Relevant bibliographies by topics / Earth paint

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Earth paint'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Earth paint"

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Hawng, Hey-Zoo, Tea-Hak Roh, and Jin-Sil Lee. "Surface Hardness and Water Repellet of Earth Paint." KIEAE Journal 16, no. 3 (June 30, 2016): 83–88. http://dx.doi.org/10.12813/kieae.2016.16.3.083.

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He, Ke, Yong Liu, and Yanting He. "Novel Wall Paint for Decorative Style of Retro Rammed-Earth Wall Based on Dry Hanging." Journal of Biobased Materials and Bioenergy 13, no. 4 (August 1, 2019): 537–43. http://dx.doi.org/10.1166/jbmb.2019.1873.

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Owing to its unique ornamental style, the decorative retro rammed-earth wall style has attracted widespread interest in recent years. With this motivation, a novel multi-coated rammed-earth paint using dry hanging has been studied. This paint could overcome the limitations of surface material shedding and low strength in an extreme external environment. It has the advantages of low construction cost, simple production, low embodied energy, recyclability, and excellent performance. The alkali-resistance test of the paint was carried out in a high-concentration alkaline solution. The paint demonstrated insignificant performance change after 96 h. It has also been determined that the weather resistance of the sample does not display any evidence of chalking after 10 cycles of freezing and heating experiments. Rain and sun exposure are considered extremely important factors in durability of paint and were also tested for in the climatic chamber. The environmental parameters in the chamber were modeled based on the environment of southern China. Later, the coating product was tested according to the Chinese national standard of JG-T24-2000 (synthetic resin emulsion sand wall structure), demonstrating excellent performance. Thus, the innovative products of earth wall paint discussed in this study have the potential to meet the needs of the market.
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Zhao, Su, Ying Yu Zhao, and Shuang Liu. "The Antibacterial Property of La3+/ZnO Rare Earth Compound Antibacterial Imitation Porcelain Paint." Advanced Materials Research 512-515 (May 2012): 2990–94. http://dx.doi.org/10.4028/www.scientific.net/amr.512-515.2990.

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La3+/ZnO composite antibacterial agent is made by the combination of Nano-ZnO and Rare Earth LaCl3 whose antibacterial properties are better than Nano-ZnO and Rare Earth LaCl3 themselves, that is, Nano-ZnO whose photocatalysis can be significantly improved by doping La3+,with the obvious coordination function. In this Paper, antibacterial agent was used to prepare the La3+/ZnO Rare Earth compound antibacterial imitation porcelain paint. At the same time, the influence of the antibacterial agent with different amounts and the major component in imitation porcelain paint to antibacterial property are discussed respectively. It shows that, when the antibacterial agent is mixed in the range of 8-9%,the antibacterial property of coating is very satisfactory, the major component of the imitation porcelain paint not only cause no influence on the antibacterial property of the compound antibacterial coating, but also enhances its water resistance and alkali resistance .
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Ellens, J. Harold. "Why on Earth does God Have to Paint? Centripetal Art." CrossCurrents 61, no. 2 (June 2011): 271–75. http://dx.doi.org/10.1111/j.1939-3881.2011.00181.x.

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Bonneau, A., R. A. Staff, T. Higham, F. Brock, D. G. Pearce, and P. J. Mitchell. "Successfully Dating Rock Art in Southern Africa Using Improved Sampling Methods and New Characterization and Pretreatment Protocols." Radiocarbon 59, no. 3 (September 9, 2016): 659–77. http://dx.doi.org/10.1017/rdc.2016.69.

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AbstractWorldwide, dating rock art is difficult to achieve because of the frequent lack of datable material and the difficulty of removing contamination from samples. Our research aimed to select the paints that would be the most likely to be successfully radiocarbon dated and to estimate the quantity of paint needed depending on the nature of the paint and the weathering and alteration products associated with it. To achieve this aim, a two-step sampling strategy, coupled with a multi-instrument characterization (including SEM-EDS, Raman spectroscopy, and FTIR spectroscopy analysis) and a modified acid-base-acid (ABA) pretreatment, was created. In total, 41 samples were dated from 14 sites in three separate regions of southern Africa. These novel protocols ensure that the14C chronology produced was robust and could also be subsequently applied to different regions with possible variations in paint preparation, geology, weathering conditions, and contaminants.
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Dr. N.R.Vembu, Dr. M.Ganesan, Dr. K.Veerakumar, Dr R. Renuka, and Dr.Velavan. "Perception of Customer on Buying Branded Paints in Kumbakonam Town." GIS Business 14, no. 6 (November 26, 2019): 272–79. http://dx.doi.org/10.26643/gis.v14i6.11707.

