Unconventional Ni–P alloy-catalyzed CVD of carbon coil-like micro- and nano-structures

Conventional catalyzed thermal CVD of carbon microcoils commonly suffers from poor control of the coil shape and morphology and rarely reaches the nanoscale size range. This article reports on an unconventional Ni-P alloy-catalyzed, high-throughput, highly reproducible CVD of ultra-long carbon coil-like micro- and nano-structures using acetylene precursor at relatively low process temperatures. Helical carbon microcoils with consistently uniform, circular cross-sections and a high degree of crystallinity have been synthesized at 750 °C. A further reduction of the temperature to 650 °C led to the growth of ultra-long (up to several mm) wave-like carbon nanofibers made of two nanowires with the diameters in the 100-200 nm range. The results of the XRD and Raman analysis reveal that the nanofibers feature only a slightly more disordered structure compared to the microcoils. Our results suggest that morphology and structure of the carbon coil-like micro- and nano-structures can be tailored by the appropriate alloying of the catalyst and the choice of the CVD process parameters.

Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

The Australian general public's perceptions of having a personally controlled electronic health record (PCEHR)

Objective The move internationally by Governments and other health providers to encourage patients to have their own electronic personal health record (e-PHRs) is growing exponentially. In Australia the initiative for a personally controlled electronic health record (known as PCEHR) is directed towards the public at large. The first objective of this study then, is to examine how individuals in the general population perceive the promoted idea of having a PCEHR. The second objective is to extend research on applying a theoretically derived consumer technology acceptance model to guide the research. Method An online survey was conducted to capture the perceptions and beliefs about having a PCEHR identified from technology acceptance models and extant literature. The survey was completed by 750 Queensland respondents, 97% of whom did not have a PCEHR at that time. The model was examined using exploratory factor analysis, regressions and mediation tests. Results Findings support eight of the 11 hypothesised relationships in the model. Perceived value and perceived risk were the two most important variables explaining attitude, with perceived usefulness and compatibility being weak but significant. The perception of risk was reduced through partial mediation from trust and privacy concerns. Additionally, web-self efficacy and ease of use partially mediate the relationship between attitude and intentions. Conclusions The findings represent a snapshot of the early stages of implementing this Australian initiative and captures the perceptions of Queenslanders who at present do not have a PCEHR. Findings show that while individuals appreciate the value of having this record, they do not appear to regard it as particularly useful at present, nor is it particularly compatible with their current engagement with e-services. Moreover, they will need to have any concerns about the risks alleviated, particularly through an increased sense of trust and reduction of privacy concerns. It is noted that although the respondents are non-adopters, they do not feel that they lack the necessary web skills to set up and use a PCEHR. To the best of our knowledge this is one of a very limited number of studies that examines a national level implementation of an e-PHR system, where take-up of the PCEHR is optional rather than a centralised, mandated requirement.

Loss Control

A exhibition of sculptural assemblages that continue my exploration of self-portraiture and the sculptural object. The work specifically extends the formal vocabulary of my studio to incorporate smaller composite arrangements with an emphasis on the sculptural support. Small objects that are either modelled or cast from life are assembled into four tableaux that respond to the object-relations that arise through the production process. The resulting exhibiton thus acts a meditation on the ontology of art practice, conceived as a topology of objects.

Flathead (Origin of the Specious)

A three channel video work that was produced under the psuedonym Eve Roleston that explored the arbitrary nature of signification as it played across a range of images, texts and sounds. The work aimed to provide a considered engagement with the contingent, polymorphous and unstable qualities of the material on each of the three screens. This work forms part of my practice-led research undertaken for my PhD. It deals with reconsidering the relationship between politics and aesthetics by employing strategies of humour, play theory and the fictocritical

Your Loss is Our Gain

2 x 2.5 metre text based wall painting with a hidden automatic air freshener timed to spray every 60 seconds. The work formed part of a group exhibition that dealt with Humour,Politics and Art. It was part of a series of ongoing works made under the pseudonym Eve Roleston. Roleston is part of a trio of pseudonyms I use, the others being Ernesto Love, and Ernest Olove, to explore the research potential of the fictocritical in a visual arts practice.This forms part of an ongoing body of practice-led research undertaken in my PhD dealing with reconfiguring the relationship between art and politics.

World peace for video art

A single channel video projection with image, text and sound components. It was projected so as entirely fill a 3 x 3.5 wall in a 6 x 3.5 metre gallery space. The work deals with the role of humour and the fictocritical in exploring the relationship between politics and art.

Mark Webb Survey Exhibition

The exhibiton brought together a diverse group of works using an array of presentational strategies, which critically facilitate a dialogue across the material and conceptual aspects of my practice over 25 years. It focussed on my ongoing explorations into art as a model for research, as a site for intermediary exchange between different discursive forms and as a space to engage the politics of the everyday.

