Relevant bibliographies by topics / Human colour perception

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Human colour perception'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Human colour perception"

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Webster, Michael A. "Human colour perception and its adaptation." Network: Computation in Neural Systems 7, no. 4 (January 1996): 587–634. http://dx.doi.org/10.1088/0954-898x_7_4_002.

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Welbourne, Lauren E., Antony B. Morland, and Alex R. Wade. "Human colour perception changes between seasons." Current Biology 25, no. 15 (August 2015): R646—R647. http://dx.doi.org/10.1016/j.cub.2015.06.030.

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Shrivastva, Kumkum, and Abhilasha Jaiswal. "USAGE (IMPORTANCE) OF COLOUR IN GRAPHIC DESIGN." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3528.

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Colour is a perception of light by human brain. In simple words when a ray of light strikes an object, the object absorbs a colour and reflects remaining colours. Human brain identifies the missing colour and perceives the colour of the object as that of the missing colour. This phenomenon is widely known as perception of colour."Colour is life, for a world without colour seems dead. As a flame produces light, light produces colour. As intonation lends colour to the spoken word, colour lends spiritually realized sound to form." - Johannes Itten.1
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Rowland, Hannah M., and Robert P. Burriss. "Human colour in mate choice and competition." Philosophical Transactions of the Royal Society B: Biological Sciences 372, no. 1724 (May 22, 2017): 20160350. http://dx.doi.org/10.1098/rstb.2016.0350.

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The colour of our skin and clothing affects how others perceive us and how we behave. Human skin colour varies conspicuously with genetic ancestry, but even subtle changes in skin colour due to diet, blood oxygenation and hormone levels influence social perceptions. In this review, we describe the theoretical and empirical frameworks in which human colour is researched. We explore how subtle skin colour differences relate to judgements of health and attractiveness. Also, because humans are one of the few organisms able to manipulate their apparent colour, we review how cosmetics and clothing are implicated in courtship and competition, both inside the laboratory and in the real world. Research on human colour is in its infancy compared with human psychophysics and colour research in non-human animals, and hence we present best-practice guidelines for methods and reporting, which we hope will improve the validity and reproducibility of studies on human coloration. This article is part of the themed issue ‘Animal coloration: production, perception, function and application’.
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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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Clifford, C. W. G., B. Spehar, S. G. Solomon, P. R. Martin, and Q. Zaidi. "Colour-luminance interactions in human orientation perception." Journal of Vision 2, no. 7 (March 15, 2010): 215. http://dx.doi.org/10.1167/2.7.215.

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Schanda, J. "Opinion: Is human colour perception really only trichromatic?" Lighting Research & Technology 43, no. 1 (March 2011): 6. http://dx.doi.org/10.1177/1477153511399979.

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AIBA, T. SATORU, and GEORGE W. GRANGER. "Colour and position processing in human visual perception." Japanese Psychological Research 27, no. 2 (1985): 97–108. http://dx.doi.org/10.4992/psycholres1954.27.97.

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Mollon, J. D. "Colour Perception 1978–1997." Perception 26, no. 1_suppl (August 1997): 274. http://dx.doi.org/10.1068/v970021.

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In the past twenty years, the spectral sensitivities of the three types of cone have been established with some certainty: direct measurements by microspectrophotometry and electrophysiology are in fair agreement with psychophysical estimates. Particularly significant was the publication of DNA sequences for the four opsins of the human eye, by Jeremy Nathans and colleagues in 1986. This work was soon to transform the understanding of retinitis pigmentosa and other retinal dystrophies, and it has given many insights into the evolution of colour vision; but, curiously, the explanations of dichromacy and anomalous trichromacy have not proved as straightforward as we all expected in 1986. What is clear, however, is that normal colour vision exhibits a genetic polymorphism: much of the intersubject variance in colour matches can be traced to differences in the amino-acid sequence of the opsins for the long-wave and middle-wave cone pigments. The last two decades have seen a major change in the status of opponent processes. In the 1970s it was still common for professors to tell undergraduates that the Young - Helmholtz theory of colour vision held at the receptor level and the Hering theory at the level of the retinal ganglion cells. It is now clear that the chromatically antagonistic processes revealed electrophysiologically and psychophysically in the early visual system do not correspond to the red - green and yellow - blue processes that Hering postulated on the basis of phenomenological observations. The existence of four unique hues is today one of the unexplained mysteries of colour science. In one salient respect, research in colour vision has been changed by instrumental advances. Computer-controlled monitors (though offering splendid pitfalls to the unwary) have allowed the study of spatially and temporally complex chromatic displays, notably in the field of colour constancy. Most recently there has been interest in the chromatic statistics of natural scenes: how well is the visual system matched to the statistics of the world and can it adapt to the gamut of chromaticities present in a given scene?
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Falomir, Zoe, Vicent Costa, and Luis Gonzalez-Abril. "Obtaining Discriminative Colour Names According to the Context: Using a Fuzzy Colour Model and Probabilistic Reference Grounding." International Journal of Uncertainty, Fuzziness and Knowledge-Based Systems 27, Supp01 (November 5, 2019): 107–42. http://dx.doi.org/10.1142/s0218488519400063.

