Elemental analysis of wood materials by external millibeam thick target PIXE

PIXE (Particle Induce X-ray Emission spectrometry) was used for analysing stem bark and stem wood of Scots pine, Norway spruce and Silver birch. Thick samples were irradiated, in laboratory atmosphere, with 3 MeV protons and the beam current was measured indirectly using a photo multiplicator (PM) tube. Both point scans and bulk analyses were performed with the 1 mm diameter proton beam. In bulk analyses, whole bark and sectors of discs of the stem wood were dry ashed at 550 ˚C. The ashes were homogenised by shaking and prepared to target pellets for PIXE analyses. This procedure generated representative samples to be analysed, but the enrichment also enabled quantification of some additional trace elements. The ash contents obtained as a product of the sample preparation procedure also showed to be of great importance in the evaluation of results in environmental studies. Spot scans from the pith of pine wood outwards, showed clearly highest concentrations of manganese, calcium and zinc in the first spot irradiated, or 2-3 times higher than in the surrounding wood. For stem wood from the crown part of a pine this higher concentration level was found in the first four spots/mms, including the pith and the two following growth rings. Zinc showed increasing concentrations outwards in sapwood of the pine stem, with the over-all lowest concentrations in the inner half of the sapwood. This could indicate emigration of this element from sapwood being under transformation to heartwood. Point scans across sapwood of pine and spruce showed more distinct variations in concentrations relative to hearth wood. Higher concentrations of e.g. zinc, calcium and manganese were found in earlywood than in denser latewood. Very high concentrations of iron and copper were also seen for some earlywood increments. The ash content of stem bark is up to and order higher than for the stem wood. However, when the elemental concentration in ashes of bark and wood of the same disc were compared, these are very similar – this when trees are growing at spots with no anthropogenic contamination from the atmosphere. The largest difference was obtained for calcium which appeared at two times high concentrations in ashes of bark than in ashes of the wood (ratio of 2). Pine bark is often used in monitoring of atmospheric pollution, where concentrations in bark samples are compared. Here an alternative approach is suggested: Bark and the underlying stem wood of a pine trees are dry ashed and analysed. The elemental concentration in the bark ash is then compared to the concentration of the same element in the wood ash. Comparing bark to wood includes a normalisation for the varying availability of an element from the soil at different sites. When this comparison is done for the ashes of the materials, a normalisation is also obtained for the general and locally different enrichment of inorganic elements from wood to bark. Already a ratio >2 between the concentration in the bark ash and the concentration in the wood ash could indicate atmospheric pollution. For monitoring where bark is used, this way of “inwards” comparison is suggested - instead of comparing to results from analyses of bark from other trees (read reference areas), growing at sites with different soil and, locally, different climate conditions. This approach also enables evaluation of atmospheric pollution from sampling of only relative few individual trees –preferable during forest felling.

Bassossa Erik Lindström

Opinnäytetyössäni tavoitteena on saada tietoa Erik Lindströmistä basistina, sekä selvittää, mitkä tekijät ovat vaikuttaneet hänen menestyksekkääseen basistin uraansa. Esitän hypoteesina, että ominaisuudet, joita freelancebasistilta edellytetään, ovat varsin samanlaisia nykyään, kuin Lindströmin uran alkuvaiheilla 1940-luvulla. Opinnäytetyötäni varten olen haastatellut Lindströmiä ja kirjoittanut hänen bassonsoittourastaan musiikkiharrastuksen alusta alkaen. Haastattelu on liitteenä CD-muodossa työn takakannessa ja sen kesto on 60 minuuttia. Erik Lindström syntyi Helsingissä 29.5.1922. Hänen isänsä oli aktiivinen amatöörimuusikko, jonka kanssa Erik oli jo 10-vuotiaana ensimmäisellä tanssikeikalla. Ensimmäinen soitin oli viulu, jota hän soitti korvakuulolta. Erik tutustui myöhemmin jazzia harrastaviin ikätovereihinsa Cotton Clubilla. Tästä porukasta alkoi muodostua yhtyeitä, joissa Lindström soitti bassoa. Hän tutki amerikkalaisten esikuviensa soittoa ja opiskeli klassista kontrabasson soittoa kolme vuotta. Luvussa bassonsoiton opiskelu käsitellään jazzinnostusta ja esikuvien vaikutusta, sekä Lindströmin tärkeänä pitämiä asioita, kuten soundia, timea ja yhtyesoittoa. Lisäksi pohditaan korvakuulosoittoa ja nuotinlukua. Lindströmistä kehittyi nopeasti yksi Helsingin kysytyimpiä basisteja. Valittuaan ammattimuusikon uran hän asennoitui kunnianhimoisesti työhönsä ja kehitti itseään niin teoreettisesti kuin taidollisestikin. Hän työskenteli ahkerasti studioissa soittaen erilaisissa tuotannoissa. Ammattilaisura-osassa käsiteltäviä asioita ovat asenne, instrumentit, keikat ja uran kohokohdat. Lopuksi Lindström antaa ohjeita nuoremmille soittajille. Tämän tutkimuksen valossa freelancebasistilta vaadittavat ominaisuudet eivät ole juuri muuttuneet Erik Lindströmin uran alkuajoista. Lindström pitää tärkeänä hypoteesissa mainitsemiani ominaisuuksia: soundia, taimia, musiikin omaksumistaitoja sekä täsmällisyyttä ja luotettavuutta niin musiikillisissa kuin käytännön asioissakin.

Show me your brain! Stories of interdisciplinary knowledge creation in practice. Experiences and observations from Aalto Design Factory, Finland.

This dissertation centres on the themes of knowledge creation, interdisciplinarity and knowledge work. My research approaches interdisciplinary knowledge creation (IKC) as practical situated activity. I argue that by approaching IKC from the practice-based perspective makes it possible to “deconstruct” how knowledge creation actually happens, and demystify its strong intellectual, mentalistic and expertise-based connotations. I have rendered the work of the observed knowledge workers into something ordinary, accessible and routinized. Consequently this has made it possible to grasp the pragmatic challenges as well the concrete drivers of such activity. Thus the effective way of organizing such activities becomes a question of organizing and leading effective everyday practices. To achieve that end, I have conducted ethnographic research of one explicitly interdisciplinary space within higher education, Aalto Design Factory in Helsinki, Finland, where I observed how students from different disciplines collaborated in new product development projects. I argue that IKC is a multi-dimensional construct that intertwines a particular way of doing; a way of experiencing; a way of embodied being; and a way of reflecting on the very doing itself. This places emphasis not only the practices themselves, but also on the way the individual experiences the practices, as this directly affects how the individual practices. My findings suggest that in order to effectively organize and execute knowledge creation activities organizations need to better accept and manage the emergent diversity and complexity inherent in such activities. In order to accomplish this, I highlight the importance of understanding and using a variety of (material) objects, the centrality of mundane everyday practices, the acceptance of contradictions and negotiations well as the role of management that is involved and engaged. To succeed in interdisciplinary knowledge creation is to lead not only by example, but also by being very much present in the very everyday practices that make it happen.

Förlagsdirektör Erik Westerberg 2/5 1967

Kirje 2.5.1967

Professori Erik Tawaststjerna 14/1 1966

Kirje 14.1.1966

Bergsrådet Erik Serlachius 26.12.1958 Mänttä

Kirje

Tohtori Erik Tawaststjerna 24/1 1960

Kirje

Vuorineuvos Erik Serlachius 26/12 1958

Kirje

Johtaja Erik Simons lokakuussa 1966

Kirje

Doktor Erik Tawaststjerna 24.1.1960 Härstädes

Kirje