A study of the effect of automatic sequence clothes washing machines on individual sewage disposal systems, conducted for the Federal Housing Administration under contract no. Ha-fh-646 (amendment no. 1) March 22, 1956.

Mode of access: Internet.

The moth book; a popular guide to a knowledge of the moths of North America.

Each plate accompanied by guard sheet with descriptive letterpress.

Our butterflies and moths; a true-to-life adventure into the wonderland of the butterfly world and its related insect kingdom as seen through fact and fancy, fable and folklore

Mode of access: Internet.

Moths /

Vol. 5, written by T.R.D. Bell and F.B. Scott, has subtitle: Sphingidae.

Nearctic pine tip moths of the genus Rhyacionia, biosystematic review : Lepidoptera--Tortricidae, Olethreutinae /

Bibliography: p. 32-33.

Learning, odour preference and flower foraging in moths

Floral volatiles play a major role in plant-insect communication. We examined the influence of two volatiles, phenylacetaldehyde and a-pinene, on the innate and learnt foraging behaviour of the moth Helicoverpa armigera. In dual-choice wind tunnel tests, adult moths flew upwind towards both volatiles, with a preference for phenylacetaldehyde. When exposure to either of these volatiles was paired with a feeding stimulus (sucrose), all moths preferred the learnt odour in the preference test. This change in preference was not seen when moths were exposed to the odour without a feeding stimulus. The learnt preference for the odour was reduced when moths were left unfed for 24 h before the preference test. We tested whether moths could discriminate between flowers that differed in a single volatile component. Moths were trained to feed on flowers that were odour-enhanced using either phenylacetaldehyde or a-pinene. Choice tests were then carried out in an outdoor flight cage, using flowers enhanced with either volatile. Moths showed a significant preference for the flower type on which they were trained. Moths that were conditioned on flowers that were not odour-enhanced showed no preference for either of the odour-enhanced flower types. The results imply that moths may be discriminating among odour profiles of individual flowers from the same species. We discuss this behaviour within the context of nectar foraging in moths and odour signalling by flowering plants.

Do our feelings leak through the clothes we wear?

There is a substantial body of literature that suggests that clothing and more particularly fashion is a form of communication. It communicates how we want to be seen by others as well as how we see ourselves. But does it communicate how we feel? This paper draws a link between symbolic and emotional communication by suggesting that fashion changes our internal feelings and that many of these emotions are expressed to others through symbols such as the clothes we wear. A conceptual framework is presented explaining the effects of clothing on an individual consumer. This framework classifies the fashion effect into internally and externally communicated meanings. Knowledge of how fashion is used as a form of emotional expression is particularly important for those fashion retailers who display the clothing they sell to engender positive feelings that may then lead to purchase behaviour.

White Moths

This collection navigates the process of grief after the speaker’s loss of both parents. The speaker struggles to connect with both the dead and the living through her physical intimacy and relationship with a troubled lover. These poems explore and exhume the speaker’s buried memories, moving from moments of wry humor to meaningful and sometimes painful discovery. Ultimately, these poems attempt to reach beyond the self, to transform loss and loneliness from a human condition into a musical tool of art for human connection.

Integrated visual perception architecture for robotic clothes perception and manipulation

