A correlation study of subjective sensorial evaluation and objective softness measurement of wool fabrics

Comfort is one of the most important aspects of clothing, especially for next-to-skin garments such as shirts and trousers for summer. Sensorial comfort has a strong relationship with both the mechanical and surface properties of apparel fabric. A comfortable textile material should have properties of softness, smooth surface or texture, be pleasant to touch and very flexible. When assessing fabric handle subjectively, the assessor usually strokes the fabric surface with one or several fingers and squash the fabric gently in hand. Thus, the perception of such handle includes complex parameters of compression, tactile sensation and textural effect. In this work, we attempted to use a simple technique of objectively evaluating fabric softness related properties, by measuring the force required to pull a fabric strip through a series of parallel pins (the pulling force). We also subjectively rated the fabric handle. The correlation analysis showed very good agreement between the fabric pulling force and subjective hand rating.

Effects of variation in wool fiber curvature and yarn hairiness on sensorial assessment of knitted fabrics

Previous investigations have shown that prickle discomfort sensations of wool fabrics are primarily determined by the mean fiber diameter of the wool. It is also known that differences in wool fiber curvature (crimp) affect softness of handle of greasy wool and of wool textiles. In a replicated experiment, we investigated if wearers could detect the effect of using 17 µm superfine wool of low (74°/mm) or high (114°/mm) fiber curvature, and when the wools were blended with 17 µm cashmere (fiber curvature 49°/mm) in differing proportions, on four comfort sensations. Eight single jersey knitted fabrics were assessed under a controlled protocol using forearm sleeves made of the test fabric and a control fabric. Data (37 sensorial assessments of high curvature wool fabrics; 38 sensorial assessments of low curvature wool fabrics) were analyzed using linear mixed model analysis (restricted maximum likelihood), which included fixed effects for wool type and blend ratio and a random effect for participant. The use of a control sleeve fabric reduced variance due to participant effects by providing an anchor for each sensation over time. Wool fiber curvature affected participant assessment of breathability, comfort, feel after exercise (damp/dry) and skin feel (prickly/soft), with preferred values associated with high curvature (crimp) superfine wool. Increasing the proportion of cashmere in fabrics increased skin feel (better assessed softness). Skin feel was strongly associated with the evaluation of the fabrics by the Wool ComfortMeter and with increasing hairiness of yarns.

MRD hashing

We propose two new classes of hash functions which are motivated by Maximum Rank Distance (MRD) codes. We analise the security of these schemes. The system setup phase is computationally expensive for general field extensions. To overcome this limitation we derive an algebraic solution which avoids computations in special extension fields in the intended operational range of the hash functions.

Biometric, nutritional and organoleptic changes in intensively farmed Murray Cod (Maccullochella peelii peelii) purged for different time periods

A period of purging before harvesting is common practice in intensive aquaculture to eliminate any possible off flavours from the fish. The present study was conducted to evaluate the biometrical, nutritional and sensory changes in intensively farmed Murray cod (Maccullochella peelii peelii) after 0, 2 and 4 weeks of purging. After the main biometric parameters were recorded, fish were analysed for proximate, fatty acid composition and flavour volatile compounds. A consumer preference test (triangle test) was also conducted to identify sensorial differences that may affect the consumer acceptability of the product.

Fish purged for 2 and 4 weeks had a significant weight loss of 4.1% and 9.1%, respectively, compared to unpurged fish, whilst perivisceral fat content did not change. The concentration of saturated (SFA), monounsaturated (MUFA) and highly unsaturated (HUFA) fatty acids were not significantly affected by purging time, while polyunsaturated fatty acids (PUFA), n − 3 and n − 3 HUFA were significantly higher (P < 0.05) in purged fish compared to unpurged fish. Consumers were able to detect differences between the purged and unpurged fish (P < 0.05) preferring the taste of the purged fish. However, consumers were unable to distinguish between fish purged for 2 and 4 weeks.

This study showed that a 2 weeks purging period was necessary and sufficient to ameliorate the final organoleptic quality of farmed Murray cod. With such a strategy the nutritional qualities of edible flesh are improved while the unavoidable body weight loss is limited.

Lipid characterisation of different tissues and fillet portions of intensively farmed Murray Cod Maccullochella peelii peelii

Although many studies have focused on the lipid and fatty acids composition of farmed fish, no many have investigated their deposition pattern in different portions of the fillet. Previous studies, mainly on salmonids, have shown that lipids distribution varies greatly depending on the species, portion and type of muscle, but nevertheless, there is not accurate description of its deposition pattern in many fish, in particular in warm water, freshwater carnivorous species. Murray cod is the largest Australian native freshwater carnivorous fish and supports a small but well established and fast growing industry. The objective of this study was therefore to determine if there was any difference in lipid and fatty acid in different tissues such as muscle, liver and perivisceral fat and in different portions of the fillet of farmed Murray cod.

