Academic literature on the topic 'Gela Painter'

The 1-aminoanthraquinone glycidyl ester (GEAA) obtained by reaction of N-alkylation of 1-aminoanthraquinone with epichlorohydrin was used in the synthesis of a structurally colored epoxy resin by co-polycondensation with with diphenylolpropane and epichlorohydrin. Structurally colored epoxy resin is a viscous liquid with a molecular weight of 400–1000, colored orange and soluble in organic solvents. The optimal amount of GEAA (from 0.1 to 0.5% wt.) is established, which provides high color intensity (molar extinction coeffi cient 0.16–1.38·104).

The present research attempts to reveal how ecological (environmental) education could be conveyed through aesthetic, visual art and various creative projects. Over a long time philosophers had developed the implementation of art as a powerful tool of education. Writers, painters themselves also quite often understood their mission as a didactical one which may support and improve system of education of their time. The author will exhibit various reasons why creative education performed with the help of arts were supportive to a cultivation of ecological skills. Different aspects of Chinese thought, particularly Daoism, are presented through their potential usability for contemporary creative education of ecological topics. The author also highlights some limits and difficulties of using Chinese philosophical ideas for contemporary Western culture. Finally various creative projects used in raising ecological awareness are analyzed on their efficiency for education. Santrauka Straipsnyje nagrinėjama, kokiais aspektais ekologinė edukacija gali būti vykdoma pasitelkus estetiką, vizualiuosius menus ir įvairius kūrybinius projektus. Jau prieš daugelį šimtmečių filosofai bei pedagogikos teoretikai pastebėjo ir pabrėžė, kad menas yra galingas edukacinis įrankis. Rašytojai, dailininkai taip pat neretai jausdavosi turintys didaktinę misiją ir siekė plėtoti bei tobulinti savo laikmečio edukacinę sistemą. Straipsnyje nagrinėjamos įvairios priežastys, lemiančios, kad kūrybinė edukacija vykdoma pasitelkus įvairius menus ir geba efektyviai formuoti ekologinius įgūdžius. Taip pat nagrinėjami įvairūs kinų mąstymo tradicijų aspektai, daugiausia dėmesio sutelkiant ties daoizmo mąstymo tradicija, kuri gali būti sėkmingai panaudojama kūrybiškai taikant ekologinę edukaciją. Autorė atskleidžia kai kuriuos pavojus bei ribotumus, su kuriais susiduriama bandant kinų mąstymo tradicijose plėtojamas interpretacijas pritaikyti dabartinei Vakarų kultūrai. Taip pat parodoma, kaip įvairūs kūrybiniai projektai taikomi ugdant ekologinį žmonių sąmoningumą, svarstoma, kokios priežastys lemia jų populiarumą ir sėkmingumą. Reikšminiai žodžiai: estetika, kūrybinė edukacija, daoizmas, ekologinė edukacija, aplinka, vizualieji menai, Vakarų filosofija.

Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema. Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis. The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter

In 2013, the Capricornia Arts Mob (CAM), an Indigenous collective of artists situated in Rockhampton, central Queensland, Australia, successfully tendered for one of three public art projects that were grouped under the title Flood Markers (Roberts; Roberts and Mackay; Robinson and Mackay). Commissioned as part of the Queensland Government's Community Development and Engagement Initiative, Flood Markers aims to increase awareness of Rockhampton’s history, with particular focus on the Fitzroy River and the phenomena of flooding. Honouring Land Connections is CAM’s contribution to the project and consists of several “memory poles” that stand alongside the Fitzroy River in Toonooba Park. Rockhampton lies on Dharumbal Country with Toonooba being the Dharumbal name for the Fitzroy River and the inspiration for the work due to its cultural significance to the Aboriginal people of that region. The name Toonooba, as well as other images and icons including boomerangs, spears, nets, water lily, and frogs, amongst others, are carved, burnt, painted and embedded into the large ironbark poles. These stand with the river on one side and the colonial infrastructure of Rockhampton on the other (see fig. 1, 2 and 3).Figure 1 Figure 2Figure 3Within this article, we discuss Honouring Land Connections as having two main functions which contribute to its significance as Indigenous cultural expression and identity affirmation. Firstly, the memory poles (as well as the process of sourcing materials and producing the final product) are a manifestation of Country and a representation of its stories and lived memories. Honouring Land Connections provides a means for Aboriginal people to revel in Country and maintain connections to a vital component of their being as Indigenous. Secondly, by revealing Indigenous stories, experiences, and memories, Honouring Land Connections emphasises Indigenous voices and perspectives within a place dominated by Eurocentric outlooks and knowledges. Toonooba provides the backdrop on which the complexities of cultural and identity formation within settler-colonial spaces are