Project Metamorphosis: Designing a Dynamic Framework for Converting Musical Compositions into Paintings

The authors present an automated, rule-based system to convert piano compositions into paintings. Using a color-note association scale presented by Edward Maryon in his book Marcotone (1919), which correlates 12-tone scale with 12 hues of the color circle, the authors present a simple approach for extracting colors associated with each note played in a piano composition. The authors also describe the color extraction and art generation process in detail, as well as the process to create ‘moving art,’ which imitates the progression of a musical piece in real time. They share and discuss artworks generated for four famous piano compositions.

Color Interactive Contents System using Kinect Camera Calibration

Recently, media content that interacts in real time is increasing. In this paper, we introduce a real-time color extraction content system that utilizes the Kinect camera used in ‘COLOR’ media art. The Kinect camera used in the work detects and tracks the joints of the visitors that enter the exhibition space. Kinect detected data is mapped to color calibration in a Unity environment to generate a point cloud video. Get the pixel color of the spine shoulder joint coordinates of the visitor in the point cloud image. The color data is output on the screen in the form of color one, and passes through along with the spectators. Color circle decreases as the distance between the visitors and Kinect increases and the distance increases. When visitors come in and the color circles overlap, color of the mixed part will have an intermediate value between the two color circles. This work shows the form of a person's social movement through the colors that each person has and the mixture of the colors. The technology used in this work differs from other media arts in that it extracted the calibrated image colors separately and advanced the interactive media arts. We will improve the accuracy of the point cloud that corrects the color image and the depth image, and improve the color extraction accuracy of the visitors.

Efficiency Evaluation of Hospitals Sterilization by Biological and Chemical Methods

Autoclaving is one of the methods which sterilizes medical solidwaste. This study was carried out to evaluate efficiency of autoclaves in two Shahrekord hospitals(Kashani and Hajar) in Iran by biological and chemical indicators. In this study, the performance of autoclave was studied based on biological and chemical through setting 96 tests. Variables were loading type in four groups (light, medium, semi- heavy, and heavy), location, type of hospital , and temperature-135°C, time10min features in fixed pressure equal to 4.2 bar. Biological and chemical indicators were ATCC 7953 which contained Stearotermophilus Geobacillus spores ,and chemical indicator Class 6 with three color circle as weekly, respectively.The best autoclave operational condition based on biological indicator in both hospitals were light loading rate in Kashani and Hajar 66%(8), and 75%(9) desirable results, respectively. Each four loading rate level based on biological and chemical indicators the Hajar hospital with 68% desirable results were more efficiency than Kashani hospital with57% desirable results. According to results of this study (biological index) sterilization failure in kashani and Hajar hospitals were 65%, and 50%, respectively.There is an increased need for suitable regulation and control of autoclave devices and for monitoring and suitable handling of these devices in developing countries.

Hues of Color Afterimages

We studied the relationship between color afterimages and complementary colors. The hues of afterimages of 24 inducer hues, uniformly distributed over the rgb color circle, were measured by an iterative method of adjustment. The judgment of equality of hue of the afterimage and a synthesized patch was effectively judged at the moment immediately after the switch-off of the inducer, when the synthesized patch went through any number of iterative adjustments. The two patches—both phenomenally present, but only one optically presented—appeared to the left and right of a fixation mark that was fixated throughout the whole procedure. Thus, both patches were present in eccentric vision. The hues of afterimages were found to be quite different from the hue of the complementary of the inducer. Almost one half of the color circle (orange to chartreuse) leads to afterimage hues in a narrow region of purples. This implies that color circles based on diametrically opposed inducer–afterimage hues are necessarily inconsistent. Yet, perhaps surprisingly, the relation between primary and afterimage hues is still approximately an involution (they are reciprocally related).

ГЕНЕЗИС ТА ОСОБЛИВОСТІ ФОРМУВАННЯ БАЗОВИХ МОДЕЛЕЙ ІДЕНТИФІКАЦІЇ КОЛЬОРУ

Purpose. The determination of the formation features of basic models of color and identification of color in the initial stages (the 18th – 19th centuries) of scientific research of the problem. Methodology of the research is based on historical and cultural method. The source base is the artistic, scientific and technical literature of the studied period and also artefacts. Results. This publication reveals a generalized approach to theoretical developments on color perception and identification, and covers the initial period of color research and the formation of basic models of color (the 18th – 19th centuries). So in the middle of the 17th century I. Newton founded a seven-color ordering model, placing them to a closed color circle. At about the same time, other attempts at color systemization were proposed, such as color identification in the form of tables of existing paints, the work of I. Brennen and R. Waller. Subsequently, Jacob Christoph Le Blon concluded that in order to get results, you could use only three colors, namely red, yellow and blue. Based on this work, M. Harris presented his color circle, J. Lambert – a triangular color pyramid, and Ph.Runge built a color sphere using the principle of the globe. Goethe, contrary to Newton's physical doctrine of colors, conceived another system, it was based on the phenomenological perception of color. According to Goethe and his followers, the colors come from the struggle of "light" and "darkness". A. Schopenhauer took the step that J. Goethe lacked in his thinking: A. Schopenhauer formed a doctrine of color in terms of psychology, noting the enormous role that our brain plays in color perception, and proposing his model of identification by the principle of intensity / extensiveness/quality. for the formal description of the tri-color system of color, forming a mathe-confirmation of T. Young's theory and came to the conclusion that for the comparison of all shades, three light sources were needed and sufficient: in the red, green and blue parts of the spectrum. The perception of other colors is conditioned by the interaction of these constituents. In his work, J. Maxwell proved that all colors come from a mixture of three spectral colors: red, green, and blue. Based on his research, he introduced the first two-dimensional color spectrum visualization system. H. Grassmann's merit is the mathematical representation of the three spectral colors. E. Hering's theory highlights the psychological aspects of color vision: warm sensations occur for white, yellow, and red colors, while cold sensations occur for black, dark blue, and light blue. G. Peano introduced the concept of "color space" as a system of vector space equations.