Journal articles on the topic 'Handmade components'

AbstractThe crystallinity indices (CrI) of Chinese handmade papers were investigated using the X-ray diffraction (XRD) method. Four Chinese handmade papers, Yingchun, Zhuma, Yuanshu and Longxucao papers were used as model substrates of mulberry bark, ramie, bamboo and Eulaliopsis binata papers, respectively. Two forms of the paper samples, paper sheets and their comminuted powders, were used in this study. The results showed that their XRD patterns belong to the cellulose-I type and Iβ dominates the cellulose microstructure of these paper samples. Moreover, it was found that the microstructures and CrIs of cellulose of these papers were changed by the grinding treatment. This work suggested that the sheet form of the handmade papers is suitable to determine CrI by XRD, despite the contribution of non-cellulosic components in the papers. The order of CrIs for these paper sheet samples was Yingchun, Zhuma, Longxucao and Yuanshu papers. Besides CrIs, differences in cross-sectional areas of the crystalline zone of cellulose can be used for comparing different types of handmade papers. It was also found that the CrIs and crystallite size of paper cellulose varied between the sheet samples and the powder samples, illustrating that the pulverisation has a negative influence on the microstructure of the handmade papers.

Certain components of global food security continue to be threatened. Globalization has impacted food patterns, leading to greater homogenization of diets and the standardization of processes of food transformation, both in the countryside and in the cities. In Mexico, this has led to a drop in the use of native corn landraces and in the value associated with traditional practices around their growing and the processing and consumption of tortillas. The aim of this work was to analyze the main characteristics of the handmade comal tortilla system along the rural-urban gradient taking into account: (1) The type of seed and production, (2) manufacturing processes, (3) marketing channels and purpose of sales, and (4) perceptions regarding the quality of the product. Research was conducted on 41 handmade tortilla workshops located in rural areas in the Lake Pátzcuaro Basin and in urban and peri-urban areas of a medium-sized city in Michoacán (Mexico). Results showed that the origin of the grain follows a gradient-like pattern: In rural areas, tortillas are made with local and native corn predominate, while in urban contexts most tortillas come from hybrid corn produced in Sinaloa or Jalisco. There is a generalized preference for white tortillas, but blue tortillas are used for personal consumption in rural areas and as a gourmet product in the city. 100% of the rural workshops make their own nixtamal, while almost 50% of the peri-urban and urban businesses buy pre-made nixtamal dough. Surprisingly, 50% of the rural handmade tortilla workshops admit that they add nixtamalized corn flour and/or wheat flour to their tortilla mix. We conclude that not all handmade comal tortillas are produced equally and, although in rural areas traditions are better preserved, these also have contradictions. We also conclude that it is important to promote the revaluation of agrobiodiversity, traditional gastronomy, and food security without sacrificing quality, nutrition, and flavor.

We report an 85-year-old woman with dementia and dependent for normal life activities who was admitted due to a left periprosthetic tibial fracture. The tibial component was replaced by one with a long stem and she was discharged. Four weeks after the intervention the patient was re-admitted due to an acute prosthetic joint infection. All the components were removed and a bone-cement spacer with a handmade stem with a metal core was implanted. Radiological signs of fracture consolidation were observed after 3 months of follow-up. Due to the previous health status of the patient, it was decided to keep the spacer as a definitive treatment. After 24 months, the patient was able to sit without pain and to stand up with help using a knee brace. There were no radiological or clinical signs of infection.

Previous work has shown that there is a significant correlation between the condition of several historic papers and their gelatin sizing content as determined by wet chemical methods. We have investigated the use of attenuated total reflection infrared spectroscopy in conjunction with principal components regression (PCR) analysis as an improved method to estimate gelatin concentrations as well as other properties on historic papers. From a training set of 25 spectra obtained from handmade papers dated from 1400 to 1800, the results from the PCR analysis indicate that three factors correlate with gelatin concentration with a multiple correlation of 0.8057. Sulfur concentration and potassium concentration also correlate highly with the extracted factors with R values of 0.7937 and 0.8284, respectively. Other properties such as fluorescence, surface pH, date, L* value, and iron concentration significantly correlate with one or more factors as well. The results suggest that the method can facilitate further studies into the relationship between gelatin sizing and paper permanence as well as the relationship between gelatin and other paper components.