highlighted whilst revelling in continuous Indigenous presence.Flood Markers as ArtArtists throughout the world have used flood markers as a means of visual expression through which to explore and reveal local histories, events, environments, and socio-cultural understandings of the relationships between persons, places, and the phenomena of flooding. Geertz describes art as a social text embedded within wider socio-cultural systems; providing insight into cultural, social, political, economic, gendered, religious, ethnic, environmental, and biographical contexts. Flood markers are not merely metric tools used for measuring the height of a river, but rather serve as culture artefacts or indexes (Gell Art and Agency; Gell "Technology of Enchantment") that are products and producers of socio-culture contexts and the memories and experiences embedded within them. Through different methods, mediums, and images, artists have created experiential and intellectual spaces where those who encounter their work are encouraged to engage their surroundings in thought provoking and often-new ways.In some cases, flood markers have brought attention to the “character and natural history” of a particular place, where artists such as Louise Lavarack have sought to provoke consciousness of the movement of water across flood plains (Lavarack). In other works, flood markers have served as memorials to individuals such as Gilbert White whose daughter honoured his life and research through installing a glass spire at Boulder Creek, Colorado in 2011 (White). Tragedies such as Hurricane Katrina in New Orleans in 2005 have also been commemorated through flood markers. Artist Christopher Saucedo carved 1,836 waves into a freestanding granite block; each wave representing a life lost (University of New Orleans). The weight of the granite symbolises the endurance and resilience of those who faced, and will continue to face, similar forces of nature. The Pillar of Courage erected in 2011 in Ipswich, Queensland, similarly contains the words “resilience, community, strength, heroes, caring and unity” with each word printed on six separate sections of the pillar, representing the six major floods that have hit the region (Chudleigh).Whilst these flood markers provide valuable insights into local histories, specific to each environmental and socio-cultural context, works such as the Pillar of Courage fail to address Indigenous relationships to Country. By framing flooding as a “natural disaster” to be overcome, rather than an expression of Country to be listened to and understood, Euro and human-centric perspectives are prioritised over Indigenous ways of knowing and being. Indigenous knowledges however encourages a reorientation of Eurocentric responses and relationships to Country, and in doing so challenge compartmentalised views of “nature” where flooding is separated from land and Country (Ingold Perception; Seton and Bradley; Singer). Honouring Land Connections symbolises the voice and eternal presence of Toonooba and counters presentations of flooding that depict it as historian Heather Goodall (36) once saw “as unusual events of disorder in which the river leaves its proper place with catastrophic results.”Country To understand flooding from Indigenous perspectives it is first necessary to discuss Country and apprehend what it means for Indigenous peoples. Country refers to the physical, cosmological, geographical, relational, and emotional setting upon which Indigenous identities and connections to place and kin are embedded. Far from a passive geographic location upon which interactions take place, Country is an active and responsive agent that shapes and contextualises social interactions between and amongst all living beings. Bob Morgan writes of how “Country is more than issues of land and geography; it is about spirituality and identity, knowing who we are and who we are connected to; and it helps us understand how all living things are connected.” Country is also an epistemological frame that is filled with knowledge that may be known and familiarised whilst being knowledge itself (Langton "Sacred"; Rose Dingo; Yunupingu).Central to understanding Country is the fact that it refers to a living being’s spiritual homeland which is the ontological place where relationships are formed and maintained (Yunupingu). As Country nurtures and provides the necessities for survival and prosperity, Indigenous people (but also non-Indigenous populations) have moral obligations to care for Country as kin (Rose Nourishing Terrains). Country is epistemic, relational, and ontological and refers to both physical locations as well as modes of “being” (Heidegger), meaning it is carried from place to place as an embodiment within a person’s consciousness. Sally Morgan (263) describes how “our country is alive, and no matter where we go, our country never leaves us.” Country therefore is fluid and mobile for it is ontologically inseparable to one’s personhood, reflected through phrases such as “I am country” (B. Morgan 204).Country is in continuous dialogue with its surroundings and provides the setting