Silica is used in shell materials to minimize oxidation and aggregation of nanoparticles. Particularly, porous silica has gained attention because of its performance in adsorption, catalysis, and medical applications. In this study, to investigate the effect of the density of the silica coating layer on the color of the pigment, we arbitrarily change the structure of a silica layer using an etchant. We use NaOH or NH4OH to etch the silica coating layer. First, we synthesize α-FeOOH for a length of 400 nm and coat it with TEOS to fabricate particles with a 50 nm coating layer. The coating thickness is then adjusted to 30–40 nm by etching the silica layer for 5 h. Four different shapes of α-FeOOH with different colors are measured using UV–vis light. From the color changes of the four different shapes of α-FeOOH features during coating or etching, the L* value is observed to increase and brighten the overall color, and the b* value increases to impart a clear yellow color to the pigment. The brightest yellow color was that coated with silica; if the sample is etched with NaOH or NH4OH, the b* value can be controlled to study the yellow colors.

To identify the venom components and their expression patterns of some Aculeata bees/wasps, venom gland-specific transcriptome analysis was conducted. FPKM values were normalized with the average of the transcription level of reference gene (a-tubulin). Common components in both solitary and social wasp venoms include hyaluronidase, phospholipase A2, metalloendopeptidase, etc. Although it has been expected that more diverse bioactive components with the functions of prey inactivation and physiology manipulation are present in solitary wasps, the information on venom compositions of solitary wasps obtained in this study was not sufficient to generalizae this notion. Nevertheless, some neurotoxic peptides (e.g., pompilidotoxin and dendrotoxin-like peptide) and proteins (e.g., insuline-like peptide binding protein) appear to be specific to solitary wasp venom. In contrast, several proteins, such as venom allergen 5 protein, venom acid phosphatase, and various phospholipases, appear to be relatively more abundant in social wasp venom. In the venom gland trancsriptome of bumblebees, major allergens or pain producing factors were barely identified, implying that bumblebee venoms are relatively less toxic than those of social or solitary wasps.

Deimatic display 는 평상시에는 위장으로 자신을 보호하는 동물들이 포식자에게 위협당하였을 때에만 일시적으로 화려한 경고색을 보여줌으로써 포식자를 놀라게 하여 자신을 보호하는 방어전략이다. 본 연구에서는 3가지의 서로 다른 연구 방법을 이용하여 이 방어전략의 진화에 대해 연구하였으며, 연구의 모델로는 태극나방과 (Erebidae)의 나방을 이용하였다. 첫 번째로 deimatic display 전략이 어떤 종에서 진화하였으며, 이 전략이 동물의 몸 크기와 함께 진화하였는지를 계통수 분석을 이용한 방법으로 연구하였다. 연구 결과 deimatic display 는 몸 크기가 상대적으로 큰 곤충에서 선택적으로 진화하였다는 사실을 발견하였다. 두 번째로 deimatic display 전략이 왜 body size 가 큰 종에서 진화하였는지를 이론적으로 검증하기 위하여 수학적 모델링을 활용, deimatic display 와 몸 크기와의 이론적인 관계를 연구하였다. 이론적 모델링이 시사하는 바는 1) 몸 크기가 클수록 위장이 실패할 확률이 높으며, 2) 몸 크기가 클수록 deimatic display 가 포식자를 위협하는 효과가 클수록 이러한 진화적인 관계가 생성될 수 있다는 점을 발견하였다. 마지막으로 수학적 모델링에서 도출된 결과를 실험적으로 검증하기 위하여 로보틱스 기술을 활용, deimatic display 행동을 보이는 인공나방로봇을 제작하였다. 제작된 인공나방 로봇의 날개크기와 날개색채를 변화시켜가며 나방의 크기가 커질수록 deimatic display 전략이 포식자(조류)를 위협하는데 더 효과적인지를 테스트하였으며, 실험 결과 deimatic display 전략은 나방의 사이즈가 클수록 더 효과적이라는 사실을 입증하였다. 추가 연구 결과 이러한 큰 크기 – 숨겨진 화려한 색채의 관계는 태극나방과 뿐만이 아니라 메뚜기목, 대벌레목, 사마귀목, 그리고 누에나방과(나비목)에서도 발견됨을 확인하였다. 본 연구의 결과는 deimatic display 전략이 큰 크기와 공진화하였음을 보여주며, 이러한 크기-색채 공진화는 deimatic display 전략의 효용성과 밀접한 관련을 가지며 이루어졌다는 사실을 보여준다.