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In human-machine communication situations, perceptual and conceptual deviations can appear. The challenge of categorising colours is tackled in this paper. Colour perception is very subjective. Colours may be perceived differently depending on a person’s eye anatomy and a person’s sense of sight which adapts to the surroundings and perceives different brightness of hues depending on the context. Distinguishing more/less quantity of hues depends also on the level of expertise but also on the cultural and social environment. Colours naming involves conceptual alignment with human cognition, meaning and human understanding for referring to an object and even for discriminating among objects. Studies in cross-cultural linguistics say that humans determined prototypical colours as the centre of colour categories. Hence, a cognitive colour model should distinguish/indicate when a colour coordinate is close/far to the centre of its category. And these centres of categories should be adaptable and customisable depending on the society. A fuzzy colour model based on HSL colour space and radial basis functions is presented in this paper. Logics have been defined to combine this fuzzy-colour model with a Probabilistic Reference And GRounding mechanism (PRAGR) in order to obtain the most discriminative colour descriptor for an object depending on the context. Two case studies related with human cognition are presented. Then further tests are carried out on a dataset where the first and second most discriminative colour is computed for each object in each scene. Finally, a survey is conducted to find out the cognitive adequacy of the obtained discriminative colour names.
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Dissertations / Theses on the topic "Human colour perception"

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Welbourne, Lauren Elizabeth. "Peripheral factors affecting human colour perception." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/14319/.

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Human colour perception is mediated by multiple factors. These include: the external environment, physiological structures within the eye, and the neuronal pathways that originate in the eye. The aim of this thesis was to further investigate the impact of three main factors on both the perception and cortical representation of colour. These factors were: the external, changing seasonal environment, genetically determined differences in the number of photoreceptor types, and spatial filters inherent to cortical and pre-cortical luminance and chromatic pathways. Novel findings and methods were demonstrated in this thesis: 1) For the first time, it was found that natural seasonal changes in the chromatic environment (in York, UK) affect the perception of unique yellow; this finding supports the existence of a slow normalisation mechanism, which is governed by changes in the average chromatic environment. 2) Genetically atypical individuals, who have fewer photoreceptor types (dichromats), demonstrated no differences in achromatic contrast discrimination thresholds compared to colour-normal trichromats. Therefore, for this particular measure, dichromats do not appear to benefit from increased neuronal resources from ‘unused’ chromatic pathway populations. A multi-channel LED system was developed to allow the isolation of photoreceptor responses in individuals with an additional photoreceptor type (tetrachromats). Modelling of this system indicated that precision in the cone spectra used to generate the stimulus, relative to the observer’s actual cone sensitivities (i.e. peak wavelength sensitivities), is crucial for successful isolation of the cones. 3) fMRI-based population receptive field (pRF) mapping was used to measure pRF sizes in the pre-cortical channels. Between the pathways, no differences in pRF sizes were found, however, differences in fMRI measures of spatial frequency sensitivity were observed. These data indicate that spatial frequency tuning in early visual cortex may be decoupled from population receptive field sizes.
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Panorgias, Athanasios. "Peripheral human colour vision : from cone contrast to colour perception." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/peripheral-human-colour-vision-from-cone-contrast-to-colour-perception(aa92cad7-477a-40ce-b91e-df87927d0caa).html.

