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Relevant bibliographies by topics / Monochromie

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Academic literature on the topic 'Monochromie'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 February 2023

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Journal articles on the topic "Monochromie"

1

Tjarks, Torsten. "Monochromie und Material als Bedeutungsträger in den Architekturen Borrominis." Zeitschrift für Kunstgeschichte 82, no. 3 (October 25, 2019): 377–99. http://dx.doi.org/10.1515/zkg-2019-3005.

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Stefanovic, Ana. "Les poèmes ragusains de Dejan Despic." Muzikologija, no. 5 (2005): 313–45. http://dx.doi.org/10.2298/muz0505313s.

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(francuski) Les ?uvres de Dejan Despic (1930), inspir?es par Dubrovnik: Jadranski soneti op. 17 (1951-1954), Dubrovacki divertimento op. 18 (1952) et Dubrovacki kanconijer op. 96 (1989), r?v?lent, outre leur th?me commun, une parent? suppl?mentaire importante. Elles sont incit?es et, d'une mani?re essentielle, m?diatis?es par la po?sie: soit par les vers de Jovan Ducic (1871-1943), po?te du Parnasse et symbolisme serbe, soit par la po?sie p?trarquiste ragusaine. Or, ces compositions ne se montrent pas seulement en tant qu` issues de l`inspiration par la po?sie sur Dubrovnik, mais aussi d'un conditionnement spirituel plus profond: de l`inspiration po?tique du compositeur lui-m?me par Dubrovnik. C`est le sentiment po?tique du monde, en tant que constante de la vision cr?atrice de Dejan Despic, qui provient de cette inspiration particuli?re. Ce monde ragusain du compositeur est le monde classique dans une signification universelle du concept, selon la nature m?me du milieu ?voqu?. Or, cela n implique pas une monochromie stylistique des compositions consid?r?es. Au contraire, les perspectives musicales de l`impressionnisme, du n?oclassicisme, voire, de la n?orennaissance, varient ce cadre stylistique g?n?ral, tout en marquant les traits distincts d'une po?tique de composition tr?s individualis?e.

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Rose, Gregory M., Carina DeVilliers, and Detmar W. Straub. "Chronism Theory, Culture, and System Delay." Journal of Global Information Management 17, no. 4 (October 2009): 1–28. http://dx.doi.org/10.4018/jgim.2009070901.

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System response delay has been cited as the single most frustrating aspect of using the Internet and the most worrisomeaspect of Web application design. System response time (SRT) research generally concludes that delay should be eliminated where possible to as little as a few seconds, even though delay reduction is costly. Unfortunately, it is not clear if these conclusions are appropriate outside of the developed world where nearly all of the SRT research has taken place. Cultural effects have been, hence, generally missing from SRT research. The one SRT study to date outside of the developed world did report differences using the theoretical construct of cultural chronism, and this finding could limit the generalizability of SRT research findings from developed countries to many economically developing nations. However, limitations and potential confounds in this single study render those findings tentative. The end of Apartheid in South Africa allowed an opportunity to conduct a longitudinal free simulation experiment that overcomes the critical limitations of this previous research. Subjects were members of historically polychronic and monochronic groups who had been segregated by Apartheid and now live in an integrated society with shared infrastructure and computer access. Results find that members of the historically polychronic group are more accepting of longer delays and are more willing to trade longer delays for improved functionality than are their historically monochronic counterparts. Furthermore, tests find that members of the historically monochromic population that came of age in a desegregated, majority-polychronic culture appear to be polychronic themselves and to differ significantly from the older monochronic generation. Results from this study can be applied to design culturally sensitive applications for users in the developing economies of the world.

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O'Neill, Francis Anthony. "Monochrome." British Journal of Psychiatry 210, no. 5 (May 2017): 370. http://dx.doi.org/10.1192/bjp.bp.116.195552.

