7 research outputs found
The Invisible Whiteness of Being : Gary Filmon and the Mainstream Media
No full textThis paper revolves around local and experiential facets of the ways in which whiteness is mobilized by both politicians and the mainstream media. Its focus is Manitoba Premier Gary Filmon who, the author argues, simultaneously employs the paradoxical and vacuous meanings of whiteness. The author traces some of the history of current discourse on concepts of whiteness (and the corollary, blackness or non-whiteness), with the aim of elucidating how Filmons success relies on manufacturing an image of himself that revolves around the potent invisibility of whiteness. Approaching the discussion through interpretations of mainstream media representations, the author argues that Filmon mobilizes a strategic image of whiteness that is related to denying the special interests of whiteness and that appeals to humanistic and capitalist sentiments of equality for all, while at the same time constructing whiteness as a universal ideal.Ce travail fait l’étude des différents aspect locaux et vécus à travers desquels la blancheur est mobilisée par les politiciens et les médias. L’analyse porte sur le premier ministre du Manitoba Gary Filmon qui, selon l’auteure, emploie simultanément la signification vide et la signification paradoxale de la blancheur. L’auteur retrace l’histoire du discours actuel sur le concept de blancheur (et ses corollaires, noirceur ou non-blancheur) dans le but d’élucider le fait que le succès de Filmon repose sur la création d’une image de lui-même qui se fonde sur [la masculine invisibilité] l’invisibilité puissante de la blancheur. Abordant la discussion par l’interprétation des représentations médiatiques, l’auteure affirme que Filmon mobilise une image stratégique de la blancheur qui est liée à un effort de démentir les intérêts particuliers de celle-ci et qui fait appel à des sentiments humanistes et capitalistes d’égalité pour tous, tout en construisant la blancheur en tant qu’idéal universel
Uji Kadar Keasaman Dalam Madu Yang Beredar Di Pasar Inpres Kalabahi Alor Dengan Metode Alkalimetri
No full textTelah dilakukan penelitian tentang uji kadar keasaman dalam madu yang beredar di pasar Inpres Kalabahi Kabupaten Alor dengan Metode Alkalimetri. Yang dikerjakan dalam Laboratorium Kimia Jurusan Farmasi Politeknik Kesehatan Kupang. Tujuan penelitian ini untuk mengetahui kadar keasaman yang terkandung di dalam madu yang beredar di Pasar Inpres Kalabahi Alor. Pengujian Keasaman madu dilakukan dengan metode Alkalimetri. Jumlahsampel yang diambil adalah 2 yang berasal dari apui dan pantar. Pada penelitian ini telah didapatkan hasil kadar keasamanmadu yaitu madu dari Apui 46,36 mL NaOH/Kg dan dari Pantar 47,76 mL NaOH/Kg. Hasil dari sampel ini dinyatakan memenuhi syarat yang telah ditetapkan oleh Standar Nasional Indonesia No. 01-3545-2013yaitu keasaman maksimal 50 mL NaOH/K
KAJIAN ANALISA KUALITATIF DAN KUANTITATIF RHODAMIN B PADA SEDIAAN PRODUK LIPSTIK
No full textLatar belakang: Lipstik merupakan salah satu riasan bibir yang banyak diminati di kalangan
masyarakat. Beberapa produsen lipstik masih ada yang menggunakan pewarna yang dilarang
oleh Pemerintah dalam produknya. Pewarna sintetik sering digunakan sebagai pewarna karena
harganya relatif murah, warna yang dihasilkan lebih menarik, dan pewarna sintetik lebih stabil
dibandingkan dengan pewarna alam. Bahan pewarna yang sering digunakan adalah Rhodamin
B. Penggunaan Rhodamin B jangka panjang dalam makanan dan kosmetik dapat menyebabkan
kanker dan gangguan fungsi hati.
Metode: Penelitian dilakukan dengan metode mereview menggunakan jurnal acuan yang
terdiri dari empat jurnal nasional dan satu jurnal internasional dengan membandingkan hasil
penelitian.
Hasil: Berdasarkan haasil penelitian Menunjukan penggunaan Rhodamin B pada produk
lipstik yang beredar di masyarakat dari beberapa sampel yang di ujikan dapat ditunjukkan
hasil yaitu 3 sampel produk lipstik menggandung Rhodamin B dan kadar yang terkandung
yaitu Kadar 73,225 μg/g, 92,61 μg/g dan kadar 0,3120 μg/g.
