The Development of Digital Image Colorimetric Quantitative Analysis of Multi-Explosives Using Polymer Gel Sensors

Polymer gel sensors on 96-well plates were successfully used to detect four different multi-explosives, including 2,4,6-trinitrotoluene (TNT), 2,4-dinitrotoluene (DNT), nitrite, and perchlorate. The products of reactions between the explosives and the polymer gel sensors were digitally captured, and the images were analyzed by a developed Red–Green–Blue (RGB) analyzer program on a notebook computer. RGB color analysis provided the basic color data of the reaction products for the quantification of the explosives. The results provided good linear range, sensitivity, limit of detection, limit of quantitation, specificity, interference tolerance, and recovery. The method demonstrated great potential to detect explosives by colorimetric analysis of digital images of samples on 96-well plates. It is possible to apply the proposed method for quantitative on-site field screening of multi-explosives.

Culture Sustainability through Co-Curricular Learning Program: Learning Batik Cross Review

As the application of colored designs on cloth using wax in certain areas in decorating items of clothing, Batik is made through several steps that come from drawing the pattern on the paper followed by imitating the pattern on fabric, which is called ngeblat. The next phase is followed by drawing the pattern using wax, which is called mencanting. The subsequent step is the process of coloring the pattern of Batik, called pencoletan, and then subsequently followed by color-locking on Batik through covering the Batik with wax, namely basic color dyeing. This process is called menembok. The final step is making the panting process through washing, called nglorod. This process should attempt to maintain Batik with cultural sustainability, as its process contains several values, such as discipline, creativity, independence, patriotism, responsibility, cooperation, and environmental care. Based on this background, this paper attempts to examine the Batik’s cultural design and to explore its sustainability through co-curricular school program activities. This study focuses on examining the potential in the process of the application of colored design through elaborating the supporting and interfering factors in a co-curricular learning program of Batik. The analysis was made through several points, namely a co-curricular learning program of Batik for enhancing cultural sustainability, a co-curricular learning program of Batik for enhancing national culture and community responsibility, and co-curricular learning of Batik for sustainability and environmental accountability.

Intergenerational differences in Russian color naming in the globalized era: linguistic analysis

The present study is an apparent-time analysis of color terms in Russian native speakers (N = 1927), whose age varied between 16 and 98 years. Stratified sampling was employed with the following age groups: 16–19, 20–29, and so on, with the oldest group of 70 years and over. Color names were elicited in a web-based psycholinguistic experiment (http://colournaming.com). Participants labeled color samples (N = 606) using an unconstrained color-naming method. Color vocabulary of each age group was estimated using multiple linguistic measures: diversity index; frequency of occurrences of 12 Russian basic color terms (BCTs) and of most frequent non-BCTs; color-naming pattern. Our findings show intergenerational differences in Russian color-term vocabulary, color-naming patterns, and object referents. The CT diversity (measured by the Margalef index) progressively increments with speakers’ juniority; the lexical refinement is manifested by the increasing variety of BCT modifiers and growing use of non-BCTs, both traditional and novel. Furthermore, the most frequent Russian non-BCTs sirenevyj “lilac”, salatovyj “lettuce‐colored”, and birûzovyj “turquoise” appear to be the emerging BCTs. The greatest diversity and richness of CT inventory is observed in Russian speakers aged 20–59 years, i.e., those who constitute the active workforce and are enthusiastic consumers. In comparison, speakers of 60 and over manifest less diverse color inventory and greater prevalence of (modified) BCTs. The two youngest groups (16–29 years) are linguistic innovators: their color vocabulary includes abundant recent loanwords, predominantly from English and, not infrequently, CTs as nouns rather than adjectives. Moreover, Generation Z (16–19 years) tend to offer highly specific or idiosyncratic color descriptors that serve expressive rather than informative function. The apprehended dynamics of color naming in apparent time reflects intergenerational differences as such, but even more so dramatic changes of sociocultural reality in the post-Soviet era, whereby Russian speakers, in particular under 60 years, were/are greatly impacted by globalization of trade: new market product arrivals resulted in adoption of novel and elaboration of traditional CTs for efficient communication about perceived color

Cultural Implications in Basic Color Terms “Black” and “White” in Chinese and English

Color is a kind of human perception towards the objective world. In intercultural communications, the English people and the Chinese people are different in many aspects, and their perceptions of various color symbols are not the same. Color words in English and Chinese languages have rich connotations and play a very important role in both cultural manifestations and ethnic customs. This article discusses the Chinese and English symbolic meanings of the two color words, “black” and “white” in Chinese and English cultures. By comparing and contrasting these two words’ differences in the two cultures, we can deepen understanding of the two cultures, overcoming the conflicts and promoting Chinese and English cross-culture exchanges and communications.

