Construcció d'un equip per a la producció de cervesa artesana

Catalunya és un dels territoris on hi ha hagut més auge del sector de la cervesa artesana, i són molt nombroses les microcerveseries i les botigues especialitzades on es poden trobar els recursos materials necessaris, a més de ser centres difusió de coneixements relacionats. Així, doncs, aquest projecte està emmarcat en un context que permet el desenvolupament de tècniques d’elaboració de cervesa artesana. Aquest projecte es basa en la construcció d’un equip amb materials reutilitzats i amb un pressupost limitat que permet reproduir a petita escala els processos d’elaboració que es duen a terme en les microcerveseries artesanes actuals. El projecte s’ha assentat sobre la comprensió dels fonaments teòrics i pràctics del procés d’elaboració de cervesa, i amb l’experiència inicial d’elaboració de cervesa amb un equip bàsic de tipus homebrewer. Per minimintzar costos els tancs s’han construït a partir de barrils de cervesa i les parts sobrants s’han aprofitat per a altres elements. S’han emprat elements quotidians com una olla a pressió i s’ha construït un sistema regulador de pressió (per al tanc de fermentació cilindrocònic isobàric construït) en lloc d’adquirir-lo. S’ha posat l’èmfasi en minimitzar la necessitat de manipulació manual durant l’elaboració. Per tant, s’han instal·lat els components de l’equip formant un circuit tancat amb sistema de bombeig, i s’ha incorporat un sistema que permet el control i la lectura de les temperatures de cada procés. Altres elements són el sistema de filtres amb mecanisme de tub en forma d’ela (que permet l’extracció del most dels tanc de maceració i de cocció d’una manera efectiva i sense necessitat de manipulació) i el sistema de dutxa (que permet automatitzar el procés de rentat i filtrat). Un element que distingeix aquest equip d’altres equips emprats en algunes microcerveseries artesanes és el tanc de fermentació cilindrocònic isobàric amb vàlvula controladora de pressió, que permet prescindir de la doble fermentació en ampolla, ja que permet aprofitar el gas carbònic produït durant la fermentació per la carbonatació de la cervesa. Es pot concloure que gràcies a les seves característiques, l’equip permet realitzar successives elaboracions obtenint el mateix producte amb les mateixes característiques organolèptiques, principalement gràcies a la cambra de fermentació, que permet realitzar les etapes de fermentació, maduració i clarificació controlant la temperatura desitjada; al tanc de maceració amb aïllament, que permet realitzar el procés a temperatura constant sense pèrdues tèrmiques i al sistema de control de temperatura de totes les etapes. L’únic inconvenient és que, degut a la manca pressupostària, ha estat impossible l’adquisició d’un sistema d’embotellament isobàric que permeti realitzar l’embotellament sense pèrdues del gas carbònic. Per tant, el producte final pot embotellar-se amb una lleugera pèrdua de gas o es pot emmagatzemar en el mateix fermentador cilindrocònic per al seu consum directe, a l’estil d’alguns brewpubs.

Estudo arqueométrico de cerâmicas do Sítio Guará, Goiás, Brasil

There is no evidence of urban civilization in Brazilian prehistory; most inhabitants lived in tribal groupings, probably with regional economic integration among several independent tribes. There is little evidence of seasonal migrations between the coast and the inland of southern Brazil. Some specialized horticulturists competed among themselves but other groups lived more isolated and probably peacefully, in the upper interfluvial regions. Chemical analysis of artifacts is a means of documenting traffic in particular materials and intraregional production and distribution, development of craft specialization and typological refinement among other issues. In this study we tested some possibilities in two different cultural contexts using the parametric k0 neutron activation analysis technique, which allowed the determination of elements: Al, As, Au, Ce, Cl, Co, Cr, Cs, Cu, Fe, Ga, K, La, Na, Rb, Sc, Ta, Ti, V and Zn.

Church Windows : four symphonic impressions

Soitinnus: ork.

