In this thesis, it is proposed to get the high definition color images by using super &ndash / resolution algorithms. Resolution enhancement of RGB, HSV and YIQ color domain images is presented. In this study, three solution methods are presented to improve the resolution of HSV color domain images. These solution methods are suggested to beat the color artifacts on super resolution image and decrease the computational complexity in HSV domain applications. PSNR values are measured and compared with the results of other two color domain experiments. In RGB color space, super &ndash / resolution algorithms are applied three color channels (R, G, B) separately and PSNR values are measured. In YIQ color domain, only Y channel is processed with super resolution algorithms because Y channel is luminance component of the image and it is the most important channel to improve the resolution of the image in YIQ color domain. Also, the third solution method suggested for HSV color domain offers applying super resolution algorithm to only value channel. Hence, value channel carry brightness data of the image. The results are compared with the YIQ color domain experiments. During the experiments, four different super resolution algorithms are used that are Direct Addition, MAP, POCS and IBP. Although, these methods are widely used reconstruction of monochrome images, here they are used for resolution enhancement of color images. Color super resolution performances of these algorithms are tested.

Hear Color and See Sound - What happens when I combine flamenco guitar and film in a live performance? This master thesis explores the combination of two art forms. The purpose is to use live projections to enhance my guitar composition with movie. My research question is: what happens when I combine flamenco guitar and film in a live performance? I explore if visual qualities add a deeper meaning to my instrumental music by experimenting with color science and video telling/editing techniques. I’ve tested through surveys and live performances if the audience perceive my music differently, by showing contrasting footage or footage that synchronize with my musical compositions. Resulting in an exam concert where I control the prerecorded video compositions with a touch screen interface through the video-jockey software Resolume, while also performing the music (which have been timed for the videos) live together with a flamenco singer and dancer.

Este trabalho buscou apresentar uma experiência fotográfica vivenciada pelo autor desta dissertação que fosse conduzida pela teoria da cor. Foi assumido que a fotografia colorida é uma construção dupla, no sentido de que tanto a fotografia como a cor não são neutras. Para embasar esse pressuposto, introduzimos elementos da teoria da fotografia que refutam o automatismo do aparelho fotográfico e trouxemos conceitos da teoria da cor que definem a percepção cromática como um fenômeno que envolve o entendimento dos aspectos físicos, fisiológicos e culturais da cor. Ainda no capítulo da cor, apresentamos a harmonia cromática e sua principal ferramenta, os esquemas de combinações de cores. Tais esquemas conduziram a realização de um conjunto de fotografias do qual foram selecionadas quinze imagens para compor esta dissertação. Finalmente, tecemos comentários sobre a presença da cor em sete das quinze fotografias realizadas para esta pesquisa. / This study aimed to provide a photographic essay experienced by the author of this dissertation and driven by the theory of color. It was assumed that the color photograph is a double construction in the sense that both the photo and color are not neutral. To support this assumption, we introduced elements of the theory of photography that refute the automatic photographic apparatus and brought concepts of color theory that define the color perception as a phenomenon that involves understanding the physical, physiological and cultural features of color. In the chapter on color, we stil present the chromatic harmony, and its main tool, the schemes of color combinations. Such schemes have led to collect a set of photographs which were selected fifteen images to compose this dissertation. Finally, we comment on the presence of color in seven of fifteen photographs takenfor this research.

