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Relevant bibliographies by topics / Colour science

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Academic literature on the topic 'Colour science'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Colour science"

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Luo, Ming Ronnier. "Applying colour science in colour design." Optics & Laser Technology 38, no. 4-6 (June 2006): 392–98. http://dx.doi.org/10.1016/j.optlastec.2005.06.025.

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MERTENS, JOOST. "CHARLES BOURGEOIS (1759-1832), HIS ANTINEWTONIAN COLOUR THEORY AND THE RECONCILEMENT OF ART AND SCIENCE." Nuncius 22, no. 1 (2007): 15–48. http://dx.doi.org/10.1163/182539107x00022.

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Abstracttitle ABSTRACT /title Between 1810 and 1825, Charles Bourgeois (1759-1832), miniaturist, pigment manufacturer and physicist, developed a colour optics that defied both the Newtonian view of the composite nature of white light and the widely accepted strict separation between science and the arts. In this paper four themes are discussed: the general rules of colour mixing and the resulting three-dimensional colour space CEI (Couleur, Excdent, Intensit); Bourgeois' theory of light as a vehicle for non-luminous colours; His attempt at disproving Newton's central principle of the unequal refrangibility of different colours; and his relation, or rather non-relation, with the Royal Academy of Sciences which considered Bourgeois' theory of light a piece of nonsense.

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Burggraaff, Olivier, Sanjana Panchagnula, and Frans Snik. "Citizen science with colour blindness: A case study on the Forel-Ule scale." PLOS ONE 16, no. 4 (April 19, 2021): e0249755. http://dx.doi.org/10.1371/journal.pone.0249755.

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Many citizen science projects depend on colour vision. Examples include classification of soil or water types and biological monitoring. However, up to 1 in 11 participants are colour blind. We simulate the impact of various forms of colour blindness on measurements with the Forel-Ule scale, which is used to measure water colour by eye with a 21-colour scale. Colour blindness decreases the median discriminability between Forel-Ule colours by up to 33% and makes several colour pairs essentially indistinguishable. This reduces the precision and accuracy of citizen science data and the motivation of participants. These issues can be addressed by including uncertainty estimates in data entry forms and discussing colour blindness in training materials. These conclusions and recommendations apply to colour-based citizen science in general, including other classification and monitoring activities. Being inclusive of the colour blind increases both the social and scientific impact of citizen science.

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Costall, Alan. "“Colour science” and the autonomy of colour." Behavioral and Brain Sciences 20, no. 2 (June 1997): 185. http://dx.doi.org/10.1017/s0140525x97281422.

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At the close of their searching critique, Saunders & van Brakel raise, but do not address, the question: “Whither colour research?” There are two distinct traditions of colour research, one based on disembodied coloured lights and another on surface colour. The coherence and integrity of both these traditions are challenged by the nonautonomy of colour.

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Upadhayay, Ranjana. "A COMPARATIVE STUDY OF COLOUR PREFERENCES TOWARDS CLOTHING AMONG YOUNG GIRLS AND BOYS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3532.

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Colour, is the visual perceptual property corresponding in human beings to the names called red, green, blue, and so on and so forth. Colours are derived from the spectrum of light, interacting in the eye with the spectral sensitivities of the light receptors. Colour categories and physical specifications are related to objects or materials based on their physical properties such as light absorption, reflection, or emission.The meanings of colors vary according to cultures and environments. Each color has many aspects which may be expressed as the language of color by understanding few concepts. Colour is a form of non-verbal communication. The perception of color stems from varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, and thus colors may be defined and quantified by the degree to which they stimulate these cells.The science of color is called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to as light).

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Ackroyd, Wm. "THE SCIENCE OF COLOUR." Journal of the Society of Dyers and Colourists 11, no. 10 (October 22, 2008): 166–74. http://dx.doi.org/10.1111/j.1478-4408.1895.tb00073.x.

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Carter, Ellen C. "Colour art & science." Color Research & Application 22, no. 1 (February 1997): 65. http://dx.doi.org/10.1002/(sici)1520-6378(199702)22:1<65::aid-col10>3.0.co;2-7.

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Westland, Stephen. "Colour science in dentistry." British Dental Journal 196, no. 1 (January 2004): 29. http://dx.doi.org/10.1038/sj.bdj.4810878.

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Attridge, G. G. "Colour Science in Photography." Journal of Photographic Science 42, no. 3 (May 1994): 86. http://dx.doi.org/10.1080/00223638.1994.11738576.