The Art & Science of Learning Design

We live in an era defined by a wealth of open and readily available information, and the accelerated evolution of social, mobile and creative technologies. The provision of knowledge, once a primary role of educators, is now devolved to an immense web of free and readily accessible sources. Consequently, educators need to redefine their role not just ¿from sage on the stage to guide on the side¿ but, as more and more voices insist, as ¿designers for learning¿.The call for such a repositioning of educators is heard from leaders in the field of technology-enhanced learning (TEL) and resonates well with the growing culture of design-based research in Education. However, it is still struggling to find a foothold in educational practice. We contend that the root causes of this discrepancy are the lack of articulation of design practices and methods, along with a shortage of tools and representations to support such practices, a lack of a culture of teacher-as-designer among practitioners, and insufficient theoretical development.The Art and Science of Learning Design (ASLD) explores the frameworks, methods, and tools available for teachers, technologists and researchers interested in designing for learning Learning Design theories arising from findings of research are explored, drawing upon research and practitioner experiences. It then surveys current trends in the practices, methods, and methodologies of Learning Design. Highlighting the translation of theory into practice, this book showcases some of the latest tools that support the learning design process itself.

The role of the poet in Plato's ideal cities of Callipolis and Magnesia

Plato's attitude toward the poets and poetry has always been a flashpoint of debate, controversy and notoriety, but most scholars have failed to see their central role in the ideal cities of the Republic and the Laws, that is, Callipolis and Magnesia. In this paper, I argue that in neither dialogue does Plato "exile" the poets, but, instead, believes they must, like all citizens, exercise the expertise proper to their profession, allowing them the right to become full-fledged participants in the productive class. Moreover, attention to certain details reveals that Plato harnesses both positive and negative factors in poetry to bring his ideal cities closer to a practical realization. The status of the poet and his craft in this context has rarely to my knowledge been addressed.

Hvordan øve hellige handlinger? : en profesjonsdidaktisk studie av øving av muntlige ferdigheter innenfor en norsk presteutdanning

How can the holy craft of liturgy be trained? A study of approaches to instruction in training oral skills within education of the Norwegian clergy The theme of this study is the competence of expression of clerics performing liturgies as part of their duties in the Norwegian Lutheran Church. The aim of the study is to find a teaching practice which can raise the competence in oral expression characteristic of the clergy profession. The teaching practice is explored and discussed within the context of the basic education of the clergy. The main thesis is formulated as a question: How can the holy craft of liturgy be trained? An underpinning of the study is that liturgical acts are holy, which gives these performances an aspect of otherness. This otherness constitutes a clear agreement between the students and the teacher, and between the professional and the employer. The pre-understanding of the researcher is that these liturgical oral acts are trainable, and that there is a need and a necessity to train in these skills. Three research questions are elaborated on in the explorative section of the study: • What is characteristic of a competence of expression connected to the profession? • How can this competence of expression connected to liturgical performance be developed? • What is the importance of this competence in the holy craft of liturgy for the development of a cohesive professional self-understanding? The study is based on a research and development project where the researcher as the teacher and students from one specific clergy education in Norway (MF) were the source of the empirical material. The empirical data came from practice with two external observers› logs on the coaching, video observations, of the teacher and the students› texts on the practice under study, which is liturgical performance. The researcher›s log and field notes also provide material for the analysis. This is a qualitative project and an arts education project carried out within an interpretative framework. The theoretical framework has three perspectives: a structural approach based on the system theory of Niklas Luhmann, an epistemological approach discussing forms of knowledge in practice or informing practice and an arts education approach. The results indicate that the competence in oral liturgical performance can be considered a trainable skill, and that this training can be understood as an arts education method of instruction based on meaningful communication, dramaturgical thinking and the development of authenticity. The main result from this study can be considered as articulating and sketching the contours of the field of knowledge where the students embody the meaning of the clergy profession ‒ and this articulation has an innovative potential as knowledge combining experience and theoretical understanding.

Käsityön monet merkitykset. Opettajankoulutuksen opiskelijoiden käsityölle antamat merkitykset ja niiden huomioon ottaminen käsityön opetuksessa

