The Great East Window of York Minster

This inquiry into the meaning behind the images of this vast stained glass window has uncovered a complex theology of the Mass; replies to Lollard 'heretics'; and has identified threats to the power of the Church at this critical time in English history at the beginning of the fifteenth century.

Weaning and growth of Anguilla australis glass eels and elvers

Anguilla australis glass eels proved to be resilient and present strong aquaculture potential. General husbandry techniques, anaesthesia and prophylactic treatments were established for glass eels between 0.1 g and 2.0 g and elvers between 2.0 g and 8.0 g, caught in rivers and estuaries along the South East Coast of Victoria. The protozoan parasites Ichthyobodo and Trichodina were found to be present on arrival to the hatchery developed during different rearing treatments, and were successfully eradicated. A. australis glass eels accepted artificial food, but it was recommended first be fed a preweaning diet of minced fish flesh. A weaning regime from minced fish flesh to commercially available eel grower mash, over 15 days was established. Growth rate proved to be highly variable, both between and within groups. The highest growth rate of 2.71%/day was found when the natural diet of minced fish and Artemia was fed. The maximum growth rate when reared on an artificial diet of 1.63%/day was observed at 25°C. Growth was affected by the presence or absence of a preweaning diet, weaning diet, weaning period, temperature, but not by size or density. Once weaned, glass eels were found to perform better on commercially available grower mash than on the minced fish flesh, which was used to aid in weaning them to artificial diets. Of the water quality parameters measured stocking density was found to affect pH, Total Ammonia Nitrogen, Total Phosphorus, and Dissolved Oxygen, through not to an extent which affected growth.

Glass transition and free volume behaviour of poly(acrylonitrile)/LiCF3SO3 polymer-in-salt electrolytes compared to poly(ether urethane)/LiClO4 solid polymer electrolytes

Measurements of the glass transition temperature (T_g) and free volume behaviour of poly(acrylonitrile) (PAN) and PAN/lithium triflate (LiTf), with varying salt composition from 10 to 66 wt% LiTf, were made by positron annihilation lifetime spectroscopy (PALS). Addition of salt from 10 to 45 wt% LiTf resulted in an increase in the mean free volume cavity size at room temperature (r.t.) as measured by the orthoPositronium (oPs) pickoff lifetime, τ₃, with little change in relative concentration of free volume sites as measured by oPs pickoff intensity, I₃. The region from 45 to 66 wt% salt displayed no variation in relative free volume cavity size and concentration. This salt concentration range (45 wt%<[LiTf]<66 wt%) corresponds to a region of high ionic conductivity of order 10⁻⁵ to 10⁻⁶ S cm⁻¹ at T_g as measured by PALS. A percolation phenomenon is postulated to describe conduction in this composition region. Salt addition was shown to lower the T_g as measured by PALS; T_g was 115°C for PAN and 85°C for PAN/66 wt% LiTf. The T_g and free volume behaviour of this polymer-in-salt electrolyte (PISE) was compared to a poly(ether urethane)/LiClO₄ where the polymer is the major component, i.e. traditional solid polymer electrolyte (SPE). In contrast to the PISE, the T_g of the SPE was shown to increase with increasing salt concentration from 5.3 to 15.9 wt%. The relative free volume cavity size and concentration at r.t. were shown to decrease with increasing salt concentration. Ionic conductivity in this SPE was of order 10⁻⁵ S cm⁻¹ at r.t., which is over 60°C above T_g, 10⁻⁸ S cm⁻¹ at 25°C above T_g, and conductivity was not measurable at T_g.

Through the looking glass : teaching and learning in blended immersive multiuser virtual and real world environments

This paper reports on the participation of higher education students and educators in blended immersive multi user virtual (MUVE) environments and real life teaching and learning experiences. Selected next generation technologies engage students and educators within the virtual socially networked elearning landscape of Deakin Arts Education Centre , and support the interaction of communities of learners in multiple modes, ranging from text and images accessed within the Deakin Studies Online learning management system to the "through the looking glass" virtual world in which the user’s creative imagination transports them to the “other side“ of their computer screens.

These constructed environments enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools, and represent themselves through avatars, to communicate with other participants and participate in collaborative art learning.

An autonomous trimming system of large glass fiber reinforced plastics parts using an omni-directional mobile robot and its control

This paper describes an automated trimming system of large glass fiber reinforced plastic (GFRP) using an omni-directional wheeled mobile robot (WMR) and its path control method. In trimming GFRP parts, much glass fiber and plastic powder dust occur and it becomes bad visible in environment. It is necessary to correct dead-reckoning errors of the WMR in order to control its moving path. We have discussed an external correction method of the dead-reckoning errors for the WMR using ultrasonic sensor.

