Relevant bibliographies by topics / Monochrome ( black)

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

Academic literature on the topic 'Monochrome ( black)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Monochrome ( black)"

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GRAINGE, PAUL. "TIME's Past in the Present: Nostalgia and the Black and White Image." Journal of American Studies 33, no. 3 (December 1999): 383–92. http://dx.doi.org/10.1017/s0021875899006155.

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In 1995, the Hubble Space Telescope sent back to astronomers at the University of Arizona a series of vivid colour images of the Eagle Nebula, a dense formation of interstellar gas and dust the likes of which cradle newborn stars. As evidence that our perceptual universe, in every sense of the word, is defined by the representational powers of colour technology, the Hubble's “cosmic close-ups” are a clear case in point. Colour has become a standard representational form and hence the visual form. If so, what can be said of the recent popularity and proliferation of the black-and-white image?No self-respecting café-bar or discriminating home, it seems, can now do without a black and white print on the wall. Commercial photography and certain forms of advertising have found a new niche in black and white, and even sepia is staging a come-back. The popularity of the black-and-white image cannot be divorced from the commercial culture in which it circulates; it is a “look” and a marker of taste. Monochrome is a stylistic trend but a revealing one, especially if one considers the growing preoccupation in America with heritage and memory. Both Susan Sontag and Roland Barthes give black and white a status of authenticity judged in relation to past time “properly” captured. For Sontag, monochrome gives an image a sense of age, historical distance, and aura. She writes, “the cold intimacy of color seems to seal off the photograph from patina.” Likewise, Barthes comments on the artifice of colour, how it is a “coating applied later on to the original truth of black and white.” For both critics, monochrome is an aesthetic of the authentic figured around a basic quality of pastness.
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Barry, Fabio, and Evonne Levy. "Monochrome: Painting in Black and White: National Gallery, London, October 30, 2017–February 18, 2018." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 26, no. 2 (September 2019): 325–30. http://dx.doi.org/10.1086/708799.

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Schwartz, Nancy. "Dreaming in Color: Anti-Essentialism in Legio Maria Dream Narratives." Journal of Religion in Africa 35, no. 2 (2005): 159–96. http://dx.doi.org/10.1163/1570066054024631.

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AbstractThe article examines dreaming and dream narratives in Legio Maria, sub-Saharan Africa's largest African instituted church with a Roman Catholic background. Most Legios valorize a Black Christ and Black Mary but do so while espousing anti-essentialist attitudes towards racialization of the sacred. The social, cultural and symbolic hybridity of the Joluo (Kenya Luo), who still form the majority of the membership in this multi-ethnic, multi-national church, has influenced Legios' religious outlook. Legios' views are contrasted with some white and black theologies that take more monochrome, particularistic positions on the color of the Trinity, the Virgin Mary, Satan, saints, angels and demons. I discuss how Legios' eclectic altar iconography and dreams interact and influence one another. The article demonstrates that Legio Maria's theology of color has resonances with the perspectives on postmodern humanism and postmodern blackness formulated by scholars like Michel Foucault, Kwame Anthony Appiah, Vincent Anderson and bell hooks.
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Pourreza, Alireza, Won Suk Lee, Mark A. Ritenour, and Pamela Roberts. "Spectral Characteristics of Citrus Black Spot Disease." HortTechnology 26, no. 3 (June 2016): 254–60. http://dx.doi.org/10.21273/horttech.26.3.254.

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Citrus black spot (CBS) is a fungal disease caused by Phyllosticta citricarpa (synonym Guignardia citricarpa). CBS causes fruit lesions and significant yield loss in all citrus (Citrus) species. The most distinguishing CBS symptom is called hard spot, which is a circular lesion with gray tissue at the center surrounded by a black margin. The spectral characteristic of CBS lesions was investigated and compared with the spectral signature of healthy fruit tissue to determine the best distinguishing wave band. Healthy and CBS-affected samples presented similar reflectance below 500 nm and above 900 nm. However, healthy samples reflected more light between 500 and 900 nm, especially within the visible band. Also, spectral reflectance of the same symptomatic lesion was acquired six times over a 2-month period to determine the variation of symptom’s spectral signatures over time after being harvested. A two-sample t test was employed to compare each pair of consecutive repetitions. The results showed that the spectral signature of the CBS lesion did not change significantly over 2 months. The wavelengths between 587 and 589 nm were identified as the distinguishing band to develop a monochrome vision–based sensor for CBS diagnosis. A support vector machine (SVM) classifier was trained using the spectral reflectance data at the selected bands to identify CBS-affected samples in each repetition. The overall CBS detection accuracies varied between 93.3% and 94.6%.
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Ferris, K. "Black and white and read all over The constraints and opportunities of monochrome cartography in newspapers." Cartographic Journal 30, no. 2 (December 1993): 123–28. http://dx.doi.org/10.1179/caj.1993.30.2.123.

