Dissolving views, memory and sensory experience: The Cosmopoligraphicon or the ‘World in Many Pictures’ in Melbourne, Australia, in 1855

While magic lanterns and dissolving views were a global phenomenon in the nineteenth century, scholars are only starting to examine in depth their social dimensions. This article seeks to extend our understanding of dissolving views by analysing the audience sensory experience in a specific historical context – gold rush Melbourne in 1855. It argues that while a Melbourne audience admired the technological wonder of the magic lantern and the dissolving views, their sensory experience was informed by the colonial social context. The audiences appear to have delighted in immersing themselves in the dissolving views, both learning about the world and reacquainting themselves with parts of the (old) world they had left behind. This article further argues that dissolving views were more than a visual spectacle: they actively engaged the senses in ways that gave emotional meanings to the dissolving views and linked a Melbourne gold rush audience with the world left behind, yet still accessible remotely through memory and sensory imagination.

A rapid test for heroin (3,6-Diacetylmorphine) based on two chemiluminescence reactions

A rapid method for screening drug seizure samples for 3,6-diacetylmorphine (heroin), which consists of a simple hydrolysis procedure and flow-injection analysis with two chemiluminescence reagents, is described. Before hydrolysis, 3,6-diacetylmorphine evokes an intense response with a tris(2,2'-bipyridyl)ruthenium(III) reagent (prepared by dissolving the perchlorate salt in acetonitrile), and a relatively weak chemiluminescence response with a second reagent: potassium permanganate in an aqueous acidic polyphosphate solution. However, the permanganate reagent is extremely sensitive toward the hydrolysis products of 3,6-diacetylmorphine (i.e., 6-monoacetylmorphine and morphine). Some compounds commonly found in drug laboratories may cause false positives with tris(2,2'-bipyridyl)ruthenium(III), but do not produce the markedly increased response with the permanganate reagent after the hydrolysis procedure. The combination of these two tests therefore provides an effective presumptive test for the presence of 3,6-diacetylmorphine, which we have verified with 14 samples obtained from a forensic science laboratory.

Within and against performativity : discursive engagement in adult literacy and basic education