Hydrogen evolution on a steel surface and subsequent hydrogen diffusion into the steel matrix are evaluated using an electrochemical permeation test with no applied cathodic current on the hydrogen charging side. In particular, cyclic operation in the permeation test is also conducted to clarify the corrosion-induced hydrogen evolution behavior. In contrast to the conventional perception that the cathodic reduction reaction on the steel in neutral aqueous environments is an oxygen reduction reaction, this study demonstrates that atomic hydrogen may be generated on the steel surface by the corrosion reaction, even in a neutral environment. Although a much lower permeation current density and significant slower diffusion kinetics of hydrogen are observed compared to the results measured in acidic environments, they contribute to the increase in the embrittlement index. This study suggests that the research on hydrogen embrittlement in ultra-strong steels should be approached from the viewpoint of corrosion reactions on the steel surface and subsequent hydrogen evolution/diffusion behavior.

Introduction In the last decade, the luxury industry has witnessed strategic changes in its concept, essence and operation modes resulting from different factors and, in particular, digitalisation and democratisation in luxury fruition. As a result of those changes, luxury consumption has started to be perceived not simply in a conspicuous purchase perspective of goods or services, but as a 360 degrees experience, where cities - in particular in the emerging fast growing economies - have started being filled with luxury and fashion brands, invading every city area from streets to airports, from clinics to hotels and with concept stores, luxury flagship stores, sponsorships for events and urban artefacts, adding value to the symbolic production of an urban lived space (Bellini and Pasquinelli, 2016). In this new dimension of luxury, the underlying hypothesis of this paper is that luxury product brands are enriched by and, hence, draw value from the synergy with city brands and diverse fashion and art city locations, activities and events. This statement is based on that luxury perspective seeing luxury more in its experiential dimension than in the one of a pure desire for an exclusive object purchase and ownership. Accordingly, to what extent is the relation between the luxury brand and the city brand functional to the boosting of luxury brand experiential content? From our point of view, this deserves more specific focus. Based on these premises and with respect to the current evolution of fashion luxury cities and the retailing scenario, this paper will specifically focus on the evolution and different forms of concept stores with particular attention to their interaction with the urban context. The case of concept stores is particularly relevant due to the crisis of this retailing model caused by the rise of luxury e-shops which are becoming dominant brand channels also for luxury segments. In the case of the concept stores we can, in fact, see if and to what extent the value of ―offline stores‖ is rooted in their physical presence in an urban environment that is rich in history and cultural heritage. Two case studies will be carried out, XXX in Shanghai and Luisa Via Roma in Florence, Italy, thus including two different urban contexts characterised by a different relation with fashion and luxury industries, historically and nowadays. Authentic luxury experiences in relevant city contexts (that is in city contexts with which fashion brands succeed in establishing a meaningful, credible and so valuable relation) may add value to luxury brands, in particular to those brands with no consolidated heritage and identity, as in the case of the new Chinese luxury brands. In general, for those luxury brands with a very limited identity and an almost absent heritage, in-store experience is likely to be of special relevance and of increasing importance (Atsmon et al, 2012). Without neglecting the rise of online brand channels and the vibrancy of virtual fashion spaces, the shopping location certainly still represents a crucial factor for the increasingly diverse and demanding luxury customers, for whom the shopping location is not just an instrument of purchase but also a value-adding experience on its own (Rintamaki et al, 2007). Fashion City: An Evolutionary Perspective Historically luxury and fashion have been linked to some specific cities in western countries such as Paris, London, Milan and New York, the so called capitals of luxury and fashion (Breward and Gilbert, 2006); those capitals are considered to be the places where luxury fashion production and consumption cross each other providing economic value for the sector and a unique experience for the consumers. More recently, the scenario has been changing. The ‗fashion city‘ has strated being one of the ‗brands‘ of economic development, seen as capable of strategically boosting attractiveness for the repositioning of a diverse set of cities across the world (Breward and Gilbert, 2006). Urban authorities, policy-makers, and various academic approaches have devoted attention to this phenomenon. The concept of the fashion city has started being part of urban plans and municipal promotional activities trying to reposition cities as attractive destinations for firms, human capital and especially for the ―creatives‖, investors, consumers, and tourists. An increasing number of developing and fast growing countries have achieved the status of ‗second-tier‘ cities of fashion (Larner et al., 2007) such as Antwerp, Shanghai, Beijing, Istanbul, Melbourne, Moscow, Vienna, as centres of reference of a highly diversified fashion context of culture, design, manufacturing and consumption. Although these cities have very different economic and cultural background and history, they indicate the evolution and the interaction between fashion and fashion players - including concept stores - and the urban context. Academia has started clarifying what a fashion city was, what constitutes a traditional fashion city and the interaction between luxury fashion and the fashion city. However, the interaction and evolution of luxury fashion cities and some of the urban players, such as concept stores, is far from being fully clarified and understood. The same can be said regarding the characteristics of the emerging luxury fashion cities. In particular, with respect to the differences characterising those new luxury fashion cities, there is still a very limited