Florida Bay: Water quality status and trends, historic and emerging algal bloom problems

Florida Bay is a unique subtropical estuary that while historically oligotrophic, has been subjected to both natural and anthropogenic stressors, including hurricanes, coastal eutrophication and other impacts. These stressors have resulted in degradation of water quality in the past several decades, most evidenced by reoccurring blooms of the picocyanobacterium Synechococcus spp. Major nutrient inputs consist of freshwater flows to the eastern region from runoff and regulated canal releases, inputs from the Everglades to the central region via Taylor Slough, exchanges with the Gulf of Mexico, which include intermittent Shark River inputs to the western region, stormwater and wastewater from the Florida Keys, and atmospheric deposition. These nutrient inputs have resulted in a transition from strong phosphorus (P) limitation of phytoplankton in the eastern bay to nitrogen (N) limitation in the western bay. Large blooms of Synechococcus were most pronounced in the central bay region, in the area of transition between P and N limitation, in the mid-1990s. Although non-toxic, these blooms, which have continued intermittently through the early 2000s, resulted in significant sea-grass and benthic organism mortalities. A new suite of stressors in 2005, including the passages of Hurricanes Katrina, Rita, and Wilma, additional canal releases, and the initiation of road construction to widen the main roadway leading to the Keys, were correlated with a large Synechococcus bloom in the previously clear, strongly P- limited, northeastern region of the bay. Sustained for 3 years, this bloom was accompanied by a shift from P limitation to N limitation during its course. Nutrient bioassay experiments suggest that this bloom persisted due to the ability of Synechococcus to access organic N and P sources, microbial and geochemical cycling of organic and inorganic nutrients in the water column and between the water column and sediments (both suspended particles and benthos), and decreased grazing by benthic fauna due to their die-off.

Aged embankment imaging and assessment using surface waves

Rapid, non-intrusive surface wave surveys provide depth profiles from which ground models can be generated for use in earthwork condition assessment. Stiffness throughout earthworks controls the behaviour under static and dynamic loads, and characterising heterogeneity is of interest in relation to the stability of engineered backfill and life-cycle deterioration in aged utility and transportation infrastructure. Continuous surface wave methods were used to identify interfaces between fine- and coarse-grained fill in an end-tipped embankment along the Great Central Railway in Nottinghamshire, UK. Multichannel analysis of surface wave (MASW) methods were used to characterise subsurface voiding in a canal embankment along the Knottingley and Goole canal near Eggborough, Yorkshire. MASW methods are currently being used to study extreme weather impacts on the stability of a highplasticity clay embankment along the Gloucestershire–Warwickshire railway near Laverton. Optimal results were obtained using equipment capable of generating and detecting over wide frequency ranges.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

Reproducing violence: Rihanna, Chris Brown and the aestheticisation of the Ciudad Juarez Femicides.

When Kate and Laura Mulleavy of Rodarte worked with MAC to create their Autumn/Winter 2010 makeup collection and based their ideas on the murdered women of Ciudad Juarez, there was a public and industry outcry which led to the withdrawal of cosmetics with names such as ‘Factory’ ‘Juarez’ and ‘Ghost Town’. Rodarte tapped into the borderland mythologies of Juarez and crated an illusory fantasy world which sought to simultaneously obliterate and venerate the dead women. One eyeshadow, ‘Bordertown’, appears to look like chunks of rotting flesh streaked with blood. The models for their catwalk show had hollow blackened eyes, green-white pallor and lips that had been bloodlessly ‘lip-erased’ with a product specifically designed for the purpose. In Spanish, maquillar is to make up, to assemble. The women in the factories are asked to repeat simple mechanical operations thousands of times a day to make up the products which will be sold by global corporations. At the same time their images are being assembled, made up and aestheticized to create a cosmetic erasure of the crimes which they are subject to. When two American women and a global company make profit from this dangerous cosmetic erasure in order to sell products, the borders between bodies, countries, art and crime become leaky through the act and the illusion of symbiosis between the women of Ciudad Juarez and the products they inspired is threatened by the haunting of exploitation. Since then, the situation has become more complex. Chris Brown got a neck tattoo, based, he says, on the promotional material produced by MAC for the Rodarte sisters campaign. The image, which is of a skull, bears a striking resemblance to the police photographs of his ex, and now current, girlfriend, superstar Rihanna. The controversy over gendered violence, race and exploitation, begun by Rodarte and MAC, came back, haunting, once again. This paper seeks to address these connections, and ask what happens when domestic violence collides with globalism, fashion and murder.

