Social & Behavioural Sciences 19Th PCSF 2019 Professional Culture Of
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Wehrmacht Uniforms
Wehrmacht uniforms This article discusses the uniforms of the World uniforms, not included here, began to break away in 1935 War II Wehrmacht (Army, Air Force, and with minor design differences. Navy). For the Schutzstaffel, see Uniforms and Terms such as M40 and M43 were never designated by the insignia of the Schutzstaffel. Wehrmacht, but are names given to the different versions of the Modell 1936 field tunic by modern collectors, to discern between variations, as the M36 was steadily sim- plified and tweaked due to production time problems and combat experience. The corresponding German term for tunic is Feldbluse and literally translates “field blouse”. 1 Heer 1.1 Insignia Main article: Ranks and insignia of the Heer (1935– 1945) For medals see List of military decorations of the Third Reich Uniforms of the Heer as the ground forces of the Wehrmacht were distinguished from other branches by two devices: the army form of the Wehrmachtsadler or German general Alfred Jodl wearing black leather trenchcoat Hoheitszeichen (national emblem) worn above the right breast pocket, and – with certain exceptions – collar tabs bearing a pair of Litzen (Doppellitze “double braid”), a device inherited from the old Prussian Guard which re- sembled a Roman numeral II on its side. Both eagle and Litzen were machine-embroidered or woven in white or grey (hand-embroidered in silk, silver or aluminium for officers). Rank was worn on shoulder-straps except for junior enlisted (Mannschaften), who wore plain shoulder- straps and their rank insignia, if any, on the left upper sleeve. NCO’s wore a 9mm silver or grey braid around the collar edge. -
The Cadet July 1898
The University of Maine DigitalCommons@UMaine Maine Campus Archives University of Maine Publications Summer 7-14-1898 The aC det July 1898 The aC det Staff Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainecampus Repository Citation Staff, The aC det, "The aC det July 1898" (1898). Maine Campus Archives. 178. https://digitalcommons.library.umaine.edu/mainecampus/178 This Other is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine Campus Archives by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. t distance trail was arch 28. eight miles THE CADET. balance of NEW SERIES. half farther ur dogs to a VOLUME XII. Ids the dogs JULY, 1898. No. 9. 13 side up. a team and haul. The the trail, as THE CADET. L. W. Cutter, E. H. Dakin, E. F. their backs, Danforth, E. W. Danforth, C. A. an. It is a EDITORIAL STAFF. Dillingham, R. W. Eaton, H. M. or thirty of EDITOR-IN-CHIEF. Estabrooke, W. Flint, H. S. French, dring wind- WALTER J. MORRILL, '99. F. G. Gould, G. P. Gould, J. F. canyon. I ASSOCIATE EDITORS: Gould, E. D. Graves, N. C. Grover, e line of an ARCHER L. GROVES,'99, WALLACE E. ItaLctuts,'99, W. T. Haines, G. H. Hamlin, J. N. Is of rock JOHN W. BROWN,'99, I.. II. lloaNsn, two, the bed of II. II. OSWALD* '99, W. II. BENNETT, 1901, Hart, E. J. Haskell, C. L. Howes, F. -
Academic Catalog
2015-2016 Academic Catalog 1101 Washington Street Marion, AL 36756 Admissions Office 1-800-MMI-1842 ROTC Enrollment Office 1-800-MMI-ROTC FAX (334) 683-2383 Homepage: http//www.marionmilitary.edu The provisions of this catalog are subject to modification, revocation, and/or additions as deemed necessary by the administration and faculty. Table of Contents A Message from the President .......................................................................................................................................................... Page 3 Academic Calendar ........................................................................................................................................................................... Page 3 About Marion Military Institute ........................................................................................................................................................ Page 4 Notice of Availability of Information ................................................................................................................................................. Page 5 Programs .......................................................................................................................................................................................... Page 6 Academic Policies .............................................................................................................................................................................. Page 8 Admissions Information ................................................................................................................................................................. -
Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings
Journal of Imaging Article Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings Juan Luis Nieves * , Juan Ojeda, Luis Gómez-Robledo and Javier Romero Department of Optics, Faculty of Science, University of Granada, 18071 Granada, Spain; [email protected] (J.O.); [email protected] (L.G.-R.); [email protected] (J.R.) * Correspondence: [email protected] Abstract: In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show Citation: Nieves, J.L.; Ojeda, J.; that independent component analysis of the painting images yields directions of colour preference Gómez-Robledo, L.; Romero, J. aligned with the relevant colours of these images. Following on from this analysis, the results suggest Psychophysical Determination of the that hue colour components are efficiently distributed throughout a discrete number of directions Relevant Colours That Describe the and could be relevant instances to a priori describe the most representative colours that make up the Colour Palette of Paintings. -