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Painting provides better attraction and protection to the building. It is used for preventing the chemical attack, ultra virus light, protecting from extreme solar and moisture even it able protect from germs There are different types of brands are also playing the predominant role in the field of painting. Even the non-skid protective paint coatings are also used by the modern house to prevent slipping, while some exterior paints are used as attractive in the eyes of people. In general, the paints are protecting the building as well as attracting the people to have a positive opinion on the house. At this juncture, the research in this field is adding some extra feather to this painting industry. The present study is focused on to analyze the various factors which are influencing the consumer’s influence on purchase decision. At this juncture, the paint manufacturing companies are putting all efforts to hold the greater market share, it is very important to analyze the brand perception of consumers and their final purchase.
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Lee, Jae Ryeong, Ho Seok Jeon, Young Hyo Lee, and Hun Saeng Chung. "Preparation of Filling Materials for Antifouling Mineral Paint Using Rare Earth and their Anion Emission Properties." Solid State Phenomena 124-126 (June 2007): 715–18. http://dx.doi.org/10.4028/www.scientific.net/ssp.124-126.715.

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Tourmaline has unique electrical properties originated from its crystal structure such as pyroelectricity, piezioelectricity and emission of anion. These properties can derivate the making of feeble current around 0.06 mA. This weak current enables to electrolyze continuously and to make the hydroxyl anion, which may play a role of surface active agent against fouling of ocean organism. Two kinds of the mixture, tourmaline-monazite-quartz and tourmaline-monazite-illite-zeolite, were tested for the filling materials of antifouling paints. As a whole, the anion emits actively, at least around 4000 negative ion/cc. This high emission property maintains constantly for long time over 500 days. This implies that the tourmaline mixture treated mechanochemically can emit anion over 4000 negative ion/cc for a long time. These results enable us to make possible for application of the tourmaline containing mixture as the filling materials of antifouling paint
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Mazel, Aron D. "Paint and Earth: Constructing Hunter-Gatherer History in the uKhahlamba-Drakensberg, South Africa." Time and Mind 6, no. 1 (January 2013): 49–57. http://dx.doi.org/10.2752/175169713x13500468476565.

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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Markus Küffner, Leslie Carlyle, Hans-Arno Synal, and Detlef Günther. "Selective Dating of Paint Components: Radiocarbon Dating of Lead White Pigment." Radiocarbon 61, no. 2 (October 18, 2018): 473–93. http://dx.doi.org/10.1017/rdc.2018.101.

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ABSTRACTLead white is a man-made white pigment commonly used in works of art. In this study, the possibility of radiocarbon dating lead white pigments alone and in oil paints was explored using well-dated lead white pigments and paints. Resulting14C ages on lead white pigments produced following the traditional stack process, where carbonate groups results from the incorporation of CO2originating from fermentation, matched the production years, while radiocarbon dating of lead white made using other industrial processes indicate that14C depleted CO2was used in their production. The method was applied to two case studies, where lead carbonate samples were dated in two oil paintings, one Baroque and one from the 20th century. We hereby show that the lead white pigment can be dated by14C and used as proxy for the time of creation of an artwork. Additionally, a two-step method was developed to allow14C analysis of both the lead white pigment and oil binder from the same sample. A single lead white paint sample can yield two distinct radiocarbon ages, one from the carbonate and one from the natural organic binder. This study thus proposes new strategies for14C dating of artworks.
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Zwaan, Tanja L. "Space debris: ex facto sequitur lex." Leiden Journal of International Law 1, no. 1 (May 1988): 89–96. http://dx.doi.org/10.1017/s0922156500000716.