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Lee, Hyojin, Xiaoyan Deng, H. Rao Unnava, and Kentaro Fujita. "Monochrome Forests and Colorful Trees: The Effect of Black-and-White versus Color Imagery on Construal Level." Journal of Consumer Research 41, no. 4 (December 1, 2014): 1015–32. http://dx.doi.org/10.1086/678392.

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Belanger, Noelle, and Anna Westerstahl Stenport. "The Politics of Color in the Arctic Landscape: Blackness at the Center of Frederic Edwin Church's Aurora Borealis and the Legacy of 19th-Century Limits of Representation." ARTMargins 6, no. 2 (June 2017): 6–26. http://dx.doi.org/10.1162/artm_a_00174.

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American painter Frederic Edwin Church's monumental oil painting Aurora Borealis (1865) presents a stark contrast to the dominant Western tradition of representing the Arctic as monochrome and static. This article discusses how the impressive palette of Aurora Borealis and its black semi-circle in the center allow for a revisionist understanding of Church's contributions to a rich history of Arctic representation, including in an age of climate change and rapidly melting ice. The article connects Aurora Borealis to emerging lens technologies—especially photography and astronomy, and later the cinema and composite satellite imagery, to argue for circumpolar north as globally connected—then, and now. The article furthermore draws connections to the nineteenth-century trade in pigments, the interconnected routes of slavery, and cultural modes of urban modernity.
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Koenderink, Jan J., Andrea J. van Doorn, Chris Christou, and Joseph S. Lappin. "Shape Constancy in Pictorial Relief." Perception 25, no. 2 (February 1996): 155–64. http://dx.doi.org/10.1068/p250155.

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Pictorial relief was measured for a series of pictures of a smooth solid object. The scene was geometrically identical (ie the perspective of the three-dimensional scene remained the same) for all pictures, the rendering different. Some of the pictures were monochrome full-scale photographs taken under different illumination of the scene. Also included were a silhouette (uniform black on uniform white) and a ‘cartoon’-style rendering (visual contour and key linear features rendered in thin black line on a uniform white ground). Two subjects were naive and started with the silhouette, saw the cartoon next, and finally the full-scale photographs. Another subject had seen the object and did the experiment in the opposite sequence. The silhouette rendering is impoverished, but has considerable relief with much of the basic shape. The cartoon rendering yields well-developed pictorial relief, even for the naive subjects. Shading adds only small local details, but different illumination produces significant alterations of relief. It is concluded that shape constancy under changes in illumination is dominant throughout, but that the (small) deviations from true constancy reveal the effect of cues such as shading in a natural setting. Such a ‘perturbation analysis’ appears more promising than either stimulus-reduction or cue-conflict paradigms.
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Romanuke, Vadim. "Anchor Box Parameters and Bounding Box Overlap Ratios for the Faster R-CNN Detector in Detecting a Single Object by the Masking Background." Information Technology and Management Science 21 (December 14, 2018): 15–23. http://dx.doi.org/10.7250/itms-2018-0002.

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Anchor box parameters and bounding box overlap ratios are studied in order to set them appropriately for the Faster R-CNN detector. The benchmark detection is based on monochrome images whose background may mask a small dark object. Three object detection tasks are generated, where every image either contains a small black square/rectangle or does not contain the object, representing thus class “background”. The ratios are recommended to be tried at 0.7 if this class is represented. The ratio for positive training samples is tried at a less value but greater than 0.4 for the task every image of which contains an object. The minimum anchor box size is better to try at a lesser value from a range of object sizes. The anchor box pyramid scale factor and the number of levels are better to try at 2 and 8, respectively. Subsequently, these parameters may be corrected as their influence is fuzzier than that of the ratios.
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Fischer, Peter M., Teresa Bürge, L. Franz, and R. Feldbacher. "The New Swedish Cyprus Expedition 2011. Excavations at Hala Sultan Tekke. Preliminary results." Opuscula. Annual of the Swedish Institutes at Athens and Rome 5 (November 2012): 89–112. http://dx.doi.org/10.30549/opathrom-05-04.

