Effect of feeding sorghum ergot (Claviceps africana) to sows during mid-lactation on plasma prolactin and litter performance

Diets containing 3% sorghum ergot (16 mg alkaloids/kg, including 14 mg dihydroergosine/kg) were fed to 12 sows from 14 days post-farrowing until weaning 14 days later, and their performance was compared with that of 10 control sows. Ergot-fed sows displayed a smaller weight loss during lactation of 24 kg/head vs. 29 kg/head in control sows (p > 0.05) despite feed consumption being less (61 kg/head total feed intake vs. 73 kg/head by control sows; p < 0.05). Ergot-fed sows had poorer weight gain of litters over the 14-day period (16.6 kg/litter vs. 28.3 kg/litter for controls; p < 0.05) despite an increase in consumption of creep feed by the piglets from the ergot-fed sows (1.9 kg/litter compared with 1.1 kg/litter by the control; p > 0.05). Sow plasma prolactin was reduced with ergot feeding after 7 days to 4.8 μg/l compared with 15.1 μg/l in the control sows (p < 0.01) and then at weaning was 4.9 μg/l compared with 8.0 μg/l (p < 0.01) in the control sows. Two sows fed ergot ceased lactation early, and the above sow feed intakes, body weight losses with litter weight gains and creep consumption indirectly indicate an ergot effect on milk production.

"Olen enemmän alkanut pohtimaan ja sanomaan ääneen mitä ajattelen" : ammatillinen kehittyminen ja yhteisöllinen palaute päiväkodin työtiimeissä

I have more often thought over what I am thinking and also I have often told it to others - professional development and collegial feedback on kindergarten teams. The need for professional feedback surfaces year after year in enquiries made among staff members in the field of early childhood education. Because the pressure to be effective adds to the workload of the heads of kindergartens, there are few opportunities to give staff concrete feedback on a daily basis. Because peers are able to observe each other close at hand, their reciprocal feedback can compensate for that of the kindergarten head. In this study the practical training process of collegial feedback is studied and also the opportunities for feedback as a means of supporting professional development in the context of kindergarten. The development project involving the entire kindergarten community (N=21) was implemented in 2003-2004 through three developing cycles. The Johar´s Window , produced by Luft and Jung with the Model of Situational Leadership by Hersey and Blanchard, acted as a theoretical frame of reference. It has been used in this study both for its qualitative and its quantitative methods. The data were carried out through questions, interviews, diaries, written descriptions and monthly evaluations. The qualitative and quantitative methods were also used in analysing the data. The results showed that during the training process, the staff as a giver of feedback moved from the professional basic level to the professional maturity level. Their awareness of both their own and their peers´ know-how expanded from the initial state to the final state. It became evident that team size is the essential key element in the practise of giving feedback to team members. The team atmosphere and the commitment of the team members are in significant factors in the training of giving and receiving feedback. As a result of analyses, delivering feedback was grouped into three categories: developmental feedback, descriptive feedback and either supportive or destructive feedback. Receiving feedback was likewise groupped into three categories: aspiring to develop, unaccommodating and accepting. The ability to control feelings improved along with the skills of giving feedback; it was possible to analyse development through the professional development model represented in the theory of the study. The results showed that professional know-how of other kinds also developed during the process. Giving feedback among fellow workers enables team members to receive feedback everyday. Training to give feedback means examining a field of professional know-how and also formulating shared rules. The results of this study give support to previous studies that have emphasised practical training in natural circumstances. Keywords: feedback, professional development, learning at work

Ei oo kahta samanlaista siskoo: Yksilöllisyys Suomessa asuvien musliminaisten pukeutumisessa

