Chikara @chikara@qoto.org

STEM in a real world setting needs a non-technical vocabulary, for example

RE·PAIR /rəˈper/ = verb generally meaning "fix or mend a thing suffering from damage or a fault"; more specific meanings = (a) make good such damage by fixing or repairing it"; (b) put right a damaged relationship or unwelcome situation" ... also, a noun generally meaning "the action of fixing or mending something; more specific meanings = (a) "a result of fixing or mending"; (b) "the relative physical condition of an object"

PERIHELION

Tonight something happens in the sky, but there's nothing to see.

Q: Did you know that perihelion, the point during the year when the Earth is closest to the Sun, occurs around this date every year? -- see https://en.wikipedia.org/wiki/January_3

In 2020, perihelion takes place tonight --at precisely 2:48 a.m. EST on January 5.-- see https://www.travelandleisure.com/trip-ideas/space-astronomy/what-is-perihelion-day-2020

FYI: Graphic below shows 2019-2020

DEEP SEA MINING = tech frontier

#seismology #sismologie #geology #géologie #metallurgy #métallurgie #fishing #pêche

International agreements about ocean mining in international waters have never been formally established. The issues have become urgent because
(a) the development of undersea mining technologies has advanced radpidly; and
(b) increasing worldwide demand for raw materials has flattened corporate risk/reward ratios.

SEABED AUTHORITY. The United Nations has delegated the task of developing a regulatory structure to the International Seabed Authority (ISA) "in order to ensure environmentally sustainable development of seabed mineral resources." -- see ISA, "Scientific Activities Promotion."
https://www.isa.org.jm/scientific-activities

MITIGATE DAMAGES. The purpose of the ISA is to mitigate the expected damages caused by mining on the deep seafloor in specific ways
(a) selecting locations where extraction will be permitted; and
(b) issuing licenses to mining companies; and
(c) drafting the technical and environmental standards of an underwater Mining Code. -- see "History’s Largest Mining Operation Is About to Begin" (Wil S. Hylton). The Atlantic. Jan/Feb 2020. https://www.theatlantic.com/magazine/archive/2020/01/20000-feet-under-the-sea/603040/

LIKELY MINING TARGETS. "The most likely targets for deep-sea mining are polymetallic sulphides, manganese nodules and cobalt-rich ferromanganese crusts. On a longer time scale, rare earth elements (REEs) in deep-sea muds may also become important, and there has long been interest in the extraction of gas hydrates as a source of hydrocarbons. -- see MIDAS (Managing Impacts of Deep-seA reSource exploitation), https://www.eu-midas.net/science

ISA = INDEPENDENT. The ISA has 168 member states. It is autonomous. Its headquarters are in Kingston, in Jamaica. -- see ISA, "Authority" https://www.isa.org.jm/authority; and see "Member states" https://www.isa.org.jm/member-states

UNINTENDED CONSEQUENCES? What about this? FYI -- see below, Global map of thermohaline circulation; and likely MIDAS-identified deep sea mining sites

EXPLOITATION IN HAUTE MER = frontière technologique

#sismologie #géologie #métallurgie #pêche

Les accords internationaux sur l'exploitation des océans dans les eaux internationales n'ont jamais été formellement établis. Les problèmes sont devenus urgents car
a) le développement des technologies minières sous-marines a progressé rapidement; et
(b) l'augmentation de la demande mondiale de matières premières a aplati les ratios risque / rendement des entreprises

AUTORITÉ MARINE. L'ONU a délégué la tâche d'élaborer une structure réglementaire à l'Autorité internationale des fonds marins (ISA) "afin d'assurer le développement écologiquement durable des ressources minérales des fonds marins". -- see ISA, "Scientific Activities Promotion." https://www.isa.org.jm/scientific-activities

ATTÉNUER LES DOMMAGES. Le but de l'ISA est d'atténuer les dommages attendus causés par l'exploitation minière sur les fonds marins de manière spécifique
a) sélectionner les emplacements où l'extraction sera autorisée; et
b) délivrer des licences aux sociétés minières; et
(c) l'élaboration des normes techniques et environnementales d'un code minier sous-marin. -- "History’s Largest Mining Operation Is About to Begin" (Wil S. Hylton). The Atlantic. Jan/Feb 2020. https://www.theatlantic.com/magazine/archive/2020/01/20000-feet-under-the-sea/603040/

CIBLES MINIERS PROBABLES. "Les cibles les plus probables pour l'exploitation en haute mer sont les sulfures polymétalliques, les nodules de manganèse et les croûtes de ferromanganèse riches en cobalt. À plus long terme, les éléments des terres rares (ETR) dans les boues des grands fonds peuvent également devenir importants, et il y a longtemps intérêt pour l'extraction d'hydrates de gaz comme source d'hydrocarbures. -- MIDAS (Managing Impacts of Deep-seA reSource exploitation), https://www.eu-midas.net/science

