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Color of light affects the perception of viewers in an exhibition space. To understand the effect of light on viewers' perception in painting exhibition, few studies have experimented to establish a relation between pleasantness with the correlated color temperature (CCT) and illuminance of light. Findings of these studies lead to a debatable conclusion. Therefore, in this study an experiment has been designed with qualitative (questionnaire on semantic differential scale, N=30) approach to understand the viewers' preferred combination of CCT and illuminance for exhibiting paintings under LED lights. The findings from the experimental result depict that viewers' perception when viewing paintings changes with different CCTs and illumination levels. Also, the result reveals that for both medium of paintings considered in this study, viewers have preferred viewing at paintings under the cool white LED (3500K CCT) that appeared as neither cool nor warm with the medium level of illumination (100lux). The study has also revealed that there are three dominating visual factors, namely 'pleasantness,' 'brightness' and 'warmth,' those determine the effect of CCT and illuminance on appearance of paintings. [ABSTRACT FROM AUTHOR]

Light plays a crucial role for display of paintings in any exhibition. Lack of proper illumination makes the displays ineffective to the exhibition visitors. Earlier studies have argued that viewers' preference for illumination level is usually higher than recommended level. However, these studies were based on general room illumination and viewers' preferred illumination level for viewing paintings has not been considered. Therefore, in this study, an experiment has been designed (questionnaire on semantic differential scale, N = 30) to understand viewers' preferred illumination level for viewing water and oil medium paintings. The findings from the experimental result are depicting that viewers prefer higher illumination level (100 lux for water-based paintings and 150 lux for oil-based paintings) than the recommended for both mediums of paintings. Also, the result is supporting that viewers' preference for illumination level is not significantly effected by the medium of painting. [ABSTRACT FROM AUTHOR]

Macromolecular complexes are essential to conserved biological processes, but their prevalence across animals is unclear. By combining extensive biochemical fractionation with quantitative mass spectrometry, here we directly examined the composition of soluble multiprotein complexes among diverse metazoan models. Using an integrative approach, we generated a draft conservation map consisting of more than one million putative high-confidence co-complex interactions for species with fully sequenced genomes that encompasses functional modules present broadly across all extant animals. Clustering reveals a spectrum of conservation, ranging from ancient eukaryotic assemblies that have probably served cellular housekeeping roles for at least one billion years, ancestral complexes that have accrued contemporary components, and rarer metazoan innovations linked to multicellularity. We validated these projections by independent co-fractionation experiments in evolutionarily distant species, affinity purification and functional analyses. The comprehensiveness, centrality and modularity of these reconstructed interactomes reflect their fundamental mechanistic importance and adaptive value to animal cell systems. [ABSTRACT FROM AUTHOR]