Tutkimuksessa etsittiin vastauksia kysymyksiin, mistä yksilöllisyys muodostuu ja miten se ilmenee musliminaisten pukeutumisessa. Vastauksia tutkimuskysymyksiin haettiin teorian ja aineiston vuoropuheluun perustuvalla fenomenologisesti orientoituneella sisällönanalyysilla. Analysoitava aineisto on hankittu haastattelemalla yhdeksää Suomessa asuvaa musliminaista. Tutkimuksessa yksilöllisyyttä pukeutumisessa on tarkasteltu prosessina. Prosessiin vaikuttavina tekijöinä on tarkasteltu yksilön olemusta, personallisuutta, minuutta, identiteettejä, uskontoa, kulttuuria ja sosiaalisia suhteita. Prosessissa keskeistä aineiston perusteella oli positiivisen minuuden kokemuksen tavoittelu, joka tarkoitti naisille intuitiivista oman itsensä tunnistamista ja tyytyväisyyttä peilin heijastamaan kuvaan. Yksilöllisen pukeutumisen voikin sanoa olevan seurausta positiivisen minuuden kokemuksen tavoittelusta, koska jokaiselle naiselle erilainen pukeutuminen antoi tunteen sopivuudesta itselle. Esimerkiksi uskonnolliselle musliminaisille pään peittäminen merkitsee oman minuuden toteutumista, koska hän kokee tuon pukeutumisen olevan uskon mukainen pukeutumistapa. Toiselle musliminaiselle pään peittäminen voi merkitä positiivisen minuuden kokemuksen menettämistä. Yksilöllisyys pukeutumisessa ilmeni monin tavoin. Osa naisista peittää julkisuudessa koko päänsä ja vartalonsa, osa ei peitä päätään ja jotkut pukeutuvat jopa tiukkoihin tai paljastaviin vaatteisiin. Suomessa on myös kasvonsa peittäviä musliminaisia, joita ei kuitenkaan ole mukana tässä tutkimuksessa. Yksilöllisyyttä ilmeni kuitenkin myös samalla tavalla pukeutuvien musliminaisten ryhmässä. Yksilöllisyys pukeutumisessa ilmeni erilaisina vaatekappaleina, hiustyyleinä, valintoina, yksityiskohtina ja väreinä. Yksilöllisyydessä ei kuitenkaan ole kyse vain havaittavasta pukeutumisen erilaisuudesta, vaan siitä, miten kukin musliminainen kuuluu tähän maailmaan ja toteuttaa omaa minuuttaan pukeutumisella. Tämä tarkoittaa sitä, että tutkimuksessa yksilöllisenä pukeutumisena voidaan pitää sitäkin, mikä monen suomalaisen mielestä ei näytä yksilölliseltä. Avainsanat: Yksilöllisyys, minuus, pukeutuminen, islam, naiset, prosessi, kokemus

Portrait of Arthur Segal Portraits Men

LBI

Dancer Casablanca 1930

A seated figure dressed in pink against a background of vegetation. Titled in lower left corner.

Plasmatic Transformation

The session examines the role of the metaphysical and physical in art and animation and how this relates to natural spaces. Soviet Russian film director and theorist Sergei Eisenstein saw animation as possessing an ability called “plasmaticity”, the capacity for a being to assume any conceivable form dynamically. He saw each being as “primordial protoplasm, not yet possessing a ‘stable’ form, but capable of assuming any form” (Eisenstein 1989, 21). He was enamoured by the capacity of animation to transform and be liberated, of being able to escape from a fixed and static identity—to embody a "rejection of the once-­‐and-­‐forever allotted form" in which we are held (Eisenstein 1989, 21). Czech Surrealist animator Jan Švankmajer uses a metaphysical approach based on a belief in animism to art and animation. He believes that objects possess a conscious life or spirit, he says ‘Objects conceal within themselves the events they’ve witnessed. I don’t actually animate objects. I coerce their inner life out of them.’ (Švankmajer in Imre 2009, 214) In this animistic world there are no boundaries or rules, no physical or conceptual restrictions; anything is possible, with inanimate objects and places able to become animate and transact in a conscious relationship with humans and each other. This session invites artists, animators and theorists to discuss their conceptions and approaches to using visuals to promote and provoke transformation.

