This work explores how colour and light can be used as the prime design materials. They are investigated in unison in relation to spatiality. Colour is a way for us to understand and identify what we see, it is primary for how we interpret our surroundings. The aim is to explore colour, light and reflections, by the means of printing and dyeing of translucent materials, as an attempt to challenge the visual perception of the spectator and the experience of how spatiality is perceived. The project investigates how the boundaries of a textile can be questioned, for example where does a pattern begin and end? Does it only belong to the textile or can it transcend to it’s surroundings? The investigational process is experimental and explores combinations of colour and light in translucent materials, coloured through the techniques of heat transfer printing and dyeing. Swatches made are analysed in relation to each other and to light, with a focus on their visual performance. The final design examples discusses the idea of how textile, light and colour can be used to create, define and illuminate spatiality.

Este ensaio objetiva refletir sobre minha série fotográfica Chiaroscuro, na qual trabalho constrastes entre luz e sombra e as consequentes representações de vazio e memória. Para tanto, elejo os teóricos da antropologia da imagem Jacques Rancière, Georges Didi-Huberman, Victor Stoichita e Hans Belting como meus interlocutores. Uma vez que um dos propósitos deste trabalho abrange observar possíveis inter-relações entre a série e alguns artistas contemporâneos, estabeleço reflexões acerca da produção fotográfica de Candida Höfer, Abelardo Morell e Hiroshi Sugimoto. O percurso em Chiaroscuro, bem como o estudo de elementos de composição da imagem, como o referente, o duplo, a luz e o tempo, auxiliaram-me a uma melhor compreensão do papel da fotografia em minha produção artística. Além disso, a representação da memória a partir do vazio, presente nas imagens da série, atesta a importância de se pensar a linguagem fotográfica em paralelo à pintura, à cultura, à mitologia e a outras linguagens que configuram a arte contemporânea. / This essay aims to reflect on my photographic series Chiaroscuro, in which I deal with contrasts between light and shadow and the consequent representation of emptiness and memory. For this purpose I elect the scholars from anthropology of the image Jacques Rancière, Georges Didi-Huberman, Victor Stoichita and Hans Belting as my interlocutors. As one of the purposes of this work covers to observe possible interrelations between my series and some contemporary artists, I establish reflections about the photography of Candida Höfer, Abelardo Morell and Hiroshi Sugimoto. The course in Chiaroscuro, and the study of elements of image composition, such as the referent, the double, the light and time, helped me to improve my understanding of photography role in my artistic production. In addition, the representation of memory out of emptiness, in this series of images shows the importance of thinking about the photographic language in parallel to painting, culture, mythology and other languages that shape contemporary art.

Shadow removal is an important problem for both artists and algorithms. Previous methods handle some shadows well but, because they rely on the shadowed data, perform poorly in cases with severe degradation. Image-completion algorithms can completely replace severely degraded shadowed regions, and perform well with smaller-scale textures, but often fail to reproduce larger-scale macrostructure that may still be visible in the shadowed region. This paper provides a general framework that leverages degraded (e.g., shadowed) data to guide the image completion process by extending the objective function commonly used in current state-of-the-art image completion energy-minimization methods. This approach achieves realistic shadow removal even in cases of severe degradation and could be extended to other types of localized degradation.

Thesis (M. A. Agricultural Management (Horticulture)) -- University of Limpopo, 2003 / Refer to document