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It is well known that the colour preferences of ganglion and LGN cells do not match the four perceptually simple colours red, green blue and yellow. It is also known that although colour perception is distorted in the peripheral visual field, there are four hues that appear stable with eccentricity. These are defined as peripherally invariant hues. Both of these observations must in some way reflect the physiological substrate of neurons at different stages of the primary visual pathway. The experiments described here are aimed at understanding the link between the physiology and the perception of colour by studying the characteristics of peripheral colour visionThe following questions have been addressed; i) to what extent does colour matching rely on the retinal physiological substrate? ii) what is the reason for the discrepancy between invariant and unique green and how is cone contrast linked to this paradox? iii) how are the `special' hues (invariant and unique) related to human evolution? iv) how does peripheral colour vision vary between males and females?An asymmetric colour matching paradigm and a colour naming task have been employed. In the colour matching task, 24 chromatic axes of variable purity are used. Observers match the chromaticity of a 3 degree peripheral spot with that of a 1 degree parafoveal spot. The results are expressed in terms of hue rotation, saturation match and cone contrast. In the colour naming experiment the observers name 40 chromatic axes as either red, blue, green or yellow and colour naming functions are derived. The central maxima of these functions are defined as the unique hues. The results suggest that colour matching and cone opponency reflect the characteristics of the retinal neural network as they exhibit nasal-temporal asymmetries, similar to known physiological asymmetries. Although three of the peripherally invariant hues match the unique counterparts, invariant and unique green are markedly different for all observers. In an important control experiment unique hues are shown to be stable with eccentricity and purity. This confirms that these attributes are not confounding factors for the observed discrepancy between invariant and unique green. Unlike for the other 'special' hues the RMS cone contrast of invariant green differs markedly between parafoveal and peripheral targets. It is likely that the cone contrast remains unchanged only if the stimuli excite the same number of cones. Two invariant and two unique hues (blue and yellow) fall on the daylight locus suggesting that discrimination in these regions of the colour space is strongly influenced by terrestrial illumination. Moreover, the inter-individual variability is found to be minimised around the daylight locus showing that the blue-yellow system is more stable across colour normal populations than the red-green system. A statistically significant difference is demonstrated between the peripheral colour vision of males and females. This may be attributed to the M-cone polymorphism which in addition to X-chromosome inactivation, results in more than three cone types in the female retina.
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Hedrich, Monika. "Human colour perception : a psychophysical study of human colour perception for real and computer-simulated two-dimensional and three-dimensional objects." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4304.

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Forsmark, Rebecca. "Simulating Perception : Perception based colours in virtual environments." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12362.

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This research explores the differences between how game engine cameras and the human visual system (HVS) render colour. The study is motivated by a two part research question: will HVS colours or game camera colours be preferred when experiencing a virtual environment from a 1st-person perspective and how does light intensity relate to preference? While previous research defines perceptual processes which influence the interpretation of colour information this study advances the understanding of how these theories may be applied to 3D colour grading.When evaluating the two colour modes with a combination of quantitative data and qualitative reflections it was possible to establish a correlation between preference and light intensity, in the sense that HVS colours were preferred in high illumination and camera colours in low. The findings implicate that in order to be well received the colours of a virtual environment need to be adjusted according to illumination.
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Lawrance-Owen, Adam John. "Human variation in colour perception and in anthropomorphic characteristics." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648203.

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Stephen, Ian D. "Skin colour, pigmentation and the perceived health of human faces." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/753.

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Bramwell, David. "Colour constancy in simple and complex scenes." Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/633.

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Colour constancy is defined as the ability to perceive the surface colours of objects within scenes as approximately constant through changes in scene illumination. Colour constancy in real life functions so seamlessly that most people do not realise that the colour of the light emanating from an object can change markedly throughout the day. Constancy measurements made in simple scenes constructed from flat coloured patches do not produce constancy of this high degree. The question that must be asked is: what are the features of everyday scenes that improve constancy? A novel technique is presented for testing colour constancy. Results are presented showing measurements of constancy in simple and complex scenes. More specifically, matching experiments are performed for patches against uniform and multi-patch backgrounds, the latter of which provide colour contrast. Objects created by the addition of shape and 3-D shading information are also matched against backgrounds consisting of matte reflecting patches. In the final set of experiments observers match detailed depictions of objects - rich in chromatic contrast, shading, mutual illumination and other real life features - within depictions of real life scenes. The results show similar performance across the conditions that contain chromatic contrast, although some uncertainty still remains as to whether the results are indicative of human colour constancy performance or to sensory match capabilities. An interesting division exists between patch matches performed against uniform and multi-patch backgrounds that is manifested as a shift in CIE xy space. A simple model of early chromatic processes is proposed and examined in the context of the results.
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Clery, Stéphane. "Psychophysical studies of interactions between luminance and chromatic information in human vision." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6376.

