• Title, Summary, Keyword: Subculture

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Variations of Agronomic Traits on the Progenies of the Different Callus Origin and Subculture Period in Rice (벼에서 캘러스 유기원와 계대배양 기간에 따른 재분화 계통의 주요 농업형질 변이)

  • Yi, Gi-Hwan;Oh, Byeong-Geun;Yang, Sae-Jun;Kim, Soon-Chul;Nam, Min-Hee
    • Journal of Plant Biotechnology
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    • v.30 no.4
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    • pp.365-368
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    • 2003
  • Variations of agronomic traits were evaluated on the progenies of regenerated rice plants of different callus origin and subculture period. From eighty-eight percent to ninety percents of ovary culture-derived plants (OCP) and anther culture-derived plants (ACP) were not segregated within the lines in major agronomic characters. Compare to ACP and OCP lines, the seed culture derived lines (SCP) showed more segregation (17%) in major agronomic traits among the lines. The most frequent segregating traits were grain fertility (6.1%) in ACP, leaf color (4.2%) in OCP and grain fertility (4.9%) and leaf color (4.9%) in SCP lines. The SCP line showed more variation in culm length, panicle length and heading date than those of OCP and ACP lines. The variation of agronomic traits in SCP lines was tended to increase with prolonged subculture. Culm and panicle length were shorter than those of original cultivar in all three types of tissue culture-derived lines (OCP, ACP and SCP).

Analysis of factors on the asymbiotic germination of white lady's slipper orchid(Cypripedium macranthos Sw. albiflorum) (멸종위기 흰복주머니란 종자발아에 미치는 요인 분석)

  • Lee, Joung Kwan;Kwon, Young Hee;Kim, Hee Kyu;Kim, Kyung Ok;Park, Jae Seong;Jeong, Mi Jin;Son, Sung Won;Suh, Gang Uk
    • Proceedings of the Plant Resources Society of Korea Conference
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    • pp.53-53
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    • 2019
  • Cypripediums, popularly called lady's slippers or moccasin flowers, are the showiest and most sought after hardy terrestrial orchids, collected and grown by orchid and alpine plant enthusiasts alike. In Korea, 4 species of cypripedium are reported as Cypripedium japonicum, C. macranthos, C. guttatum, and C. calceolus. We had already reported the feasibilities of C. macranthos and C. guttatum with in vitro germination methods from immature seeds. The seeds of white lady's slipper orchid (Cypripedium macranthos Sw. alba) were collected 65 days after pollination in 2018. The green pods were sterilized with flame and sowed immediately on the POM(Phytomax orchid maintenance media(R), Sigma) supplemented with BAP 0, 0.5, 1.0 mg/L and NAA 0, 1, 2mg/L. The germination of seed was observed 90 days after sowing, and the plantlets were subcultured to the same media according to the size of the protocorm with 1~2, 2~3, 3~4, 5~6, 7~8mm. The time of the subculture to the new media seems to be critical factors of forming rhizoids which is the hairy root of the cypripediums. As a results, the protorms of the white lady's slipper orchid was successfully germinated in the POM media supplemented BAP 0.5 and NAA 1.0 mg/L. The roots and rhizoids were formed in 5~6mm protocorms subculture over 95% survival ratio. We also tried to subculture to liquid medium without activated charcoal, however the browning or malformation of the roots was observed in the root. The formation of shoots from the protocorm was effectively enhanced in the POM media with non-additives of plant growth regulators. These results indicate the possibility of high and stable production and practical industrialization of endangered white lady's slipper orchids.

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Effect of Subculture on Plant Regeneration in Rice Callus Culture (벼 Callus의 계대배양(繼代培養)이 식물체(植物體) 재분화(再分化)에 미치는 영향(影響))

  • Sohn, Jae Keun;Lee, Seong Mok;Kim, Kyung Min
    • Current Research on Agriculture and Life Sciences
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    • v.9
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    • pp.21-28
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    • 1991
  • The effect of subculture intervals and passages on plant regeneration from seed-derived callus was determined. Regeneration capacity of callus varied with rice cultivars and subculture intervars tested. The callus subcultured every 2 weeks produced more plants than that of 4 weeks. The calli from a Tongil-type rice cultivar, Milyang 23, lost easily their regeneration ability when the calli were subcultured every 2 weeks and 4 weeks. The callus induced from a japonica cultivar, "Yeongdeogbyeo", showed to maintain high frequency(>70%) of plant regeneration when it was subcultured every 2-week intervals. Casein hydrolysate supplemented in callus induction medium enhanced callus growth and its regeneration. High frequency of plant regeneration was obtained from the calli transferred on $N_6$ medium supplemented with kinetin(2mg/1) and NAA(1mg/1). The subcultured calli in the medium supplemented with casein hydrolysate(2 g/1), myo-inositol(200mg/1) and thiamine-HCl(2mg/1) increased the frequency of embryogenic callus formation and plant regeneration.

