Are the Birch Trees in Southern England a Source of Betula Pollen for North London?

Birch pollen is highly allergenic. Knowledge of daily variations, atmospheric transport and source areas of birch pollen is important for exposure studies and for warnings to the public, especially for large cities such as London. Our results show that broad-leaved forests with high birch tree densities are located to the south and west of London. Bi-hourly Betula pollen concentrations for all the days included in the study, and for all available days with high birch pollen counts (daily average birch pollen counts >80 grains/m3), show that, on average, there is a peak between 1400 hours and 1600 hours. Back-trajectory analysis showed that, on days with high birch pollen counts (n=60), 80% of air masses arriving at the time of peak diurnal birch pollen count approached North London from the south in a 180 degree arc from due east to due west. Detailed investigations of three Betula pollen episodes, with distinctly different diurnal patterns compared to the mean daily cycle, were used to illustrate how night-time maxima (2200–0400 hours) in Betula pollen counts could be the result of transport from distant sources or long transport times caused by slow moving air masses. We conclude that the Betula pollen recorded in North London could originate from sources found to the west and south of the city and not just trees within London itself. Possible sources outside the city include Continental Europe and the Betula trees within the broad-leaved forests of Southern England.

Developmental patterns of individiuals within a sensory-based learning environment in art education : insights emerging from a case study /

My research permitted me to reexamine my recent evaluations of the Leaf Project given to the Foundation Year students during the fall semester of 1997. My personal description of the drawing curriculum formed part of the matrix of the Foundation Core Studies at the Ontario College of Art and Design. Research was based on the random selection of 1 8 students distributed over six of my teaching groups. The entire process included a representation of all grade levels. The intent of the research was to provide a pattern of alternative insights that could provide a more meaningful method of evaluation for visual learners in an art education setting. Visual methods of learning are indeed complex and involve the interplay of many sensory modalities of input. Using a qualitative method of research analysis, a series of queries were proposed into a structured matrix grid for seeking out possible and emerging patterns of learning. The grid provided for interrelated visual and linguistic analysis with emphasis in reflection and interconnectedness. Sensory-based modes of learning are currently being studied and discussed amongst educators as alternative approaches to learning. As patterns emerged from the research, it became apparent that a paradigm for evaluation would have to be a progressive profile of the learning that would take into account many of the different and evolving learning processes of the individual. A broader review of the student's entire development within the Foundation Year Program would have to have a shared evaluation through a cross section of representative faculty in the program. The results from the research were never intended to be conclusive. We realized from the start that sensory-based learning is a difficult process to evaluate from traditional standards used in education. The potential of such a process of inquiry permits the researcher to ask for a set of queries that might provide for a deeper form of evaluation unique to the students and their related learning environment. Only in this context can qualitative methods be used to profile their learning experiences in an expressive and meaningful manner.

Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

The ‘Is’ of Fiction Elgin/Goodman Fictionalism : fictions in art and science

Cet essai a pour objet le rôle de la notion de fiction dans les domaines de l’art et de la science. Essentiellement, je soutiens que « fiction » dans ce contexte est « a category mistake » (concept versus genre) et je crois que cet essai peut réussir à « cuire du pain philosophique » en dévoilant une dispute verbale. Je suggère donc de clore un débat philosophique dans son intégralité. Je présente un exposé du style de fictionnalisme abordé par Catherine Z. Elgin et Nelson Goodman (que ce soit dans le contexte des arts ou des sciences, nous parvenons à la compréhension grâce à des fictions sous formes de « vérités non littérales ») et j’explore le concept de la fiction. Je soutiens que les représentations (textes descriptifs de toutes sortes, incluant les modèles) sont constituées d’éléments fictionnels et d’éléments facettés (à l’exception de la version idéale possible ou impossible, c’est-à-dire dans l’esprit de Dieu, qui n’inclurait que les facettes.) La compréhension ne peut provenir de la fiction, mais plutôt d’éléments facettés ordonnés de manière à créer une compréhension qui conduit généralement à des prédictions, des explications et des manipulations. Je définis les facettes comme ayant des caractéristiques organisées, alors que les fictions ont des caractéristiques désorganisées. La fiction dans son intégralité est donc, par définition, l’expression du néant (of nothing), ou en matière de langues idéales (mathématiques), l’expression de contradiction. Les fictions et les facettes relèvent des représentations qui sont elles-mêmes primitives. Les textes descriptifs sont donc fictionnels par degré. Les récits qui sont très fictionnels ont une certaine valeur (souvent ludique) mais contiennent toujours au moins une facette. En fin de compte, toutes les activités représentationnelles devraient être considérées irréelles, incomplètes, bien que parfois connectées à la réalité, c’est-à-dire, prises entre une description réaliste facettée et une fiction dans son intégralité.