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Attridge, G. G., and M. R. Pointer. "Colour Science in Photography." Journal of Photographic Science 42, no. 6 (November 1994): 197–209. http://dx.doi.org/10.1080/00223638.1994.11738601.

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Dissertations / Theses on the topic "Colour science"

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Starrett, Malin John. "Checking the facts in science : the experience of experimenting." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365940.

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Liu, Bo-zhi. "Understanding colour image : colour constancy." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/50155/.

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Human visual system has a mechanism which ensures that the perceived colour of an object remains almost constant under varying illumination conditions, and this mechanism is called colour constancy. Electronic imaging systems such as digital cameras do not naturally have this ability. The color appearance of images of an object under different lighting conditions changes with the colour of the light sources and this can cause problems in many computer vision applications such as object recognition. To deal with this problem, many algorithms have been developed to estimate the input image’s illuminant, and then recover the intrinsic colour of the scene correctly. In this thesis, we focus on this topic, try to produce new colour constancy algorithms in both images and videos, to improve the performance of the state of the art. This thesis makes four technical contributions. First, we have developed a new image representation scheme suitable for developing learning based colour constancy algorithms; second, we introduce a new method that formulates the colour constancy problem as one that infers the illuminant class of the input image; third, we introduce a novel clustering classification colour constancy framework (the 4C method); and finally, we extend our method from still image into video processing, create a new framework to deal with the colour constancy problem in videos. As in many computer vision problems, one of the crucial issues is how to effectively represent the input events. Colour constancy is no exception and we need to first represent the input image. As we are only interested in the colours of the image, colour histogram is a natural choice. However, traditional colour histogram is content dependent. As our task is estimating the colours of the illuminant rather than the colours of the image, we need a representation that is relatively independent of the image content. Based on this reasoning, we introduce the novel concept of a binary colour histogram where it records if a colour has appeared in the image or not and disregards the frequency of the colours appear in the image. We will present experimental results to demonstrate that our new binary histogram representation is particularly suitable for learning based colour constancy and that it provides better performances than other traditional representation schemes. The colour of a digital image is directly affected by the colour of the illuminant. We reason if we can recognize or classify the illuminant source of the image, we can then correct the colour of the image. Based on this rationale, we formulate the colour constancy problem as an illuminant classification problem. We assume that each image has an associated class of illuminant and the task of colour constancy is that of recognizing the illuminant class of the image. To accomplish this, we make use of our newly introduced binary colour histogram representation scheme and employ a powerful machine learning method called the Random Forest to construct the illuminant recognition system. We will present experimental results to show the effectiveness of our new method. Encouraged by the success of our illuminant recognition framework, we have developed a novel clustering classification colour constancy (the 4C) framework. We reason that similar illuminants will result in similar white point colours in an image. Based on this assumption, we first use a clustering algorithm to group similar white point colours of the training samples into the same cluster. We then treat the images in the same cluster as belonging to the same illumination source and each cluster as one class of illuminants. The colour constancy problem, i.e., that of estimating the unknown illuminant of an image, becomes that of identifying which illuminant class (cluster) the image’s illuminant falling into. We again make use of our novel binary colour histogram representation and our random forest based illuminant classification methods to implement our new 4C colour constancy framework. We present experimental results on publicly available testing datasets and show that our new method is competitive to state of the art. As a practical application, we have successfully extended our novel colour constancy methods from still image into video processing. The video tonal stabilization problem is still an unsolved problem, and current algorithms are only focusing on keeping the tonal stable during video playing, not really trying to recover the incorrect illuminant. We tackle these two problems together by keeping the tonal stable and recovering the frame colour to a canonical illuminant. Our approach first divides video frames into shots containing similar illuminant characteristics. We then correct the frames in the same scene by using the Random Forest illuminant estimation framework. A smooth function is applied to prevent flick and flash from occurring at the boundary of the neighboring scenes. Experimental results show that our new methods can improve video quality effectively.

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Neumann, Eva-Marie. "Architecture, science and colour in Britain 1945-1976." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1382237/.