upon which human and non-human beings; topographical features such as mountains and rivers; ancestral beings and spirits such as the Rainbow Snake; and ecological phenomena such as winds, tides, and floods, interact and mutually inform each other’s existence (Rose Nourishing Terrains). For Aboriginal people, understanding Country requires “deep listening” (Atkinson; Ungunmerr), a responsive awareness that moves beyond monological and human-centric understandings of the world and calls for deeper understandings of the mutual and co-dependant relationships that exist within it. The awareness of such mutuality has been discussed through terms such as “kincentrism” (Salmón), “meshworks” (Ingold Lines), “webs of connection” (Hokari), “nesting” (Malpas), and “native science” (Cajete). Such concepts are ways of theorising “place” as relational, physical, and mental locations made up of numerous smaller interactions, each of which contribute to the identity and meaning of place. Whilst each individual agent or object retains its own autonomy, such autonomy is dependent on its wider relation to others, meaning that place is a location where “objectivity, subjectivity and inter-subjectivity converge” (Malpas 35) and where the very essence of place is revealed.Flooding as DialogueWhen positioned within Indigenous frameworks, flooding is both an agent and expression of Toonooba and Country. For the phenomenon to occur however, numerous elements come into play such as the fall of rain; the layout of the surrounding terrain; human interference through built weirs and dams; and the actions and intervention of ancestral beings and spirits. Furthermore, flooding has a direct impact on Country and all life within it. This is highlighted by Dharumbal Elder Uncle Billy Mann (Fitzroy Basin Association "Billy Mann") who speaks of the importance of flooding in bringing water to inland lagoons which provide food sources for Dharumbal people, especially at times when the water in Toonooba is low. Such lagoons remain important places for fishing, hunting, recreational activities, and cultural practices but are reliant on the flow of water caused by the flowing, and at times flooding river, which Uncle Mann describes as the “lifeblood” of Dharumbal people and Country (Fitzroy Basin Association "Billy Mann"). Through her research in the Murray-Darling region of New South Wales, Weir writes of how flooding sustains life though cycles that contribute to ecological balance, providing nourishment and food sources for all beings (see also Cullen and Cullen 98). Water’s movement across land provokes the movement of animals such as mice and lizards, providing food for snakes. Frogs emerge from dry clay plains, finding newly made waterholes. Small aquatic organisms flourish and provide food sources for birds. Golden and silver perch spawn, and receding waters promote germination and growth. Aboriginal artist Ron Hurley depicts a similar cycle in a screen-print titled Waterlily–Darambal Totem. In this work Hurley shows floodwaters washing away old water lily roots that have been cooked in ant bed ovens as part of Dharumbal ceremonies (UQ Anthropology Museum). The cooking of the water lily exposes new seeds, which rains carry to nearby creeks and lagoons. The seeds take root and provide food sources for the following year. Cooking water lily during Dharumbal ceremonies contributes to securing and maintaining a sustainable food source as well as being part of Dharumbal cultural practice. Culture, ecological management, and everyday activity are mutually connected, along with being revealed and revelled in. Aboriginal Elder and ranger Uncle Fred Conway explains how Country teaches Aboriginal people to live in balance with their surroundings (Fitzroy Basin Association "Fred Conway"). As Country is in constant communication, numerous signifiers can be observed on land and waterscapes, indicating the most productive and sustainable time to pursue certain actions, source particular foods, or move to particular locations. The best time for fishing in central Queensland for example is when Wattles are in bloom, indicating a time when fish are “fatter and sweeter” (Fitzroy Basin Association "Fred Conway"). In this case, the Wattle is 1) autonomous, having its own life cycle; 2) mutually dependant, coming into being because of seasonal weather patterns; and 3) an agent of Country that teaches those with awareness how to respond and benefit from its lessons.Dialogue with Country As Country is sentient and responsive, it is vital that a person remains contextually aware of their actions on and towards their surroundings. Indigenous peoples seek familiarity with Country but also ensure that they themselves are known and familiarised by it (Rose Dingo). In a practice likened to “baptism”, Langton ("Earth") describes how Aboriginal Elders in Cape York pour water over the head of newcomers as a way of introducing them to Country, and ensuring that Country knows those who walk upon it. These introductions are done out of respect for Country and are a way of protecting outsiders from the potentially harmful