ISA = INDÉPENDANT. L'ISA compte 168 États membres. Il est autonome. Son siège est à Kingston, en Jamaïque. -- ISA, "Authority" https://www.isa.org.jm/authority; et "Member states" https://www.isa.org.jm/member-states

CONSÉQUENCES INATTENDUES?
Que faut-il en penser? -- ci-dessous, une carte mondiale de la circulation thermohaline; et une carte mondiale des sites miniers en eau profonde identifiés par MIDAS

TAXONOMY = the branch of science concerned with classification, especially of organisms; systematics

#agriculture #botany #botanique #garden #jardinage #potager #Japan #Japon

Carl Peter Thunberg (1743-1828) was a Swedish naturalist. He is sometimes called the "Japanese Linnaeus". -- see Wikipedia "Carl Peter Thunberg" https://en.wikipedia.org/wiki/Carl_Peter_Thunberg

His name --Thunberg -- is cited in the scientific names of 200+ species of both plants and animals in Japan, including Houttuynia cordata. -- see Wikipedia "Houttuynia cordata" https://en.wikipedia.org/wiki/Houttuynia_cordata

He published "Flora Japonica" in 1784. -- see digitized copy of text https://bibdigital.rjb.csic.es/viewer/11585/?offset=#page=5&viewer=picture&o=bookmark&n=0&q=

ANTHROPOMORPHISM = the attribution of human characteristics or behavior to an object

#Scotland #Écosse

A truck named "Thunberg" interests me because of its name. -- see "WAY TO SNOW ‘Gritter Thunberg’ hits streets as Scottish school kids honour Swedish Eco Warrior Greta Thunberg" (Kirsty Feerick). Scottish Sun. 21 Dec 2019. https://www.thescottishsun.co.uk/news/5093055/gritter-thunberg-gritter-thunberg-children-snow-scotland/; and see https://twitter.com/HolyroodLiam/status/1208041301402406913; and see also "This website lets you see all of Scotland’s spectacularly named gritters in action" (Taylor Heyman). Independent (Eire). 21 Dec 2019. https://www.independent.ie/world-news/and-finally/this-website-lets-you-see-all-of-scotlands-spectacularly-named-gritters-in-action-36444525.html

TAXONOMIE = branche de la science concernée par la classification, en particulier des organismes; systématique

#agriculture #botanique #jardinage #potager #Japon

Carl Peter Thunberg (1743-1828) était un naturaliste suédois. Il est parfois appelé le "Linné japonais." -- https://fr.wikipedia.org/wiki/Carl_Peter_Thunberg

Son nom - Thunberg - est cité dans les noms scientifiques de plus de 200 espèces de plantes et d'animaux au Japon, y compris Houttuynia cordata. -- https://fr.wikipedia.org/wiki/Houttuynia_cordata

Il a publié "Flora Japonica" en 1784. -- copie numérisée du texte https://bibdigital.rjb.csic.es/viewer/

#impression #imprimerie #métallurgie #Corée #Japon

La première utilisation de polices de caractères mobiles dans un livre publié imprimé au Japon a marqué une étape importante dans l'histoire de la technologie.

PRESSE D'IMPRIMERIE. La première presse à imprimer à caractères mobiles a été apportée de Corée au Japon en 1593. -- Princeton, "First Japanese Book Printed from Movable Type" (Julie L. Mellby). December 6, 2008. https://www.princeton.edu/~graphicarts/2008/12/first_japanese_book_printed_fr.html

TECHNOLOGIE D'IMPRESSION. La technologie d'impression a été pillée lors de la première invasion japonaise de la Corée (1592-1596), également connue sous le nom de guerre d'Imjin. -- Kim, J (2018). "Museums and cultural heritage: to examine the loss of cultural heritage during colonial and military occupations with special reference to the Japanese occupation of Korea, and the possibilities for return and restitution." (Unpublished Doctoral thesis, City, University of London), p. 20. https://openaccess.city.ac.uk/id/eprint/20813/1/Kim,%20Jongsok.pdf

TYPOGRAPHIE. Les Japonais ont ramené de nombreuses polices et spécialistes de l'impression coréens au Japon, ce qui est devenu le début de la typographie japonaise. -- Sohn, Pow-key. “Early Korean Printing.” Journal of the American Oriental Society, vol. 79, no. 2, 1959, p. 103. https://www.jstor.org/stable/595851?Search=yes&resultItemClick=true&searchText=early&searchText=korean&searchText=printing&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dearly%2Bkorean%2Bprinting&ab_segments=0%2Fbasic_SYC-4929%2Ftest&refreqid=search%3A0c2ebf1911ddc99d0c299b9bfb5d1e0f&seq=1#metadata_info_tab_contents

