Light Veil Research Articles

Veil of Light: The Role of Light in Cavendish’s Visual Perception

Margaret Cavendish’s views about the nature of bodies and perception leave her with a potentially problematic implication: that light has no role in visual perception. For her, perception occurs through the self-motion of animate matter, not through a mechanical system that appeals to local motions and collisions of contiguous bodies. This means that motion is not transferred from external objects with light playing a mediating role; the matter of our eyes simply moves itself to copy the sensible qualities of external bodies. However, Cavendish cannot ignore the simple empirical fact that we appear to have visual perceptions in the presence of light but not in the presence of darkness. Light must play some role. I argue that light for Cavendish plays an intermediary role but does not transfer motions as the mechanical model suggests. Rather, light behaves like our eyes by moving itself to form copies of external objects. Our eyes then see these copies. For Cavendish, we are directly acquainted with a “veil of light” rather than the objects themselves.

Single image fast dehazing based on haze density classification prior

Most of existing the dehazing methods have high computational complexity and poor dehazing quality. Therefore, a fast haze removal method based on the haze density classification prior is proposed. Haze density is reflected by the difference between maximum channel and minimum channel. Based on this, haze density prior (HDP) is proposed. The HDP can effectively distinction between mist image and dense haze image, and quickly estimate the atmospheric light veil. In addition, an optimized method for estimating atmospheric light using the mid-channel of haze image is proposed, which overcomes limitations of global atmospheric light. Our method can fast and efficiently recover clear image because there is no estimation of transmission map. Experiments show that the proposed method outperforms existing methods in haze removal, especially for dense haze images. Comparison of objective evaluation and running time shows that the proposed method is effective and real-time.

Dehazing algorithm with atmospheric light veil estimation based on haze distribution

Dehazing algorithm with atmospheric light veil estimation based on haze distribution

Straylight in clinical practice

AbstractStraylight is an optical phenomenon where light is scattered in the eye. This causes a veil of light over the retina and thereby reduces the contrast of the image projected on the retina. Clinically, it may cause disability glare where people are blinded by a sun that sits low in the sky or by headlights of upcoming cars at night. Various ocular pathologies may cause an increase in straylight in the eye. Examples are cataract, corneal dystrophies, corneal scars, vitreous opacities, and opacifications of the intraocular lens. However, patients are not always aware that their complaints are (at least partly) due to increased straylight. In addition, it is not always recognized by clinicians that patients are bothered by straylight. Furthermore, interestingly, cataract surgery may actually increase straylight in the eye when surgery is performed too early. In this presentation, I will focus on various ocular pathologies that may cause increased straylight, and how to use straylight in clinical decision making.

Atmospheric light veil correction dehazing algorithm based on regional detection

To address the problems that the dehazing algorithm is prone to distortion, block artifacts, and edge pixel loss from the minimum filter in the highlighted area of an image, a dehazing algorithm with an atmospheric veil correction model under regional detection is proposed. First, the initial atmospheric light veil is obtained by using the improved dark channel, and the atmospheric light veil correction model is established for it. Then, the color distance and color distance histogram fitting curve of the haze image are used to accurately detect the region where the initial atmospheric light veil is corrected, and the correction term is established. Finally, the atmospheric light is estimated by combining the image information entropy with quad-tree subdivision algorithm. It is proved that the proposed method effectively solves the distorted problem in the highlighted region and the block artifacts produced by minimum filtering and can recover image with rich detailed information.

From ‘Veil’ (καταπέτασμα) Theology to ‘Face’ (πρόσωπον) Christology. Body as a veil concealing divine glory - direct experience and immediate perception (αἴσθησις) of God