powers of ancestral beings. Toussaint et al. similarly note how during mortuary rites, parents of the deceased take water from rivers and spit it back into the land, symbolising the spirit’s return to Country.Dharumbal man Robin Hatfield demonstrates the importance of not interfering with the dialogue of Country through recalling being told as a child not to disturb Barraru or green frogs. Memmott (78) writes that frogs share a relationship with the rain and flooding caused by Munda-gadda, the Rainbow Snake. Uncle Dougie Hatfield explains the significance of Munda-gadda to his Country stating how “our Aboriginal culture tells us that all the waterways, lagoons, creeks, rivers etc. and many landforms were created by and still are protected by the Moonda-Ngutta, what white people call the Rainbow Snake” (Memmott 79).In the case of Robin Hatfield, to interfere with Barraru’s “business” is to threaten its dialogue with Munda-gadda and in turn the dialogue of Country in form of rain. In addition to disrupting the relational balance between the frog and Munda-gadda, such actions potentially have far-reaching social and cosmological consequences. The rain’s disruption affects the flood plains, which has direct consequences for local flora and transportation and germination of water lily seeds; fauna, affecting the spawning of fish and their movement into lagoons; and ancestral beings such as Munda-gadda who continue to reside within Toonooba.Honouring Land Connections provided artists with a means to enter their own dialogue with Country and explore, discuss, engage, negotiate, and affirm aspects of their indigeneity. The artists wanted the artwork to remain organic to demonstrate honour and respect for Dharumbal connections with Country (Roberts). This meant that materials were sourced from the surrounding Country and the poles placed in a wave-like pattern resembling Munda-gadda. Alongside the designs and symbols painted and carved into the poles, fish skins, birds, nests, and frogs are embalmed within cavities that are cut into the wood, acting as windows that allow viewers to witness components of Country that are often overlooked (see fig. 4). Country therefore is an equal participant within the artwork’s creation and continuing memories and stories. More than a representation of Country, Honouring Land Connections is a literal manifestation of it.Figure 4Opening Dialogue with Non-Indigenous AustraliaHonouring Land Connections is an artistic and cultural expression that revels in Indigenous understandings of place. The installation however remains positioned within a contested “hybrid” setting that is informed by both Indigenous and settler-colonial outlooks (Bhabha). The installation for example is separated from the other two artworks of Flood Markers that explore Rockhampton’s colonial and industrial history. Whilst these are positioned within a landscaped area, Honouring Land Connections is placed where the grass is dying, seating is lacking, and is situated next to a dilapidated coast guard building. It is a location that is as quickly left behind as it is encountered. Its separation from the other two works is further emphasised through its depiction in the project brief as a representation of Rockhampton’s pre-colonial history. Presenting it in such a way has the effect of bookending Aboriginal culture in relation to European settlement, suggesting that its themes belong to a time past rather than an immediate present. Almost as if it is a revelation in and of itself. Within settler-colonial settings, place is heavily politicised and often contested. In what can be seen as an ongoing form of colonialism, Eurocentric epistemologies and understandings of place continue to dominate public thought, rhetoric, and action in ways that legitimise White positionality whilst questioning and/or subjugating other ways of knowing, being, and doing (K. Martin; Moreton-Robinson; Wolfe). This turns places such as Toonooba into agonistic locations of contrasting and competing interests (Bradfield). For many Aboriginal peoples, the memories and emotions attached to a particular place can render it as either comfortable and culturally safe, or as unsafe, unsuitable, unwelcoming, and exclusionary (Fredericks). Honouring Land Connections is one way of publicly asserting and recognising Toonooba as a culturally safe, welcoming, and deeply meaningful place for Indigenous peoples. Whilst the themes explored in Honouring Land Connections are not overtly political, its presence on colonised/invaded land unsettles Eurocentric falsities and colonial amnesia (B. Martin) of an uncontested place and history in which Indigenous voices and knowledges are silenced. The artwork is a physical reminder that encourages awareness—particularly for non-Indigenous populations—of Indigenous voices that are continuously demanding recognition of Aboriginal place within Country. Similar to the boomerangs carved into the poles representing flooding as a natural expression of Country that will return (see fig. 5), Indigenous peoples continue to demand that the wider non-Indigenous population