The cleanability of stainless steel used as a food contact surface: an updated short review

The effect of surface roughness on the cleanability of stainless steel as used in the foodindustry

The music of Dyricke Gerarde

The extant works of Dyricke Gerarde (fl. a1540-a1580) form the largest known collection of presumed holograph musical material written before 1600. 169 of Gerarde's works survive, some in more than one version, most others showing varying degrees of revision and recomposition. This quantity of revision, also the largest amount known from before 1600, is itself invaluable as an insight into the musical development and working practices of a Renaissance composer. Apart from this prolific output, almost nothing is known of Gerarde's life, his dates or nationality, nor precisely what his name was. The purpose of this dissertation is to examine his music, to analyse it from a number of viewpoints, to compare it with appropriate contemporary material and to draw conclusions concerning Gerarde's place in the evolution of sixteenth-century music. To support this, the entire corpus of his work is presented in an academic edition, showing all emendations and recompositions, in parallel score where necessary, and with all incomplete pieces reconstructed

The Artist-Shaman and the \"Gift of Sight\"

Throughout the history of art the role of the artist has been compared to the role of the shaman. This is because the artist’s role has always been one of mediator, transformer and most prominently visionary. The role of both the artist and shaman has always been to stand between two worlds: that of the visible and the invisible. The viewers, or the community in the case of the shaman, entrust the artist to go forth into the realm of the invisible and return with a gift: the invisible transformed into the visible. Traditionally, many artists associated with shamanism such as Joseph Beuys, Max Ernst, Leonora Carrington and later Matthew Barney, have been leaders, idealists, heroes of mythic proportions, artists who return with this gift: a vision or sight to follow. But a different breed of artist associated with shamanism also exists: an ambivalent artist-shaman, a shifty and unreliable character of dubious motivations, who appears to offer the viewer a vision or sight and then throws it back in their face, makes them decide. This is the role that Hany Armanious, John Bock, Carla Cescon, Marcus Coates, Mikala Dwyer, Steinar Haga Kristensen, Jonathan Meese, Paul Thek, Justene Williams and myself have taken. And we take it so as to return to the viewer the very power that is invested in the artist, that of creating a vision: what Rex Butler refers to in relation to Hany Armanious as the “gift of sight.” (Butler 2000). These artists and myself offer the “gift of sight” by reflecting the act of perception and by engaging the viewer in the same process that the artist goes through. The way we do this is by setting up complex, multi-positional, process-based systems that are highly informed and engaging but do not lead to an end position. Because the artist does not presume to idealise this end position, the result is inevitably confusing, slippery, uncertain, and ambivalent, as if the artist has no position or avoids commitment. This thesis sets out to inves! tigate t his ambivalent position taken by the artist-shaman and to show how and why it is taken. It does this in two ways. Firstly it provides a studio component as a practical example of the practice of an artist-shaman who offers the “gift of sight.” Secondly, the written dissertation provides a theory and understanding of the artist-shaman who offers the “gift of sight.” This may then be applied to the practical component, offering a historical and philosophical context with which to frame it

Fall Prevention: The First Line of Defense. Integration of Innovated Strategies to Decrease Falls for the Hospitalized Patient

