Indigo

Di Indonesia, kehadiran anak berbakat sudah dikenal sejak dulu dan telah mendapat perhatian. Berdasar atas Prakiraan Ward (dalam Semiawan, 1997:24) “Di Indonesia terdapat 1,57 % anak yang berbakat tinggi (highly gifted), dan 10% yang berbakat sedang (moderately gifted)”. Kedua kelompok anak ini berbakat akademik (akademic talented) atau keberbakatan intelektual. Perhatian serius dan formal tersurat dalam Undang-Undang No. 20 Tahun 2003 tentang Sistem Pendidikan Nasional pasal 5 ayat 4 yang berbunyi “Warga negara yang memiliki potensi kecerdasan dan bakat istimewa berhak memperoleh pendidikan khusus”. Undang-Undang tersebut mengandung pernyataan bahwa anak berbakat perlu dan berhak mendapatkan pengalaman belajar sesuai dengan kondisi, kemampuan dan minat serta kecepatannya, untuk dapat berkembang seoptimal mungkin.

El estudio de la pintura virreinal desde su materialidad y tecnología, es un campo de investigación desarrollado propiamente en México durante el siglo XXI. La rama denominada por Muñoz Viñas (2003) como Ciencia Aplicada a la Restauración, busca servir a la disciplina a partir del conocimiento de los componentes materiales de los bienes patrimoniales, así como de los procesos de deterioro a los que son susceptibles para poder generar técnicas adecuadas para la preservación de determinados objetos. Bajo este precepto, los alcances del presente trabajo de tesis comprenden el conocimiento de los materiales constitutivos de la pintura, específicamente del índigo en relación al resto de la paleta de azules utilizada en el virreinato. Este trabajo busca aportar al conocimiento sobre los mecanismos de deterioro de este pigmento tan abundante en el patrimonio cultural de México. La tesis brinda contexto sobre el uso y aplicación del índigo en la pintura al óleo tanto en Europa como en la Nueva España. Igualmente se analizaron muestras de añil de Santiago Niltepec, Oaxaca, con microscopía óptica, SEM-EDS y FT-IR para poder comparar los resultados con una pintura de finales del siglo XVII atribuida al obrador de Antonio de Arellano. Se realizaron probetas para obtener un patrón de registro con fotografía infrarroja e Infrarrojo a falsos colores (IRFC) que posteriormente se comparó con imágenes del caso de estudio.

The contribution of this thesis to the existing field of tiraz textile studies is that it
has tried to overcome the existing rift between historians and textile specialists,
in approaching the subject in a more unified way, which takes into account the
interrelationship between production, administration and use. Historians have
traditionally worked on the textile industry and administration from the point of
view of Arabic literary sources, while textile specialists focused on the material
evidence of fabrics and their manufacture.

Rather than relying on one collection, as most previous authors have done,
samples from all the major museum collections are examined here and have
been arranged in a database of 1823 items, which made it possible to analyse
the properties of textiles taxonomically. By using taxonomic analysis both
material and historical information could be combined and emerging trends
tested against the historical evidence of literary sources. A major discovery here
has been how the textile evidence reflects administrative changes in control of
the textile industry and the wider administrative relationship between Egypt and
Iraq under the Abbasids.

While there is agreement by both textile specialists and historians that tiraz
textiles were produced for court consumption, neither considered the question
why tiraz textiles were used in burials, from which most surviving tiraz textiles
have in fact been recovered archaeologically. This thesis approaches this
subject by considering both material and literary evidence and suggests that
tiraz textiles were regarded as a source of blessing for the deceased because of
their caliphal association recorded in their inscriptions.

El índigo o añil es un pigmento de origen vegetal que se ha aprovechado históricamente como material pictórico en pintura al óleo. Estudios materiales recientes de pintura de caballete virreinal han demostrado su relevancia en la paleta de azules, principalmente en obras de los siglos xvII y xvIII. La presente InvestIgacIón hace una revisión de la bibliografía relevante para la conservación en relación con las definiciones del índigo y su composición, así como de los mecanismos y fac-tores de deterioro. Es importante que en la conservación de pintura de caballete se identifique la presencia de añil, y se tome en cuenta su sensibilidad ante factores atmosféricos, específicamente, por agentes oxidantes como el ozono y la luz.