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Unfortunately, today's exploration of outer space is exposed to a rapidly expanding collection of what has come to be called space debris. Innumerous objects of variable size ranging from tiny paint chips to entire - defunct - satellites and produced by various causes, such as collisions, explosions, or simply exhaustion of fuel, are rotating around the Earth and create dangers to our space missions.
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Dissertations / Theses on the topic "Earth paint"

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Šmardová, Kateřina. "Hliněné povrchy v současné architektuře." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-233241.

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The theme of this thesis are surfaces made of unburned earth and used in architecture. The thesis focuses mainly on detailed mapping and analysis of the present state. However, it does not omit the historical roots of earthen surfaces in the area of today`s Czech Republic. In these roots it looks for connections with contemporary practice. The thesis deduces conclusions from thorough evaluation of the present situation – it shows perspectives and possible drift of the future development of earthen surfaces. Both in the field of architecture and in areas broadening this field.
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Mock, Janelle Marie Tullis. "Earth Forms." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2204.

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Earth Forms narrates and explains the Masters Project Exhibition by the same name. The sculptures included in the exhibition, Earth Forms, use a variety of personal symbols centered on one stylized human head. Some of the symbols included are antlers, branches, coral, leaves, plants and stones. Each of these symbols represents personal ideas of balance, growth and decay. They also represent the earth from which we are formed and the earth to which our bodies will return at the end of life.
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Tully, Jennifer L. "An Electron Microscopy and Inductively Coupled Plasma-Mass Spectroscopy Investigation of Great Miami River Sediment Pollution in the Industrialized Landscape of Hamilton, Ohio." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1366848005.

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Kar, Jitendra Kumar. "New environmentally friendly rare earth based ceramic colours for the ceramic and glass industries." Thesis, University of Bath, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268751.

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Phung, Tuan anh. "Formulation et caractérisation d'un composite terre-fibres végétales : la bauge." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC219/document.

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La terre est le premier matériau de construction par les hommes, disponible et peu consommateur d’énergie. Aujourd’hui encore, environ 30 % des habitants de la planète vit dans des habitats en terre, et pour les pays en développement, ce pourcentage s’élève à 50 % de la population rurale. De plus, les matériaux à base de terre permettent un meilleur équilibre et contrôle du climat thermique et acoustique intérieur par rapport aux matériaux usuels de construction. Cependant, la majorité des constructions en terre ne répondent pas aux exigences actuelles en termes de contraintes mécaniques, thermiques ou architecturales. Afin de répondre à ces exigences, un travail tant au niveau scientifique qu’au niveau des praticiens est à accomplir dans ce domaine.L’objectif de cette étude est de déterminer l’influence des propriétés des matériaux utilisés sur le comportement mécanique et hygrothermique de composites terre-fibres végétales. Pour cela, différents types de sols et de fibre végétales (paille de lin, paille de blé) ont été utilisés. Ensuite, les performances mécaniques (compression, flexion) et hygrothermiques (sorption/désorption, perméabilité à la vapeur d’eau, conductivité thermique) ont été déterminées pour différents composites terre-fibres végétales. Les résultats montrent que l’utilisation de paille de lin permet d’obtenir des performances mécaniques supérieures à celles obtenues pour la paille de blé. Cependant, il est à noter que l’introduction de fibres aux sols diminue les performances mécaniques due à la diminution de la densité du matériau. Aucune influence claire de la longueur des fibres sur les performances mécanique n’a été constatée. L’étude du comportement hygrothermique a permis de montrer que le comportement à la sorption/désorption du matériau terre-fibres végétales peut être approximer à partir des résultats obtenus pour les matériaux de base. De plus, il a été démontré que l’évolution de la conductivité thermique du matériau terre-fibres végétales au cours du séchage est reliée au comportement au retrait
Soil is the first construction material used by man, widely available and low energy consuming. Indeed, about 30% of the current world population lives in earthen structures and, in developing countries, this rate rise to 50%, mostly rural. Moreover, earth-based materials allow an improved balance and control of thermal and acoustic indoor climate compared to industrial construction materials. However, most of earthen structures do not reach current requirements in terms of mechanical, thermal or architectural. To respond to these requirements, a work at scientific and craftsman levels is necessary.The objective of this study is to determine the influence of materials’ properties on the mechanical and hygrothermal behaviour of earth-fiber composites. In order to do this, different types of soil and plant fiber (flax straw, wheat straw) were used. Then, mechanical (compression, bending) and hygrothermal performances (sorption / desorption, water vapor permeability, thermal conductivity) were determined for different soil-fiber composites. Results show that the use of flax straw provides better mechanical performances than use of wheat straw. However, it should be noted that fibers addition to soil decreases mechanical performance due to the decrease of material density. No clear influence of fiber length on mechanical performance was found. The study of hygrothermal behaviour has shown that the sorption / desorption behaviour of earth-fiber material can be approximated from the results obtained from basic materials. In addition, it has been shown that the thermal conductivity evolution of earth-fiber material during drying is related to the shrinkage behaviour
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Smith, Jonathan B. "I Get a Thrill from Punishment: Lou Reed's Adaptations and the Pain They Cause." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4012.