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Batch Kinetics of Exo-polysaccharide Production by Submerged Cultivation of Ganoderma lucidum (영지의 액체배양에 의한 세포외 다당 생산의 동력학적 특성)

  • Lee, Shin-Young;Lee, Hak-Su;Park, Heung-Cho
    • The Korean Journal of Mycology
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    • v.27 no.4
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    • pp.304-311
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    • 1999
  • Batch kinetics during the exo-polysaccharide (EPS) fermentation of Ganoderma lucidum was investigated as a function of different substrates (glucose and starch), substrate concentration $(1{\sim}7%,\;w/v)$ and subculture (3 times). Logistic model for mycelial growth fitted the experimental data better than Monod and two thirds power model. The Luedeking-Pirt equation was adequate to fit the kinetic data of product formation and substrate consumption. The EPS production was strongly non-growth associated, although it was mixed type. The product formation and sustrate consumption by growth associated mechanism decreased as the concentration of glucose increased, while those of the non-growth associated mechanism increased. However, starch medium increased the growth associated and non-growth associated substrate consumption indicating higher availability of substrate. Also, batch culture in starch medium showed the higher specific growth rate and stability during subculture than those in glucose medium. In conclusion, the enhanced EPS production and stability in the subculture was found to be remarkably improved by use of starch as sole carbon source in medium. The maximum mycelium dry weight and EPS production of 9.463 and 10.410 g/l, respectively, were obtained after shake culture of 7 days at $30^{\circ}C$ from the media containing 7% starch.

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A Study of Origination and Genealogy on Street Style according to Anthropology (인류학적(人類學的) 분류(分類)에 따른 스트리트 스타일의 발생(發生)과 계보(系譜)에 관한 연구(硏究))

  • Lee, Young-Jae
    • Journal of Fashion Business
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    • v.11 no.4
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    • pp.183-203
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    • 2007
  • This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

A semiological analysis on the relationship between popular music and fashion style exposed in Subculture (하위문화에 나타난 대중음악과 패션의 기호적 해석)

  • Kim, Shin-Woo;Jeon, Jong-Chan;Kim, Young-In
    • Archives of design research
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    • v.18 no.1
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    • pp.233-244
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    • 2005
  • Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

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Factors Affecting In Vitro Minimal Growth Conservation of Sedum sarmentosum (돌나물의 기내 활성보존에 영향하는 요인)

  • Lee, Seung Yeob;Kwon, Tae Oh
    • Protected Horticulture and Plant Factory
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    • v.22 no.3
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    • pp.241-247
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    • 2013
  • For in vitro minimal-growth conservation of S. sarmentosum, the in vitro shoots with 10 mm length were cultured on Murashige and Skoog's media (MS) containing different levels of agar (0.8, 1.2, 1.6, 2%), Gelrite (0.4, 0.6, 0.8, 1%), ABA (0, 5, 10, $20mg{\cdot}L^{-1}$), and sucrose (2, 3, 6, and 9%) without subculture at $4^{\circ}C$ and $25^{\circ}C$. All media were supplemented with $0.2mg{\cdot}L^{-1}$ BA, agar and Gelrite media, with 5% sucrose, sucrose media, with 1.2% agar, and ABA media, with 5% sucrose and 1.2% agar, respectively. In vitro minimal-growth conservation in room-temperature ($25^{\circ}C$) was effective in the media containing with $10mg{\cdot}L^{-1}$ ABA or 1.6% agar, and the healthy plantlets could be preserved for 10 months without subculture. After 12 months at $4^{\circ}C$, survival rate was 100% in all media. The in vitro minimal-growth conservation in low temperature ($4^{\circ}C$) was effective in the media containing with $10mg{\cdot}L^{-1}$ ABA or 6% sucrose, and the healthy plantlets could be preserved over 18 months without subculture. Especially, long-term conservation using minimal growth of S. sarmentosum was much more efficient in the medium containing high level sucrose at $4^{\circ}C$ compared to others.

From Hiroshima to Fukushima: Nuclear and Artist Response in Japan (히로시마에서 후쿠시마까지, 핵과 미술가의 대응)

  • Choi, Tae Man
    • The Journal of Art Theory & Practice
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    • no.13
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    • pp.35-71
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    • 2012
  • The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

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유전자총 및 Agrobacterium을 이용한 Bentgrass의 형질전환

  • 임용우;김기용;정영수
    • Proceedings of the Korean Society of Grassland Science Conference
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    • pp.74-74
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    • 1999
  • Bentgrass의 형질전환식물 생산을 위하여 유전자총 (Gene-gun) 및 Agrobacterium기법을 이용하여 형질전환을 시도한 결과를 요약하면 다음과 같다. 1. 캘러스의 유도 및 증식 : Bentgrass (Agrostis palustris)의 종자를 MS-5 배지 (MS 기본배지, 2,4-D 5mg/L, casein hydrolysate 2g 포함)에 치상하여 캘러스를 유도하였다. 유도된 캘러스는 증식을 위하여 MS-3 배지 (MS기본배지, 2,4-D 3mg/L, casein hydrolysate 2g 포함)에서 2주 간격으로 subculture 하였다.(중략)

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Histological Observation of Embryogenic and Non-embryogenic Callus in Long-term Subculture of Wild Viola (Viola patrinii DC.) (흰제비꽃 배양세포에 있어서 분화세포와 미분화세포 조직의 비교 관찰)

  • 정용모;손병구;이재헌;서정해;정정한;권오창
    • Korean Journal of Plant Tissue Culture
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    • v.27 no.3
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    • pp.233-238
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    • 2000
  • To obtain a basic information of the development of Genus Viola, morphological and histological observation of in vitro calli and cells in Viola culture cells were investigated. There were two callus types obtained by long term subculture of wild viola (Viola partrinii DC. ) petiole callus. One was friable callus - soft and pale green in color and small cells in size, and the other was compact callus - compact and deep bluish green in color, large cells in size. In scanning electron microscopic observation, friable callus was composed of voculated cell around small. cell clump, while compact callus was composed of cells filled with protoplasm Somatic embryogenesis was observed from suspension culture of the compact callus.

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