Palabras clave índigo; pintura; decoloración; diagnóstico; deterioro; arte virreinal

Indigo is a pigment of plant origin that has been historically used as pictorial material in oil painting. Recent material studies of viceregal easel painting have shown its relevance on the blue palette , mainly on works from the 17 th and 18 th centuries. This ReseaRch reviews the relevant bibliography for conservation in relation with the definitions of indigo and its composition, as well as relevant for its agents and mechanisms of degradation. It is important that in the preservation of easel paintings the presence of indigo is identified and that its sensibility to atmospheric factors, specifically oxidizing agents such as ozone and light, is considered.

Pre-Hispanic Andean textiles constitute the longest continuous textile record in the world, their structure and design being one of the most significant markers of group identity in Andean populations. Since the Late Formative Period (ca. 100 – 400 AD), the region around San Pedro de Atacama (SPA) in the Atacama desert of northern Chile has been part of a complex and extensive network of interacting polities through which raw materials, agricultural products, goods, people and ideas circulated in the South-Central Andes. The archaeological record in SPA abounds with textiles from various cultures that participated in such network. A study of these textiles would allow intercultural as well as diachronical comparisons. Numerous studies on textiles found in SPA have focused on their technological and iconographic features. This work addresses the identification of the organic dyes employed in the manufacture of 38 textiles found in funerary contexts in SPA from the Middle (ca. 400 – 1000 A.D.) and the Late Intermediate periods (ca. 1000 – 1450 A.D.), using high performance liquid chromatography with a diode array detector (HPLC-DAD). Purpurin and not alizarin was found in all red dyed fibers and indigotin (IND) and indirubin (INR) in all blue dyed fibers. Natural sources of these dyes are exogenous to SPA; their importation into SPA lasted for nearly a millennium. A positive correlation was found between [IND]/[INR] concentration ratio and the altitude of the place where the fiber was presumably dyed. Overall, the results indicate that finished garments and also raw dyes and ready-to-use dyed fibers were imported into SPA from neighboring regions and that foreign weavers were possibly active at SPA.

ABSTRACT A vast array of colorants obtained from natural sources such as plants, insects/animals and microbes have been scrutinized in recent past for their use in different kinds of applications. Research into new natural dyes sources along with eco-friendly, robust and cost-effective technologies for their processing and application have greatly aided in widening the scope of natural dyes in various traditional and advanced application disciplines. This review encompasses a summary of research performed in last fifteen years (1998-2013) in different arenas of applications of natural dyes, with specific reference to technological development in natural textile dyeing and use of natural dyes in functional finishing of textiles, food coloration and dye sensitized solar cells. In addition, some newly discovered applications of natural dyes have also been discussed.

From the beginning of the 16th century, the Portuguese and the Spanish brought growing quantities of dyes from the Americas to Europe, namely cochineal, indigo, brazilwood and logwood. All these enjoyed increasing positions in transatlantic shipments, particularly cochineal, which ranked in price after silver and gold in Spanish cargoes. Later in the century, the Dutch, English and French also entered the transatlantic trade and, subsequently, American dyes no longer passed exclusively through the Iberian Peninsula.

Once in Europe, American dyes had a decisive impact on long-established dyeing traditions. Not only they allowed a wider range of colours, but they were also economically advantageous over European dyes. For instance, cochineal and indigo presented higher contents of colorant in relation to related local dyes, which allowed for larger numbers of cloth to be coloured. Hence, they were soon assimilated in the main European centres of textile production. However, in some regions, textile producers continued to prefer local dyes over the new ones.

An interdisciplinary investigation explored the diverse response of European territories to the trade and assimilation of American dyes in the textile centres, during the 16th and the 17th centuries. By combining historical research and chemical analyses of colorants in historical textiles, it was revealed that this process seems to have happened gradually, with more or less resistance, depending on the political and economic circumstances of each territory.

