The present study was carried out to revive the old art of dyeing with natural dye obtained from barks of Bombax ceiba Linn. locally known as semal tree. The commercialization of the present process will be helpful for their viable application in handloom and textile industries. Further, this will also have great impact especially for the economic growth of the rural dyer communities. In the present study, Cotton fabric was pre treated with eco friendly and non eco friendly mordants. The (...) various shades were obtained. The name of the shade and shade code was obtained by matching the shade card presented by Asian paint India. Colour strength of dyed cotton fabric was measured in terms of L, a, b colour scale by using hunter lab instrument Hunterlab EasyMatchQC Colour flex EZ 45 0, Reflectance . mode. The dyed samples have shown good to excellent and poor to good fastness properties Dr. Yogesh Vadwala | Dr. Namrita Kola "Dyeing of Cotton with Natural Dye Obtained from Barks of Bombax Ceiba Linn locally known as Semal" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-4 , June 2017. (shrink)

The art of the theatre is a collaborative enterprise. It involves the creative efforts of different artists: director, stage manager, set, lighting, properties, costume, make-up and sound designers. These artists work together for the realization of a theatrical production. They work within a production concept which is the guiding principle upon which a production is based. However, as the theatre is audio-visual and immediate, it is the duty of these artists to ensure that every aspect of the production is perfectly (...) deployed for the audience’s understanding of the play. Of all the artists of the theatre, the scenic designer’s work is the most eloquent visual expressive element in the theatre because he is the artist responsible for interpreting the play/drama in concrete visual terms through the creation of an aesthetically pleasing and functional background. This essay interrogates the use of scenic design in countering terrorism in the Unizik performance of Emma Dandaura’s Venom for Venom. The study finds that through adequate use of the elements and principles of design that the scenic artist was able to counter the spate of terrorism as depicted in the play through his set design. It submits that terror in a theatrical performance can be ameliorated through subtle use of design for the audience’s better understanding of the message of the play. (shrink)

This study analyzed consumers' preferences for local textiles, specifically Tie-dye and Batik, in the Itoku Local Government Area of Ogun State, Nigeria. Itoku markets were purposefully selected due to their high sales of Adire and Batik. One hundred and fifty respondents were randomly selected from two markets in Itoku. Data was collected through a structured questionnaire and analyzed using descriptive statistics such as means. T-test was used to analyze differences in preference between tie-dye and batik. The results (t = -7.97, (...) P = 0.003) showed a significant difference in consumers' attitudes towards tie-dye and batik. It was also found that the factors influencing consumers' preferences significantly affected both Adire and Batik (t = -4.11, P = 0.001). Further analysis revealed that there was no significant difference in the factors responsible for consumers' preferences between tie-dye and batik (t = 0.008, P = 0.940). Thus, a good number of the respondents preferred tie-dye to batik, just as there were a good number of them who also preferred batik to tie-dye, regardless of factors such as aesthetic values, design patterns, color combinations, durability, attractiveness, production cost, and selling prices. (shrink)

Over 1.5 million living animal species have been described—of which around 1 million are insects—but it has been estimated there are over 7 million animal species in total. Animals range in length from 8.5 micrometres to 33.6 metres. In this paper an Artificial Neural Network (ANN) model, was developed and tested to predict animal species. There are a number of features that influence the classification of animal species. Such as the existence of hair/ feather, if the animal gives birth or (...) spawns, it is airborne, aquatic, predator, toothed, backboned, venomous, has –fins, has-tail, cat-sized, and domestic. A model based on the Multilayer Perceptron Topology was proposed and trained, using data set what was collected from UCI Machine Learning Repository. Evaluation of the proposed model shows that the ANN model is able to correctly predict the animal category with 100% accuracy. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in relation (...) to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

Consciousness is the major, perhaps the only, issue that makes the perennial mind-body problem unsolvable. To solve the problem, it is necessary to identify what produces consciousness. Every attempt to explain what produces consciousness has failed, and this failure is venom in discoursing the mind-body problem. Without consciousness in the real sense: the materialists within their framework would have succeeded in explaining how the body responds to impulses from the brain, now, their explanation is redundant; the immaterialists would have (...) had nothing to say, but now, their explanations on the nature of mind, and its relationship with the body, is confusing. This paper critically evaluates the concept, of consciousness, it observes that materialism and immaterialism have created more problems than what they set out to solve. Their mutually exclusive positions on the source of humans' consciousness and explanations of the relationship between the mind and body have closed the door to removing the venom in the mind-body problem. Also, that has hampered human yarning to know the true nature of reality. Based on the foregoing, this paper argues that consciousness is the product of both the body and mind. The mind is seen as a quasi-material – an extension of the main-brain. The source is likened to the signal received by the digital television set. The decoder receives information from the satellite dish and presents it to human beings in understandable ways. Without the satellite dish, there would be no such information, and without the television set, such information would be meaningless. Keywords: Consciousness; Main-brain; Materialism and Immaterialism; Mind-body; Neurons. (shrink)

The lectures on Heidegger‘s Being and Time held at a congress in Siegen (by Charles Bambach, Dieter Thomä, Johannes Fritsche, Rainer Marten et al.) and published in a book in the spring of 2019, are subject to a revision here. In particular, the works of the group around Emmanuel Faye are considered sect-like sessions of the intention to interpret Being and Time by the later Nazi identity of its author. Due to the dominance of these interpretations, the conference is criticized (...) under this aspect as „Congress of Braunfärber“ (i.e. those who dye it brown). Die auf einem Kongress in Siegen gehaltenen Vorträge zu Heideggers Sein und Zeit (von Charles Bambach, Dieter Thomä, Johannes Fritsche, Rainer Marten u.a.), im Frühling 2019 in Buchform publiziert, werden hier einer Revision unterzogen. Insbesondere die Arbeiten der Gruppe um Emmanuel Faye werden dabei als sektenhafte Sessionen des Unternehmen bewertet, „Sein und Zeit von der späteren nazistischen Mission seines Verfassers her zu lesen“. Aufgrund der Dominanz dieser Deutung wird die Tagung in Siegen wird unter diesem Gesichtspunkt als “Kongress der Braunfärber“ kritisiert. (shrink)