Estimating the colors of paintings

Observers can adjust the spectrum of illumination on paintings for optimal viewing experience. But can they adjust the colors of paintings for the best visual impression? In an experiment carried out on a calibrated color moni- tor images of four abstract paintings obtained from hyperspectral data were shown to observers that were unfamiliar with the paintings. The color volume of the images could be manipulated by rotating the volume around the axis through the average (a*, b*) point for each painting in CIELAB color space. The task of the observers was to adjust the angle of rotation to produce the best subjective impression from the paintings. It was found that the distribution of angles selected for data pooled across paintings and observers could be de- scribed by a Gaussian function centered at 10o, i.e. very close to the original colors of the paintings. This result suggest that painters are able to predict well what compositions of colors observers prefer.

Survey and dynamic behaviour of the Our Lady of Conception Church, Portugal

The Our Lady of Conception church is located in village of Monforte (Portugal) and is not in use nowadays. The church presents structural damage and, consequently, a study was carried out. The study involved the survey of the damage, dynamic identification tests under ambient vibration and the numerical analysis. The church is constituted by the central nave, the chancel, the sacristy and the corridor to access the pulpit. The masonry walls present different thickness, namely 0.65 m in the chancel, 0.70 m in the sacristy, 0.92 in the central nave and 0.65 m in the corridor. The masonry walls present 8 buttresses with different dimensions. The total longitudinal and transversal dimensions of the church are equal to 21.10 m and 14.26 m, respectively. The survey of the damage showed that, in general, the masonry walls are in good conditions, with exception of the transversal walls of the nave, which present severe cracks. The arches of the vault presents also severe cracks along the central nave. As consequence, the infiltrations have increased the degradation of the vault and paintings. Furthermore, the foundations present settlements in the Southwest direction. The dynamic identification test were carried out under the action of ambient excitation of the wind and using 12 piezoelectric accelerometers of high sensitivity. The dynamic identification tests allowed to estimate the dynamic properties of the church, namely frequencies, mode shapes and damping ratios. A FEM numerical model was prepared and calibrated, based on the first four experimental modes estimated in the dynamic identification tests. The average error between the experimental and numerical frequencies of the first four modes is equal to 5%. After calibration of the numerical model, pushover analyses with a load pattern proportional to the mass, in the transversal and longitudinal direction of the church, were performed. The results of the analysis numerical allow to conclude that the most vulnerable direction of the church is in the transversal one and the maximum load factor is equal to 0.35.

Measuring end-to-end delay in real-time auralisation systems

One of the major challenges in the development of an immersive system is handling the delay between the tracking of the user’s head position and the updated projection of a 3D image or auralised sound, also called end-to-end delay. Excessive end-to-end delay can result in the general decrement of the “feeling of presence”, the occurrence of motion sickness and poor performance in perception-action tasks. These latencies must be known in order to provide insights on the technological (hardware/software optimization) or psychophysical (recalibration sessions) strategies to deal with them. Our goal was to develop a new measurement method of end-to-end delay that is both precise and easily replicated. We used a Head and Torso simulator (HATS) as an auditory signal sensor, a fast response photo-sensor to detect a visual stimulus response from a Motion Capture System, and a voltage input trigger as real-time event. The HATS was mounted in a turntable which allowed us to precisely change the 3D sound relative to the head position. When the virtual sound source was at 90º azimuth, the correspondent HRTF would set all the intensity values to zero, at the same time a trigger would register the real-time event of turning the HATS 90º azimuth. Furthermore, with the HATS turned 90º to the left, the motion capture marker visualization would fell exactly in the photo-sensor receptor. This method allowed us to precisely measure the delay from tracking to displaying. Moreover, our results show that the method of tracking, its tracking frequency, and the rendering of the sound reflections are the main predictors of end-to-end delay.

Distance perception in immersive environments: the role of photorealism

Immersive environments (IE) are being increasingly used in order to perform psychophysical experiments. The versatility in terms of stimuli presentation and control and the less time-consuming procedures are their greatest strengths. However, to ensure that IE results can be generalized to real world scenarios we must first provide evidence that performance in IE is quantitatively indistinguishable from performance in real-world. Our goal was to perceptually validate distance perception for CAVE-like IEs. Participants performed a Frontal Matching Distance Task (Durgin & Li, 2011) in three different conditions: real-world scenario (RWS); photorealistic IE (IEPH) and non-photorealistic IE (IENPH). Underestimation of distance was found across all the conditions, with a significant difference between the three conditions (Wilks’ Lambda = .38, F(2,134)= 110.8, p<.01, significant pairwise differences with p<.01). We found a mean error of 2.3 meters for the RWS, 5 meters for the IEPH, and of 6 meters for the IENPH in a pooled data set of 5 participants. Results indicate that while having a photorealistic IE with perspective and stereoscopic depth cues might not be enough to elicit a real-world performance in distance judgment tasks, nevertheless this type of environment minimizes the discrepancy between simulation and real-world when compared with non-photorealistic IEs.

Immersiveness of ubiquitous computing environments prototypes: A case study

The development of ubiquitous computing (ubicomp) environments raises several challenges in terms of their evaluation. Ubicomp virtual reality prototyping tools enable users to experience the system to be developed and are of great help to face those challenges, as they support developers in assessing the consequences of a design decision in the early phases of development. Given the situated nature of ubicomp environments, a particular issue to consider is the level of realism provided by the prototypes. This work presents a case study where two ubicomp prototypes, featuring different levels of immersion (desktop-based versus CAVE-based), were developed and compared. The goal was to determine the cost/benefits relation of both solutions, which provided better user experience results, and whether or not simpler solutions provide the same user experience results as more elaborate one.

A ternura do grotesco no encontro de Paula Rego com Adília Lopes

A ruptura em relação à conceptualização clássica de arte, problematizando o conceito de ‘sublime’ - em que se verificou um abaixamento de valores, da eternidade para a corporalidade - leva-nos ao grotesco e sobre o que se entende por arte, belo e, em consequência, pelo seu contrário. Com este artigo, pretende-se saber de que forma é que o grotesco se dissemina nas pinturas de Paula Rego e os escritos de Adília Lopes e se o que a primeira referiu em relação à obra de Adília e às suas próprias produções, usando o epíteto de “grotesco belo” e possuidor de “muita ternura”, é verificável. As postulações principais sobre o grotesco foram produzidas por Mikhail Bakhtin, Wolfgang Kayser e Victor Hugo. Para além das produções de cada uma das criadoras, foi também observado o cruzamento de ambas no livro “Obra”, uma antologia de Adília Lopes, com imagens da autoria de Rego