Aesthetics of self-scaling: parallaxed transregionalism and Kutluğ Ataman's art practice

This article examines relations of ethnography, contemporary art-practice, globalisation and scalar geopolitics with particular reference to Kutluğ Ataman’s artworks. Having been shortlisted for the Turner Prize at the Tate and awarded the prestigious international Carnegie Prize in 2004 with his forty-screen video installation Küba (2004), Ataman became an extremely well-known, globally acclaimed artist and filmmaker. Self-conscious of their global travel and critically attentive to the contemporary ethnographic turn in the visual arts scene, Ataman’s video-works perform a conscientious failure of representing cultural alterity as indigeneity. Concentrating on the artist’s engagement with ethnography, this article contains three main parts. Analyses of the selection of videos in each part will give an account of different scalar aspects of Ataman’s artworks. It will first revisit a previous study (Çakirlar 2011) on the artist’s earlier work of video-portraits including Never My Soul! (2002) and Women Who Wear Wigs (1999). A detailed discussion of Küba follows, which may be taken as the ‘hinge - work’ in Ataman’s oeuvre that marks a scalar transition in his critical focus - from body and identity to community and geopolitics. The discussion will then move to a brief analysis of the series Mesopotamian Dramaturgies, including the screen-based sculptures Dome (2009), Column (2009), Frame (2009), English as a Second Language (2009), and The Complete Works of William Shakespeare (2009). Rather than addressing scale as a differential concept, this article aims to demonstrate the ways in which Ataman’s art-practice produces self-scaling, self-regioning subjects that unsettle the hierarchical constructions of scale and facilitates a critique of the scalar normativity within the global art world’s regionalisms and internationalisms

Modeling the release of Escherichia coli from soil into overland flow under raindrop impact

Pathogen transport through the environment is complicated, involving a variety of physical, chemical, and biological processes. This study considered the transfer of microorganisms from soil into overland flow under rain-splash conditions. Although microorganisms are colloidal particles, they are commonly quantified as colony-forming units (CFUs) per volume rather than as a mass or number of particles per volume, which poses a modeling challenge. However, for very small particles that essentially remain suspended after being ejected into ponded water and for which diffusion can be neglected, the Gao model, originally derived for solute transfer from soil, describes particle transfer into suspension and is identical to the Hairsine–Rose particle erosion model for this special application. Small-scale rainfall experiments were conducted in which an Escherichia coli (E. coli) suspension was mixed with a simple soil (9:1 sand-to-clay mass ratio). The model fit the experimental E. coli data. Although re-conceptualizing the Gao solute model as a particle suspension model was convenient for accommodating the unfortunate units of CFU ml−1, the Hairsine–Rose model is insensitive to assumptions about E. coli per CFU as long as the assumed initial mass concentration of E. coli is very small compared to that of the soil particle classes. Although they undoubtedly actively interact with their environment, this study shows that transport of microorganisms from soil into overland storm flows can be reasonably modeled using the same principles that have been applied to small mineral particles in previous studies

Monitoring of Urinary Proteins by SDS Electrophoresis in Kidney Transplant Patients

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A Simple Routine Method for SDS-Electrophoresis of Urinary Proteins in Kidney Transplant Patients

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