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Wajcman, Gérard. "Yves Le Monochrome." La Cause du Désir N° 107, no. 1 (March 23, 2021): 149–54. http://dx.doi.org/10.3917/lcdd.107.0149.

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McVeigh, Frank J., and Amitai Etzioni. "The Monochrome Society." Contemporary Sociology 31, no. 3 (May 2002): 261. http://dx.doi.org/10.2307/3089650.

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Pich, Edgard. "Le Monochrome hugolien." Australian Journal of French Studies 36, no. 3 (September 1999): 280–92. http://dx.doi.org/10.3828/ajfs.1999.3.

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Choudhury, Indie A. "Frank Bowling’s White Paintings." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 34–47. http://dx.doi.org/10.1215/10757163-791684.

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Frank Bowling’s white paintings span a period of some forty years in his practice, resulting in an eponymously titled exhibition The White Paintings (2006). As a body of work, the paintings occupy the longest period within Bowling’s career yet are largely absent from his historiography and are the least referenced, either as single works or as a series. The paradox of Bowling’s white paintings is that they are not all merely white nor are they all monochromes. A consideration of them presents an opportunity to resituate Bowling from a singular focus of formalism and to convey his deep relation to the world around him via a mode of abstraction that is layered with meanings. This investigation follows by centering upon a single painting from Bowling’s white series, Icarus (2005), produced after the death of his eldest son. Icarus explores themes of time, death, and spiritual release that are constant throughout the series. Bowling undercuts attendant ideas of purity and singleness, both in his exploration of whiteness and within the “tradition” of monochrome painting, and exposes its fallacies. Bowling’s white paintings thus mediate the way both modernity and history may be otherwise deployed, speaking inevitably to how the myth of whiteness is imbricated within the construction of modernism.

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Choudhury, Indie A. "Frank Bowling’s White Paintings." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 34–47. http://dx.doi.org/10.1215/10757163-7916844.

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Frank Bowling’s white paintings span a period of some forty years in his practice, resulting in an eponymously titled exhibition The White Paintings (2006). As a body of work, the paintings occupy the longest period within Bowling’s career yet are largely absent from his historiography and are the least referenced, either as single works or as a series. The paradox of Bowling’s white paintings is that they are not all merely white nor are they all monochromes. A consideration of them presents an opportunity to resituate Bowling from a singular focus of formalism and to convey his deep relation to the world around him via a mode of abstraction that is layered with meanings. This investigation follows by centering upon a single painting from Bowling’s white series, Icarus (2005), produced after the death of his eldest son. Icarus explores themes of time, death, and spiritual release that are constant throughout the series. Bowling undercuts attendant ideas of purity and singleness, both in his exploration of whiteness and within the “tradition” of monochrome painting, and exposes its fallacies. Bowling’s white paintings thus mediate the way both modernity and history may be otherwise deployed, speaking inevitably to how the myth of whiteness is imbricated within the construction of modernism.

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Schaffler, Roland. "Monochrom." Qualitas 20, no. 1 (January 2021): 3. http://dx.doi.org/10.1007/s43831-021-0001-7.

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Dissertations / Theses on the topic "Monochromie"

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Friedrich, Julia. "Grau ohne Grund Gerhard Richters Monochromien als Herausforderung der künstlerischen Avantgarde." Köln Strzelecki Books, 2008. http://d-nb.info/993664199/04.

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Lundagårds, Marcus. "Vehicle Detection in Monochrome Images." Thesis, Linköping University, Department of Electrical Engineering, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11819.

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The purpose of this master thesis was to study computer vision algorithms for vehicle detection in monochrome images captured by mono camera. The work has mainly been focused on detecting rear-view cars in daylight conditions. Previous work in the literature have been revised and algorithms based on edges, shadows and motion as vehicle cues have been modified, implemented and evaluated. This work presents a combination of a multiscale edge based detection and a shadow based detection as the most promising algorithm, with a positive detection rate of 96.4% on vehicles at a distance of between 5 m to 30 m. For the algorithm to work in a complete system for vehicle detection, future work should be focused on developing a vehicle classifier to reject false detections.

