Relevant bibliographies by topics / Pressed flower pictures

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Academic literature on the topic 'Pressed flower pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Pressed flower pictures"

1

Jiang, Yang, Victoria Vagnini, Jessica Clark, and Qin Zhang. "Reduced Sensitivity of Older Adults to Affective Mismatches." Scientific World JOURNAL 7 (2007): 641–48. http://dx.doi.org/10.1100/tsw.2007.115.

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The present study investigated age-related differences in emotional processing by using a paradigm of affective priming. Eighteen, right-handed, younger (mean age 22) and 15 older (mean age 68) subjects pressed buttons to indicate pleasantness of target words. The valence of each prime-target pair was congruent (e.g., win-love), incongruent (e.g., love-loss), or neutral (time-flower). Two sets of 720 prime-target pairs used either affective words or pictures as primes, and affect words as targets. We included well-matched positive and negative valence pairs in all congruent, neutral, and incon
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2

Holleran, Samuel. "Better in Pictures." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2810.

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While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in re
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3

Dean, Gabrielle. "Portrait of the Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1991.

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Let us work backwards from what we know, from personal experience: the photograph of which we have each been the subject. Roland Barthes says of this photograph that it transforms "the subject into object": one begins aping the mask one wants to assume, one begins, in other words, to make oneself conform in appearance to the disguise of an identity (Camera Lucida 11). A quick glance back at your most recent holiday gathering will no doubt confirm his diagnosis. Barthes gives to this subject-object the title of Spectrum in order to neatly join the idea of spectacle with the fearsome spectre, wh
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4

Neil, Linda. "Sunflowers." M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1956.

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Whatever a work of art may be, the artist certainly cannot dare to be simple. (Rebecca West) Van Gogh's Sunflowers is [not] considered worthy of inclusion in a new selection of the world's finest art. The compilers of the Folio Society's lavish and expensive Book of the 100 Greatest Paintings believe that some works are so overexposed and have been reproduced so often that they can no longer be viewed with a fresh eye. The Independent, 24.8.2001. Sometimes the day just falls down on you. One day they'll measure the weight of a day. One day science will be able to measure the density of 24 hour
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Books on the topic "Pressed flower pictures"

1

Scott, Margaret Kennedy. Pressed flowers and flower pictures. Batsford, 1989.

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2

Scott, Margaret Kennedy. Pressed flowers and flower pictures. B.T. Batsford, 1988.

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3

Beazley, Mary. Pressed wild flower pictures. B.T. Batsford, 1985.

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Pressed flower art. Sally Milner Publishingc1994., 1994.

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Eckardt, Brigitte. Pressed flower art. Sally Milner Pub., 1994.

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Glorious pressed flower projects. Sterling Pub., 1991.

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Glorious pressed flower projects. Sterling Publishing Co., Inc., 1992.

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Beazley, Mary. Pressed wild flowerpictures. Batsford, 1985.

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Sarah, Waterkeyn, ed. Dried & pressed flowers. Gallery Books, 1989.

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10

The creative book of pressed flowers. Salamander, 1988.

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Book chapters on the topic "Pressed flower pictures"

1

Kelly, Alan. "Fats, Oils, and the Uneasy Truces of Emulsions and Foams." In Molecules, Microbes, and Meals. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190687694.003.0009.

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Of all food constituents, perhaps that which receives the worst press is fat. The merest mention of fat in food tends to be regarded as a negative thing, and for years the advice of nutritionists has tended to uniformly focus on its avoidance or reduction in our diet. While recent years have perhaps seen a reevaluation of the relative importance of fat, and its reputation may be undergoing a gradual thawing, my focus in this chapter is not on the controversies of its merits or otherwise from a nutritional perspective. As should be clear by now to anyone reading this book, neither my expertise nor my focus is in such realms, and so, for now, without fear or favor, I consider the properties of fats from an impartial perch, in their own regard as key constituents or ingredients of many food products, whether we like it or not. The picture of fat I want to paint here is one of a material that, before it enters our bodies to exert whatever physiological effects it may, hugely affects the properties of many food products, and in some cases can have effects on food texture even more significant than those of proteins and polysaccharides described in earlier chapters, where the level of fat present is sufficient to allow it to dominate the properties of the food. Why is this? Imagine for a moment a hypothetical magic material that determined texture and consistency of food in a way that was dependent on temperature such that it changed its properties dramatically when exposed to different temperatures regularly encountered by food. Maybe such a material would be solid, or almost so, at refrigeration temperatures, but melt at almost exactly the temperature of our mouths when we consumed the food, to soften and make our food easier to chew, while, at higher temperatures yet, as it might encounter during processing or cooking, it became a liquid, which could flow and move and be molded and reshaped, or even divided up, as we saw fit.
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