Jungle Perch Kuhlia Rupestris Fingerling Production Manual

This manual consists of written descriptions of jungle perch Kuhlia rupestris production and video material to demonstrate each of the key production steps. Video links are at the end of each major written section in the document. To activate the link use ctrl click. The videos enhance the instructive ability of this manual. The keys to producing jungle perch are:  maintaining broodstock in freshwater or low salinity water less than 5 ppt  spawning fish in full seawater at 28C  incubating eggs in full seawater. Salinities must not be less than 32 ppt  ensuring that first feed jungle perch larvae have an adequate supply of copepod nauplii  rearing larvae in full seawater under bright light  use of gentle aeration in tanks  postponing spawns until adequate densities of copepod nauplii are present in ponds  sustaining copepod blooms in ponds for at least 20 days  avoiding use of paddlewheels in ponds  supplementary feeding with Artemia salina and weaning diets from 20 days after hatch  harvesting of fingerlings or fry after they are 25-30 mm in length (50 to 60 days post hatch)  covering tanks of fingerlings with 5 mm mesh and submerging freshwater inlets to prevent jumping.

A note on the movement of single large liquid bubbles in vertical tubes

The flow of single large liquid bubbles under gravity in closed tubes is studied here for the case when the liquid bubble exhibits micropolar behaviour. The film thickness, velocity profile in the bubble and film, and nonNewtonian effects are studied and compared with those for the correspondingNewtonian fluid. The investigation is restricted to the case where the bubble length is far greater than the tube radius.

Towards web-based semantic enrichment of 3D insects

Natural history collections are an invaluable resource housing a wealth of knowledge with a long tradition of contributing to a wide range of fields such as taxonomy, quarantine, conservation and climate change. It is recognized however [Smith and Blagoderov 2012] that such physical collections are often heavily underutilized as a result of the practical issues of accessibility. The digitization of these collections is a step towards removing these access issues, but other hurdles must be addressed before we truly unlock the potential of this knowledge.

Starch composites with aconitic acid

The aim of this project is to examine the effectiveness of using aconitic acid (AcA), a tricarboxylic acid which contains a carbon/carbon double bond (C=C), to enhance the properties of starch-based films. Starch/glycerol cast films were prepared with 0, 2, 5, 10 and 15 wt% AcA (starch wt% basis) and the properties analysed. It was shown that AcA acted as both a cross-linking agent and also a strong plasticising agent. The 5 wt% AcA derived starch films were the most effectively cross-linked having the lowest solubility (28 wt%) and decreased swelling coefficient (35 vol.%) by approximately 3 times and 2.4 times respectively compared to the control film submerged in water (23 °C). There was also a significant increase in the film elongation at break by approximately 35 times (compared to the control) with the addition of 15 wt% AcA, emphasising the plasticising effect of AcA. However, generally there was a reduced tensile strength, softening of the film, and reduced thermal stability with increased amounts of AcA.

Exciton Plasmon Coupling in Hybrid Semiconductor - Metal Nanoparticle Monolayers

Hybrid semiconductor-metal nanoparticles monolayer of Cadmium Sclenide and gold nanoparticles has been prepared, using Langmuir – Blodgett technique. The near field photoluminescence spectra from such monolayer films, shows red shift similar to 75 meV with respect to CdSe QDs monolayer film and splitting similar to 57 meV. The composite spectra are much broader similar to 330 meV compared to the corresponding emission spectra of CdSe monolayer similar to 165 meV. The possible explanation for the observed features are provided in terms of exciton - Plasmon interaction.

Arguing the archive: Reconceptualising the NFSA in a time of austerity

This paper examines key issues emerging from the July 2014 Where We Are Heading sessions conducted between The National Film and Sound Archive (NFSA) CEO Michael Loebenstein, industry stakeholders and members of the public seeking to engage with the future direction of the NFSA. Analysis of transcripts from these public meetings reveal significant conceptual and programmatic gaps exist between what the NFSA has done in the past, how it “self-actualises” in terms of a national collection and what it can practically and effectively achieve in the near future. These significant challenges to the historical function of the Archive occur at a time of pronounced economic austerity for public cultural institutions and expanding, digitally driven curatorial responsibilities. Tensions exist between the need for the NFSA to increase revenue while preserving the function of an open and accessible Archive. Three key areas of challenge are addressed - digitisation, funding and the need for the NFSA to connect more broadly and more deeply with Australian society. The latter area is identified as crucial as the NFSA continues to articulate and actively promote the public value of the Archive through renewed program and outreach efforts.

