164 research outputs found
Kaingani Grinkari
No full textInstruments: 2 guitars, flute, clarinet, viola, cello, double bass Extent: 13 minutes This piece was premiered as a performance on 4 July, 2002 at the Northern Territory Wildlife Park, Darwin, Northern Territory, Australia. Performed by Adrian Walter, William Grose, Imogen Henning, Neal Holmes, Anna Webb, Rebecca Harris and Young He Chan. The composition was commissioned by the Shell Darwin Guitar Festival with funding from Charles Darwin University and the Shell Darwin Guitar Festival
The Octopus
No full textAn interview with author Krissy Kneen, with critical reflections on her book 'Triptych' (Text, 2011
Resuspended freeze-dried Nannochloropsis as a model laboratory system for concentrated fresh Nannochloropsis in ultrasound cell disruption experiments
No full textMicroalgae have rigid, complex cell walls hindering direct lipid extraction. Cell disruption techniques are used to rupture these cellular structures to increase lipid extraction. Researchers investigating the downstream processing of microalgae do not always have access to microalgal cultivation systems to generate large amounts of fresh microalgal biomass. Using resuspended freeze-dried microalgal biomass as a model laboratory system for concentrated fresh biomass during cell disruption experiments offers greater flexibility in experimental planning and omits investment costs of microalgal cultivation equipment. So far, it however remains unclear whether freeze-dried resuspended biomass can be used as a model laboratory system to represent concentrated fresh biomass during cell disruption and lipid extraction experiments. This paper thus evaluated the suitability of resuspended freeze-dried Nannochloropsis as a model laboratory system for concentrated fresh Nannochloropsis during cell disruption. Ultrasound assisted cell disruption was used as example cell disruption technique and lipid extraction efficiency and free fatty acid content were investigated. Tap water and 3% sodium chloride are both suitable resuspension media for the resuspension of freeze-dried Nannochloropsis. Resuspension duration should be limited (< 120 min) to prevent the formation of free fatty acids. The condition of the biomass (concentrated fresh, or resuspended freeze-dried) prior to ultrasound assisted cell disruption did not influence the resulting lipid extraction efficiency. Resuspended freeze-dried Nannochloropsis biomass in tap water or 3% sodium chloride can thus be used as a model laboratory system for fresh microalgal biomass during research on ultrasound assisted lipid extraction. The generalization of the results to other cultivation conditions, cell disruption techniques, components of interest or microalgal species should be carefully assessed.The author(s) declare that financial support was received for the research, authorship, and/or publication of this article. This work was supported by Flanders’ Food and funded by Flanders Innovation and Entrepreneurship (VLAIO) through the cSBR
project EffSep (Grant number HBC.2019.0012)
Boycott!: Louise Imogen Guiney and the American Protective Association
No full textIrish-American poet and author Louise Imogen Guiney endured anti-Catholic discrimination in Boston during the 1890’s. Well known to contemporary Bostonians as both a writer and the daughter of an Irish Roman Catholic Civil War officer, Guiney was appointed postmaster in Auburndale in January 1894. She initially liked the job’s duties, pay, and stability. However, many residents of Auburndale, including those associated with the anti-Catholic American Protective Association, boycotted the post office by not buying stamps there. As a result, in October 1894 her salary was cut. Guiney’s friends subsequently led a counterattack that resulted in stamp purchases coming to Auburndale from Roman Catholics nationwide. Despite her reappointment to the postmaster position in 1897, Guiney’s ill health and dislike for the long hours of the job led to her resignation on 5 July 1897. In 1901 she moved to England, where she lived for the remainder of her life
Gray Display Typeface
No full textGray Display is a typeface based on a distinctive set of capital letters known as Oran Mor Monumental, designed by author and artist Alasdair Gray. Gray commissioned Edwin Pickstone, Imogen Ayres and Neil Mcguire to digitise and adjust his hand lettered capitals into type and to compliment these with lowercase letters, punctuation and numerals in order to create a fully functioning coherent typeface. Gray used the typeface for works such as his late partner Morag McAlpine's headstone as well as prints and other designs.
