Eco-efficiency for the Dairy Processing Industry - Fact Sheet Sumary

This Toolkit was developed for the Australian dairy processing industry on behalf of Dairy Australia. At the conclusion of the project, industry participants gained exclusive access to a comprehensive Eco-Efficiency Manual, which outlined many of the opportunities available to the industry. Summary fact sheets were also prepared as publicly available resources and these are available for download below

Eco-efficiency for the Dairy Processing Industry

This manual has been developed to help the Australian dairy processing industry increase its competitiveness through increased awareness and uptake of eco-efficiency. The manual seeks to consolidate and build on existing knowledge, accumulated through projects and initiatives that the industry has previously undertaken to improve its use of raw materials and resources and reduce the generation of wastes. Where there is an existing comprehensive report or publication, the manual refers to this for further information. Eco-efficiency is about improving environmental performance to become more efficient and profitable. It is about producing more with less. It involves applying strategies that will not only ensure efficient use of resources and reduction in waste, but will also reduce costs. This chapter outlines the environmental challenges faced by Australian dairy processors. The manual explores opportunities for reducing environmental impacts in relation to water, energy, product yield, solid and liquid waste reduction and chemical use.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.