acknowledge, respect, and morally responded to Aboriginal cultures and knowledges.Figure 5Conclusion Far from a historic account of the past, the artists of CAM have created an artwork that promotes awareness of an immediate and emerging Indigenous presence on Country. It creates a space that is welcoming to Indigenous people, allowing them to engage with and affirm aspects of their living histories and cultural identities. Through sharing stories and providing “windows” into Aboriginal culture, Country, and lived experiences (which like the frogs of Toonooba are so often overlooked), the memory poles invite and welcome an open dialogue with non-Indigenous Australians where all may consider their shared presence and mutual dependence on each other and their surroundings.The memory poles are mediatory agents that stand on Country, revealing and bearing witness to the survival, resistance, tenacity, and continuity of Aboriginal peoples within the Rockhampton region and along Toonooba. Honouring Land Connections is not simply a means of reclaiming the river as an Indigenous space, for reclamation signifies something regained after it has been lost. What the memory poles signify is something eternally present, i.e. Toonooba is and forever will be embedded in Aboriginal Country in which we all, Indigenous and non-Indigenous, human and non-human, share. The memory poles serve as lasting reminders of whose Country Rockhampton is on and describes the life ways of that Country, including times of flood. Through celebrating and revelling in the presence of Country, the artists of CAM are revealing the deep connection they have to Country to the wider non-Indigenous community.ReferencesAtkinson, Judy. Trauma Trails, Recreating Song Lines: The Transgenerational Effects of Trauma in Indigenous Australia. Spinifex Press, 2002.Bhabha, Homi, K. The Location of Culture. Taylor and Francis, 2012.Bradfield, Abraham. "Decolonizing the Intercultural: A Call for Decolonizing Consciousness in Settler-Colonial Australia." Religions 10.8 (2019): 469.Cajete, Gregory. Native Science: Natural Laws of Interdependence. 1st ed. Clear Light Publishers, 2000.Chudleigh, Jane. "Flood Memorial Called 'Pillar of Courage' Unveiled in Goodna to Mark the Anniversary of the Natural Disaster." The Courier Mail 2012. 16 Jan. 2020 <http://www.couriermail.com.au/questnews/flood-memorial-called-pillar-of-courage-unveiled-in-goodna-to-mark-the-anniversary-of-the-natural-disaster/news-story/575b1a8c44cdd6863da72d64f9e96f2d>.Cullen, Peter, and Vicky Cullen. This Land, Our Water: Water Challenges for the 21st Century. ATF P, 2011.Fitzroy Basin Association. "Carnarvon Gorge with Fred Conway." 8 Dec. 2010 <https://www.youtube.com/watch?v=RbOP60JOfYo>.———. "The Fitzroy River with Billy Mann." 8 Dec. 2019 <https://www.youtube.com/watch?v=00ELbpIUa_Y>.Fredericks, Bronwyn. "Understanding and Living Respectfully within Indigenous Places." Indigenous Places: World Indigenous Nations Higher Education Consortium Journal 4 (2008): 43-49.Geertz, Clifford. "Art as a Cultural System." MLN 91.6 (1976): 1473-99.Gell, Alfred. 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U of Minnesota P, 2015.Morgan, Bob. "Country – a Journey to Cultural and Spiritual Healing." Heartsick for Country: Stories of Love, Spirit and Creation, eds. S. Morgan et al. Freemantle P, 2008: 201-20.Roberts, Alice. "Flood Markers Unveiled on Fitzroy." ABC News 5 Mar. 2014. 10 Mar. 2014 <https://www.abc.net.au/local/photos/2014/03/05/3957151.htm>.Roberts, Alice, and Jacquie Mackay. "Flood Artworks Revealed on Fitzroy Riverbank." ABC Capricornia 29 Oct. 2013. 5 Jan. 20104 <http://www.abc.net.au/local/stories/2013/10/29/3879048.htm?site=capricornia>.Robinson, Paul, and Jacquie Mackay. "Artwork Portray Flood Impact." ABC Capricornia 29 Oct. 2013. 5 Jan. 2014 <http://www.abc.net.au/lnews/2013-10-29/artworks-portray-flood-impact/5051856>.Rose, Deborah Bird. Dingo Makes Us Human: Life and Land in an Aboriginal Australian Culture. Cambridge UP, 1992.———. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Salmón, Enrique. "Kincentric Ecology: Indigenous Perceptions of the Human-Nature Relationship." Ecological Applications 10.5 (2000): 1327-32.Seton, Kathryn A., and John J. Bradley. "'When You Have No Law You Are Nothing': Cane Toads, Social Consequences and Management Issues." The Asia Pacific Journal of Anthropology 5.3 (2004): 205-25.Singer, Peter. Practical Ethics. 3rd ed. Cambridge UP, 2011.Toussaint, Sandy, et al. "Water Ways in Aboriginal Australia: An Interconnected Analysis." Anthropological Forum 15.1 (2005): 61-74.Ungunmerr, Miriam-Rose. "To Be Listened To in Her Teaching: Dadirri: Inner Deep Listening and Quiet Still Awareness." EarthSong Journal: Perspectives in Ecology, Spirituality and Education 3.4 (2017): 14-15.University of New Orleans. "Fine Arts at the University of New Orleans: Christopher Saucedo." 31 Aug. 2013 <http://finearts.uno.edu/christophersaucedofaculty.html>.UQ Anthropology Museum. 