PREMIER LIVRE. En 1593, le premier livre utilisant le type mobile en cuivre a été publié au Japon. -- History of Information. http://www.historyofinformation.com/index.php?cat=106&start=1&end=41

DEUXIÈME LIVRE. En 1599-1603, le premier livre a été publié à l'aide d'une presse de fabrication japonaise et de polices de caractères en bois de fabrication japonaise. - copie numérisée en ligne de Nihon Shoki (Chroniques du Japon) à la Bibliothèque du Congrès https://www.wdl.org/en/item/11835/view/1/3/; et voir ci-dessous, un exemple de texte de ce livre japonais du début du 17e siècle

#printing #typeface #publishing #matallurgy #métallurgie #Korea #Japan

The first use of movable type fonts in a published book printed in Japan was a milestone in the history of technology.

PRINTING PRESS. The first printing press which used movable type was brought from Korea to Japan in 1593. -- see Princeton, "First Japanese Book Printed from Movable Type" (Julie L. Mellby). December 6, 2008. https://www.princeton.edu/~graphicarts/2008/12/first_japanese_book_printed_fr.html

PRINTING TECHNOLOGY. The printing technology was looted during the first Japanese invasion of Korea (1592-1596), also known as the Imjin War. -- see Kim, J (2018). "Museums and cultural heritage: to examine the loss of cultural heritage during colonial and military occupations with special reference to the Japanese occupation of Korea, and the possibilities for return and restitution." (Unpublished Doctoral thesis, City, University of London), p. 20. https://openaccess.city.ac.uk/id/eprint/20813/1/Kim,%20Jongsok.pdf

TYPOGRAPHY. The Japanese took many fonts and Korean printing specialists back to Japan, and this became the beginning of Japanese typography. -- see Sohn, Pow-key. “Early Korean Printing.” Journal of the American Oriental Society, vol. 79, no. 2, 1959, pp. 96–103. JSTOR, www.jstor.org/stable/595851. https://www.jstor.org/stable/595851?Search=yes&resultItemClick=true&searchText=early&searchText=korean&searchText=printing&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dearly%2Bkorean%2Bprinting&ab_segments=0%2Fbasic_SYC-4929%2Ftest&refreqid=search%3A0c2ebf1911ddc99d0c299b9bfb5d1e0f&seq=1#metadata_info_tab_contents

FIRST BOOK. In 1593, the first book using movable type made of copper was published in Japan.. -- see History of Information. http://www.historyofinformation.com/index.php?cat=106&start=1&end=41

SECOND BOOK. In 1599-1603, the first book was published using a Japanese-made press and Japanese-made wooden type fonts. -- see online digitized copy of Nihon Shoki (Chronicles of Japan) in Library of Congress https://www.wdl.org/en/item/11835/view/1/3/; and see below, sample text from this early 17th-century Japanese book

#impression #imprimerie #métallurgie #Bengal #Inde

La première utilisation du visage de type bengali dans un livre publié imprimé en Inde a marqué une étape importante dans l'histoire de la technologie.

Charles Wilkins (1749-1836), était un typographe anglais.

Wilkins a été l'un des créateurs de la première police de caractères bengali; et il a publié le premier livre imprimé en bengali avec type mobile en métal. -- British Library, "Two Bengali grammars – a typographic perspective" (Fiona Ross). https://www.bl.uk/early-indian-printed-books/articles/two-bengali-grammars-a-typographic-perspective#

Tous les types précédents d'impression bengali étaient réalisés sur des plaques de cuivre, -- -- see Banglapedia, "Printing" http://en.banglapedia.org/index.php?title=Printing

La première imprimerie du Bengale a été ouverte en 1778. La presse était à Hoogly (Chinsura) sur la rivière Hoogly à 40 miles au nord de Kolkota. C'est l'endroit où le premier livre de grammaire bengali utilisant la police mobile de type bengali a été imprimé.-- M. Siddiq Khan. “The Early History of Bengali Printing.” The Library Quarterly: Information, Community, Policy, vol. 32, no. 1, 1962, p. 54. JSTOR, www.jstor.org/stable/4305188

Voir ci-dessous
• page de titre du premier livre imprimé en utilisant la police Begali en métal
• la première police de caractères bengali;

#printing #typeface #publishing #matallurgy #métallurgie #Bengal #India

The first use of Bengali type face in a published book printed in India was a milestone in the history of technology.