The field of adult literacy and basic education (ALBE) has undergone dramatic changes in recent years with the advent of labour market programs, accreditation, competency-based assessment and competitive tendering for program funds. Teachers' working conditions have deteriorated and their professional autonomy has been eroded. ALBE has been increasingly instrumentalised to fulfil the requirements of a marketised economy and conform to its norms. The beliefs and value systems which traditionally underpinned the work of ALBE teachers have been reframed according to the principle of 'performativity' and the demands of the 'performative State' (Lyotard, 1984: 46, Yeatman 1994: 110). The destabilisation of teachers' working lives can be understood as a manifestation of the 'postmodern condition' (Lyotard 1984; Harvey 1989): the collapse of the certainties and purposes of the past; the proliferation of technologies; the impermanence and intensification of work; the commodification of knowledge and curricula; and the dissolving of boundaries between disciplines and fields of knowledge. The critiques of the modernist grand narratives which underpin progressivist and critical approaches to adult literacy pedagogy have further undermined the traditional points of reference of ALBE teachers. In this thesis I examine how teachers are teaching, surviving, resisting, and 'living the contradictions' (Seddon 1994) in the context of struggles to comply with and resist the requirements of performativity. Following Foucault and a number of feminist poststructuralist authors, I have applied the notions of 'discursive engagement' and 'the politics of discourse' (Yeatman 1990a) as a way of theorising the interplay between imposed change and teachers' practice. I explore the discursive practices which take place at the interface between the 'new' policy discourses and older, naturalised discourses; how teachers are engaged by and are engaging with discourses of performativity; how teachers are discursively constructing adult literacy pedagogy; what new, hybrid discourses of 'good practice' are emerging; and the micropractices of resistance which teachers are enacting in their speech and in their practice. My purpose was to develop knowledge which would support the reflexivity of teachers; to enrich the theoretical languages that teachers could draw upon in trying to make sense of their situation; and to use those languages in speaking about the dilemmas of practice. I used participatory action research as a means of producing knowledge about teachers' practices, structured around their agency, and reflecting their standpoint (Harding 1993). I describe two separate action research projects in which teachers of ALBE participated. I reflect on both projects in the light of poststructuralist theory and consider them as instances of what Lather calls 'within/against research' (Lather 1989: 27). I analyse written and spoken texts produced in both projects which reflect teachers' responses to competency-based assessment and other features of the changing context. I use a method of discourse mapping to describe the discursive field and the teachers' discursive practices. Three main configurations of discourse are delineated: 'progressivism', 'professional teacher' and 'performativity'. The teachers mainly position themselves within a hybridising 'progressivist /professional teacher' discourse, as a discourse of resistance to 'performative' discourse. In adapting their pedagogies, the teachers are in some degree taking the language and world view of performativity into their own vocabularies and practices. The discursive picture I have mapped is complex and contradictory. On one hand, the 'progressivist /professional teacher' discourse appears to endure and to take strength from the articulation into it of elements of performative discourse, creating new possibilities for discursive transformation. On the other hand, there are signs that performative discourse is colonising and subsuming progressivist /professional teacher discourse. At times, both of these tendencies are apparent in the one text. Six micropractices of resistance are identified within the texts: 'rational critique', 'objectification', 'subversion', 'refusal', 'humour' and 'the affirmation of desire'. These reflect the teachers' agency in making discursive choices on the micro level of their every day practices. Through those micropractices, the teachers are engaging with and resisting the micropractices and meanings of performativity. I apply the same multi-layered method of analysis to an examination of discursive engagement in pedagogy by analysing a transcript of the teachers' discussion of critical incidents in their classrooms. Their classroom pedagogies are revealed as complex, situated and eclectic. They are combining and integrating their 'embodied' and their 'institutional' powers, both 'seducing' (McWilliam 1995) and 'regulating' (Gore 1993) as they teach. A strong ethical project is apparent in the teachers' sense of social responsibility, in their determination to adhere to valued traditions of previous times, and in their critical self-awareness of the ways in which they use their institutional and embodied powers in the classroom. Finally, l look back on the findings, and reflect on the possibilities of discursive engagement and the politics of discourse as a framework for more strategic practice in the current context. This research provides grounds for hope that, by becoming more self-conscious about how we engage discursively, we might become more strategic in our everyday professional practice. Not withstanding the constraints (evident in this study) which limit the strategic potential of the politics of discourse, there is space for teachers to become more reflexive in their professional, pedagogical and political praxis. Development of more deliberate, self-reflexive praxis might lead to a 'postmodern democratic polities' (Yeatman 1994: 112) which would challenge the performative state and the system of globalised capital which it serves. Short abstract Adult literacy and basic education (ALBE) teachers have experienced a period of dramatic policy change in recent years; in particular, the introduction of competency-based assessment and competitive tendering for program funds. 'Discourse politics' provides a way of theorising the interplay between policy-mediated institutional change and teachers' practice. The focus of this study is 'discursive engagement'; how teachers are engaged by and are engaging with discourses of performativity. Through two action research projects, texts were generated of teachers talking and writing about how they were responding to the challenges, and developing their pedagogies in the new policy environment. These texts have been analysed and several patterns of discursive engagement delineated, named and illustrated. The strategic potential of 'discourse polities' is explored in the light of the findings.

An analysis of microband orientation in hot deformed aluminium alloy AA5052 using forward and reverse torsion

The effects of strain path reversal on the macroscopic orientation of microbands in AA5052 have been studied using high resolution electron backscatter diffraction. Deformation was carried using two equal steps of forward/forward or forward/reverse torsion at a temperature of 300°C and strain rate of 1s-1 to a total equivalent tensile strain of 0.5. In both cases microbands were found in the majority of grains examined with many having more than one set. The microbands appear to cluster at specific angles to the macroscopic deformation. For the forward/forward condition microbands clustered around -20° and +45° to the maximum principle stress direction and at ± 30-35° to the principal strain direction. For the forward/reverse condition significantly more spread in microband angle was observed though peaks were visible at ±35° with respect to principal stress direction and at -40° and +30° with respect to the principal strain direction of the reverse torsion. This suggests the microbands formed in the forward deformation have or are dissolving and any new microbands formed are related to the deformation conditions of the final strain path.