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Nesta tese, estudamos os vasos cerâmicos produzidos pelo Pintor de Gela, um artista ático, cujo período de atividade vai da última década do século VI a meados do século V. Esse Pintor pertence à geração de artistas tradicionalistas que prossegue produzindo vasos de figuras negras no período em que a técnica de figuras vermelhas é introduzida e adotada por diversos artistas em Atenas. O Pintor de Gela pode ser considerado um artista completo, uma vez que tanto molda como decora seus vasos com a mesma dedicação; ele pensa como um ceramista, porque ele é um deles, consciente do volume sobre o qual ele coloca os elementos da imagem que constrói, consciente assim da natureza do objeto suporte da imagem e das manipulações e rotações que serão feitas ao longo de sua utilização. Em sua obra, o Pintor apresenta qualidades artísticas interessantes e importantes que devem ser levadas em conta sob diversos aspectos: a originalidade técnica com a qual produz vasos em que se percebe a preocupação com simetria, volume e proporção; a capacidade de abstração e ordenação de imagens; a criatividade e liberdade artísticas com que apresenta novas representações e versões de temas desenvolvidos por outros artistas e oficinas contemporâneos a ele. A produção desse Pintor merece uma revisão e novas interpretações já que o que possuímos de publicações dedicadas ele é muito pouco em relação à sua importância como artista pertencente a um período tão produtivo da arte grega. Apontamentos sobre qualidade artística, estilo, produção e cronologia podem ser feitos a partir do estudo sistemático de seus vasos, inseridos no universo de artistas e da produção de vasos áticos de figuras negras. O conhecimento da produção desse artista, tanto no nível formal quanto imagético, contribui para uma caracterização e maior conhecimento do desenvolvimento técnico e artístico pelos quais passa a cerâmica grega, permitindo questionamentos sobre o que conhecemos da arte, tecnologia e iconografia gregas do período
This thesis deals with the pottery vases produced by the Gela Painter, an attic artist who worked from the last decade of the sixth to the beginning of the fifth century BC. This painter belongs to a generation of traditional artists who keeps on producing black figured vases when the red figured technique is introduced and adopted by many artists in Athens. The Gela Painter can be considered a complete artist due to the fact that he makes and decorates his vases with the same dedication. He thinks as a ceramist because he is one - he is aware of the volume in which he creates the elements of image, conscious of the nature of the object in which the image is placed and of the manipulations and shifts that will happen during its use. In his work, the Painter shows interesting and important artistic qualities which have to be considered under different aspects: the technical originality used to produce his vases through which it is possible to notice his worries about symmetry, volume and proportion; the capacity of abstracting and arranging images; the artistic creativity and liberty with which he shows new representations and versions of the same theme developed by other contemporary artists and workshops. This Painter\'s production deserves to be reviewed and re-interpreted due to the fact that all the works dedicated to him are really few when we take into account his importance as an artist belonging to such a fruitful period of the Greek art. Considerations about artistic quality, style, production and chronology can be taken out studying his vases systematically, always having in mind the production of attic black figured vases universe. The knowledge of this Painter\'s production, taking into account both its form and imagery characteristics, contributes to a better characterization and a greater understanding of the artistic and technical development seen in the Greek ceramic production, allowing us to question what we know about art, technology and iconography of this period

Les médiums étaient utilisés par les peintres afin de modifier la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identifiée et quantifiée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de films minces, ainsi que leur comportement (gonflement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et afin d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simplifiées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec gélification
Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a first step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identified and quantified using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin films as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to define simplified formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation

碩士
國立臺南藝術大學
博物館學與古物維護研究所
100
