Politics, pain and pleasure: the art of art-making for ‘settled’ Aboriginal Australians

Since the emergence of the ‘acrylic art movement’ which came out of Papunya in the Western Desert of Australia in the 1970s, Aboriginal art and cultures have become intertwined in public discourse, through government policy, and in visual art worlds. It is arguably through their artworks that Australian Aboriginal people have become increasingly known both within Australia and overseas (Merlan 2001; cf. Fourmille 1994).i Indeed, in many ways, Aboriginal art has come to represent Aboriginal people and their culture (Myers 2002). But what kind of art is acceptably deemed Aboriginal in mainstream art worlds, by Australian Aboriginal people, and why? What does this mean personally, socially and economically for those Aboriginal artists who are located in the south-eastern parts of Australia which were first colonised? For the most part these people are deemed by the mainstream population to have ‘lost their culture’. More than this, they are spoken of by some other Aboriginal people from the more remote and later colonised parts of the continent in similar terms. Based on long-term ethnographic fieldwork with the Barkindji people of Wilcannia, a small country town in the south-east of Australia, this paper explores the role of art making and art talk and the ways in which these are implicated in the politics of culture, in cultural subjectivity, and in the consolidation and (re)creation of cultural identity

Politics, pain and pleasure: the art of art-making for ‘settled’ Aboriginal Australians

Since the emergence of the ‘acrylic art movement’ which came out of Papunya in the Western Desert of Australia in the 1970s, Aboriginal art and cultures have become intertwined in public discourse, through government policy, and in visual art worlds. It is arguably through their artworks that Australian Aboriginal people have become increasingly known both within Australia and overseas (Merlan 2001; cf. Fourmille 1994).i Indeed, in many ways, Aboriginal art has come to represent Aboriginal people and their culture (Myers 2002). But what kind of art is acceptably deemed Aboriginal in mainstream art worlds, by Australian Aboriginal people, and why? What does this mean personally, socially and economically for those Aboriginal artists who are located in the south-eastern parts of Australia which were first colonised? For the most part these people are deemed by the mainstream population to have ‘lost their culture’. More than this, they are spoken of by some other Aboriginal people from the more remote and later colonised parts of the continent in similar terms. Based on long-term ethnographic fieldwork with the Barkindji people of Wilcannia, a small country town in the south-east of Australia, this paper explores the role of art making and art talk and the ways in which these are implicated in the politics of culture, in cultural subjectivity, and in the consolidation and (re)creation of cultural identity

Porous silica spheres as indoor air pollutant scavengers

Porous silica spheres were investigated for their effectiveness in removing typical indoor air pollutants, such as aromatic and carbonyl-containing volatile organic compounds (VOCs), and compared to the commercially available polymer styrene-divinylbenzene (XAD-4). The silica spheres and the XAD-4 resin were coated on denuder sampling devices and their adsorption efficiencies for volatile organic compounds evaluated using an indoor air simulation chamber. Real indoor sampling was also undertaken to evaluate the affinity of the silica adsorbents for a variety of indoor VOCs. The silica sphere adsorbents were found to have a high affinity for polar carbonyls and found to be more efficient than the XAD-4 resin at adsorbing carbonyls in an indoor environment

An Exploration of Fairness in the Assessment and Process of Student Group Work

This project was driven by a motivation to be as fair as possible in the assessment of students\u27 group work. Achieving fairness in assessment is a recurrent them in group project assessment literature (Nordberg, 2009). All authors of this report teach modules with group projects, and acknowledged that discrepancies often exist between a mark assigned to a group and an individual\u27s contribution. Our aims were to (a) collectively enhance our understanding of the issues that need to be considered when assessing a group work project and (b) collectively build our confidence in approaches chosen to overcome these challenges. The findings of a literature review on group work assessment informed the creation of a methodology to develop a toolkit which can be referred to when planning and setting group work assignments. An intermediary stage of this process was the development of an algorithm which incorporated user perspectives to assign associated values to assignment outputs and how they are assessed. This subjective user input, whether it is generated within a School, a subject matter or from a large sample of educators, can then be applied by associated users. An intended output of these potential processes is that the tailored toolkits can assist educators and/or programmes regardless of their teaching philosophy. Flash-cards were developed as a prototype of how the toolkit information can be visualised

Measurement of volatile organic compounds emitted in libraries and archives : an inferential indicator of paper decay?

A sampling campaign of indoor air was conducted to assess the typical concentration of indoor air pollutants in 8 National Libraries and Archives across the U.K. and Ireland. At each site, two locations were chosen that contained various objects in the collection (paper, parchment, microfilm, photographic material etc.) and one location was chosen to act as a sampling reference location (placed in a corridor or entrance hallway). Of the locations surveyed, no measurable levels of sulfur dioxide were detected and low formaldehyde vapour (< 18 μg m-3) was measured throughout. Acetic and formic acids were measured in all locations with, for the most part, higher acetic acid levels in areas with objects compared to reference locations. A large variety of volatile organic compounds (VOCs) was measured in all locations, in variable concentrations, however furfural was the only VOC to be identified consistently at higher concentration in locations with paper-based collections, compared to those locations without objects. To cross-reference the sampling data with VOCs emitted directly from books, further studies were conducted to assess emissions from paper using solid phase microextraction fibres (SPME) fibres and a newly developed method of analysis; collection of VOCs onto a polydimethylsiloxane (PDMS) elastomer strip. In this study acetic acid and furfural levels were consistently higher in concentration when measured in locations which contained paper-based items. It is therefore suggested that both acetic acid and furfural (possibly also trimethylbenzenes, ethyltoluene, decane and camphor) may be present in the indoor atmosphere as a result of cellulose degradation and together may act as an inferential non-invasive marker for the deterioration of paper. Direct VOC sampling was successfully achieved using SPME fibres and analytes found in the indoor air were also identified as emissive by-products from paper. Finally a new non-invasive, method of VOC collection using PDMS strips was shown to be an effective, economical and efficient way of examining VOC emissions directly from the pages of a book and confirmed that toluene, furfural, benzaldehyde, ethylhexanol, nonanal and decanal were the most concentrated VOCs emitted directly from paper measured in this study