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The main objective of the excavations of the Late Cypriote city of Hala Sultan Tekke is the investigation and determination of the complete occupational sequence of the pre-12th century levels. The groundpenetrating radar survey (GPR) led to the discovery and excavation of numerous rooms of a large Late Cypriote complex. During the second year of excavations at the site the expedition exposed a third phase of occupation (Stratum 3). A Stratum 2 compound, with extraordinarily wide walls was uncovered in the eastern part of the excavations. Intact vessels include Base-ring I and II, and White Painted VI, and Late Helladic imports. Other wares include: White Painted Pendant/Cross Line Style, Red-on-Black/Red, Bichrome Wheel-made, White Slip I and II, Monochrome, Base-ring I and II, Red Lustrous Wheel-made, White Painted/Plain-White Wheel-made, and White Shaved. Unique discoveries amongst the small finds are a haematite cylinder seal and a stone pendant figurine. The numerous tools related to textile production point to the manufacture of fabric on a larger scale.
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Dissertations / Theses on the topic "Monochrome ( black)"

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Ivansson, Dennis. "Monochrome Films in the Classroom : An Investigation of Black-and-white films in Swedish Junior High Schools." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-37095.

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The focus of this essay is to investigate if old monochrome films can be beneficial to use in the classroom. The aim is to research how (if at all) old monochrome films can affect students’ possibilities of learning from film. To investigate this matter, three fields will be of interest: First, how students respond to films according to ideas of identity; secondly, how films teach students about history; third and finally, qualities of monochrome films and how students might understand and relate to them. The findings in this essay suggest that old monochrome films are viable to use in the classroom, as they can teach students about history and previous cultures by being created in history themselves. The essay also suggests that old black-and-white films and newer films are quite similar, suggesting that monochrome films are just as adequate material to use in the classroom as newer films.
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Messaoud, Inès. "Transgression du crochet : une expérience performative de l'espace." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0479.

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Le hasard m’a permis de faire des belles découvertes. La beauté particulière des câbles électriques et leur potentiel plastiques ont ainsi éclairé mon parcours artistique. J’ai fait le choix du câble comme matière première de mon œuvre depuis 1999. Une technique artisanale celle du Crochet, en lien avec la tapisserie contemporaine met l’accent sur l’idée de la connectivité et le tissage des liens sociaux par un seul fil continu sans coupure. Je cherche une transgression de cette pratique au profit d'une compréhension plus large de ce qu’elle représente. Par la répétition gestuelle qui m’a permis de conduire à une forme de ritualisation de ma technique, je passe par une phase de conscience où la perception devient plus aiguisée. Ma pratique est devenue une forme d’existence, d'amélioration et de soulagement pour arriver au constat d’un effet magique qui délivre le corps par une spiritualité. C’est aussi une forme de connectivité, d’échange avec des plasticiens qui ont agrandi mon univers. Par le travail sériel, monochrome (noir) et une analyse épistémologique, je suggère un mé-tissage de certaines disciplines, une forme d’hybridation entre un univers cosmologique, mathématique et physique. Mon corps devient un fil conducteur dessine dans l’espace externe mon intériorité par des vidéos performatives et expressives. Je fais là l’expérience d'une contiguïté issue en réalité de la continuité du fil. Cet espace interne et fusionnel, où je fais l'expérience de mon corps en relation avec le fil continu, revêt souvent une dimension imaginaire, auquel s'ajoute un espace externe, celui de la représentation et de la mise à distance dans le monde physique de mon œuvre
Chance has allowed me to make beautiful discoveries. The particular beauty of the electric cables and their plastic potential have thus illuminated my artistic career. I made the choice of cable as raw material of my work since 1999. A traditional technique, that of Crochet, in connection with contemporary tapestry emphasizes the idea of connectivity and the weaving of social links by a single continuous thread, an unbroken thread. But I seek a transgression of this practice in favor of a broader understanding of what it represents. By the gestural repetition that allowed me to lead to a form of ritualization of my technique, I go through a phase of consciousness where the perception becomes more acute. My practice has become a form of existence, improvement, and relief to come to the realization of a magical effect, which delivers the body spiritually. It is also a form of connectivity, of exchange with several artists of which I made the collection carefully and which enlarged my universe, then by the serial work, monochrome (black) and an epistemological analysis, I suggest a " miscegenation" of certain disciplines in my work, a form of hybridization between a cosmological universe, mathematical and physical are interlaced. My body becomes a drawing thread in the external space, my interiority by performative and expressive videos. I am experiencing an adjacency that actually comes from the continuity of the thread. This internal and fusional space, where I experience my body in relation to the continuous thread, often takes on an imaginary dimension, to which is added an external space, that of representation and distancing in the physical world of my work
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Books on the topic "Monochrome ( black)"

