Colour Box Research Articles

Raman spectroscopic study of the pigments in a putative John Constable oil sketch

AbstractRaman has long been established as a nondestructive and noninvasive technique that has found increasing application in the area of cultural heritage and the study of works of art. Here, we present a further application of Raman spectroscopy in the study of an oil painting belonging to the de Brécy Trust. In the work presented, Raman microscopy has been employed to spectroscopically study minute fragments of excised pigments from a small oil painting bearing the hallmarks of a study sketch by the famous English landscape artist John Constable. Raman spectra were collected from 18 discrete areas of the work, chosen due to their colour in order to potentially cover all of the pigments used in this work. Of the 18, six positive identifications were made, confirming that the painting contained pigments and minerals known to be favoured by the artist. Whilst the remaining 12 sample sites were complicated by the fluorescence effects observed from the applied varnish, this can be useful in providing evidence to support the application of the ‘scumbling’ technique known to be favoured by Constable. We have positively identified the pigments: ultramarine/lapis lazuli, lead white, red lead, Prussian blue, chrome yellow and ivory black. We have also identified amorphous carbon and gypsum. These positively identified pigments link into Constable's existing colour box and four palettes, providing evidence that could lead to the painting being attributed to Constable.

COLOUR CONTROL FOR RETROREFLECTIVE TRAFFIC SIGNS PRODUCED BY DIGITAL PRINTING APPLICATIONS

The advancement of digital printing technologies facilitates alternative production methods to print certified reflective foils used to produce the faces of retroreflective traffic signs. Such products are approved and tested for certification in accordance with standards such as SR EN 12899-1:2007, regardless of production methods while the chromaticity and luminance factors are normative to qualify the product. This paper presents a method for process control and quality assurance using measurement devices and tools employed specifically by graphic technology. The core element is the correlation of the reference colour space (CIELAB, D50) with the standard reference from SR EN 12899-1:2007 (CIExyY, D65), also considering the conceptual difference from circular/elliptical tolerances typically used in printing processes and the colour box coordinates defined by the standard.

Soliton Distribution in the Ball and Box Cellular Automation Model

Solitons are very important waves in Mathematical Physics. They help model many physical situations for instance tsunami waves, application in optical communication systems, application in plasma physics and application in laser guided technology among others. Despite enormous applications, solving the non-linear equations which have soliton solutions is challenging be- cause the nonlinear characteristic of the system abruptly changes due to some slight changes of valid parameters including time. A remedy to this is to use cellular automation models to model soliton dynamics. Cellular automation models do not change in response to slight changes on parameters. In this paper, using computer simulation, an investigation of the distribution of the number of solitons from the Ball and Box cellular automation model was examined. The distribution of the number of solitons from the two and three colour Ball and Box cellular automation was established. Using the online integer sequence, for the two colour Ball and Box cellular automation model, it was found that the distribution of the number of the solitons is indexed by the binomial coefficients. On the Other hand, for the three colour Ball and Box cellular automation model, it was found that only solitons of lengths one to four possesses the distribution while the other soliton lengths do not possess any distribution function.

Sistem Penyeleksi Warna Dan Berat Barang Menggunakan Pergerakan Lengan Robot Empat DOF (Degree Of Freedom)

The use of robot arm in the system of colour and weight box selection has been done to integrate control system of robot arm moving with colour sensor TCS3200 and weight sensor load cell. The research was conducted by analyzing efficiency and accuracy system of robot arm moving to select colour and weight goods like box. The robot arm moving work suitable instruction of colour and weight sensor reading. At the most important from this system is how to accuracy of colour and weight sensor to detect colour ang weight and accuracy of robot arm moving system can positioning degree moving to take colour with different weight box suitable the place. The result of the analysis proved that robot arm moving had inregrated with colour and weight sensor efficient and effective to do this work as colour and weight box selection accurately.

An extinction-free AGN selection by 18-band SED fitting in mid-infrared in the AKARI NEP deep field

We have developed an efficient Active Galactic Nucleus (AGN) selection method using 18-band Spectral Energy Distribution (SED) fitting in mid-infrared (mid-IR). AGNs are often obscured by gas and dust, and those obscured AGNs tend to be missed in optical, UV and soft X-ray observations. Mid-IR light can help us to recover them in an obscuration free way using their thermal emission. On the other hand, Star-Forming Galaxies (SFG) also have strong PAH emission features in mid-IR. Hence, establishing an accurate method to separate populations of AGN and SFG is important. However, in previous mid-IR surveys, only 3 or 4 filters were available, and thus the selection was limited. We combined AKARI's continuous 9 mid-IR bands with WISE and Spitzer data to create 18 mid-IR bands for AGN selection. Among 4682 galaxies in the AKARI NEP deep field, 1388 are selected to be AGN hosts, which implies an AGN fraction of 29.6$\pm$0.8$\%$ (among them 47$\%$ are Seyfert 1.8 and 2). Comparing the result from SED fitting into WISE and Spitzer colour-colour diagram reveals that Seyferts are often missed by previous studies. Our result has been tested by stacking median magnitude for each sample. Using X-ray data from Chandra, we compared the result of our SED fitting with WISE's colour box selection. We recovered more X-ray detected AGN than previous methods by 20$\%$.