Figure and ground

Critically responding to Heimo Zobernig's painted green carpet, a semi-permanent architectural intervention realised in the immediate aftermath of my survey show, I painted the windows of the predominantly glazed space red to effectively create a two-colour painting that envelops the viewer and adds a new dimension to the painterly tradition of hinterglasmalerei. The work created an immersive environment for viewers that aimed to promote an affectual experience through the intense saturation of the complimentary contrasts red and green.

EDDY

This exhibiton bought together a selection of artists - Danielle Clej, Channon Goodwin, Christopher Handran, Majena Mafe, Erika Scott and Mark Webb - to explore the role conversations and incidental engagements play as part of making art.The premise of the show focused on how these artists might respond to the process of sharing ideas and responses to one other in the making of artwork.

Just dawn

Commissioned for the It’s Timely exhibition at the Blacktown Arts Centre, Just Dawn is a response to two speeches that former Australian Prime Minister Gough Whitlam delivered in Blacktown in 1972 and 1974. Throughout the video, a series of white words and phrases fade in and out as a virtual camera flies towards an abstract horizon line. The narrative thread of the text is directed towards an unnamed Whitlam through the repeated appearance of the words ‘you said’. As the video progresses, the colours of the animated background slowly brighten to resemble an emerging dawn, and the sound, text and camera movements build in frequency and intensity. As they do so, the once optimistic outlook becomes increasingly unsteady. In these ways, Just Dawn is equal parts homage and lament for the ideological acuity and ambition of Whitlam’s agenda. It explores how Whitlam’s words can become markers for the complexities of both his own specific transformative policies, and the character of the socially progressive movement more broadly.

Haven

In Haven, a female voice guides a meditation while an abstract animated form progressively morphs from geometric to irregular on screen. As the video develops, the tone shifts from relaxation to seduction and, eventually, to hints of mild contempt. Through its subtle shifts in tone and form, the work plays with the relationships between self-help, self-absorption and self-pity. Its verbal and visual references gently suggest a disjunction between internalised thoughts and external realities. In doing so, it also alludes to the ways that desire and doubt can inform quests for inner peace.

Thoughts make the world

Thoughts Make the World is a synchronised two-channel video with sound. On the right-hand screen, a young man and woman exchange timeworn philosophical phrases and existential questions. On the left-hand screen, a guitarist plays a soundtrack that slowly builds over time. As the actors’ quest for meaning struggles toward an unresolved end, the guitarist launches into a climactic, liberating solo, eclipsing their somewhat-labored attempts to understand existence. By contrasting these verbal and non-verbal signifiers of self-reflection and self-expression, Thoughts Make the World questions how and where to grapple with enduring existential problems in a context dominated by the pre-packaged formats of popular culture and ironic modes of individualised response.

Business model adaptation in new ventures: are technology-based firms different?

A firm’s business model (BM) is an important driver of its relative performance. Constructive adaptation to elements of the BM can therefore sustain the position in light of changing conditions. This study takes a configurational approach to understanding drivers of business model adaptation (BMA) in new ventures. We investigate the effect of human capital, social capital, and technological environment on BMA. We find that a universal, direct effects, analysis can provide useful information, but also risks painting a distorted picture. Contingent, two-way interactions add further explanatory power, but configurational models combining elements of all three (internal resource, external activities, environment) are superior.

Coffee for morning hunger pangs. An examination of coffee and caffeine on appetite, gastric emptying, and energy intake

Coffee is one of the most widely consumed beverages in the world and has a number of potential health benefits. Coffee may influence energy expenditure and energy intake, which in turn may affect body weight. However, the influence of coffee and its constituents – particularly caffeine – on appetite remains largely unexplored. The objective of this study was to examine the impact of coffee consumption (with and without caffeine) on appetite sensations, energy intake, gastric emptying, and plasma glucose between breakfast and lunch meals. In a double-blind, randomised crossover design. Participants (n = 12, 9 women; Mean ± SD age and BMI: 26.3 ± 6.3 y and 22.7 ± 2.2 kg•m−2) completed 4 trials: placebo (PLA), decaffeinated coffee (DECAF), caffeine (CAF), and caffeine with decaffeinated coffee (COF). Participants were given a standardised breakfast labelled with 13C-octanoic acid and 225 mL of treatment beverage and a capsule containing either caffeine or placebo. Two hours later, another 225 mL of the treatment beverage and capsule was administered. Four and a half hours after breakfast, participants were given access to an ad libitum meal for determination of energy intake. Between meals, participants provided exhaled breath samples for determination of gastric emptying; venous blood and appetite sensations. Energy intake was not significantly different between the trials (Means ± SD, p > 0.05; Placebo: 2118 ± 663 kJ; Decaf: 2128 ± 739 kJ; Caffeine: 2287 ± 649 kJ; Coffee: 2016 ± 750 kJ); Other than main effects of time (p < 0.05), no significant differences were detected for appetite sensations or plasma glucose between treatments (p > 0.05). Gastric emptying was not significantly different across trials (p > 0.05). No significant effects of decaffeinated coffee, caffeine or their combination were detected. However, the consumption of caffeine and/or coffee for regulation of energy balance over longer periods of time warrant further investigation.