The demand for additive processes that provide components with high technological performance became overriding regardless of the application area. For medical applications, the orthopedics field—multimaterial orthoses and splints—can clearly benefit from direct additive manufacturing using a hybrid process instead of the traditional handmade manufacturing, which is slow, expensive, inaccurate, and difficult to reproduce. The ability to provide faster better orthoses, using innovative services and technologies, resulting in lower recovery times, reduced symptoms, and improved functional capacity, result in a significant impact on quality of life and the well-being of citizens. With these purposes, this work presents an integrate methodology, that includes the tridimensional (3D) scanning, 3D computer-aided design modeling, and the direct digital manufacturing of multimaterial orthoses and splints. Nevertheless, additive manufacturing of components with functional gradients, multimaterial components, e.g. metal/plastic is a great challenge since the processing factors for each one of them are very different. This paper proposes the addition of two advanced additive manufacturing technologies, the selective laser melting and the stereolithography, enabling the production of a photopolymerization of the polymer in the voids of a 3D metal mesh previously produced by selective laser melting. Based on biomimetic structures concept, this mesh is subject to a previous design optimization procedure in order to optimize its geometry, minimizing the mass involved and evidencing increased mechanical strength among other characteristics. A prototype of a hybrid additive manufacturing device was developed and its flexibility of construction, geometrical freedom, and different materials processability is demonstrated through the case study—arm orthosis—presented in this work.

The aim of the study is to detect experiences related to memory, identity and heritage in comments posted on the TripAdvisor website about Casa da Tapioca. It is a predominantly qualitative research, using the comments from 2013 to 2019, with data analysis performed using the Iramuteq software and the content analysis technique. Of the 117 comments obtained, 51% were potiguares. In the word cloud and similarity analysis, <tapioca> stands out, indicating that it permeates people's imagination and evokes what is most rooted in local cuisine. Memories surfaced in the categories: old, traditional and country; identity in: rustic, simplicity, indigenous, original/handmade, Brazilian and Northeastern; heritage in: protection and maintenance. It is concluded that the cultural components present in Casa da Tapioca produce an atmosphere perceived by residents and tourists. There is a real appreciation of culture, while adding importance to the development of tourism with a strong gastronomic identity.

The western region of Saudi Arabia has its own unique traditional bridal garments. Little is known about these bridal costumes because they are handmade by a few families in the region. The purpose of this study was to investigate the history, significance, and meaning of the Hijazi bridal costumes. Symbolic interactionism was the theoretical starting point of this study. Qualitative data were collected via in-depth interviews from 22 married Saudi women. A purposive, snowball sampling strategy was used. The data were analyzed using the Miles and Huberman process. Four key themes emerged including (a) physical appearance and process of wearing the costumes, (b) meanings and beliefs related to the costumes’ components, (c) appropriate occasions during which the costumes could be worn, and (d) motivation negotiated within families. The Hijazi bridal costumes have deep historical roots in Saudi culture, which continues to play a significant role in today’s marriage rituals.

The article describes the design, production and usage of the ‘Rumentarium’, a computer-based sound generating system involving physical objects as sound sources. The Rumentarium is a set of handmade resonators, acoustically excited by DC motors, interfaced to the computer by means of various microcontrollers. Following an ecological/anthropological approach, in the Rumentarium discarded materials are used as sound sources. Every instrument is ‘produced while designed’ in an improvisation-like manner, starting from available materials. In this way, hardware is ‘softened’: that is, it can be continuously modified as in software development. Analogously, the onsite setup is very light, so that components can be added or removed on the fly, even while the Rumentarium is at work. Differently from typical computer music, the Rumentarium, while entirely computationally controlled, is an acoustic sound generator. On one hand, the Rumentarium can be played like an instrument in conjunction with a MIDI controller, for use in live musical performance. On the other side, it can be driven by algorithmic strategies. In this way, the Rumentarium can be configured also as a sound installation, in a standalone mode. Some artistic works are discussed while introducing the various control modalities that have been specifically developed for the Rumentarium.