Plant gum identification in historic artworks

We describe an integrated and straightforward new analytical protocol that identifies plant gums from various sample sources including cultural heritage. Our approach is based on the identification of saccharidic fingerprints using mass spectrometry following controlled enzymatic hydrolysis. We developed an enzyme cocktail suitable for plant gums of unknown composition. Distinctive MS profiles of gums such as arabic, cherry and locust-bean gums were successfully identified. A wide range of oligosaccharidic combinations of pentose, hexose, deoxyhexose and hexuronic acid were accurately identified in gum arabic whereas cherry and locust bean gums showed respectively PentxHexy and Hexn profiles. Optimized for low sample quantities, the analytical protocol was successfully applied to contemporary and historic samples including ‘Colour Box Charles Roberson & Co’ dating 1870s and drawings from the American painter Arthur Dove (1880–1946). This is the first time that a gum is accurately identified in a cultural heritage sample using structural information. Furthermore, this methodology is applicable to other domains (food, cosmetic, pharmaceutical, biomedical).

Selections from Len Lye and the Problem of Popular Films (1938)

In 1926 the new zealand artist, writer, and budding filmmaker len lye arrived in london by way of sydney, australia.Only twenty-five years old, Lye was still a few years away from his first breakthrough in film: Tusalava (1929), a nine-minute animated film composed of over 4,400 drawings that took nearly two years to complete (Horrocks, Len Lye 91). The artist would spend the next two decades in London, years in which his association with the General Post Office Film Unit would provide him with the resources he needed to create some of his most famous films, such as A Colour Box (1935), Rainbow Dance (1936), and N or NW (1938).In December 1925, a young American poet by the name of Laura Gottschalk—soon to change her name to Laura Riding—followed Robert Graves's advice and moved to London. While she had yet to publish a book of poems, her poetry had appeared in a number of literary journals, most notably the Fugitive (Jacobs xvii). Her first collection, The Close Chaplet, was published by Leonard and Virginia Woolf's Hogarth Press in October 1926.

SP0118 How to Optimize Doppler Settings for Fast Flow

Several rheumatic diseases are affecting blood vessels. Vascular ultrasound is relevant in rheumatology particularly for large-vessel vasculitis, Raynaud's phenomenon and venous thrombosis.Flow velocities are higher in large vessels when compared...

SP0021 How to Optimize Doppler Settings for Fast Flow

Several rheumatic diseases are affecting blood vessels. Vascular ultrasound is relevant in rheumatology particularly for large-vessel vasculitis, Raynaud's phenomenon and venous thrombosis.Flow velocities are higher in large vessels when compared...

Len Lye: The Vital Body of Cinema

OCTOBER 144, Spring 2013, pp. 73–91. © 2013 October Magazine, Ltd. and Massachusetts Institute of Technology. In late 1936, a year after it had been awarded a Medal of Honor in the specially created category of “fantasy film” at the International Cinema Festival in Brussels, Len Lye’s first hand-painted film, A Colour Box (1935), was screened at the Venice Film Festival, where it met with a less than rapturous response. Consisting of little more than quivering fields of dots, eccentrically pinwheeling triangles, and trembling vertical lines, all jumping to the jaunty rhythms of a Creole jazz soundtrack, the film’s dancing sheets of color instantly aroused the ire of Nazi spectators present in the audience. As the German daily Film-Kurier would later report: “The English color short A Colour Box, which attempts the kind of abstract film composition of Fischinger but with inadequate artistic means, was met with such loud condemnatory stomping that the screening had to be stopped before the film was over.”1 So degenerate was the film, it seems, that despite being only three minutes in length it could not be screened in its entirety. In retrospect, of course, there is nothing startling about this turn of events. By virtue of its complete abstraction and its recourse to a “negroid” musical accompaniment, it would have been difficult in 1936 to find a film more strikingly at odds with even the most liberal canons of Nazi cinema—as the FilmKurier’s rather startling invocation of Oskar Fischinger as a yardstick of comparative acceptability in this context suggests.2 Moreover, when Lye’s motives for drawing on the combined resources of abstraction, jazz, and animation in his hand-painted films are taken into account, the severity of this judgment can only be compounded. For at the heart of Lye’s filmmaking practice lay an urge

