Missoula in the Moonlight

Page 8

Clash of the Titans

My artistic practice utilizes a hybrid of media such as serigraphs, lithographs, hand-made publications, installations, archival documents and video-based works to address master narratives and to challenge historical records. I closely examine the relationship between archived information and redacted histories and their effects on the collective and historical consciousness. I am interested in creating counter-archives to challenge the authority behind archival systems and interrogate their mutability. I also borrow from the same visual language of traditional archival systems to reveal institutional and historical skeletons. Due to my personal research, I have morphed into an archivist myself collecting bodies of hidden and unfamiliar knowledge. In this text, I am using research to amplify willfully omitted histories or alternative knowledge in order to tell a distinctive story

A Note from the Editor--Please Do Not Send Us Any Poems with Excessive Use fo the Word I

Pages 89-9

Resolving natural losses of LNAPL using CO2 traps

2012 Fall.Includes bibliographical references.Pools of light non-aqueous phase liquids (LNAPLs) are a legacy of past practices at petroleum facilities. Traditional LNAPL remedies (e.g. hydraulic LNAPL recovery) are often costly and have limited effectiveness. Recent studies have indicated that natural losses of LNAPL can help to stabilize and even shrink subsurface LNAPL bodies once the LNAPL source is removed. Developing an effective understanding of natural losses of LNAPL is an important step in establishing LNAPL management strategies. Estimated rates of natural losses of LNAPL can be used to demonstrate LNAPL stability, form a basis for initiating or discontinuing hydraulic recovery, estimate longevity of LNAPL bodies, and as a benchmark to compare relative effectiveness of different remedial alternatives. Additionally, an understanding of underlying processes gained through field studies can guide development of new, more sustainable LNAPL remediation technologies. A novel integral CO2 Trap was created to measure soil CO2 efflux at grade. This addresses a need for an efficient tool to quantify natural losses of LNAPL. The hypothesis of this thesis is that CO2 Traps can be used to quantify natural losses of LNAPL at field sites. Laboratory and field tests were performed to test the CO2 Traps and demonstrate their utility. First, laboratory experiments were undertaken to demonstrate the ability of the traps to quantitatively capture CO2 and effectively estimate CO2 fluxes. Closed system column testing showed that the selected sorbent media is capable of quantitatively recovering CO2. This testing also verified that the sorption capacity of the media (~30% CO2 by mass) was in the range indicated by the manufacturer. This information is useful when planning maximum field deployment times, and as a means of quality checking field sampling results. Next, an open system column test showed that the CO2 Traps are capable of quantitatively measuring CO2 flux through porous media. The traps were field tested. Results of a single round of CO2 Trap deployment at one field site showed that the traps could distinguish zones of elevated CO2 flux over the LNAPL body, relative to naturally occurring CO2 flux at background locations. Background subtracted LNAPL loss rates ranging from 800 to 12,000 gallons per acre per year (gal/acre/yr) were observed. Carbon isotope analysis was performed on one travel blank sample, two background samples, and one LNAPL area sample. Radiocarbon (14C) results provided an independent means to estimate naturally occurring CO2 flux. Results of the 14C correction agreed well with the background subtraction method for that location. CO2 traps have been deployed at a total of 117 locations at 6 field sties. Seasonal resampling of selected locations has yielded a total of 194 CO2 flux readings. Calculated background corrected LNAPL loss rates for ranged from 400 - 18,000 gal/acre/yr with a mean of 3,500 gal/acre/yr. A detailed analysis of the influence of site and LNAPL characteristics on calculated LNAPL loss rates was performed for one of the six sites. Results indicated that natural losses of LNAPL are largely independent of in-well LNAPL thickness, depth to smear zone, smear zone thickness, or LNAPL type. However, temperature related seasonal trends were observed. Furthermore, natural losses of LNAPL appear to result in self heating of LNAPL zones with a potential benefit of enhancing natural losses. Additional data analysis suggests a link between temperature and natural LNAPL loss rate that may be useful in developing new, more sustainable, LNAPL management technologies

An analysis of the factors influencing the implementation of health and personal social service policies for elderly people in Northern Ireland.

SIGLEAvailable from British Library Document Supply Centre- DSC:D66285/86 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Art and NFTs: Past and Future

I’m going to talk from an artist’s perspective about “Art and NFTs—Past and Future.”  There are a lot of surprising details in the short history of non-fungible tokens (NFTs) and some pretty interesting ideas that are ready to unfold in the future.  As an artist, the work I’ve done has always been media-based, including video, software, and related forms.  Not so long ago, I was making video artworks, akin to short, experimental, independent films.  Along with my partner, Jennifer McCoy, I have produced “net art”—art made for viewing and audience participation on the Internet.  Since all of the work that I—along with my friends and other artists in the community—made was digital and intangible, there was very little way to participate in the art market. There were no tangible works that could be made and sold.  A digital media-based artwork could circulate in non-commercial contexts such as art or film festivals or museum curations, but rarely could it participate in the traditional art market like a painting could. For example, in 2001, the Whitney Museum of American Art acquired a JavaScript-based project of ours called 201—A Text Algorithm.  A code-based piece can enter the museum, but it is usually through donations and commissions rather than sales.  That was the experience for my friends and me for a long time.   Working with an intangible form are always on the sidelines of the greater visual arts community.  As a result, I—along with many other artists—adopted a strategy of physicalization:  you make your work sculptural and turn your media ideas into objects.  We made physical media sculptures that were met with success.  In 2001, the Metropolitan Museum of Art purchased an early work of ours Every Shot, Every Episode, which was recently part of the exhibition Pictures Revisited.  Although Every Shot, Every Episode is a media art piece, it is exhibited sculpturally in the form of a small, wall-mounted suitcase.  In other projects, we created sculptures that included video and kinetics, such as miniature film sets made with small cameras.  One of these is in the Museum of Modern Art (MoMA) collection and another was purchased by the Grand Duke Jean Museum of Modern Art (MUDAM) in Luxembourg.  Although the projects contain software and media, their embodiment as physical objects allows them to be displayed and collected in traditional ways.  This was the course of my practice in the early 2000s.  To be sure, I used the transition from digital to physical not only as a way to participate in the art market but also for artistic and aesthetic reasons.  This choice certainly allowed my works to be collected and, as a result, a broader conversation about who was buying and supporting new media art began.  It was an exciting time.  But there lingered a real question about how one might make and sell work that is natively digital.