Tämän tutkimuksen kohteena olivat opettajaopiskelijat, jotka reflektoivat käsityöprosessin aikaista toimintaansa ja sen tuloksia. Tutkimuksen kontekstina oli Turun yliopiston opettajankoulutuslaitoksen Rauman yksikön käsityökasvatuksen perusopinnot. Tutkimushenkilöinä olivat KSP11b Yhteenvetojakson lukuvuosien 2007 – 2008 ja 2008 – 2009 käsityökasvatuksen sivuja pääaineopiskelijat (n=23). Tutkimusaineistona käytettiin opiskelijoiden KSP11b Yhteenvetojaksolla valmistamia käsityötuotteita, niihin liittyviä portfoliota sekä haastatteluita, jotka analysoitiin semioottisella sisällönanalyysilla. Tutkimuksen lähestymistapa on hermeneuttisfenomenologinen. Sen pyrkimyksenä on ymmärtää ja tulkita opiskelijoiden kokemia käsityöprosesseja ja niihin liitettyjä merkityksiä. Tutkimuksessa selvitettiin, millaisia merkityksiä opiskelijat antavat käsityölle ja miten käsityön merkitykset tulisi ottaa huomioon käsityön opetuksessa. Tutkimustuloksina esitetään opiskelijoiden käsityölle antamista merkityksistä neljä erilaista orientaatiotyyppiä: 1) käsityötuoteorientoituneet, 2) käsityötaitoorientoituneet 3) käsityöperinneorientoituneet ja 4) käsityöilmaisuorientoituneet. Käsityötuoteorientoituneet opiskelijat aloittavat ongelmanratkaisuprosessinsa päättämällä, minkä tuotteen he haluavat valmistaa. Käsityötaitoorientoituneille opiskelijoille käsityöprosessi on oman osaamisen näyttämistä ja kehittämistä. Käsityöperinneorientoituneet opiskelijat saavat motivaationsa käsityötuotteen valmistukseen käsityöperinteen vaalimisesta, esimerkiksi halusta oppia perinteisiä käsityötekniikoita tai halusta oppia käsitöitä jonkun läheisen henkilön ohjaamana. Käsityöilmaisuorientoituneet opiskelijat suhtautuvat käsityöprosessiin elämyksellisesti, jolloin prosessi perustuu tekijän kokemuksiin, mielikuviin, muistojen vaalimiseen ja tunteiden ilmaisemiseen sekä identiteetin rakentamiseen. Tutkimuksessa selvitettiin lisäksi käsityön merkitysten mahdollisuuksia käsityön opetuksessa. Nämä käsityön opetuksen näkökulmat on tutkimuksessa jaettu viiteen luokkaan: 1) käsityötaidon kehittäminen, 2) kokonaisen käsityön tekeminen, 3) konkreettisen käsityötuotteen valmistaminen, 4) käsityöilmaisun kehittäminen ja 5) käsityön monipuoliset sisällöt. Tässä tutkimuksessa korostuu, että käsityön opetus perustuu käsityötaidon oppimiseen. Käsityötaidon kehittämiseen liittyy käsityöllisesti työstettävien materiaalien ja niiden ominaisuuksien hallintaa ja muokkaamiseen tarvitaan käsityöteknologiaa, henkilökohtaista käsityötaitoa ja laatutietoisuutta. Käsityötuote on käsityöprosessin lopputuloksena syntyvä konkreettinen tuotos. Käsityöprosessi toteutuu kokonaisena käsityönä, jossa tekijä suunnittelee ja toteuttaa itse suunnitelmansa. Kokonainen käsityö saa eri tekijöillä erilaisia sovelluksia. Käsityöilmaisulla tarkoitetaan tekijän henkilökohtaista sitoutumista prosessiin ja käsityön monipuolisilla sisällöillä materiaaleja ja teknologioita, joita käsityön tekijä käyttää käsityöprosessin aikana. Lisäksi tutkimusaineistossa ilmeni, että opiskelijat sitoutuvat käsityöprosessiin, kun heillä on mahdollisuus ilmaista itselleen tärkeitä, henkilökohtaisia asioitaan, kuten omaa elämäntilannettaan ja merkityksellisiä kokemuksiaan.