Power Doppler 'blanching' after the application of transducer pressure

The aim of this study was to determine if transducer pressure modifies power Doppler assessments of rheumatoid arthritis synovium at the metacarpophalangeal joints and metatarsophalangeal joints. Five rheumatoid arthritis patients of varying degrees of 'disease activity' and damage were assessed with power Doppler ultrasound scanning of the dominant hand second to fifth metacarpophalangeal joints. Two rheumatoid arthritis patients had their dominant foot first to fifth metatarsophalangeal joints assessed with power Doppler ultrasound. Ultrasonography was performed with a high frequency transducer (14 MHz) with a colour mode frequency of 10 Mhz, and a standard colour box and gain. In the joint that showed the highest power Doppler signal, an image was made. A further image was taken after transducer pressure was applied. In all patients, there was increased flow to at least one joint. After pressure was applied, power Doppler signal intensity markedly reduced in all images and in some there was no recordable power Doppler signal. Increased transducer pressure can result in a marked reduction or obliteration in power Doppler signal. This power Doppler 'blanching' shows the need for further studies to evaluate sources of error and standardization before power Doppler ultrasound becomes a routine measure of 'disease activity' in rheumatoid arthritis.

Lower limb vascular assessment by ultrasound

Common scanner control adjustments:Don't make the colour box too large or the image frame rate may be too low.Optimize the colour pulse repetition frequency so that the peak systolic velocity is in the upper region of the colour scale. Stenoses will be rapidly identified as areas of aliasing.Ensure the colour wall filter is set correctly.Align the spectral Doppler angle correction cursor accurately.

THE DISCRIMINATION OF COLOUR.

In a paper on the relation of light perception to colour perception, and in previous writings, I have stated that if a portion of the spectrum be isolated, it will appear monochromatic, the length of the monochromatic region varying with the intensity and wave-length of the light and the colour perception of the observer. Most normal sighted persons make about eighteen such divisions in a bright spectrum. In a paper in the ‘Proceedings of the Royal Society,' Lord Rayleigh, whilst agreeing that the facts were as I stated in the conditions described by me, expressed the opinion that he could distinguish between the wavelengths included in a monochromatic division to the extent of discriminating between the colours of the two D lines. Lord Rayleigh kindly lent me the colour box with which he had made the experiments, and, on repeating them in the manner described by him, I arrived at similar results. I hope, however, to be able to show that the results obtained by Lord Rayleigh were due to the admixture of small quantities of white and coloured light and to certain physiological influences which had not been taken into consideration, and which prevented him from arriving at a correct interpretation of the colours.

The discrimination of colour

In a paper on the relation of light perception to colour perception, and in previous writings, I have stated that if a portion of the spectrum be isolated, it will appear monochromatic, the length of the monochromatic region varying with the intensity and wave-length of the light and the colour perception of the observer. Most normal sighted persons make about eighteen such divisions in a bright spectrum. In a paper in the ‘Proceedings of the Royal Society,' Lord Rayleigh, whilst agreeing that the facts were as I stated in the conditions described by me, expressed the opinion that he could distinguish between the wavelengths included in a monochromatic division to the extent of discriminating between the colours of the two D lines. Lord Rayleigh kindly lent me the colour box with which he had made the experiments, and, on repeating them in the manner described by him, I arrived at similar results. I hope, however, to be able to show that the results obtained by Lord Rayleigh were due to the admixture of small quantities of white and coloured light and to certain physiological influences which had not been taken into consideration, and which prevented him from arriving at a correct interpretation of the colours.

THE DISCRIMINATION OF COLOUR

In a paper on the relation of light perception to colour perception, and in previous writings, I have stated that if a portion of the spectrum be isolated, it will appear monochromatic, the length of the monochromatic region varying with the intensity and wave-length of the light and the colour perception of the observer. Most normal sighted persons make about eighteen such divisions in a bright spectrum. In a paper in the ‘Proceedings of the Royal Society,' Lord Rayleigh, whilst agreeing that the facts were as I stated in the conditions described by me, expressed the opinion that he could distinguish between the wavelengths included in a monochromatic division to the extent of discriminating between the colours of the two D lines. Lord Rayleigh kindly lent me the colour box with which he had made the experiments, and, on repeating them in the manner described by him, I arrived at similar results. I hope, however, to be able to show that the results obtained by Lord Rayleigh were due to the admixture of small quantities of white and coloured light and to certain physiological influences which had not been taken into consideration, and which prevented him from arriving at a correct interpretation of the colours.

V. Experiments with Lord Rayleigh's colour box

Lord Rayleigh described before the meeting of the British Association, in 1881, a colour box in which artificial yellow is produced by mixing a pure red and green, and this yellow is directly compared to the yellow of the spectrum. Lord Rayleigh has given an account of certain peculiarities of vision observed in a number of persons, and it seemed to me worth while to extend the enquiry to a greater number of observers, and also, if possible, to obtain some evidence as to the existence of smaller differences than those described in Lord Rayleigh’s paper.