scholarly journals ZOOMORPHIC IMAGES IN PREHISTORIC CAVE PAINTING OF KAIN HITAM CAVE (PAINTED CAVE) NIAH, SARAWAK

2020 ◽  
Vol 3 (8) ◽  
pp. 12-19
Author(s):  
Junior Kimwah ◽  
Ismail Ibrahim ◽  
Baharudin Mohd Arus
Keyword(s):  
Plant Material ◽  
Document Images ◽  
Niah Cave ◽  
Cave Wall ◽  
Animal Images ◽  
Cave Painting

This article debates the zoomorphic images or images of animals that have been produced on prehistoric cave walls. Kain Hitam Cave or known as Painted Cave, located within the Niah Cave complex, is a cave that believed have been inhabited by Neolithic peoples. Inside the cave, there were a variety of artifacts including boat-shaped coffins, jewelry made of shells, bones, and ceramics. Inside the cave, there is also a cave painting that is produced on the wall using hematite material mixed with a mixture of plant material. The main focus of this article is to record all the animal images found inside the cave wall. This research also attempted to document images digitally. The researchers produced a re-image using Adobe Photoshop's digital software. The results of this research are to collect a more organized and detailed collection of images.

Upper Palaeolithic Installation Art: Topography, Distortion, Animation and Participation in the Production and Experience of Cantabrian Cave Art

2020 ◽  
Vol 30 (4) ◽  
pp. 665-688
Author(s):  
Takashi Sakamoto ◽  
Paul Pettitt ◽  
Roberto Ontañon-Peredo
Keyword(s):  
Physical Nature ◽  
3D Modelling ◽  
Upper Palaeolithic ◽  
Late Upper Palaeolithic ◽  
Quantitative Manner ◽  
Cave Wall ◽  
Animal Images ◽  
The Relationship ◽  
Viewing Position ◽  
Cave Art

The physical nature of cave walls and its impact on Upper Palaeolithic image making and viewing has frequently been invoked in explanations about the function of cave art. The morphological features (convexities, concavities, cracks and ridges) are frequently incorporated into the representations of prey animals that dominate the art, and several studies have attempted to document the relationship between the cave wall and the art in a quantitative manner. One of the effects of such incorporation is that undulating walls will distort the appearance of images as viewers change their viewing position. Was this distortion deliberate or accidental? Until now, the phenomenon has not been investigated quantitatively. We address this here, analysing 54 Late Upper Palaeolithic animal images deriving from three Cantabrian caves, Covalanas, El Pendo and El Castillo. We introduce a novel use for photogrammetry and 3D modelling through documenting the morphology of these caves’ walls and establishing the specific relationship between the walls and the art created on them. Our observations suggest that Palaeolithic artists deliberately placed images on very specific topographies. The restricted nature of these choice decisions and the fact that the resulting distortions could have been avoided but were not suggest that the interaction between viewer, art and wall was integral to the way cave art functioned.

Big Shadows on the Cave Wall

1994 ◽  
Vol 39 (4) ◽  
pp. 385-386
Author(s):  
Peter Crabb
Keyword(s):  
Cave Wall

BIOEFFICACY OF PLANT EXTRACTS AGAINST MUSTARD APHID AND THEIR NATURAL ENEMIES

2019 ◽  
Vol 25 (1) ◽  
Author(s):  
NARENDRA SINGH ◽  
N. S. BHADAURIA ◽  
PRADYUMN SINGH
Keyword(s):  
Plant Extracts ◽  
Natural Enemies ◽  
Untreated Control ◽  
Plant Material ◽  
Aphid Population ◽  
College Of Agriculture ◽  
Mustard Aphid ◽  
Plant Materials

The Bio-efficacy of eleven plant extracts namely viz.Neem Kernel; Rhizome of Ginger; Leaves of Datura, Gajarghas, Harsingar, Oak and Latjeera; Bulb of Garlic and Onion; Flowers of Chrysenthemum and Fruits of Chilli in the concentration of 5 percent and imidacloprid @ 40 g ai/ha was tested against mustard aphid, Lipaphiserysimi and their effect on D. rapae and Coccinellid beetle were tested in the Department of Entomology, College of Agriculture, Gwalior (M.P.). All the tested plant materials and imidacloprid @ 40 g ai/ha were effective significanty in reducing the aphid population over control.The aphid population in treated plots ranged from 7.2 to 40.0 as against 85.4 aphid/twig in untreated control. Among the plant material, three sprays of Neem Kernel were found most effective followed by three sprays of chilli fruits.All the plant extracts were found significantly safer to D. rapae and coccinellid bettle in comparision to insecticide (imidacloprid).

