Analysis of Pattern Foliage Plant Preference Change and Color Harmony - Focused on the Recently Distributed Pattern Foliage Plant

2021 ◽  
Vol 35 (1) ◽  
pp. 88-97
Author(s):  
Yoo Sun Kim ◽  
Ji Hyeon Seo
Author(s):  
Ayano KIKUCHI ◽  
Keita HIRAI ◽  
Toshiya NAKAGUCHI ◽  
Norimichi TSUMURA ◽  
Yoichi MIYAKE

2011 ◽  
Vol 21 (2) ◽  
pp. 176-180 ◽  
Author(s):  
P. Chris Wilson ◽  
Joseph P. Albano

Nitrate-nitrogen (N) losses in surface drainage and runoff water from ornamental plant production areas can be considerable. In N-limited watersheds, discharge of N from production areas can have negative impacts on nontarget aquatic systems. This study monitored nitrate-N concentrations in production area drainage water originating from a foliage plant production area. Concentrations in drainage water were monitored during the transition from 100% reliance on fertigation using urea and nitrate-based soluble formulations (SF) to a nitrate-based controlled-release formulation (CRF). During the SF use period, nitrate-N concentrations ranged from 0.5 to 322.0 mg·L−1 with a median concentration of 31.2 mg·L−1. Conversely, nitrate-N concentrations during the controlled-release fertilization program ranged from 0 to 147.9 mg·L−1 with a median concentration of 0.9 mg·L−1. This project demonstrates that nitrate-N concentrations in drainage water during the CRF program were reduced by 94% to 97% at the 10th through 95th percentiles relative to the SF fertilization program. Nitrate-N concentrations in drainage water from foliage plant production areas can be reduced by using CRF fertilizer formulations relative to SF formulations/fertigation. Similar results should be expected for other similar containerized crops. Managers located within N-limited watersheds facing N water quality regulations should consider the use of CRF fertilizer formulations as a potential tool (in addition to appropriate application rates and irrigation management) for reducing production impacts on water quality.


2021 ◽  
Vol 22 (2) ◽  
pp. 85-110
Author(s):  
Yuval Feldman ◽  
Yotam Kaplan

Abstract Law and economics scholarship suggests that, in appropriate cases, the law can improve people’s behavior by changing their preferences. For example, the law can curb discriminatory hiring practices by providing employers with information that might change their discriminatory preference. Supposedly, if employers no longer prefer one class of employees to another, they will simply stop discriminating, with no need for further legal intervention. The current Article aims to add some depth to this familiar analysis by introducing the insights of behavioral ethics into the law and economics literature on preference change. Behavioral ethics research shows that wrongdoing often originates from semi-deliberative or non-deliberative cognitive processes. These findings suggest that the process of preference change through the use of the law is markedly more complicated and nuanced than previously appreciated. For instance, even if an employer’s explicit discriminatory stance is changed, and the employer no longer consciously prefers one class of employees over another, discriminatory behavior might persist if it originates from semi-conscious, habitual, or non-deliberative decision-making mechanisms. Therefore, actual change in behavior might necessitate a close engagement with people’s level of moral awareness. We discuss the institutional and normative implications of these insights and evaluate their significance for the attempt to improve preferences through the different functions of the legal system.


Author(s):  
Nikolai Aleksandrovich Kormin

This article reveals the philosophical grounds of the aesthetics of color, analyzes the correlation between the structures of philosophical and artistic comprehension of coloristics. Interaction of philosophy and art as the forms of cultural identity manifests in the sphere of intellectual understanding of the perception of color and its semantics in painting. In the hidden logic of contemplation of color, can be traced the outlines of the problematic of transcendental and intelligible in art conditions for the aesthetic approach towards chromatic space. Color creates the visual beauty, thus it is apparent why the aesthetic knowledge seeks to clarify to which extent we can assess the experience of color – the result of coloration of light. The art itself creates the so-called color ontology of the world. First the first time, the beauty of color and its perception are analyzed in the context of correlation between art and transcendental traditions of philosophizing  (Descartes, Kant, early Husserl –  his work “The Philosophy of Arithmetic”) that allows matching the key to a new interpretation of the tradition of color. Determination of its meaning requires comparing history and structure of the philosophical and artistic metaphor of color. It is demonstrated that the phenomenon of color is of crucial significance for the aesthetics, as it implies not only comprehension of the problem of correlation between nature and art, but also cognition of the beauty of color, its universal value for all forms of art, profound structures of perception of coloristic phenomena, picturesque unveiling of the color harmony of the painting.


PLoS ONE ◽  
2020 ◽  
Vol 15 (12) ◽  
pp. e0244110
Author(s):  
Jonathan Charles Flavell ◽  
Bryony McKean

Recently, Flavell et al. (2019) demonstrated that an object’s motion fluency (how smoothly and predictably it moves) influences liking of the object itself. Though the authors demonstrated learning of object-motion associations, participants only preferred fluently associated objects over disfluently associated objects when ratings followed a moving presentation but not a stationary presentation. In the presented experiment, we tested the possibility that this apparent failure of associative learning / evaluative conditioning was due to stimulus choice. To do so we replicate part of the original work but change the ‘naturally stationary’ household object stimuli with winged insects which move in a similar way to the original motions. Though these more ecologically valid stimuli should have facilitated object to motion associations, we again found that preference effects were only apparent following moving presentations. These results confirm the potential of motion fluency for ‘in the moment’ preference change, and they demonstrate a critical boundary condition that should be considered when attempting to generalise fluency effects across contexts such as in advertising or behavioural interventions.


Author(s):  
Oleksandr Brayko

The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.


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