The modern-day paper industry is highly capital-intensive industries in the core sector. Though there are several uses of paper for currency, packaging, education, information, communication, trade and hygiene, the flip side of this industry is the impact on the forest resources and other ecosystems which leads to increasing pollution in water and air, influencing several local communities. In the present paper, the authors have tried to explore potential and alternate source of industrial pulp through ruminant animal dung, which is widely available as a rural resource in India. Three types of undigested animal dung fibers from Indigenous cow (IDF), Jersey cow (JDF), and Buffalo (BDF) were taken. Wheat straw (WS) was the main diet of all animals. The cellulose, hemicellulose and lignin content for all animal dung samples were found in a range of (29–31.50%), (21–23.50%), and (11–13%), respectively. The abundant holocellulose and low lignin contents are suitable for handmade pulp and paper. Surface characteristics of fodder (WS) and all dung fibers have been investigated using Fourier Transform Infrared Spectroscopy (FTIR), scanning electron microscopy (SEM), and SEM-Energy dispersive X-ray spectroscopy (SEM-EDX). To increase paper production without damaging forest cover, it is essential to explore unconventional natural resources, such as dung fiber, which have the huge potential to produce pulp and paper, reinforcement components, etc.

Oropharyngeal dysphagia due to upper esophageal sphincter (UES) dysfunction is commonly encountered in the clinical setting. Selective experimental perturbation of various components of the deglutitive apparatus can provide an opportunity to improve our understanding of the swallowing physiology and pathophysiology. The aim is to characterize the pharyngeal and UES deglutitive pressure phenomena in an experimentally induced restriction of UES opening in humans. We studied 14 volunteers without any dysphagic symptoms (7 men, 66 ± 11 yr) but with various supraesophageal reflux symptoms. To induce UES restriction, we used a handmade device that with adjustment could selectively apply 0, 20, 30, or 40 mmHg pressure perpendicularly to the cricoid cartilage. Deglutitive pharyngeal and UES pressure phenomena were determined during dry and 5- and 10-ml water swallows × 3 for each of the UES perturbations. External cricoid pressure against the UES resulted in a significant increase in hypopharyngeal intrabolus pressure and UES nadir deglutitive relaxation pressure for all tested swallowed volumes ( P < 0.05). Application of external cricoid pressure increased the length of the UES high pressure zone from 2.5 ± 0.2 to 3.1 ± 0.2, 3.5 ± 0.1, and 3.7 ± 0.1 cm for 20, 30, and 40 mmHg cricoid pressure, respectively ( P < 0.05). External cricoid pressure had no significant effect on pharyngeal peristalsis. On the other hand, irrespective of external cricoid pressure deglutitive velopharyngeal contractile integral progressively increased with increased swallowed volumes ( P < 0.05). In conclusion, acute experimental restriction of UES opening by external cricoid pressure manifests the pressure characteristics of increased resistance to UES transsphincteric flow observed clinically without affecting the pharyngeal peristaltic contractile function.

According to the opinion of the authors, the main component of the urban culture of Volgograd is realogic identity. They argue the idea that being and existence of things in connection with the life of citizens, which is expressed in the creation, exchange, representation of material objects in handmade art format can serve as an important resource for gaining the new city image and culture of the city status. The article reveals the cultural function as a specific phenomenon of handmade artisan creativity and its importance as a special form of activity of the creative community in the culture of modern cities on the example of Volgograd. In addition to the universal (in the urban sense) creative functions and upcycling (empowering new life of old things in the so-called “repair society” by hand makers), as well as self-realization and self-handmade-presentation, the article highlights such previously unexplored handmade functions as communicational, consolidating and accumulative and representational functions associated with the ability to combine creativity handmade urban master craftsmen in community and even the community, successfully contributing to promote the image of the city of Volgograd as a culture and to express the identity of the city, acting as a symbolic and realogic brand Volgograd. They explore the basic directions of handmade in Volgograd in the aspect of micro-urbanism, as well as ways and forms of existence of real practices, folding in the city community and environment in real and virtual cultural and urban space. The authors analyze the handmade practice and Volgograd community, linking them to the specific characteristics of the modern city culture, urban identity and opportunities for urban planning and development in the field of regional cultural policy and tourism and, ultimately, with the prospect of Volgograd become a city of culture on the basis of use realogic resource handicraft handmade creation.