research. This article is aimed to make a contribution in this field by discussing the relation between fashion players (i.e. concept stores) and the urban landscape. This will also lead to define a set of characteristics of the contemporary luxury fashion city, based on their functional role in supporting luxury brands‘ value creation processes. In fact, it is certainly not possible to analyse the impact of the global luxury capitals on luxury brands without considering the evolution in city branding, i.e. the way in which cities are represented in order to create an image of the place. Fashion and Luxury in the Urban Branscape As said, ‗fashion city‘ has evidently been considered as potential device to reposition ‗second tier‘ – either large or small - urban contexts. If on the one hand fashion design has been integrated into urban policies in order to boost local economies (Martinez 2007), on the other hand fashion marketing seems to have integrated its luxury fashion strategies into the ―urban brandscape‖ (Bellini and Pasquinelli 2016). Fashion branding has, then, gone clearly in the direction of actively pursuing an appropriation of the city image whose value is drawn by corporate brands (Tokatli 2013). This last aspect, however, has received rather limited attention in literature. In the last decade, the fashion city has enhanced its economic and cultural importance specifically thanks to the economic value generated by the creative process and cultural value of cities (DMCS, 2001; Scott, 2002; Power and Scott, 2004; Breward and Gilbert, 2006; Rantisi, 2011; Bellini and Rovai, 2018). Initially, fashion cities and their fashion design component had only been considered with respect to the creative industry in relation to the mix of physical and symbolic processes involved in the current fashion industry. This combined a highly globalised manufacturing chain with a designer fashion sector mostly concentrated in fashion‘s world cities, together with other image-producing activities that contribute to the creation of place-based symbolic narratives (Williams and Currid-Halkett, 2011). However, the evolution towards new luxury fashion cities has shown a diversification of their meaning and positioning (Martìnez 2007). The delocalisation of fashion manufacturing in offshore urban centres together with the digitalisation and IT component in the process have modified the fashion industry (Segre Reinach, 2005), in parallel with the changes in the economy of media, marketing and the symbols associated to them. Accordingly, it is important to stress how the geographical origin, connection or association of fashion brands to places is simply constructed and negotiated (Pike 2010, 2011), until becoming a pure matter of perception in some case (Thakor and Kohli 1996). Moreover, it is important to notice – and this paper is engaged with this issue – how the fashion brand connection to a city can be built through the creation and exploitation of ―a status market‖ in which the brand is located (Hauge et al. 2009): think, for instance, of how fashion brands capitalize on the presence of prestigious urban assets such as cultural heritage and fine arts (Bellini and Pasquinelli, 2016). This is particularly relevant if thinking that fashion luxury‘s world cities also can count on valuable frameworks of cultural players such as museums, theatres, libraries, festivals, and academic institutions reinforcing their attractiveness (Volonté, 2012). Also relying on such mechanisms, a new wave of luxury and fashion capitals has emerged, i.e. the so called ‗not-so-global‘ cities of fashion, exemplifying new forms of symbolic economy and manufacturing that are not included in the usual classification of luxury fashion cities as New York, Milan, London and Paris (Rantisi and Leslie, 2006; Larner et al., 2007). Such ―not so global cities‖ largely contribute to reshaping the global geography of fashion capitals, which can be redefined as the result of the multiple and highly diverse typologies of links a city succeeds in establishing with products, firms, events and fashion stores, by drawing values and symbols from them (Jansson and Power 2010 ; Power and Jansson 2011). Research Design and Methodology The urban dimension of luxury and fashion brands characterising the emerging geography of fashion has not been extensively analysed. In this direction, this article will focus on the analysis of two international luxury fashion urban centres, i.e. Florence and Shanghai, which will be framed as brandscapes interacting with fashion players that are locally based. Particular attention will be drawn to concept stores by analysing their evolution and their changing relation with the surrounding urban contexts, notwithstanding a clear acknowledgement of the growing relevance of e-shops and digital platforms. A qualitative methodology, based on a review of internet sources, in-store visits and in-depth semi-structured interviews with store managers (to understand the concept store‘s strategy) and various local fashion players (to frame the urban brandscape and its relation with fashion), will be adopted to build a comparative framework. Reputable key players in the respective cities as concepts stores, i.e. Favotell in Shanghai and Luisaviaroma in Florence will be selected as case studies. That is, the study will highlight the synergies between fashion brands and city brands by focusing especially on concept stores, their interaction with the urban symbolic ecosystem and their evolution in the geography of contemporary emerging luxury fashion capitals. Expected Results Below the key propositions that we expect to discuss as a result of the presented study: ⦁ The urban brandscape is mirrored by the concept stores which tend to narrate the connection of their brand to the city ; ⦁ The concept store goes out into the city pushing its visible and distinctive presence in the urban symbolic ecosystem ; this mechanism is rich in symbolic content benefiting the fashion brands whose local, physical and tangile presence in specific urban settings has a strategic role in global value creation ; ⦁ The concept store has developed from a purely physical setting to including the online store ; also throughout such development, it maintains the physical location – its style, taste and connection to specific urban settings and local heritage – as reference and vividly alive ; ⦁ The global travelling of the concept store-city connection – also but not exclusively through digital platforms – make the city brand travel and evolve.