A fluctuation-based characterization of athermal phase transitions:Application to shape memory alloys

We employ a fluctuation-based technique to investigate the athermal component associated with martensite phase transition, which is a prototype of temperature-driven structural transformation. Statistically, when the phase transition is purely athermal, we find that the temporal sequence of avalanches under constant drive is insensitive to the drive rate. We have used fluctuations in electrical resistivity or noise in nickel titanium shape memory alloys in three different forms: a thin film exhibiting well-defined transition temperatures,a highly disordered film, and a bulk wire of rectangular cross-section. Noise is studied in the realm of dynamic transition,viz.while the temperature is being ramped, which probes into the kinetics of the transformation at real time scales,and could probably stand out as a promising tool for material testing in various other systems, including nanoscale devices.

The Art of Studio Teaching

This project began in 2013, with the award of an internal QUT Teaching and Learning grant. The task we wished to undertake was to document and better understand the role of studio teaching practice in the Creative Industries Faculty. While it was well understood that the Faculty had long used studio pedagogies as a key part of its teaching approach, organizational and other changes made it productive and timely to consider how the various study areas within the Faculty were approaching studio teaching. Chief among these changes were innovations in the use of technology in teaching, and at an organizational level the merging of what were once two schools within different faculties into a newly-structured Creative Industries Faculty. The new faculty consists of two schools, Media, Entertainment and Creative Art (MECA) and Design. We hoped to discover more about how studio techniques were developing alongside an ever-increasing number of options for content delivery, assessment, and interaction with students. And naturally we wanted to understand such developments across the broad range of nineteen study areas now part of the Creative Industries Faculty. This e-book represents the first part of our project, which in the main consisted in observing the teaching practices used in eight units across the Faculty, and then interviews with the unit coordinators involved. In choosing units, we opted for a broad opening definition of ‘studio’ to include not only traditional studios but also workshops and tutorials in which we could identify a component of studio teaching as enumerated by the Australian Learning and Teaching Council’s Studio Teaching Project: • A culture, a creative community created by a group of students and studio teachers working together for periods of time • A mode of teaching and learning where students and studio teachers interact in a creative and reflective process • A program of projects and activities where content is structured to enable ‘learning in action’ • A physical space or constructed environment in which the teaching and learning can take place (Source: http://www.studioteaching.org/?page=what_is_studio) The units we chose to observe, and which we hoped would represent something of the diversity of our study areas, were: • Dance Project 1 • Furniture Studies • Wearable Architecture • Fashion Design 4 • Industrial Design 6 • Advanced Writing Practice 3 • Introduction to Creative Writing • Studio Art Practice 2 Over the course of two semesters in 2013, we attended classes, presentations, and studio time in these units, and then conducted interviews that we felt would give further insight into both individual and discipline-specific approaches to studio pedagogies. We asked the same questions in each of the interviews: • Could you describe the main focus and aims of your unit? • How do you use studio time to achieve those aims? • Can you give us an example of the kind of activities you use in your studio teaching? • What does/do these example(s) achieve in terms of learning outcomes? • What, if any, is the role of technology in your studio teaching practice? • What do you consider distinctive about your approach to studio teaching, or the approach taken in your discipline area? The unit coordinators’ responses to these questions form some of the most interesting and valuable material in this book, and point to both consistencies in approach and teaching philosophies, as well as areas of difference. We believe that both can help to raise our critical awareness of studio teaching, and provide points of comparison for the future development of studio pedagogy in the Creative Industries. In each of the following pages, the interviews are placed alongside written descriptions of the units, their aims and outcomes, assessment models, and where possible photographs and video footage, as well as additional resources that may be useful to others engaged in studio teaching.

The Chinese Television Industry

Television is a massive industry in China, yet fewer people are watching television screens. This ground-breaking study explores how television content is changing, how the Chinese government is responding to the challenges presented by digital media, and how businesses are brokering alliances in both traditional and new media sectors. Table of Contents Acknowledgments p. vi Introduction p. 1 1 Television in Transition p. 8 2 Nation Building p. 34 3 Soft Power p. 56 4 Formats p. 85 5 Channels and Content p. 111 6 Convergence p. 141 7 Rethinking Chinese Television Research p. 164 Bibliography p. 173 Index p. 184

Introduction: Reviewing Australian screen history

This special issue of Studies in Australasian Cinema features a selection of papers presented at the 17th Film and History Association of Australia and New Zealand (FHAANZ) conference, held at Queensland University of Technology between 1 and 3 July 2015. This was the first FHAANZ conference to be hosted in Queensland since 1998. Informed by historical and archival research, the articles examine overlooked or underdeveloped aspects of screen history, offer new historical perspectives, or consider key contemporary issues regarding the preservation of Australian screen history.