Light and Color
Chapter 9 LIGHT AND COLOR What Is Color? Color is a human phenomenon. To the physicist, the only difference be- tween light with a wavelength of 400 nanometers and that of 700 nm is Different wavelengths wavelength and amount of energy. However a normal human eye will see cause the eye to see another very significant difference: The shorter wavelength light will different colors. cause the eye to see blue-violet and the longer, deep red. Thus color is the response of the normal eye to certain wavelengths of light. It is nec- essary to include the qualifier “normal” because some eyes have abnor- malities which makes it impossible for them to distinguish between certain colors, red and green, for example. Note that “color” is something that happens in the human seeing ap- Only light itself paratus—when the eye perceives certain wavelengths of light. There is causes sensations of no mention of paint, pigment, ink, colored cloth or anything except light color. itself. Clear understanding of this point is vital to the forthcoming discus- sion. Colorants by themselves cannot produce sensations of color. If the proper light waves are not present, colorants are helpless to produce a sensation of color. Thus color resides in the eye, actually in the retina- optic-nerve-brain combination which teams up to provide our color sen- Color vision is sations. How this system works has been a matter of study for many years complex and not and recent investigations, many of them based on the availability of new completely brain scanning machines, have made important discoveries. -
Sensory and Instrument-Measured Ground Chicken Meat Color
Sensory and Instrument-Measured Ground Chicken Meat Color C. L. SANDUSKY1 and J. L. HEATH2 Department of Animal and Avian Sciences, University of Maryland, College Park, Maryland 20742 ABSTRACT Instrument values were compared to scores were compared using each of the backgrounds. sensory perception of ground breast and thigh meat The sensory panel did not detect differences in yellow- color. Different patty thicknesses (0.5, 1.5, and 2.0) and ness found by the instrument when samples on white background colors (white, pink, green, and gray), and pink backgrounds were compared to samples on previously found to cause differences in instrument- green and gray backgrounds. A majority of panelists (84 measured color, were used. Sensory descriptive analysis of 85) preferred samples on white or pink backgrounds. scores for lightness, hue, and chroma were compared to Red color of breast patties was associated with fresh- instrument-measured L* values, hue, and chroma. ness. Sensory ordinal rank scores for lightness, redness, and Reflective lighting was compared to transmission yellowness were compared to instrument-generated L*, lighting using patties of different thicknesses. Sensory a*, and b* values. Sensory descriptive analysis scores evaluation detected no differences in lightness due to and instrument values agreed in two of six comparisons breast patty thickness when reflective lighting was used. using breast and thigh patties. They agreed when thigh Increased thickness caused the patties to appear darker hue and chroma were measured. Sensory ordinal rank when transmission lighting was used. Decreased trans- scores were different from instrument color values in the mission lighting penetrating the sample made the patties ability to detect color changes caused by white, pink, appear more red. -
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM in RARE-EARTH OXIDE GLASSES by Charles H. Bellows in Partial Fu
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM IN RARE-EARTH OXIDE GLASSES by Charles H. Bellows In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 2016 Under the Supervision of: Chair: Alexis G. Clare, Ph.D. Committee Members: Danielle D. Gagne, Ph.D. Matthew M. Hall, Ph.D. SUMMARY The following thesis was performed, in part, to provide glass artists with a succinct listing of colors that may be achieved by lighting rare-earth oxide glasses in a variety of sources. While examined through scientific experimentation, the hope is that the information enclosed will allow artists new opportunities for creative experimentation. Introduction Oxides of transition and rare-earth metals can produce a multitude of colors in glass through a process called doping. When doping, the powdered oxides are mixed with premade pieces of glass called frit, or with glass-forming raw materials. When melted together, ions from the oxides insert themselves into the glass, imparting a variety of properties including color. The color is produced when the electrons within the ions move between energy levels, releasing energy. The amount of energy released equates to a specific wavelength, which in turn determines the color emitted. Because the arrangement of electron energy levels is different for rare-earth ions compared to transition metal ions, some interesting color effects can arise. Some glasses doped with rare-earth oxides fluoresce under a UV “black light”, while others can express photochromic properties. Photochromism, simply put, is the apparent color change of an object as a function of light; similar to transition sunglasses. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Book of Abstracts of the International Colour Association (AIC) Conference 2020