Photopolymerization is considered an attractive alternative in many industries to traditional polymerization processes. The advantages of photopolymerization over other types of polymerization include elimination of heat sources, faster cure times, and reduction in the use of volatile organic solvents. Despite these environmental and cost-saving advantages, photopolymerizations have several limitations. Light attenuation can be a problem for systems containing pigments or fillers. The radiation source penetrates only to a shallow depth beneath the surface, limiting the thickness of strongly pigmented or filled coatings and films. Photopolymerization is also generally limited to systems with simple geometries that can be uniformly illuminated. Coatings on three-dimensional substrates, or other systems with complex geometries, are difficult to uniformly cure. These problems can be solved by "shadow cure," which is defined as the reactive diffusion of photoinitiated active centers into regions of a polymer that are unilluminated. In this contribution, the generation and subsequent spatial and temporal evolution of the active center concentrations during illumination are analyzed using the differential equations that govern the light intensity gradient and photoinitiator concentration gradient for polychromatic illumination. Reactive diffusion of the active centers during the post-illumination period is shown to result in cure of unilluminated regions. A kinetic analysis is performed by coupling the active center concentration profiles with the propagation rate equation, yielding predicted cure times for a variety of applications. This analysis is used for the evaluation of cationic shadow cure in pigmented photopolymerization systems, and systems with complex geometries. The extensive characterization of cationic systems is then applied to free-radical photopolymerization to examine the potential of shadow cure for active centers with much shorter lifetimes. An example of a free-radical photopolymerization system is characterized in which the dimensional scales are small enough to utilize the short lifetimes of the active centers. The results presented for both free-radical and cationic shadow cure indicate that the reactive diffusion of photoinitiated active centers may be used for effective cure in unilluminated regions of a photopolymer. This research will potentially allow photopolymerization to be applied in industries where it has never before been utilized.

The devolution of welfare services in the United States has increased the importance of the nonprofit sector. Geiger and Wolch argue that decentralization has left nonprofit organizations (NPOs) under the purview of the state. They refer to this as the “shadow state.” Trudeau argues for a more nuanced view of the shadow state in which governmental agencies and NPOs are highly interdependent. This research expands on the findings of Trudeau by extending the shadow state construct to the individual. I examine the role of refugees in the shadow state construct and their ability to affect government policy through participation in NPOs and find that refugees do indeed play a role in the shadow state. Through feedback, experience and, most importantly, by becoming part of the organization, refugees can have an impact on refugee services through participation in NPOs.

Aquesta tesi està orientada a la detecció i l’eliminació d’ombres en moviment. Les ombres es poden definir com una part de l’escena que no està directament il·luminada, pel fet que la font d’il·luminació es troba obstruïda per un o diversos objectes. Sovint, les ombres en moviment que es troben en imatges o en seqüències de vídeo són causa d’errors en l’anàlisi del comportament humà. Això es deu a que les ombres poden causar una degradació dels resultats dels algorismes de processament d’imatges aplicats a: detecció d’objectes, segmentació, vídeo vigilància o en propòsits similars. En aquesta tesi primer s’analitzen exhaustivament els mètodes de detecció d’ombres en moviment, i després amb l’objectiu de compensar les seves limitacions es proposa un nou mètode de detecció i eliminació d’aquest tipus d’ombres. El mètode proposat no fa servir informació a priori de l’escena, ni tampoc es restringeix a un tipus d’escena en concret. A més, el mètode proposat pot detectar tant ombres acromàtiques com també les cromàtiques, fins i tot quan hi ha camuflatge (és a dir, quan hi ha una forta similitud de color entre el foreground i l’ombra). Aquest mètode explota una propietat de constància local de color aconseguida a causa de la supressió de la reflectància en les regions amb ombres. Per detectar les regions amb ombres en una escena, els valors de la imatge del background són dividits pels valors de la imatge actual, tots dos en l’espai de color RGB. Al llarg de la tesi es demostra com aquesta divisió serà utilitzada per detectar segments amb gradients baixos i constants, que al seu torn s’utilitzen per distingir entre ombres i foregrounds. Els resultats experimentals duts a terme sobre base de dades públiques mostren un rendiment superior dels mètodes proposats en aquesta Tesi, comparat amb els mètodes actuals més sofisticats de detecci ó i eliminació d’ombres. A més els resultats demostren que el mètode proposat és robust i precís a l’hora detectar diferents tipus d’ombres en diferents tipus de vídeos. / This thesis is devoted to moving shadows detection and suppression. Shadows could be defined as the parts of the scene that are not directly illuminated by a light source due to obstructing object or objects. Often, moving shadows in images sequences are undesirable since they could cause degradation of the expected results during processing of images for object detection, segmentation, scene surveillance or similar purposes. In this thesis first moving shadow detection methods are exhaustively overviewed. Beside the mentioned methods from literature and to compensate their limitations a new moving shadow detection method is proposed. It requires no prior knowledge about the scene, nor is it restricted to assumptions about specific scene structures. Furthermore, the technique can detect both achromatic and chromatic shadows even in the presence of camouflage that occurs when foreground regions are very similar in color to shadowed regions. The method exploits local color constancy properties due to reflectance suppression over shadowed regions. To detect shadowed regions in a scene the values of the background image are divided by values of the current frame in the RGB color space. In the thesis how this luminance ratio can be used to identify segments with low gradient constancy is shown, which in turn distinguish shadows from foreground. Experimental results on a collection of publicly available datasets illustrate the superior performance of the proposed method compared with the most sophisticated state-of-the-art shadow detection algorithms. These results show that the proposed approach is robust and accurate over a broad range of shadow types and challenging video conditions.