Charles Wilkins (1749 - 1836), was an English typographer. -- see Wikipedia "Charles Wilkins" https://en.wikipedia.org/wiki/Charles_Wilkins; and see "Typography" https://en.wikipedia.org/wiki/Typography

Wilkins was one of the creators of the first Bengali typeface; and he published the first typeset book in Bengali. -- see British Library, "Two Bengali grammars – a typographic perspective" (Fiona Ross). https://www.bl.uk/early-indian-printed-books/articles/two-bengali-grammars-a-typographic-perspective#

All previous types of Bangla printing were made on copper plates. -- see Banglapedia, "Printing" http://en.banglapedia.org/index.php?title=Printing

The first printing press in Bengal was opened in 1778. The press was in Hoogly (Chinsura) on the Hoogly River 40 miles north of Kolkota.

Hoogly is where the first Bengali grammar book using the movable Bengali type font was printed. -- see M. Siddiq Khan. “The Early History of Bengali Printing.” The Library Quarterly: Information, Community, Policy, vol. 32, no. 1, 1962, p. 54. JSTOR, www.jstor.org/stable/4305188; see below, title page of first book printed using Begali typeface made of metal; and see below, Wilkins drawing of one Bengali character to be made into type; see also below, Wilkins Bengali matrices

#art #ukiyo-e #pigment #volcanology #volcanologie #sky

WHY IS THE SKY PINK IN 'THE GREAT WAVE"?

Although the color has now faded in many of the woodblock prints Hokusai made and sold in the 1830s, art historians confirm that the sky was originally pink in initial prints of "The Great Wave."

We can't know why the artist selected pink, but we do know that Hokusai researched available literature and illustrations before working on his own pictures. -- see "Rare Hokusai woodblock is themed on 1707 Mt. Fuji eruption" (Akihiro Tanaka & Yoshito Watari). Asahi Shimbun. May 6, 2019. http://www.asahi.com/ajw/articles/AJ201905060011.html

The pink sky may be intended to suggest dawn. -- see Metropolitan Museum of Art, "Dawn at Isawa in Kai Province," 1930-32. https://www.metmuseum.org/art/collection/search/56349

Or maybe science provides another valid explanation?

VOLCANIC ASH IN ATMOSPHERE. In 1829, Klyuchevskaya Sopka erupted on the Kamchatka peninsula. -- see Wikipedia "List of large volcanic eruptions in the 19th century" https://en.wikipedia.org/wiki/List_of_large_volcanic_eruptions_of_the_19th_century; and see "Volcanos of Kamchatka"
https://en.wikipedia.org/wiki/Volcanoes_of_Kamchatka

The magnitude of this Klyuchevskaya eruption was much like the 2011 eruption of Grímsvötn in Iceland. -- see "List of large volcanic eruptions in the 21st century" https://en.wikipedia.org/wiki/List_of_large_volcanic_eruptions_in_the_21st_century

Like the paintings of J.M.W. Turner after the 1815 eruption of Mt. Tambora, Hokusai's pink skies may simply depict the presence of volcanic ash and dust in the atmosphere. -- see "How Paintings of Sunsets Immortalize Past Volcanic Eruptions" (Sarah Zielinski). Smithsonian. March 25, 2014. https://www.smithsonianmag.com/science-nature/how-paintings-sunsets-immortalize-past-volcanic-eruptions-180950254/

Skies more polluted by volcanic ash scatter sunlight more, so they appear redder. -- see "How 19th century art is painting a picture of Earth's polluted past: Turner's sunsets reveal volcanic ash and gas in the sky" (Sarah Griffiths). Daily Mail. 25 March 2014. https://www.dailymail.co.uk/sciencetech/article-2588838/How-19th-century-art-painting-picture-Earths-polluted-past-Turners-sunsets-reveal-volcanic-ash-gas-sky.html

WHAT A GREAT ARTIST SEES? Red-to-green ratios measured in paintings by great masters correlate well with the amount of volcanic aerosols in the atmosphere, regardless of the painters and of the school of painting. -- see Zerefos, C.S. et al. "Further evidence of important environmental information content in red-to-green ratios as depicted in paintings by great masters," Atmospheric Chemistry and Physics, 2014 14:6, 2016, pp. 2987-3015. https://www.atmos-chem-phys.net/14/2987/2014/,
DOI = 10.5194/acp-14-2987-2014; and see below, compare Hokusai with J.M.W. Turner's "Sea and Sky," c.1820–30. https://www.tate.org.uk/art/artworks/turner-sea-and-sky-d25433
.
QUESTION: Does the pink sky of Hokusai suggest plausibly accurate and useful environmental observation?
.
QOTO = Question Others to Teach Ourselves?

@skyofmywindow

#art #ukiyo-e #pigment #sky

I wonder if this may interest you?

