Wyniki wyszukiwania - Biblioteka Nauki

1

Parametry barwy wołowiny kulinarnej z różnych krajów

100%

Cierach M. , Wierzbicka A. , Borzyszkowski M.

Inżynieria i Aparatura Chemiczna

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2009

|

tom Nr 2

29-30

PL

W pracy zbadano parametry barwy wybranych gatunków wołowiny kulinarnej, która była zróżnicowana pod względem kraju pochodzenia. Zauważono, że w wyniku wzrostu zapotrzebowania na mięso wołowe w Unii Europejskiej nastąpił import tego surowca z krajów Ameryki Południowej i Stanów Zjednoczonych. Stwierdzono, że wołowina ta różni się parametrami barwy, w wyniku zróżnicowania rasowego oraz wpływu specyficznych warunków środowiskowych, hodowlanych i genetycznych na zwierzęta. Okazało się, że najwyższym parametrem jasności L* odznaczała się wołowina argentyńska i amerykańska, a najniższym mięso wolowe z Brazylii. Najwyższą „czerwoność" a* zanotowano w wołowinie polskiej (ZM „Warmia" w Biskupcu). Natomiast parametr „żółtości" 6* nie różnił się statystycznie istotnie w żadnym mięsie wołowym.

EN

A given culinary beef type in terms of colour features and varied by a place of origin was studied. It was noticed that the increased beef demand in the UE led to beef import from the South America and USA. Beef colour features depend on an influence of environmental, breeding and genetic factors and racial division. It appeared that the highest brightness parameter, L*, was achieved for Argentinian and American beef, whereas the lowest one was noticed for Brazilian one. The highest 'redness' parameter, a*, was found for Polish beef. The 'yellowness' parameter, b*, did not differ significantly for these beef meat.

2

Colour changes of beech wood modified with essential oils due to fungal and ageing-fungal attacks with coniophora puteana

100%

Reinprecht L. , Hulla M.

Drewno : prace naukowe, doniesienia, komunikaty

|

2015

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tom vol. 58, nr 194

37--48

EN

Fungal attacks on beech wood (Fagus sylvatica L.) samples (25 × 25 × 3) mm were performed using the brown-rot fungus Coniophora puteana over a period of 8 weeks, without or with their previous accelerated ageing in a Xenotest and a drying oven. Due to the fungal and ageing-fungal attacks, respectively, the top surfaces of the reference beech samples obtained a darker yellow-red shade according to the CIE-L*a*b* colour system. Similar changes in the colour coordinates L*, a*, and b* were found for the beech wood modified with the essential oils which were less fungicidal efficient – lavender, sage, tea-tree, and the oil-mixture. On the other hand, the colour changes in the beech wood modified with those essential oils which had a better fungicidal efficiency – birch, clove, oregano, sweet flag, savory, and thyme – were less significant, confirmed by Duncan’s test. Linear correlations with greater or lesser significance were established between the changes in the colour parameters (ΔL*; Δa*; Δb*; ΔE*) and the corresponding mass losses (Δm) of attacked beech wood, the best for positive Δb* which identified its yellowing.

3

Kolory małej architektury

100%

Tarajko-Kowalska J.

Zieleń Miejska

|

2009

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tom Nr 12

36-38

PL

Poza kwestią doboru właściwego stylu i formy obiektu małej architektury w danej lokalizacji prze.strzennej, istotnym elementem staje się także jej kolor, tonowi on właściwość, którą najłatwiej i stosunkowo najmniejszym kosztem można zmienić w celu poprawy lub zmiany odbioru wizualnego danego obiektu.

4

Une palette intentionnelle et significative : le symbolisme des couleurs dans quelques romans zoliens

100%

Kaczmarek-Wiśniewska A.

Orbis Linguarum

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2018

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nr 50

249–259

EN

An intentional and significant palette : colour symbolism in some of Emile Zola’s novels In naturalist novels, aiming to depict the reality as faithfully as possible, colours are particularly important, and need to be carefully selected. An attentive reader of Zola’s Rougon-Macquart series might notice a very special use of colours that are often charged with an important symbolic value: being not only an ornament or a detail, they frequently influence and/or express the characters’ features. The proposed classification shows some most relevant examples of Zola’s conception of colours in selected parts of the series.

5

Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs

100%

Gostkowska K.

Romanica Wratislaviensia

|

2016

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tom 63

41-52

EN

Colour as a subject has led to numerous studies in various disciplines (such as physics, psychology, chemistry or history of art, to name a few). In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.

6

Layering of façades. A few comments on the colour of Krakow's façades in earlier and contemporary times

100%

Komorowski W.