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In this thesis, I investigated how human vision processes colour and luminance information to enable perception of our environment. I first tested how colour can alter the perception of depth from shading. A luminance variation can be interpreted as either variation of reflectance (patterning) or variation of shape. The process of shape-from-shading interprets luminance variation as changes in the shape of the object (e.g. the shading on an object might elicit the perception of curvature). The addition of colour variation is known to modify this shape-from-shading processing. In the experiments presented here I tested how luminance driven percepts can be modified by colour. My first series of experiments confirmed that depth is modulated by colour. I explored a larger number of participants than previously tested. Contrary to previous studies, a wide repertoire of behaviour was found; participants experienced variously more depth, or less depth, or no difference. I hypothesised that the colour modulation effect might be due to a low-level contrast modulation of luminance by colour, rather than a higher-level depth effect. In a second series of experiments, I therefore tested how the perceived contrast of a luminance target can be affected by the presence of an orthogonal mask. I found that colour had a range of effects on the perception of luminance, again dependant on the participants. Luminance also had a similar wide range of effects on the perceived contrast of luminance targets. This showed that, at supra-threshold levels, a luminance target's contrast can be modulated by a component of another orientation (colour or luminance defined). The effects of luminance and colour were not following a particular rule. In a third series of experiments, I explored this interaction at detection levels of contrast. I showed cross-interaction between luminance target and mask but no effects of a colour mask.
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Durao, M. J. "Colour and space : an analysis of the relationships between colour meaning expression and the perception of space." Thesis, University of Salford, 2000. http://usir.salford.ac.uk/26645/.

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This thesis examines the phenomenon of colour as a means of expression of meaning in spatial contexts. The nature of the underpinning project involved paintings and their integration with an architectural setting. Judgements made-in-situ by users of the building and an expert focus group (architects, designers and fine artists) were comparatively analysed for variance in interpretations of meaning, taking into consideration their experience with colour as a medium of expression. Commonalities and differences in the responses of colour amongst and between the various groups were also analysed. To achieve this a combination of questionnaires, semi-structured interviews, and focus group meetings were used as data sources. The researcher used her experience as a painter to create two large paintings (11.5m x 2m each), which were installed in the public space of the Manchester Bridgewater Concert Hall over a period of four months. One painting was predominantly blue and green, the other was predominantly yellow and red. The installation had two phases, in which the respective paintings were each installed separately and accompanied by a corresponding lighting scheme. Colours were separated into two temperature groups - warm and cold. However, previous research findings had indicated that responses to these two groups of colour differ along other dimensions also. What had not been established by previous research, and was examined in this project, was whether these indicative differences would apply when colour is approached as part of an holistic environmental meaning rather than in isolation. The integration of paintings and colour into the architectural setting made it possible for multiple layers of experience to be examined. Meaning was extracted from the relationship between colour and the perception of two dimensions of space - pictorial space depicted in the paintings and the architectural space. The relationship between both was also explored which allowed the confirmation of previous findings and the analysis of the variables which need to be addressed when dealing with colour for paintings in real architectural environments. The thesis describes the author's conceptual model based on a combination of this empirical evidence and theoretical framework developed from the existing interdisciplinary body of knowledge on colour. The thesis also discusses how relationships between the aesthetic and psychological categories were established. It contributes to the field by demonstrating how the subjectivity of the perceptual experience can be translated into the expression of meaning along cognitive and affective dimensions within the context of a real-life application of colour in space. Additional to the written thesis a short audiovisual provided in both video and CD Rom, was created to show both the making of the paintings and their installation at the Bridgewater Concert Hall.
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Cropper, Simon James. "Human motion detection : different patterns, different detectors?" Thesis, University of Newcastle Upon Tyne, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319544.