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The development of a scientific theory of colour and of standardized colour ranges by a small group of modernist architects is a fascinating but Little-known episode of post-war British architectural history. In many articles, official publications, and conferences, and from within key organizations of the building industry, these architects promoted a theory of colour selection and application based on seemingly 'functional' and 'rational' criteria such as the 'aesthetic of the structure', the character of the building and its occupants, and the improvement of lighting and vision. Architects were also concerned with the standardization of colour, leading, from 1955 until the late 1970s, to farchitectural' ranges responding to 'functional' needs being published as official British Standards. Cotour in modern architecture has only recently become the subject of critical historical studies. Its belated reassessment by historians is, in part-, related to modernism's own rejection of cotour, which was seen to belong to the transient and decadent phenomena of decoration and fashion. Yet, many modernist architects persisted in thinking about and applying colour in their buildings. This thesis explores some of the different and complex meanings of colour as well as the ambivalent role of science in post-war British architecture. It shows that the scientization and standardization of colour after the war was in part an attempt by architects to maintain and make I acceptable a new decorative theory and practice of colour in face of the dominant ideology of science promoted by the Welfare State, and of the modernist hostility to decoration. It shows that colour was then such an attractive subject for architects because it allowed them to appear as scientific experts but at the same time, retain control over architectural practice by asserting the primacy of their mysterious aesthetic abilities.

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McEwen, Gordon John. "Colour image processing for textile fibre matching in forensic science." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336101.

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Eves, Bob. "The colour concept generator : a computer tool to propose colour concepts for products." Thesis, Bournemouth University, 1997. http://eprints.bournemouth.ac.uk/333/.

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This thesis documents research undertaken into the design and evaluation of a computer tool (Colour Concept Generator) to produce colour schemes for products from verbal descriptors depicting a required aesthetic image or style. The system was designed to translate between descriptive words and colour combinations and aims to provide a form of ideas stimulus for a product designer at the initial stages of the design process. The computer system uses elements of artificial intelligence (AI) to `learn' colour and descriptor semiotic relations from a product designer based upon a proposed objective criteria or to reflect a designers personal style. Colour concepts for products can then be generated from descriptors based upon these semiotic relations. The philosophy of the research is based upon the idea of computing colour aesthetics at the front end of the design process and the design of an Al software mechanism to facilitate this. The problem was analysed with respect to the available literature on colour and a set of detail requirements for the system were presented. The system was then designed and code based upon the requirements and evaluated in terms of the overall philosophy, system methodology and application of computer media. The research is a contribution to the field of computer aided design regarding colour aesthetics and demonstrates the possibility of using an artificial intelligent machine to inspire and stimulate creative human thought. The Al software mechanism of the Colour Concept Generator is presented as an application of Al to aesthetic design. 11

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Yeh, Chun-Wei. "Colour morphology and its approaches." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5430/.

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Mathematical morphology was first applied to binary images and readily extended to grey-level images. In extending mathematical morphology to colour it is difficult to define a suitable unambiguous ordering. We present two complete ordering schemes based on colour difference and similarity ordering for colour morphology. A novel colour difference formula is first introduced. This colour difference formula is based on colour extrema derived from a simple physical model of image formation and avoids the more arbitrary mathematical and perceptual definitions previously reported. Moreover, we define similarity criteria as the basis for mathematical morphology that can be used with flat and non-flat structuring elements. The proposed orderings meet the properties of mathematical morphology, and provide a harmonised approach for binary, grey-level and colour morphology. A comparison of ordering schemes for dilation, erosion, opening, closing and filtering operator shows the colour difference-based ordering presented here to be at least as good as other ordering schemes and better than some of the well principled, previously reported methods in not generating artefacts and reducing image noise. Additionally, the development of a similarity-based ordering to perform morphological gradient and Hit-or-Miss transforms for colour images is presented.

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Nicklas, Charlotte. "Splendid hues : colour, dyes, everyday science and women's fashion, 1840-1875." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/101ff2e9-82bb-40f2-b205-d656f58d8de4.

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Great changes characterized the mid- to late nineteenth century in the field of dye chemistry, including many innovations in the production of colours across the spectrum, especially the development of synthetic dyes from coal-tar aniline. From 1840 to 1875, textile manufacturers offered a wide variety of colourful dress textiles to female fashion consumers in both Great Britain and the United States. Middle-class women were urged to educate themselves about dyeing, science, and colour, while cultivating appropriate, moderate attention to fashion in dress. This thesis examines the mid-nineteenth century relationship of fashion, dye chemistry, and everyday science, exploring consumers’ responses to these phenomena of modernity. Paying special attention to the appreciation of chemistry and colour theory during the period, this project considers how the development of new dyes affected middle-class uses and discussions of colours in women’s dress.

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Taylor, Richard Ian. "Colour object recognition using shape-based aspects." Thesis, University of Southampton, 1992. https://eprints.soton.ac.uk/361149/.

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Hediyeh, Zahabi. "Colour changing electro active polymer systems." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24856.