Modified environmental stress was reported to improve the developmental competence and cryotolerance of porcine oocytes, such as high hydrostatic pressure (HHP; Du et al. 2008 Cloning Stem Cells, Epub ahead of print) and osmotic stress (Lin et al. 2008 Reprod. Biomed. Online, in press). HHP also improved the cryotolerance of bovine and murine blastocysts (Pribenszky et al. 2005a Reprod. Dom. Anim. 40, 338–344; Pribenszky et al. 2005b Anim. Reprod. Sci. 87, 143–150). In the present study we compared the effects of NaCl with that of concentrated solutions of two non-permeable osmotic agents, sucrose and trehalose on in vitro maturated oocytes. A total of 2050 slaughterhouse-derived porcine cumulus–oocyte complexes (COCs) were matured for 41–42 h, and then put into 800 μL T2 (HEPES-buffered TCM-199 [Earle’s salts] with 2% cattle serum) supplemented with additional NaCl, sucrose or trehalose with the same osmotic level (588 mOsmol) in 4-well dishes and incubated for 1 h at 38.5°C in air. COCs incubated in T2 under the same conditions without supplementation were used as controls. Subsequently COCs were incubated in IVM medium for 1 h at 38.5°C in 5% CO2 with maximum humidity. After this recovery period cumulus cells were removed with 1 mg mL–1 hyaluronidase and pipetting, and oocytes were used as recipients for somatic nuclear transfer with handmade cloning (HMC) method. Porcine fetal fibroblasts were used as nuclear donor cells. Embryo culture was performed in PZM-3 medium (Yoshioka et al. 2002 Biol. Reprod. 66, 112–119) in 5% CO2, 5% O2 and 90% N2 and maximum humidity. Cleavage and blastocyst rates were checked on Day 1 and Day 6, respectively. Cell numbers were counted after fixation in glycerol containing 20 μg mL–1 Hoechst 33342 fluorochrome on Day 6. t-test was performed for statistical calculations with SPSS 11.0 program (SPSS, Chicago, IL, USA). Results are shown in Table 1. Osmotic stress with both permeable and non-permeable agents increased developmental competence of porcine IVM oocytes. NaCl seems to be more appropriate for the purpose, as the other two components resulted in decreased cell number in blastocysts after somatic cell nuclear transfer (SCNT). In conclusion, a simple NaCl pre-treatment of oocytes has improved the in vitro efficiency of porcine SCNT. Table 1.Developmental competence of porcine HMC embryos derived from oocytes treated with different agents The authors thank Ruth Kristensen, Anette Pedersen, Janne Adamsen and Klaus Villemoes for their help and excellent technical assistance.

