visual conditions
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2022 ◽  
Vol 63 (1) ◽  
pp. 82
Author(s):  
Eun Jin Son ◽  
Ji Hyung Kim ◽  
Hye Eun Noh ◽  
Inon Kim ◽  
Joo Ae Lim ◽  
...  

2021 ◽  
Vol 2069 (1) ◽  
pp. 012155
Author(s):  
C Sarikaya ◽  
C Berger ◽  
U Pont ◽  
A Mahdavi

Abstract The design of the lighting systems in conventional office environments is typically supported by domain specialists. However, the same is not true of home offices, whose arrangements frequently result from ad hoc and do-it-yourself activities. This circumstance may have ramifications for occupants’ health, comfort, and productivity, given the recent significant increase in home officing prevalence. In this context, the present contribution reports on a detailed case study of lighting conditions in a number of home office settings. Thereby, nine home offices (located in the city of Izmir, Turkey) were investigated. The home offices serve a variety of professionals. The study involved measurements under daylight and electrical light conditions. Moreover, simulations were conducted to explore improvement opportunities. The investigation results point to a highly uneven level of performance across the selected cases. The visual conditions were found to be generally better under daylighting conditions, despite some instances of excessive illuminance. Electrical lighting analysis results reveal in many cases insufficient light levels due, in part, to unsuitable types and positions of the luminaires. Simulation-based optimization exercises suggest that the visual conditions in the studied home offices can be considerably improved via changes in the number and types of the luminaires.


2021 ◽  
Author(s):  
Moritz Torchalla ◽  
Marius Schnaubelt ◽  
Kevin Daun ◽  
Oskar von Stryk

Author(s):  
Barbara Szybinska Matusiak ◽  
Justyna Martyniuk-Peczek ◽  
Sergio Sibilio ◽  
Claudia Naves ◽  
David Amorim ◽  
...  

The consumption of energy for lighting in buildings depends very much on the way people interact with the build environment. In this study the following building types were studied, office, school, university, commercial and industry buildings. For each building type typical user groups were identified. Then, Personas have been created for each group. As opposed to describing users with numbers and statistics, a single Persona reflects a group and is presented with a narrative. The Persona has a name, a family and living conditions that are representative for the group, also her/his values and interests are not uncommon. The Personas “typical day” includes a time schedule typical for the group. Visual conditions are common for the group, but some specific challenges connected to the visual conditions that may occur in the group are also mentioned.


2021 ◽  
Vol 12 ◽  
Author(s):  
Shen Li ◽  
Renee Timmers ◽  
Weijun Wang

The perceptual experiment reported in this article explored whether the communication of five pairs of timbral intentions (bright/dark, heavy/light, round/sharp, tense/relaxed, and dry/velvety) between pianists and listeners is reliable and the extent to which performers' gestures provide visual cues that influence the perceived timbre. Three pianists played three musical excerpts with 10 different timbral intentions (3 × 10 = 30 music stimuli) and 21 piano students were asked to rate perceived timbral qualities on both unipolar Likert scales and non-verbal sensory scales (shape, size, and brightness) under three modes (vision-alone, audio-alone, and audio-visual). The results revealed that nine of the timbral intentions were reliably communicated between the pianists and the listeners, except for the dark timbre. The communication of tense and relaxed timbres was improved by the visual conditions regardless of who is performing; for the rest, we found the individuality in each pianist's preference for using visual cues. The results also revealed a strong cross-modal association between timbre and shape. This study implies that the communication of piano timbre is not based on acoustic cues alone but relates to a shared understanding of sensorimotor experiences between the performers and the listeners.


2021 ◽  
Author(s):  
Lucia Irazábal-González ◽  
Daniel Shane Wright ◽  
Martine Maan

AbstractIn many organisms, sensory abilities develop and evolve according to the changing demands of navigating, foraging and communication across different environments and life stages. Teleost fish inhabit heterogeneous light environments and exhibit a large diversity in visual system properties among species. Cichlids are a classic example of this diversity, generated by different tuning mechanisms that involve both genetic factors and phenotypic plasticity. Here, we document the developmental progression of visual pigment gene expression in Lake Victoria cichlids and test if these patterns are influenced by variation in light conditions. We reared two sister species of Pundamilia to adulthood in two distinct visual conditions that resemble the two light environments that they naturally inhabit in Lake Victoria. We also included interspecific first-generation hybrids. We then quantified (using RT-qPCR) the expression of the four Pundamilia opsins (SWS2B, SWS2A, RH2A and LWS) at 14 time points. We find that opsin expression profiles progress from shorter-wavelength sensitive opsins to longer-wavelength sensitive opsins with increasing age, in both species and their hybrids. The developmental trajectories of opsin expression also responded plastically to the visual conditions. Finally, we found subtle differences between reciprocal hybrids, possibly indicating parental effects and warranting further investigation. Developmental and environmental plasticity in opsin expression may provide an important stepping stone in the evolution of cichlid visual system diversity.Research highlightsIn Lake Victoria cichlid fish, expression levels of opsin genes (encoding visual pigments) differ between developmental stages and between experimental light treatments. This plasticity may contribute to the evolution of cichlid visual system diversity.


2021 ◽  
Vol Publish Ahead of Print ◽  
Author(s):  
Khader A. Almhdawi ◽  
Munsif Fayiz Alsalem ◽  
Donia Obeidat ◽  
Laith T. Al-Khateeb ◽  
Mohammad Nayef Al Aqarbah ◽  
...  
Keyword(s):  

2021 ◽  
Vol 4 (3) ◽  
Author(s):  
Florian Sauer ◽  
Jonathan Schoenenberg

AbstractVisual conditions around Palaeolithic sites determine how the landscape was perceived by prehistoric hunter-gatherers. By placing the site in different landscapes, different visual foci were encoded in the locational characteristics of the different places. For the Early Ahmarian sites in the Levant, it can be shown that visual characteristics differ significantly with the combination of large ungulate prey exploited at the respective location. A Higuchi viewshed approach was combined with total viewsheds of the study area to introduce a human scale into the viewshed modelling. While diverse prey locations in the Mediterranean biome provide an overview over the landscape, specialised prey locations in the steppe biomes of the Irano-Turanian and Saharo-Arabian biome have their focus on the immediate vicinity of the sites. This correlates with the placement of sites in the context of highly humid environments which can be best exemplified with the site of Al-Ansab 1 in the escarpments of the Jordanian Rift Valley. Here, the environmental conditions acted as a magnet, focusing gazelles on the migration between different environments.


2021 ◽  
Author(s):  
Lyuba Encheve

The present paper studies consumer digital photography as a cultural and social phenomenon contributing to the formation of contemporary identity. By examining the processes of production, characteristic style of representation and practical uses of both digital and analogue photographs, the study attempts to establish the qualitative distinctions between traditional and present-day photographic media and evaluate their effectiveness as modes of self-representation. Specific issues discussed include: the depreciation of the photograph as a commemorative object; intervention of digital photography into life experiences; digital photography as common behaviour or interactive ritual; and photographic theatricality as identity forming process.


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