After his death it was used by BBC Scotland in a screencard to commemorate the author's passing and has gone on to be a key component in multiple works associated with the Alasdair Gray Archive such as the Alasdair Gray Stones which form a distinctive part of the Garscube Link Canal regeneration project.
The task of interpreting these artists letters into a coherent typeface was greatly aided by wise guidance from consultants Stefan Ellmer and Nicolas Sloan
Cool For You: Joan Didion, Renata Adler, and Elizabeth Hardwick
No full text© 2025 Isabella Imogen Constance Gullifer-LaurieCool is a term that defies conceptual fixity, evoking both intensity and restraint. In the latter half of the twentieth century, cool moved from being synonymous with the counterculture to the mainstream. Within the North-American cultural imaginary it signified a nonchalance and ironic rebelliousness at the same time as it summoned the effort of calculated detachment and conforming reserve. This thesis engages with this expansive, supple category of cool to consider the reception of the authorial persona and the textual production of three writers who shaped public discourse during this period: Joan Didion, Renata Adler, and Elizabeth Hardwick. Taking cool as an object of analysis, this thesis develops an embodied, biographical, paratextual literary criticism in order to produce new critical encounters with these writers, examining the relationship of style and celebrity to fiction, screenwriting, journalism, and criticism, with a focus on three novels: Didion’s Play It As It Lays (1970), Adler’s Speedboat (1976), and Hardwick’s Sleepless Nights (1979). This thesis elaborates on three aspects of coolness to advance its theoretical and textual engagement with each author, studying Didion’s allure, Adler’s attitude, and Hardwick’s authority
Is home where the heart is? Landscape, materiality and aesthetics in Tibetan exile.
No full textIn 2000, Tim Ingold argued: 'people do not import their ideas, plans or mental
representations into the world, since that very world ⦠is the homeland of their
thoughts. Only because they already dwell therein can they think the thoughts they do'
(2000: 186). He thus stressed the importance of place in the construction and
reproduction of culture. How does this play out, however, among refugees who by
virtue of their displacement must 'import' cultural concepts into alien environments?
For those outside a 'homeland' how do they make sense of the world? In this thesis I
examine the relationship between Tibetan refugees, the landscapes of their exile and
their wider material environment. Drawing on theory in material anthropology and
thirteen monthsâ ethnographic fieldwork conducted in two contrasting Tibetan refugee
settlements in northwest India, I analyse how Tibetan refugees are affected by, and in
turn exert agency over their material world.
Through this discussion, I reflect on the multiple and mutable meanings of home
for Tibetan refugees, many of whom were born and/or raised in India. Few scholarly
discussions of home encompass both its affective and imaginary dimensions; this thesis
achieves this by focusing on the material and aesthetic aspects of home. Through this
lens, I explore how refugees both work hard to develop a sense of home in exile, yet
simultaneously destabilise this by orienting themselves towards an imagined home in a
future 'free Tibet'. The discussion unfolds thematically, through chapters focusing on
several material categories: landscape, the built environment, dress and objects. I
develop my analysis via existing theoretical literature in material anthropology and its
sub-disciplines, transnational and migration studies, and area-specialist literature in
Tibetology.</p
Chromascopic
No full textChromascopic
29 February - 17 March 2024
Thurs to Sun, 12-5pm
Private View :
Saturday 2nd March, 12-4pm
This exhibition examines an exploration of colour its history and the multifarious ways in which contemporary artists have employed it to extraordinary effect.
Participating artists:
Frank Bowling
Jane Harris
Iain Davenport
Imogen Wetherell
Lothar Goetz
Laurence Noga
Mary Webb
Jason Martin
Mali Morris
John Crossley
Ben Gooding
Erin Lawlo
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