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Bonnet, Vincent. "La photographie contre le monochrome." Thesis, Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0295.

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Cette thèse interroge en acte les relations entre photographie et monochrome. Si au XIXe et XXe siècle, la photographie a participé à une redéfinition de l’art, notamment en le « libérant » d’une nécessité de faire image, le monochrome pictural peut être considéré comme un des aboutissements de cette « libération ». Mais qu’en est-il de la possibilité d’un monochrome photographique ? La photographie ayant complètement bousculé les « réalismes », l’idée et la mise en forme d’un monochrome spécifiquement photographique semble assez problématique…Si ces deux pratiques ont longtemps semblé antagonistes, l’enjeu sera d’évaluer leurs proximités et de réfléchir à certaines questions fondamentales comme : qu’est-ce qu’un monochrome photographique ? Quels en sont les nécessités et les enjeux ? Une première partie décline chronologiquement de 1929 à 2015 un corpus inédit et une analyse approfondie de pièces qui sont vraisemblablement des monochromes photographiques. Une deuxième partie s’attache à expliciter les problématiques plastiques et théoriques communes à ces monochromes photographiques, notamment autour d’une redéfinition critique de ce qu’est une image — à travers son processus de fabrication, ses relations à la réalité, au langage et à l’abstraction etc. Dans cette approche, trois pistes de réflexion sont développées théoriquement, historiquement et plastiquement : l’une aborde l’œuvre en tant qu'invention d’une couleur, la seconde traite de la littéralité de l’image et la troisième d’une photographie qui serait déjà faite. Cette recherche s’achève avec la création de pièces plastiques liées à ces trois approches spéculatives
This thesis questions the relations between photography and monochrome. If photography is considered to have taken part in a redefinition of art in the nineteenth and twentieth century, most notably «releasing» it from the necessity to produce images, the pictorial monochrome can hence be considered as one of the outcomes of this «liberation». But what about the possibility of a photographic monochrome? Photography having completely upset «realisms», the idea and framing of a specifically photographic monochrome seems rather problematic…If these two plastic practices have long seemed antagonistic, the challenge will be to evaluate their proximities and try to think about some fundamental questions such as: what is a photographic monochrome? What are its necessities and challenges?A first part chronologically displays a hitherto unpublished corpus and in-depth analysis of pieces going from 1929 to 2015, that are presumably photographic monochromes. A second part focusses on explaining the plastic and theoretical problems common to these photographic monochromes, particularly around a critical redefinition of what an image is—through its manufacturing process, its relations to reality, to language and abstraction etc. In this approach, three avenues of reflection are put to the test, developed theoretically, historically and plastically: the first approaches the artwork as invention of a color, the second deals with the literality of the image and the third with a photograph that would be already made. This research leads to the creation of pieces related to these three speculative approaches

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Houllier, Régis. "Vidéoprojecteur laser haute définition monochrome." Valenciennes, 1987. https://ged.uphf.fr/nuxeo/site/esupversions/5a2c087e-4de3-44ce-98fe-b0007cd5e5bd.

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Dans ce mémoire a été développé l'étude et la réalisation d'une maquette à partir d'une source laser de forte puissance qui projette des images monochromes avec une définition six fois supérieure à celle des télévisions standards. Il a été développé un système de projection simultanée de 8 lignes vidéo pour réduire la cadence de balayage

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Houllier, Régis. "Vidéoprojecteur laser haute définition monochrome." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376059451.

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Wu, Lesley J. "Composite source coding of monochrome images." Thesis, Imperial College London, 1986. http://hdl.handle.net/10044/1/38195.

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Mathus, Miguel. "Monochrome and trace in contemporary painting." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3436/.

