Is the sun too bright in Queensland? An approach to robust outdoor colour beacon detection

Using cameras onboard a robot for detecting a coloured stationary target outdoors is a difficult task. Apart from the complexity of separating the target from the background scenery over different ranges, there are also the inconsistencies with direct and reflected illumination from the sun,clouds, moving and stationary objects. They can vary both the illumination on the target and its colour as perceived by the camera. In this paper, we analyse the effect of environment conditions, range to target, camera settings and image processing on the reported colours of various targets. The analysis indicates the colour space and camera configuration that provide the most consistent colour values over varying environment conditions and ranges. This information is used to develop a detection system that provides range and bearing to detected targets. The system is evaluated over various lighting conditions from bright sunlight, shadows and overcast days and demonstrates robust performance. The accuracy of the system is compared against a laser beacon detector with preliminary results indicating it to be a valuable asset for long-range coloured target detection.

The experience of xenophobia in South Africa

In May 2008, xenophobic violence erupted in South Africa. The targets were individuals who had migrated from the north in search of asylum. Emerging first in township communities around Johannesburg, the aggression spread to other provinces. Sixty-two people died, and 100,000 (20,000 in the Western Cape alone) were displaced. As the attacks escalated across the country, thousands of migrants searched for refuge in police stations and churches. Chilling stories spread about mobs armed with axes, metal bars, and clubs. The mobs stormed from shack to shack, assaulted migrants, locked them in their homes, and set the homes on fire. The public reaction was one of shock and horror. The Los Angeles Times declared, “Migrants Burned Alive in S. Africa.” The South African president at the time, Thabo Mbeki, called for an end to “shameful and criminal attacks.” Commentators were stunned by the signs of hatred of foreigners (xenophobia) that emerged in the young South African democracy. The tragedy of the violence in South Africa was magnified by the fact that many of the victims had fled from violence and persecution in their countries of origin. Amid genocidal violations of human rights that had recently occurred in some countries in sub- Saharan Africa, the new South Africa stood as a beacon of democracy and respect for human dignity. With this openness in mind, many immigrants to South Africa sought safety and refuge from the conflicts in their homelands. More than 43,500 refugees and 227,000 asylum seekers now live in South Africa. The majority of people accorded refugee status came from Burundi, Democratic Republic of Congo, and Somalia. South Africa also hosts thousands of other migrants who remain undocumented.

Grateful fateful sunshine rain

Grateful Fateful Sunshine Rain is a permanent public artwork commissioned by Aria Property Group through a competitive process for the Austin apartment building in South Brisbane. Artist Statement: Residents of Brisbane have a complex relationship with weather. As the capital of the Sunshine State, weather is an integral part of the city’s cultural identity. Weather deeply affects the mood of the city – from the excitement of scantily clad partygoers on balmy December evenings and late February’s lethargy, to the deepening anxiety that emerges after 100 days of rain (or more commonly, 100 days without rain). With a brief nod to the city’s – now decommissioned – iconic MCL weather beacon, Grateful Fateful Sunshine Rain taps into this aspect of Brisbane’s psyche with poetic, illuminated visualisations of real-time weather forecasts issued by the Bureau of Meteorology. Each evening, the artwork downloads tomorrow’s forecast from the Bureau of Meteorology website. Data including, current local temperature, humidity, wind speed & direction, precipitation (rain, hail etc), are used to generate a lighting display that conveys how tomorrow will feel. The artwork’s background colour indicates the expected temperature – from cold blues through mild pastel pinks and blues to bright hot oranges and reds. White fluffy clouds roll across the artwork if cloud is predicted. The density of these clouds indicates the level of cover whilst movement indicates expected wind speed and direction. If rain is predicted, sparkles of white light will appear on top of whichever background colour is chosen for the next day’s temperature. Sparkles appear constantly before wet, drizzly days, and intermittently if scattered showers are predicted. Intermittent, but more intense sparkles appear before rain storms or thunderstorms. Research Contribution: The work has made contributions to the field in the way it rethinks approaches to the conceptualization, design and realization of illuminated urban media. This has led to new theorizations of urban media, which consider light and illumination can be used to convey meaningful data. The research has produced new methods for controlling illumination systems using tools and techniques typically employed in computation arts. It has also develop methods and processes for the design and production of illuminated urban media architectures that are connected to real time data sources, and do which not follow the assumed logics of screen based media and displays.

The Wuzhen Theatre, Zhejiang, China: An architectural review

Designed by Taiwanese architect Kris Yao of Artech Architects for the Wuzhen Tourism Development Company, the Wuzhen Theatre is situated in Wuzhen, a historic scenic water town located in east China's Zhejiang Province. This theatre stands as an architectural beacon for Wuzhen, and is to be considered an important place on the global atlas of theatre and China's epicentre of theatre, culture and arts.

Liberty relighting, 20 years later

Recognized around the world as a powerful beacon for freedom, hope, and opportunity, the Statue of Liberty's light is not just metaphorical: her dramatic illumination is a perfect example of American ingenuity and engineering. Since the statue's installation in New York Harbor in 1886, lighting engineers and designers had struggled to illuminate the 150-foot copper-clad monument in a manner becoming an American icon. It took the thoughtful and creative approach of Howard Brandston-a legend in his own right-to solve this lighting challenge. In 1984, the designer was asked to give the statue a much-needed lighting makeover in preparation for its centennial. In order to avoid the shortcomings of previous attempts, he studied the monument from every angle and in all lighting conditions, discovering that it looked best in the light of dawn. Brandston determined that he would need 'one lamp to mimic the morning sun and one lamp to mimic the morning sky.' Learning that no existing lamps could simulate these conditions, Brandston partnered with General Electric to develop two new metal halide products. With only a short time for R&D, a team of engineers at GE's Nela Park laboratories assembled a 'top secret' testing room dedicated to the Statue of Liberty project. After nearly two years of work to perfect the new lamps, the 'dawn's early light' effect was finally achieved just days before the centennial celebrations were to take place in 1986. 'It was truly a labor of love,' he recalls.