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Books on the topic "Human colour perception"

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Ravji, Shehnaaz. To what extent can we define the experiences of human colour perception?. London: LCPDT, 1998.

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M, Boynton Robert, ed. Human color vision. 2nd ed. Washington, DC: Optical Society of America, 1996.

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Human color vision. [Washington, DC]: Optical Society of America, 1992.

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Figuren- und Farbkomposition in ausgewählten Werken des Nicolas Poussin: Zwei Studien. Frankfurt am Main: P. Lang, 1992.

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Rogers, Brian. Perception: A Very Short Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780198791003.001.0001.

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Perception is concerned with how we use the information reaching our senses to guide and control our behaviour and create our particular, subjective experiences of the world. Perception: A Very Short Introduction discusses the philosophical question of what it means to perceive, and describes how we are able to perceive the particular characteristics of objects and scenes such as their lightness, colour, form, depth, and motion. The study of illusions can be useful in telling us something about the nature and limitations of our perceptual processes. This VSI explores perception from an evolutionary perspective, explaining how evolutionary pressures have shaped the perceptual systems of humans and other animals.
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Regan, David M. Human Perception of Objects: Early Visual Processing of Spatial Form Defined by Luminance, Color, Texture, Motion, and Binocular Disparity. Sinauer Associates, 2000.

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Pfeffer, Jürgen. Visualization of Political Networks. Edited by Jennifer Nicoll Victor, Alexander H. Montgomery, and Mark Lubell. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190228217.013.13.

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Network visualization and political networks have a long history, and some of the earliest and most effective network visualizations have been about power and influence. Now as in the past, network visualization is one of the most effective tools for both exploratory analysis and the communication of scientific results. This chapter discusses the rhetorical, technical, and aesthetic principles that underlie successful network visualizations. The chapter covers automated layout algorithms as well as layouts resulting from the substance of the network. Aspects of visualizing multivariate network data are also discussed. The use of additional visual elements such as color and size is deliberated. The various topics of this chapter are contrasted with issues resulting from human perception and with frequently encountered visualization challenges, such as those encountered when working with dense networks.
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Skin Color and Identity Formation: Perceptions of Opportunity and Academic Orientation Among Mexican and Puerto Rican Youth (Latino Communities: Emerging ... Social, Cultural and Legal Issues). Routledge, 2004.

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Hogh-Olesen, Henrik. The Woman in Red and the Man with the Chrome-Plated Wheels. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190927929.003.0005.

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Chapter 4 looks at how key stimuli and brain programming affect our own species’ aesthetics and determine which shapes, colors, and landscapes humans are attracted to and consider beautiful. Like other animals, people are predisposed to respond to certain key stimuli, which have been associated with an expectation of functionality, fitness, and increased well-being. In other words, the perception of beauty represents a strong internal indicator, which it pays to be guided by in order to gain various benefits. In this investigation, the chapter enters the micro-processes of artistic creation. It looks at the aesthetic effects that make up an artwork and at the understanding of why something captivates and fascinates people. The right embellishment can transform a trivial everyday object into an overwhelming power object—a kind of fetish that means the world to us and costs a fortune. How does something like this happen?
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Staging Blackness and Performing Whiteness in Eighteenth-Century German Drama. Taylor & Francis Group, 2016.

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Book chapters on the topic "Human colour perception"

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Antonacopoulos, A., and D. Karatzas. "Fuzzy Segmentation of Characters in Web Images Based on Human Colour Perception." In Lecture Notes in Computer Science, 295–306. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45869-7_35.

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Shaila, S. G., and A. Vadivel. "Smooth Weighted Colour Histogram Using Human Visual Perception for Content-Based Image Retrieval Applications." In Textual and Visual Information Retrieval using Query Refinement and Pattern Analysis, 77–92. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2559-5_4.

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Boynton, Robert M. "Human Color Perception." In Science of Vision, 211–53. New York, NY: Springer New York, 1990. http://dx.doi.org/10.1007/978-1-4612-3406-7_8.