Jeg strikker, derfor er jeg! : læring og identitet i uformelle læringsrum

The dissertation ´I knit, therefore I am!´ Learning and identity in informal space has two main purposes. The first purpose being an investigation of how new value attributions and thinking can generate novel and usable knowledge to the field of craftsmanship, and the second purpose being a display of a different and overlooked philosophical and cultural potential in a reflexive mode of expression, which is able to reflect the normative comprehension of craftsmanship. The dissertation focuses on learning and identity in informal spaces of learning and how it is possible to relate such a learning perspective to crafts training in educational establishments. The empirical foundation of this dissertation is ‘craftivism’. In the dissertation activists from the Nordic countries have been interviewed about what they do when they put up their textile graffiti on lamp posts and house walls. Three research problems are presented: 1) What stories do people who work as crafts activists, tell about ways of relating and methods of action when they make crafts? 2) What do these stories tell about learning and identity? 3) How may the research results influence training and education in craftsmanship? These questions are being asked in order to acquire new knowledge in two aspects; first aspect being knowledge about crafts in relation to techniques, tradition and the objects in crafts, and the second aspect being knowledge about learning and identity in informal spaces of learning. The dissertations theoretical foundation is post structural and sociocultural combined with hermeneutical-inspired qualitative interviews. The author’s position and pre-understanding is subject to discussion in relation to the informant; the performing activist, as the background for both of them is craftsmanship. Starting from cultural studies, it is possible to see the activist subject’s conditions of possibilities in the culture, as the activism of the sub-cultural phenomenon’s craft lights up through a performing approach to the individual’s actions. First the research material has been analysed for events of textile graffiti and possible themes in the events, after which the results have been summarised. Next the research material has been analysed for events about learning and identity due to the author’s wish of comprehending the background of and motivational force in activism. The analysis is divided in main perspectives with different dimensions. The results of the analysis show the activist subject’s construction of an individual who actively takes part in a community by e.g. creating joy, changing the world’s perception of sustainability or by feminizing the public space. By taking crafts over the borders (and away from the class room) crafts become contextualized in a novel fashion thus obtaining an independent status. In this fashion the dissertation writes itself into a new method of comprehending and performing traditional craftsmanship techniques.

”Du sköna sång, vårt bästa arv” - kanonisering av en sångskatt ur ett hermeneutiskt perspektiv

Songs have the power to get through to people. When lyrics are combined with a tune, the result is an entity where the first few notes of a melody can evoke emotions of recognition and belonging. A song treasury consists of such songs that are part of a canonized song tradition. The process where certain songs become part of an established song treasury is long, and many other aspects than the tune itself influence the forming of a song treasury. By examining the characteristics of a song tradition, the history of an ethnic group can be illuminated. In this study, music, pedagogy, and the sociocultural context are merged into a whole where a common song tradition, the song treasury, is in focus. The main aim of this study is to deepen the understanding of a song treasury, its development and contents. This understanding is accomplished by analyzing the musical and lyrical characteristics of 60 songs, which have been sung in schools, homes, and communities, thereby becoming popular among the Swedish-speaking Finns during the 20th century. The songs have been chosen by combining three song lists, of which two lists are closely related to school curricula. The third song list is a result of a survey on favourite songs, according to the situation around year 2000. The songs are examined in their notated versions, a number of song books and text books (n = 29) forming the empirical material. In this study, a hermeneutical approach is applied, content analysis being the method. The analysis is based on three perspectives: the sociocultural perspective, the music-pedagogical perspective, and the musico-analytical perspective. Within each perspective, two aspects are studied. This results in a hexagonal model which forms the structure of the study as a whole. The first two perspectives form the background; a historical context where nation, education, home country, and homestead are regarded as highly important. A common song repertoire is considered to be an effective means of building collective identity within ethnic groups, the common language and the cultural heritage being used as rhetorical arguments. During the early 1900s, choir festivals become an educational platform where conceptions of a common belonging are developed and strengthened through religious, patriotic, and poetical expressions. National school curricula in singing and music have similar characteristics, cultural heritage and values education being in focus. The song lyrics often describe nature and emotions, and they also appear to be personal and situated in a given time and place. Patriotic expressions and songs about music are also fairly common. The songs generally express positive attitudes, which are intensified by major tonality, rich and varied melodies with stable rhythms, and a strong tonal base. The analyzed details of the studied aspects are merged into a thick description, which results in an interpretation pattern with three dimensions: a song treasury can be considered an expression of collective identity, cultural heritage, and values education.