This thesis is related to the broad subject of automatic motion detection and analysis in videosurveillance image sequence. Besides, proposing the new unique solution, some of the previousalgorithms are evaluated, where some of the approaches are noticeably complementary sometimes.In real time surveillance, detecting and tracking multiple objects and monitoring their activities inboth outdoor and indoor environment are challenging task for the video surveillance system. Inpresence of a good number of real time problems limits scope for this work since the beginning. Theproblems are namely, illumination changes, moving background and shadow detection.An improved background subtraction method has been followed by foreground segmentation, dataevaluation, shadow detection in the scene and finally the motion detection method. The algorithm isapplied on to a number of practical problems to observe whether it leads us to the expected solution.Several experiments are done under different challenging problem environment. Test result showsthat under most of the problematic environment, the proposed algorithm shows the better qualityresult.

CAD objects are geometrical descriptions of physical scenes from the real world. Ray tracing is used to project the objects onto a pixel screen. A lit and a shadow zone are formed according to the direction of the incoming field (light) and the orientation of the pixel screen. The arc length along the surface of the object, from the shadow boundary to a point in the lit zone, is computed by means of numerical integration. The arclengths corresponding to two orthogonal directions that are aligned with the pixels on the pixel screen are computed and used for interpolation to obtain the arc length for all directions. A number of simulations for various CAD geometries are made using a ray-tracer implemented in FORTRAN 90.

¡@What is literature?(Qu'est-ce que la littérature?) is a thesis on literature written by Jean-Paul Sartre, the French philosopher, in 1947. By proposing the concept of literary engagement, Sartre attempted to prove that it was natural for literature to engage in the society. Needless to say, such an idea triggered a series of controversy among which the key issue was what the relation between literature and reality was. Regarding this, the current article, starting from the intentionality of the phenomenology, will discuss Sartre¡¦s negativity and Emmanuel Levinas¡¦ shadow concepts in order. It attempts to describe the relation between literature and reality and to unfold such two concepts in parallel at the utmost. However, its purpose is not only to visualize a certain possible mode between literature and reality but to indicate that the difference between literary engagement controversy and others is that it seems to mark the overall symptoms prompted by defining literature with theories. Accordingly, perhaps it is closer to the problematics of literary engagement to find out, apart from repeatedly fixing literature, such a top in movement, to facilitate description, whether it is possible to shed light on the basic fact that literature always conceals itself to draw out reality based on the results that the confrontation between the above-mentioned two theories and literature always leads to, such as communication inability and their being driven away. We thus realize that it is not impossible for the models of Sartre¡¦s and Levinas¡¦ literary objects to converse with such a problematic.