Describes a new technique for the analysis of natural dyes on textile fibers. The use of m-(trifluoromethyl)-phenyltrimethylammonium hydroxide (TMTFTH) extraction and derivatization, followed by gas chromatography-mass spectrometry (GC-MS), has proven to be a simple and fast technique for the analysis of indigo dye on textiles. Not only does the procedure allow for the identification of the main dye component, indigotin, but it also provides information on the degradation of indigo on textiles, a topic that has received limited attention in conservation literature. This article discusses compounds formed through the reactions of TMTFTH with indigotin and the main degradation products of indigo, 2-aminobenzoic acid, isatin, and isatoic anhydride. In addition, a new degradation product has been tentatively identified as 2-benzyl-3-indolinone. The occurrence of these degradation products was investigated in samples obtained from an Indian textile from the Sultanate period (13th-15th centuries) belonging to the Fine Arts Museums of San Francisco, woven, in large part, from indigo-dyed blue silk fibers. During a period of storage, pale yellow discolorations gradually appeared on tissue paper used to wrap the textile. Analysis of the tissue paper determined an abundance of indigo degradation products, in particular anthranilic acid (2-aminobenzoic acid). These compounds formed on the textile fibers through oxidative degradation and subsequently volatilized to the surface of the paper and also to the neighboring fibers.

The linen-cloths from the Qumân Caves were sometimes dyed with true indigo. Very little was knon in Antiquity about the "indicum", the "Indian thing", imported from foreign countries, far away from the Mediterranean wold.The question is thus: where does this rare and costly dye come from, as the dye occurs between spinning and weaving, the indifo on Quran textiles seems to have been proceesed in a nearby workshop. We suggest that the Aïn Feshkha "industrial complex that R. de Vaux could not assign to any production (except preparation of leather for the so-called scriptorium) could have been that workshop of indigo-dyers.

LE FAIRE TINCTORIAL OKINAWAÏEN, DANS SES FAÇONS DE RITUALISER LA PHUSIS, N’EST PAS SANS RAPPELER LES PRATIQUES CHAMANIQUES LOCALES. OBSERVER, EXPÉRIMENTER, AUTANT DE MANIÈRES DE “DOMPTER LE SAUVAGE“, DE “FAIRE AVEC“ LE HASARD, NE SERAIT-ELLE PAS DES MANIFESTATIONS DU HOUN-TOUN ?
HOUN-TOUN DÉFINI PAR TCHOUANG-TSEU COMME CET INDISTINCT QUE L’HOMME CHERCHE À RECONQUÉRIR POUR ATTEINDRE LA VACUITÉ PLEINE DE TOUS LES POSSIBLES, LIEUX DE RENCONTRE AVEC L’INVENTION.

Aussi cette étude montrera-t-elle en quoi le houn-toun, défini par Tchouang-tseu (philosophe chinois du IVème siècle avant J.-C. et l’un des pères du taoïsme), serait davantage traduisible par le terme de chaosmos énoncé par James Joyce que par celui de chaos, au sens où l’entend le grec ancien dont il tient ses racines. En effet, la pensée de Tchouang-tseu nous conduit à redéfinir la notion de chaos, non plus comme désordre, mais comme une sorte d’entre-deux, pas tout à fait hybride d’ordre et de désordre.
Chaosmos, comme espace à habiter selon Michel Collot, dont le poème en prose lui permet quant à lui « d’ordonner le chaos sans en figer le mouvement dans une forme fixe, d’accueillir la diversité de son expérience et d’une écriture qui mêle librement lyrisme et réflexion, ébauches de fiction et fragments d’autobiographie. » (Collot, 1997, quatrième de couverture)
Un vertige, une matière turbulente et fusionnelle, éclatée et mouvante, voilà ce que le chaosmos suggère : « la rumeur soudaine et sourde du gravier brassé le long du rivage, l’évidence d’un jet de pierre blanche dressée contre le bleu d’orage de l’horizon. Osmose rêvée de l’ordre et du chaos.» (Collot, 1997, p. 6)
À ceci près seulement que dans le houn-toun la confusion subsiste, et l’indistinct l’accompagne. Houn-toun s’apprivoise certes, mais ne s’organise pas.

Maya blue is a hybrid pigment where an organic component, indigo, is incorporated in a porous clay. Despite its widespread use in the Mesoamerican artistic production and numerous studies devoted to understand the type of interactions between indigo and the host framework, its technology has not been completely unravelled yet. In this study portable non-invasive UV–vis reflection spectroscopy is proposed as a robust method for in situ investigation of Maya blue pigments. Laboratory mock-ups of powder Maya blue have been prepared employing different synthesis procedures (varying the nature of: clays, indigo–clay ratios, heating temperatures and time). The goodness of the prepared Maya blue samples—namely the occurrence of indigo–clay interactions—have been probed by micro-Raman spectroscopy and related UV–vis spectral markers have been identified. DFT calculations as well have been performed to deeply explain UV–vis profiles. The set of spectral markers have been finally exploited to...