Riskivastuullisuus turvallisuuskasvatuksen kulttuurissa. Oppilaiden vastuullisuus, turvallisuustaju ja tuottamistoiminnan riskiraja peruskoulun käsityön opetuksessa

Riskit ja riskittömyys uhkaavat yksilöitä, käsityötä ja yhteiskuntaa. Käsityökasvatukselleon haaste toimia kulttuurissa, joka tavoittelee täyttä riskittömyyttä. Käsityössä kasvatetaan kekseliäisyyteen ja varautumaan sen aiheuttaman riskin kohtaamiseen sekä ottamaan siitä vastuuta. Tämän tutkimuksen tehtävänä on riskivastuullisuuden mallin rakentamiseksi selvittää, kuinka oppilaiden vastuullisuus selittää riskirajaa käsityön turvallisuuskasvatuksen kulttuurissa. Välinearvojen saavuttamiseksi on siedettävä välineriskiä, joka ei ylitä turvallisuuskulttuurin riskirajaa. Välinearvot ovat välineiden laatua lisääviä ominaisuuksia, joilla pyritään peittämään välineriskejä. Siedettävän riskin rajan ratkaisemiseen tarvitaan tietoa käsityön tuottamisesta ja todellisuutta havainnoivien tiedonalojen tietoa. Viime kädessä ratkaisu tehdään rakentavalla ajattelulla, johon kuuluu välinearvojen tavoittelua ohjaava käsityötaju ja välineriskeihin varautumista ohjaava turvallisuustaju. Käsityössä onnistuminen kannustaa kohti uusia haasteita ja epäonnistumisen riski asettuu mittasuhteisiinsa. Kekseliäässä käsityön kulttuurissa kokeillaan omia ja ympäröivän todellisuuden mahdollisuuksia ottamalla oivaltaen riskejä, jotka saavat aikaan rakentavan kokemuksen riskistä. Käsityö on riskioivallusten oppiaine. Tutkimustehtävän toteuttamiseksi tässä tutkimuksessa rakennetaan uusi riskivastuullisuuden malli, jossa vastuullisuus selittää riskirajaa. Mallin vastaavuutta selvitetään valtakunnallisesti peruskoulun käsityön 6. ja 9. luokan käsityön opetuksessa (n = 393). Aineisto on analysoitu rakenneyhtälöanalyysein konfirmatorisella faktorianalyysilla ja polkumallinnuksella. Tutkimusaineisto ja riskivastuullisuuden malli vastaavat toisiaan. Vastuullisuuden selitysosuus turvallisuustajun ja käsityötajun ratkaisemasta riskirajasta on mallin mukaan 35 %. Oppilaat osoittivat tuntevansa oman tuottamisensa vaikutuksia ja vastuuta niistä. Vastuullisuus osoittautui tärkeäksi riskirajan selittäjäksi, joten käsityön turvallisuuskasvatuksen kulttuuri voi kohota uudelle tasolle riskivastuulliseksi. Käsityön turvallisuuskasvatus on kokonaisvaltaista turvallisuustajun kasvatusta. Riskivastuullisuus luo turvallisuuskulttuuriin yhteisen käsityksen siedettävän riskin rajasta. Oppilaiden mahdollisuuksia kekseliääseen tutkivaan tuottamiseen on vahvistettava eikä rajoitettava. Riskivastuullisessa käsityön turvallisuuskasvatuksen kulttuurissa opettajan tehtävänä ei ole estää mitään tapahtumasta vaan saada mahdollisimman paljon tapahtumaan, sillä vastuullisuus kasvaa vastuuta ottamalla. Se on kasvatuksen – käsityökasvatuksen – keino turvallisuustyössä.

The challenges and successful strategies of secondary school administrators /

This study presents information gathered during personal interviews in the area of challenges that administrators have faced in their careers, and the strategies they have found to be successful in meeting those challenges. This research is a qualitative study, using an inductive approach. Five participants were chosen, based on convenience sampling, with semi-structured interviews that were audio recorded. The theoretical research found that school violence and stafS'school morale were key challenges facing administrators, with a variety of approaches suggested to foster success in meeting those challenges. Some of these approaches included knowledge, team work, an ethic of care, and having a school vision. From the interviews it became clear that the challenges administrators faced included those posed by students, including disciplinary issues, those posed by adults and those posed by government changes in education. In regards to strategies for success, the interviews revealed three key concepts that were emphasized as vital. These were the assets of craft knowledge (experience), collegiality, and the use of other professional resources and educators.

