, and PINK. Level of acquisition was determined by a production (naming) task, a comprehension (selection) task, and a discrimination (matching) task. The objectives were to examine various performance differences in light of possible evolutionary, perceptual and environmental factors and aspects of general lexical development. Performance accuracy was found to have no correlations with the evolutionary order proposed by Berlin & Kay, nor did it reveal the strong conceptual groups of primary, non-primary and achromatic colours which have been proposed by other studies. In particular, the non-primary colours did not behave as a group in any of the analyses. Measures of input and practice obtained from parental questionnaires also showed few correlations of environment with task performance. For various reasons, this information was considered unreliable and no claims about environment as a determinant in naming behavior could be made. Performance was notably more accurate in four-year-olds than in the two-year-olds. More terms had been acquired by the older group than by the younger, the average being eight terms and two terms respectively, and six of the older group had acquired all eleven colour terms. Comprehension was more advanced for both ages than, production, although more terms were produced than were comprehended. No sex differences were found at all. Further analyses concentrated on production performance. As expected, the number of colour terms used increased with age and their use became more stable with age. There was no one colour term that appeared in all of the subjects' lexicons, but the colour terms most likely to appear were the primaries and the non-primary ORANGE. BLUE showed a marked, though not significant, preference at both ages and several possible reasons are suggested for this. GREY, as expected, appeared least frequently, followed by the achromatics. Colour terms used most accurately were ORANGE and PINK. These appear to be the first colour categories to emerge with separate labels, followed by the primary colours and GREY again ranking lowest. There were no terms which had been acquired by a significantly large number of two-year-olds and none by a significantly small number of four-year-olds. Primary terms as a group were also those most likely to be used incorrectly. Those terms most likely to be overextended by the younger subjects were also those without a stable referent, while for the older ones it was those terms which the subject already knew the correct use of. The actual errors did not seem to be based on any of the proposed perceptual properties of colour. It is suggested that the child at these stages does not organize his lexical or conceptual colour categories in terms of the adult distinctions of primary/non-primary/achromatic or of hue/saturation/brightness. Further in-depth examination might reveal a base of associative or contextual criteria instead of the random, ad-hoc guesses they appear to be in this study. It is further suggested that such organizational criteria are very individualistic and therefore will not fit the generalizations made by previous studies about colour-term acquisition. / Arts, Faculty of / Linguistics, Department of / Graduate

Ph.D. (Botany) / Please refer to full text to view abstract

M.Sc. (Botany) / Please refer to full text to view abstract

Objective: The aim of this pilot study is the evaluation and measurement of color stability from baseline until stabilization of color associated with bleaching and the dehydration and rehydration process of the teeth. Method: Six extracted intact human third molars were randomly selected, cleaned, and stored in artificial saliva at 370C. A custom positioning jig was fabricated for each tooth for reproducible color measurement. A baseline shade was recorded according to the Commission Internationale de l'Eclairage L*a*b* (CIE-L*a*b*) using a Minolta Chromameter CR-(200). Color measurement for all testing was taking at baseline, 15 min, 30 min, 2h, 12h and every 2 h thereafter until color stabilization occurred. Phase 1(dehydration-rehydration w/o bleaching): For dehydration, all teeth lightened and color stability occurred at 6 h. Rehydration of teeth to the baseline of color was achieved after 14 hours. Phase 2 (Effect of bleaching): An in-office bleach material (Zoom 25% HP) was applied to each tooth according to the Kwon technique (polyethylene wrap placed to cover the gel) for one hour. All comparisons were made to a Delta value of 2.6 (perceivable difference). Result: Phase 1: A mean äL*=-13.05(±15.62) was observed for tooth dehydration with no perceivable changes in chroma äa* and äb*. Phase 2: In-office bleaching produced dehydration and chroma changes when measured immediately after bleaching with a mean of äL*=-12.45(±2.4), äa*=0.31(±0.53), and äb*= 3.67(±1.76). After rehydration of bleached teeth, luminosity values (äL*) returned to normal and only chromaticity changes (äb#8727;) were observed with a mean of 4.77(%B11.91). Conclusion: Within the limits of this study, in-office bleaching produced dehydration and chroma changes, represented by äL* and äb*. Upon rehydration, the color changes were not as discernible. Further study will be conducted to determine the validity of these findings.