Geology, Geophysics and Environment

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2014

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tom Vol. 40, no. 2

171--180

EN

Witnesses to a bygone age, façades are evidence of past life. Interpretation of traces, and particularly colours, aids to recognize old tastes and moods. This paper reviews ornamentation methods used for the outerwalls of buildings in Krakow from the city foundation (1257) until the 1950s. The first part of the paper presents evidence to corroborate a theory that, in spite of a common misconception, medieval façades were not left in their raw condition but plastered. Obviously, plaster did not recall its modern clear and even equivalent, but was greyish and bumpy. Usually this plaster received a multicolour painted finish. Surprisingly for our contemporaries, stone details such as window and door stone work were also painted, the practice being common until the end of the 18th century. Ornamentation methods varied throughout the ages, though rich colouring was popular and characteristic for Gothic, Renessaince, Baroque and Classicism. Dimmed colours as seen in the second half of the 19th century were only occasional in fact. The older the building, the more plaster and painted layers it would receive. Learning about this layering takes us through the history of the building.

7

Stylistyczna funkcja barw w powieści Kollokacja Józefa Korzeniowskiego

100%

Żurawska-Chaszczewska J.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2012

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tom 19

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nr 2

153-170

PL

Korzeniowski’s novel features different colours (white, yellow, red, green, skyblue (azure), brown, pink, orange, gray and black) that describe and specify the appearance of the protagonists, their places of abode and the surrounding nature. The significance of these ”primary” colours are then complemented with a special vocabulary of light and shade that renders not only the beauty of the characters in the novel but chiefly their emotions and experience. The colours are to distinguish and differentiate the protagonists of the book, who are identifiable by coded references to colours. They are representatives of the local petty gentry, impecunious minor noblemen, who nevertheless live sumptuously and above their station and the colours are to show their bad taste and poor choices. This group is contrasted by a traditionally living family of the Starzyckis, who are faithful to their tradition and live a modest and orderly life, while their ideals concerning order and modesty can be seen even in their dress. Thus, the colours attributed to them and to their environment are to reevaluate virtues, highlight values and those traits of character that the author of the novel considered most important. Fanciful and colourful little things as well as the colours used in the descriptions of nature underline the realism of the setting in the novel. Colours in Kollokacja are mainly evoked in the linguistic creation of the protagonists and their emotions, whereas much more sparingly in descriptions of manors, houses and nature, which emphasizes even more the dominant role of the characters of the novel and the subordinate role of nature and the description of villages and cottages as the setting for the novel.

8

Preferencje barw papierów graficznych

100%

Drzewińska E.

Przegląd Papierniczy

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2006

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tom R. 62, nr 11

673-675

PL

Preferencje dotyczące barw często kształtują się pod wpływem przyjemnych i nieprzyjemnych bodźców i istniejących w związku z tym skojarzeń barwnych. Do określenia optymalnych ze względów fizjologii wzroku i estetyki zakresów barwy papierów graficznych wykonano test semantyczny, w którym oceniający posługiwali się metodą subiektywną biorącą pod uwagę upodobania osobiste. Z przeprowadzonego testu wynika, że jaskrawa, niebieskawa biel nie była dla oceniających synonimem wysokiej jakości papieru. Oceniający opowiedzieli się za żółtawymi barwami tzw. "ekologicznymi".

EN

As regards colours, preferences are very often shaped under the influence of pleasant or unpleasant stimuli and, as a result, certain colour associations. To define optimal colour ranges of graphic papers from visual physiology and aesthetics perspective, a semantic test was performed. Test participants were using a subjective method based on individual tastes. Results showed that a bright bluish white was not a synonym for high paper quality. Yellowish, so called "ecological" colours were favoured.

9

Effect of Industrial Washing and Laundering on the Colour Values of Knitted Denim

100%

Mezarcıöz S.

Fibres & Textiles in Eastern Europe

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2021

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tom Nr 6 (150)

65--71

EN

One of the most distinctive features of denim is that the warp yarn is dyed with indigo dye and the weft yarns are not dyed, i.e. white. Although warp yarns dyed with indigo dye are woven with different woven fabric weaves, classical denim fabrics weave are produced with 3/1 Z twill weave. The search for new products in denim has led businesses to produce denim-looking knitted fabrics. Denim-looking knitted garments are subjected to industrial washing at the production phase and repetitive household washing processes in daily life. Repeated washing and drying processes cause changes that can affect user satisfaction in terms of losing the colour of the fabric. Therefore, in this study, the colour values of knitted denim fabrics produced as an alternative to denim fabrics manufactured by traditional methods after various industrial (rinse, enzyme and stone washing) and home washes (5, 10, 20 times) were examined. For this, the CIELab colour system was taken as the basis for colour analysis on a spectrophotometer device. As a result of the washing processes performed on each fabric sample (household washing and rinse, enzyme, stone washing applications), it was observed that there were differences in colour values depending on the fibre type, loop yarn length, fabric construction and washing process.