EVALUATION OF CLOVERS ON SANDY COASTAL SOIL

1977 ◽  
pp. 130-138 ◽  
Author(s):  
W.M. Williams ◽  
L.B. Anderson ◽  
B.M. Cooper
Keyword(s):  
New Zealand ◽  
Drought Stress ◽  
Sandy Soil ◽  
White Clover ◽  
Plant Material ◽  
Red Clover ◽  
Early Spring ◽  
Commercial Cultivars ◽  
Mediterranean Origin ◽  
Winter Annual

In evaluations of clover performances on summer-dry Himatangi sandy soil, it was found that none could match lucerne over summer. Emphasis was therefore placed on production in autumn-winter- early spring when lucerne growth was slow. Evaluations of some winter annual clover species suggested that Trifolium spumosum, T. pallidum, T. resupinatum, and T. vesiculosum would justify further investigation, along with T. subterraneum which is already used in pastures on this soil type. Among the perennial clover species, Kenya white clover (7'. semipilosum) showed outstanding recovery from drought and was the only species to produce significantly in autumn. However, it failed to grow in winter-early spring. Within red clover, materials of New Zealand x Moroccan origin substantially outproduced the commercial cultivars. Within white clover, material from Israel, Italy and Lebanon, as well as progeny of a selected New Zealand plant, showed more rapid recovery from drought stress and subsequently better winter growth than New Zealand commercial material ('Grasslands Huia'). The wider use of plant material of Mediterranean origin and of plants collected in New Zealand dryland pastures is advocated in development of clover cultivars for New Zealand dryland situations.

Consumption of plant material by perch (Perca fluviatilis)

2016 ◽  
Vol 65 (2) ◽  
pp. 95-97 ◽  
Author(s):  
Tomáš Zapletal ◽  
Zdeněk Adámek ◽  
Pavel Jurajda ◽  
Kevin Roche ◽  
Lucie Všetičková ◽  
...  
Keyword(s):  
Plant Material ◽  
Perca Fluviatilis ◽  
Perch Perca Fluviatilis

Using Convolutional Neural Networks to measure the contribution of visual features to the representation of object animacy in the brain

2019 ◽  
Author(s):  
Sushrut Thorat
Keyword(s):  
Neural Networks ◽  
Convolutional Neural Networks ◽  
Temporal Cortex ◽  
Large Degree ◽  
Visual Features ◽  
Visual Feature ◽  
Visual Stream ◽  
Feature Information ◽  
Ventral Visual Stream ◽  
Animal Images

A mediolateral gradation in neural responses for images spanning animals to artificial objects is observed in the ventral temporal cortex (VTC). Which information streams drive this organisation is an ongoing debate. Recently, in Proklova et al. (2016), the visual shape and category (“animacy”) dimensions in a set of stimuli were dissociated using a behavioural measure of visual feature information. fMRI responses revealed a neural cluster (extra-visual animacy cluster - xVAC) which encoded category information unexplained by visual feature information, suggesting extra-visual contributions to the organisation in the ventral visual stream. We reassess these findings using Convolutional Neural Networks (CNNs) as models for the ventral visual stream. The visual features developed in the CNN layers can categorise the shape-matched stimuli from Proklova et al. (2016) in contrast to the behavioural measures used in the study. The category organisations in xVAC and VTC are explained to a large degree by the CNN visual feature differences, casting doubt over the suggestion that visual feature differences cannot account for the animacy organisation. To inform the debate further, we designed a set of stimuli with animal images to dissociate the animacy organisation driven by the CNN visual features from the degree of familiarity and agency (thoughtfulness and feelings). Preliminary results from a new fMRI experiment designed to understand the contribution of these non-visual features are presented.

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