Indigo provides a link, a mucilaginous fluid, this essay argues, between the geographically discrete --yet connected by sea-- parts of the Greater Caribbean including Haiti, Guadeloupe, Martinique, Louisiana, the coasts of Florida, Mississippi, Alabama, and the Gullah Geechee sea islands of Georgia and the Carolinas. The properties of indigo are to be understood as deeply material, seriously psychological, and thoroughly spiritual. Hence, this chapter explores the health, agricultural, historical, aesthetic, psychoanalytic, and religious functions of indigo within art and literature.

Lumion O Lumion é um dos renderizadores mais utilizados em conjunto com o Revit, principalmente por dois motivos: facilidade e tempo de render. O Lumion possui uma vasta biblioteca e configurações de fácil acesso ao usuário, não levando muito tempo para criar belas imagens, e por ser um render com base em GPU (placa de vídeo) ao invés de CPU que é o mais comum, ele consegue criar imagens com boa qualidade muito mais rápido, podendo ter visualizações em tempo real com boa qualidade ou renderizar em poucos segundos, imagens com uma qualidade superior. Exportando do Revit para o Lumion O Lumion possui ume extensão para o Revit para poder exportar diretamente entre os programas, podemos exportar por FBX mas o mais recomendável é utilizar a extensão própria pra isso. Temos que nos preocupar em manter a maior fidelidade a geometria em Geometry accuracy e também ativar a opção Collect textures para exportar com texturas. Nem todas as texturas são exportadas, apenas as com base em imagem. Menu No menu do Lumion acessamos as principais funções do software: Build-Criar: onde criamos nossa cena, colocamos objetos, configuramos o terreno e o clima. Photo-Foto: onde criamos câmeras estáticas e as renderizamos. Movie-Filme: onde criamos passeios virtuais. Files-Arquivos: exibe opções de criar uma nova cena, salvar, carregar, importar e exportar. Theater-Teatro: oculta os menus e deixa apenas a visualização da cena, útil para visualização em tempo real. Settings-Configurações: configurações do Lumion, como unidades, qualidade e outras.

Anak indigo atau anak nila adalah istilah yang biasa digunakan untuk mendeskripsikan anak yang diyakini memiliki kemampuan/sifat yang spesial, tidak biasa, dan bahkan supranatural. Konsep ini merupakan gagasan Zaman Baru yang masih sangat baru, dan pertama kali dikemukakan pada tahun 1970-an oleh Seorang Cenayang Nancy Ann Tappe. Konsep ini semakin terkenal setelah diterbitkannya beberapa buku mengenai Indigo pada akhir tahun 1990-an dan dirilisnya beberapa film satu dasawarsa kemudian. Interpretasi mengenai indigo ada bermacam-macam: ada yang meyakini bahwa mereka adalah tahap evolusi manusia selanjutnya (yang bahkan mempunyai kemampuan paranormal seperti telepati, telekinesis, dan sejenisnya) hingga yang menyebut anak indigo sebagai orang yang lebih empatik dan kreatif dibanding Orang lainnya. Meskipun tidak ada satu bukti penelitian pun yang membuktikan keberadaan anak indigo atau sifat mereka, fenomena ini menarik perhatian orang tua yang anaknya didiagnosis mengalami kesulitan belajar atau yang ingin anaknya spesial. Kaum yang skeptik memandangnya sebagai cara para orang tua menghindari penanganan pediatrik atau diagnosis psikiatrik yang tepat. Daftar sifat yang dimiliki anak indigo juga dikritik karena terlalu umum dan semu, sehingga dapat diterapkan untuk hampir semua orang (efek Forer). Sifat-sifat yang sering kali dikaitkan degan Indigo adalah: Empatik, penuh rasa ingin tahu, berkeinginan kuat, independen, dan sering dianggap aneh oleh teman dan keluarga, Mengenal dirinya dan memiliki tujuan yang jelas, Memiliki spiritualitas di bawah sadar yang kuat semenjak kecil, Meyakini bahwa dirinya layak untuk berada di dunia. Selain itu, Memiliki IQ yang tinggi, mempunyai kemampuan intuitif, dan Sering menolak mengikuti aturan atau petunjuk. Dan sayangnya, anak-anak yang dianggap Indigo didiagnosis dengan ADHD (Attention Deficit Hyperactivity Disorder) yaitu gangguan perkembangan dalam peningkatan aktivitas motorikanak-anak hingga menyebabkan aktivitas anak-anak yang tidak lazim dan cenderung berlebihan. Hal ini ditandai dengan berbagai keluhan perasaan gelisah, tidak bisa diam, tidak bisa duduk dengan tenang, dan selalu meninggalkan keadaan yang tetap seperti sedang duduk, atau sedang berdiri. Beberapa kriteria yang lain sering digunakan adalah suka meletup-letup, aktivitas berlebihan, dan suka membuat keributan. Dapat disimpulkan, " Indigo " menurut perspektif kami, hanyalah sebuah Hal yang " semu, " dan walaupun banyak sekali pengakuan para " Indigo " dan Orang sekitarnya tentang kemampuan-kemampuan Supranatural, Telekinesis, Telepati, dan sejenisnya. Tidak ada Penelitian yang sama sekali membuktikan tentang Kemampuan mereka. Selain itu para Psikolog, Fenomena Indigo hanya menghambat diagnosis dan penangan yang tepat untuk anak. Kita tidak dapat menyalahkan para Anak Indigo, karena hal ini merupakan kesalahan Orang-orang Dewasa yang menyebut diri mereka sendiri seorang " Ahli " lalu membuat suatu kesalahan untuk mencari keuntungan penjualan buku, video, kemah musim panas, sesi bimbingan anak-anak, dan sejenisnya lewat para Orang Tua yang tidak mengerti, serta Anak-anak yang telah dipaksa dan mengkonsepkan diri mereka sebagai seorang " Indigo. "