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This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music.
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Sjökvist, Tomas. "Copper bioaccumulation in blue mussels and periwinkles from marinas." Thesis, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39942.

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Copper (Cu) is a heavy metal that is essential for life but toxic at high concentrations. This toxic effect is used on boats to prevent biofouling on boat hulls by painting the hulls with antifouling paint that contain high levels of Cu. The Cu is slowly diffused out in the water and accumulated by animals higher up in the food chain. In order to test the effects of marinas on Cu bioaccumulation in invertebrates, I sampled molluscs at seven marinas and seven shore sites on the Swedish west coast. Two molluscs with different feeding behaviours, one grazer, the periwinkle (Littorina littorea) and one filter feeder, the blue mussel (Mytilus edulis) were used as study organisms. Both species were sampled at each location within 50 m from each other. Body Cu concentration of both species was measured with a Flame Atomic Absorption Spectrometer (FAAS). Cu concentration of periwinkle soft body tissue was generally higher than in mussel soft body tissue. In addition, periwinkle tissue Cu concentration reacted strongly positively to the presence of marinas, whereas mussel tissue Cu concentrations did not. This shows that contamination from marinas affects the grazing periwinkle but not the filter feeding blue mussel. Thus, for biomonitoring purposes, grazers may be more suited as indicator organisms.
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Collins, Jody. "A promise kept: the mystical reach through loss." Thesis, 2019. http://hdl.handle.net/1828/11216.

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The meaning of loss is love. I know this through attention to experience. Whether loss or love is experienced in abundance or in absence, the meaning is mystical with an opening of body, mind, heart and soul to spirit. And so, in the style of a memoir, in the way of contemplative prayer, I contemplate and share my soul as a promise kept in the mystical reach through loss. With the first, initiating loss, the loss of my nine-year-old nephew, Caleb, I experience an epiphany that gives me spiritual instructions that will not be ignored. I experience loss as an abundance of meaning that comes to me as gnosis, as “knowledge of the heart” according to Elaine Pagels or divine revelation in what Evelyn Underhill calls mystical illumination in the experience of “losing-to-find” in union with the divine. Then, with gnostic import, in leaving the ordinary for the extraordinary, I enter the empty room in the painful yet liberating experience of the loss of my self. In the embrace of emptiness, I proceed to the first wall, the second wall, the third wall, the dark corner of denial, the return to centre, and, finally, to breaking the fourth wall in the empty room so as to keep my promise to you. Who are “you”? You are God. You are Caleb. You are spirit. You are my higher soul or self. And, you are the reader. You are my dear companion in silence. And then, through a series of broken promises and more loss, within what John of the Cross calls, “the dark night of the soul,” I am stopped by the ineffability of the dark corner of denial, the horror of separation and the absence of meaning, which is depicted as the grueling gap between the spiritual abyss and the breakthrough. What does it mean to keep going through a solemn succession of losses? I don’t know. In going into the empty room, I simply put pain to work in order to reach you. Through loss, though there are infinite manifestations, there is only one way: keep going. And so, in a triumph of the spirit, I keep going so as to be: a promise kept in the mystical reach through loss. As for you, through my illumined and dark experiences of loss, what is my promise to you? I keep going to reach the unreachable you. In the loss of self, with embodied emptiness, in going into the dark corner of denial, with a return to the divine centre of my emptied self, in an invitation to you, I give my soul to you in union with you.
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2020-06-25
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Books on the topic "Earth paint"

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Hilliard, Elizabeth. Paint: The fired earth book of natural colour. London: Pavilion, 2001.