Photocatalytic air-purification: A low-cost, real-time gas detection method

This research demonstrates the use of a gas detector as a feasible alternative to the standardized analytical methods typically found in photocatalytic air-purification ISO standard tests and academic literature. A methyl mercaptan detector is calibrated and validated (for linearity) using a standard gas generator. The detector can be directly connected to the photoreactor exit allowing real-time span gas measurement with data-logging at one minute intervals. The detector successfully differentiated samples with different photocatalytic performance. The use of such detectors offers an easy-to-use, low-cost alternative to gas measurement with applications in academic research, proof-of-concept photocatalytic tests and also as an educational tool

A comparative study of selected sorbents for sampling of aromatic VOCs from indoor air

Indoor air canbecome pollutedwith VOCs, and understanding the factors which affect adsorption of VOCs from indoor air is important for: (i) the accurate measurement of VOCs, and (ii) to apply mitigation strategies when high analyte concentrations are measured. In this study four VOCs (toluene, ethylbenzene, cumene and dichlorobenzene) were generated as a constant and controlled polluted air stream of VOCs from a dynamic atmospheric chamber. The effects of relative humidity, and sampling flow rate, on adsorption onto Tenax TA and the relatively new silica adsorbents SBA-15 or MCM-41 were studied

Kinetic field dissipation and fate of endosulfan after application on theobroma cacao farm in tropical Southwestern Nigeria

Endosulfan, 6,7,8,9,10,10-hexachloro-1,5,5a,6,9,9a-hexahydro-6,9-methano,2,4,3-benzodioxathiepin-3-oxide, is still a pesticide of choice for most cocoa farmers in Southwestern Nigeria, in spite of its persistence, bioaccumulative, toxicological properties, and restriction. A single treatment of 1.4 kg ai/ha (0.5% ai) of technical grade endosulfan (Thiodan, 35EC) was applied to 0.0227 ha of cultivated Theobroma cacao L. (Cocoa) farm at the Cocoa Research Institute of Nigeria (CRIN). Levels of parent endosulfan (α-, β-endosulfan) and major metabolite (endosulfan sulfate) were determined in vegetation and surrounding matrices at days 0, 7, 14, 21, 28, 42, and 60 using GC-MS. Their kinetic variables were determined. Order of ∑endosulfan distribution at day 0 was dry foliage > fresh foliage > bark > pods > soil (0–15 cm). No residual endosulfan was found in cocoa seeds and subsurface soil (15–30 cm). Low residual levels in pods on day 0 may be due to endogenous enzymatic breakdown, with α-isomer more susceptible and α/β-endosulfan ratio being 0.90. Fell dry foliage as mulch was predominantly the receiving matrix for non-target endosulfan sprayed. Volatilization was key in endosulfan dissipation between days 0 and 7 from foliage surfaces (> 60% loss), while dissipation trend was bi-phasic and tri-phasic for vegetation and soil, respectively. ∑endosulfan loss at terminal day ranged between 40.60% (topsoil) and 99.47% (fresh foliage). Iteratively computed half-lives (DT′ 50 ) ranged from 6.48 to 30.13 days for ∑endosulfan in vegetation. Endosulfan was moderately persistent in pods—a potential source for cross contamination of seeds during harvest. Iteratively determined DT′ 50 and initial-final day DT 50 are highly correlated (R = 0.9525; n = 28) and no significant difference (P = 0.05) for both methods

The development of a SPME-GC/MS method for the analysis of VOC emissions from historic plastic and rubber materials

Analytical methods have been developed for the analysis of VOC emissions from historic plastic and rubber materials using SPME-GC/MS. Parameters such as analysis temperature, sampling time and choice of SPME fibre coating were investigated and sampling preparation strategies explored, including headspace sampling in vials and in gas sampling bags. The repeatability of the method was evaluated. It was found that a 7. d accumulation time at room temperature, followed by sampling using a DVB/CAR/PDMS fibre, with a sampling time of 60. min at room temperature was a suitable strategy for the detection of VOC emissions from a wide range of historic plastic and rubber artefacts. For 20. ml vials, a sample size of 50. mg was found to be appropriate and grinding the samples improved the repeatability of the analysis and yielded higher levels of emissions. A non-destructive adaptation of the method that could be used directly on historic objects in a museum environment is also presented. The detected emissions improve understanding of ongoing degradation processes within historic plastic and rubber materials, in addition to providing information on material composition