Preliminary observations on the tank and pond culture of the glass eels of the Australian shortfin eel, Anguilla Australis Richardson

There is expanding interest in the culture of the Australian shortfin eel Anguilla australis Richardson; however, there is a lack of fundamental biology and husbandry information necessary to further develop an industry within Australia. The present study was undertaken to gain a preliminary understanding of basic husbandry requirements for rearing of juvenile A. australis (glass eels and elvers) in tanks and earthen ponds. Newly caught glass eels were successfully acclimated to culture conditions. During tank culture trials, specific growth rates (SGR) and survival rates ranged from −2.1 to 2.8% day⁻¹ and 52% to 100% respectively. Glass eels weaned onto a commercial eel diet exhibited a significantly greater SGR and survival rate than those weaned onto a commercial trout diet. Glass eels weaned onto an eel diet over a 15-day period grew slightly faster than eels weaned over a 5-day period, but survival rates were not significantly different for each treatment. SGRs (up to 2.8% day⁻¹) were significantly higher for glass eels fed at 9 and 12% day⁻¹ than at 6% day⁻¹. Stocking densities between 2.5 kg m⁻³ and 30 kg m⁻³ did not influence either SGR or survival rates. SGRs were significantly higher for glass eels cultured at 25 °C than at lower temperatures. During pond culture trials, SGRs and survival rates ranged from 1.36 to 1.65% day⁻¹ and 39% to 77% respectively. The SGR and survival rates of juvenile eels stocked into ponds receiving supplementary feeding with a commercial eel diet were not significantly different to those of eels stocked into ponds that did not receive supplementary feeding.

An atlas of the sacred : hybridity, representability and the myths of Yanyuwa country

The atlas is an attempt, unique in the history of representation of Aboriginal traditional narratives in Australia, to bridge the gap between Western and Aboriginal narrative style by focusing on a single coherent culture. Here, Devlin-Glass describes and analyzes a new hybrid mapping of Yanyuwa kujika in a limited edition cultural atlas.

Abstract art : pain and discomfort

Abstract art is often the most baffling to a viewer who may search in vain for a figurative reference or recognisable element. Abstraction may refer to "art that stylises, simplifies, or deliberately distorts something that exists in the real world" (Heller, 2002: 14). Further along the spectrum, however, is abstract art that is non-representational or non-objective and is based on the isolation or interplay between shapes, colours and forms.

The aim of this article is to illustrate how non-objective art can cause discomfort and pain. Here I am using the term ‘non-objective’ to refer to art that does not have recognisable and identifiable imagery. I will make a link between Munch’s The Scream or The Cry and non-objective painting, and argue for a similarity of intent between these works, the works of Kandinsky and of artists loosely described as ‘Op artists’.

A rapid cell counting method utilising acridine orange as a novel discriminating marker for both cultured astrocytes and microglia

Cell culture analyses of growth, morphology and apoptosis commonly require counting of different cell types stained with antibodies to discriminate between them. Previously, we reported the use of l-Leucine methyl ester (l-LME) to prepare purified cultures of type 1 astrocytes with minimal microglia, and staining by GFAP and CD antibodies, respectively. Here, we demonstrate a novel use of acridine orange (AO) for rapid discrimination between these cell types using fluorescence microscopy. AO accumulates in the lysosomes and also binds strongly to nuclear DNA and cytoplasmic/nucleolar RNA. Microglia may contain abundant lysosomes due to known roles in homeostasis and immune response. AO staining of lysosomes was tested at a range of concentrations, and 2.5 μg/mL was most suitable. In agreement with previous reports, microglia treated with AO showed very intense yellow, orange or red granular cytoplasmic staining of lysosomes. Microglia contain a substantially higher number of lysosomes than astrocytes, which have a variable amount. We measured the microglia population at 5.14 ± 0.50% in mixed cultures. Thus, these results show AO is a novel discriminatory marker, as microglia were easily observed and counted in clumps on top of the monolayer of astrocytes, providing a rapid alternative to time-consuming and costly antibody-based assays.

Terry Matassoni: Multitude and solitude

A solo exhibition held at Melbourne Painting and Sculpture, Australian Galleries, Collingwood 26 June - 15 July 2007

Stephen Procter: reflections of a glass artist

Stephen Procter: Reflections of a Glass Artist, records the thoughts and philosophies of the artist and glassmaker who for a number of years headed the Glass Department of the Australian National University School of Art. It traces his career in glass working from his first interest developed through a pointillist technique while living on Dartmoor; through his British Council-funded grant that enabled him to learn glass blowing and cutting techniques in Austria; to the mature landscape paintings and glass sculptures created during his years living in Australia.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Plastic deformation in the annealed Zr41Ti14Cu12.5Ni10Be22.5 bulk metal glass under indenter

Vickers and nanoindentationswere carried out on an annealed Zr₄₁Ti₁₄Cu_12.5Ni₁₀Be_22.5 bulk metallic glass (BMG), and the evolution of the shear bands in the annealed BMG was investigated and compared to that in the as-cast alloy. Results indicate that the plastic deformation in the BMG with the structure relaxation is accommodated by the semicircular (primary) and radial (secondary) as well as tertiary shear bands. Quantitatively, the shear band density in the annealed alloywas much lower than that in the as-cast alloy. The load-displacement curve of nanoindentation test for the annealed alloy exhibited a more flat serrated flow. The annihilation of free volume caused by the annealing was responsible for the embrittlement of the annealed sample.