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1939-, Chodos Junko, ed. Why on earth does God have to paint?: Centripetal art. Malibu, Calif: Giotto Multimedia, 2009.

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Crews, Carole. Clay culture: Plasters, paints & preservation. Taos, N.M: Gourmet Adobe Press, 2009.

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State University College at Buffalo. Dept. of Art Conservation., ed. Molecular studies of asphalt, mummy and Kassel earth pigments: Their characterisation, identification and effect on the drying of traditional oil paint. [S.l: s.n.], 2004.

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Yevgeny, Barabanov, Riese Hans-Peter, and Gosudarstvennai︠a︡ Tretʹi︠a︡kovskai︠a︡ galerei︠a︡, eds. Eduard Steinberg: Heaven and earth : reflections in paints. St. Petersberg: Palace Editions, 2004.

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Sarajin kaetpŏl: O Chun-gyu sajinjip = Pain earth pain us : Korea 2009-2012. Sŏul-si: Kyegan Munye, 2012.

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Books, Golden. Defenders Of The Earth Paint with Water. Golden books, 1986.

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Earth Pigments and Paint of the California Indians. Paul Douglas Campbell, 2007.

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Merwin, Richard. Hollow Earth Affair/Royal Pain. Wizards of the Coast, 1988.

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Rogue, Conrad. House of earth: A complete handbook for earthen construction : cob, straw-clay, adobe, earthbags, plasters, floors, paints. 2015.

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Book chapters on the topic "Earth paint"

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Loganina, V., E. Mazhitov, and V. Demyanova. "Regularities in the Formation of the Structure and Properties of Coatings Based on Silicate Paint Sol." In Springer Proceedings in Earth and Environmental Sciences, 348–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22974-0_84.

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Lee, Jae Ryeong, Ho Seok Jeon, Young Hyo Lee, and Hun Saeng Chung. "Preparation of Filling Materials for Antifouling Mineral Paint Using Rare Earth and their Anion Emission Properties." In Solid State Phenomena, 715–18. Stafa: Trans Tech Publications Ltd., 2007. http://dx.doi.org/10.4028/3-908451-31-0.715.

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Oliver-Smith, Anthony. "The Brotherhood of Pain." In The Angry Earth, 227–38. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315298917-27.

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Thomson, Peter. "The Earth Splits, Water Rushes In." In Sacred Sea. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780195170511.003.0010.

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Siberia is huge, but it isn’t greedy. Of all the colors in the universe’s paint box, it asks for only a few shades of green to have its massive portrait painted. The picture starts with a ragged band of soft sage, the treeless tundra of the Arctic and subarctic. Through the middle, a thick swath of deep emerald, the taiga forest that stretches from the Pacific to the Urals and beyond to Scandinavia. Finally, in the far lower left corner, a wedge of soft yellowish green, Siberia’s share of the fertile Eurasian steppe. From a distance, this rough canvas is a study in chlorophyll, with just a single, stark break in the color scheme—a thin blue crescent slicing through the lower middle of the emerald taiga. It’s almost as if the same gigantic hand that wielded the paintbrush then picked up a monstrous stiletto and in an impulsive Dadaist gesture cut a gigantic gash into the taut canvas, which pulled open and filled up with cobalt paint. And I suppose if you believed in such things, you could say that’s actually what’s happened here, that the hand was God’s and that after the earth was sliced open, the gash grew ever wider and filled up with more and more blue water. Earth’s surface has been torn apart here, and water has been flowing into the gash for eons. A lake is a simple thing, really—just a big hole in the ground filled with water. And our restless planet finds all kinds of ways to make them. The earth is constantly reshaping itself, through processes great and small—from the epochal smashing and tearing of crustal plates, to the periodic growth and recession of glaciers, to the daily flow of wind, water, and sediment. As long as water flows and the earth moves, lakes will continue to be born, grow, and die. Lakes can be formed in the buckling and cracking seams between the earth’s tectonic plates, as with the Great Lakes of East Africa. They can be formed in the wake of receding glaciers, which leave long grooves, moraines, and kettle holes.
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Smith, Robert B., and Lee J. Siegel. "A Land of Scenery and Violence." In Windows into the Earth. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195105964.003.0005.