Entry for "Indigo" (Persian, nil) in Encyclopaedia Iranica discusses the  common name of a broad genus, Indigofera, which has numerous species, widely distributed throughout Asia, Africa, and the Americas, used for dying cloth and other materials. Indigo is a member of the leguminous pea family, indigo is variously classified as an herb or small shrub; its stalks are long, bearing raceme flowers. It is usually perennial, but in some areas annual. Native species are known from Arabia, including the Yemen, and around the Indian Ocean.

In Qumran studies, the attention of scholars has largely been focused on the Dead Sea Scrolls, while archaeology has concentrated above all on the settlement. This volume presents the proceedings of an international conference (Lugano 2014) dedicated entirely to the caves of Qumran. The papers deal with both archaeological and textual issues, comparing the caves in the vicinity of Qumran between themselves and their contents with the other finds in the Dead Sea region. The relationships between the caves and the settlement of Qumran are reexamined and their connections with the regional context are investigated. The original inventory of the materials excavated from the caves by Roland de Vaux is published for the first time in appendix to the volume.

Paper of Mireille Bélis
THE UNPUBLISHED TEXTILES FROM THE QUMRAN CAVES
Abstract: this paper describes more or less one hundred unpublished textiles found during the 1952 archaeological exploration of the Qumran cliff, directed by Roland de Vaux. These textiles were kept in the Rockefeller Museum and in Amman. Soveral of them disappeared and the author shows pictures proving they did belong to the Qumran finds, in the Rockefeller Museum vault. They were collected in the major manuscript Caves as well as in the so-called "minor" caves above and in the vicinity of Qumran, and the author presents here a new type of cloth, the narrow bands, and proposes a new hypothesis : they were used to bind papyri. The textiles throw a new light on the discussion about the slow or fast scenario which permitted the hiding of the manuscripts, the jars and the archaeological objects of the caves.

El sistema ABTS (ácido 2,2´-[3-etil benzotiazolin-6-sulfónico])-lacasa se empleó para decolorar tanto tela de mezclilla como una solución preparada de índigo. Después del tratamiento, la mezclilla adquirió un aspecto de usada, sin que las fibras mostraran evidencia de daño, mientras que la solución de índigo se decoloró. Adicionalmente, el análisis de la biodegradación de los desechos acuosos de la decoloración de la mezclilla y la solución decolorada control de índigo mostraron que, en ambos casos el agua residual fue fácilmente biodegradada tanto aeróbica como anaeróbicamente, mientras que la solución control de índigo requirió de 5 días para biodegradarse aeróbicamente y no sufrió ningún cambio en el sistema anaeróbico. El ABTS oxidado ó la lacasa por sí solos no decoloraron la mezclilla ni la solución de índigo bajo las mismas condiciones experimentales en que se empleó la combinación de ambos ABTS-lacasa. Esto se explica porque, durante la reacción de decoloración, el mediador ...