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Dielectric elastomers are electroactive polymers, which change size and shape in response to an electrical field. Dielectric elastomer actuators (DEAs) are highly promising new technologies in optical applications such as tuneable optical lenses, diffraction gratings and active camouflage. This thesis aims to develop a new approach to create a strain actuated compliant colour changing device that is controlled using DEAs as they offer stretchability, low weight, high efficiency, low cost and the possibility for miniaturisation. Conventional DEAs use transparent elastomeric materials with no significant colour change with strain. Conversely, liquid crystal materials are known to display dynamic colour changing behaviour, thereby making them good candidate materials. The thesis examines both the potential for colour changing soft actuators and the upcoming challenges in this field as well as the key concepts around liquid crystals that exhibit colour change. An initial approach was aimed at creating colour changes using dielectric elastomer actuators that drove a masked positioner. This method showed colour change since the mask changes the colour visualisation. The second approach used polymer dispersed liquid crystals, such as a nematic liquid crystal within a reactive silicone resin. The immiscibility of these compounds resulted in a dispersion of the liquid crystal droplets in the silicone matrix. However, the optical properties could not be controlled through mechanical deformation alone and the alignment of resulting LC droplets in the PDLC films was sensitive to the substrate used to perform the actuation. The next approach used reactive cholesteric liquid crystals (CLC) instead. A thin film coating process was preferred to carefully control the film's thickness by stretching. In free standing films a planar cholesteric alignment was obtained with mesogens aligned parallel to the substrate and colour was achieved based on the selective reflection of light. A transfer print technique was introduced to combine CLC coatings with elastomeric substrates that can be stretched. However, no colour change was achieved in response to mechanical deformation primarily due to the modulus and strength mismatch between the thin film and the elastomeric susbstrate material. Finally, lightly crosslinked liquid crystal elastomers using a combination of reactive and non-reactive liquid crystals were produced that were compatible with elastomer substrate materials. In free standing films planar cholesteric alignment was obtained with mesogens aligned parallel to the substrate. Successfully a reversible colour change based on selective reflection of light was achieved in response to a mechanical deformation.

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Cielniak, Grzegorz. "People Tracking by Mobile Robots using Thermal and Colour Vision." Doctoral thesis, Örebro : Örebro universitetsbibliotek, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1111.

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Books on the topic "Colour science"

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Adams, Ron. Science in colour. Cheltenham: Thornes, 1996.

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Ingham, Elisabeth. Colour library of science. London: Orbis, 1986.

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Johnston, Tom. Colour. London: Bodley Head, 1985.

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Dedrick, Don. Naming the rainbow: Colour language, colour science, and culture. Dordrecht: Kluwer, 1998.

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Macleod, Sinclair. Ginn science: Colour and light. Aylesbury: Ginn, 1989.

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Westland, Stephen. Computational colour science using MATLAB. 2nd ed. Hoboken, NJ: Wiley, 2012.

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Westland, Stephen, Caterina Ripamonti, and Vien Cheung. Computational Colour Science using MATLAB®. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9780470710890.

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McLaren, K. The colour science of dyes and pigments. 2nd ed. Bristol: A. Hilger, 1986.

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Williams, John B. ADAS colour atlas of weed seedlings. [London]: Wolfe, 1987.

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Moorcroft, Christine. Folens ideas bank science: Light, colour and sound. Dunstable, Eng: Folens Publishers, 1993.

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Book chapters on the topic "Colour science"

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Luo, M. Ronnier. "Colour science." In The Colour Image Processing Handbook, 26–66. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4615-5779-1_3.

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Reinhard, Erik, and Tania Pouli. "Colour Spaces for Colour Transfer." In Lecture Notes in Computer Science, 1–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-20404-3_1.

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Byrne, Alex, and David R. Hilbert. "The science of colour and colour vision." In The Routledge handbook of philosophy of colour, 123–39. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge handbooks in philosophy: Routledge, 2020. http://dx.doi.org/10.4324/9781351048521-11.

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Hallas, Geoffrey. "Colour Index." In Encyclopedia of Color Science and Technology, 1–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-642-27851-8_443-3.

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Decock, Lieven, and Igor Douven. "Qualia Change and Colour Science." In EPSA11 Perspectives and Foundational Problems in Philosophy of Science, 417–28. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01306-0_34.

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Simmonds, Doig, and Linda Reynolds. "Designing with Colour." In Computer Presentation of Data in Science, 107–19. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-015-7844-8_9.

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Chirimuuta, Mazviita. "Philosophy of science." In The Routledge handbook of philosophy of colour, 52–68. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge handbooks in philosophy: Routledge, 2020. http://dx.doi.org/10.4324/9781351048521-5.