A Mediated Presence : Uncovering Nietzsche in Art History from its Foundations to Contemporary Anglo-American Curricula

La pensée de Nietzsche a joué un rôle déterminant et récurrent dans les discours et les débats qui ont formé et continuent de façonner le domaine de l’histoire de l’art, mais aucune analyse systématique de cette question n’a encore vu le jour. L’influence de Nietzsche a été médiée par divers interlocuteurs, historiens de l’art et philosophes, qui ont encadré ces discussions, en utilisant les écrits du philosophe comme toile de fond de leurs propres idées. Ce mémoire souhaite démontrer que l’impact de Nietzsche dans le champ de l’histoire de l’art existe mais qu’il fut toujours immergé ou éclipsé, particulièrement dans le contexte anglo-américain, l’emphase étant placée sur les médiateurs de ses idées en n’avouant que très peu d’engagement direct avec son œuvre. En conséquence, son importance généalogique pour certains fondateurs de la discipline reste méconnue; sa présence réellement féconde se traduit plutôt comme une absence ou une présence masquée. En vue de démontrer ce propos, nous regardons donc le contexte nietzschéen qui travaille les écrits de certains historiens de l’art, comme Jacob Burckhardt et Aby Warburg, ou des philosophes et d’écrivains ayant marqué la discipline de l’histoire de l’art (plus particulièrement dans le cadre de l’influence de la « French Theory » sur l’histoire de l’art anglo-américaine depuis la fin des années 1970) : Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze et Georges Bataille. Nous examinons certaines voies par lesquelles ses idées ont acquis une pertinence pour l’histoire de l’art avant de proposer les raisons potentielles de leur occlusion ultérieure. Nous étudions donc l’évolution des discours multiples de l’histoire comme domaine d’étude afin de situer la contribution du philosophe et de cerner où et comment ses réflexions ont croisé celles des historiens de l’art qui ont soit élargi ou redéfini les méthodes et les structures d’analyse de leur discipline. Ensuite nous regardons « l’art » de Nietzsche en le comparant avec « l’art de l’histoire de l’art » (Preziosi 2009) afin d’évaluer si ces deux expressions peuvent se rejoindre ou s’il y a fondamentalement une incompatibilité entre les deux, laquelle pourrait justifier ou éclairer la distance entre la pensée nietzschéenne sur l’art et la discipline de l’histoire de l’art telle qu’elle s’institutionnalise au moment où le philosophe rédige son œuvre.

Wild food trees in Eastern Nuba Mountains, Sudan: Use diversity and threatening factors

This study was conducted in 2010 in Eastern Nuba Mountains, Sudan to investigate ethnobotanical food and non-food uses of 16 wild edible fruit producing trees. Quantitative and qualitative information was collected from 105 individuals distributed in 7 villages using a semi-structured questionnaire. Also gathering of data was done using a number of rapid rural appraisal techniques, including key informant interviews, group discussion, secondary data sources and direct observations. Data was analysed using fidelity level and informant consensus factor methods to reveal the cultural importance of species and use category. Utilizations for timber products were found of most community importance than food usages, especially during cultivated food abundance. Balanites aegyptiaca, Ziziphus spina-christi and Tamarindus indica fruits were asserted as most preferable over the others and of high marketability in most of the study sites. Harvesting for timber-based utilizations in addition to agricultural expansion and overgrazing were the principal threats to wild edible food producing trees in the area. The on and off prevailing armed conflict in the area make it crucial to conserve wild food trees which usually play a more significant role in securing food supply during emergency times, especially in times of famine and wars. Increasing the awareness of population on importance of wild food trees and securing alternative income sources, other than wood products, is necessary in any rural development programme aiming at securing food and sustaining its resources in the area.

Use of decision trees in colour feature selection: application to object recognition in outdoor scenes

A new method for the automated selection of colour features is described. The algorithm consists of two stages of processing. In the first, a complete set of colour features is calculated for every object of interest in an image. In the second stage, each object is mapped into several n-dimensional feature spaces in order to select the feature set with the smallest variables able to discriminate the remaining objects. The evaluation of the discrimination power for each concrete subset of features is performed by means of decision trees composed of linear discrimination functions. This method can provide valuable help in outdoor scene analysis where no colour space has been demonstrated as being the most suitable. Experiment results recognizing objects in outdoor scenes are reported

THE WINCHESTER CENTRE FOR GLOBAL FUTURES IN ART DESIGN & MEDIA

The Winchester Centre for Global Futures in Art Design and Media highlights historical, contemporary and future roles for art, design and media within globalization. Its members build sustained collaborations with international partners in public service, the creative industries and civil society. Critically concerned with art and design practices of making, thinking and representation, the Winchester Centre actively engages in education and enterprise, exploring the contribution of media, materials and technologies to the improvement of human societies globally. Led by professors Jonathan Harris, Sean Cubitt, and Ryan Bishop, the Winchester Centre will make a decisive contribution to the work of the School and the University in future years. The Centre's inaugural professors would like to invite you now to suggest future research themes and activities. In the coming weeks details regarding the programme and prospective membership of the Winchester Centre will be made available.

Control of cocoa swollen shoot disease by eradicating infected trees in Ghana: A survey of treated and replanted areas

Cocoa farms that had been treated and replanted in Ghana during the most recent phase of the cocoa swollen shoot virus (CSSV) eradication campaign were surveyed. Farms that were replanted close to adjoining old cocoa farms or which contained old trees were common in most (38) of the 41 cocoa farms surveyed. CSSV infections were apparent in 20 (53%) out of these 38 farms and they pose a serious risk of causing early infections of the re-planted farms. Control strategies that isolate the newly planted farms by a boundary of immune crops as barriers to reduce CSSV re-infection are discussed. (c) 2005 Elsevier Ltd. All rights reserved.