Background: Falling is defined as an accidental encounter with the ground or other surfaces. Individuals with dementia are at a greater risk for falls due to conditions such as neurological impairments in perception or cognition. Presently, 50 million people live with dementia worldwide, which is projected to increase to 152 million by 2050 because of a rise in life expectancy and an aging population. The incidence of falls has rapidly become a major public health problem around the world. Approximately 30% of people older than 65 years of age fall each year, and patients with dementia cost the nation $236 billion in 2016. However, what is available for patients at risk for falls is limited to standard interventions throughout health care systems, such as the use of safety alarms and hourly rounding. Innovative strategies such as early recognition of the disease process of cognitive impairment can decrease the occurrence of falls. Also, an abundance of the literature states approximately 78% of falls experienced are from patients who are predicted to be more prone to falls and incidents. Purpose: The purpose of this Doctor of Nursing Practice (DNP) project is to assess the effectiveness of a specific patient-centered quality improvement study in a hospitalized setting as a potential strategy to reduce the number of patient falls. Design Method: A quasi-experimental design using hospital staff’s pre- and post-education test scores along with pre- and post-intervention fall data collection methods. Results: This project used a paired t-test to compare overall pre and post-test results related to knowledge gained from the educational intervention. The paired t-test looked at the pre-and post-education scores per participant. The mean participating staff test score prior to receiving education equaled 70.33 %. The mean participating staff test score after receiving education equaled 84.50%.The p value test results of the pre and post educational test scores was less than .001 (std +/- 7 test points) suggesting the Null hypothesis was rejected and showed the difference between the mean test scores were statistically highly significant. The pre-intervention mean score was 1.5 falls per month and a post-intervention mean score was 1.8 falls per month.These statistical findings may have been skewed due to potential unidentified outliers. Conclusion: Fall rates moderately increased overall within the pilot facility between September 2020 to May 2021. However, the fall prevention initiative did increase the staff’s knowledge on recognizing early signs of cognitive decline like dementia. Keywords: falls, dementia, cognitive impairment, fall ris

Energy balance and techno-economic assessment of algal biofuel production systems

There has been considerable discussion in recent years about the potential of micro-algae for the production of sustainable and renewable biofuels. Unfortunately the scientific studies are accompanied by a multitude of semi-technical and commercial literature in which the claims made are difficult to substantiate or validate on the basis of theoretical considerations.To determine whether biofuel from micro-algae is a viable source of renewable energy three questions must be answered:a. How much energy can be produced by the micro-algae?b. How much energy is used in the production of micro-algae?c. Is more energy produced than used?A simple approach has been developed that allows calculation of maximum theoretical dry algal biomass and oil yields which can be used to counter some of the extreme yield values suggested in the 'grey' literature. No ready made platform was found that was capable of producing an energy balance model for micro-algal biofuel. A mechanistic energy balance model was successfully developed for the production of biogas from the anaerobic digestion of micro-algal biomass from raceways. Preliminary calculations had suggested this was the most promising approach. The energy balance model was used to consider the energetic viability of a number of production scenarios, and to identify the most critical parameters affecting net energy production. These were:a. Favourable climatic conditions. The production of micro-algal biofuel in UK would be energetically challenging at best.b. Achievement of ‘reasonable yields’ equivalent to ~3 % photosynthetic efficiency (25 g m-2 day-1)c. Low or no cost and embodied energy sources of CO2 and nutrients from flue gas and wastewaterd. Mesophilic rather than thermophilic digestione. Adequate conversion of the organic carbon to biogas (? 60 %)f. A low dose and low embodied energy organic flocculant that is readily digested, or micro-algal communities that settle readilyg. Additional concentration after flocculation or sedimentationh. Exploitation of the heat produced from parasitic combustion of micro-algal biogas in CHP unitsi. Minimisation of pumping of dilute micro-algal suspensionIt was concluded that the production of only biodiesel from micro-algae is not economically or energetically viable using current commercial technology, however, the production of micro-algal biogas is energetically viable, but is dependent on the exploitation of the heat generated by the combustion of biogas in combined heat and power units to show a positive balance.Two novel concepts are briefly examined and proposed for further research:a. The co-production of Dunaliella in open pan salt pans.b. A 'Horizontal biorefinery' where micro-algae species and useful products vary with salt concentration driven by solar evaporation.<br/

Pulling Alick Tipot's Girelal

Alick Tipoti is a leading Torres Strait Islander artist. In July 2011 Master Printmaker Theo Tremblay was commissioned to print the largest linocut to date from any Torres Strait Islander artist. The work 'Geralel' measures over 8 metres and depicts traditional Torres Strait creation narratives. The print commissioned by Australian Art Print Network was unveiled for the first time at Canopy Artspace Cairns, during the 2011 Cairns Indigenous Art Fair. Russell Milledge, School of Creative Arts James Cook University, captured the process of pulling the first print from the massive hand cut block using timelapse and other video and imaging techniques. The subsequent video work was exhibited at the 2011 Cairns Indigenous Art Fair, August 2011