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Bianconi, Francesco, Raquel Bello-Cerezo, Paolo Napoletano, and Francesco Di Maria. "Improved Opponent Colour Local Binary Patterns for Colour Texture Classification." In Lecture Notes in Computer Science, 272–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56010-6_23.

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Goda, Naokazu, Kowa Koida, and Hidehiko Komatsu. "Colour Representation in Lateral Geniculate Nucleus and Natural Colour Distributions." In Lecture Notes in Computer Science, 23–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03265-3_3.

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Simmons, John V. "Rays, Light and Colour." In Science and the Beauty Business, 121–32. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19703-3_11.

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Conference papers on the topic "Colour science"

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Duan, Xiaoyang, Simon Kamin, and Na Liu. "Dynamic plasmonic colour display." In CLEO: QELS_Fundamental Science. Washington, D.C.: OSA, 2017. http://dx.doi.org/10.1364/cleo_qels.2017.fm4h.2.

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Yeh, Chun-Wei, and David Pycock. "Similarity colour morphology." In 2013 5th Computer Science and Electronic Engineering Conference (CEEC). IEEE, 2013. http://dx.doi.org/10.1109/ceec.2013.6659448.

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Zhang, Jingfang. "Holographic storage of colour films with high density and colour fidelity." In International Conference on Optoelectronic Science and Engineering '90. SPIE, 1990. http://dx.doi.org/10.1117/12.2294880.

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Yogesan, Kanagasingam, Robert H. Eikelboom, and Chris J. Barry. "Colour Matching of Serial Retinal Images." In Vision Science and its Applications. Washington, D.C.: OSA, 1999. http://dx.doi.org/10.1364/vsia.1999.ma1.

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Suvorova, G. N. "Inheritance of black seed coat colour in lentil." In CURRENT STATE, PROBLEMS AND PROSPECTS OF THE DEVELOPMENT OF AGRARIAN SCIENCE. Federal State Budget Scientific Institution “Research Institute of Agriculture of Crimea”, 2020. http://dx.doi.org/10.33952/2542-0720-2020-5-9-10-76.

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The purpose of the research was to determine the inheritance of black seed coat colour in lentil variety ‘Beluga’. The seeds collected from F1 plants in cross of ‘Rauza’ (yellow seeds) × ‘Beluga’ (black seeds) were of grey colour with black mottles. F2 ratio of nonblack and black seeds was 62:6, which corresponded to 15:1 dihybrid segregation. It is concluded that the black seed coat colour of ‘Beluga’ is controlled by two dominant genes.

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Ojo, J. A., I. D. Solomon, and S. A. Adeniran. "Contrast enhancement algorithm for colour images." In 2015 Science and Information Conference (SAI). IEEE, 2015. http://dx.doi.org/10.1109/sai.2015.7237197.

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Hou, Lianping, Iain Eddie, and John H. Marsh. "Monolithic Multi-Colour 40 GHz Mode-Locked Laser Array." In CLEO: Science and Innovations. Washington, D.C.: OSA, 2016. http://dx.doi.org/10.1364/cleo_si.2016.sth4l.2.

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Valerie Fernandez, Seraphina, Mazlina Abdul Majid, Noor Akma Abu Bakar, and M. Fakhreldin. "Enhanced Colour Scheme Assessment Tool (COSAT 2.0) for Improving Webpage Colour Selection." In 2021 International Conference on Software Engineering & Computer Systems and 4th International Conference on Computational Science and Information Management (ICSECS-ICOCSIM). IEEE, 2021. http://dx.doi.org/10.1109/icsecs52883.2021.00090.

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Fletcher, Peter. "Quaternion wavelet transforms of colour vector images." In 2017 9th Computer Science and Electronic Engineering (CEEC). IEEE, 2017. http://dx.doi.org/10.1109/ceec.2017.8101619.

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Marszalec, Elzbieta. "Reflectance Spectrum Analysis Method And Based On This Method Optical Fiber Colour Sensor For In-Process Colour Recognition." In 1988 International Congress on Optical Science and Engineering, edited by Kenneth H. Spring. SPIE, 1989. http://dx.doi.org/10.1117/12.949349.

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Reports on the topic "Colour science"

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Seigel, David A. Hyperspectral Ocean Color Science: Santa Barbara Channel. Fort Belvoir, VA: Defense Technical Information Center, November 1999. http://dx.doi.org/10.21236/ada370475.

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Siegel, David A. Hyperspectral Ocean Color Science: Santa Barbara Channel. Fort Belvoir, VA: Defense Technical Information Center, September 1999. http://dx.doi.org/10.21236/ada630871.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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