Marketing academics and practitioners have discerned the evolution in the prominence of digital, social media and mobile marketing based on technological innovations. Digital marketing has evolved over time from a specific marketing of products and services using digital channels to activities, institutions and processes facilitated by digital technologies. From an inclusive perspective, digital marketing refers to an adaptive, technology-enabled process by which firms collaborate with customers and partners to jointly create, communicate, deliver and sustain value for all stakeholders. Digital technologies allow the new adaptive process, institution and processes in marketing communication. The adaptive process creates value in new ways in new digital environments. Institutions build foundational capabilities to create such value jointly for their customers and for themselves. Processes create value through new customer experiences and through interactions among customers. The purpose of the assessment is to establish the current status of research evaluating digital marketing communication and to show how digital technology has shaped marketing communication evaluations. This study provides a broad disciplinary review of key cited works in digital marketing communication research and examines the effectiveness of various evaluation approaches, including new directions designed to capture meaningful insights and marketing communication value in digital marketing communication.

In this research, we investigate the dynamics of one market cycle of Indian art through its various phases of development from early growth to peak and then through a decline. Using the entire online market data for Modern Indian art, we examine how the internal dynamics of the price formation process during auctions changed during the course of this market’s evolution. Our results show that the structure of the price formation process varies systematically over the course of the cycle and the impact of the brand (artist), the product (painting), market information (pre-auction estimates), demand (competition), and consumer (bidder) characteristics changed across the stages of market evolution. Specifically, the revenue, price per square inch, and the number of lots sold (items) from established artists closely followed the overall trend in the market. On the other hand, the number of lots and revenue from emerging artists had a minimal increase during the growth phase of the market. However, these artists maintained their value even when the market was declining. Furthermore, 80% of the lots by established artists beat the preauction estimates during the growth period, compared to only 40% for emerging artists. In contrast, during the decline stage, more lots from emerging artists (8%) beat the preauction estimates than lots from established artists (2%). We also find that bidders entered the auction much earlier during the growth phase of the market than during the maturity and decline stages. These findings have implications for multiple stakeholders in the online art auction market including, sellers, buyers, artists, and auction houses.

The purpose of this study is to highlight the idea that the approach and methodology in Landscape Architecture and Urban Studies are rooted in regional planning, and to trace the legacy that can be borrowed from modern city and landscape planning. This study examines the academic relationship between Geddes’ Urban Evolution and McHarg’s Ecological Landscape Planning theory, and explores the significance of regional planning that can be accommodated in both Landscape Architecture and Urban Studies areas at present. As a result, the Geddes’ theory and the McHarg’s ecological landscape planning emphasized a scientific understanding of plans based on evolutionary theories and local research in regional planning. However, the McHarg’s theory was definitely different from the Geddes’ theory and offered its own unique identity and possibilities. First, it was completely focused on the environment. Second, it suggested a concrete methodology consisting of a technique of land suitability analysis to visualize an environmental or regional investigation. Third, McHarg advocated drawings as a visualization tool. McHarg’s theory of ecological landscape planning can be thought of as an evolutionary version of the theory of urban evolution. The study was limited to an applicable range to solidify the possibility of applying the theory in real situation, and more concrete and substantial approaches were suggested accordingly.