According to Pauline theology we are ˜earthen vessels™ (2 Cor. 4:7) till Christ is formed in us (Gal. 4:19). Into the most holy place of our being, in which the very presence of God dwells, He ˜enters within the veil™ (Heb. 6:19) and ˜put in our hearts the light™ (2 Cor. 4:6). So, being ˜clothed in Christ™ (Gal. 3:27) we all are being ˜transformed into his image™ which is the ˜form of God™ a¼I½ I¼I?II†a?‡ I˜IµI?a?¦ (Phil. 2:6). To Saint Ephrem, œThe First-born wrapped himself in a body / as a veil to hide His glory (CNis XLIII,21, LumE 74). He juxtaposes the image of Moses being veiled with Jesus™ veiling on Himself in the Incarnation. Face of Moses shone and he laid veil over his face, just as Lord, from the Womb, entered and put on the veil of the Body (Nativity 73). Also, the veil of the temple was intended by Moses to symbolize the veil of heaven, and both veils together prefigured the flesh of Christ, which enfolded and concealed his divinity. Firstly, we will focus on the analogy between Thabor™s garments and bodies in the water of Baptism (De Epiphania 9, 12), both glory / Light garments of the Son, the œFather Ray (Heb. 1: 3; Sogyatha I 1-2). Secondly, we are interested in St. Ephrem™s interpretation of Matthew 27:50-51 (The Crucifixion IV, 1-12, Comm. Diatess. XXI, 4-6). Here, he combines two Pauline texts (Heb. 6:19 and 2 Cor. 3: 14-18) showing that, in fact, the veil split gave back to the Lord the glory that Jews have rejected. The latters dressed him with veil altar (Azym. V, 6 “ the purple, which was the inner veil of the temple; Katapetesma: a curtain) actually they clothed Him with His symbol of the divine glory presence. The Veil of Light is that who hides the apophatic ˜aesthetics™ of God™s Face. This is the way of concealing the divinity from velum scissum to the eucharistic bread. In this view the Body becomes the ˜Veil of flesh™ (IoI±I„I±I€I­I„I±IƒI¼I±) in accordance with the clothing imagery. This study is about the Biblical, syrian and hesychast perichoretic interweaving of visible (created) and invisible (uncreated). First, the syntagm œWithin the Veil (IoI±I„I±I€I­I„I±IƒI¼I±) is related to the biblical and patristic understanding of salvation as a garment. Thus, the Syrian (nuhrA qaddA«Aia Ephrem™s œea¹£tal Aiuba¸¥a) is nothing less than the reception of Paul (veil of flesh, Heb 10:20) spirituality of divine light (I´IŒI¾I±). Dionysius speaks of his spiritual father, Hierotheos who is œsuffering the mystery of the Incarnation (I€I±I¸a½¼I½ I„a½° I¸Iµa?–I±I½, DN II, 9). So, holy man is œtheophanic, becoming present to the Trinity (DN III, 1) and the hierarchy™s members becomes œspotless mirrors of the primordial light (icons of the divine energies). Theurgic light and deiformity (I¸IµI?IµI¹I´Iµa?–) by union with the rays of the unapproachable light. œSuddenly (a¼I¾I±I¯I†I½I·I‚) vision of Christ in light represents the divine motion as God extended œecs[aes]tetically into immanence. Therefore, the theophany of light (a¼€I€IIŒIƒI¹I„I?I½ I•a?¶I‚) is Imparticipable participable (I„a½° a¼€I¼IµI¸I­IoI„I‰I‚ I¼IµI„IµI‡IŒI¼IµI½I±) and God ad extra. Accordingly, the veil (IoI±I„I±I€I­I„I±IƒI¼I±) theology is the hermeneutical key to reveal by concealing the divine presence, a real point of contact or somatic experience. In a word, God™s self-revelation as concealing presence. Perichoresis of the visible and the invisible (interweaving of the created and the uncreated in biblical, syrian and hesychast clotihing metaphors) becomes possible within the body, understood as a ˜veil™. The biblical theology of clothing, especially the Significance of Clothing Imagery in the Pauline and the Clothing Metaphors, as a Means of Theological Expression in Syriac Tradition are both engaged to understand the late hesychast theology of uncreated light, this vision of God being œveiled unveiling or hidden in his manifestation. The flesh becomes the veil of (IoI±I„I±I€I­I„I±IƒI¼I±) God™s self-revelation (a concealing presence) and the œshining face of both the Desert Fathers, as well as the byzantine hesychasts, during prayer, is the witness of the realism of that communion, being the point of tangency of created (aesthetics) body and uncreated (apophatic) light. Keywords: Veil (IoI±I„I±I€I­I„I±IƒI¼I±), Ephraem the Syrian, robe of glory, Divine Names, Dionysius the Areopagite, Pneumatic bodies, œclothed with Christ, divine ˜Face™, ˜Light™ theophany, Gregory Palamas