CARACTERIZAÇÃO DOS ANTIOXIDANTES EM CERVEJAS TIPO PILSEN SUPLEMENTADAS COM POLPA DE MARACUJÁ AMANDA CRISTINA ALFREDO CONTRUCCI SORBO1, FERNANDO BROETTO2 1 Universidade Estadual Paulista (Unesp), Departamento de Química e Bioquímica (IBB), Instituto de Biociências, Botucatu, Distrito de Rubião Junior, s/n, Rubião Junior, CEP 18618000, Botucatu, SP, Brasil, amandasorbo@gmail.com. 2 Universidade Estadual Paulista (Unesp), Departamento de Química e Bioquímica (IBB), Instituto de Biociências, Botucatu, Distrito de Rubião Junior, s/n, Rubião Junior, CEP 18618000, Botucatu, SP, Brasil, broetto@ibb.unesp.br. RESUMO: A cerveja apresenta compostos bioativos que promovem benefícios ao organismo humano, desde que ingerida com moderação. Com o crescimento no consumo de cervejas artesanais nos últimos anos, o desenvolvimento de novos produtos, é um nicho em ascensão. Este trabalho teve como objetivo identificar possível associação dos efeitos funcionais da cerveja Pilsen ao potencial antioxidativo da polpa de maracujá. O delineamento experimental foi inteiramente casualizado, sendo o controle, o Tratamento 1 (T1) representado pela cerveja Pilsen, produzida artesanalmente. Nos demais tratamentos, as cervejas foram suplementadas com polpa de maracujá em três concentrações, durante o processo de refermentação (priming). Para o tratamento 2 (T2), a cerveja foi suplementada com polpa integral de maracujá (120 mL); Para os tratamentos T3 e T4, a suplementação com polpa foi da ordem de 50 e 25 % da polpa diluída, respectivamente. Todos os tratamentos foram repetidos três vezes, em brasagens independentes. Os resultados obtidos da capacidade antioxidante foram de 23,1879 à 19,2250; e dos compostos fenólicos foram de 1,1379 à 0,8813, observados entre os tratamento. Os resultados observados nas diferentes concentrações de polpa de maracujá, demonstraram um potencial favorável de compostos fenólicos. Palavras-chaves: bioativos, priming, maracujá, alcoólica CHARACTERIZATION OF ANTIOXIDANTS IN PILSEN BEERS SUPPLEMENTED WITH PASSION FRUIT PULP ABSTRACT: Beer presents bioactive components that promote benefits to the human body, once ingested in moderation. With the growth of craft beer consumption in recent years, the development of new products is a growing niche. This work aimed to identify possible association of Pilsen beer functional effects to the potential passion fruit pulp antioxidant. The experimental design was completely randomized, using as control the Treatment 1 (T1), represented by Pilsen beer handmade produced. In the other treatments the beers were supplemented with passion fruit pulp in three concentrations during priming process. Treatment 2 (T2), beer was supplemented with whole passion fruit pulp (120 mL); treatments T3 and T4, the supplementation with pulp was the order of 50 and 25% of the diluted pulp, respectively. The results obtained from the antioxidant capacity were from 23.1879 to 19.2250; and the phenolic compounds were from 1.1379 to 0.8813, observed among the treatments. The results observed in the different formulations of artisanal fruity beers showed a favorable potential of bioactive compounds. Keywords: bioactive, priming, passion fruit, alcoholic.

AbstractThe background of this research is the unavailability of learning model of basic technique of hand ball which is used as a reference to build the ability of basic technique of hand ball among the students. The purpose of this research is to develop the basic technique of handball based technique of handball based on adobe flash player, including opening, passing, catch the ball, dribble, blocking, shoot the ball, goalkeeper training and stretching, all of which are arranged in one easily accessible media anytime, by anyone and anywhere, especially at the Se-degree Junior High School in Demak district. The research method used is "Reasearch and Developement" approach. "This research is a research and development through preliminary stage, development of learning design, production, and product evaluation. After the production phase, then the initial product validation stage by media experts, academicians and practitioners. The evaluation results of media experts for the assessment component containing aspects of text, images / photos, sound audio, video obtained 61% of the total for the feasibility conclusion of the product. The results of the evaluation of academicians for the assessment component containing aspects of conformity, usefulness, security, and aspects of implementation are 85.71% of the total for the feasibility conclusion of the product. The results of the expert evaluation of practitioners for the assessment component containing aspects of conformity, usefulness, security, and the implementation aspect obtained 97.86% of the total for the feasibility conclusion of the product. The final percentage of all experts is 81.58% and it can be interpreted that the design of Adobe Flash Player based hand baseball technique technique can be tested in the next step. Small group test results for the assessment component that contains aspects of conformity, usefulness, security, and aspects of implementation obtained 71.25% of the overall for the feasibility of the conclusion of the product. The results of the large group test for the assessment component that contains aspects of conformity, usefulness, security, and the implementation aspect obtained 87.92% of the overall for the feasibility conclusion of the product. Based on the specified criteria it can be concluded that Adobe Flash Player's handmade basic ballast technique technique products are valid and usable. This is because the data results are stretched 80 - 100% for clarification of product feasibility percentage. Therefore this product is feasible and effective to develop the extracurricular handmade coaching in Demak Regency. Keywords: Multimedia Learning, handball, adobe flash player

