Review of the progress in thin bed technology for masonry construction

Thin bed technology for clay/ concrete masonry is gaining popularity in many parts of the developed economy in recent times through active engagement of the industry with the academia. One of the main drivers for the development of thin bed technology is the progressive contraction of the professional brick and block laying workforce as the younger generation is not attracted towards this profession due to the general perception of the society towards manual work as being outdated in the modern digital economy. This situation has led to soaring cost of skilled labour associated with the general delay in completion of construction activities in recent times. In parallel, the advent of manufacturing technologies in producing bricks and blocks with adherence to specified dimensions and shapes and several rapid setting binders are other factors that have contributed to the development of thin bed technology. Although this technology is still emerging, especially for applications to earthquake prone regions, field applications are reported in Germany for over a few decades and in Italy since early 2000. The Australian concrete masonry industry has recently taken keen interest in pursuing research with a view to developing this technology. This paper presents the background information including review of literature and pilot studies that have been carried out to enable planning of the development of thin bed technology. The paper concludes with recommendations for future research.

Situation Review of Barley Yellow Dwarf Virus in West Asia and North Africa

Symptoms of barley yellow dwarf (BYD) have been observed on cereals in nearly all countries of West Asia and North Africa. Its incidence. however, has varied during the last 15 years. Observations from field surveys are summarized. Since symptoms of barley yellow dwarf virus (BYDV) are of low diagnostic value, especially in wheat (Triticum aestivum L.), more precise qualitative and quantitative detection was derived by vector transmission and serology. In 1985 and 1986. preliminary surveys by enzyme-linked immunosorbent assay (ELlS A) indicated that BYDV incidence in the regions surveyed in Syria, Morocco, and Tunisia was around 7. 22. and 24%. respectively. By vector transmission PAV-, RPV-, and RMV-like isolates ofBYDV were identified in Morocco and the PAV-like isolate in Syria. By serology PAV-like isolates were identified in Ethiopia, Lebanon. Morocco. Syria. and Tunisia. and MA V-like isolates were identified from Morocco and Tunisia. The PAV-like type was the most common in all countries surveyed. Screening for BYDV resistance by natural infection has been carried out in a number of countries of the region during the last few years. Screening for resistance by aphid inoculation was initiated in Syria in 1986 at the International Center for Agricultural Research in the Dry Areas (ICARDA). Such screening is expected to follow in other countries of the region soon.

Customers behaving badly : a state of the art review, research agenda and implications for practitioners

The purpose of this paper is to highlight important issues in the study of dysfunctional customer behavior and to provide a research agenda to inspire, guide, and enthuse. Through a critical evaluation of existing research, the aim is to highlight key issues and to present potentially worthy avenues for future study.

Advertising & Promotion : An Integrated Marketing Communications Approach, 2nd Edition [Book Review]

Advertising & Promotion’s second edition maintains a sharp and updated focus on the advertising industry, providing interesting ideas for both students and advertising professionals. Not only does the author demonstrate how agencies, businesses and organisations research, create and monitor particular campaigns, but also the extent to which advertising texts are themselves embedded in everyday contemporary culture. For me one of the strengths of the book is how the research brings together the managerial side of the industry, its sociology and political dynamics, with the cultural and ethical implications of advertising consumption.

Independent Brisbane: Four Plays [BOOK REVIEW]

Independent Brisbane: Four Plays is, as the title suggests, a collection of plays by independent theatre-makers and theatre-making collectives in Brisbane in the 2002– 07 period, including Marcel Dorney’s Harriers (6–51), the nest’s The Knowing of Mary Poppins (52–102), Linda Hassall’s Post Office Rose (103–71) and Maxine Mellor’s Magda’s Fascination with Wax Cats (172–216). According to the contextualising information on the book’s back cover, these plays are ‘distinctive’ in content, story and style, ‘[y]et carry with them what is characteristic of the city they come from – a preoccupation with landscape, creation in tightly knit collaborative teams and brave, often unexpected, theatrical choices’.

