The combined action of carvacrol and high hydrostatic pressure on Listeria monocytogenes Scott A

Aims: The aim of the study was to investigate the combined antimicrobial action of the plantderived volatile carvacrol and high hydrostatic pressure (HHP). Methods and Results: Combined treatments of carvacrol and HHP have been studied at different temperatures, using exponentially growing cells of Listeria monocytogenes, and showed a synergistic action. The antimicrobial effects were higher at 1°C than at 8 or 20°C. Furthermore, addition of carvacrol to cells exposed to sublethal HHP treatment caused similar reductions in viable numbers as simultaneous treatment with carvacrol and HHP. Synergism was also observed between carvacrol and HHP in semi-skimmed milk that was artifcially contaminated with L. monocytogenes. Conclusions: Carvacrol and HHP act synergistically and the antimicrobial effects of the combined treatment are greater at lower temperatures. Significance and Impact of the Study: The study demonstrates the synergistic antimicrobial effect of essential oils in combination with HHP and indicates the potential of these combined treatments in food processing.

Combined action of S-carvone and mild heat treatment on Listeria monocytogenes Scott A

The combined action of the plant-derived volatile, S-carvone, and mild heat treatment on the food-borne pathogen, Listeria monocytogenes, was evaluated. The viability of exponential phase cultures grown at 8 °C could be reduced by 1·3 log units after exposure to S-carvone (5 mmol l−1) for 30 min at 45 °C, while individual treatment with S-carvone or exposure to 45 °C for 30 min did not result in a loss in viability. Other plant-derived volatiles, namely carvacrol, cinnamaldehyde, thymol and decanal, were also found to reduce the viability of L. monocytogenes in combination with the same mild heat treatment at concentrations of 1·75 mmol l−1, 2·5 mmol l−1, 1·5 mmol l−1 and 2 mmol l−1, respectively. These findings show that essential oil compounds can play an important role in minimally processed foods, and can be used in the concept of Hurdle Technology to reduce the intensity of heat treatment or other individual hurdles.

Contributions to the taxonomy of the Normanellidae (Copepoda, Harpacticoida): description of a new genus from the Brazilian continental shelf and re-assignment of Pseudocletodes vararensis Scott & Scott, 1893 (ex Nannopodidae)

A new genus and species of Normanellidae (Copepoda, Harpacticoida), Paranaiara inajae gen. et sp. nov., is described from the continental shelf off the northern coast of Sao Paulo State, Brazil. The new genus differs from the type genus Normanella Brady, 1880 and Sagamiella Lee & Huys, 1999 in its presence of lamelliform caudal rami, a maxillulary endopod represented by 2 setae, an unarmed maxillipedal syncoxa, and reduced setation on P2 enp-2 (without outer spine) and P3 enp-2 (with only 2 inner setae). All these apomorphic character states are shared with the genus Pseudocletodes Scott & Scott, 1893, formerly placed in the family Nannopodidae (ex Huntemanniidae) and here assigned to the Normanellidae. Pseudocletodes can be differentiated from Paranaiara by the loss of the P1 endopod and of the inner seta on P2-P4 enp-1, the presence of only 2 inner setae on P2 enp-2 (instead of 3) and only 1 inner seta on P4 exp-3 (instead of 2), the presence of a second inner seta on P4 enp-2 (instead of 1), the morphology of the fifth pair of legs which are not medially fused and have only 3 endopodal elements (instead of 4) in the male, and the well developed caudal ramus seta V (instead of rudimentary). It is postulated that prehensility of the P1 endopod was secondarily lost in the common ancestor of Paranaiara and Pseudocletodes. An updated family diagnosis of the Normanellidae and a dichotomous identification key to the 22 currently valid species are presented.

Warrock collection: original line drawings by fourth year Deakin University architecture students of the Warrock Homestead, a local heritage listed property in Victoria

This collection includes the original line drawings by fourth year Deakin University architecture students of a well known local heritage listed property, the Warrock homestead. The Warrock homestead consisted of detailed original timber structures of the 19th century. The drawings are the result of a conservation project funded by the Commonwealth Government of Australia National Estate Grants program. In 1999 a further deposit of original reports relating to individual buildings on the property was received. The collection consists of monographs, photographs and photograph negatives, architectural drawings, VHS tapes and ephemera.

Sir Walter Scott in the western district, 1836-1851

A survey of 30 early settlement squatters in Victoria, using their letters, diaries and memoirs to compile a regional history of colonial readers. The resulting reader-responses support the emerging interpretations of Affective Reading, rather than more conventional strategies of literary criticism (New Historicism and Discourse Analysis).

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

Anne Scott Wilson : Video & photography exhibition

Solo Exhibition, Framed Photograhs and Video installations as part of the 'Head On Photography Festival'

Anne Scott Wilson : Insideout #2 exhibition

Solo Exhibition with catalogue essay by Elizabeth Day, video installation; inkjet prints; paintings

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.

Magical realism and irony's 'edge': rereading magical realism and Kim Scott's Benang

Magical realism has been the subject of much earnest theorising, implicating the narrative mode in postcolonial projects of cultural regeneration not only in Latin America but around the world. The claim that its hybrid vision simultaneously transgresses and supplements Western ratiocinative epistemologies has seen the mode become over-determined and dismissed as a postcolonial cliche. Rarely noted, however, is the ironic nature of the literary mode. Yet the trademark representation of the magical in a realist narrative is marked by a conspicuous incongruity, which is not only necessary to magical realism's aesthetic effect but which also provides a strong incentive for ironic readings. This paper will reread magical realism through Kim Scott's Benang in order to recognise the ironic incongruity at play in magical realism and to revitalise the mode's 'edge'.