Localized relaxational dynamics of succinonitrile

Succinonitrile (N≡C—CH₂—CH₂—C≡N) is a good ionic conductor, when doped with an ionic compound, at room temperature, where it is in its plastic crystalline phase (Long et al. Solid State Ionics 2003, 161, 105; Alarco et al. Nat. Mater. 2004, 3, 476). We report on the relaxational dynamics of the plastic phase near the two first-order phase transitions and on the effect of dissolving a salt in the plastic matrix by quasi-elastic neutron scattering. At 240 K, the three observed relaxations are localized and we can describe their dynamics (τ ≈ 1.7, 17, and 140 ps) to a certain extent from a model using a single molecule that was proposed by B_ée et al. allowing for all conformations in its unit cell (space group IM3M). The extent of the localized motion as observed is however larger than that predicted by the model and suggests that the isomerization of succinonitrile is correlated with a jump to the nearest neighbor site in the unit cell. The salt containing system is known to be a good ionic conductor, and our results show that the effect of the ions on the succinonitrile matrix is homogeneous. Because the isomerizations and rotations are governed by intermolecular interactions, the dissolved ions have an effect over an extended range. Due to the addition of the salt, the dynamics of one of the components (τ ≈ 17 ps) shows more diffusive character at 300 K. The calculated upper limit of the corresponding diffusion constant of succinonitrile in the electrolyte is a factor 30 higher than what is reported for the ions. Our results suggest that the succinonitrile diffusion is caused by nearest neighbor jumps that are localized on the observed length and time scales.

Mana Taonga and the public sphere: a dialogue between indigenous practice and Western theory

Recent re-conceptualizations of the ‘public sphere’ facilitated a much needed shift in thinking about identity politics ‘from a substance … to a movement’ (Weibel and Latour, 2007). This laid the foundation for dissolving the ‘emanatist vision’ (Bourdieu, 1990) of self-explanatory and perpetual systems and structures towards the interrogation of actions and performances that simultaneously constitute and are affected by such wider socio-political realities. Most academic contributions, however, remain on a normative or theoretical level without offering empirical insights.

This article introduces Mana Taonga as an Indigenous Māori concept of cultural politics embedded in current museum practice at the Museum of New Zealand Te Papa Tongarewa (Te Papa). It creates a dialogue between Indigenous Māori practice and Western theory leading to a refined understanding of performative democracy within a museum as forum, or public sphere. The authors argue that a specific museum offers a particular place, space and empirical reality to interrogate seemingly universal concepts such as ‘culture’ and ‘politics’ by blending theoretical notions with an awareness of institutional contexts and practices.

Shape evolution of silver nanoplates through heating and photoinduction

Shape conversions of silver nanoplates were realized by heating and subsequent light irradiation. The initial silver nanoprisms were transformed into silver nanodisks gradually in the process of heating, which was possibly achieved through dissolving and readsorption of silver atoms on the surface of silver nanoplates. Subsequently, under light irradiation, the heating induced silver nanodisks were reversed to silver nanoprisms in the same solution. The dissolved oxygen was found to play a pivotal role in the shape conversion from nanoprism to nanodisk. In addition to heating, deionized water could induce the shape conversion of silver nanoplates when it was added to precipitate of the initial silver nanoprisms after centrifugation. Citrate in solution is essential to the photoinduced shape conversion process. Transmission electron microscopy (TEM) and extinction spectroscopy results demonstrated that localized surface plasmon resonance (LSPR) properties of silver nanoplates were effectively tuned through shape conversion.

Tri-component bio-composite materials prepared using an eco-friendly processing route

We report on the blending of three natural polymers, raw cotton, silk and wool, using ionic liquids as the dissolving media. We find that with increased content of wool and silk the thermal degradation temperature of the new bio films increases. This is due to an increase in the hydrogen bond network between the blended polymers. We also investigated the role of the coagulating solvent by coagulating the bio films using water, methanol or isopropanol. Again, we find the coagulating solvent impacts the final properties of the bio films with water shown to coagulated films with the best material properties.

Composite yarns fabricated from continuous needleless electrospun nanofibers

In this work, a spinning metal wire collector was employed to continuously collect polyacrylonitrile (PAN) nanofibers produced by a disc fiber generator and coil them around a polyethylene terephthalate (PET) yarn. The obtained composite yarns exhibited a core/shell structure (PET yarn/PAN nanofibers) with nanofibers orderly arranged on the surface of the PET yarn. The electric field analysis showed that the position of metal wire had insignificant effect on the formed electric field and high intensity electric field was formed at the disc circumferential area, which provided a constant electric field for the production of uniform nanofibers. The spinning solution, spinning speed of metal wire, and winding speed were found to play an important role in producing good quality nanofiber yarns, in terms of morphology, strength, and productivity. Pure nanofiber yarns were obtained after dissolving the core yarns in a proper solvent. This method has shown potential for the mass production of nanofiber yarns for industrial applications.