NATURAL COLOURS - DIGITAL COLOURS Book of Abstracts of the International Colour Association (AIC) Conference 2020 Avignon, France 20, 26-28th november 2020 Sponsored by le Centre Français de la Couleur (CFC) Published by International Colour Association (AIC) This publication includes abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2020. The theme of the conference was Natural Colours - Digital Colours. The conference, organised by the Centre Français de la Couleur (CFC), was held in Avignon, France on 20, 26-28th November 2020. That conference, for the first time, was managed online and onsite due to the sanitary conditions provided by the COVID-19 pandemic. More information in: www.aic2020.org. © 2020 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2020 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publication of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International Colour Association (AIC). All copies of the individual articles remain the intellectual property of the individual authors and/or their -
70 SOLID COLORS for All Rubber Tile and Tread Profiles (Excluding Smooth and Hammered R24); Rubber and Vinyl Wall Base; and Rubber Accessories)
70 SOLID COLORS For all rubber tile and tread profiles (excluding Smooth and Hammered R24); rubber and vinyl wall base; and rubber accessories) Q 100 177 Q 150 Q 193 Q 123 Q 114 Q 129 Q 178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter Q 194 148 Q 175 Q 174 197 Q 110 burnt umber steel gray slate smoke iceberg brown Q 147 Q 182 Q 623 Q 624 Q 140 Q 191 Q 125 171 light brown toffee nutmeg chameleon fawn camel fig sandstone Q 130 Q 198 Q 632 Q 184 Q 170 Q 131 127 Q 631 buckskin ivory flax almond white bisque harvest yellow sahara Q 639 640 Q 122 Q 195 663 648 647 646 beigewood creekbed natural light gray aged fern pear green spring dill gecko 160 649 169 662 118 187 139 627 forest green sweet basil hunter green envy peacock blue deep navy mariner 618 665 664 656 654 638 637 655 aubergine horizon blue jay bluebell lagoon cadet night mist peaceful blue 657 658 621 659 186 137 188 617 sorbet berry ice merlin grape red cinnabar brick terracotta 660 661 643 644 642 645 Q 641 Q 161 citrus marmalade mimosa sunbeam jonquil blonde moonrise snow MARBLEIZED COLORS For all rubber tile and tread profiles (excluding Hammered R24). M100 M177 M150 M193 M123 M114 M129 M178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter M194 M148 M175 M174 M197 M110 burnt umber steel gray slate smoke iceberg brown M147 M182 M623 M624 M140 M191 M125 M171 light brown toffee nutmeg chameleon fawn camel fig sandstone M130 M198 M632 M184 M170 M131 M127 M631 buckskin ivory flax almond white bisque harvest yellow sahara M639 M640 -
Farnworth Colours German Army War WW2 100525
Hints and Tips - Colour Guide – German Infantry By Michael Farnworth March 2008, Revised May 2010 German Infantry Germans in Greatcoats Late War Germans Crusader figures painted by Mick Farnworth Artizan and Crusader figures are fully compatible and can be mixed in the same unit. Crusader figures represent early war uniforms and Artizan represent later uniforms and weapons. Figures may be selected from both ranges can be used for the major campaigns. The main thing is to take care of the weapons. The MG42 was introduced in 1942 and the StGw 44 was introduced in 1944. Item Colour Vallejo Model Colour Helmet Dark Grey German Dk Grey 70.995, Uniform Field Grey German Field Grey WW2 70.830 Uniform (variant early war) Reed Green German Uniform 70.920 Greatcoat Field Grey German Field Grey WW2 70.830 Webbing Black Black 70.950 Bread Bag, Shovel Cover Khaki Green Russian Uniform 70.924 Gasmask Tin, Canteen Dark Green German Dark Green 70.896 Canteen (late war) Khaki Yellow Desert Yellow 70.977 Water bottle Cover Brown German Camo Red Brown 70.826, Flat Brown 70.984 Water bottle Lid & strap Black Black 70.950 Anklets / Gaiters Dark Green German Dark Green 70.896 Boots Black Black 70.950 Hints & Tips – Painting German WW2 1 Copyright Mick Farnworth - [email protected] May 2010 Introduction This guide will help you to quickly paint units of soldiers to look good on a war games table. Uniform notes, paint references and painting tips are included. Historical Notes Uniform Uniforms were produced in field grey (Feldgrau) but the colour changed during the war years. -
Goethe's Theory of Colors Between the Ancient Philosophy, Middle Ages
CULTURE, MEDIA & FILM | RESEARCH ARTICLE Goethe’s theory of colors between the ancient philosophy, middle ages occultism and modern science Victor Barsan and Andrei Merticariu Cogent Arts & Humanities (2016), 3: 1145569 Page 1 of 29 Barsan & Merticariu, Cogent Arts & Humanities (2016), 3: 1145569 http://dx.doi.org/10.1080/23311983.2016.1145569 CULTURE, MEDIA & FILM | RESEARCH ARTICLE Goethe’s theory of colors between the ancient philosophy, middle ages occultism and modern science 1 2 Received: 18 February 2015 Victor Barsan * and Andrei Merticariu Accepted: 20 January 2016 Published: 18 February 2016 Abstract: Goethe’s rejection of Newton’s theory of colors is an interesting example *Corresponding author: Victor Barsan, of the vulnerability of the human mind—however brilliant it might be—to fanati- Department of Theoretical Physics, cism. After an analysis of Goethe’s persistent fascination with magic and occultism, Horia Hulubei Institute of Physics and Nuclear Engineering, Aleea Reactorului of his education, existential experiences, influences, and idiosyncrasies, the authors nr. 30, Magurele, Bucharest, Romania E-mail: [email protected] propose an original interpretation of his anti-Newtonian position. The relevance of Goethe’s Farbenlehre to physics and physiology, from the perspective of modern sci- Reviewing editor: Peter Stanley Fosl, Transylvania ence, is discussed in detail. University, USA Subjects: Aristotle; Biophysics; Experimental Physics; Fine Art; Medical Physics; Ophthal- Additional information is available at the end of the article mology; Philosophy of Art; Philosophy of Science; Presocratics Keywords: ancient philosophy; Greek–Roman classicism; middle ages science; Newtonian science; occultism; pantheism; optics; theory of colors; primordial phenomenon (urphaeno men) 1. Introduction Light is one of the most interesting components of the physical universe.