Monitoring Infection Risk for Air and Soil Borne Fungal Plant Pathogens using Antibody and DNA Techniques and Mathematical Models describing Environmental Parameters

Economic losses resulting from disease development can be reduced by accurate and early detection of plant pathogens. Early detection can provide the grower with useful information on optimal crop rotation patterns, varietal selections, appropriate control measures, harvest date and post harvest handling. Classical methods for the isolation of pathogens are commonly used only after disease symptoms. This frequently results in a delay in application of control measures at potentially important periods in crop production. This paper describes the application of both antibody and DNA based systems to monitor infection risk of air and soil borne fungal pathogens and the use of this information with mathematical models describing risk of disease associated with environmental parameters.

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.