Liberty

In terms of critical discourse, Liberty contributes to the ongoing aesthetic debate on ‘the sublime.’ Philosopher Immanuel Kant (1724–1804) defined the sublime as a failure of rationality in response to sensory overload: a state where the imagination is suspended, without definitive reference points—a state beyond unequivocal ‘knowing.’ I believe the events of September 11, 2001 eluded our understanding in much the same way, leaving us in a moment of suspension between awe and horror. It was an event that couldn’t be understood in terms of scope or scale. It was a moment of overload, which is so difficult to capture in art. With my work I attempt to rekindle that moment of suspension. Like the events of 9/11, Liberty defies definition. Its form is constantly changing; it is always presenting us with new layers of meaning. Nobody quite had a handle on the events that followed 9/11, because the implications were constantly shifting. In the same way, Liberty cannot be contained or defined at any moment in time. Like the events of 9/11, the full story cannot be told in a snapshot. One of the dictionary definitions for the word ‘sublime’ is the conversion of ‘a solid substance directly into a gas, without there being an intermediate liquid phase’. With this in mind, I would like to present Liberty as a work that is literally ‘sublime.’ But what’s really interesting to me about Liberty is that it presents the sublime on all levels: in its medium, in its subject matter (that moment of suspension), and in its formal (formless) presentation. On every level Liberty is sublime—subverting all tangible reference points and eluding capture entirely. Liberty is based on the Statue of Liberty in New York. However, unlike that statue which has stood in New York since 1886 and can be reasonably expected to stand for millennia, this work takes on diminishing proportions, carved as it is in carbon dioxide, a mysterious, previously unexplored medium—one which smokes, snows and dramatically vanishes into a harmless gas. Like the material this work is carved from, the civil liberties of the free world are diminishing fast, since 9/11 and before. This was my thought when I first conceived this work. Now it’s become evident that Liberty expresses a lot more than just this: it demonstrates the erosion of civil liberties, yes. However, it also presents the intangible, indefinable moments in the days and months that followed 9/11. The sculptural work will last for only a short time, and thereafter will exist only in documentation. During this time, the form is continually changing and self-refining, until it disappears entirely, to be inhaled, metabolised and literally taken to heart by viewers.

Reverie I

Reverie I is a large-scale public art work commissioned by the Brisbane City Council for permanent installation on the Gardens Point Road Plinth adjacent to QUT Gardens Point campus in Brisbane. The work forms part of the artist's ongoing exploration of the methodology of self-portraiture and amorphous form. In this work, sculpted curls of hair have been assembled according to contours of its constituent cast panels - their capacity to nest with one another determined the final form of the work. The resulting mass of curls resembles both an oversized wig, a withered mulberry and a leaden cloud to invoke notions of movement, reflection and temporality. From the didactic panel: "The curls of Reverie I are derived from 18th century sculptural portraiture. The twisting forms of the highly styled wig known as a periwig were abstracted and inventive, while also bestowing an air of intellectual authority. Curls also evoke two aspects of this particular site: the erratic movement of water associated with the complex tidal movements of Brisbane River, and a state of mental reflection relevant to both the nearby university grounds (where intellectual work takes place) and the riverside pathway (a site for daydreaming)."

Catacoustics

'Catacoustics' was an exhibition of sculptural assemblages and photographs that continues my exploration of self-portraiture and the sculptural object. The exhibition was presented as part of the 2015 MetroArts curated exhibition program (Curator: Amy-Clare McCarthy). The work specifically extends the formal vocabulary of my studio practice to incorporate a replica casting of the Ian Fairweather memorial rock at Bribie Island, Queensland. The resulting casts are combined with a series of heptagonal forms derived from the memorial plinth and other sundry components taken from previous exhibitions.,The final arrangement of this diverse field of elements are determined in part by their formal properties (e.g. their capacity to nest, prop, balance, support each other) frequently also taking the horizontal/vertical and the orientation of surrounding walls as formal cues. In so doing, the body of work acts as a manifestation of object-agency. Within this studio methodology, practice is theorised as a site for the interplay of non-human agents. The resulting exhibition thus acts a meditation on the ontology of art practice, conceived as a 'topology' - a fluid network of relationships forged largely by objects.

Chasing Infinite Junctures

A collaborative solo exhibition at Boxcopy, Brisbane. For Chasing Infinite Junctures, Caitlin Franzmann presented an installation as an open site for affect, response and collaboration. The exhibition began with an architectural intervention, which was available for exchange and transformation involving other artists, events and the sensing body of the audience. For five weeks, Caitlin provided a space for new junctures to unfold – artists including Andrew McLellan, Ross Manning, Henry Mills, Louise Bennett, Leena Riethmuller and Sandra Selig will gather, experiment and create in the space.

