CINXE.COM

<!DOCTYPE html> <html lang="en" dir="ltr"> <head>  <script async src="https://www.googletagmanager.com/gtag/js?id=G-P63WKM1TM1"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-P63WKM1TM1'); </script>  <script type="text/javascript" > (function(m,e,t,r,i,k,a){m[i]=m[i]||function(){(m[i].a=m[i].a||[]).push(arguments)}; m[i].l=1*new Date(); for (var j = 0; j < document.scripts.length; j++) {if (document.scripts[j].src === r) { return; }} k=e.createElement(t),a=e.getElementsByTagName(t)[0],k.async=1,k.src=r,a.parentNode.insertBefore(k,a)}) (window, document, "script", "https://mc.yandex.ru/metrika/tag.js", "ym"); ym(55165297, "init", { clickmap:false, trackLinks:true, accurateTrackBounce:true, webvisor:false }); </script> <noscript><div><img src="https://mc.yandex.ru/watch/55165297" style="position:absolute; left:-9999px;" alt="" /></div></noscript>    <title>Search results for: non-emissive colours</title> <meta name="description" content="Search results for: non-emissive colours"> <meta name="keywords" content="non-emissive colours"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" type="button" data-toggle="collapse" data-target="#navbarMenu" aria-controls="navbarMenu" aria-expanded="false" aria-label="Toggle navigation"> <span class="navbar-toggler-icon"></span> </button> <div class="w-100"> <div class="d-none d-lg-flex flex-row-reverse"> <form method="get" action="https://waset.org/search" class="form-inline my-2 my-lg-0"> <input class="form-control mr-sm-2" type="search" placeholder="Search Conferences" value="non-emissive colours" name="q" aria-label="Search"> <button class="btn btn-light my-2 my-sm-0" type="submit"><i class="fas fa-search"></i></button> </form> </div> <div class="collapse navbar-collapse mt-1" id="navbarMenu"> <ul class="navbar-nav ml-auto align-items-center" id="mainNavMenu"> <li class="nav-item"> <a class="nav-link" href="https://waset.org/conferences" title="Conferences in 2024/2025/2026">Conferences</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/disciplines" title="Disciplines">Disciplines</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/committees" rel="nofollow">Committees</a> </li> <li class="nav-item dropdown"> <a class="nav-link dropdown-toggle" href="#" id="navbarDropdownPublications" role="button" data-toggle="dropdown" aria-haspopup="true" aria-expanded="false"> Publications </a> <div class="dropdown-menu" aria-labelledby="navbarDropdownPublications"> <a class="dropdown-item" href="https://publications.waset.org/abstracts">Abstracts</a> <a class="dropdown-item" href="https://publications.waset.org">Periodicals</a> <a class="dropdown-item" href="https://publications.waset.org/archive">Archive</a> </div> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/page/support" title="Support">Support</a> </li> </ul> </div> </div> </nav> </div> </header> <main> <div class="container mt-4"> <div class="row"> <div class="col-md-9 mx-auto"> <form method="get" action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="non-emissive colours"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 78</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: non-emissive colours</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">78</span> A Robotic Cube to Preschool Children for Acquiring the Mathematical and Colours Concepts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Amin%20Mousa">Ahmed Amin Mousa</a>, <a href="https://publications.waset.org/abstracts/search?q=Tamer%20M.%20Ismail"> Tamer M. Ismail</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Abd%20El%20Salam"> M. Abd El Salam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> <p class="Abstract" style="text-indent:10.2pt"><span lang="EN-US">This work presents a robot called Conceptual Robotic Cube, CR-Cube. The robot can be used as an educational tool for children from the age of three. It has a cube shape attached with a camera colours sensor. In addition, it contains four wheels to move smoothly. The researchers prepared a questionnaire to measure the efficiency of the robot. The design and the questionnaire was presented to 11 experts who agreed that the robot is appropriate for learning numbering and colours for preschool children.<o:p></o:p></span> <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=CR-Cube" title="CR-Cube">CR-Cube</a>, <a href="https://publications.waset.org/abstracts/search?q=robotic%20cube" title=" robotic cube"> robotic cube</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20robot" title=" conceptual robot"> conceptual robot</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20cube" title=" conceptual cube"> conceptual cube</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20concept" title=" colour concept"> colour concept</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood%20education" title=" early childhood education"> early childhood education</a> </p> <a href="https://publications.waset.org/abstracts/60740/a-robotic-cube-to-preschool-children-for-acquiring-the-mathematical-and-colours-concepts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60740.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">409</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">77</span> Deep Vision: A Robust Dominant Colour Extraction Framework for T-Shirts Based on Semantic Segmentation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kishore%20Kumar%20R.">Kishore Kumar R.</a>, <a href="https://publications.waset.org/abstracts/search?q=Kaustav%20Sengupta"> Kaustav Sengupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Shalini%20Sood%20Sehgal"> Shalini Sood Sehgal</a>, <a href="https://publications.waset.org/abstracts/search?q=Poornima%20Santhanam"> Poornima Santhanam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fashion is a human expression that is constantly changing. One of the prime factors that consistently influences fashion is the change in colour preferences. The role of colour in our everyday lives is very significant. It subconsciously explains a lot about one’s mindset and mood. Analyzing the colours by extracting them from the outfit images is a critical study to examine the individual’s/consumer behaviour. Several research works have been carried out on extracting colours from images, but to the best of our knowledge, there were no studies that extract colours to specific apparel and identify colour patterns geographically. This paper proposes a framework for accurately extracting colours from T-shirt images and predicting dominant colours geographically. The proposed method consists of two stages: first, a U-Net deep learning model is adopted to segment the T-shirts from the images. Second, the colours are extracted only from the T-shirt segments. The proposed method employs the iMaterialist (Fashion) 2019 dataset for the semantic segmentation task. The proposed framework also includes a mechanism for gathering data and analyzing India’s general colour preferences. From this research, it was observed that black and grey are the dominant colour in different regions of India. The proposed method can be adapted to study fashion’s evolving colour preferences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colour%20analysis%20in%20t-shirts" title="colour analysis in t-shirts">colour analysis in t-shirts</a>, <a href="https://publications.waset.org/abstracts/search?q=convolutional%20neural%20network" title=" convolutional neural network"> convolutional neural network</a>, <a href="https://publications.waset.org/abstracts/search?q=encoder-decoder" title=" encoder-decoder"> encoder-decoder</a>, <a href="https://publications.waset.org/abstracts/search?q=k-means%20clustering" title=" k-means clustering"> k-means clustering</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20segmentation" title=" semantic segmentation"> semantic segmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=U-Net%20model" title=" U-Net model"> U-Net model</a> </p> <a href="https://publications.waset.org/abstracts/151988/deep-vision-a-robust-dominant-colour-extraction-framework-for-t-shirts-based-on-semantic-segmentation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151988.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">76</span> Evaluation of Colour Perception in Different Correlated Colour Temperature of LED Lighting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saadet%20Akbay">Saadet Akbay</a>, <a href="https://publications.waset.org/abstracts/search?q=Ay%C5%9Fe%20Nihan%20Avc%C4%B1"> Ayşe Nihan Avcı</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The perception of colour is a subjective experience which depends on age, gender, race, cultural and educational backgrounds, etc. of an individual. However, colour perception is also affected by the correlated colour temperature (CCT) of a light source which is considered as one of the most fundamental quantitative lighting characteristics. This study focuses on evaluating colour perception in different CCT of light emitting diodes (LED) lighting. The aim is to compare the inherent colours with the perceived colours under two CCT of ‘warm’ (2700K), and ‘cool’ (4000K) LED lights and to understand how different CTT affect the perception of a colour. Analysis and specifications of colour attributes are made with Natural Colour System (NCS) which is an international colour communication system. The outcome of the study reveals the possible tendencies for perceived colours under different illuminance levels of LED lighting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colour%20perception" title="colour perception">colour perception</a>, <a href="https://publications.waset.org/abstracts/search?q=correlated%20colour%20temperature" title=" correlated colour temperature"> correlated colour temperature</a>, <a href="https://publications.waset.org/abstracts/search?q=inherent%20and%20perceived%20colour" title=" inherent and perceived colour"> inherent and perceived colour</a>, <a href="https://publications.waset.org/abstracts/search?q=LED%20lighting" title=" LED lighting"> LED lighting</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20colour%20system%20%28NCS%29" title=" natural colour system (NCS)"> natural colour system (NCS)</a> </p> <a href="https://publications.waset.org/abstracts/73007/evaluation-of-colour-perception-in-different-correlated-colour-temperature-of-led-lighting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/73007.