Este trabalho buscou apresentar uma experiência fotográfica vivenciada pelo autor desta dissertação que fosse conduzida pela teoria da cor. Foi assumido que a fotografia colorida é uma construção dupla, no sentido de que tanto a fotografia como a cor não são neutras. Para embasar esse pressuposto, introduzimos elementos da teoria da fotografia que refutam o automatismo do aparelho fotográfico e trouxemos conceitos da teoria da cor que definem a percepção cromática como um fenômeno que envolve o entendimento dos aspectos físicos, fisiológicos e culturais da cor. Ainda no capítulo da cor, apresentamos a harmonia cromática e sua principal ferramenta, os esquemas de combinações de cores. Tais esquemas conduziram a realização de um conjunto de fotografias do qual foram selecionadas quinze imagens para compor esta dissertação. Finalmente, tecemos comentários sobre a presença da cor em sete das quinze fotografias realizadas para esta pesquisa. / This study aimed to provide a photographic essay experienced by the author of this dissertation and driven by the theory of color. It was assumed that the color photograph is a double construction in the sense that both the photo and color are not neutral. To support this assumption, we introduced elements of the theory of photography that refute the automatic photographic apparatus and brought concepts of color theory that define the color perception as a phenomenon that involves understanding the physical, physiological and cultural features of color. In the chapter on color, we stil present the chromatic harmony, and its main tool, the schemes of color combinations. Such schemes have led to collect a set of photographs which were selected fifteen images to compose this dissertation. Finally, we comment on the presence of color in seven of fifteen photographs takenfor this research.

Les entreprises doivent traiter quotidiennement de gros volumes de documents papiers de toutes sortes. Automatisation, traçabilité, alimentation de systèmes d’informations, réduction des coûts et des délais de traitement, la dématérialisation a un impact économique évident. Pour respecter les contraintes industrielles, les processus historiques d’analyse simplifient les images grâce à une séparation fond/premier-plan. Cependant, cette binarisation peut être source d’erreurs lors des étapes de segmentation et de reconnaissance. Avec l’amélioration des techniques, la communauté d’analyse de documents a montré un intérêt croissant pour l’intégration d’informations colorimétriques dans les traitements, ceci afin d’améliorer leurs performances. Pour respecter le cadre imposé par notre partenaire privé, l’objectif était de mettre en place des processus non supervisés. Notre but est d’être capable d’analyser des documents même rencontrés pour la première fois quels que soient leurs contenus, leurs structures, et leurs caractéristiques en termes de couleurs. Les problématiques de ces travaux ont été d’une part l’identification d’un nombre raisonnable de couleurs principales sur une image ; et d’autre part, le regroupement en couches couleur cohérentes des pixels ayant à la fois une apparence colorimétrique très proche, et présentant une unité logique ou sémantique. Fournies sous forme d’un ensemble d’images binaires, ces couches peuvent être réinjectées dans la chaîne de dématérialisation en fournissant une alternative à l’étape de binarisation classique. Elles apportent en plus des informations complémentaires qui peuvent être exploitées dans un but de segmentation, de localisation, ou de description. Pour cela, nous avons proposé une segmentation spatio-colorimétrique qui permet d’obtenir un ensemble de régions locales perceptuellement cohérentes appelées superpixels, et dont la taille s’adapte au contenu spécifique des images de documents. Ces régions sont ensuite regroupées en couches couleur globales grâce à une analyse multi-résolution. / Industrial companies receive huge volumes of documents everyday. Automation, traceability, feeding information systems, reducing costs and processing times, dematerialization has a clear economic impact. In order to respect the industrial constraints, the traditional digitization process simplifies the images by performing a background/foreground separation. However, this binarization can lead to some segmentation and recognition errors. With the improvements of technology, the community of document analysis has shown a growing interest in the integration of color information in the process to enhance its performance. In order to work within the scope provided by our industrial partner in the digitization flow, an unsupervised segmentation approach was chosen. Our goal is to be able to cope with document images, even when they are encountered for the first time, regardless their content, their structure, and their color properties. To this end, the first issue of this project was to identify a reasonable number of main colors which are observable on an image. Then, we aim to group pixels having both close color properties and a logical or semantic unit into consistent color layers. Thus, provided as a set of binary images, these layers may be reinjected into the digitization chain as an alternative to the conventional binarization. Moreover, they also provide extra-information about colors which could be exploited for segmentation purpose, elements spotting, or as a descriptor. Therefore, we have proposed a spatio-colorimetric approach which gives a set of local regions, known as superpixels, which are perceptually meaningful. Their size is adapted to the content of the document images. These regions are then merged into global color layers by means of a multiresolution analysis.