Three size fish (small, medium and large), all fed the same commercial diet, were selected from a commercial intensive farm. The left fillet of each fish was sectioned into nine portions, according to muscle lines and main anatomical features. The nine portions as well as whole right fillet, liver and perivisceral fat were analysed for proximate and fatty acid composition (Table 1).

Differences in lipid content were found amongst different portions of the fillet, with the dorsal/cranial portion (P1) recording the lowest and the more ventral/caudal portion (P8) recording the highest (P<0.05) value. The latter also recorded the highest amount of monounsaturated fatty acid (MUFA) and the lowest of polyunsaturated fatty acids (PUFA), arachidonic acid, 20:4n-6 (ArA), docosahexaenoic acid, 22:6n-3, (DHA) and n3/n6 ratio. In general, lipid content in the different fillet portions was inversely correlated to PUFA and directly to MUFA. Saturated fatty acid (SFA) and eicosapentaenoic acid, 20:5n-3 (EPA) did not show any discernible trend and were similar throughout, while significant differences of DHA and ArA content were observed. This study shows that lipid deposition in Murray cod varies remarkably and that different fatty acids are deposited at different rates. The results of this study show how different adjacent portions can be and therefore attention need to be paid when conducting chemical, nutritional and sensorial analyses on Murray cod.

Biometric, nutritional and sensory changes in intensively farmed Murray cod (Maccullochella peelii peelii, Mitchell) following different purging times

A period of purging before harvesting is common practice in intensive aquaculture to eliminate any possible off flavours from the fish. The present study was conducted to evaluate the biometrical, nutritional and sensory changes in intensively farmed Murray cod (Maccullochella peelii peelii) after 0, 2 and 4 weeks of purging. After the main biometric parameters were recorded, fish were analysed for proximate, fatty acid composition and flavour volatile compounds. A consumer preference test (triangle test) was also conducted to identify sensorial differences that may affect the consumer acceptability of the product.

Fish purged for 2 and 4 weeks had a significant weight loss of 4.1% and 9.1%, respectively, compared to unpurged fish, whilst perivisceral fat content did not change. The concentration of saturated (SFA), monounsaturated (MUFA) and highly unsaturated (HUFA) fatty acids were not significantly affected by purging time, while polyunsaturated fatty acids (PUFA), n − 3 and n − 3 HUFA were significantly higher (P < 0.05) in purged fish compared to unpurged fish. Consumers were able to detect differences between the purged and unpurged fish (P < 0.05) preferring the taste of the purged fish. However, consumers were unable to distinguish between fish purged for 2 and 4 weeks.

This study showed that a 2 weeks purging period was necessary and sufficient to ameliorate the final organoleptic quality of farmed Murray cod. With such a strategy the nutritional qualities of edible flesh are improved while the unavoidable body weight loss is limited.

Toward a pedagogy of feeling: understanding how museums create a space for cross-cultural encounters

In this chapter I engage with two developments – a growing understanding that citizenship involves political activity on the part of citizens in the public sphere and that affective relationships are an important aspect of this activity – to engage with the increasing use of affective interpretation strategies within exhibitions. I argue that the use of these strategies can be understood as the beginning of a new moment in museological practice that is concerned not so much with finding ways to become more pluralistic in who is represented within museums but with building opportunities for cross-cultural encounters in ways that question established relationships between self and other. I call this new moment “a pedagogy of feeling,” marking it as distinctive from both “a pedagogy of walking,” a term used by Tony Bennett to encapsulate the specific exhibition strategies that supported evolutionary narratives, and “a pedagogy of listening,” which I suggest marks the moment when exhibition practices were concerned with finding ways to increase the number of voices found in museum exhibitions as part of a civic program to encourage greater degrees of tolerance. Central to a pedagogy of feeling is, I argue, the idea of a “terrible gift” (as Roger Simon calls it), which is enacted through an exhibition syntax that uses a wide variety of affective or sensorial interpretation strategies.