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Aspects of expression: Exploring the art & craft of monochrome photography. London: Argentum, 2008.

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The creative monochrome image: How toexcel at black & white photography. Poole: Blandford, 1989.

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E, Schultz Frances, ed. The black and white handbook: The ultimate guide to monochrome techniques. Newton Abbot, Devon: David & Charles, 1997.

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The creative monochrome image: How to excel at black & white photography. Poole: Blandford, 1986.

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Chamberlain, David. The creative monochrome image: How to excel at black & white photography. Poole: Blandford Press, 1986.

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The creative monochrome image: How to excel at black & white photography. London: Cassell, 1995.

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Monochrome Memories: Nostalgia and Style in Retro America. Westport, Conn: Praeger, 2002.

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Creative digital monochrome effects: Go beyond black and white to make striking digital images. New York: Lark Books, 2009.

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Coote, JackH. Ilford monochrome darkroom practice: A manual of black and white processing and printing. 2nd ed. London: Focal, 1988.

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Coote, Jack Howard Roy. Ilford monochrome darkroom practice: A manual of black-and-white processing and printing. 3rd ed. Oxford: Focal Press, 1996.

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Book chapters on the topic "Monochrome ( black)"

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Conterio, Martyn. "Analysis." In Black Sunday, 63–84. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.003.0006.

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This chapter discusses Mario Bava's debut feature film, Black Sunday, which is considered to be among the most stylish horror films ever made and won praise for its delicious look and cinematography. It illustrates Black Sunday's ravishing mise-en-scène that marries fairy tale to surrealist irrationality, as well as ingenious special-effects design. It also mentions Tom Milne, who summed up Bava's film as a chillingly beautiful and brutal horror film that is superb and a chiaroscuro symphony of dank crypts and swirling fog-grounds. The chapter recounts how Bava filmed on monochrome stock and delivered what is touted as the last great black-and-white Gothic horror picture. It talks about the clever effects and use of miniatures, matte paintings, grotesque character transformations and the painted backdrops in black-and-white that is fused together to create a magical air.
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Pieldner, Judit. "Black-and-White Sensations of History and Female Identity in Contemporary Polish and Czech Cinema." In Caught In-Between, 45–64. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474435499.003.0003.

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This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in between the analogue and the digital, the natural and the artificial, the cinematic and the photographic. Through examples taken from contemporary Polish and Czech cinema, including Hi, Tereska! (Cześć, Tereska, Robert Gliński, 2001), The Reverse (Rewers, Borys Lankosz, 2009), Ida (Paweł Pawlikowski, 2013), Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013), Cold War (Zimna wojna, Paweł Pawlikowski, 2018) and I, Olga Hepnarová (Já, Olga Hepnarová, Tomáš Weinreb and Petr Kazda, 2016), it discusses the uses and functions of the black-and-white image rendering female identity caught in the grip of Eastern European history. The black-and-white image is often associated with high artistry and the photographic quality of film; accordingly, the emphasis is laid on photographic compositions, static shots, long takes and tableau moments, which confer on the digital monochrome subtle sensations of intermediality.
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"Does Everything Look Worse in Black and White? The Role of Monochrome Images in Consumer Behavior." In Sensory Marketing, 271–88. Routledge, 2011. http://dx.doi.org/10.4324/9780203892060-26.

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Jarvis, Simon. "A Burning Monochrome: Fisher's Block." In The Thing About Roy Fisher, 173–92. Liverpool University Press, 2000. http://dx.doi.org/10.5949/liverpool/9780853235156.003.0008.