There was a pink sky in the original impression of Hokusai's woodblock print "Great wave off Kanagawa." It’s just faded in so many copies that we don’t think of The Great Wave as having a pink sky. -- see Art Institute of Chicago, "Seeing Triple: The Great Wave by Hokusai," April 3, 2019. https://www.artic.edu/articles/743/seeing-triple-the-great-wave-by-hokusai

Before now, frankly, I didn't give any thought to "the atmospheric pink and grey in the sky" -- see "Hokusai: the Great Wave that swept the world" (John-Paul Stonard). The Guardian. 19 May 2017. https://www.theguardian.com/artanddesign/2017/may/19/hokusai-japanese-artist-late-blossoming-great-wave-mount-fuji

According to Tim Clark of the British Museum, "the pink in the sky was from a vegetable dye." -- see "This Might Be Your Last Chance to See 'The Great Wave' in Person" (Nathaniel Ainley). Vice. May 9, 2017. https://www.vice.com/en_us/article/8qwqe3/last-chance-to-see-hokusai-great-wave-in-person

Maybe Hokusai's fugitive pink sky comes from a pigment made from safflowers? -- see see JAANUS (Japanese Architecture and Art Net Users System), "beni"紅http://www.aisf.or.jp/~jaanus/deta/b/beni.htm

@Fabrice_tual Peut-être que cela vous intéressera?

#art #ukiyo-e #pigment #chemie #metallurgie

Le bleu de Prusse ou le bleu de Berlin est la plus ancienne couleur synthétique moderne. Il est utilisé depuis sa découverte à Berlin en 1704. Le pigment est fabriqué à partir de ferrocyanure ferrique. -- https://fr.wikipedia.org/wiki/Bleu_de_Prusse

ÉTUDE DE CAS. L'histoire de l'utilisation du bleu de Prusse au Japon est un exemple illustratif d'un processus d'acceptation rapide. Les effets de l'utilisation de ce pigment synthétique au Japon est une étude de cas dans l'histoire de la technologie.

UNE "NOUVELLE" COULEUR. Ce "nouveau" pigment en poudre a été importé au Japon de Hollande au XVIIIe siècle. -- JAANUS (Japanese Architecture and Art Net Users System), "Beronin-ai" ベロリン藍http://www.aisf.or.jp/~jaanus/deta/b/berorinai.htm

Cette teinte de bleu a été utilisée par Katsushika Hokusai en 1831 dans sa gravure Sous la Grande Vague de Kanagawa. L'œuvre d'art populaire de Hokusai a été la première à exploiter le pigment, qui était récemment devenu bon marché en Chine. -- British Museum, "Making Waves" https://blog.britishmuseum.org/making-waves/; aussi https://fr.wikipedia.org/wiki/La_Grande_Vague_de_Kanagawa

Au Japon, le succès du bleu de Prusse a provoqué une vogue pour les couleurs bleues dans les tirages ukiyo-e de la fin des années 1820 et 1830. -- JAANUS, "Azuri" 藍摺
http://www.aisf.or.jp/~jaanus/deta/a/aizuri.htm; aussi https://fr.wikipedia.org/wiki/Aizuri-e
.

#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

HISTORY OF TECHNOLOGY IN JAPAN -- PRUSSIAN BLUE

Prussian blue or Berlin blue is the oldest modern synthetic color. It has been in use since its discovery in Berlin in 1704. The pigment is made from ferric ferrocyanide. -- see ColourLex "Prussian blue" https://colourlex.com/project/prussian-blue/; and see Wikipedia "Prussian blue" https://en.wikipedia.org/wiki/Prussian_blue

CASE STUDY. The history of the use of Prussian blue in Japan is an illustrative example of a process of rapid acceptance. The effects of the use of this synthetic pigment in Japan is a case study in the history of technology.

A "NEW" COLOR. This "new" powdered pigment was imported to Japan from Holland in the 18th century. -- see JAANUS (Japanese Architecture and Art Net Users System), "Beronin-ai" ベロリン藍http://www.aisf.or.jp/~jaanus/deta/b/berorinai.htm

This hue of blue was used by Katsushika Hokusai in 1831 in his most famous woodblock print, "Under the Wave, off Kanagawa," also known as "The Great Wave." Hokusai's popular artwork was the first to exploit the pigment, which had recently become cheaply available from China. -- see British Museum, "Making Waves" https://blog.britishmuseum.org/making-waves/; and see Wikipedia "The Great Wave off Kanagawa" https://en.wikipedia.org/wiki/The_Great_Wave_off_Kanagawa; see Prussian Blue in a close-up detail of Hokusai’s Great Wave below

In Japan, the success of Prussian blue caused a vogue for blue colors in ukiyo-e prints of the late 1820s and 1830s. -- see Wikipedia "Aizuri-e" https://en.wikipedia.org/wiki/Aizuri-e; and see JAANUS, "Azuri" 藍摺
http://www.aisf.or.jp/~jaanus/deta/a/aizuri.htm
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QUESTION: Does the story of the introduction and expanding use of Prussian blue provide a good example of STEM-focused evolution? Is it possible that this could become a teaching tool?
.
QOTO = Question Others to Teach Ourselves?