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">268</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">75</span> Effects of Colour Choices On the Moods of People in Residential Interiors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nishtha%20Kumar">Nishtha Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In order to understand how people like their interiors and how they feel inside a space, it is important to know the effect that the Colour of the space has on these individuals. Understanding this effect with the help of variables like colour choices of walls, furnishings, lighting, and the lifestyle of people will give a more clear understanding of the individual’s preferences and choices and how they feel about various colours and spaces. This paper focuses on understanding the various moods of people and the psychological effect that the colour of space has on the person living in it. An extensive literature review was conducted to analyse the effect of these variables of colour on the moods of people living in residential interiors. Alongside, a questionnaire survey was conducted to note the responses of people living in residential buildings who have got their interiors done regarding how different colours in their houses makes them feel and if it affects their mood. The results of this survey have helped in providing a better understanding of the relationship between various colours and how different people associate different moods with the same colour. Thus, such results allow us to have a deeper understanding of the effect of colour in residential interiors on individuals and how the colour of a space can affect the state of mind and mood of an individual. This result helps interior designers to incorporate colours into space according to the moods of the individual and understand how every colour depicts a different emotion in different human beings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colour" title="colour">colour</a>, <a href="https://publications.waset.org/abstracts/search?q=residental%20interiors" title=" residental interiors"> residental interiors</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20effect" title=" psychological effect"> psychological effect</a>, <a href="https://publications.waset.org/abstracts/search?q=people" title=" people"> people</a>, <a href="https://publications.waset.org/abstracts/search?q=different%20moods" title=" different moods"> different moods</a> </p> <a href="https://publications.waset.org/abstracts/145883/effects-of-colour-choices-on-the-moods-of-people-in-residential-interiors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145883.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">74</span> Identification of a Print Design Approach for the Application of Multicolour and Pattern Changing Effects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dilusha%20Rajapakse">Dilusha Rajapakse</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main reason for printing coloured imageries, pattern or motif onto textiles is to enhance the visual appearance of the surface so that the final textile product would get the required attention from potential customers. Such colours and patterns are permanently applied onto the textiles using conventional static colourants, and we expect such decorations to be last for the entire lifecycle of the textile product. The focus of this research presentation is to discuss the ability to integrate multicolour and pattern changing aesthetics onto textiles with the application of water based photochromic colourants. By adopting a research through design approach, a number of iterative flatbed screen printing experiments were conducted to explore the process of printing water based photochromic colours on textile surfaces. The research resulted in several technical parameters that have to be considered during the process of screen printing. Moreover, a modified printing technique that could be used to apply decorative photographic imagery onto textile with multicolour changing effects was also identified. A number of product applications for such dynamic printed textiles were revealed, and appropriate visual evidence was referred to justify the finding. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dynamic%20aesthetics" title="dynamic aesthetics">dynamic aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=multicolour%20changing%20textiles" title=" multicolour changing textiles"> multicolour changing textiles</a>, <a href="https://publications.waset.org/abstracts/search?q=non-emissive%20colours" title=" non-emissive colours"> non-emissive colours</a>, <a href="https://publications.waset.org/abstracts/search?q=printed%20textile%20design" title=" printed textile design "> printed textile design </a> </p> <a href="https://publications.waset.org/abstracts/71454/identification-of-a-print-design-approach-for-the-application-of-multicolour-and-pattern-changing-effects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71454.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">395</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">73</span> Contemporary Army Prints for Women’s Wear Kurti</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaleni%20Bajpai">Shaleni Bajpai</a>, <a href="https://publications.waset.org/abstracts/search?q=Nancy%20Stephan"> Nancy Stephan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Various designs of women’s kurtis with different styles, motifs and prints were available in market but none of the kurtis was found in army print. Mostly army prints are used for men’s wear like jackets, trousers, caps, bags. The main colours available in military prints were beige, parrot green, red, dark blue, light blue, orange, bottle green, pink and the original military green colour. As the original camouflage is banned in civil wears so the different variety and colours were used in this study to popularize army prints in women’s wear. The aim of this project was to construct different styles of women kurti’s with various colours of different military prints. Mood board, inspiration and colour board was prepared to design the kurtis. The fabric used for construction was army printed poplin and crepe. The designing and construction of kurti’s were divided into two categories such as - casual and party wear. Casual wear had simple silhouette like a-line, high-low and waist coat style whereas party wear included princess line, panelled and bandhani style. Structured questionnaire was prepared to assess the acceptance of newly designed kurtis with respect to colour combination, overall appearance and cost. Purposively sampling method was adopted for selection of respondents. Opinion was taken from 100 women of various age groups. The result and analysis was presented through graph and percentage. Kurtis in army print of both the categories were appreciated by the respondents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=army" title="army">army</a>, <a href="https://publications.waset.org/abstracts/search?q=kurti" title=" kurti"> kurti</a>, <a href="https://publications.waset.org/abstracts/search?q=casual%20wear" title=" casual wear"> casual wear</a>, <a href="https://publications.waset.org/abstracts/search?q=party%20wear" title=" party wear"> party wear</a> </p> <a href="https://publications.waset.org/abstracts/52909/contemporary-army-prints-for-womens-wear-kurti" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52909.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">302</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">72</span> Natural Dyeing on Wool Fabrics Using Some Red Rose Petals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Emrah%20%C3%87imen">Emrah Çimen</a>, <a href="https://publications.waset.org/abstracts/search?q=Mustafa%20Demirelli"> Mustafa Demirelli</a>, <a href="https://publications.waset.org/abstracts/search?q=Burcu%20Yilmaz%20%C5%9Eahinba%C5%9Fkan"> Burcu Yilmaz Şahinbaşkan</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahmure%20%C3%9Cst%C3%BCn%20%C3%96zg%C3%BCr"> Mahmure Üstün Özgür</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Natural colours are used on a large area such as textile, food and pharmaceutical industries by many researchers. When tannic acid is used together with metal salts for dyeing with natural dyes, antibacterial and fastness properties of textile materials are increased. In addition, the allegens are removed on wool fabrics. In this experimental work, some red rose petals were applied as a natural dye with three different dyeing methods and eight different mordant salts. The effect of tannic acid and different metal salts on dyeing of wool fabric was studied. Colour differences ΔECMC (2:1) and fastness properties of dyed fabrics were investigated and compared with each other. Finally, dark colours and adequate colour fastness results (4+) were obtained after dyeing of wool fabrics with FeSO4.7H2O, FeCl3.6H2O and CuCl2.2H2O in the presence of the tannic acid. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=natural%20dye" title="natural dye">natural dye</a>, <a href="https://publications.waset.org/abstracts/search?q=red%20rose%20petals" title=" red rose petals"> red rose petals</a>, <a href="https://publications.waset.org/abstracts/search?q=tannic%20acid" title=" tannic acid"> tannic acid</a>, <a href="https://publications.waset.org/abstracts/search?q=mordant%20salts" title=" mordant salts"> mordant salts</a>, <a href="https://publications.waset.org/abstracts/search?q=wool%20fabric" title=" wool fabric"> wool fabric</a> </p> <a href="https://publications.waset.org/abstracts/25586/natural-dyeing-on-wool-fabrics-using-some-red-rose-petals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25586.