호접란 ‘브라보 스타’는 2007년 경남농업기술원 화훼연구소 육종온실에서 Phalaenopsis ‘Kung.’s Red Coral’을 모본으로 Phal. ‘Tzu Chiang Balm’을 부본으로 교배하여 육성한 F1개체 중에서 선발한 유향성 소형 다화 분지성의 신품종이다. 2010 년 실생 개체 중에서 영양생장과 개화특성이 우수한 개체 5개 체를 1차 선발하였고 2011년과 2012년에 계통으로 육성하여 2013-2015년에 각각 1차, 2차, 3차 특성검정을 통하여 품종의 안정성과 균일성을 확인하고 최종한 계통(08-VIO-16)을 선발 하여 직무육성심의를 거쳐 ‘브라보 스타’로 명명하였다. ‘브라보 스타’는 화색이 진한 밝은 핑크(RPN57B)이며 화형은 평피 기이다. 화경은 복총상화서로 분지성이 강하며 화경길이는 29.9cm로 대조품종(Kung’s Red Coral)보다는 큰 편이다. 화수는 상대적으로 다화성 분화품종에 비해 7-8개로 적은 편이 나 4-6개의 대비품종보다는 많은 편이었다. 꽃의 길이와 폭은 5.7cm와 5.2cm로 소형이었고. 향기는 강하고 계피향이 가미된 달콤한 향을 가지고 있으며 꽃잎의 육질이 두껍고 꽃 수명도 2개월 이상으로 길어 선물용 분화품종으로 적합하다고 판단되었다. 엽형은 대비품종이 둥근 원형인 반면, 육성품종의 잎은 긴 선형이며 잎의 길이와 폭은 각각 18cm, 29cm로 대비 품종에 비해 크고 긴 편이고 잎자세는 수평에 가깝다. 육성품 종은 기내 증식율이 높고 식물체가 강건하고 생육이 빠르기 때문에 재배가 용이하다. 2017년 3월에 품종등록(등록번호 제 6719호)되어 종자산업법에 의해 보호받고 있다.

Richard Misrach is a landscape photographer who has worked on the subject of the deserts in the American West since 1979. His "Bravo 20" is part of his project titled Desert Cantos. Published in 1990, his collection of photographs "Bravo 20: The Bombing of the American West" includes 28 photos that he took during his 18-month stay at the Nevada Desert that's devastated by the illegal bombing of the U. S. Navy. His photos formed a public opinion and made a contribution to turning the Bravo 20 area illegally occupied by the military into public land. The collision between civilization and nature described in his photos reports the murder of the ecosystem and the continuance of internal colonialism through the case study of the irrational military policies. He adopted a strategy of presenting the nature brutally ruined by the civilization of the military in such beautiful colors. He decided to show the ugly place in a beautiful way because he expected that beauty had the ability to deliver complicated ideas and could bring changes to people's viewpoints of things. This study saw that the photos of "Bravo 20" were characterized by his mourning over the ruined nature. To show his condolences, he metaphorically cited historical events in his photos, which accordingly displayed the characteristics of conventional history paintings. The historical events he cited tell a disturbing history of the past and the present involving wars and conquest of the West. He presented them ambivalently in beautiful colors. In his photos of "Bravo 20," he also maintains that a photographer should grow out of the roles as a free observer and engage in polemic, contextualization, and proposition. While the old war photos are snap shots that captured an event at the moment of happening, his post-apocalyptic landscape that dealt with what's left after a disaster is close to war history paintings and grieves over nature by expressing the fear in ruins through sublime beauty. In addition to mourning, he went on a step farther by suggesting the idea of "Bravo 20 National Park" and attempted the revival and rebirth of nature. Unlike the national parks of the previous generation that are based on the concept of protecting beautiful nature from damage, his national park sets out to recover damaged nature as a new type of environment park. He expected his park to play the roles of a memorial park as well by reminding the military, government, corporations and individuals of how their acts endangered the earth and purging the guilt of mankind through the memory of the complex and disturbing history. But his "Bravo 20 National Park" failed to be materialized as a physical park and even received an evaluation that it's not a political statement but a kind of conceptual art. Although the idea was not put into practice physically, it's reproduced in the form of web, exhibition at galleries, photography collections, and individual prints. Thus it's safe to argue that his national park was put into cultural practices, which gives some significance to it. His perception of the environment displays an ecological world view in earth art and ecological art. While the earth artists left their artistic products in photographs, he, on the contrary, visualized the landscape that he chose following his own will. The study offered an opportunity to illuminate Misrach as an environmental artist who aggressively presented his ecological perceptions of the environment through the medium of photography instead of limiting him within the scope of a photographer. It's also revealed that he went on further from the one-dimensional political landscape and added the multiple implications of hoping for rebirth to the landscape photos of "Bravo 20" through his mourning over the contaminated landscape. And in his "Bravo 20," he expressed his determination as an artist to present the dark history of illegal occupation of the American West in beautiful colors and turn the place of despair into a national park of hopes.