Mitochondrial DNA sequence and gene organization in the Australian Blacklip Abalone Haliotis rubra (Leach)

The complete mitochondrial DNA of the blacklip abalone Haliotis rubra (Gastropoda: Mollusca) was cloned and 16,907 base pairs were sequenced. The sequence represents an estimated 99.85% of the mitochondrial genome, and contains 2 ribosomal RNA, 22 transfer RNA, and 13 protein-coding genes found in other metazoan mtDNA. An AT tandem repeat and a possible C-rich domain within the putative control region could not be fully sequenced. The H. rubra mtDNA gene order is novel for mollusks, separated from the black chiton Katharina tunicata by the individual translocations of 3 tRNAs. Compared with other mtDNA regions, sequences from the ATP8, NAD2, NAD4L, NAD6, and 12S rRNA genes, as well as the control region, are the most variable among representatives from Mollusca, Arthropoda, and Rhynchonelliformea, with similar mtDNA arrangements to H. rubra. These sequences are being evaluated as genetic markers within commercially important Haliotis species, and some applications and considerations for their use are discussed.

Feasibility study to objectively assess activity and location of Hispanic preschoolers: a short communication

Abstract. Both physical and social environmental factors influence young children’s physical activity, yet little is known about where Hispanic children are more likely to be active. We assessed the feasibility of simultaneously measuring, then processing objective measures of location and physical activity among Hispanic preschool children. Preschool-aged Hispanic children (n = 15) simultaneously wore QStarz BT100X global positioning system (GPS) data loggers and Actigraph GT3X accelerometers for a 24- to 36-hour period, during which time their parents completed a location and travel diary. Data were aggregated to the minute and processed using the personal activity location measurement system (PALMS). Children successfully wore the GPS data loggers and accelerometers simultaneously, 12 of which yielded data that met quality standards. The average percent correspondence between GPS- and diary-based estimates of types of location was high and Kappa statistics were moderate to excellent, ranging from 0.49-0.99. The between method (GPS monitor, parent-reported diary) correlations of estimated participant-aggregated minutes spent on vehicle-based trips were strong. The simultaneous use of GPS and accelerometers to assess Hispanic preschool children’s location and physical activity is feasible. This methodology has the potential to provide more precise findings to inform environmental interventions and policy changes to promote physical activity among Hispanic preschool children.

37° Sur a 19° Norte: Fotografía contemporánea de Australia

Curatorial considerations, aims and objectives:The title for this exhibition (37 ° South to 19 ° North) refers to the Latitude of Melbourne, Australia and Cuernavaca, Mexico.My curatorial objective for making such a reference to the geographical was to invoke a sense of both distance and connection between the two locations of Australia and Mexico and to also create a sense of sharing, not only between our distant landscapes and cultures but also between the feelings and emotions that we all experience in response to the places in which we live out the moments which make up our daily lives.In developing this project I considered the work of more than 35 contemporary Australian photographers and finally selected 15 photographers (including myself). Most of these artists have or have had close connection to Melbourne and to the southern/eastern line of Australian continent. The final selection ranged from Hobart to Maroochydore and one artist who had lived in Melbourne for many years but was now living in Mexico. These photographers (and the specific works) were selected because their long term creative practice captures a sense of location (place and space) with a deep introspective sensibility which I feel offers a viewer a personal and softly spoken vision of some particular aspect of an Australian location, be that exterior landscape or interior place and a sense of unique connection to such places. These images are not documents but rather representations of feelings, stories, memories and dreams which emerge in the milieu of our inhabitants.In selecting the works, careful consideration was also given to diversity of approaches to photographic practice in conjunction to thematic content. Formats and media included black and white, pin hole photography, toy camera, large format (both 4” x 5” and 10”x 8”), phone camera, various digital camera images and other experimental approaches. The local art scene in Cuernavaca is very strong and there is a strong interest in photography. This is partially due to the number of local arts schools and universities which offer studies in photography as well as the political dimension regarding Mexican art in general - as a tool of both political media, reportage and documentary work, photography is a significant medium for many of the people who would be visiting the exhibition. I therefore felt it was important to address the diversity of approaches to the medium which are currently being explored by Australian practitioners.The City Museum of Cuernavaca provided two large walls and some smaller sections of side walls on both the grounds level and the upper level of the main museum galleries for exhibition.The works were arranged with a simple thematic structure. Top level, left to right, then bottom level, left to right starting with images which presented a sense of wilderness and landscape (which were also quite abstract and reductive) to more representational landscape images moving to landscape with small figures (people) emerging within the images (Ash Kerr) to landscapes with larger figures and the emerging presence of man-made elements to urban landscapes and then to interior urban scapes and finally to interior locations with people and finally finishing on the metaphorical image by Harry Nankin of Bogong Moths and the politics of climate change. (It is also interesting to note that the migration path of the Bongong moth matches well the distribution of the artists selected for this project)Broadly speaking the images started outside with broad landscape to intimate interior locations. With these works a great deal of personal content from each photographer was presented. Most artists chose to present 3 large format images while some only presented 2 images. Other graphic and visual elements were considered in the final placement of the images.It must also be noted that the artists selected ranged broadly from very highly established and significant local artists to mid-career/younger establishing artist to some lesser known and emerging artists. From a curatorial perspective I feel this is offers the possibility of what I shall term, a more balanced representation of the local Australian practice and it provides a context in which both established and emerging artists / works must engage on a dialogue, within the exhibition. I believe it also placing the curatorial premise on the strength of the work rather than on whom the artists are and their status. It also supports the younger emerging artists and provides a less formal and predictable outcome for the established artists and for as a collective presentation as a whole.