Measuring and improving production efficiency of paint filling and packing line

Tutkittu yritys on suomalainen maaleja ja lakkoja kansainvälisesti valmistava ja myyvä toimija. Yrityksessä otettiin vuonna 2010 käyttöön uudet tuotannon ja toimitusketjun tavoitteet ja suunnitelmat ja tämä tutkimus on osa tuota kokonaisvaltaista kehittämissuuntaa. Tutkimuksessa käsitellään tuotannon ja kunnossapidon tehokkuuden parantamis- ja mittaustyökalu OEE:tä ja tuotevaihtoaikojen pienentämiseen tarkoitettua SMED -työkalua. Työn teoriaosuus perustuu lähinnä akateemisiin julkaisuihin, mutta myös haastatteluihin, kirjoihin, internet sivuihin ja yhteen vuosikertomukseen. Empiriaosuudessa OEE:n käyttöönoton ongelmia ja onnistumista tutkittiin toistettavalla käyttäjäkyselyllä. OEE:n potentiaalia ja käyttöönottoa tutkittiin myös tarkastelemalla tuotanto- ja käytettävyysdataa, jota oli kerätty tuotantolinjalta. SMED:iä tutkittiin siihen perustuvan tietokoneohjelman avulla. SMED:iä tutkittiin teoreettisella tasolla, eikä sitä implementoitu vielä käytäntöön. Tutkimustuloksien mukaan OEE ja SMED sopivat hyvin esimerkkiyritykselle ja niissä on paljon potentiaalia. OEE ei ainoastaan paljasta käytettävyyshäviöiden määrää, mutta myös niiden rakenteen. OEE -tulosten avulla yritys voi suunnata rajalliset tuotannon ja kunnossapidon parantamisen resurssit oikeisiin paikkoihin. Työssä käsiteltävä tuotantolinja ei tuottanut mitään 56 % kaikesta suunnitellusta tuotantoajasta huhtikuussa 2016. Linjan pysähdyksistä ajallisesti 44 % johtui vaihto-, aloitus- tai lopetustöistä. Tuloksista voidaan päätellä, että käytettävyyshäviöt ovat vakava ongelma yrityksen tuotannontehokkuudessa ja vaihtotöiden vähentäminen on tärkeä kehityskohde. Vaihtoaikaa voitaisiin vähentää ~15 % yksinkertaisilla ja halvoilla SMED:illä löydetyillä muutoksilla työjärjestyksessä ja työkaluissa. Parannus olisi vielä suurempi kattavimmilla muutoksilla. SMED:in suurin potentiaali ei välttämättä ole vaihtoaikojen lyhentämisessä vaan niiden standardisoinnissa.

[Map of part of the Washington Canal at the eastern end of the Mall, Washington D.C.].

Shows "Present direction of the Canal" and "New canal."

Development of a brand and implementation of a promotional campaign for the products of Ria de Aveiro focus on brand identity and brand positioning

Directed internship

Analysis of competitiveness level in an industrial company using a continuous improvement based approach

International audience

Effects of message appeal and service type in CSR communication strategies

Studies highlight the importance of corporate social responsibility (CSR) for companies' stakeholders. Consumers, however, are often unaware of such initiatives. Understanding how to effectively communicate socially responsible initiatives is an important challenge for both researchers and managers, who invest considerable resources in CSR initiatives. This study examines consumers' responses to two types of CSR initiatives (environment-related and employee-based) using two types of message appeals (emotional and rational) across two service types (hedonic and utilitarian). Responses provide data on consumers' awareness of CSR initiatives, attitudes toward the company, perceived company uniqueness, emotional response, and attributions of company motives to engage in CSR activities. Rational appeals more effectively communicate environment-related CSR initiatives, whereas emotional appeals more effectively communicate employee-based CSR initiatives. Effects on consumers' attributions of company motives to engage in CSR are significant in both service types. Finally, rational message appeals affect consumers' CSR awareness and emotional responses in utilitarian service.

In search of Chinese jurisprudence : does Chinese legal tradition have a place in China's future?

Questions the extent to which Westerrn commercial laws adopted by China, particularly in its Company Laws of 1993 and 1995, are comptaible with China's different cultural and legal traditions. Suggests that Western concepts of the rule of law and of corporate governance are alient to China. Outlines the development of the Western legal tradition. based on Judaeo-Christian beliefs and legal rationalism. Compares this with the deveopment of the Chinese legal tradtion, based on Confucianism and legalism. Proposes ways in which the two traditions could be reconciled more effectively.