This thesis examines the function of color in the design of a character and the scene of animated films and answers the question about color features in character and scene design as a separate animation principle, similar to the established 12 animation principles. The paper contains analysis about basic concepts of color and its visual perception, color theory and color psychology. The paper takes into consideration previous studies about color in physics, psychology and animation. The purpose of this study is to research the influence of the color on the plot perception in animation. The method of the study consists of comparing the statistics for correctness of recognition of the character's role and diegesis in the frame depending on the color change. Recognition correctness is established by conducting a blind survey of the representative sample of viewers. The survey is based on five sketches of the frame that use the same original drawing of the character's pose and different combinations of colors for the character and the background coloring. The following combinations of colors were used: warm color tones for the character and warm color tones for the background; warm for the character and cold for the background; cold for the character and warm for the background; warm for the character and warm for the background; uncolored character and uncolored background. Survey participants have assessed and identified different roles of the character and diegesis in each sketch of the frame based on the proposed five alternatives of the scene description according to the scenario idea. The results show that the effect of colors function was detected in all four colored sketches of the frame. The study confirms that all four combinations of color significantly increase the number of correct recognitions of all four roles of character in colored sketch of the frame compared to the uncolored sketch of the frame. This fact confirms the described hypothesis and emphasizes the effect of the color function which helps the viewer to interpret the design of the scene more clearly and to easily perceive the role of the character in colored sketch of the frame compared to the uncolored sketch. / Examensarbetet undersöker färgens funktion inom karaktärs- och scendesign. Jag utgår ifrån några grundläggande begrepp om färgvisuell uppfattning som har sitt ursprung i färgteori och färgpsykologi. Jag tar även hänsyn till tidigare studier om färg inom fysik-, psykologi- och animationsområden. Syftet med arbetet är att presentera jämförande statistik och dataanalys i användningen av olika färgkombinationer för att visa olika rollfigurer och diegeser utan att ändra den ursprungliga teckningen av bildrutan. Undersökningen bygger på fem egenproducerade skissar som använder densamma teckningen av karaktärens pose samt olika kombinationer av färger för karaktärens och bakgrundens färgning. Det används följande färgkombinationer: varma färgtoner för karaktären och varma färgtoner för bakgrunden; varma för karaktären och kalla för bakgrunden; kalla för karaktären och varma för bakgrunden; varma för karaktären och varma för bakgrunden; ofärglagda för karaktären och ofärglagda för bakgrunden. Deltagarna i enkätundersökningen har fått bedöma och identifiera olika rollfigurer och dieges i varje skiss av bildrutan utifrån de föreslagna fem alternativ av scenbeskrivningen enligt manusidén. Studiens resultat visar att effekten av färgfunktionen upptäcktes i alla fyra färglagda skisser av bildrutan. Alla fyra färgkombinationerna höjer antalet korrekta igenkänningar av alla fyra rollfigurer i färglagd skiss av bildrutan i förhållande till den ofärglagda skissen av bildrutan. Detta bekräftar den beskrivna hypotesen och betonar att färgfunktionen hjälper betraktaren att tolka scendesign mer tydligt samt gör igenkännandet av rollfiguren i den färglagda skissen av bildrutan enklare i jämförelse med den ofärglagda skissen.