HISTORY OF TECHNOLGOY = COLORS OF PROGRESS?

After 1860, Japan opened its doors to Western imports, and "new" analine dye colors became available for use. -- see "150-Year-Old Woodblock Prints Keep Japanese History Alive in New York" (Mike Steyels). Vice. October 19, 2016. https://www.vice.com/en_us/article/gvwa87/150-year-old-japanese-prints-ronin-gallery; see "new" red and purple colors in the 1888 woodblock print below

A descriptive label for these "new" colors was "kakushin no iro" (革新の色) or "colors of progress." -- see "Aniline Dyes in Meiji Nishiki-e
Toyohara Kunichika (John Fiorillo) https://www.viewingjapaneseprints.net/texts/topics_faq/anilinedyes.html;

Google's online translation of the phrase is successful enough -- the Japanese to English meaning is not unclear:

革新の = innovative
色 = color

COLORS OF PROGRESS. I think the English phrase "colors of progress" works better. But I've only seen the phrase two or three times, so I don't know how to assess it. Has the use of this phrase become a convention? Maybe not.

The difference between "innovative color" and "colors of progress" could be like the difference between "litharge" and "massicot." -- see CAMEO (Conservation and At Materials Online), "Litharge" http://cameo.mfa.org/wiki/Litharge

Or "colors of progress" may be a kind of history trope I just don't recognize yet.

Words matter, but this is is not a STEM topic. Or is it?

The focus on color and an awareness of seasonal change is not an uncommon topic in Japan. -- see "Autumn Reds and Yellows: Japan’s 2019 Foliage Forecast"
https://www.nippon.com/en/japan-data/h00550/autumn-reds-and-yellows-japan%E2%80%99s-2019-foliage-forecast.html

QUESTION: Without knowing more, does it matter how this late-19th century Japanese phrase is translated into English or any other language?
.
QOTO = Question Others to Teach Ourselves?

#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

LEAD-BASED PIGMENT IN ART OF JAPAN

The use of lead-based paint in traditional Japanese art and decoration is called "mitsuda-e" (密陀絵). -- see JAANUS (Japanese Architecture and Art Net Users System), "Mitsuda-e" http://www.aisf.or.jp/~jaanus/deta/m/mitsudae.htm

Litharge or massicot are common names for the yellow lead oxide pigment used in artists' paint. This is also known as Mitsuda-sō (密陀僧) in Japan. -- see "Traditional yellow pigments in Japan." https://printsofjapan.wordpress.com/category/dyes/page/2/; and see JAANUS, "Mitsudasou" http://www.aisf.or.jp/~jaanus/deta/m/mitsudasou.htm

"A heavy yellow powder composed of lead monoxide. Litharge is prepared as the oxidized product of molten lead that has been stirred or atomized to incorporate air then cooled and ground to form the yellow powder. Massicot, another crystalline form of lead monoxide, occurs naturally but can also be made by heating lead carbonate to 300C. Litharge is lightly more orange than massicot due to some formation of red lead oxide .... They were used as a yellow pigments in paints and glazes." -- see CAMEO (Conservation and At Materials Online), "Litharge" http://cameo.mfa.org/wiki/Litharge; and see "Litharge lead oxide" https://www.nikitaindustries.com/litharge-lead-oxide-3841370.html

CURRENT RESEARCH: There is interest in finding alternative pigments which can be used in lieu of mitsudasou. This research is informed by concerns about environmental pollution and health safety issues. -- see Nakagawa, "Kyojo Iwa Enogu" http://nakagawa-gofun.co.jp/english/begin/kyojo.html

QUESTION: Did you know that lead oxide was used in traditional Japanese arts and crafts? Did you know that lead pigment can be yellow or orange -- not only white?
.
QOTO = Question Others to Teach Ourselves?

#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

HISTORY OF TECHNOLOGY IN JAPAN -- A CASE STUDY?

A catch-all term for Japanese-style paintings made with traditional methods and materials is "nihonga" (日本画). -- see Wikipedia "Nihonga" https://en.wikipedia.org/wiki/Nihonga   After 1860, the Tokugawa shogunate relaxed its very severe restrictions on Western imports, and "new" colors began to be used in nihonga

CASE STUDY.  In the late 19th century, the evolution of nihonga using Western analine dye colors becomes an illustrative example of a process.  The introduction of new colors in the popular culture artwork of Edo is a case study in the history of technology.