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Chapter seven, written by Simon Jarvis, explores the nature and consequences of blockage in Fisher’s work, mainly concentrating on the titles The Cut Pages, Interiors with Various Figures, and Ceremonial Poems. The chapter focuses on the period immediately before and after the writer’s block Fisher experienced in the late 1960s, and examines his attempts to dissolve the block. In Jarvis’s analysis, he brings into focus Fisher’s avoidance of concept, copula and cognition, as well as outlining the difference between a ‘block’ in both literary terms and also in personal and societal terms.
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Constant, Jean. "Digital Approaches to Visualization of Geometric Problems in Wooden Sangaku Tablets." In Biologically-Inspired Computing for the Arts, 240–53. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0942-6.ch013.

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This chapter describes the digitalization process of 19th century scientific representations from the Japanese culture – a set of mathematical problems etched on wooden boards. The object of the demonstration is to apply computing techniques to the creation of artistic statements based on geometrical problems, highlight the dynamics of interaction between art and science, and examine how much both fields enrich the larger discourse and appreciation of Art. The following text describes the steps adopted in a visualization project. First, the data collection included selecting specific geometry problems from various Sangaku wooden tablets and converting them into digital information as a single black and white outline to define shapes, volumes, and textures. The vectorization of the underlying shapes transferred the exact mathematical information onto the virtual canvas. In the next step, the vector outlines were converted into bitmaps. Each individual plate was assigned a specific color scheme to enhance object size, positioning, and dynamic of the composition. At the last stage, vector-based sketches, colorizations, and the monochrome sketches were blended together to complete full color visualization. Finally, the step-by-step development of the creative process was recorded as a QuickTime movie, including an original soundtrack. Discussion refers to the dissemination of the project in art galleries and online, its potential instructional use, and it examines the audience responses.
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"Improved Illumination Independent Moving Object Detection Algorithm Applied to Infrared Video Sequences." In Advances in Multimedia and Interactive Technologies, 58–63. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4896-8.ch006.

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Performance of the moving objects detection algorithm on infrared videos is discussed. The algorithm consists of two phases: the noise suppression filter based on spatiotemporal blocks including dimensionality reduction technique for a compact vector representation of each block and the illumination changes resistant moving object detection algorithm that tracks the moving objects. The proposed method is evaluated on monochrome and multispectral IR videos.
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"Opake Fenster: Der verweigerte Blick auf die Welt." In Die monochromen Interieurbilder Vilhelm Hammershøis, 109–32. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760154_011.

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Gray, Billy. "From the Secular to the Sacred: The Influence of Sufism on the Work of Leila Aboulela." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 145–68. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.g.

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The contemporary Sudanese writer Jamal Mahjoub has used the term ’Transcultural’ to describe a specific form of Literature which he argues: demands more, both of reader and writer. It does not have the support of those cheering, waving crowds who would like you to be European or Third World, Black or African or Arab. It can rely only on that crack of light which lies between the spheres of reader and writer. Gradually that crack grows wider and where there was once only monochrome light, now there is a spectrum of colours. (Mahjoub, The Writer and Globalisation 1997) Leila Aboulela, whose first novel The Translator (2000) is a contemporary writer whose fiction has been defined as embodying predominant elements of the transcultural experience. Daughter of a Sudanese father and Egyptian mother, born in Cairo in 1964, Aboulela grew up in Khartoum but currently resides in Aberdeen, Scotland and her fiction is attuned to emerging female Muslim voices within the migrant communities of the West. Aboulela’s experience of Britain and British culture provides her with a terrain against which she attempts to articulate a specific identity: the Muslim Arab/African woman in exile. In her novels, the migrant experience serves as the foundation for a mystical but nonetheless assertive religiosity that functions as an antidote to hegemonic Western materialism. This religious frame offers not merely consolation and a firm sense of identity; it also, according to Geoffrey Nash (2012) ‘shapes an emerging awareness of difference and helps articulate an alternative to Western modernity’. According to Lleana Dimitriu (2014), the last decade has witnessed a resurgence of interest, both theoretical and creative, in the complexities of what she terms ‘faith based subject positions’, particularly in the context of global crises and mass migrations and Leila Aboulela’s fiction suggests that in the midst of postcolonial ruptures and mass migration, there is the possibility of alternative forms of ‘re-rooting’ and belonging, with ‘home’ perceived as a state of mind and identity as anchored in the tenets of religious faith. My article will engage with the manner in which Aboulela is preoccupied with the ethical dilemmas faced by Muslims currently residing in secular societies and how a mystical form of Islam –in particular Sufism – serves less as an ideological marker for her characters and more as a code of ethical behaviour and a central marker of identity.
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