10

O kolorach miłości w języku polskim i niemieckim (Aspekty językowo-kulturowe)

100%

Bawej I.

Acta Universitatis Lodziensis. Folia Germanica

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2018

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nr 14

67-81

PL

The article describes six basic colour terms and their connotations concerning love on the basis of love between a woman and a man by prism of Poles and Germans.The analysis covers selected expressions with a colour element connoted a feeling of liking someone combined with sexual attraction to answer following questions: What colour does love have in Polish and German? What are physiological sources of the symbolism of love’s colours in Polish and German culture? Is the perception of love similar or different in both languages?

11

Effect of heat treatment on the colour and glossiness of black locust, wild pear, linden, alder and willow wood

100%

Esteves B. , Ayata U. , Gurleyen L.

Drewno : prace naukowe, doniesienia, komunikaty

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2019

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tom vol. 62, nr 203

39--52

EN

In this study, samples of wood from black locust (Robinia pseudoacacia Lipsky), wild pear (Pyrus communis L.), linden (Tilia platyphyllos), alder (Alnus glutinosa L. Gaertn.) and willow (Salix alba) were treated at 212°C for 1 hour and 2 hours according to the ThermoWood heat treatment procedure at the Novawood Factory in Gerede, Bolu (Turkey). Colour and glossiness were tested and compared with untreated samples. The results showed that overall, lightness decreased, while the behaviour of a* and b* values depended on the species and on the initial colour. Differences in lightness and a* between species were equalized by heat treatment. Gloss at 20° and 60° angles decreased with heat treatment for both perpendicular and parallel directions, while at 85° an equilibrium was reached between the decrease in gloss due to the heat treatment and the increase due to the lower roughness of the heat-treated surface.

12

New possibilities to characterizing wheat grain endosperm

100%

Fornal L. , Kozirok W. , Chorazewicz R.

Polish Journal of Natural Sciences

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2003

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tom 13

13

Effect of heat treatment on the surface of selected exotic wood species

88%

Ayata U. , Gurleyen L. , Esteves B.

Drewno : prace naukowe, doniesienia, komunikaty

|

2017

|

tom vol. 60, nr 199

105--116

EN

This study measured the effect of heat treatment according to the ThermoWood method on the colour and glossiness properties of selected exotic wood species. For this purpose, Afrormosia (Pericopsis elata), Doussie (Afzelia bipindensis), Frake (Terminalia superba) and Iroko (Chlorophora excelsa) were heat treated at 212°C for 1 hour and 2 hours using the ThermoWood method in Novawood Factory, Gerede, in Bolu, Turkey. After this process, the glossiness and colour of the untreated wood were tested in comparison with the heat-treated samples. The results show that the colour (L*, a* and b*) and glossiness (parallel and perpendicular to the grain at 20°, 60° and 85° angles) were changed by the treatment. Generally the L* and glossiness of the surface decreased and the ΔE* and a* increased with the intensity of the treatment.

14

Między jasnością a ciemnością. O wybranych leksemach wyrażających intensywność światła w twórczości Janusza Stanisława Pasierba

88%

Kaptur E. , Sławek J.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2022

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tom 29

|

nr 1

35-48

EN

The poetic texts of priest Pasierb present a peculiar sensitivity to the names of colours. The author of Koziorożec ( Capricorn ) paid particular attention to the role of light, hence his works present a separate category of expressions regarding light and darkness, flash and brightness. It is the result of, among others, the culturallyconditioned evaluation of light and dark and the related axiological attitude towards the world. Also present are numerous lexemes situated in the lexical field of, for instance, red, yellow, golden, blue, black and white. The collected material shows that the names of colours present in Pasierb’s works do not so much name reality as co-create the mood of particular texts, creating as a result a set of delicate poetic impressions.

15

Hues of Acer platanoides L. resulting from processes of thermal treatment with saturated steam

88%

Dzurenda L.