Transition to parenthood after assisted reproductive treatment: Follow-up study of singleton pregnancies

Infertility treatments are relatively easily available in most Western countries today, but the psychological consequences of these high-tech treatments have scarcely been addressed. The purpose of this controlled longitudinal study was to explore the early environment of the infant born by assisted reproductive treatment (ART). We focused on the parents mental well-being, marital relations and experience of parenting. In addition to this, we assessed parent child interaction and parents mental representations of their child after long-standing infertility and several unsuccessful ART attempts. The subjects were infertile couples who achieved a singleton pregnancy by in vitro fertilization (IVF) or intracytoplasmic sperm injection (ICSI). The control group comprised of spontaneously conceiving couples with singleton pregnancies. ART women showed fewer depressive symptoms than controls during pregnancy and after delivery, but the difference vanished by the end of the child s first year. ART men consistently had lower levels of anxiety symptoms, sleeping difficulties, and social dysfunction than control men. Control women experienced a decrease in dyadic consensus during the child s first year, which did not happen among ART women. After the child was born, ART men reported a higher level of sexual affection compared with control men. Psychic symptoms and stressful life events were differently related to marital relations in ART and control groups. The parenting experiences of ART mothers were in general at a higher level, compared with controls, and they changed in a positive direction during the child s first year. Fathering experiences were at the same level in both groups, and they changed positively in both groups by the end of the child s first year. The parenting experiences of ART mothers and fathers were more resilient to certain child-related stressors than those of control group. Both mothers and fathers with long-term infertility showed more sensitive behaviour with their child in toddler-age than in infancy. Correspondingly, children s cooperation increased. Mothers often mentioned a fear of miscarriage and difficulty in creating representations of the child during pregnancy. Descriptions of the infants were mainly rich, vivid and loaded with positive features. In conclusion, ART parents in general seem to adapt well to the transition to parenthood. Former infertility and ART do not seem to constitute a risk for parents mental health, marital relations or experience of parenting. Even longstanding infertility with several unsuccessful treatment attempts did not create a risk as regards parenting behaviour or parents mental representations of their child. In this group, however, women were found to have fear for losing the child and difficulty in creating representations of the child during pregnancy, which in some cases may indicate need for psychosocial support. Even though our results are encouraging, infertility and infertility treatments are generally considered as a stressful experience. It is a challenge for health authorities to recognize those couples who need professional help to overcome the distressing experiences of infertility and ART.

Tiedostumaton nykytaiteessa : Katse, ääni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykkä. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykkä s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

Timing Recovery Algorithms and Architectures for 2-D Magnetic Recording Systems

We investigate the problem of timing recovery for 2-D magnetic recording (TDMR) channels. We develop a timing error model for TDMR channel considering the phase and frequency offsets with noise. We propose a 2-D data-aided phase-locked loop (PLL) architecture for tracking variations in the position and movement of the read head in the down-track and cross-track directions and analyze the convergence of the algorithm under non-separable timing errors. We further develop a 2-D interpolation-based timing recovery scheme that works in conjunction with the 2-D PLL. We quantify the efficiency of our proposed algorithms by simulations over a 2-D magnetic recording channel with timing errors.

Multiobjective fuzzy optimization for sustainable groundwater management using particle swarm optimization and analytic element method

Groundwater management involves conflicting objectives as maximization of discharge contradicts the criteria of minimum pumping cost and minimum piping cost. In addition, available data contains uncertainties such as market fluctuations, variations in water levels of wells and variations of ground water policies. A fuzzy model is to be evolved to tackle the uncertainties, and a multiobjective optimization is to be conducted to simultaneously satisfy the contradicting objectives. Towards this end, a multiobjective fuzzy optimization model is evolved. To get at the upper and lower bounds of the individual objectives, particle Swarm optimization (PSO) is adopted. The analytic element method (AEM) is employed to obtain the operating potentio metric head. In this study, a multiobjective fuzzy optimization model considering three conflicting objectives is developed using PSO and AEM methods for obtaining a sustainable groundwater management policy. The developed model is applied to a case study, and it is demonstrated that the compromise solution satisfies all the objectives with adequate levels of satisfaction. Sensitivity analysis is carried out by varying the parameters, and it is shown that the effect of any such variation is quite significant. Copyright (c) 2015 John Wiley & Sons, Ltd.

O sobrestamento de pauta no processo legislativo

Estudo descritivo, desenvolvido sob o enfoque do novo institucionalismo, que trata do sobrestamento de pauta resultante da aplicação das regras constitucionais e regimentais. Busca identificar as razões da gênese desse instituto no presidencialismo brasileiro, assim como entender seu papel tanto na tramitação das proposições para as quais foi concebido, quanto nos trabalhos dos Plenários das Casas do Congresso Nacional. Procura compreender os mecanismos por meio dos quais o sobrestamento de pauta, além de garantir a apreciação célere de algumas proposições consideradas urgentes, contribui decisivamente para transformar o chefe do Poder Executivo no principal controlador da agenda do processo legislativo brasileiro.