A more specific Japanese term for color woodblock prints is "nishiki-e" or "uklyo-e" --see wikipedia "Nishiki-e"https://en.wikipedia.org/wiki/Nishiki-e; and see "Ukiyo-e"  https://en.wikipedia.org/wiki/Ukiyo-e   The introduction of synthethic dye colors in the late 19th century was an evolutionary change in the technology of Japanese print-making.

Spectroscopic studies of nishiki-e after 1860 show that most of the traditional pigments continued in use; and imported color is used, too. -- see image below, front & back of 1870 nishiki-e of a woman

SYNTHETIC COLOR PIGMENTS The introduction -- or acceptance -- of synthetic dyes was gradual and selective.

A. ROSANILINE PURPLE.  In 1864, the purple dye rosaniline became the first synthetic dye to be used in nishiki-e. -- see Cesaratto, A. et al. "A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods," Heritage Science 6, 22 (2018) doi:10.1186/s40494-018-0187-0 https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-018-0187-0; and see Wikipedia "Fuchine" https://en.wikipedia.org/wiki/Fuchsine

B. CARMINE RED.  In 1869, the use of safflower as the dominant red in nishiki-e was replaced by cochineal carmine. -- see Cesaratto, "A timeline"; and see Wikipedia "Carmine" https://en.wikipedia.org/wiki/Carmine

C. EOSINE RED. In 1877, eosine became the first synthetic red dye in nishiki-e. -- see Cesaratto, "A timeline"; and see Wikipedia "Eosin" https://en.wikipedia.org/wiki/Eosin

D. NAPTHOL RED. After 1889, a succession of red naphthol dyes were used in nishiki-e. -- see Cesaratto, "A timeline"; and see Wikipedia "Napthol Red" https://en.wikipedia.org/wiki/Naphthol_Red 

COLORS OF PROGRESS:   A term for the use of  "new" colors after 1860 was "kakushin no iro"  (革新の色) or "colors of progress." -- see  "Aniline Dyes in Meiji Nishiki-e
Toyohara Kunichika (John Fiorillo) https://www.viewingjapaneseprints.net/texts/topics_faq/anilinedyes.html; and see below, 1861 nishiki-e image of Americans by Utagawa Yoshikazu

QUESTION:  Does the story of these very specific dates and identifiable changes in the history of Japanese print-making provide an example of STEM-focused synergies?  Is this a case study in the history of technology? Is it possible that this little story could become a teaching tool?
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QOTO = Question Others to Teach Ourselves?

HISTORY OF TECHNOLOGY IN JAPAN -- A CASE STUDY?

#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

For more than a century, the Nakagawa company has manufactured artists paints in Kyoto Prefecture.  The company makes gofun (glue or adhesive) and pigments (iwa enogu and suihi enogu) for Nihonga (artwork created with traditional Japanese materials and methods). -- see Nakagawa, "Starting Nihonga"  http://nakagawa-gofun.co.jp/english/begin/index.html  

CASE STUDY.  The history of one small company is an illustrative example of a process,.  Nakagawa is a case study in the history of technology.

A. Nihonga art materials are traditionally hand-made. Paint is made in small quantities.
The quality of pigment powders varies.

B. Western machine manufacturing was adapted to increase the volume and of Nihonga pigments. This processing also made particle size standardization possible.

C. Scientific research and advances in technology made it possible to 

• replicate traditional crushed powder pigments, and to 

• increase the manufactured production output of Nihonga pigments, and to

• improve quality control for predictable standards of powder partical size in Nihonga pigments, and to

• mitigate worker safety problems associated with lead,  and to

• eliminate environmental pollution caused by the manufacturing process, and to

• discover potential new uses and new markets for Nihonga pigments. -- see Nakagawa, "Kyojo Iwa Enogu"  http://nakagawa-gofun.co.jp/english/begin/kyojo.html

LEAD-FREE PIGMENTS.  Nakagawa and the Kyoto Prefectural Technology Center for Small and Medium Enterprises invested 10 years of research in developing and patenting lead-free pigments for use in traditional Nihonga artwork.  Issues of public health and environmental pollution caused a demand for lead-free paints.  -- see Nakagawa, "Developing New Iwa Enogu" http://nakagawa-gofun.co.jp/english/begin/development.html

NAKAGAWA GOGUN ENOGU.  The Kyoto-based Nakagawa company was one of many small businesses which started up in the old Imperial capitol during the Meiji era after the Japanese emperor moved to Tokyo.

Purveyors (small business suppliers) which formerly focused exclusively on meeting the demands of the Imperial court were forced to diversify or die. A ripple effect spread through the supply chain which provided materials to these purveyors.