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">630</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">71</span> Cultural Semiotics of the Traditional Costume from Banat’s Plain from 1870 to 1950 from Lotman’s Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Glavan%20Claudiu">Glavan Claudiu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> My paper focuses on the cultural semiotic interpretation of the Romanian costume from Banat region, from the perspective of Lotman’s semiotic theory of culture. Using Lotman’s system we will analyse the level of language, text and semiosphere within the unity of Banat’s traditional costume. In order to establish a common language and to communicate, the forms and chromatic compositions were expressed through symbols, which carried semantic meanings with an obvious significant semantic load. The symbols, used in this region, receive a strong specific ethnical mark in its representation, in its compositional and chromatic complexity, in accordance with the values and conceptions of life for the people living here. Thus the signs become a unifying force of this ethnic community. Associated with the signs, were the fabrics used in manufacturing the costumes and the careful selections of colours. For example, softer fabrics like silk associated with red vivid colours were used for young woman sending the message they ready to be married. The unity of these elements created the important message that you were sending to your community. The unity of the symbol, fabrics and choice of colours used on the costume carried out an important message like: marital status, social position, or even the village you belonged to. Using Lotman’s perspective on cultural semiotics we will read and analyse the symbolism of the traditional Romanian art from Banat. We will discover meaning in the codified existence of ancient solar symbols, symbols regarding fertility, religious symbols and very few heraldic symbols. Visual communication makes obvious the importance of semiotic value that the traditional costume is carrying from our ancestors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20costume" title="traditional costume">traditional costume</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Lotman%E2%80%99s%20theory%20of%20culture" title=" Lotman’s theory of culture"> Lotman’s theory of culture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20culture" title=" traditional culture"> traditional culture</a>, <a href="https://publications.waset.org/abstracts/search?q=signs%20and%20symbols" title=" signs and symbols"> signs and symbols</a> </p> <a href="https://publications.waset.org/abstracts/123159/cultural-semiotics-of-the-traditional-costume-from-banats-plain-from-1870-to-1950-from-lotmans-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123159.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">70</span> Conserving History: Evaluating and Selecting Effective Restoration Methods for a Fragment Mural Painting from Amarna</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kholod%20Khairy%20Salama">Kholod Khairy Salama</a>, <a href="https://publications.waset.org/abstracts/search?q=Shabban%20Hassan%20Thabet"> Shabban Hassan Thabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mural%20paintings" title="mural paintings">mural paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=Tal%20Al-Amarna" title=" Tal Al-Amarna"> Tal Al-Amarna</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20microscope" title=" digital microscope"> digital microscope</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman" title=" Raman"> Raman</a>, <a href="https://publications.waset.org/abstracts/search?q=XRF" title=" XRF"> XRF</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR" title=" FTIR"> FTIR</a> </p> <a href="https://publications.waset.org/abstracts/174944/conserving-history-evaluating-and-selecting-effective-restoration-methods-for-a-fragment-mural-painting-from-amarna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174944.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">69</span> Aesthetics of Colours, Symbols, and Spectacles in the 2021 National Festival of Arts and Culture, Ekiti State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bade-Afuye%20Toyin%20Beatrice">Bade-Afuye Toyin Beatrice</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria, as a multi-cultural nation, boasts of many festivals, many of which are found in the six geo-political zones of the country. One of the major festivals that bring together the Nigerian citizens as one entity is the National Festival of Arts and Culture (NAFEST), organized by the National Council for Arts and Culture (NCAC). The festival is celebrated yearly in ways that are unique to Nigerians and culture enthusiasts locally and abroad. The festival has equally boosted the Nigerian economy through tourism promotion and culture preservation. This study shall adopt the cultural identity theory. The theory will be used to examine the festival as a platform that showcases culture, which represents the totality of the ways and lives of the Nigerian people. To achieve this, the researcher shall gather data as a participant-observer during the festival, which featured elements such as costume, make-up, dance, drama, children's theatre, fashion parade, local cuisines, local games, music, props, acrobatic displays, trade fair among others. These elements are the cultural aesthetics of the festival, thereby creating spectacles and colours in unique styles by each of the 36 states of the federation and the FCT Abuja. The study particularly examines the 2021 edition of NAFEST hosted by the Ekiti State Government. The study reveals that the festival is a unique multi-ethnic event that brings together Nigerians and their kinsmen in the diaspora. NAFEST has equally provided a good opportunity to showcase the rich cultural heritage of the Ekiti people and the economic values of their products and materials. The paper, therefore, concludes that the National Festival of Arts and Culture has over the years promoted national unity and social integration among Nigerians. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colours" title="colours">colours</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=spectacle" title=" spectacle"> spectacle</a>, <a href="https://publications.waset.org/abstracts/search?q=NAFEST" title=" NAFEST"> NAFEST</a> </p> <a href="https://publications.waset.org/abstracts/149361/aesthetics-of-colours-symbols-and-spectacles-in-the-2021-national-festival-of-arts-and-culture-ekiti-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149361.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">68</span> Extraction, Characterization and Application of Natural Dyes from the Fresh Rind of Index Colour 5 Mangosteen (Garcinia mangostana L.) </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Basitah%20Taif">Basitah Taif</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study was to explore and utilize the fresh rind of mangosteen Index Colour 5 as an upcoming raw material for the production of natural dyes. Rind from the fresh mangosteen Index Colour 5 was utilized to extract the dyes. The established extracts were experimented on silk fabrics via three types of mordanting and dyeing procedures; pre-mordanting, simultaneous mordanting and post-mordanting. As a result, the applications of the freeze-drying methodology and mechanizable equipment have helped to produce excellent range of natural colours. Silk fabric treated simultaneously with mordanting and dyeing with extract dye Index Colour 5 produced a brilliant shade of the red colour and the colour from this index is also discovered sensitive to light and washing during the fastness tests. The preliminary evaluation and instrumentation analysis allowed us to examine whether the application of different mordanting and dyeing procedures with the same extract samples and concentrations affected the colours and shades of the fabric samples. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=natural%20dye" title="natural dye">natural dye</a>, <a href="https://publications.waset.org/abstracts/search?q=freeze-drying" title=" freeze-drying"> freeze-drying</a>, <a href="https://publications.waset.org/abstracts/search?q=Garcinia%20mangostana%20Linn" title=" Garcinia mangostana Linn"> Garcinia mangostana Linn</a>, <a href="https://publications.waset.org/abstracts/search?q=mordanting" title=" mordanting "> mordanting </a> </p> <a href="https://publications.waset.org/abstracts/25204/extraction-characterization-and-application-of-natural-dyes-from-the-fresh-rind-of-index-colour-5-mangosteen-garcinia-mangostana-l" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25204.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">462</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">67</span> PMEL Marker Identification of Dark and Light Feather Colours in Local Canary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mudawamah%20Mudawamah">Mudawamah Mudawamah</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Z.%20Fadli"> Muhammad Z. Fadli</a>, <a href="https://publications.waset.org/abstracts/search?q=Gatot%20Ciptadi"> Gatot Ciptadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Aulanni%E2%80%99am"> Aulanni’am</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Canary breeders have spread throughout Indonesian regions for the low-middle society and become an income source for them. The interesting phenomenon of the canary market is the feather colours become one of determining factor for the price. The advantages of this research were contributed to the molecular database as a base of selection and mating for the Indonesia canary breeder. The research method was experiment with the genome obtained from canary blood isolation. The genome did the PCR amplification with PMEL marker followed by sequencing. Canaries were used 24 heads of light and dark colour feathers. Research data analyses used BioEdit and Network 4.6.0.0 software. The results showed that all samples were amplification with PMEL gene with 500 bp fragment length. In base sequence of 40 was found Cytosine(C) in the light colour canaries, while the dark colour canaries was obtained Thymine (T) in same base sequence. Sequence results had 286-415 bp fragment and 10 haplotypes. The conclusions were the PMEL gene (gene of white pigment) was likely to be used PMEL gene to detect molecular genetic variation of dark and light colour feather. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=canary" title="canary">canary</a>, <a href="https://publications.waset.org/abstracts/search?q=haplotype" title=" haplotype"> haplotype</a>, <a href="https://publications.waset.org/abstracts/search?q=PMEL" title=" PMEL"> PMEL</a>, <a href="https://publications.waset.org/abstracts/search?q=sequence" title=" sequence"> sequence</a> </p> <a href="https://publications.waset.org/abstracts/39620/pmel-marker-identification-of-dark-and-light-feather-colours-in-local-canary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39620.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">66</span> A Novel Approach to Asynchronous State Machine Modeling on Multisim for Avoiding Function Hazards</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parisi%20L.">Parisi L.</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamili%20D."> Hamili D.</a>, <a href="https://publications.waset.org/abstracts/search?q=Azlan%20N."> Azlan N.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study was to design and simulate a particular type of Asynchronous State Machine (ASM), namely a ‘traffic light controller’ (TLC), operated at a frequency of 0.5 Hz. The design task involved two main stages: firstly, designing a 4-bit binary counter using J-K flip flops as the timing signal and subsequently, attaining the digital logic by deploying ASM design process. The TLC was designed such that it showed a sequence of three different colours, i.e. red, yellow and green, corresponding to set thresholds by deploying the least number of AND, OR and NOT gates possible. The software Multisim was deployed to design such circuit and simulate it for circuit troubleshooting in order for it to display the output sequence of the three different colours on the traffic light in the correct order. A clock signal, an asynchronous 4-bit binary counter that was designed through the use of J-K flip flops along with an ASM were used to complete this sequence, which was programmed to be repeated indefinitely. Eventually, the circuit was debugged and optimized, thus displaying the correct waveforms of the three outputs through the logic analyzer. However, hazards occurred when the frequency was increased to 10 MHz. This was attributed to delays in the feedback being too high. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=asynchronous%20state%20machine" title="asynchronous state machine">asynchronous state machine</a>, <a href="https://publications.waset.org/abstracts/search?q=traffic%20light%20controller" title=" traffic light controller"> traffic light controller</a>, <a href="https://publications.waset.org/abstracts/search?q=circuit%20design" title=" circuit design"> circuit design</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20electronics" title=" digital electronics"> digital electronics</a> </p> <a href="https://publications.waset.org/abstracts/22349/a-novel-approach-to-asynchronous-state-machine-modeling-on-multisim-for-avoiding-function-hazards" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22349.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">429</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">65</span> Radio Frequency Identification Chips in Colour Preference Tracking</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Ballard">A. Ballard </a> </p> <p class="card-text"><strong>Abstract:</strong></p> The ability to track goods and products en route in the delivery system, in the warehouse, and on the top floor is a huge advantage to shippers and retailers. Recently the emergence of radio frequency identification (RFID) technology has enabled this better than ever before. However, a significant problem exists in that RFID technology depends on the quality of the information stored for each tagged product. Because of the profusion of names for colours, it is very difficult to ascertain that stored values are recognised by all users who view the product visually. This paper reports the findings of a study in which 50 consumers and 50 logistics workers were shown colour swatches and asked to choose the name of the colour from a multiple choice list. They were then asked to match consumer products, including toasters, jumpers, and toothbrushes, with the identifying inventory information available for each one. The findings show that the ability to match colours was significantly stronger with the color swatches than with the consumer products and that while logistics professionals made more frequent correct identification than the consumers, their results were still unsatisfactorily low. Based on these findings, a proposed universal model of colour identification numbers has been developed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consumer%20preferences" title="consumer preferences">consumer preferences</a>, <a href="https://publications.waset.org/abstracts/search?q=supply%20chain%20logistics" title=" supply chain logistics"> supply chain logistics</a>, <a href="https://publications.waset.org/abstracts/search?q=radio%20frequency%20identification" title=" radio frequency identification"> radio frequency identification</a>, <a href="https://publications.waset.org/abstracts/search?q=RFID" title=" RFID"> RFID</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20preference" title=" colour preference"> colour preference</a> </p> <a href="https://publications.waset.org/abstracts/126493/radio-frequency-identification-chips-in-colour-preference-tracking" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/126493.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">64</span> Sustainability and Awareness with Natural Dyes in Textile</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Recep%20Karadag">Recep Karadag</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Natural dyeing had started since pre-historical times for dyeing of textile materials. The natural dyeing had continued to beginning of 20th century. At the end of 19th century some synthetic dyes were synthesized. Although development of dyeing technologies and methods, natural dyeing was not developed in recent years. Despite rapid advances of synthetic dyestuff industries, natural dye processes have not developed. Therefore natural dyeing was not competed against synthetic dyes. At the same time, it was very difficult that large quantities of coloured textile was dyed with natural dyes And it was very difficult to get reproducible results in the natural dyeing using classical and traditional processes. However, natural dyeing has used slightly in the textile handicraft up to now. It is very important view that re-using of natural dyes to create awareness in textiles in recent years. Natural dyes have got many awareness and sustainability properties. Natural dyes are more eco-friendly than synthetic dyes. A lot of natural dyes have got antioxidant, antibacterial, antimicrobial, antifungal and anti –UV properties. It had been known that were obtained limited numbers colours with natural dyes in the past. On the contrary, colour scale is too wide with natural dyes. Except fluorescent colours, numerous colours can be obtained with natural dyes. Fastnesses of dyed textiles with natural dyes are good that there are light, washing, rubbing, etc. The fastness values can be improved depend on dyeing processes. Thanks to these properties mass production can be made with natural dyes in textiles. Therefore fabric dyeing machine was designed. This machine is too suitable for natural dyeing and mass production. Also any dyeing machine can be modified for natural dyeing. Although dye extraction and dyeing are made separately in the traditional natural dyeing processes and these procedures are become by designed this machine. Firstly, colouring compounds are extracted from natural dye resources, then dyeing is made with extracted colouring compounds. The colouring compounds are moderately dissolved in water. Less water is used in the extraction of colouring compounds from dye resources and dyeing with this new technique on the contrary much quantity water needs to use for dissolve of the colouring compounds in the traditional dyeing. This dyeing technique is very useful method for mass productions with natural dyes in traditional natural dyeing that use less energy, less dye materials, less water, etc. than traditional natural dyeing techniques. In this work, cotton, silk, linen and wool fabrics were dyed with some natural dye plants by the technique. According to the analysis very good results were obtained by this new technique. These results are shown sustainability and awareness of natural dyes for textiles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antibacterial" title="antibacterial">antibacterial</a>, <a href="https://publications.waset.org/abstracts/search?q=antimicrobial" title=" antimicrobial"> antimicrobial</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20dyes" title=" natural dyes"> natural dyes</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a> </p> <a href="https://publications.waset.org/abstracts/24420/sustainability-and-awareness-with-natural-dyes-in-textile" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24420.