Dark timbre: the aesthetics of tone colour in goth music

AbstractTimbre is a key aspect of musical practice and aesthetics. Artists use instrumentation, vocal technique, and production technology to create precise tone colours; listeners are able to identify genres, artists and connotations through timbre. However, critical assessment of its ephemeral musical agency is scarce. This article develops a theory of timbre. Goth music, which privileges tone colour in production, performance, and aesthetic, is a case in point for the ungraspable agency of this musical parameter. Timbral analyses of two goth tracks, Veil of Light's ‘Cold skin’ and Sopor Aeternus and the Ensemble of Shadows's ‘Dreamland’, will assess tone colour's relation to identity and difference (Walser), signification and corporeality (Barthes, Ihde), and the surplus of meaning and embodiment (Dolar). The article will argue that timbral aesthetics are characterised by the paradox of present absence: it indicates corporeality and meaning but simultaneously exceeds both. Tangible but also disembodied, immersive but also meaningless, it is no wonder that goth exploits timbre's dark agency.

Fast single image haze removal via local atmospheric light veil estimation

In this study, a novel single-image based dehazing framework is proposed to remove haze artifacts from images through local atmospheric light estimation. We use a novel strategy based on a physical model where the extreme intensity of each RGB pixel is used to define an initial atmospheric veil (local atmospheric light veil). Across bilateral filter is applied to each veil to achieve both local smoothness and edge preservation. A transmission map and a reflection component of each RGB channel are constructed from the physical atmospheric scattering model. The proposed approach avoids adverse effects caused by the error in estimating the global atmospheric light. Experimental results on outdoor hazy images demonstrate that the proposed method produces image output with satisfactory visual quality and color fidelity. Our comparative study demonstrates a higher performance of our method over several state-of-the-art methods.

Veil of Light

This article attempts to provide some explanation for the variety of sun - 'stars', shamsa in shabaka geometric designs by looking at some of the Koranic references and metaphysical works concerning Light and light, Sun and sun, Reality and phenomena. These designs became increasingly employed from the XI th c. onwards over a wide variety of surfaces and media, and can be understood as representing the Lights-Suns of the Veil of Light(s) that separates the 'Face' of the Almighty from all else. The exposure to the Word in the Mushaf with the ayet being separated by a depiction of a shamsa, a little sun, with the Real Sun being the Light of the Absolute, the combination of the Word and the Light, rooted these sun-sunburst centred designs within Islam.

Repeatability and reproducibility of retinal straylight measurement using C-Quant compensation comparison method

Background In an ideal eye there would be no light scattering at all,but the eye media is not optically ideal.Intraocular straylight causes a veil of light and reduction in the contrast of the retinal image and thus decrease the quality of vision. Objective The present study was to investigate the repeatability and reproducibility of C-Quant straylight meter( Oculus,Germany) in measuring retinal straylight of myopia and post-laser in situ keratomileusis(LASIK) corneas. Methods This is a prospective research.The consecutive 35 eyes of 21 myopic patients and 34 eyes of 22 patients who received LASIK were included in this trail.Retinal straylight was measured for 7 times at a period of time and analyzed quantificational to evaluate the repeatability of measurement.Thirty-eight eyes of 19 patients were measured again at 3-7 days for 3 times at a period of time to assess the reproducibility of C-Quant straylight meter.The mean standard difference (SD) and coefficient of variation (CV) were used as the credibility evaluation.This clinical study complied with Helsinki Declaration and the informed consent was obtained prior to the medical procedure. Results The straylight Log(s) of 7 times measurement were all less than 0.95.The mean Log(s) were 0.92±0.12 and 0.93±0.17 respectively in myopia group and post-LASIK group,without statistically significant differences among 7 times measurement( F=0.335,P=0.812;F=1.000,P=0.409).The mean SD for the 7 times measurement was 0.07 Log units.SD and CV increased with the number of measurements.The differences of mean SD and CV between 3 times result and 6 times result were significant different (t =-2.080,P =0.045;t =-2.190,P =0.035 ).No difference was found between different time periods( t =-0.531,P=0.598 ).The difference of the results between two measurements from the same patient was 0.013. ConclusionsC-Quant is a noncontact,noninvade,rapid and convenient method for the measurement of straylight in myopia and post-LASIK eyes due to the high repeatability and reproducibility. Key words: C-Quant; Straylight; Myopia; Laser in situ keratomileusis; Repeatability; Reproducibility