The emperor's unexpected decision to leave Kyoto converted the city's small business community into a kind of technology innovation incubator.  The Nakagawa company was one of many born in this context. -- see Nakagawa, "Company Profile" http://nakagawa-gofun.co.jp/english/company/index.html

KYOTO PREFECTURAL TECHNOLOGY CENTER.  The Kyoto Prefectural Technology Center for Small and Medium Enterprises (KPTC) is a public testing and research institution.  KPTC povides technical support including consultation, testing, equipment and human resource development. -- see KPTC, "Overview" https://www.kptc.jp/p_centernogaiyou/

At the same time KPTC was working with Nakagawa, there were other public-private partnerships focusing on seemingly unrelated composites. KPTC researchers studied and worked to resolve technology problems, thus creating a unique "incubator environment" for technology transfer and cooperation. -- see J. Lo, S. V. Hoa (2006), "Design, Manufacturing and Applications of Composites: Proceedings of the Sixth Joint Canada-Japan Workshop on Composites," p. 111. https://books.google.com/books?id=Eqj4cmEmDlkC&pg=PA111&lpg=PA111&dq=Kyoto+Prefectural+Technology+Center+for+Small+and+Medium+Enterprises+and+composite&source=bl&ots=9Oa5tX7hgH&sig=ACfU3U3XgoJy2p_3A4Dmq7gzDh8mg9JsNg&hl=en&sa=X&ved=2ahUKEwi8-8WU5qvmAhXxkOAKHXlKBXUQ6AEwAHoECAkQAQ#v=onepage&q=Kyoto%20Prefectural%20Technology%20Center%20for%20Small%20and%20Medium%20Enterprises%20and%20composite&f=false
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QUESTION:  Did the KPTC role in testing and equipment used in developing nanocomposite polymers have any unexpected (and perhaps unexamined) cross-over effect in the research about how to remove lead from Nihonga composite paints?
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QUESTION:  Does the story of this very small public-private partnership provide an example of STEM-focused synergy and practical success? Is it possible that this little story could become a teaching tool?
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QOTO = Question Others to Teach Ourselves?

#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

Nihonga 日本画 are Japanese-style paintings made with traditional Japanese artistic conventions, techniques and materials. -- see Wikipedia "Nihonga" https://en.wikipedia.org/wiki/Nihonga; see also JAANUS (Japanese Architecture and Art Net Users System), "Nihonga" http://www.aisf.or.jp/~jaanus/deta/n/nihonga.htm　

EDO PERIOD, 1600-1868. A thriving art market developed in Edo during the years that Japan was ruled by the Tokugawa Shogunate (1600-1868).

In the Edo period, sellers of paints for artists were limited in what they could provide. The colors and composition of paints were mixtures of indigenous materials. The use of traditional pigments had developed over the course of centuries. -- see "A Nihonga Painter in Yanaka,," NHK World. March 19, 2019. https://www3.nhk.or.jp/nhkworld/en/tv/tokyoeye2020/episode_20190306.html

• Iwa-enogu 岩絵具. Mineral pigment colors are produced by finely grinding natural minerals. Pigments can also be roasted to change their color. Nikawa glue is used as an adhesive. -- see JAANUS, "Iwa-enougu" http://www.aisf.or.jp/~jaanus/deta/i/iwaenogu.htm

• Suihi-enogu: Soil or clay is finely ground to make hues of yellow or red in hue. Nikawa glue is used as an adhesive. -- see Yamatane Museum of Art, "What is Nihonga?"http://www.yamatane-museum.jp/english/nihonga/

• Gofun 胡粉. The color white is made from natural oyster shells. Nikawa glue is used as an adhesive. -- see JAANUS, "Gofun" http://www.aisf.or.jp/~jaanus/deta/g/gofun.htm

• Senryō : Dyes or coloring materials derived from animal or plant matter are used. -- see Yamatane, "What is Nihonga?"http://www.yamatane-museum.jp/english/nihonga/

• Nikawa 膠. A gelatin glue or adhesive is made boiling and extracting protein from skins and bones of animals and fish, it has long been used as an adhesive. Since the pigments used in nihonga have no adhesive strength, the use of nikawa is needed to fix them to the surface of the painting. -- see JAANUS, "Nikawa" http://www.aisf.or.jp/~jaanus/deta/n/nikawa.htm

MEIJI PERIOD, 1868-1912. The art market in metropolitan Tokyo continued to expand after it became the Imperial capitol. Sellers of artist paints could offer "new" colors which only became possible because of use of imported materials which had been embargoed for 200+ years.

SUMMARY: Traditional Japanese artist paints continue to be manufactured and sold today; and there is an international market for these Nihonga pigments.

QUESTION: There may not be much interest in this topic now, but I would guess that this may change over time -- what do you think?
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QOTO = Question Others to Teach Ourselves?