Eye tracking the sublime in spectacular moments of science fiction film

In this chapter I will explore science fiction film spectacle as a particular type of endangering sensorial experience. Employing eye-tracking technology to assess where a small group of viewers look, I will contend that through its spectacular set pieces, science fiction film creates two distinct gazing regimes. First, such spectacular scenes create an experience of sublime contemplation where the viewer is (haptically) lost in the wondrous images liquefying before them. These moments of sublime contemplation create the condition where the viewer feels as if they have had an outer-body experience; one that has been cut free from the borders of the linguistic-led self of everyday life. Second, I will argue that certain scenes of science fiction spectacle work to commodify the viewing experience, creating a gazing pattern that is ‘driven’ by the mechanics of the event moment, by the theme park ride aesthetic and the logic of late capitalism. Set in this sensible, empirical context, the sublime dangers of science fiction film can be considered in two distinct ways. On the one hand, when the viewer is caught gazing in a moment of sublime contemplation there is embodied transgression and transcendence: here I will postulate that the viewer exists purely as a carnal being, or are newly if momentarily constituted as post-human, in the impossible present or possible future world that has been spectacularly imagined for them. On the other hand, when the viewer is presented with a spectacle that demands attention to the mechanics and drivers of the scene as it unfolds, a viewing position is created where the very rhythms of the theme park ride is created, where capitalist life is simply being re-engineered. Sublime and spectacular science fiction endangerment, then, liberates and destroys, and it is the encounter between these two vexing poles that is of central concern in this chapter. My focus will predominately be on the eyes, on vision. Undertaking a small-scale empirical study that uniquely utilizes eye tracking technology, this chapter will concentrate on what viewers attend to, gaze at and ‘contemplate’ when viewing two differently constituted ‘spectacle’ sequences: the sun explodes scene from Sunshine (Boyle, 2007) and the Godzilla enters Manhattan scene from Godzilla (Emmerich, 1998).

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.

The passion plays of celebrity culture

If there is a cultural arena today where passion plays a central and heightened role, then it is in the affecting and textural operations of celebrity. Celebrity representations are crafted out of passionate aesthetic signifiers and impassioned pleas to the senses, to the emotions and to the exaggerations of feeling that the consumer or fan is asked to register and then fully embody. Celebrity culture attempts to turn one into a passionate creature, ruled by the heart, lost in a sea of desires and desiring wants and needs, as the adoring figure that moves us, moves intimately before us. Such passions can and do go unrequited, of course; some are resisted and rejected, and some celebrity passions register as fully carnal and liberating encounters. That is to say, the plays of celebrity passion serve (hetero) normative and policed accounts of feeling and belonging in the world, fuel a desire for commodity objects and material possessions, and yet also open up the possibility for engagements that are violent, liberal and unregulated. In this article, I will explore the ways in which celebrity culture engages with passion and through the idea of it involving a modern form of the passion play. Following Lauren Berlant, I will argue that the passion ignited by the celebrity works to contain and regulate desire, and yet also offers up the opportunity for sensorial engagements that violate and resist the normative terms of desiring. I will suggest celebrity figures are themselves caught up in this passion play, suffering and feeling deeply at the same time, while channelling this violent crisis to their fans as they do so. Finally, I will write the article passionately, from an impassioned perspective, measuring and weighting my own desires in the contradictions and tensions of passion as they emerge in the body of the writer before you. This article is part of a themed issue entitled ‘Passion’.

Viability of tallow inclusion in Atlantic salmon diet, as assessed by an on-farm grow out trial

The results of a recent increase in research interest directed at the inclusion of tallow in fish feed formulations are suggesting tallow is viable as a potential substitute for other alternative lipid sources such as poultry by-product oil. Although strong growth performance data has been shown, reservations still exist regarding reduced digestibility and the potential impacts this could have on performance over the duration of a grow-out period in low temperature conditions. Also little information is yet available on the potential effect of dietary tallow inclusion on final product quality. A large scale farm based study testing the inclusion of tallow at 40% inclusion, partially replacing poultry by-product oil, in commercial diets of Atlantic salmon over a winter grow-out period in southern Tasmania, Australia was conducted. Tallow inclusion had no impact on growth performance or nutrient digestibility. Tallow resulted in a slight improvement in fillet quality exhibiting a significant reduction in n - 6 PUFA and the n6:n3 ratio, and an increased n - 3LC-PUFA tissue deposition. Consumers were unable to display any preference in liking between 3 salmon products (cold smoked, hot smoked, and cooked) as a result of tallow inclusion. This study demonstrates the viability of partial inclusion of tallow in Atlantic salmon diets over a winter grow-out period. Statement of relevance: Improved knowledge of alternative dietary energy sources (oils and fats) to be used in aquafeed, (replacing the increasingly expensive, and diminishingly available, fish oil) is a key area of research towards improved environmental sustainability and economic viability of the aquaculture sector. Following a promising laboratory based, research scale, in vivo trial aimed at assessing the viability of tallow in salmon feed, a larger and longer duration farm-based trial was implemented to validate initial findings. Consumer test of final products (fresh-cooked, hot smoked and cold smoked fillets) showed no modification of sensorial attributes. Tallow is hereto shown to be a highly viable alternative oil for the salmon aquafeed industry.