Drewno : prace naukowe, doniesienia, komunikaty

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2018

|

tom vol. 61, nr 202

165--176

EN

An analysis was made of the hues of the wood of Norway maple (Acer platanoides L.) resulting from processes of thermal treatment (colour modification) with saturated steam: tI = 112.5 ±2.5°C for τ = 5.5 hours (mode I), tII = 127.5 ±2.5°C for τ = 6.5 hours (mode II) and tIII = 137.5 ±2.5 °C for τ = 7.5 hours (mode III). Mode I produced a darker brown hue of Norway maple wood described with the following coordinates in the CIE-L*a*b*colour space: LI * = 77.2 ±1.8, aI * = 9.1 ±1.7, bI * = 18.9 ±1.5. Mode II led to a light brown-pink colour with the coordinates LII * = 70.9 ±1.5, aII * = 11.0 ±0.6, bII * = 18.9 ±0.8. Maple wood thermally modified in mode III acquired a unique brown-red colour with the coordinates LIII * = 63.3 ±1.9, aIII * = 11.1 ±0.5, bIII * = 19.2 ±0.6. When the temperature of the saturated steam used in the thermal treatment process is increased, and the exposure time of the wood is prolonged, the colour of the wood becomes darker. Specific hues are achieved through increases in the values of the red coordinate a* and yellow coordinate b* in the CIE-L*a*b*colour space. The irreversible changes in the colour of Norway maple wood achieved in some modes of colour modification with saturated steam broaden the possibilities for its use in the fields of construction and carpentry, as well as in art and design.

16

Życie człowieka w semiotyce koloru na przykładzie języka polskiego i rosyjskiego (część I)

88%

Narloch A.

Acta Polono-Ruthenica

|

2018

|

tom Tom 3 Nr XXIII

89-98

EN

In the contemporary linguistic research, the colour system occupies a special position. Today’s culture space is supersaturated with colours, which are important semiotic components of human functioning and their relationships with other people. This paper attempts to describe colour semiotics from the point of view of the human’s development period. The author tries to find an answer to the question whether colours can also determine the age frame of a person. First, the relationship between colours and time is analysed. The suggested description of the stages of life through the colour spectrum shall allow answering the question how the respective stages of human life are determined by the colours assigned to them by the culture.

17

Image processing problems in fluid dynamics : selected digital procedures

88%

Reinecke H. , Mo M. , Grant I.

Machine Graphics and Vision

|

1999

|

tom Vol. 8, No. 4

493-507

EN

Image processing in fluid dynamics, often in conjunction with quantitative flow visualization, is an important tool used, in both computational and experimental studies, for analysis and data presentaion. The development of inexpensive, poweful image capture and processing hardware is being complemented by imaginative software development, utlising ideas often evolved from earlier analogue, optical and electronic, image processing methods while evolving new concepts based on advances in computation and digital image processing.

18

Życie człowieka w semiotyce koloru na przykładzie języka polskiego i rosyjskiego (część II)

88%

Narloch A.

Acta Polono-Ruthenica

|

2019

|

tom Tom 3 Nr XXIV

35-44

EN

In the contemporary linguistic research, the colour system occupies a special position. Today’s culture space is supersaturated with colours, which are important semiotic components of human functioning and their relationships with other people. This paper attempts to describe colour semiotics from the point of view of the human development period. The author tries to determine whether colours can also determine the age frame of a person. First, the relationship between colours and time is analysed. The suggested description of the stages of life through the colour spectrum allows answering the question of how the respective stages of human life are determined by the colours assigned to them by the culture.

19

Applications of Chrominance Vector Quantization to Intraframe and Interframe Compression of Colour Video Sequences

88%

Bartkowiak M. , Domański M.

Bulletin of the Polish Academy of Sciences. Technical Sciences

|

2001

|

tom vol. 49, nr 4

559-566

EN

A video compression technique for applications in very low bit rate coding is presented. The technique is based on vector quantization of chrominance and compression of the image with scalar representation of chrominance. The general idea is to represent the two components of the chrominance vector (CB, CR) using single scalar values. Experimental results of computer simulations using standard video sequences are presented.

20

The effects of heat treatment on colour and glossiness of some commercial woods in Turkey

88%

Gurleyen L. , Esteves B. , Ayata U. , Gurleyen T. , Cinar H.

Drewno : prace naukowe, doniesienia, komunikaty

|

2018

|

tom vol. 61, nr 201

81--90

EN

In this study, hornbeam (Carpinus betulus L.), poplar (Populus deltoides), chestnut (Castanea sativa Mill.) and Uludağ fir (Abies bornmülleriana Mattf.) were heat treated at 212°C for 1 hour and 2 hours by the ThermoWood® method. Colour and glossiness were determined and compared with untreated samples. Results showed that lightness (L*) decreased for all tested samples and that the decrease was higher with more intense treatments. Colour parameter a* (red/green) initially increased with heat treatment, then decreasing afterwards. The colour parameter b* (yellow/blue) on the other hand, decreased for Hornbeam and Chestnut and increased for Poplar and Uludag fir. Generally, the glossiness decreased with heat treatment for both measurements, along and across the grain. All factors and interactions were found to be significant (according to α = 0.05) with the exception of interaction (AB) for parallel (//) glossiness in 60°. The highest total colour change was achieved for Hornbeam (ΔE* = 41.58).