Life history variation in Dasya ocellata (Dasyaceae, Rhodophyta)

Four of the five members of the Dasyaceae found in the British Isles, Dasya corymbifera J. Agardh, Dasya hutchinsiae Harvey, Dasya punicea Meneghini ex Zanardini and Heterosiphonia plumosa (Ellis) Batters, appear to have Polysiphonia-type life histories on the basis of evidence from field collections of tetrasporophytes and gametophytes. In collections from the British Isles of the fifth species, Dasya ocellata (Grateloup) Harvey, only tetrasporophytes have ever been observed, but there are two reports of gametophytes in this species from further south in Europe. Dasya ocellata tetraspores were isolated into culture from populations in Strangford Lough, Northern Ireland, and Agadir, Morocco, where one female thallus was collected amongst tetrasporophytes. Dasya ocellata from Ireland underwent a direct tetraspore-to-tetrasporophyte life history, which was followed through two complete cycles. Karyological studies showed that meiosis does not occur during tetrasporangial development: tetrasporangia are mitotic, with c. 64 small chromosomes. Comparison with chromosome numbers in meiotic tetrasporangia of D. hutchinsiae (n = c. 32) showed that this is the diploid chromosome complement. Tetraspores from the Moroccan isolate, by contrast, gave rise to gametophytes (although only the males became fertile) and tetrasporophyte recycling did not occur. Thalli sampled from a population in southern Portugal consisted only of tetrasporophytes. Dasya ocellata, like many members of the Ceramiales, shows intraspecific life history variability; a sexual life history apparently occurs only in southern populations.

Use of eye care services among diabetic patients in urban Indonesia.

OBJECTIVES:

To assess the use of eye care and its predictors among diabetic patients in Indonesia.

METHODS:

Diabetic patients aged 18 years and older were recruited consecutively from a university clinic and 2 community clinics in Jakarta, Indonesia. Information obtained by questionnaire and record review included demographic and socioeconomic status, knowledge about diabetic retinopathy, and ocular and medical history. The main outcome was self-reported or record history of an eye examination by an eye care professional with dilation of the pupil within the preceding year.

RESULTS:

Among 196 participants (mean [SD] age, 58.4 [9.4] years; 61.5% female), 166 (84.7%) had not undergone ocular examination in the last year, including 100 of 119 patients (84.0%) at the university clinic. Fewer than half (82 of 166 [49.4%]) of all patients reported being told of the need for eye examinations by their physician. In regression analyses, factors associated with having an eye examination were higher diabetic retinopathy knowledge score (odds ratio = 1.52; P = .01) and years since being diagnosed as having diabetes (odds ratio = 1.71 for third vs first tertile; P = .02). Education, income, health insurance status, and diagnosis of diabetic retinopathy were not predictive of examination. The most common reasons given by subjects for not having had eye examinations concerned lack of knowledge about the need for care (97 of 160 subjects [60.6%]), while financial barriers were cited by only 22 of 160 subjects (13.8%).

CONCLUSION:

The low proportion of diabetic subjects receiving recommended annual eye examinations in Indonesia might be improved through patient and physician education.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

Ecology of the early life-history stages of shad Alosa fallax fallax (Lacépède, 1803) in the River Mira, with a note on Alosa spp. larvae in the River Guadiana

Tese dout., Ecologia, Universidade do Algarve, 2006

Fotografia-História, o pensamento em imagens : Contributos para a leitura de «História da Imagem Fotográfica em Portugal, 1839-1997» (António Sena, 1998) como um hiperdocumento

Com esta investigação pretende-se caracterizar a relação indissociável entre História e Fotografia, reconhecendo as múltiplas formas de manipulação e respectivos mecanismos de hierarquização de poder, que não apenas determinam o desenvolvimento da sua produção, arquivo e recepção, como desvendam uma constelação de ligações disciplinares, técnicas e políticas que potenciam e moldam o seu sentido. Esta problemática é analisada no contexto português, a partir das práticas de exposição, publicação e colecção fotográfica e consequente ajuste do discurso teórico e crítico nas décadas de 1980 e 1990, adoptando como eixo de pesquisa o trabalho de investigação e historiografia desenvolvido entre 1973 e 1998 por António Sena e, especificamente, o modo como aplica a História (de um meio) como hiperdocumento. O filme Olho de Vidro, uma História da Fotografia (1982), realizado por António Sena e Margarida Gil, as iniciativas fotográficas desenvolvidas pela associação ether/vale tudo menos tirar olhos entre 1982 e 1994, a criação da base de dados Luzitânia/ ether pix database e as publicações Uma História de Fotografia (1991) e História da Imagem Fotográfica em Portugal, 1839-1997 (1998) da autoria de António Sena, formam o corpus do nosso estudo de caso.