Abstract The local paint factories had begun to set up and produce in Taiwan back in 1950s, and since 1960s, Taiwan’s temples started to use macromolecule materials to paint. However, after the introduction of modern paints, they not only provided alternative paints for temples, but also brought new questions to the conservation methods. Burning incenses is part of Taiwanese religions but the tiny soot particles from burning incenses precipitate on the surface of murals and accumulate a heavy soot layer. Soot layers precipitate on the murals of waterborne acrylic emulsion paints, so the choice of polarity is needed to remove heavy layers of soot in cleaning and it must be the method where less pressure on the surface is involved. In this study, ‘solvent gel poultice ’ of low penetration rate is chosen to probe whether it is the method that has the least impact on films and will effectively reduce soot layers. In this study, Rainbow® waterborne acrylic emulsion paints and self-mixed acrylic paints were used to simulate painting layers, incense sticks were used to simulate soot layers and Carbogel, Carbopol was used. Two types of gels, Gel A and Gel B, blended by Carbogel, Carbopol and four types of solvents used in gels: water, isopropanol, ammonia and ammonium carbonate were used respectively to clean Dummies. We observed the cleaning effects of Gel A, Gel B and those solvents used in gels on films, and the impacts of increasing Gel A’s and Gel B’s poultice times on film surface. Standard color temperature as well as ULTRAVIOLET photography, digital microscope, scanning electron microscope, atomic force microscope and color meter were used to detect and analyze. There were cracks appearing on the films in the wake of smoking. The experimental result indicated that the Gel A and Gel B could effectively reduce soot. The Gel A was especially effective and remained the least soot. There were some residuals of soot after cleaning with water and cotton swabs; there were the dissolved white substance appearing on the film surface after cleaning with isopropanol, it was inferred that additive layers, ammonia, ammonium carbonate in the film made the surface rough. On the other hand, the increasing poultice time of Gel A and Gel B through QUV aging tended to increase the number of thin cracks, pinholes and cotton fibers. After perform Gel B dummy show erosion of coating occurred. No matter whether Dummies aged or not, there were no residuals of poultice agent on the film surface. The study concludes that no matter what the methods are, cracks and finecracks were observed on the films after cleaning, which anticipated that flaking could happen in the days to come. There were no moderate or severe erosion and collapse situations appearing on the surface after 0.5hr poultice, which illustrated that gel cleaning method has less damage on films than cotton swabs and solvent cleaning method, and is an effective and safe cleaning method to reduce soot. Key words: Solvent gel, Waterbrone acrylic emulsion paint, Cleaning, Conservation

Bacterial contamination is an unusual menace for human well-being. Nanotechnology proposes diverse techniques to nurture new inorganic antibacterial agents. Nano-inorganic metal oxides possess an auspicious potential to diminish bacterial effluence. Magnesium oxide (MgO) is a significant inorganic oxide and has been widely employed in numerous arenas such as catalysis, ceramics, toxic waste remediation, antibacterial activity, and as an additive in paint and superconductor products by virtue of its distinctive properties. Numerous studies have shown that magnesium oxide nanostructures possess remarkable antibacterial activity. Therefore, in this direction, few synthesis methods such as hydrothermal method, sol-gel method, etc., antibacterial activity, and antibacterial mechanisms of magnesium oxide nanostructures have been incorporated in this chapter.

The problem of the characterization of the solution properties of water soluble polymers is long-standing. These polymers tend to form aggregated supramolecular gels that are resistant to molecular dispersion. These materials are being widely used in a variety of industrial applications. Their principle functions are as rheological modifiers, where they thicken or gel solutions in products such as hair-care, detergents, air fresheners and foods; as flocculants for particle separation as applied to water clarification, sewage, and effluent treatment, and as stabilizers to control the properties of concentrated suspension and emulsions, for example in paints, pesticides, dyes, and pharmaceutical industries. Therefore it is important to understand their rheological properties under various operating conditions such as stress, strain, temperature etc, which will induce gelation. The rheological properties of starch gels of high concentration (up to 86% starch) have been investigated before [1]. In this paper we have investigated experimentally the shear viscosity and viscoelasticity properties of saline and polysaccharide suspensions at various low concentrations and pH at different temperatures using controlled stress and strain rheometers (Vilastic-3 and AR 2000). The data were then fitted with the power law and Cross model for low and higher concentrations respectively. The present results show that the viscosity/elasticity does not significantly change for low concentrations at different pH values. The maximum viscosity/elasticity was obtained around pH 5-7.4 at higher concentrations.