The phenomenal dissociation between coloration and object-hole effects in the watercolor illusion

The watercolor illusion is a color spreading effect at long-range diffusing from a thin colored contour juxtaposed to a chromatic one of higher contrast and a object-hole effect across a large area (Pinna, 1987; Pinna et al., 2001, 2003; Pinna & Reeves, 2006). The watercolored figure appears evenly colored by an opaque light veil of chromatic tint (coloration effect), with a clear surface color property spreading from the lighter contour. At the same time, the watercolored figure manifests a strong figure-ground organization and a solid figural appearance comparable to a bas-relief illuminated from the top (object-hole effect). It appears similar to a rounded surface segregated in depth, which extends out from the flat surface. The complementary region appears as a hole or empty space. The phenomenal properties of coloration and object-hole effects raise some questions. Can the two effects be considered relatively independent? Under what conditions can a possible dissociation occur? How does the dissociation of one effect, say the coloration, influence the object-hole effect and vice versa? To answer these questions two new effects related to the watercolor illusion were psychophysically studied: (1) the "uneven watercolor," based on a modified watercolor figure without volumetric and three-dimensional properties but with a strong coloration effect and (2) the "watercolor surface capture," where oblique lines within a watercolor figure appear bulging, curved in depth and segregated from those that are perceived as placed in the background or perceived through holes. The results of two experiments suggest that the coloration effect can be dissociated from the object-hole one. These results are discussed in the light of a simple summation hypothesis of the underlying effects composing the whole figurality. This hypothesis can suggest further investigation both in the phenomenal and in the neurophysiological domain.

Zielsrust en wijsheid onder een lichte sluier van bescheidenheid: De uitgave van de briefwisseling van Justus Lipsius (1547-1606)

J. de Landtsheer, J. Lipsius, Iusti Lipsi epistolae, VIII, 1595'Inner peace and wisdom under a light veil of modesty: Justus Lipsius (1547-1606) and the edition of his correspondence'Humanists wrote and collected private letters, regarding them as literary works of art, sources of knowledge and wisdom and proof of the importance of intellectual networks. The eminent Dutch humanist Justus Lipsius corresponded with fellow intellectuals all over Europe. He carefully edited his own letters, revising them if necessary, and published an influential manual of letter-writing. His growing reputation as the greatest Belgian humanist led to plans for a complete edition of his correspondence, comprising some 4300 letters. Publication started in Brussels in 1978 and is still running (Iusti Lipsi Epistolae). This excellent edition is founded on sound editorial principles, highly facilitating the user's access to the world of Late Humanism.

Fundamental study of visibilty measuring system by veil of light in fog

Fundamental study of visibilty measuring system by veil of light in fog

Veils of My Youth

Clinging to her was a ball of childish energy, curly haired and fearful, never understanding why the grownups had consented to leave the light for these cold, dark courtyards; hoping each morning-frozen with urine and shame -that the peepee would dry, that it would be forgotten; dreaming, between soaked sheets, of the bathhouse that would have cleansed her of this impurity, had they never come to these damp and misty lands. I remember being this skinny, sunburned thing, five years old, still wetting her bed, refusing each morning to get up. The image of my mother as a radiant star slipped out of sight, though it remained in my mind, a vivid, brilliant painting. Upon our arrival in the black northern city, my mother banished her veil of light, and I never saw it again. From time to time, she would tell me a story that confirmed the reality behind my childhood memories, but I began to have doubts. Sometimes I was convinced I had invented the white silhouettes. Un-

Visual acuity and colour sensation through fog (3)

I carried out analytical experiments to study the eye-sight in relation to the illumination for the fog, using the fog-chamber which I designed. Results of my experiments are that:-(1) The visual acuity through fog is weakened by the increas of the white area which encloses Landolt's rings.(2) As the illuminating-angll upon the fog becomes larger, the visual acuity through fog becomes lower.(3) When the fog is relatively faint and the useless light is covered completely, the visual acuity becomes better by the increase of the illumination. Other wise when the useless light is covered incompletely, the visual acuity does not become better by the increase of the illumination on the test type.(4) The visual acuity through Loy becomes better by the application of the orrnge-coloured glass filter (matsuda's filter VO3) in front of an eye.The result of these experiments indicate that in order to maintain eye-sight through fog to prevent the light veil is the important matter concerning the illumination in the fog.