Holography utilizing surface plasmon resonances

A holographic recording medium with a substrate which has a diffraction grating composed of a number of spaced line ridges on the surface is discussed. The first layer consists of a metal with a plasma wavelength shorter than that of the selected light source. A second layer, or coating, on top of the first layer consists of a thin film of photosensitive emulsion. A diagram of the device is provided. The principles of operation are explained

Nuclear Chronometers

Observations of metal-poor Galactic halo stars indicate that the abundance pattern of the (heaviest) neutron-capture elements is consistent with the scaled solar system r-process abundances. Utilizing the radioactive (r-process) element thorium, age determinations have been made for several of these same stars, placing constraints on both Galactic and cosmological age estimates.Comment: 6 pages, 2 figures. To appear in the Proceedings of ``Cosmic Evolution'

Neutron-Capture Element Trends in the Halo

In a brief review of abundances neutron-capture elements (Z > ~30) in metal-poor halo stars, attention is called to their star-to-star scatter, the dominance of r-process synthesis at lowest metallicities, the puzzle of the lighter members of this element group, and the possibility of a better r-/s-process discriminant.Comment: 6 pages, 2 figures. To appear in the Proceedings of ``Cosmic Evolution'

An investigation into factors affecting the lactobacillus casei assay of folate in serum

Imperial Users onl

Finnegan’s teeth: artists book and public art project

Finnegan’s Teeth is a visual journey seen through the eyes of the animal Finnegan. Taking place around King’s Cross in London, it follows the area as it goes through construction and deconstruction. Photographs of the happenings and events that Finnegan notices on his travels accompany the voices of the street life around him. • Finnegan’s Teeth, the book, developed into a major public Art project on the edge of the Kings Cross regeneration site. The happenings and events of Finnegan’s experiences are placed back into the spaces from which they came. Finnegan, the dog, is the only named narrator, as he reveals a bizarre world in the giant images and text which now appear on an installation in the historic Fish & Coal Building, on hoardings in Goods Way and on Maiden Lane canal bridge. • The episodes, based on real encounters, are spoken by different voices on the street. The absurd is a point of departure, experienced alongside something rational. Something strange happens as these re-told tales return to their place of origin making the ordinary become extraordinary. Narrative has always been important in Judith Cowan’s work, and this book, with its cover to cover sequence of photographs and interspersed texts, creates a duration that is rarely achievable with still images. • Finnegan’s bizarre world appeared in giant images and text on installations in the historic Fish & Coal Building, on hoardings on Goods Way and by Regent’s Canal under York Way. • Curated by Gill Hedley (past director of Contemporary Art Society) and Project Managed by Joseph Hill. • The website for the project www.finnegansteeth.info includes a short edit of the film about the project made by Hub TV. ‘Finnegan’s Teeth’ selected for the Tina B. Festival (2010) in Prague, Czech Republic, by its director Monica Burian, appeared in ‘Tina B on the Road’. The new installation covered the walls of a room in the Czech Centre with a photographic image taken from an animal’s perspective and a human conversation in large text. Doorways, light switches and sockets were cut out of the actual image, enabling the room to continue to function. In the middle of the animal’s vision sat a solitary wooden bench for reading the book. The Hub TV documentary of ‘Finnegan’s Teeth’ (London) by Renee Vaughan Sutherland was shown in an adjacent space

I segreti dell'anima.

This exhibition developed from research into the limits of form, where gesture and experienced space can become visible, employing casting techniques begun in 2004 at The Glass Centre, Sunderland and Middlesex University, where Cowan first experimented with glass casting processes. Erica Fiorentini Arte Contemporanea, Rome, invited Cowan to prepare a solo exhibition in their international artists programme. The 3-month exhibition I segreti dell'animal displayed new sculptures and photographs alongside previously exhibited work in a Cowan/Fiorentini collaboration, whose focus was the gestural body. The sculpture 'Myself as a Tree' comprised a glass cast of the trace of an actual arm moving repetitively through wet clay - a material representation of movement as physical form. Another work â Water Portraits presented a series of photographs recording the movement of water as a hand-held camera followed the rise and fall of a boat's prow cutting through waves. Further works investigated the representation of performative gestures. Concepts of ritual and gesture, temporality and memory drawn from Deleuze and Agamben provided the theoretical underpinning of the practice. Research into the materialization of ephemeral forces was first developed during a study trip to Walter de Maria's Lightning Field, and inhabiting a deserted island in the Outer Hebrides for eight consecutive summers. The accompanying catalogue included excerpts from discussions between the artist and Jean Fisher (RA2) and Simonetta Lux, with an introduction by Erica Fiorentini. There were 13 exhibition reviews in Italian newspapers/on-line journals

Memory of a specific place in Rome.

The drawing 'Memory of a specific place in Rome', 1979, was bequeathed to the Contemporary Art Society by the collector Tom Bendhem. In 2008 Rugby Art Gallery and Museum selected the drawing from the national museums touring show organised by CAS. In their anniversary show, Rugby Art Gallery and Museum profiled Judith Cowan with several related recent sculptures. This now forms part of their permanent exhibition. -‘Memory of a specific place in Rome’, 1979, was made whilst she was a Gulbenkian Rome Scholar at the British School at Rome. It prefaces her interest in performance, in-between places, and the eye of the camera. The place of symbolic transition and a threshold also exists in recent work shown alongside the drawing