• Journal of Bio-Environment Control
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• v.27 no.3
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• pp.199-205
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• 2018

The aim of this study was to confirm that effects of supplemental LED illumination on a strawberry yield and fruit quality when strawberry grown on a bottom bed to be deficient ambient light due to shading of a upper bed during cultivation by a two-bed bench system. A strawberry was cultivated as a drip irrigation system in the two-bed bench system filled with a strawberry exclusive media from October 2015 to January 2016. The upper and the bottom bed without LED illumination for growth of a strawberry were using as a control. For LED light treatments, from 10 am to 4 pm, we illuminated LEDs as $100{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ of light intensity by using blue, red, and mixing LED (blue plus red) on the strawberry plants of the bottom bed. In the yield of strawberry fruit, the strawberry grown on the bottom bed treated with the blue LED significantly increased compared with that of the bottom bed part control, and increased to by near 90% of the strawberry output of the upper bed part control. The soluble sugar content of strawberry fruit grown on the upper bed part control and on the bottom bed illuminated with blue or mixed LED was higher than that of red LED and the control of the bottom bed. The content of anthocyanin was the highest increased in the strawberry grown on the upper bed part control that received a lot of ambient light, however when comparing only the bottom bed, strawberry fruits grown on all LED treatments were higher than that of the control. Therefore, we considered that using of the blue LED light on the bottom bed of two-bed bench system during strawberry cultivation is advantageous for the increase of yield and improvement of fruit quality.

• Journal of Bio-Environment Control
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• v.27 no.4
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• pp.371-380
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• 2018

Aim of this study was to investigate the effects of different nutrient solutions and various light qualities generated by LED on the growth and glucosinolates contents of watercress (Nasturtium officinale) grown under hydroponics for 3 weeks. The seeds of watercress were sown on crushed rockwool media and raised them for two weeks. They were transplanted in a semi-DFT (deep flow technique) hydroponics system. A controlled-environment room was maintained at $20{\pm}1^{\circ}C$ and $16{\pm}1^{\circ}C$ temperatures and $65{\pm}10%$ and $75{\pm}10%$ relative humidity (day and night, respectively), with a provided photosynthetic photon flux density (PPFD) of $180{\pm}10{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ and a photoperiod of 16/8h. To find out the best kinds of nutrient solutions for growing watercress, Otsuka House 1A (OTS), Horticultural Experiment Station in Korea (HES), and Netherland's Proefstaion voor Bloemisterij en Gasgroente (PBG) were adapted with initial EC of $1.0-1.3dS{\cdot}m^{-1}$ and pH of 6.2, irradiating PPFD with fluorescent lamps (Ex-1). Either monochromatic (W10 and R10) or mixed LEDs (R5B1, R3B1, R2B1G1, and W2B1G1) were irradiated with a differing ratio of each LED's PPFD to understanding light quality on the growth and glucosinolates contents of watercress (Ex-2). Although significant difference in the shoot growth of watercress was not found among three nutrient solutions treatments, but the root fresh weight increased by 13.7% and 55.1% in PBG and OTS compared to HES, respectively. OTS increased the gluconasturtiin content by 96% and 65% compared to PBG and HES. Compared with the white light (W10), the red light (R10) showed a 101.3% increase in the shoot length of watercress. Increasing blue light portion positively affected plant growth. The content of total glucosinolates in watercress was increased by 144.5% and 70% per unit dry weight in R3B1 treatment compared with R2B1G1 and W10 treatments, respectively. The growth and total glucosinolates contents of the watercress were highest under R3B1 among six light qualities.

• Journal of Bio-Environment Control
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• v.27 no.4
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• pp.363-370
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• 2018

The succulent plants of Echeveria genus are in increasing demand worldwide, but it is difficult to supply good quality young plants throughout the year because propagation efficiencies are depend on cultivar and environmental factors. This study was carried out to investigate the propagation efficiencies of leaf cutting in Echeveria cultivars at different LED light qualities in a closed-type plant factory system. Leaf cuttings cut from stock plants of six difficult-to-propagated cultivars 'Afterglow (AG)', 'Berkeley Light (BL)', 'Mason (MS)', 'Subsessilis Light (SL)', 'Cream Tea (CT)', and 'Ben Badis (BB)' were put into cutting media in the plant factory system maintained at a temperature of $24{\pm}2^{\circ}C$ and relative humidity of $60{\pm}10%$, and watered with over-head irrigation twice a week. Cuttings were irradiated with sole or mixed red (R, 660 nm), blue (B, 450 nm), green (G, 530 nm), and far-red (FR, 730 nm) LEDs as follows: R10, R8+B2, R5+B5, R7+B2+FR1, and R7+B2+G1. PPFD just above the cuttings was $200{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ and photoperiod was 16/8 (light/dark) hours. As a result, propagation efficiencies were dependent on cultivar. Rooting and shooting were relatively easy in 'SL' but shoot formation in 'AG' was very difficult. Light qualities from LEDs also affected plant regeneration. Light conditions with a higher ratio of B, R5+B5, R7+B2+FR1, and R7+B2+G1, promoted shoot formation and growth but inhibited rooting and root growth. R10 and R8+B2 with a higher ratio of R promoted rooting and root growth and inhibited shoot formation and growth of cuttings. In addition, the treatment with FR increased leaf size and biomass of the all plants. Therefore, further studies are needed to investigate the optimum compositions of LED light quality for the improvement of leaf cutting efficiency in difficultto-propagated Echeveria cultivars.

• Review of Culture and Economy
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• v.21 no.2
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• pp.141-173
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• 2018

In this article, we explore how artistic fame is formed by analyzing antecedents of fame the extent to which the name of an actor or his/her work is positively known by his/her audiences among Korean handicraft artists. Drawing on prior literature on reputation and fame, we clarify the differences between the concept of reputation and the concept of fame and further distinguish three types of reputation among individual artists, depending on its sources expert reputation, market reputation, and peer reputation. We employ the mixed method in this study, in which we first conducted open-end interviews with three kinds of constituents (i.e., critics, market intermediaries, and artists) and then developed and tested the hypotheses derived from the insights we had obtained from the interviews. We further considered the impact of reputational work, defined as the level of effort devoted and activities performed by an artist him(her)self geared toward promoting his(her) work, on artistic fame. We find that there are large differences in factors associated with artistic fame between non elite and elite Korean handicraft artist groups, where elite status is captured by artists' educational background (i.e., Seoul National University and Hongik University, which are considered elite schools in accordance with prior research). Specifically, findings suggest that among non elite status artists, recognition by experts, or what we call expert reputation, acquired through national awards and invitations from prominent exhibitions as well as artists' own reputational work that incurs high cost, such as self-financed exhibition openings, were shown to be highly significant factors associated with artistic fame, which was measured as the number of media exposures related to her/his art work. By contrast, among elite status artists, peer reputation acquired through an artist's institutional affiliations and relatively low cost artists' own reputational work, such as self listing on a highly publicized magazine, were shown to be significant factors associated with fame. Taken together, this paper contributes to research on cultural industries and markets by highlighting the importance of understanding artistic fame not just as the outcome of her/his talent but as the social product that arises at the intersection of actors (artists) and her/his audiences in the social evaluation process.