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It was the busy summer season in Yellowstone National Park, a beautiful moonlit night with 18,000 people in the park’s campgrounds and hotels and thousands more in surrounding towns and recreation areas. At 23 minutes before midnight, a talent contest was wrapping up at the Old Faithful recreation hall. A beauty queen had just been crowned. As she walked down the aisle to the applause of several hundred people, the log building creaked loudly and began to shake. Within seconds, the earthquake sent people scurrying for the exits. A park ranger dropped the hand of his date—a waitress from Old Faithful Inn—and rushed to open the doors so no one would be trampled. Nearby, frightened guests fled Old Faithful Inn, where a waterline broke and an old stone chimney soon would collapse into a dining room, thankfully closed at that late hour. Out in the darkness, in geyser basins along Yellowstone’s Firehole River, the Earth began belching larger-than-usual volumes of hot water. About 160 geysers erupted, some for the first time, others after decades-long dormant periods. Sapphire Pool, once a gentle spring, became a violent geyser, hurling mineral deposits around Biscuit Basin. Clepsydra, Fountain, and some other geysers in Lower Geyser Basin began erupting more often than usual. Old Faithful’s eruptions became less frequent, although some observers thought it spouted with unusual vigor earlier that evening. Hundreds of hot springs became muddy. Fountain Paint Pot spewed mud violently, spattering tourist walkways. Rocks and landslides tumbled into park highways in several places, blocking roads between Old Faithful and Mammoth and closing the route to the park’s west entrance at West Yellowstone, Montana. Within an hour, thousands of vehicles streamed out of Yellowstone on roads that remained open—a serpentine parade of headlights fleeing the strongest earthquake yet recorded in the Rocky Mountains and the Intermountain West. The panic and damage in Yellowstone were minimal compared with the unimaginable horror that would overtake a popular Montana recreation area just outside the park’s northwest boundary.
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Rowan, Todd M., Thomas Brent Funderburk, and Renee M. Clary. "“But why paint a dinosaur blue?”: Envisioning the Cretaceous— A vitalizing, multidisciplinary project in a university museum." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(27).

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ABSTRACT In 2017–2018, two fine arts undergraduate students, Todd Rowan and Moesha Wright, conceived and created a mural for the Dunn-Seiler Museum at Mississippi State University, Mississippi, USA, under the supervision of art professor emeritus Brent Funderburk. Students researched, conceptualized, and painted Mississippi Cretaceous Panorama, which interpreted the Late Cretaceous landscape that once surrounded the university and the momentous extinction event that brought the Mesozoic Era to its close. The project necessitated creativity to address several chal lenges, including funding, space constraints, and a local population with Young Earth views. The completed mural engages museum visitors with a mosasaur, ceratopsian dinosaur, and a meteorite impact—illustrating the local, terminal Mesozoic geologic history in a nonthreatening venue that can improve community geoliteracy.
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Glowczewski, Barbara. "Doing and Becoming: Warlpiri Rituals and Myths." In Indigenising Anthropology with Guattari and Deleuze, 131–70. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0005.

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This chapter analyses the relation between Warlpiri myth and ritual from the perspective of the cosmological and ritual differentiation of male and female. It is a challenging repositioning of gender in relation to religion and spirituality based on an Aboriginal cosmologic which values a mythical androgyny of some hybrid totemic human and non human ancestors of current humans and their totemic species, animals, plants, or phenomena like rain or fire. To reactualise such a virtual androgyny in themselves, both men and women perform ceremonies reenacting through dances, songs and painted bodies the totemic travels but in ritual spaces restricted to one gender. In this ritual separation, they are both involved in land tenure and dream revelation of new designs to paint, sing or dance as a reactualisation of a virtual collective and earth memory. Women can dream for men and more rarely men dream for women. First published in French in 1991.
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Wood, David. "Touched by Touching: Toward a Carnal Hermeneutics." In Reoccupy Earth, 142–52. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283545.003.0008.