This thesis proposes a generic visual perception architecture for robotic clothes perception and manipulation. This proposed architecture is fully integrated with a stereo vision system and a dual-arm robot and is able to perform a number of autonomous laundering tasks. Clothes perception and manipulation is a novel research topic in robotics and has experienced rapid development in recent years. Compared to the task of perceiving and manipulating rigid objects, clothes perception and manipulation poses a greater challenge. This can be attributed to two reasons: firstly, deformable clothing requires precise (high-acuity) visual perception and dexterous manipulation; secondly, as clothing approximates a non-rigid 2-manifold in 3-space, that can adopt a quasi-infinite configuration space, the potential variability in the appearance of clothing items makes them difficult to understand, identify uniquely, and interact with by machine. From an applications perspective, and as part of EU CloPeMa project, the integrated visual perception architecture refines a pre-existing clothing manipulation pipeline by completing pre-wash clothes (category) sorting (using single-shot or interactive perception for garment categorisation and manipulation) and post-wash dual-arm flattening. To the best of the author’s knowledge, as investigated in this thesis, the autonomous clothing perception and manipulation solutions presented here were first proposed and reported by the author. All of the reported robot demonstrations in this work follow a perception-manipulation method- ology where visual and tactile feedback (in the form of surface wrinkledness captured by the high accuracy depth sensor i.e. CloPeMa stereo head or the predictive confidence modelled by Gaussian Processing) serve as the halting criteria in the flattening and sorting tasks, respectively. From scientific perspective, the proposed visual perception architecture addresses the above challenges by parsing and grouping 3D clothing configurations hierarchically from low-level curvatures, through mid-level surface shape representations (providing topological descriptions and 3D texture representations), to high-level semantic structures and statistical descriptions. A range of visual features such as Shape Index, Surface Topologies Analysis and Local Binary Patterns have been adapted within this work to parse clothing surfaces and textures and several novel features have been devised, including B-Spline Patches with Locality-Constrained Linear coding, and Topology Spatial Distance to describe and quantify generic landmarks (wrinkles and folds). The essence of this proposed architecture comprises 3D generic surface parsing and interpretation, which is critical to underpinning a number of laundering tasks and has the potential to be extended to other rigid and non-rigid object perception and manipulation tasks. The experimental results presented in this thesis demonstrate that: firstly, the proposed grasp- ing approach achieves on-average 84.7% accuracy; secondly, the proposed flattening approach is able to flatten towels, t-shirts and pants (shorts) within 9 iterations on-average; thirdly, the proposed clothes recognition pipeline can recognise clothes categories from highly wrinkled configurations and advances the state-of-the-art by 36% in terms of classification accuracy, achieving an 83.2% true-positive classification rate when discriminating between five categories of clothes; finally the Gaussian Process based interactive perception approach exhibits a substantial improvement over single-shot perception. Accordingly, this thesis has advanced the state-of-the-art of robot clothes perception and manipulation.

Monopoly, monopsony, and the value of culture in a digital age: An axiology of two multimedia resource repositories

Broadly speaking, axiology is the study of values. Axiologies are expressed materially in patterns of choices that are both culture-bound and definitive of different cultures. They are expressed in the language we use; in the friends we keep; in the clothes we wear; in what we read, write, and watch; in the technologies we use; in the gods we believe in and pray to; in the music we make and listen to—indeed, in every kind of activity that can be counted as a definitive element of culture. In what follows, I describe the axiological underpinnings of two closely related multimedia repository projects— Australian Creative Resources Online (ACRO) and The Canadian Centre for Cultural Innovation (CCCI)—and how these are oriented towards a potentially liberating role for digital repositories.

Quantitative PCR assay of sewage-associated Bacteroides markers to assess sewage pollution in an urban lake in Dhaka, Bangladesh

This paper aimed to assess the magnitude of sewage pollution in an urban lake in Dhaka, Bangladesh by using Quantitative PCR (qPCR) of sewage-associated Bacteroides HF183 markers. PCR was also used for the quantitative detection of ruminant wastewater-associated CF128 markers along with the enumeration of traditional fecal indicator bacteria, namely, enterococci. The number of enterococci in lake water samples ranged from 1.1 x 104 to 1.9 x 105 CFU/100 ml of water. From the 20 water samples tested, 14 (70%) and 7 (35%) were PCR positive for the HF183 and CF128 markers, respectively. The numbers of the HF183 and CF128 markers in lake water samples were 3.9 x 104 to 6.3 × 107 and 9.3 x 103 to 6.3 x 105 genomic units (GU)/100 ml of water, respectively. The high numbers of enterococci and the HF183 markers indicate sewage pollution and potential health risks to those who use the lake water for non-potable purposes such as bathing and washing clothes. This is the first study that investigated the presence of microbial source tracking (MST) markers in Dhaka, Bangladesh where diarrhoeal diseases is one of the major causes of childhood mortality. The molecular assay as used in this study can provide valuable information on the extent of sewage pollution, thus facilitating the development of robust strategies to minimise potential health risks.

Re-framing fashion : from original and copy to adaptation

This article discusses the interaction between original and adaptation in the fashion system; the study also analyses, at a micro level, practices of adaptation adopted by consumers when making and re-making fashionable clothes. The article shows that the distinction between original and copy is historically determined as it grew out of the romantic notion of the authentic work of art. This article suggests that, in the impossibility to determine copyright in fashion, adaptation is a better descriptor of practices that transform garments; the concept of adaptation also abolishes trite notions of fashion as pastiche or bricolage, arguing for as a way to look at the many variations and re-contextualisations of garments historically and cross-culturally.