Comedy hints at the tragedy beneath [REVIEW]

THE Little Dog Laughed. By Douglas Carter Beane. Queensland Theatre Company. Cremorne Theatre, Brisbane. February 11. DOUGLAS Carter Beane's The Little Dog Laughed is a comedy about truth and its consequences. Set mainly in New York, the story follows film star Mitchell Green's developing relationship with Alex, a rentboy he calls one night while drunk and lonely in a hotel room. Scenes in which Mitchell and Alex test the strength of something they seem to have found together are punctuated by monologues from Mitchell's agent Diane and Alex's ex-girlfriend Ellen. We start to see glimpses of their separate lives, what their shared life might look like and, eventually, a crisis that brings all four characters together in the pursuit of a somewhat conflicted set of ideas about what happiness is and what it takes to be happy.

Hoodie-wearing Hamlet mixes horror with humour in a play for our times [REVIEW]

Hamlet By Shakespeare. La Boite Theatre Company, Brisbane, February 10 LA Boite Theatre Company begins this year's season with a new look, a new logo and a new interpretation of Hamlet directed by artistic director David Berthold. In this production, Berthold contemporises Shakespeare's tragedy by focusing on the family relationships and introducing modern references in the set, sound and costume design: this Hamlet wears jeans and a hoodie.

Nothing if not a performance of substance [REVIEW]

This is an oddly engaging piece of theatre by American playwright Will Eno. It starts with a deceptively simple, straightforward and familiar theatrical premise. A solitary character on a big, black stage, bare but for a single table and a single chair, tells us a story. Thom is a man we know nothing about. Nothing about the suit he wears, the stage he inhabits or the story he tells locates in him time, space, or a specific social milieu.

Eschewing the fat: strong production but Neil LaBute below his best : a review

AWARD-WINNING American play and screen writer Neil LaBute is known for producing character-driven dramas that concentrate on the darker side of human nature and desire. In Fat Pig, LaBute picks up on a familiar theme: the way a perverse social preference for physical perfection affects human relationships. It is a topic LaBute has tackled before in The Shape of Things, a compelling play in which a beautiful young woman's efforts to help her new boyfriend pursue a program of self-improvement are eventually revealed to be part of a bizarre human experiment for her master-of-fine-arts degree.

Wrapped in the legacy of the past : a review

EXPLORING the ways in which women fold themselves into familiar patterns to fit in, move forward and make a place for themselves, Paschal Daantos Berry's The Folding Wife is an intimate work that engages the audience through a distinctive, almost do-it-yourself aesthetic. The Folding Wife is described by Daantos Berry as a biographical work that resonates with his and his sister Valerie's relationship to their cultural heritage, without being a representation of their story.

Left vs right in black and white : a review

LIKE much of the work that David Williamson is known for, Let the Sunshine concentrates on tensions between characters who operate mainly as mouthpieces for opposing ideologies. Left-wing documentary-maker Toby and his wife Ros have moved to Noosa to escape the rat race in Sydney and some bad press surrounding one of Toby's projects. Trying to make social connections in town, Ros has reconnected with high school classmate Natasha, now the cosmetically-enhanced wife of wealthy right-wing property developer Ron. The posturing and conflict between Toby and Ron come to a head when the women invite their grown children -- struggling songwriter Rick and stressed corporate lawyer Emma -- to dinner to celebrate Toby's birthday, and the results of this encounter drive the rest of the plot. The scenario of Let the Sunshine is contrived, the characters are stereotyped, and their conflicts are little more than an old clash of ideologies cast loosely across the mainstream news media's characterisation of the sides in debates about development, climate change and the economic crisis.

Teenager loner in a chat room tangled up in guile and guilability : a review

ADAM Cass's I Love You, Bro is an engaging portrayal of just how far some young people can go in constructing fantasy worlds online. The play is, according to Cass, based on the case of two teenage boys in Britain in the early 2000s. Troubled teen Johnny lives at home with his mother and her new partner. Lurking in an online chat room one day, he strikes up a conversation with MarkyMark, a slightly older soccer-playing boy from the popular crowd in his own local town, who mistakes him for a girl. The plot unfolds from this one moment of mistaken identity. Johnny concocts an increasingly tenuous series of characters, plot twists and intrigues to try to maintain his relationship with MarkyMark and deal with the lie at the heart of his first love, eventually conspiring - as he tells us from the first moment - to cause his own murder.

