Olfactory attractiveness of mixtures of some host plant and conspecific semiochemicals to the banana weevil Cosmopolites sordidus (Germar, 1824)

A simple "Y" shaped olfactometer was used in laboratory studies on the olfactory attractiveness of mixtures in various proportions of industrial analogues of some host plant and conspecific-based semiochemicals, or their combinations with banana rhizome, to the banana weevil. The aim was to identify factors that influence their attractiveness to the weevil, and consider the possibility for their use as lures for trapping the weevil in the field. Cosmopolites sordidus was attracted to the mixtures at specific concentrations and proportions of constituent chemicals. 6-methylhept-5-en-2-one was only attractive on its own at 1 µl/100 ml and in mixture with 4- mercaptophenol, but not at 10 µl, 0.01 µl, or in combination with banana rhizome. 4-mercaptohpenol and 2-n-butylfuran, which were compatible with most host plant-based chemicals and were attractive as a mixture, were perceived to be key elements in the composition of attractants to the weevil. It was concluded that in addition to the composition, other factors that may determine the attractiveness or otherwise of a mixture to C. sordidus are the proportions and concentrations of the constituent chemicals.

Taylor v Caldwell (1863)

A Landmark Case is one which stands out from other less remarkable cases. Landmark status is generally accorded because the case marks the beginning or the end of a course of legal development. Taylor v Caldwell is regarded as a landmark case because it marks the beginning of a legal development: the introduction of the doctrine of frustration into English contract law. This chapter explores the legal and historical background to the case to ascertain if it is a genuine landmark. A closer scrutiny reveals that while the legal significance of the case is exaggerated, the historical significance of the cases reveals an unknown irony: the case is a suitable landmark to the frustration of human endeavours. While the existence of the Surrey Music Hall was brief, it brought insanity, imprisonment, bankruptcy and death to its creators.

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.