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This chapter studies the practice of carnal hermeneutics. A carnal hermeneutics would find ever new ways of showing how the imagination inhabits people's bodies, from the pores of their skin to the ways they schematize their dynamic corporeality and their engagements with others. The erotic spawns some of the most telling ways, but there is no place for correctness here. The flesh is equally a site of lawless excitation and incitement—pain as well as pleasure, excess, and violence. If it has a transcendental face, a carnal hermeneutics would ask the question: How is all this possible? Perhaps taking a cue from Sigmund Freud, it would ask about the drive to destruction, death, security, and release from stress in addition to the search for pleasure—Thanatos as well as Eros—and all that lies in between.
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"THE BROTHERHOOD OF PAIN: THEORETICAL AND APPLIED PERSPECTIVES ON POST-DISASTER SOLIDARITY." In The Angry Earth, 170–86. Routledge, 1999. http://dx.doi.org/10.4324/9780203821190-18.

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Li, Jie Jack. "Conquest of Pain: Analgesics: From Morphine to Lyrica." In Blockbuster Drugs. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199737680.003.0009.

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To live is to endure pain has been understood by almost everybody who is mature enough to gain some philosophical perspective on life. C’est la vie! as the French would say. Indeed, pain existed before the dawn of humanity—some research suggests that even plants respond to pain. According to ancient Greek myth, Prometheus stole fire from Olympus to give it to mortals. Zeus punished him by chaining him to a rock and having a great eagle feast on his liver daily, inflicting unbearable agony. Zeus also sent Pandora to Earth, unleashing pain (one of the items in Pandora’s box) and many evils as a vengeance to mankind. Without an understanding of pain, our ancestors resorted to many measures to ease pain; some were successful to some extent, and some were completely futile. Witches and shamans were sought out to exorcise pain from the body. From a psychological perspective, they might be effective for some believers. The hypnotizing technique reached its crescendo in the 18th century in France when Monsieur Anton Mesmer “mesmerized” many French citizens, liberating them from their pains. As civilization progressed, alcohol became more and more a universal painkiller after it was observed that drunkards were oblivious to pain. Chinese surgeon Hua Tuo (115–205 ad) gave his patients an effervescent powder (possibly cannabis) in wine that produced numbness and insensibility before surgical operations. Another ancient invention in Chinese medicine was the use of acupuncture to ease pain. Acupuncture, now an increasingly popular treatment for persistent as well as intermittent pain, is thought to work by increasing the release of endorphins, chemicals that block pain signals from reaching the brain. A recent survey by the National Institute of Health (NIH) indicated that acupuncture showed efficacy in adult postoperative pain, chemotherapy nausea and vomiting, and postoperative dental pain. There is no doubt that acupuncture works for some patients’ minor pain, through either physiological or psychological means, or both. or both. During the hype of the Great Culture Revolution (1966–1976), it was even claimed that major operations were carried out using acupuncture without any other anesthetics.
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Conference papers on the topic "Earth paint"

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"Serum Triglyceride, Cholesterol and Fasting Blood Sugar in Male Rats Exposed to Oil Paint Vapor." In International Conference on Earth, Environment and Life sciences. International Institute of Chemical, Biological & Environmental Engineering, 2014. http://dx.doi.org/10.15242/iicbe.c1214105.

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Teti, Nicholas M. "Earth Observing-1 Technology Validation: Low Absorptance Inorganic White Paint AZW/LA-II." In International Conference On Environmental Systems. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-2344.

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"The Effects of Oil Paint Vapor on Leukocytes and Platelet Count and MCV, MCH and MCHC in Rat." In International Conference on Earth, Environment and Life sciences. International Institute of Chemical, Biological & Environmental Engineering, 2014. http://dx.doi.org/10.15242/iicbe.c1214104.

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"The Effects of Gasoline Vapor Inhalation on Pain Threshold in Male Rats." In International Conference on Earth, Environment and Life sciences. International Institute of Chemical, Biological & Environmental Engineering, 2014. http://dx.doi.org/10.15242/iicbe.c1214123.

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"The Effects of Estradiol on Acetic Acid Induced Pain in Writhing Test in Female Mice." In International Conference on Earth, Environment and Life sciences. International Institute of Chemical, Biological & Environmental Engineering, 2014. http://dx.doi.org/10.15242/iicbe.c1214119.

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