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">522</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> Colour Formation and Maillard Reactions in Spray-Dried Milk Powders</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zelin%20Zhou">Zelin Zhou</a>, <a href="https://publications.waset.org/abstracts/search?q=Timothy%20Langrish"> Timothy Langrish</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Spray drying is the final stage of milk powder production. Traditionally, the quality of spray-dried milk powders has mainly been assessed using their physical properties, such as their moisture contents, while chemical changes occurring during the spray drying process have often been ignored. With growing concerns about food quality, it is necessary to establish a better understanding of heat-induced degradation due to the spray-drying process of skim milk. In this study, the extent of thermal degradation for skim milk in a pilot-scale spray dryer has been investigated using different inlet gas temperatures. The extent of heat-induced damage has been measured by the formation of advanced Maillard reaction products and the loss of soluble proteins at pH 4.6 as assessed by a fluorometric method. A significant increase in the extent of thermal degradation has been found when the inlet gas temperature increased from 170°C to 190°C, suggesting protein unfolding may play an important role in the kinetics of heat-induced degradation for milk in spray dryers. Colour changes of the spray-dried skim milk powders have also been analysed using a standard lighting box. Colourimetric analysis results were expressed in CIELAB colour space with the use of the E index (E) and the Chroma (C) for measuring the difference between colours and the intensity of the colours. A strong linear correlation between the colour intensity of the spray-dried skim milk powders and the formation of advanced Maillard reaction products has been observed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colour%20formation" title="colour formation">colour formation</a>, <a href="https://publications.waset.org/abstracts/search?q=Maillard%20reactions" title=" Maillard reactions"> Maillard reactions</a>, <a href="https://publications.waset.org/abstracts/search?q=spray%20drying" title=" spray drying"> spray drying</a>, <a href="https://publications.waset.org/abstracts/search?q=skim%20milk%20powder" title=" skim milk powder"> skim milk powder</a> </p> <a href="https://publications.waset.org/abstracts/120841/colour-formation-and-maillard-reactions-in-spray-dried-milk-powders" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120841.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Collection and Phenotypic Characterization of Some Nigerian Bambara Groundnut (Vigna subterranea (L.) Verdc.) Germplasm Using Seed Morphology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abejide%20Dorcas%20Ropo">Abejide Dorcas Ropo</a>, <a href="https://publications.waset.org/abstracts/search?q=Falusi%20Olamide%20Ahmed"> Falusi Olamide Ahmed</a>, <a href="https://publications.waset.org/abstracts/search?q=Daudu%20Oladipupo%20Abdulazeez%20Yusuf"> Daudu Oladipupo Abdulazeez Yusuf</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Liman%20Muhammad"> Muhammad Liman Muhammad</a>, <a href="https://publications.waset.org/abstracts/search?q=Gado%20Aishatu%20Adamu"> Gado Aishatu Adamu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Bambara groundnut is an indigenous African legume with great potential to tackle the problem of food insecurity in Nigeria. A germplasm collection mission was carried out in collaboration with the Agricultural Developments Project (ADP) Extension officers of Nigeria between October and December 2014. Bambara groundnut seeds were collected from farmers in different States in Nigeria, such as Kaduna, Niger, Kogi, Benue, Plateau, Adamawa, Nasarawa, Jigawa, Enugu, and Federal Capital Territoy (FCT) Abuja. Some seeds were also collected from National Centre for Genetic Resources and Biotechnology (NACGRAB). The seeds were phenotyped using the descriptor list of Vigna subterranea produced by the International Plant Genetic Resource Institute. A total of 45 original seed lots were collected, which comprised of mixed seeds having different seed coat colours (15) and pure seeded accessions having the same seed coat and eye colour (30). After sorting, a total of 83 accessions were derived from the 45 original seed lots collected, and a total of 24 distinct seed morphotypes with varying seed coat colours and eye colours were identified from the collections. They include cream ( cream ash eye, cream plain eye, and cream black eye), cream purplish spots, cream brown spots/stripe, cream black stripe, cream dark brown patches, cream light grey spots, cream black patches, black, red, light red, dark red, brownish red, brown speckled with black, red speckled with black, brown, brown with brown pattern below hilum, brown with black pattern below hilum, cream black, grey brown, grey black and variegated red. The highest number of accessions were collected from NACGRAB (11), followed by Niger State (10), and the lowest from Benue, Jigawa, and Adamawa States (2). Niger State also had the highest number of mixed seeds. The different seed phenotypes observed in the study are important for the field production of true-to-type lines and can be exploited for the genetic improvement of the Bambara groundnut. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bambara%20groundnut" title="Bambara groundnut">Bambara groundnut</a>, <a href="https://publications.waset.org/abstracts/search?q=characterization" title=" characterization"> characterization</a>, <a href="https://publications.waset.org/abstracts/search?q=collection" title=" collection"> collection</a>, <a href="https://publications.waset.org/abstracts/search?q=germplasm" title=" germplasm"> germplasm</a>, <a href="https://publications.waset.org/abstracts/search?q=phenotypic" title=" phenotypic"> phenotypic</a> </p> <a href="https://publications.waset.org/abstracts/151562/collection-and-phenotypic-characterization-of-some-nigerian-bambara-groundnut-vigna-subterranea-l-verdc-germplasm-using-seed-morphology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151562.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">142</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Downtime Modelling for the Post-Earthquake Building Assessment Phase</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Khakurel">S. Khakurel</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20P.%20Dhakal"> R. P. Dhakal</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20Z.%20Yeow"> T. Z. Yeow</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Downtime is one of the major sources (alongside damage and injury/death) of financial loss incurred by a structure in an earthquake. The length of downtime associated with a building after an earthquake varies depending on the time taken for the reaction (to the earthquake), decision (on the future course of action) and execution (of the decided course of action) phases. Post-earthquake assessment of buildings is a key step in the decision making process to decide the appropriate safety placarding as well as to decide whether a damaged building is to be repaired or demolished. The aim of the present study is to develop a model to quantify downtime associated with the post-earthquake building-assessment phase in terms of two parameters; i) duration of the different assessment phase; and ii) probability of different colour tagging. Post-earthquake assessment of buildings includes three stages; Level 1 Rapid Assessment including a fast external inspection shortly after the earthquake, Level 2 Rapid Assessment including a visit inside the building and Detailed Engineering Evaluation (if needed). In this study, the durations of all three assessment phases are first estimated from the total number of damaged buildings, total number of available engineers and the average time needed for assessing each building. Then, probability of different tag colours is computed from the 2010-11 Canterbury earthquake Sequence database. Finally, a downtime model for the post-earthquake building inspection phase is proposed based on the estimated phase length and probability of tag colours. This model is expected to be used for rapid estimation of seismic downtime within the Loss Optimisation Seismic Design (LOSD) framework. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=assessment" title="assessment">assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=downtime" title=" downtime"> downtime</a>, <a href="https://publications.waset.org/abstracts/search?q=LOSD" title=" LOSD"> LOSD</a>, <a href="https://publications.waset.org/abstracts/search?q=Loss%20Optimisation%20Seismic%20Design" title=" Loss Optimisation Seismic Design"> Loss Optimisation Seismic Design</a>, <a href="https://publications.waset.org/abstracts/search?q=phase%20length" title=" phase length"> phase length</a>, <a href="https://publications.waset.org/abstracts/search?q=tag%20color" title=" tag color"> tag color</a> </p> <a href="https://publications.waset.org/abstracts/96295/downtime-modelling-for-the-post-earthquake-building-assessment-phase" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96295.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Land Use Dynamics of Ikere Forest Reserve, Nigeria Using Geographic Information System </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akintunde%20Alo">Akintunde Alo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The incessant encroachments into the forest ecosystem by the farmers and local contractors constitute a major threat to the conservation of genetic resources and biodiversity in Nigeria. To propose a viable monitoring system, this study employed Geographic Information System (GIS) technology to assess the changes that occurred for a period of five years (between 2011 and 2016) in Ikere forest reserve. Landsat imagery of the forest reserve was obtained. For the purpose of geo-referencing the acquired satellite imagery, ground-truth coordinates of some benchmark places within the forest reserve was relied on. Supervised classification algorithm, image processing, vectorization and map production were realized using ArcGIS. Various land use systems within the forest ecosystem were digitized into polygons of different types and colours for 2011 and 2016, roads were represented with lines of different thickness and colours. Of the six land-use delineated, the grassland increased from 26.50 % in 2011 to 45.53% in 2016 of the total land area with a percentage change of 71.81 %. Plantations of Gmelina arborea and Tectona grandis on the other hand reduced from 62.16 % in 2011 to 27.41% in 2016. The farmland and degraded land recorded percentage change of about 176.80 % and 8.70 % respectively from 2011 to 2016. Overall, the rate of deforestation in the study area is on the increase and becoming severe. About 72.59% of the total land area has been converted to non-forestry uses while the remnant 27.41% is occupied by plantations of Gmelina arborea and Tectona grandis. Interestingly, over 55 % of the plantation area in 2011 has changed to grassland, or converted to farmland and degraded land in 2016. The rate of change over time was about 9.79 % annually. Based on the results, rapid actions to prevail on the encroachers to stop deforestation and encouraged re-afforestation in the study area are recommended. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=land%20use%20change" title="land use change">land use change</a>, <a href="https://publications.waset.org/abstracts/search?q=forest%20reserve" title=" forest reserve"> forest reserve</a>, <a href="https://publications.waset.org/abstracts/search?q=satellite%20imagery" title=" satellite imagery"> satellite imagery</a>, <a href="https://publications.waset.org/abstracts/search?q=geographical%20information%20system" title=" geographical information system"> geographical information system</a> </p> <a href="https://publications.waset.org/abstracts/67283/land-use-dynamics-of-ikere-forest-reserve-nigeria-using-geographic-information-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67283.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">356</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Potentials of Henna Leaves as Dye and Its Fastness Properties on Fabric</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nkem%20Angela%20Udeani">Nkem Angela Udeani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Despite the widespread use of synthetic dyes, natural dyes are still exploited and used to enhance its inherent aesthetic qualities as a major material for the beautification of the body. Centuries before the discovery of synthetic dye, natural dyes were the only source of dye open to mankind. Dyes are extracted from plant - leaves, roots, and barks, insect secretions, and minerals. However, research findings have made it clear that of all, plant- leaves, roots, barks or flowers are the most explored and exploited. Henna (Lawsonia innermis) is one of those plants. The experiment has also shown that henna is used in body painting in conjunction with an alkaline (Ammonium Sulphate) as a fixing agent. This of course gives a clue that if colour derived from henna is properly investigated, it may not only be used as body decoration but possibly, may have affinity to fibre substrate. This paper investigates the dyeing potentials - dyeing ability and fastness qualities of henna dye extract on cotton and linen fibres using mordants like ammonium sulphate and other alkalies (hydrosulphate and caustic soda, potash, common salt and alum). Hot and cold water and ethanol solvent were used in the extraction of the dye to investigate the most effective method of extraction, dyeing ability and fastness qualities of these extracts under room temperature. The results of the experiment show that cotton have a high rate of dye intake than linen fibre. On a similar note, the colours obtained depend most on the solvent and or the mordant used. In conclusion, hot water extraction appear more effective. While the colours obtained from ethanol and both cold and hot method of extraction range from light to dark yellow, light green to army green, there are to some extent shades of brown hues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dye" title="dye">dye</a>, <a href="https://publications.waset.org/abstracts/search?q=fabrics" title=" fabrics"> fabrics</a>, <a href="https://publications.waset.org/abstracts/search?q=henna%20leaves" title=" henna leaves"> henna leaves</a>, <a href="https://publications.waset.org/abstracts/search?q=potential" title=" potential"> potential</a> </p> <a href="https://publications.waset.org/abstracts/33852/potentials-of-henna-leaves-as-dye-and-its-fastness-properties-on-fabric" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33852.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">472</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">58</span> Effect of Doping on Band Gap of Zinc Oxide and Degradation of Methylene Blue and Industrial Effluent</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=V.%20P.%20Borker">V. P. Borker</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20S.%20Rane"> K. S. Rane</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20J.%20Bhobe"> A. J. Bhobe</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20S.%20Karmali"> R. S. Karmali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Effluent of dye industries contains chemicals and organic dyes. Sometimes they are thrown in the water bodies without any treatment. This leads to environmental pollution and is detrimental to flora and fauna. Semiconducting oxide zinc oxide with wide bandgap 3.37 eV is used as a photocatalyst in degrading organic dyes using UV radiations. It generates electron-hole pair on exposure to UV light. If degradation is aimed at solar radiations, bandgap of zinc oxide is to be reduced so as to utilize visible radiation. Thus, in present study, zinc oxide, ZnO is synthesized from zinc oxalate, N doped zinc oxide, ZnO₁₋ₓNₓ from hydrazinated zinc oxalate, cadmium doped zinc oxide Zn₀.₉Cd₀.₁₀ and magnesium-doped zinc oxide Zn₀.₉Mg₀.₁₀ from mixed metal oxalate and hydrazinated mixed metal oxalate. The precursors were characterized by FTIR. They were decomposed to form oxides and XRD were recorded. The compounds were monophasic. Bandgap was calculated using Diffuse Reflectance Spectrum. The bandgap of ZnO was reduced to 3.24 because of precursor method of synthesis leading large surface area. The bandgap of Zn₀.₉Cd₀.₁₀ was 3.11 eV and that of Zn₀.₉Mg₀.₁₀ 3.41 eV. The lowest value was of ZnO₁₋ₓNₓ 3.09 eV. These oxides were used to degrade methylene blue, a model dye in sunlight. ZnO₁₋ₓNₓ was also used to degrade effluent of industry manufacturing colours, crayons and markers. It was observed that ZnO₁₋ₓNₓ acts as a good photocatalyst for degradation of methylene blue. It can degrade the solution within 120 minutes. Similarly, diluted effluent was decolourised using this oxide. Some colours were degraded using ZnO. Thus, the use of these two oxides could mineralize effluent. Lesser bandgap leads to more electro hole pair thus helps in the formation of hydroxyl ion radicals. These radicals attack the dye molecule, fragmentation takes place and it is mineralised. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cadmium%20doped%20zinc%20oxide" title="cadmium doped zinc oxide">cadmium doped zinc oxide</a>, <a href="https://publications.waset.org/abstracts/search?q=dye%20degradation" title=" dye degradation"> dye degradation</a>, <a href="https://publications.waset.org/abstracts/search?q=dye%20effluent%20degradation" title=" dye effluent degradation"> dye effluent degradation</a>, <a href="https://publications.waset.org/abstracts/search?q=N%20doped%20zinc%20oxide" title=" N doped zinc oxide"> N doped zinc oxide</a>, <a href="https://publications.waset.org/abstracts/search?q=zinc%20oxide" title=" zinc oxide"> zinc oxide</a> </p> <a href="https://publications.waset.org/abstracts/88378/effect-of-doping-on-band-gap-of-zinc-oxide-and-degradation-of-methylene-blue-and-industrial-effluent" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88378.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">168</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">57</span> Video Processing of a Football Game: Detecting Features of a Football Match for Automated Calculation of Statistics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Beri">Rishabh Beri</a>, <a href="https://publications.waset.org/abstracts/search?q=Sahil%20Shah"> Sahil Shah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We have applied a range of filters and processing in order to extract out the various features of the football game, like the field lines of a football field. Another important aspect was the detection of the players in the field and tagging them according to their teams distinguished by their jersey colours. This extracted information combined about the players and field helped us to create a virtual field that consists of the playing field and the players mapped to their locations in it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Detect" title="Detect">Detect</a>, <a href="https://publications.waset.org/abstracts/search?q=Football" title=" Football"> Football</a>, <a href="https://publications.waset.org/abstracts/search?q=Players" title=" Players"> Players</a>, <a href="https://publications.waset.org/abstracts/search?q=Virtual" title=" Virtual"> Virtual</a> </p> <a href="https://publications.waset.org/abstracts/73570/video-processing-of-a-football-game-detecting-features-of-a-football-match-for-automated-calculation-of-statistics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/73570.