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Bijlsma, Tom. "What’s on the Human Mind? Decision Theory and Deterrence." In NL ARMS, 437–54. The Hague: T.M.C. Asser Press, 2020. http://dx.doi.org/10.1007/978-94-6265-419-8_23.

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AbstractIndeed, deterrence, as Freedman and Mazarr recount in this volume in respectively Chaps. 10.1007/978-94-6265-419-8_1 and 10.1007/978-94-6265-419-8_2, aims to dissuade an opponent from taking undesirable actions. Clear communication of demands (a red line for instance), coupled with a credible threat to inflict pain if necessary, and demonstration of resolve are some obvious essential elements for creating effective deterrence. Success crucially also depends on whether the opponent receives the intended signal, interprets it as intended, and has the perception that the message is congruent with reality, i.e., that the opponent can make good on her threats. Success furthermore assumes that the demands communicated are acceptable. If those prerequisites exist, theory suggests a rational actor will back down, after weighing the benefits of the envisioned actions versus the potential costs that may result when the threat is executed. This chapter offers a synthesis of insights that have appeared since the 1980s that fundamentally challenge that assumption of rationality. This contribution about the workings of the human mind concerns the various filters and cognitive shortcuts that colour the incoming stream of information and the processes to digest it and come to a decision.
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Nickel, Peter. "Depth and Colour Perception in Real and Virtual Robot Cells in the Context of Occupational Safety and Health." In Digital Human Modeling and Applications in Health, Safety, Ergonomics and Risk Management. Posture, Motion and Health, 228–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49904-4_17.

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Miller, Michael E. "Human Perception of Color." In Color in Electronic Display Systems, 13–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02834-3_2.

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Tastl, Ingeborg, and Werner Purgathofer. "Color Spaces and Human Color Perception." In Photorealistic Rendering in Computer Graphics, 219–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 1994. http://dx.doi.org/10.1007/978-3-642-57963-9_22.

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Kang, Sunghyun R., Carol Faber, Nora Ladjahasan, and Andrea Quam. "Color and Flavor Perception." In Advances in the Human Side of Service Engineering, 226–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80840-2_26.

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Tsujimura, Sei-ichi, and Yoshika Takahashi. "Melanopsin Contributions to Human Brightness Perception." In Encyclopedia of Color Science and Technology, 1–8. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-642-27851-8_422-1.

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Stockman, Andrew, and Lindsay T. Sharpe. "Human Cone Spectral Sensitivities and Color Vision Deficiencies." In Visual Transduction and Non-Visual Light Perception, 307–27. Totowa, NJ: Humana Press, 2008. http://dx.doi.org/10.1007/978-1-59745-374-5_14.

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Conference papers on the topic "Human colour perception"

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Ward, Ryan, Shammi Rahman, Sophie Wuerger, and Alan Marshall. "Predicting the colour associated with odours using an electronic nose." In Proceedings of the Workshop on Multisensory Experiences. Brazilian Computing Society, 2021. http://dx.doi.org/10.5753/sensoryx.2021.15683.

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Predicting olfactory perception with an electronic nose can aid in the design and evaluation of olfactory-based experiences. We investigate whether the human perception of odours can be predicted outside the bounds of perceived pleasantness and semantic descriptors. We tuned an electronic nose to predict an odour's colour in the CIELAB colour space using human judgements. This revealed that the crossmodal associations people have towards colours could be predicted. Our electronic nose system can predict an odour's colour with a 70 – 81% machine-human similarity rating. These findings suggest a systematic and predictable link exists between the chemical features of odours and the colour associated to them. These findings highlight the possibilities of predicting human olfactory perception using an electronic nose.
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Wajid, Rameez, Atif Bin Mansoor, and Marius Pedersen. "A study of human perception similarity for image quality assessment." In 2013 Colour and Visual Computing Symposium (CVCS). IEEE, 2013. http://dx.doi.org/10.1109/cvcs.2013.6626276.

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S. G, Shaila. "Content-Based Image Retrieval Using Modified Human Colour Perception Histogram." In The First International Conference on Information Technology Convergence and Services. Academy & Industry Research Collaboration Center (AIRCC), 2012. http://dx.doi.org/10.5121/csit.2012.2121.

