Multifunctional anthraquinone-based sensors: UV, O2and time

An anthraquinone dye, Remazol brilliant blue R, RBBR, is used to create an indicator which can function as: (i) a UV dosimeter, (ii) an O2 indicator and (iii) a ‘Consume within’ indicator, CWI, for fresh, refrigerated foods. The dye is encapsulated in an ink containing a polymer, glycerol and a UV-activated semiconductor photocatalyst, titanium dioxide. When cast as a film, the dye is readily reduced by the TiO2 photocatalyst nanoparticles, thereby changing the colour of the film from blue to yellow, via a transitional green colour. The RBBR indicator is appropriately formulated, and covered with a film of Sellotape, which acts as an O2 barrier, so as to act as a sunburn warning indicator for people with skin type II. In the absence of the layer of Sellotape the RBBR indicator is used as an, albeit slow, sensor for measuring ambient levels of O2. Finally, by keeping the Sellotape layer, a UV-activated, yellow-coloured, RBBR indicator film is found to take ca. 42 h at 5 °C in ambient air to attain a green colour, and, on this basis, it is demonstrated as a possible CWI for refrigerated fresh foods.

Musically Consonant, Socially Dissonant: Orange Walks and Catholic Interpretation in West-Central Scotland

This article examines the music used by the Orange Order, in its public parades, more commonly referred to as “Orange Walks.” The Orange Order is an exclusively Protestant fraternal organization, which traces its roots to 1690 and the victory of the Protestant Prince William of Orange over the Catholic King James. Yet, as in Northern Ireland, many consider the group to be sectarian and view its public celebrations as a display of ethno-religious triumphalism. This article explores the extra-musical factors associated with Orangeism’s most iconic song, “The Sash My Father Wore,” how other groups have misappropriated the song, and how this has distorted its meaning and subsequent interpretation.

Recent statistics have shown that Glasgow hosts more Orange parades each year than in Belfast and Derry/Londonderry combined, yet while there have been many anthropological and ethnomusicological studies of Northern Ireland’s Orange parades, very little research has focused on similar traditions in Scotland. This article seeks to address that gap in the literature and is intended as a preparatory study, laying the groundwork for further analysis.