Kesimpulan: : Dari 37 sampel yang di ujikan 3 sampel mengandung Rhodamin B dengan
Kadar 0,3120 μg/g - 73,225 μg/g. Sehingga perlu dilakukan pengawasan lebih lanjut.
Keywords: Rhodamin B, Lipstik, Kualitatif, kuantitatif
Charge Modification of Metal Atoms: Catalysis of Water to Peroxide
No full textHere we investigate the optimization of the catalytic behavior of Au, Ag, Pd, Rh, and Os atomic systems via charge modification and conclude that anionic atomic systems are optimal and therefore ideal for catalyzing the oxidation of water to peroxide, with anionic Os being the best candidate. This conclusion should also be applicable to the oxidation of methane to methanol without CO2 emission, with the anionic Os being the best catalyst
Author Correction: Weakly supervised detection and classification of basal cell carcinoma using graph-transformer on whole slide images
No full textTunable Catalysis of Water to Peroxide with Anionic, Cationic, and Neutral Atomic Au, Ag, Pd, Rh, and Os
No full textFundamental anionic, cat-ionic, and neutral atomic metal predictions utilizing density functional theory calculations validate the recent discovery identifying the interplay between the resonances and the RT minimum obtained through complex angular momentum analysis as the fundamental atomic mechanism underlying nano-scale catalysis. Here we investigate the optimization of the catalytic behavior of Au, Ag, Pd, Rh, and Os atomic systems via polarization effects and conclude that anionic atomic systems are optimal and therefore ideal for catalyzing the oxidation of water to peroxide, with anionic Os being the best candidate. The discovery that cat-ionic systems increase the transition energy barrier in the synthesis of peroxide could be important as inhibitors in controlling and regulating catalysis. These findings usher in a fundamental and comprehensive atomic theoretical framework for the generation of tun-able catalytic systems
THE PLACE FROM WHICH I SEE: a practice-led investigation into the role of vision in understanding solo performance improvisation as a form of composition.
No full textThe Place From Which I See is a practice-led investigation into performance improvisation in which I have asked the question: ‘What is the role of vision in understanding solo performance improvisation as a form of composition?’ The research is encompassed and presented in two different, but interwoven, modalities, which function as a total thesis. These are: (1) a written thesis, which is divided into the four main chapters outlined in the Introduction and (2) a sharing of studio-based investigations and performances - included on the accompanying DVD - and a live performance. This sharing of practical work is designed to illuminate how the practice has functioned as a methodology for research and as a means of embodying and making public the research outcomes. Together, it is intended that these different articulations form a clear and useful prism through which the practical and theoretical terrain of the project can be distilled.
In this thesis I argue that working pragmatically and creatively with vision within the specificity of the immediate space and situation of performance can function as an efficacious means of understanding solo improvised performance as a form of composition, and the research offers five strategies that collectively function as a template of approaches for generating and shaping improvisational material. The strategies have been developed through instigating a practice/theory feedback loop with the phenomenology and artistic paradigm offered by French philosopher Maurice Merleau-Ponty. I introduce his model of painterly composition as a particular rubric of what I call vision/action responsiveness against which I situate my own compositional approaches. I also outline five of the key ideas that infuse both this rubric and his phenomenology more generally - the significance of the entwining of a ‘questioning’ vision with movement; the chiasm; the visible; the ‘invisible’ and the ‘I can’ - and illuminate the way in which the practice has been developed and refined through a pragmatic interaction with these ideas. The thesis also outlines how these aspects of the phenomenological discourse have been re-framed through this interaction with the practical investigations and I situate my working of Merleau-Ponty’s ideas within the context of other treatments within both dance and theatre. More broadly, I relate this doctorate’s methodological approach and aesthetic concern with vision as a core compositional tool in and for performance to the compositional strategies, aesthetics, methodologies and philosophies of a range of other practitioners, locating the research within the wider field of improvisational performance. As an outcome, this research offers the template of strategies, layered with my particular re-framings of Merleau-Ponty’s phenomenology, as an original contribution to the practice and discourse of solo performance improvisation