Preparation of polyacrylonitrile–natural polymer composite precursors for carbon fiber using ionic liquid co solvent solutions

We report on the use of ionic liquid co-solvents in the preparation of polyacrylonitrile–natural polymer carbon fibers as low cost environmentally friendly alternatives to conventional carbon fibers precursors and processing solvents. We have characterized the structure properties of the new composites as a function of dissolving solvent using solid state NMR, DSC, FTIR and TGA. We show that the dissolving solvent plays a significant role in the properties of the new composites, we also find that the incorporation of the natural polymer additive impacts the thermal transition temperatures for the PAN

Evaluating the corrosion behaviour of magnesium alloy in simulated biological fluid by using SECM to detect hydrogen evolution

Scanning electrochemical microscopy (SECM) in surface generation/tip collection mode is investigated as an assessment tool for studying the corrosion behaviour of magnesium in simulated biological fluid. The technique provides a local map of hydrogen (H2) evolution which alone can be used as a direct measure of corrosion. The H2 generated during corrosion of magnesium is oxidized at the probe(i.e. a Pt ultra micro-electrode);with the magnitude of the current generated due to oxidation being indicative of the intensity of H2 evolution at a local scale on the magnesium surface. This method was calibrated using a cathodically polarized Pt disk to simulate H2 evolution in a controlled condition on a homogeneous surface. Potential interference from dissolving Mg or high local pH was also investigated. The technique was implemented for studying H2 evolution at the surface of AZ31 as a model Mg alloy.SECM results combined with SEM-EDX and profilometry data revealed that local domains of higher H2 evolution on the surface of AZ31 are in close proximityof the observed pitting sites.

Ultrafine PDMS fibers: Preparation from in situ curing-electrospinning and mechanical characterization

Polydimethylsiloxane (PDMS) fibers with unexpected elasticity were prepared by a modified core-shell electrospinning method using a commercially-available liquid PDMS precursor (Sylgard 184) and polyvinylpyrrolidone (PVP) as core and sheath materials, respectively. The liquid PDMS precursor was crosslinked in situ to form a solid core when the newly-electrospun core-sheath nanofibers were deposited onto a hot-plate electrode collector. After dissolving the PVP sheath layer off the fibers, net PDMS fibers showed larger average diameter than core-sheath fibers, with an average diameter around 1.35 μm. The tensile properties of both single fibers and fibrous mats were measured. Single PDMS fibers had a tensile strength and elongation at break of 6.0 MPa and 212%, respectively, which were higher than those of PDMS cast film (4.9 MPa, 93%). The PDMS fiber mat had larger elongation at break than the single PDMS fibers, which can be drawn up to 403% their original length. Cyclic loading tests indicated a Mullin effect on the PDMS fiber mats. Such a superior elastic feature was attributed to the PDMS molecular orientation within fibers and the randomly-orientated fibrous structure. Highly-elastic, ultrafine PDMS fibers may find applications in strain sensors, biomedical engineering, wound healing, filtration, catalysis, and functional textiles. © The Royal Society of Chemistry 2014.

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.

Cyborg presence in narrative theatre

New technologies are transforming the shape and function of contemporary performance practice. Dance in particular has been at the forefront of dissolving the boundaries between humans and technology. In Australia alone, works such as Gideon Obarzanek's GLOW (Chunky Move) and Garry Stewart's Proximity (Australian Dance Theatre) have offered technology a role traditionally preserved only for the live human performer. As these technologies infiltrate theatre practice and their capacity to be co-actors with humans on stage increases, we need to carefully interrogate the notion of the actor's presence. For an overwhelming number of scholars and critics, presence is the defining quality of theatrical performance. Theatre has been privileged as the site where people witness other people together in the same physical space. Digital technologies can be seen as a threat to this and to the actor's presence. Cormac Power's Presence in Play provides a comprehensive analysis of theatrical presence that encapsulates a poststructuralist critique of presence while maintaining the notion of 'presence' as a key aspect of theatre. In this article, I take up Power's category of the literal mode of presence and examine three case studies that use digital technology in ways that disturb traditional conceptions of presence. I investigate the impact that digital technologies in live performance have on theatre's claims to literal presence. I also investigate the indirect impact that these technologies have on forms of fictional and auratic presence (these are Power's terms, which I will define shortly). First, I will establish the centrality of presence to the vast body of commentary on theatre; then, I will draw on Derrida's analysis of the metaphysics of presence to unsettle dominant assumptions about the function of presence in theatre, arguing that such a privileging of presence demonises projected media as a form of contamination that impedes theatre's ability to represent 'truth'. I use Jennifer Parker-Starbuck's term 'Cyborg Theatre' to discuss three examples of digital performance that have used technology to question and challenge our relationship to technology in everyday life. These works challenge traditional notions of selfhood and force us to interrogate the borders between the live and the mediated.