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">331</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> Visual, Zoological Metaphors and 'Urtiin Duu' (Long Song) in Alshaa, Inner Mongolia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oyuna%20Weina">Oyuna Weina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study examines how musicians use visual and zoological metaphors for singing technique and voice quality in a genre of traditional music called urtiin duu (‘long song’) in Alshaa, Inner Mongolia, China. Previous studies have discussed melodic contour in Mongol music, but little study of the intersection of singing technique, visual and zoological metaphors has yet been undertaken. The purpose of this study is to address this lack by analysing urtiin duu itself, traditional pedagogy and performances, all of which have been inspired and are assessed by reference to nature and mobile pastoral herding practices. This study investigates the visual and zoological metaphors related to urtiin duu especially colour, the shape of the circle and animals in the Mongol community. Urtiin duu singing is associated with certain colours in song texts, in selection of repertoire and in the status of singers. Musicians also use colour to describe timbre. These colours in turn reference worship of nature, religions, and daily practices of most Mongols in Alshaa. Moreover, voice quality and singing technique are often related to the animals not only in song text but also in the approach to breathing and to melodic contour. Additionally, the concept of boronhoi (‘the shape of circle’), not only is applied to the melodic contour but also to the voice quality and singing technique. These three factors illustrate the connections among nature, spiritual world and everyday herding life of Mongols. These different connections provide evidence of multi-layered meanings. In contemporary Alshaa, urtiin duu singers received Western musical training from the city and returned to their homelands to perform urtiin duu. In doing so, they are also trying to reconnect with the history, nature and spiritual world in order to achieve their ideal sound. Within a multicultural society, singers negotiate amongst themselves, and with ethnic groups, audiences and government officials. The power of the metaphor therefore assists and reconnects the strength of regional identity and ethnic identity in Alshaa. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alshaa" title="Alshaa">Alshaa</a>, <a href="https://publications.waset.org/abstracts/search?q=urtiin%20duu" title=" urtiin duu"> urtiin duu</a>, <a href="https://publications.waset.org/abstracts/search?q=visual" title=" visual"> visual</a>, <a href="https://publications.waset.org/abstracts/search?q=zoological%20metaphors" title=" zoological metaphors"> zoological metaphors</a> </p> <a href="https://publications.waset.org/abstracts/49041/visual-zoological-metaphors-and-urtiin-duu-long-song-in-alshaa-inner-mongolia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49041.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">363</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">55</span> Women’s Colours in Digital Innovation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniel%20J.%20Patricio%20Jim%C3%A9nez">Daniel J. Patricio Jiménez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital reality demands new ways of thinking, flexibility in learning, acquisition of new competencies, visualizing reality under new approaches, generating open spaces, understanding dimensions in continuous change, etc. We need inclusive growth, where colors are not lacking, where lights do not give a distorted reality, where science is not half-truth. In carrying out this study, the documentary or bibliographic collection has been taken into account, providing a reflective and analytical analysis of current reality. In this context, deductive and inductive methods have been used on different multidisciplinary information sources. Women today and tomorrow are a strategic element in science and arts, which, under the umbrella of sustainability, implies ‘meeting current needs without detriment to future generations’. We must build new scenarios, which qualify ‘the feminine and the masculine’ as an inseparable whole, encouraging cooperative behavior; nothing is exclusive or excluding, and that is where true respect for diversity must be based. We are all part of an ecosystem, which we will make better as long as there is a real balance in terms of gender. It is the time of ‘the lifting of the veil’, in other words, it is the time to discover the pseudonyms, the women who painted, wrote, investigated, recorded advances, etc. However, the current reality demands much more; we must remove doors where they are not needed. Mass processing of data, big data, needs to incorporate algorithms under the perspective of ‘the feminine’. However, most STEM students (science, technology, engineering, and math) are men. Our way of doing science is biased, focused on honors and short-term results to the detriment of sustainability. Historically, the canons of beauty, the way of looking, of perceiving, of feeling, depended on the circumstances and interests of each moment, and women had no voice in this. Parallel to science, there is an under-representation of women in the arts, but not so much in the universities, but when we look at galleries, museums, art dealers, etc., colours impoverish the gaze and once again highlight the gender gap and the silence of the feminine. Art registers sensations by divining the future, science will turn them into reality. The uniqueness of the so-called new normality requires women to be protagonists both in new forms of emotion and thought, and in the experimentation and development of new models. This will result in women playing a decisive role in the so-called "5.0 society" or, in other words, in a more sustainable, more humane world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=digitalization" title=" digitalization"> digitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=science" title=" science"> science</a> </p> <a href="https://publications.waset.org/abstracts/138681/womens-colours-in-digital-innovation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138681.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">165</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> The Chromatic Identity of the Ancestral Architecture of the Ksour of Bechar, Algeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Racha%20Ghariri">Racha Ghariri</a>, <a href="https://publications.waset.org/abstracts/search?q=Khaldia%20Belkheir"> Khaldia Belkheir</a>, <a href="https://publications.waset.org/abstracts/search?q=Assil%20Ghariri"> Assil Ghariri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, the researchers present a part of their research on the colors of the city of Bechar (Algeria). It is about a chromatic study of the ancient architecture of the Ksour. Being a subject of intervention, regarding their degradable state, the Ksour are the case of their study, especially that the subject of color does not occupy, virtually, the involved on these heritage sites. This research aims to put the basics for methods which allow to know what to preserve as a color and how to do so, especially during a restoration, and to understand the evolution of the chromatic state of the city. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture%2Fcolours" title="architecture/colours">architecture/colours</a>, <a href="https://publications.waset.org/abstracts/search?q=chromatic%20identity" title=" chromatic identity"> chromatic identity</a>, <a href="https://publications.waset.org/abstracts/search?q=geography%20of%20colour" title=" geography of colour"> geography of colour</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20palette" title=" regional palette"> regional palette</a>, <a href="https://publications.waset.org/abstracts/search?q=chromatic%20architectural%20analysis" title=" chromatic architectural analysis"> chromatic architectural analysis</a> </p> <a href="https://publications.waset.org/abstracts/68009/the-chromatic-identity-of-the-ancestral-architecture-of-the-ksour-of-bechar-algeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68009.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">305</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">53</span> Analysis of the Content of Sugars, Vitamin C, Preservatives, Synthetic Dyes, Sweeteners, Sodium and Potassium and Microbiological Purity in Selected Products Made From Fruit and Vegetables in Small Regional Factories and in Large Food Corporations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Mi%C5%9Bkiewicz">Katarzyna Miśkiewicz</a>, <a href="https://publications.waset.org/abstracts/search?q=Magdalena%20Laso%C5%84-Rydel"> Magdalena Lasoń-Rydel</a>, <a href="https://publications.waset.org/abstracts/search?q=Ma%C5%82gorzata%20Kr%C4%99pska"> Małgorzata Krępska</a>, <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Sieczy%C5%84ska"> Katarzyna Sieczyńska</a>, <a href="https://publications.waset.org/abstracts/search?q=Iwona%20Mas%C5%82owska-Lipowicz"> Iwona Masłowska-Lipowicz</a>, <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20%C5%81awi%C5%84ska"> Katarzyna Ławińska</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the study was to analyse a selection of 12 pasteurised products made from fruit and vegetables, such as fruit juices, fruit drinks, jams, marmalades and jam produced by small regional factories as well as large food corporations. The research was carried out as part of the project "Innovative system of healthy and regional food distribution", funded by the Ministry of Education and Science (Poland), which aims to create an economically and organisationally strong agri-food industry in Poland through effective cooperation between scientific and socio-economic actors. The main activities of the project include support for the creation of new distribution channels for regional food products and their easy access to a wide group of potential customers while maintaining the highest quality standards. One of the key areas of the project is food quality analyses conducted to indicate the competitive advantage of regional products. Presented here are studies on the content of sugars, vitamin C, preservatives, synthetic colours, sweeteners, sodium and potassium, as well as studies on the microbiological purity of selected products made from fruit and vegetables. The composition of products made from fruit and vegetables varies greatly and depends on both the type of raw material and the way it is processed. Of the samples tested, fruit drinks contained the least amount of sugars, and jam and marmalade made by large producers and bought in large chain stores contained the most. However, the low sugar content of some fruit drinks is due to the presence of the sweetener sucralose in their composition. The vitamin C content of the samples varied, being higher in products where it was added during production. All products made in small local factories were free of food additives such as preservatives, sweeteners and synthetic colours, indicating their superiority over products made by large producers. Products made in small local factories were characterised by a relatively high potassium content. The microbiological purity of commercial products was confirmed - no Salmonella spp. were detected, and the number of mesophilic bacteria, moulds, yeasts, and β-glucuronidase-positive E. coli was below the limit of quantification. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fruit%20and%20vegetable%20products" title="fruit and vegetable products">fruit and vegetable products</a>, <a href="https://publications.waset.org/abstracts/search?q=sugars" title=" sugars"> sugars</a>, <a href="https://publications.waset.org/abstracts/search?q=food%20additives" title=" food additives"> food additives</a>, <a href="https://publications.waset.org/abstracts/search?q=HPLC" title=" HPLC"> HPLC</a>, <a href="https://publications.waset.org/abstracts/search?q=ICP-OES" title=" ICP-OES"> ICP-OES</a> </p> <a href="https://publications.waset.org/abstracts/176082/analysis-of-the-content-of-sugars-vitamin-c-preservatives-synthetic-dyes-sweeteners-sodium-and-potassium-and-microbiological-purity-in-selected-products-made-from-fruit-and-vegetables-in-small-regional-factories-and-in-large-food-corporations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176082.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">52</span> Innovative Handloom Design Techniques- an Experimental Study Based on Primary Colour Gradation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akanksha%20Pareek">Akanksha Pareek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Indian Handloom clusters are known for its tradition and heritage of excellent craftsmanship. The design development of Indian handloom clusters are oriented on traditionally dobby and jacquard design. This comprehensive paper proposes practises on handloom woven design based on primary colour gradation with the help of basic weaved on four shaft. The innovative design ideas are inspired from Nature and transferred into the handloom samples to achieve colour gradation with primary colours. In this paper, design methodology where in woven samples are strategically designed in such way that traditional knowledge of the weavers will be oriented to leveraged their skills. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=handloom" title="handloom">handloom</a>, <a href="https://publications.waset.org/abstracts/search?q=weaving" title=" weaving"> weaving</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20gradation" title=" colour gradation"> colour gradation</a>, <a href="https://publications.waset.org/abstracts/search?q=shaft" title=" shaft"> shaft</a> </p> <a href="https://publications.waset.org/abstracts/29306/innovative-handloom-design-techniques-an-experimental-study-based-on-primary-colour-gradation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29306.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">617</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">51</span> Dyeing Cotton with Dyes Extracted from Eucalyptus and Mango Trees</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tamrat%20Tesfaye">Tamrat Tesfaye</a>, <a href="https://publications.waset.org/abstracts/search?q=Bruce%20Sithole"> Bruce Sithole</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Shabaridharan"> K. Shabaridharan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of natural dyes to replace synthetic dyes has been advocated for to circumvent the environmental problems associated with synthetic dyes. This paper is a preliminary study on the use of natural dyes extracted from eucalyptus and mango trees. Dyes extracted from eucalyptus bark gave more colourized material than the dyes extracted from eucalyptus leaves and mango pills and leaves. Additionally, the extracts exhibited a deeper colour shade. Cotton fiber dyed using the same dye but with different mordants resulted in fabric that exhibited different colours. It appears that natural dyes from these plants could be effective dyes for use on cotton fabrics especially considering that the dyes exhibited excellent colour fastness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=natural%20dyes" title="natural dyes">natural dyes</a>, <a href="https://publications.waset.org/abstracts/search?q=mango" title=" mango"> mango</a>, <a href="https://publications.waset.org/abstracts/search?q=eucalyptus" title=" eucalyptus"> eucalyptus</a>, <a href="https://publications.waset.org/abstracts/search?q=cotton" title=" cotton"> cotton</a>, <a href="https://publications.waset.org/abstracts/search?q=mordants" title=" mordants"> mordants</a>, <a href="https://publications.waset.org/abstracts/search?q=colour%20fastness" title=" colour fastness"> colour fastness</a> </p> <a href="https://publications.waset.org/abstracts/65021/dyeing-cotton-with-dyes-extracted-from-eucalyptus-and-mango-trees" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65021.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">356</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">50</span> Points of View on Turkish Trade Marks by Foreigners Living in Konya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C4%B0mran%20Ugur">İmran Ugur</a>, <a href="https://publications.waset.org/abstracts/search?q=Zulfiye%20Acar"> Zulfiye Acar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Trade marks are composed of figures, signs or symbols such as logos, colours and designs to be formed for service or products to be different from their counterparts. However, trade marks have nowadays a large meaning that defines its classical description. It has an understanding that pioneers novelties by forming the perception of quality, being emotional constituents and leading to links to their consumers. While entering different markets all over the world, Turkish trade marks are encountering a new type of consumers in Turkey migrating from different countries. Most of these new consumers meet Turkish trade marks for the first time. The present study was performed to investigate the perception of Turkish trade marks living in Konya. How these consumers look at the trade marks of clothes, food, beverages, GSM operators and whiteware appliances, and perceive these trade marks were tried to be determined. Which trade marks they chose according to their preferences, and the awareness of Turkish trade marks were evaluated in the study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brand" title="brand">brand</a>, <a href="https://publications.waset.org/abstracts/search?q=brand%20awareness" title=" brand awareness"> brand awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=trade%20marks" title=" trade marks"> trade marks</a> </p> <a href="https://publications.waset.org/abstracts/13171/points-of-view-on-turkish-trade-marks-by-foreigners-living-in-konya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13171.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">377</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">49</span> First-Person Point of View in Contrast to Globalisation in Somerset Maugham’s ‘Mr. Know-All’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Armel%20Mbon">Armel Mbon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper discusses the first-person point of view in Maugham's 'Mr. Know-All.' It particularly analyses the narrator's position in relation to the story told in this short story, with the intention of disclosing the latter's prejudice against Mr. Kelada, the protagonist, and, consequently, its hindrance to globalisation. It thus underlines the fact that this protagonist and other travellers are different colours, but one person on this ship epitomises globalisation. The general attitude of readers is that they are inclined to easily believe the narrator while forgetting that fiction is the work of a taler, a teller, but, first and foremost, a liar. The audience, whether it is disconnected from the setting or not, also tends to forget that "travellers from afar can lie with impunity." In fact, the nameless narrator in Maugham's short story has a persona that leaves a lot to be desired. He is prejudiced against Mr. Kelada, known as Mr. Know-All, as will be evidenced by the scrutiny of his diction. This paper finally purports to show that those who proclaim globalisation loudly are not ready to live together. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=narrator" title="narrator">narrator</a>, <a href="https://publications.waset.org/abstracts/search?q=persona" title=" persona"> persona</a>, <a href="https://publications.waset.org/abstracts/search?q=point%20of%20view" title=" point of view"> point of view</a>, <a href="https://publications.waset.org/abstracts/search?q=diction" title=" diction"> diction</a>, <a href="https://publications.waset.org/abstracts/search?q=contrast" title=" contrast"> contrast</a>, <a href="https://publications.waset.org/abstracts/search?q=globalisation" title=" globalisation"> globalisation</a> </p> <a href="https://publications.waset.org/abstracts/155586/first-person-point-of-view-in-contrast-to-globalisation-in-somerset-maughams-mr-know-all" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155586.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-emissive%20colours&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-emissive%20colours&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=non-emissive%20colours&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); });*/ jQuery.get({ url: "https://publications.waset.org/xhr/user-menu", cache: false }).then(function(response){ jQuery('#mainNavMenu').append(response); }); }); </script> </body> </html>