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This project explicitly addresses the persistent question of the monochrome. I want to develop several figures of thought such as inscription, erasure and trace in order to examine new ways in which this question might find fresh trajectories of formulation. Historically, the monochrome has attracted discussions related to the autonomy of painting, the circularity of process, chromatic purity, repetition, limits, transcendence, the beyond of representation. The project does not aim to formulate the question of the identity of contemporary abstraction but instead explore the questions related to abstraction’s temporality. The monochrome appears to resist a pure art historical discourse because of the way that it has always been close to a speculative drive within philosophical aesthetics. In this regard I wish to test this relationship between ways of mediating the visual in terms of language and the schemas assumed by the modulation of the ‘seeable’ into the ‘sayable’. Jacques Derrida is an important figure for my research in terms of his thinking about the trace and the play of absence and presence. These concepts will be engaged with alongside accounts of the monochrome in contemporary art history. This intellectual project is anchored by the relationship to my own studio practice, which involves an overlapping of elements that are added and dismantled until a definitive form is achieved. The physical nature of the materials is, thus, central to the activity. Materials are added and removed; the latter process is frequently the more important. The surface is worked through a restrained process of making, trading one factor against another until a resolution becomes possible. By working with increased physicality, plus highly calibrated or austere means, the ambition is then to engage the viewer as a total sentient being as opposed to a receiver of images. The work thus resists the conventions that govern the presentation of image-based paintings and this implies the possibility that the work creates other schemas of both place and temporality.

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Souza-Gentil, Maëlle Vieira De. "La céramique monochrome Chupícuaro : approches technologiques." Paris 1, 2005. http://www.theses.fr/2005PA010577.

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La culture Chupícuaro s'est épanouie entre le VIe siècle avant J. -C. Et le IIe siècle apr. J. -C, pendant la période préclassique de la Mésoamérique. Elle est réputée pour la qualité de sa céramique, mais le manque de fouilles archéologiques jusqu'à une date récente empêchait de bien la définir et de comprendre ses rapports avec les autres cultures mésoaméricaines. Le projet archéologique Chupícuaro qui a débuté en 1998 sous la direction de V. Darras et B. Faugère apporte de nombreuses informations nouvelles, sur différents aspects de la culture Chupícuaro. La présente étude s'attache à l'analyse de la céramique monochrome Chupícuaro d'un point de vue technologique. Grâce à l'examen systématique de tessons et de pièces complètes, complété par l'analyse d'une série de lames minces, nous avons pu définir plusieurs groupes de pâtes ainsi que les techniques de fabrication employées à Chupícuaro, permettant de proposer une chaîne opératoire de fabrication de la céramique. L'étude des données d'un point de vue plus sociologique, notamment de la conception formelle des céramiques, a montré une grande cohésion culturelle, conf1rmée par la faible évolution chronologique des techniques de manufacture. En revanche, des différences importantes ont été mises en valeur avec le complexe Mixtlán, qui suit immédiatement le complexe Chupícuaro, indiquant des influences culturelles nouvelles

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Grainge, Paul. "Monochrome memories : nostalgia and style in 1990s America." Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/12833/.

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Memory is central to the way that cultures produce, negotiate and contest ideas of nationhood. This work examines how, as an aesthetic mode of nostalgia, the black and white image was used in the 1990s to establish and legitimate particular kinds of memory within American cultural life. It locates the production of visual (monochrome) memory in different forms of cultural media and explores how attempts were made in the nineties to authorize a consensual past, a core memory - what might be called an archival essence - for a stable and unified concept of "America." The 1990s were a period when liberal ideologies of nationhood and mythologies of Americanness came under particular, and intensified, pressure. In a time when national identity was being undermined by transnational political and economic restructuring, when ideas of national commonality were being challenged by an emergent politics of difference, and when the metanarratives of memory were straining for legitimacy against the multiple pasts of the marginalized, the desire to stabilize the configuration and perceived transmission of American cultural identity became a defining aspect of hegemonic memory politics. By considering monochrome memory in nineties mass media, I look at the way that a particular "nostalgia mode" was used stylistically within visual culture and was taken up within a discourse of stable nationhood. By examining the production and visuality of aestheticized nostalgia, I make a cultural but also a conceptual argument. Much of the contemporary work on nostalgia is bound in critiques of its reactionary politics, its sanitization of history, or its symptomatic contribution to the amnesiac tendencies of postmodern culture. I explore the subject from the vantage point of cultural studies, mediating between theories that understand nostalgia in terms of cultural longing and/or postmodern forgetting. I account for the manner in which nostalgia has become divorced from any necessary concept of loss, but, also, how particular modes of nostalgia have been used affectively in the mass media to perform specific cultural and memory work. Critically, I examine nostalgia as a cultural style, anchoring a set of questions that can be asked of its signifying and political functionality in the visual narratives of the dominant media.