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Anthonio, Harris, and Yvonne Hwei-Syn Kam. "A Shoulder-Surfing Resistant Colour Image-based Authentication Method Using Human Vision Perception with Spatial Frequency." In 2020 15th International Conference for Internet Technology and Secured Transactions (ICITST). IEEE, 2020. http://dx.doi.org/10.23919/icitst51030.2020.9351349.

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Tomić, Ivana, Ivan Pinćjer, and Nada Miketić. "The influence of total base ink coverage on the uniformity of digital prints overprinted with pearlescent inks." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p4.

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Print uniformity is an important parameter that can determine perceived quality of a printed product. If the product is of low print uniformity, its quality is often regarded as non-satisfactory. In this work we were interested in the uniformity of electrophotography prints overprinted with inks containing pearlescent pigments. Our goal was to determine whether the overall print uniformity was influenced by the total base ink coverage i.e. the ink coverage of the printing substrate before pigments were applied to it. Hence, three scenarios were considered: when pearlescent inks were printed over the unprinted paper, previously printed grey, and black colour patch. Nine different types of pearlescent pigments, dispersed in a transparent ink vehicle, were screen printed over the paper and the previously printed patches of grey and black colour. The base colours were printed in electrophotography. The uniformity of prints obtained in such a manner was determined by calculating GLCM parameters that were shown to correlate well with human perception of uniformity. It was shown that overprinting the electrophotography prints with pearlescent inks significantly decreased the uniformity of prints with black base colour and slightly improved the uniformity of those with grey colour. When pearlescent inks were printed over the paper, the uniformity did not change significantly. Observing the print uniformity of overprinted samples, the best results were obtained when pearlescent inks were printed directly to the paper, following the cases when they were printed over the grey and black prints. It is therefore concluded that the total base ink coverage has significant effect on the uniformity of electrophotography prints overprinted with pearlescent inks. The results indicate poor adhesion of the ink vehicle used as a carrier for pearlescent pigments to electrophotographic toner.
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Ponciano, Lesandro. "HCI Support Card: Creating and Using a Support Card for Education in Human-Computer Interaction." In XVIII Simpósio Brasileiro de Fatores Humanos em Sistemas Computacionais. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/ihc.2019.8409.

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Support cards summarise a set of core information about a subject. The periodic table of chemical elements and the mathematical tables are well-known examples of support cards for didactic purposes. Technology professionals also use support cards for recalling information such as syntactic details of programming languages or harmonic colour palettes for designing user interfaces. While support cards have proved useful in many contexts, little is known about its didactic use in the Human-Computer Interaction (HCI) field. To fill this gap, this study proposes and evaluates a process for creating and using an HCI support card. The process considers the interdisciplinary nature of the field, covering the syllabus, curriculum, textbooks, and students’ perception about HCI topics. The evaluation is based on case studies of creating and using a card during a semester in two undergraduate courses: Software Engineering and Information Systems. Results show that a support card can help students in following the lessons, remembering and integrating the different topics studied in the classroom. The card guides the students in building their cognitive maps, mind maps, and concept maps to study human-computer interaction. It fosters students’ curiosity and permanent engagement with the HCI topics. The card usefulness goes beyond the HCI classroom, being also used by students in their professional activities and other academic disciplines, fostering an interdisciplinary application of HCI topics.
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Gama, Sandra, and Daniel Gonçalves. "Studying the perception of color components' relative amounts in blended colors." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2670264.

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Kuk-Jin Yoon and In-So Kweon. "Human perception based color image quantization." In Proceedings of the 17th International Conference on Pattern Recognition, 2004. ICPR 2004. IEEE, 2004. http://dx.doi.org/10.1109/icpr.2004.1334255.

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Laganiere, R., D. Pang, and A. Al-Kabbany. "Color reduction based on human categorical perception." In 2017 IEEE International Conference on Image Processing (ICIP). IEEE, 2017. http://dx.doi.org/10.1109/icip.2017.8297011.

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Utz, Sergei R., Peter Knuschke, Albert H. Mavlyutov, Helena A. Pilipenko, and Yurii P. Sinichkin. "In vivo human skin autofluorescence: color perception." In BiOS Europe '96, edited by Hans-Jochen Foth, Renato Marchesini, and Halina Podbielska. SPIE, 1996. http://dx.doi.org/10.1117/12.260646.

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