Airborne systems laboratory for automation research

This paper presents an Airborne Systems Laboratory for Automation Research. The Airborne Systems Laboratory (ASL) is a Cessna 172 aircraft that has been specially modified and equipped by ARCAA specifically for research in future aircraft automation technologies, including Unmanned Airborne Systems (UAS). This capability has been developed over a long period of time, initially through the hire of aircraft, and finally through the purchase and modification of a dedicated flight-testing capability. The ASL has been equipped with a payload system that includes the provision of secure mounting, power, aircraft state data, flight management system and real-time subsystem. Finally, this system has been deployed in a cost effective platform allowing real-world flight-testing on a range of projects.

Awakening the spirit : telling the stories

Stephen Page talking with Cheryl Stock Stephen Page is one of the most significant dance artists working in Australia today, unique in his ability to forge and sustain a company of Indigenous artists through his seminal leadership of Bangarra Dance Theatre, which celebrated its 20 year anniversary in 2009. Together with the many artists who have contributed to the Bangarra vision, Stephen has created a distinctive contemporary Indigenous dance style and approach, celebrated for the stories it tells of the Aboriginal and Torres Strait Islander experience. Fusing the traditional with the contemporary through a connection to the spirit of the land and its people, Stephen has inspired and influenced a generation of Aboriginal and Torres Strait Islander dance and theatre artists as a choreographer, director and mentor. His down to earth humour, his passion and his sensitivity draw us as audience, Indigenous and non-Indigenous alike, to his theatrical stories of place and spirit – both ancient and modern – in ways that simultaneously transcend and reaffirm the particular cultural experience which informs them. This conversation covers the early years of growing up with his 'urban clan', discovering dance and politics and his spiritual awakening at Yirrkala. Stephen then describes moving in and out of different realities as a member of Sydney Dance Company whilst simultaneously exploring his Indigenous dance voice, the transition from dancer to choreographer, creating the Bangarra identity and the intercultural experiment of 'Rites' with the Australian Ballet. The last section looks at his various roles as an artistic director and nurturing the next generation of Indigenous artists.

Johnno

The field of research was internationally-oriented contemporary theatre practice. The research challenge was to adapt an iconic Queensland novel – David Malouf’s Johnno - to the stage in a way that would engage, resonate with and be relevant to national and international audiences. This project represented an international collaboration between La Boite Theatre Company, the Derby Playhouse, UK, and the Brisbane Festival. It was the first time that an English and an Australian company had collaborated in such a way, sharing both creative vision and financial costs and providing performances on both continents. The production was well received in both countries, suggesting that a culturally idiosyncratic work such as Johnno can be created that can fulfil not only the needs of the localised audience but also have broad global cultural resonance. The work was performed at the Brisbane Festival and the Derby Playhouse. In Brisbane, it was performed at the Brisbane Powerhouse as the signature work of the 2006 festival, with 30 performances, receiving favourable national reviews and achieving 90% box office. In the UK, it was performed at the Derby Playhouse for 22 performances, once again to favourable national reviews and 60% audiences, a good result for a new work in a regional theatre in the UK. The success of Johnno was also in the power of the collaboration between the three creative companies involved in the work.

Old archetype rides into Bell's hell [Review]

BILLED as a trip to hell, Bell Shakespeare and Queensland Theatre Company's production of Faustus is adapted from Christopher Marlowe's Doctor Faustus and Johann Wolfgang von Goethe's fragmentary Urfaust, an early version of Goethe's enormous two-volume Faust tragedy published in 1808, then in full in 1832

The effect of screen size on mission commander's situation awareness

Situation awareness lost is a common factor leading to human error in the aviation industry. However, few studies have investigated the effect on situation awareness where the control interface is a touch-screen device that supports simultaneous multi-touch input and information output. This research aims to conduct an experiment to evaluate the difference in situation awareness on a large screen device, DiamondTouch (DT107), and a small screen device, iPad, both with multi-touch interactive functions. The Interface Operation and Situation Awareness Testing Simulator (IOSATS), is a simulator to test the three basis interface operations (Search Target, Information Reading, and Change Detection) by implementing a simplified search and rescue scenario. The result of this experiment will provide reliable data for future research for improving operator's situation awareness in the avionic domain.