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Riout, Denys. "Histoire de la peinture monochrome : (l'invention d'un genre)." Paris 1, 1994. http://www.theses.fr/1994PA010534.

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Longtemps réputé dernier tableau possible, le monochrome radical marquait l'ultime étape de l'art de peindre. Or, sur les cimaises, des monochromes nouveaux apparaissent, toujours plus nombreux, depuis le début du XXe siècle. Le récit élaboré dans cette thèse montre comment la peinture monochrome, sans cesse menacée de sombrer dans le poncif, est devenue un genre. La première partie décrit les efforts déployés par Yves Klein pour apparaitre comme l'inventeur d'un genre qu'il savait ne pas avoir créé, et elle analyse les œuvres dont il s'est démarqué pour mieux conforter sa place d'initiateur, ainsi que les monochromes de ses contemporains. La deuxième partie observe la destinée du genre, après que les coups d'éclat d'Yves le monochrome l'ont imposé à l'attention. Des lors, là ou prévalait une volonté de rupture, s'installe la convention acceptée. Le succès du genre, avéré dès les années 1970, suscite en retour une recherche de ses antécédents avant le XXe siècle. Ils font l'objet de la troisième partie. Toujours lies a l'impératif de représentation, alors indépassable, les monochromes d’Alphonse Allais, de ses émules et ses prédécesseurs, proposent une mimesis paradoxale, toujours comique. Au terme de ce parcours, la peinture monochrome échappe à toute tentative de définition ontologique. Aussi pouvons-nous, tout au plus, tenter de cerner les traits saillants de sa diversité
The radical monochrome was for many years considered the ultimate reduction of pictorial possibility, the final stage of the art of painting. And yet, since the beginning of the century, gallery and museum walls have exhibited an increasing number of such works. This thesis sets out to show how monochrome painting, though constantly threatened by cliché, has become a genre in its own right. The first part describes the efforts made by Yves klein to present himself as the inventor of a genre he knew he had not created. It analyses the works he rejected in order to consolidate his own inaugural position, and also looks at monochromes by his contemporaries. The second part follows the destiny of the genre after klein's tour de force had captured public attention. The noteworthy success of the monochrome since the seventies has in turn stimulated research into its pre-twentieth century forerunners. Their work is discussed in the third part. Given the prevailling artistic dogma of representation, the monochromes of Alphonse Allais, like those of his predecessors and followers, were invariably presented as paradoxical and comic works of mimesis. Having analysed its history, it becomes clear that monochrome. .

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Books on the topic "Monochromie"

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Grau ohne Grund: Gerhard Richters Monochromien als Herausforderung der künstlerischen Avantgarde. Köln: StrzeleckiBooks, 2009.

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Charron, Pascale, Marion Boudon-Machuel, and Maurice Brock, eds. Aux limites de la couleur: monochromie et polychromie dans les arts (1300-1650). Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.er-eb.5.106721.

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Diebenkorn, Richard. Richard Diebenkorn: Monochrome/almost monochrome. New York, N.Y: Associated American Artists, 1991.

