Metamers of the ventral stream is a model which tries to describe what information we gather from our visual field. It have previously only been tested on static images. This thesis have continued the research and applied it to dynamic images in order to investigate if the model can be seen as a functional representation of our visual field. The results show that the model, at this stage, can not be seen as a fully functional representation of the visual field, but it can be used to determine the detectability of objects in the periphery. It also shows that what we humans perceive as motion is, at least to some extent, merely a change of the statistics in our visual field.

Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm.  This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.