The microstructure and mechanical characteristics of SUS630 specimens fabricated using the direct energy deposition (DED) process are investigated. In DED, several process parameters such as laser scan speed, chamber gas flow, powder carrier gas flow, and powder feed rate are kept fixed; the laser power is changed as 150 W, 180 W, and 210 W. As the laser power increases, the surface becomes smooth, the thickness uniformity improves, and the size and number of pores decreases. With the increase in laser power, the hardness deviation decreases and the average hardness increases. The microstructure of the material is columnar; pores are formed preferentially along the columnar interface. The lath-martensite phase governs the overall microstructure. The volumetric fraction of the retained austenite phase is measured to increase with the increase of laser input power.

반려동물산업은 지속적으로 성장하였으며, 2020년에는 반려동물 관련 시장규모가 5조 8,000억 원으로 성장할 것으로 예상된다. 하지만 반려동물 산업이 지속적으로 성장한 것에 비해, 반려동물 문화의 수준은 성숙하지 못하다. 반면에 해외의 반려동물 시장은 우리 나라보다 크고, 반려동물 문화 또한 성숙한 문화가 자리 잡고 있다. 그래서 해외 반려동물 문화 관련 현황 파악을 통해서 국내 반려동물 문화 발전을 위해 제안할 수 있는 것을 알아 보고자 총설논문을 작성하였다. KISS, DBpia, RISS, 원광대학교 중앙도서관에서 자료를 검색하였으며 자료들을 크게 국･내외 반려동물산업, 국･내외 반려동물문화, 국･내외 반려 동물 관련법과 정책으로 분류하였다. 연구결과, 우리나라의 올바른 반려동물 문화를 정착 시키기 위해서는 개선되어야 하는 점이 많았으며, 해외의 반려동물 문화를 통해 발전될 수 있다는 점이 많다고 판단된다.

The development of common words into catchwords, besides their own semantic evolution, is more important than the external motivation of social events. In the era of Internet media, catchwords have become the most influential discourse facts and cultural phenomena in China in recent years. The Chinese popular language “tyrant” is a word with a strong historical color. The meaning of the word has gone through several periods of development. After the last period of the last use of the new China, it gradually withdrew from the historical stage. Recently, the word “Tu Hao” is very popular on the Internet. The words “Tu Hao Jin” and “rich boyfriend” derived from it are also popular among netizens. On Wei-bo, some people even launched a “friend” with “tyrant”, which shows its popularity. Through the analysis of the Sina Wei-bo corpus, this paper combs the process of the generation, popularity and stereotype of the popular semantics of the “tyrant”, and finds that the big social events have a key influence on the evolution of the popular semantics of the “tyrant”. We try to explore the direct influence of social events on the semantic evolution of catchwords through this case, and reveal the important role of event motivations in the process of language evolution.

In order to explore the similarities and differences among the "Petty bourgeois" factors in the various periods of Chinese film, this paper traces the evolution of the "Petty bourgeois" factors in the context of the Mao era, the Deng era, and the globalization era, respectively. First of all, under the Guidance of "Literature and Art Serving the Workers, Peasants and Soldiers" in the Mao era, film became a tool for propagating the ideology of class struggle. Elements of petty bourgeoisie literature such as "Individualism, Critical Realism, Sentimentalism" were abandoned and obscured in the film. The urban petty bourgeoisie was the main cinema audiences at the time, but it was not the subject of film creation. Second, in the era of Deng, as the reform of the social commodity economy, the traumatic literature film with the characteristics of "Individualism and Sentimentalism" was popular with the public. "Petty bourgeois" elements of literature and art abandoned by the Mao era began to return to the stage of history. Especially in the late 1980s, the "Wang Shuo Literature" movie, which depicts a special youth class in modern Chinese society, opened the prelude to the "new" Petty bourgeois era. Finally, with the return of Hollywood films to the Chinese market in 1995, Chinese films entered the era of globalization. Hollywood films produced a large amount of "new" petty bourgeois with the aesthetic taste of "Western middle class." With the rise of "new" petty bourgeois, films which expressed romance, rebellion, sentimental, comedy have become part of China’s diversified film market. Students and urban youth with “new” petty bourgeois character became the subject of the “new” petty-bourgeois films. The main body of Chinese film creation has taken a step closer to the image of a multi-faceted public image.