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F, Saladino John, ed. Monochrome. New York: Monacelli Press, 2008.

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Monochrome. United States: Hannah Jones, 2013.

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Monochrome factor. Los Angeles, CA: Tokyopop, 2008.

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Berdyszakowa, Maria, writer of added commentary, ed. Monochrome Zeichnungen. Igling: Edition Michael Fischer, 2009.

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Sorano, Kairi. Monochrome factor. Hamburg [Germany]: Tokyopop, 2008.

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Rahman, Sami ur, and Sohail Butt. Creative monochrome. Lahore: Photographic Art Society of Pakistan, 2016.

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Takae, Brewer, ed. Monochrome factor. Hamburg [Germany]: Tokyopop, 2008.

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Book chapters on the topic "Monochromie"

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Bos, Agnès. "Polychromie et monochromie dans le mobilier: le cas des cabinets d'ébène parisiens du xviie siècle." In Études Renaissantes, 227–35. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.er-eb.4.00157.

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Gooch, Jan W. "Monochrome." In Encyclopedic Dictionary of Polymers, 473. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_7677.

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Weik, Martin H. "monochrome." In Computer Science and Communications Dictionary, 1043. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_11788.

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Pernac, Natacha. "Des expériences sur la monochromie dans la peinture autour de 1500: le cas négligé de l'Italie centrale." In Études Renaissantes, 61–68. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.er-eb.4.00141.

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Pim, Dennis N. "Monochrome Television." In Television and Teletext, 1–25. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19389-9_1.

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Anand, M. L. "Television — Monochrome (T.V.)." In Principles of Communication Engineering, 333–72. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003222279-16.

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Woźniak, Urszula. "Diversity in the Monochrome?" In Grenzräume, Grenzgänge, Entgrenzungen, 63–82. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-20451-8_3.

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Coates, Paul. "Colour and/as Monochrome." In Cinema and Colour, 45–68. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92447-9_3.

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Tice, Bradley S. "Monochrome and Chromatic Symbols." In Aspects of Kolmogorov Complexity the Physics of Information, 59–60. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003337270-7.

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"3. Bildhäute und radikale Monochromie / Painting Skins and Radical Monochrome." In Ahmet Oran, 184–223. Birkhäuser, 2014. http://dx.doi.org/10.1515/9783035603170.184.

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Conference papers on the topic "Monochromie"

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Al-jaberi, Ahmed, Naseer Al-jawad, and Sabah A. Jassim. "Colourizing monochrome images." In Mobile Multimedia/Image Processing, Security, and Applications 2018, edited by Sos S. Agaian and Sabah A. Jassim. SPIE, 2018. http://dx.doi.org/10.1117/12.2309938.

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Walrath, Larry C., and Marc W. Hunter. "Color Versus Monochrome Displays." In Aerospace Technology Conference and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1990. http://dx.doi.org/10.4271/901921.

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Leinenwever, Roger, Leonard G. Best, and Bryce J. Ericksen. "Low-cost monochrome CRT helmet display." In Aerospace Sensing, edited by Thomas M. Lippert. SPIE, 1992. http://dx.doi.org/10.1117/12.131953.

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Gabura, James. "Daylight coloring for monochrome infrared imagery." In SPIE Defense + Security, edited by Bjørn F. Andresen, Gabor F. Fulop, Charles M. Hanson, and Paul R. Norton. SPIE, 2015. http://dx.doi.org/10.1117/12.2177097.

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Krupinski, Elizabeth A., Hans Roehrig, Jiahua Fan, and Takahiro Yoneda. "High-luminance monochrome vs low-luminance monochrome and color softcopy displays: observer performance and visual search efficiency." In Medical Imaging, edited by Yulei Jiang and Berkman Sahiner. SPIE, 2007. http://dx.doi.org/10.1117/12.706298.