Alors que l'influence des théories optiques de la couleur sur le développement des techniques picturales aux XIXe et XXe siècles a fait l'objet d'études nombreuses, le champ, tout aussi déterminant, de la psychologie de la couleur demande à être exploré plus en avant. Notre recherche porte sur les liens historiques et épistémologiques entre les approches psycho-physiologiques de la couleur - empruntées aux discours de la psychologie expérimentale, de la psychiatrie et des sciences psychiques - et les cultures visuelles, au tournant du XXe siècle. Ce travail explore le pouvoir de conditionnement mental de la couleur, ou «chromomentalisme» : comment la couleur influence l'esprit et plus largement le corps de l'individu en affectant sa capacité de concentration, sa santé ou son humeur. La thèse présente trois grands axes qui correspondent à des déclinaisons différentes des psychologies de la couleur : la couleur-attention, la couleur-énergie et la couleur-émotion. La première partie analyse les dispositifs d'emprise attentionnelle utilisés à la fois en laboratoire et sur scène, la dialectique entre attention et distraction dans les expériences urbaines, et l'essor des psychotechniques de la couleur. La deuxième partie explore les pratiques d'emprise énergétique (le mythe du corps sans fatigue, la neurasthénie) et l'interprétation bio-esthétique de la couleur qui émerge à fois du débat occultiste et expérimental. La troisième partie porte sur le pouvoir de gestion des affects, en mobilisant le débat sur l'empathie et l'éducation des sens, l'esthétique populaire des couleurs, les modes de relation entre harmonies chromatiques et sociales. / Whilst the influence of color optical theories on the development of pictorial techniques in the Nineteenth and Twentieth centuries has been the subject of numerous studies, the field of color psychology needs to be explored further. Our research focuses on the historical and epistemological links between psycho-physiological approaches to color - derived from the discourse of experimental psychology, psychiatry and psychic sciences - and visual cultures at the turn of the Twentieth century. This dissertation explores the power of color as mental conditioning, or «chromomentalism» : how color influences the mind and more broadly the body of the individual by affecting its ability to concentrate, health or mood. The thesis presents three major axes that correspond to multiples aspects of color psychology : color-attention, color-energy and color-emotion. The first part analyzes the attention-grabbing devices used both in the laboratory and on stage, the dialectic between attention and distraction in urban experiences, and the rise of psychotechnics of color (art, cinema, advertising:). The second part explores the oractices of energetic control (the utopian goal of the "body without fatigue", neurasthenia, psychotechnics of energy) and the bio-aesthetic interpretation of color that emerges from occultism and experimental sciences. The third part focuses on the power of color to affect emotion, by questioning the debate on empathy and the education of the senses, the popular aesthetics of colors, the link between chromatic and social harmonies.

Indiana University-Purdue University Indianapolis (IUPUI) / In the past, the present and the future, Lebanon has been an important link between the East and the West. It was always known as the ‘Switzerland of the East’. Over the years, it was a hotspot for different civilizations that uniquely shaped the genomic backbone of the current Lebanese. It is also a good representation of genetically admixed individuals with diverse phenotype characteristics and unique features. Lebanon, quite like other Middle Eastern populations, lacks sufficient genetic studies that helps to better comprehend the complex genomic composition of different traits and diseases. The lack of good representation of the Middle East and North Africa (MENA) region in global studies has led to ambiguity in discovering special ancestry markers and patterns in the Lebanese genome. Yet, in this study, a thorough investigation into a Lebanese collection shows new patterns that potentially would be helpful in forensic and genealogical applications. The investigation into the autosomal and Y-STRs revealed unique alleles that would be valuable in future forensic investigation analysis. In addition, the assessment of phenotype prediction models to predict eye, hair and skin color showed promising results in terms of prediction performance. Those results encourage the future use of intelligence tools in the regions that in return would aid in serving justice and furthering science research. In fact, ancestry and genetic distance studies confirms the presence of admixture within Lebanon between Europe and North Africa. / 2029-06-01

No description available.

The objectives of this research were to: (1) augment existing research regarding the impact of information retention resulting from the application of redundant color codes; and (2) determine whether the application of color in hard-copy documents has a positive influence in business reports by non-color deficient subjects. This research was an extension of work done by Lamberski and Dwyer (1983) and Moore and Dwyer (1991). Both studies were hard copy based and focused on the impact of information retention resulting from the application of redundant color codes.