Lexical Color Categories

Color is a continuous variable, and humans can distinguish more than a million colors, yet world color lexicons contain no more than a dozen basic color terms. It has been understood for 160 years that the number of color terms in a lexicon varies greatly across languages, yet the lexical color categories defined by these terms are similar worldwide. Starting with the seminal study by Berlin and Kay, this review considers how and why this is so. Evidence from psychological, linguistic, and computational studies has advanced our understanding of how color categories came into being, how they contribute to our shared understanding of color, and how the resultant categories influence color perception and cognition. A key insight from the last 50 years of research is how human perception and the need for communication within a society worked together to create color lexicons that are somewhat diverse, yet show striking regularities worldwide.

Historical pigments, dyes and binders

Artistic creation has accompanied the development of mankind since the beginning. Color as the appearance of things perceptible with the eye is fundamental for the creative process. For the longest time in the past, the use of color was characterized by often very complex manufacturing processes that required the greatest inventiveness and complex knowledge of comprehensive interrelationships from the user. Existing knowledge was passed on and used again and again, but the basic color materials were always further developed and sensitively adapted to the differentiated areas of application and needs. Today, paint coats and, in some cases, extensive collections of recipes provide us with evidence and ideas about these processes in previous times. In this context, it is important to understand that paint recipes were treated like valuables and secrets in the past. The present overview offers insights into the world of historical pigments, dyes and binders. However, a complete overview is not possible at this point due to the diversity of sources, the individual work processes and the different application requirements.

What is the “opposite” of “blue”? The language of colour wheels

© Society for Imaging Science and Technology 2019 A color wheel is a tool for ordering and understanding hue. Different color wheels differ in the spacing of the colors around the wheel. The opponent-color theory, Munsell's color system, the standard printer's primaries, the artist's primaries, and Newton's rainbow all present different variations of the color wheel. I show that some of this variation is owing to imprecise use of language, based on Berlin and Kay's theory of basic color names. I also show that the artist's color wheel is an outlier that does not match well to the technical color wheels because its principal colors are so strongly connected to the basic color names.

What is the “opposite” of “blue”? The language of colour wheels

© Society for Imaging Science and Technology 2019 A color wheel is a tool for ordering and understanding hue. Different color wheels differ in the spacing of the colors around the wheel. The opponent-color theory, Munsell's color system, the standard printer's primaries, the artist's primaries, and Newton's rainbow all present different variations of the color wheel. I show that some of this variation is owing to imprecise use of language, based on Berlin and Kay's theory of basic color names. I also show that the artist's color wheel is an outlier that does not match well to the technical color wheels because its principal colors are so strongly connected to the basic color names.

Influence of vocational education on color vocabulary and color naming patterns

Introduction. The professional education received and the professional activity carried out have a tangible impact on many spheres of human life. A professional environment influences a person’s consciousness, changes his/her conceptual thinking and lexical content of everyday communication. The purpose of the research is to test whether growing color competence affects the size, variability, and quality of the color vocabulary of native Russian speakers. Materials and methods. The data were collected in an online experiment involving 1737 native Russian speakers with different professional backgrounds and levels of color competence: 1103 participants were not professionally involved with color (hereafter referred to as non-professionals); 509 were students, in the process of professionally mastering the theoretical foundations of color science and colorism, and had basic color competence (hereafter referred to as novice professionals); 125 participants were practicing colorists and color consultants, designers and architects (hereafter referred to as experienced professionals). Results. The research showed that the growth of professional experience and coloristic competence noticeably affects the color vocabulary and color naming patterns. Compared to non-professionals, novice and experienced professionals use more complex color naming patterns and a greater variety of chromatic and achromatic modifiers (the Shannon diversity index increases from 6.55 to 7.52 and 7.12 respectively), but fewer basic color names (they account for 47% of non-professional, 43% of novice and 38% of experienced professionals’ vocabulary). The influence of professional education and professional culture is most pronounced in the choice of referent objects for describing connotations. 132 of the 320 referent objects proposed by non-professionals, and 113 of the 301 objects proposed by professionals, were “endemic” to each of these groups and were not used by representatives of other groups. Non-professionals most often described hues using naturally occurring substances, plants, flowers, artifacts, and body products as prototypes. Color specialists chose as referents dyes, pigments, paint brands, and exotic terms that fill modern advertising. Conclusions. The results confirm the hypothesis that, in addition to the universal perceptual factors that control color categorization, color-related cognitive processes are also influenced by social and cultural factors. The revealed professional differences of color vocabulary and color naming patterns can be used in the practical implementation of the process of formation of linguodidactic design of professional personality of a wide range of professionals, whose activities are directly or indirectly related to the choice of color and color design.