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Quigley, Frances. "To Monochromate or not to Monochromate: Balancing Electron Dose and Energy Spread Requirements." In Microscience Microscopy Congress 2021 incorporating EMAG 2021. Royal Microscopical Society, 2021. http://dx.doi.org/10.22443/rms.mmc2021.37.

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Mizokawa, Ai, Taro Nakamura, Akinobu Maejima, and Shigeo Morishima. "Photorealistic facial image from monochrome pencil sketch." In ACM SIGGRAPH 2014 Posters. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614217.2614235.

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Yelmanov, Sergei, and Yuriy Romanyshyn. "Automatic Enhancement of Low-Contrast Monochrome Images." In 2018 IEEE 38th International Conference on Electronics and Nanotechnology (ELNANO). IEEE, 2018. http://dx.doi.org/10.1109/elnano.2018.8477454.

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LeGendre, Chloe, Kalle Bladin, Bipin Kishore, Xinglei Ren, Xueming Yu, and Paul Debevec. "Efficient multispectral facial capture with monochrome cameras." In SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3230744.3230778.

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Tawfik, A. "Efficient watermark registration technique for monochrome images." In 2015 IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). IEEE, 2015. http://dx.doi.org/10.1109/isspit.2015.7394411.

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Reports on the topic "Monochromie"

1

Peli, Tamar, Ken Ellis, Robert Stahl, and Eli Peli. Integrated Color Coding and Monochrome Multi-Spectral Fusion. Fort Belvoir, VA: Defense Technical Information Center, January 1999. http://dx.doi.org/10.21236/ada389579.

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Geri, George A., and Richard P. Grutzmacher. Spatial Resolution of Two, High Line-Rate, Monochrome Display Systems. Fort Belvoir, VA: Defense Technical Information Center, November 1999. http://dx.doi.org/10.21236/ada379453.

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Tang, H., Ed X. Wu, D. Gallagher, and S. B. Heymsfield. Monochrome Image Presentation and Segmentation Based on the Pseudo-Color and PCT Transformations. Fort Belvoir, VA: Defense Technical Information Center, October 2001. http://dx.doi.org/10.21236/ada412412.

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NATIONAL INFORMATION DISPLAY LAB PRINCETON NJ. Evaluation of the Clinton Electronics DS2100HB-ST 4 X 3 Aspect Ratio, 21-Inch Diagonal Monochrome Monitor. Fort Belvoir, VA: Defense Technical Information Center, April 2000. http://dx.doi.org/10.21236/ada406951.

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NATIONAL INFORMATION DISPLAY LAB PRINCETON NJ. Evaluation of the MegaScan MD2-4810 LS 11 x 11-Inch Addressable 21-Inch Diagonal Monochrome CRT Monitor. Fort Belvoir, VA: Defense Technical Information Center, August 2001. http://dx.doi.org/10.21236/ada415158.

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NATIONAL INFORMATION DISPLAY LAB PRINCETON NJ. Evaluation of the Data-Ray DR96L 4 x 3 Aspect Ratio, 22-Inch Diagonal Flat Screen Monochrome CRT Monitor. Fort Belvoir, VA: Defense Technical Information Center, October 2001. http://dx.doi.org/10.21236/ada414967.

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NATIONAL INFORMATION DISPLAY LAB PRINCETON NJ. Evaluation of the Orwin Associates DEX 2102L, 4 x 3 Aspect Ratio, 21-Inch Diagonal Monochrome Monitor (a.k.a DEX 2101L in NIDL Report). Fort Belvoir, VA: Defense Technical Information Center, April 2000. http://dx.doi.org/10.21236/ada406659.

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Sun, Sey-Shing. Development of a Manufacturable Blue Electroluminescent (EL) Phosphor Process for the Production of White Monochrome Thin Film Electroluminescent (TFEL) and Full Color Active Matrix Electroluminescent (AMEL) Displays. Fort Belvoir, VA: Defense Technical Information Center, November 2002. http://dx.doi.org/10.21236/ada408952.

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