Years ago, my mother choreographed a dance entitled "Seven Dreams in Color", a seven-act dance wherein each act relayed a memory of her childhood. These memories were colored by her individual experience and often seemed warped to her, as if having been filtered through a dream. I seek to recontextualize these dreams through my own lens as a way of honoring my mother's history and my own memories. Each work functions, through color and composition, as a separate act and embodies a non-linear memory. I utilize painting, drawing and printmaking to harness dichotomous visual elements in order to convey scenes as tumultuous as both the world around me and my own shifting moods. Abrupt changes of atmosphere are of particular interest to me. I portray this shift through the visual disruptions of cropping imagery, color or medium shifts, and scale changes. Graphic schisms take my work to an unpredictable conclusion while confounding the viewer. My work reveals my desperation and need to translate all of the conflict, battles and resolutions that I observe.

No description available.

Because of its trademark racial diversity, historians have often presented New Orleans as a place transformed by incorporation into the American South following 1804. Assertions that a comparatively relaxed, racially ambiguous Spanish slaveholding regime was converted into a two-caste system of dedicated racial segregation by the advent of American assumption have been posited by scholars like Frank Tannenbaum, Gwendolyn Midlo Hall, and a host of others. Citing dependence on patronage, concubinage, and the decline in slave manumissions during the antebellum period, such studies have employed descriptions of the city’s prominent free people of color to suggest that the daily lives of non-whites in New Orleans experienced uniform restriction following 1804, and that the Crescent City’s transformation from Atlantic society with slaves to rigid slave society forced free people of color out of the heart of the city, known as the Vieux Carré, and into “black neighborhoods” on the margins of town. Despite the popularity of such generalized themes in the historiography, however, the extant sources housed in New Orleans’s valuable archival repositories can be used to support a vastly divergent narrative. By focusing on individual free people of color, or libres, rather than the non-white community as a whole, this paper seeks to show that free people of color were self determined in both public and private aspects of daily life, irrespective of governmental regime, and that their physical presence and political agency were not entirely eroded by the change in administration. Through evaluation of the geography of free black-owned properties listed in the city’s notarial archives, as well as baptisms, births, deaths, and marriages listed in archdiocese ledgers, I show that the family and community lives of free people of color in New Orleans’ oldest neighborhood appeared alive and well throughout the territorial period.

El concepto de "Tonalidad" es un concepto que jerarquiza los tonos y los colores en las disciplinas de la música y el arte visual hasta nuestros días. Esta característica contribuye a establecer la funcionalidad de los elementos presentes en una pieza musical o en un espacio bidimensional o tridimensional, determinado por los colores que le ocupan. Con el concepto de una "Tonalidad Sinestésica", haremos referencia a una relación de correspondencias entre sonidos afinados y colores, determinados por la visión de personas que padecen de la condición clínica conocida como "Sinestesia". Partiendo del establecimiento de los elementos que conforman el concepto de un tono en cada disciplina en lo individual, se unirán los elementos propios de la tonalidad en la música y en el color, a partir de una revisión del fenómeno perceptivo de la sinestesia. El objetivo de esta tesis es la creación de un nuevo concepto denominado como "Tonalidad Sinestésica", el cual constituya una nueva correspondencia de relaciones entre disciplinas artísticas, además de extraer formas de trabajo interdisciplinar que han trascendido en la historia del arte para con éstas, formular una nueva forma de trabajo en el campo de las traducciones de la música al color, y de la composición musical. Esta investigación se basa preferentemente en el método inductivo, a partir de la observación de diferentes formas de trabajo en el campo del arte interdisciplinario, y de los patrones del trabajo creativo personal, que extraeremos de los estudios de la sinestesia (R. E. Cytowic, John Harrison, Paul Hertz, Flournoy, entre otros) y de la teoría de la música y el color (John Gage, E. Goldstein, Scriabine, A. Schoenberg, Kandinsky, Messiaen, Ligeti, etc.), con el fin de crear las bases de un código de relaciones para el establecimiento de un concepto: la "Tonalidad Sinestésica". Los resultados logrados en esta investigación sobre la correspondencia sinestésica se encuentran especialmente en los experimentos prácticos, tomando en primer lugar la forma de traducciones de música de compositores históricos (J. S. Bach, Claude Debussy y Arnold Schoenberg) y llevados a el color; y en segundo lugar, mediante la composición de música propia ('Miniatura de Colores en Gris-Azul' para piano y un 'Trío para marimba y dos vibráfonos') cuyos elementos fueron construidos con criterios de armonía de color en diferentes formatos de instrumentación y duración, así como su presentación pública en concierto multimedial ('Festival Internacional Cervantino 2010'), de forma que estuvieran demostradas las posibilidades creativas de la correspondencia sinestésica. / González Compeán, FJ. (2011). Tonalidad Sinestésica: Relaciones entre la tonalidad de la música y del color a través de una propuesta personal [Tesis doctoral]. Editorial Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/13835 / Palancia