Breve revisión de los cambios en el desove de la anchoveta peruana entre 1966 y 1999

Se analiza brevemente la variabilidad del desove de anchoveta en el área entre los 3° y 14° S, durante el periodo 1966-1999, en el cual ocurrieron condiciones ambientales frías y cálidas, que favorecieron o perjudicaron el recurso. Utilizando indices de desove o promedios del número de huevos por m2, durante el invierno, resultantes del análisis de muestras colectadas con redes Hensen, en la columna de 50 metros, se compara la magnitud del desove en periodos fríos y periodos EI Niño, a fin de determinar las características del proceso, encontrándose que los mas altos indices de desove se presentaron en 1966, cuando, ademas, los huevos alcanzaron su mayor cobertura, llegando hasta 150 millas de la costa. Par el contrario, el desove fue nulo en 1983, como consecuencia del Niño 1982-1983. luego de EI Niño 1997-1998, el desove ha vuelto a recuperarse, incrementando sus indices paulatinamente.

Joyce Chapman posing by an orange tree, 1998

Joyce Chapman posing by an orange tree, West Covina, California, 1998.

Joyce Chapman, Palm Springs, California, 1998

Joyce Chapman, daughter of Grant and Zella Chapman; granddaughter of Frank M. Chapman, Palm Springs, California, 1998. Copyright Image Makers, Palm Springs, CA.

Joyce Chapman, Palm Springs, California, 1998

Joyce Chapman, daughter of Grant and Zella Chapman; granddaughter of Frank M. Chapman, Palm Springs, California, 1998.

Joyce Chapman, Palm Springs, California, 1998

Joyce Chapman, Palm Springs, California, 1998. She is the granddaughter of C. C. Chapman's brother, Frank M. Chapman.

Gilbert Field House research collection, 1823, 1966, 1968, n.d.

In 1968 the National Historic Sites, Dept. of Indian Affairs and Northern Development undertook to learn more about its recent acquisition, the Gilbert Field House. The house is located in Niagara-on-the-Lake, Ont. along the Niagara Parkway, on what was part of the original land grant to Gilbert Field, a United Empire Loyalist. The house and contents were severely damaged during the War of 1812. After the war Gilbert’s widow, Eleanor, submitted claims for war losses.

Tony Biernacki Collection, 1967, 1979-1980, n.d.

Tony Biernacki's rowing career began in 1950 in Ottawa with his first Henley medal in 1952 in the coxless four. Sculling became his real means to success. Since 1955 he has posted record times and had numerous wins in the single. He represented Canada at the National Team between 1958 and 1967 and raced in the single at the British Empire Games and Pan Am Games (Chicago, silver medal) and pair at the Worlds in Yugoslavia in 1966. He won the Olympic trials in 1960 in Rome, but was unable to go. Upon his retirement from competition Tony was hired as the Team Manager for the following Pan Am Games. Tony was hired by Brock University in 1965 as a technician in the Chemistry Department. He became the head rowing coach that same year and began women’s rowing at the university level in Ontario with the first women’s crew in 1967. As Brock's second coach ever, he led the teams to championship form and kept the athletes racing through the summer regatta season. Tony remained at Brock from 1965 to 1980. He was one of the founders of The Canadian Masters Rowing Committee and he helped to initiate master's racing at the Canadian Henley. In 1985 he won the single, double and quad at the World Masters Regatta in Toronto. For a number of years he was also the world record holder for his age category on the C2 ergometer. His last heartfelt project was the construction of a wheelchair ramp at Resurrection Lutheran Church where he was an active member. Mr. Biernacki passed away on January 9, 1998 at the age of 66 after a valiant battle with cancer only a month after being awarded the Canadian Coaching Provincial Coaching Award. He is survived by his wife Janet, daughters Tracy, Tammy Pauls, and Tory Phannenhour, and son, Tony Jr. He is also survived by several grandchildren.

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.

Vers une scène commune : rapports croisés entre poésie et chanson chez Raoul Duguay (1966-1970)

Ce mémoire porte sur les deux premiers recueils de Raoul Duguay (ruts et or le cycle du sang dure donc). Il cherche à examiner les liens étroits qu’entretient la poésie de Duguay avec la production parallèle du poète, qui s’oriente dès la fin des années 1960 vers la chanson. Le mémoire s’attachera d’abord, dans le premier chapitre, à présenter l’histoire des liens entre les poètes et la chanson au Québec afin de relever les points de contact significatifs au cours des années 1960 et de poser le cadre théorique de la chanson comme objet d’étude. Dans un deuxième temps, l’analyse des deux premiers recueils de poèmes de Duguay nous mènera à une réflexion sur la présence de la métaphore du chant, puis de la parole poétique en poésie québécoise, qui annonce un changement de paradigme dans l’approche du lyrisme et du sujet lyrique. Enfin, le troisième chapitre se penchera sur le contexte contre-culturel québécois, pour examiner le discours et le contre-discours sur la poésie, pour expliquer le phénomène de décloisonnement des genres qui conduit Raoul Duguay à investir le champ de la culture populaire de sa poésie. Il y sera aussi question du sujet « dans le langage », de l’expérience de la langue et de la subjectivité de la voix.