Synthetic Turfgrass and the Nine Principles of Florida-Friendly Landscaping™

EDIS ◽  
2021 ◽  
Vol 2021 (6) ◽  
Author(s):  
Jason Kruse ◽  
Bryan Unruh ◽  
Jennifer Marvin ◽  
Tom Wichman ◽  
Lynn Barber ◽  
...  

Synthetic turf is a manufactured product that utilizes synthetic fibers that mimic the aesthetic look of natural grass. While designed to imitate the look of natural turf, synthetic turf does not provide the ecosystem benefits of a natural turf system. This publication examines the properties of synthetic turf in relation to each of FFL’s nine principles. A new publication of the UF/IFAS Environmental Horticulture Department; 4 pages.https://edis.ifas.ufl.edu/ep612

1999 ◽  
Vol 39 (9) ◽  
pp. 129-136 ◽  
Author(s):  
Ana Deletic

Sediment transport was studied in non-submerged overland flow over grass in a laboratory. Artificial turf (astro-turf) was used to simulate natural grass and no infiltration was allowed at this stage of the investigation. Experiments were conducted for different grass densities, flow rates, sediments inflows, and sediment types. It was observed that concentration of sediment in runoff decreases exponentially with the distance and reaches asymptotically a constant value. Measured sediment deposition was compered with the results calculated by the Kentucky model (tollner et al., 1976). The model over-predicted grossly the trapping efficiency of all particle fractions, but it is unreliable particularly for small particles. A new simplified relationship was established between particle fall number, Nf, and percentage of particles trapped in the grass. The relationship should be verified on natural grass before it is used in practice. Finally, infiltration of water and particles should be studied on natural turf, as well as, influence of grass blades bending, before the complex model of sediment behaviour in grass is established.


2006 ◽  
Vol 38 (Supplement) ◽  
pp. S24-S25 ◽  
Author(s):  
Kevin R. Ford ◽  
Neil A. Manson ◽  
Blake Evans ◽  
Gregory D. Myer ◽  
Richelle C. Gwin ◽  
...  

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 89-105 ◽  
Author(s):  
Tamara Tomic-Vajagic

This article focuses on the aesthetic implications innate to the introduction of tight-fitting rehearsal-style costume, a leotard, to the dance studio and stage. In ballet, the pared-down and subtle design of such costumes is found in many dance works from the twentieth century until today, including the ‘black and white ballets’ by George Balanchine, or ‘ballet-ballets’ by William Forsythe. These works are also considered plotless and seem to deter the viewer from the theatrical conventions of plot lines, characters and narratives. This article is concerned with that which is highlighted in such works: the dancer’s moving body and the leotard as a costume that particularly refers to the performer at work and in own cultural setting. The look into the relationship between the dancers and leotard as a costume type communicates important information about the performer’s work and their development of roles in such repertoire. The closer consideration of this relationship in reference to the aesthetic of practice-clothes ballet also discloses plenty about the artistic potentials in such choreography and performance, revealing how the use of leotard as a stage costume has both furthered and challenged some of ballet’s traditions and cultural conventions.


Author(s):  
Peggy D. Bennett

Sometimes we become so focused on the turmoil, we forget to see the charm that surrounds us. Consumed by our to- do lists and home obligations, we forget to look, listen, and feel. Plenty of obstacles can devitalize teachers. And sometimes we can get in the habit of stewing in our malaise. So we must be intentional about looking for and absorbing the charming sights, sounds, and feelings that surround us. Like vitamins for the soul, moments of charm can boost and revive. The simplest things can bring us back to the roots and bounty of our lives: The giggle of a child. The good- natured sparring of teenagers. The fearlessly perched raven watching traffic from a stop sign. The pattern of a spiderweb and the brilliance of the spider that wove it. The easy laughter of friends. The look of wonder when a student “gets it.” The beauty of young musicians as they personify music. The brisk gait of an elderly neighbor. The pure joy of singing with abandon. The first sip of your morn­ing coffee. The scent of a book. The frenzied cheers of parents at a sporting event. The embracing hug of a loved one. The luxury of living without pain. The buzz of energy when school begins and ends. The allure of these charming moments can be smothered by our intense focus on work and troubles. Yes, these simple moments of charm are always there for us . . . when we notice them. We can inhale their whimsy and encourage ourselves to smile, laugh, and be glad for the moment. Seeing, hearing, and appreciating simple things returns the aesthetic to our anesthetic worlds. When we look for and feel those moments of charm, we can be grateful. Those moments remind us we are alive in the world.


2018 ◽  
Vol 47 (1) ◽  
pp. 189-196 ◽  
Author(s):  
Christina D. Mack ◽  
Elliott B. Hershman ◽  
Robert B. Anderson ◽  
Michael J. Coughlin ◽  
Andrew S. McNitt ◽  
...  

Background: Biomechanical studies have shown that synthetic turf surfaces do not release cleats as readily as natural turf, and it has been hypothesized that concomitant increased loading on the foot contributes to the incidence of lower body injuries. This study evaluates this hypothesis from an epidemiologic perspective, examining whether the lower extremity injury rate in National Football League (NFL) games is greater on contemporary synthetic turfs as compared with natural surfaces. Hypothesis: Incidence of lower body injury is higher on synthetic turf than on natural turf among elite NFL athletes playing on modern-generation surfaces. Study Design: Cohort study; Level of evidence, 3. Methods: Lower extremity injuries reported during 2012-2016 regular season games were included, with all 32 NFL teams reporting injuries under mandated, consistent data collection guidelines. Poisson models were used to construct crude and adjusted incidence rate ratios (IRRs) to estimate the influence of surface type on lower body injury groupings (all lower extremity, knee, ankle/foot) for any injury reported as causing a player to miss football participation as well as injuries resulting in ≥8 days missed. A secondary analysis was performed on noncontact/surface contact injuries. Results: Play on synthetic turf resulted in a 16% increase in lower extremity injuries per play than that on natural turf (IRR, 1.16; 95% CI, 1.10-1.23). This association between synthetic turf and injury remained when injuries were restricted to those that resulted in ≥8 days missed, as well as when categorizations were narrowed to focus on distal injuries anatomically closer to the playing surface (knee, ankle/foot). The higher rate of injury on synthetic turf was notably stronger when injuries were restricted to noncontact/surface contact injuries (IRRs, 1.20-2.03; all statistically significant). Conclusion: These results support the biomechanical mechanism hypothesized and add confidence to the conclusion that synthetic turf surfaces have a causal impact on lower extremity injury.


2006 ◽  
Vol 9 (6) ◽  
pp. 433-440 ◽  
Author(s):  
Kevin R. Ford ◽  
Neil A. Manson ◽  
Blake J. Evans ◽  
Gregory D. Myer ◽  
Richelle C. Gwin ◽  
...  

Author(s):  
A. Litvin
Keyword(s):  
The Past ◽  

This chapter presents some excerpts from A. Litvin's Yidishe neshomes (Jewish Souls). The first deals with the Jew and the ‘look-box’. There is a very large portion of the Jewish masses for whom the entire world of aesthetics, beauty, and art is unknown. The Jewish folk artist comes to their help. Still today, as in the past, the aesthetic needs of the very poorest are met by the Jew with the ‘look-box’. The look-box is simultaneously a theatre and a museum; it also teaches history, geography, and other important things. Meanwhile, the second excerpt concerns the blind Jewish musicians, who are nearly all former artisans.


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