Textbook portrayal of grieving stereotypes fails to cohere : a review

JANIS Balodis's Engine appears to have an educative purpose. Following the tragic death of her brother Stevie in a car crash, Natasha and her family struggle to cope with the devastation this sudden trauma has dealt them. Overlooked by her grieving parents, Natasha expresses her emotions by skipping school, self-harming and, as Engine unfolds, trying to enlist her Grumpop to help her finish rebuilding the car that could have saved Stevie's life by eliminating his need to catch a ride with a car full of friends. The symbolic action that drives Engine - rebuilding the car to rebuild Natasha and Grumpop's lives in the wake of trauma and guilt - is full of potential. It gives the design team, particularly designer Justin Nardella and composer Matt Hill, a strong premise to construct the garage that transforms into a home, a school, a church, a part, and the road on which the accident took place as the play unfolds.

A lesson in tension yet to be taut : a review

NOBEL prize-winning British writer Harold Pinter is best known for his social commentaries and for dark, sometimes violent "comedies of menace" that capture the cruelty at the heart of human relationships. It has been a while since a Pinter play was on the Brisbane stage, and it is exciting to see one of his lesser known early works, Betrayal, as part of Queensland Theatre Company's session. Betrayal moves backwards from a potentially scandalous moment. In a pub one night, Emma tells Jerry that his best friend Robert is divorcing her. Robert has been unfaithful. And, what's more, Robert now knows about their lengthy affair. What follows is a series of scenes that look back at the stages of that affair and the secrets that have lain unspoken at the heart of their comfortable middle-class lives for so long. Betrayal is characterised by the sparsity of action and language, dark humour, and sudden outbreaks of seemingly excessive cruelty that are a trademark of Pinter's writing for the theatre.

Dark humour invigorates familiar fables ; a review

THEATRE: Grimm Tales. By Carol Ann Duffy and Tim Supple. Queensland Theatre Company, Brisbane. November 16. QUEENSLAND Theatre Company concludes its season with Grimm Tales, Carol Ann Duffy and Tim Supple's adaptation of classic cautionary tales as set down by the Brothers Grimm in the 19th century. This programming decision is clearly designed to present fun family entertainment as Christmas approaches. In Grimm Tales, well-known stories such as Hansel and Gretel, Snow White and Rumpelstiltskin pack a little more punch than in your standard picture book. Duffy and Supple's play is by no means the sort of poetic, postmodern or politicised adaptation of the fairytale we see from writers such as Angela Carter, and it is not intended to be subversive or to question the social and gender assumptions that underpin the tales. Start of sidebar. Skip to end of sidebar. End of sidebar. Return to start of sidebar. Rather, a return to the grislier original incarnations of the tales - the wicked stepsisters who lop off parts of their feet to fit the slipper and win the prince, or the hare so confused by the hedgehog's stratagem to make him think he is losing the race, he runs himself to death - has a comic effect. In this production, directed by Michael Futcher, heightened performances from some of Brisbane's best comic and physical actors, live music and an open, acknowledged relationship with the audience establish the atmosphere for the piece. While the production is a little sombre and slow to start with the first tale, Hansel and Gretel, the knowingness and almost slapstick quality with which the cast plays out the gruesome, scatological or silly moments in the other tales are well pitched to carry the comedy. The action is supported by a fantastic set by Greg Clarke of wooden planked walls, stairs and walkways which, with the help of David Walter's lighting design, is transformed into forests, ballrooms and castles as the cast moves up, over and under it. The overall highlight is probably the cast Futcher has brought together. Established QTC actors Eugene Gilfedder, Lucas Stibbard and Scott Witt, and emerging QTC actor Melanie Zanetti, join Liz Buchanan, Dan Crestani and Emma Pursey, all well known for their independent work in Brisbane but making their mainstage debut for the QTC. Every one of them metamorphoses with ease from character to character, human to animal, and central player to support. There is nothing particularly new in Grimm Tales, and it doesn't try to do anything more (or, indeed, less) than entertain, but skilful direction and a strong cast ensure it succeeds on those terms.