Classical sensitivity testing addresses mainly problems where the level of one stimulus only governs an abrupt transition in output, or response. Both parametric and nonparametric methods developed, and successfully applied over last century to tackle such problems, provide estimates of critical levels beyond which an item will either respond, or not, to a single stimulus, and of related statistics. However classical methods sometimes may not readily provide an answer, namely when more than one stimulus may reach critical level, and either singularly or jointly trigger transition. Factorial and response surface designs, adequate when dealing with continuous responses, may not perform as well for transition threshold estimation. A practical case at hand in chemical engineering concerns the production, through hydrolysis of a specific precursor, of titania sols and gels that find industrial use as additive for paints, concrete and other building materials due to its optical, photo-catalytic and super-hydrophilic properties. Particles formation and aggregation — controlled by varying the primary process parameters, namely initial alkoxide concentration, water to alkoxide and acid to alkoxide ratios, mixing conditions — may yield either stable, transparent nanometric sols, or monolithic gels, where aggregation of nanometric particles produces a final ceramic object. Depending on the application, one of the two products may be desirable, and therefore it is crucial to control the final product properties. Aggregation kinetics and physical properties of sols, and sol to gel transition, were found to depend strongly upon several factors, that is water to alkoxide initial concentration ratio, acid to alkoxide initial concentration ratio, and their interaction. The approach developed in order to estimate parameters pertaining to transition, and related uncertainty, is presented in the paper, and discussed in the light of experimental results.

The novel technology of chemically bonded composite sol-gel (CB-CSG) coatings has been developed at UBCeram. This essentially “ceramic paint” technology operates with CSG slurries formulated to contain a sol-gel “glue”, e.g. hydrated alumina sol, and inert filler, e.g. alpha alumina or yttria stabilized zirconia (YSZ), suspended in water or other solvent. The CSG is spray-deposited on metallic surfaces, and heat-treated at about 300°C to partially dehydrate the gel-derived hydroxides. CSG film is subsequently chemically bonded (CB) through reaction of the gel-derived active alumina with metal phosphates, such as aluminum phosphate. Effectively, the microstructure of such coating includes a porous network of refractory phosphate bonded alumina and/or YSZ. The vol% of porosity can be easily controlled in 5–60% range by adjusting spray conditions. Structural integrity (e.g. hardness and “abradability”) of the coatings can be controlled through the degree of chemical bonding treatment given. The spray-heat treat operations can be repeated to build porous films in excess of 1 mm thickness. The paper reviews the basics of CB-CSG technology. This research has focused on achieving the unique, strain-tolerant columnar microstructure of the coatings, somewhat resembling that of TBC by EB-PVD. Explanation of the process parameters controlling development of the columnar microstructure of the coatings is attempted.

Abstract This paper proposes a highly stretchable strain sensor using viscous conductive materials as resistive element and introduces a simple and economic fabrication process by encapsulating the conductive materials between two layers of silicone rubbers Ecoflex 00-30. The fabrication process of the strain sensor is presented, and the properties of the viscous conductive materials are studied. Characterization shows that the sensor with conductive gels, toothpastes, carbon paint, and carbon grease can sustain a maximum tensile strain of 200% and retain good repeatability, with a strain gauge factor of 2.0, 1.75, 3.0, and 7.5, respectively. Furthermore, strain sensors with graphite and carbon nanotubes mixed with conductive gels are fabricated to explore how to improve the gauge factor. With a focus on the most promising material, conductive carbon grease, cyclic stretching tests are conducted and show good repeatability at 100% strain for 100 cycles. Lastly, it is demonstrated that the stretchable strain sensor made of carbon grease is capable of measuring finger bending. With its easy and low-cost fabrication process, large strain detection range and good gauge factor, the conductive materials-based strain sensors are promising for future biomedical, wearable electronics and rehabilitation applications.