Emptying the bell jar: an exploration of adolescent responses to a women's literature unit /

This study examines adolescent student responses to a women's literature unit taught within a grade 12 Writer's Craft course. Current research (Gilligan, 1989, Pipher, 1994 & Slack, 1999) suggests that there is a great under-representation of female authors in the high school literature curriculum. The use of women's literature may draw attention to important literary figures who are historically overlooked within the curriculum. It gives voice to a marginalized group and presents students with alternative subjects and heroes. It encourages students to develop a critical perspective and reevaluate assumptions about institutions, ideologies, language and culture. It also allows me, as a teacher, to reflect on my own teaching practices and explore alternate feminist pedagogical principles and teaching styles encouraging multiplicity of voices, deconstruction of power relations, and alternative assessment tools within the classroom. As an educator, it is important for me to teach curriculum that is relevant and meaningful to students and help them become critical, self-reflective thinkers. It is also important for me to assist students in their exploration of self and encourage them to expand their awareness of historical, social and global issues. Sylvia Plath's (1963) The belljar is used as the primary text taught within this unit. In this novel, the bell jar is a central image that signifies entrapment and isolation. "To the person in the bell jar, blank and stopped as a dead body, the world itself is the bad dream"(p.l 54). As a metaphor, the bell jar resonates with young readers in a variety of ways.

An exploration of gifted and highly able adolescents' experiences with stress and coping /

This narrative case study explored gifted and highly able adolescents' experiences with stress and coping. Nine students, ages 13-18, at 2 independent schools in southern Ontario, participated. They completed the Adolescent Coping Scale (Frydenberg & Lewis, 1993), and I generated individualized graphs of coping strategies. Participants talked about experiences they perceived as stressful in their academic, personal, social, and familial settings during a 60-90 minute one-on-one audiotaped interview. During the interview, each participant made observations about their own coping strategies profile. The interview was analyzed to identify stressor and coping themes. Participants completed a writing or art task to record perceptions of stress and coping. The 3 data sources were used to craft 9 individual story portraits, from which 5 main stressor themes emerged: issues of time; relationships, emotions, and communication; ethical, moral, and spiritual issues; global issues; and silences, or stressors not talked about in depth. Coping themes were: seeking relaxing activities; having positive attitudes and making wise choices; maintaining relationships with peers and family; understanding the role of faith and moral beliefs; having a supportive environment; knowing your own personality type; being aware of negative coping strategies; and keeping busy and avoiding stressfiil issues. The narratives are important because they present teenagers talking about their socioemotional worlds. The present findings provide empirical groundwork for curriculum development in affective education and highlight the importance of socioemotional development for future research in the area of giftedness and adolescence.

Minute Books and Tyler’s Register of Plantagenet Preceptory No.8 Knights Templar

The Sovereign Great Priority of Canada is a national Masonic organization which consists of seventy-six preceptories that are organized within fifteen districts. The no.8 Plantagenet, St. Catharines is listed under the Hamilton District .The warrant (document issued to authorize formation of a lodge) was issued to this preceptory on November 14th, 1866. This preceptory is still active and meets on the first Monday of every month excepting June, July, August and September. with information from the website Sovereign Great Priory of Canada Meaning of the Tyler/Tiler’s Register: Historically speaking, medieval craft guilds guarded their trade secrets. They placed a guard outside their doors. This person would generally be a junior apprentice who was not entitled to attend trade discussions. The Masons continued this use of doorkeepers. In 1723 in The First Book of Constitutions Dr. James Anderson mentioned “another brother to look after the door, but shall not be a member of it” and in regulation XXVI charged the use of “doorkeepers”. In the minutes of June 8, 1732 this person’s specific title was referred to as “the Tyler”. The word “tyler” appeared in print in new regulation XXVI of the 1738 Second Book of Constitutions. The Masonic ritual of today calls him “a brother without the door”. The Tyler is usually a Past Master who is very knowledgeable in Masonic law and customs. He does not need to be a member of the lodge. He greets brethren and assures that they are “duly qualified”. He gives the first impression of the lodge and insures that visitors and members sign the Tyler’s Register. with information from www.masonicsites.org

Local Postcards, 1996, n.d.

6 of the postcards are sketches by Norbert Collins, these include: St. George’s Anglican Church, the museum, St. Paul United Church, Ridley College clock tower, St. Catherine’s Cathedral and the Willam Hamilton Merritt monument (all of St. Catharines). The 7th postcard is a picture of the St. Catharines Craft Guild Shop in Port Dalhousie (artist unknown). Norbert J. Collins is a Canadian artist.