Thin layers of pyroglutamic acid (Pygl) have been deposited by thermal evaporation of the molten L-glutamic acid (L-Glu) through intramolecular lactamization. This deposition was carried out with the versatile handmade low-vacuum coater, which was simply composed of a soldering iron placed in a vacuum degassing resin chamber evacuated by an oil-free diaphragm pump. Molecular structural analyses have revealed that thin solid film evaporated from the molten L-Glu is mainly composed of L-Pygl due to intramolecular lactamization. The major component of the L-Pygl was in β-phase and the minor component was in γ-phase, which would have been generated from partial racemization to DL-Pygl. Electron microscopy revealed that the L-Glu-evaporated film generally consisted of the 20 nm particulates of Pygl, which contained a periodic pattern spacing of 0.2 nm intervals indicating the formation of the single-molecular interval of the crystallized molecular networks. The DL-Pygl-evaporated film was composed of the original DL-Pygl preserving its crystal structures. This methodology is promising for depositing a wide range of the evaporable organic materials beyond amino acids. The quartz crystal resonator coated with the L-Glu-evaporated film exhibited the pressure-sensing capability based on the adsorption-desorption of the surrounding gas at the film surface.

Saat ini banyak berkembang sentra industri rumahan yang berkembang di masyarakat. Salah satunya adalah industri rumahan yang memproduksi sandal. Dalam proses produksinya pengrajin sandal masih sangat mengandalkan keterampilan tangan atau handmade,peralatan yang digunakan pun masih sangat minim. Kurang canggihnya peralatan penunjang membuat proses produksi menjadi lama dan tidak efisien. Berdasarkan permasalahan tersebut, maka diperlukan perencanaan dan pembuatan suatu alat untuk membantu dalam proses produksi sandal, khususnya dalam pemasangan tali sandal agar lebih cepat, efisien dan tidak memerlukan tenaga yang berat dalam pengoperasiannya. Salah satu bentuk teknologi yang dapat diaplikasikan dalam pemasangan tali sandal ini adalah menggunakan sistem pneumatik yang bekerja dengan memanfaatkan tekanan udara dari kompresor serta sistem manual dengan menggunakan pegas. Dalam pembuatan alat pemasang tali sandalini pneumatik digunakan sebagai komponen utama.Tujuan perencanaan dan pembuatan alat ditujukan kepada pekerja di Home Industry sandal agar bisa memproduksi sandal dengan jumlah banyak dalam waktu yang singkat. Currently, many home industry centers are developing in the community. One of them is a home industry that produces sandals. In the production process, sandal craftsmen still rely heavily on hand or handmade skills, and the equipment used is still very minimal. Lack of sophisticated supporting equipment makes the production process long and inefficient. Based on these problems, it is necessary to plan and manufacture a tool to assist in the sandal production process, especially in the installation of sandal straps so that it is faster, more efficient and does not require heavy labor in operation. One form of technology that can be applied in the installation of this sandal strap is using a pneumatic system that works by utilizing the air pressure from the compressor and the manual system using springs. In making this sandal strap fixing tool, pneumatics is used as the main component. The purpose of planning and making tools is aimed at workers in the sandal home industry so that they can produce large quantities of sandals in a short time.

En el presente artículo se presentan los resultados del proyecto que tuvo como objetivo elaborar un nuevo tipo de papel artesanal a base de residuos agroindustriales, para comparar algunas de sus propiedades con el papel industrial. Los desechos agroindustriales se componen principalmente de tallos, raíces, hojas u otras partes de plantas como el bambú, el carrizo, el plátano, el agave, la piña, y el coco. Dichos residuos son apartados y clasificados como materiales “inútiles” y constituyen una fuente importante de contaminación. Resulta importante indicar que en los últimos años, ha existido una relación directa entre la acumulación excesiva de estos desechos con el incremento de la población humana, ya que se han tenido que destinar grandes cantidades de extensiones de tierra para el cultivo de frutas y vegetales para atender la demanda de alimentos de las personas. El desarrollo de este proyecto constó de 4 etapas, las cuales se obtuvieron al combinar la Metodología de Ecodiseño de la Sociedad Pública de Gestión Ambiental del Gobierno Vasco, IHOBE; y la Metodología de Desarrollo de Productos de Ulrich y Epigger, a las cuales se agregó una fase experimental. La Etapa 1 constó de toda la investigación de campo y bibliográfica que fue realizada para sustentar el proyecto, también se obtuvo el inventario del Ciclo de Vida del papel industrial. Posteriormente, en la Etapa 2 se utilizó el Método de Diseño de Experimentos para efectuar un conjunto de pruebas con distintas formulaciones de los componentes del papel artesanal, variando las proporciones de fibra y aditivo. En la Etapa 3 se definió el inventario del Ciclo de Vida del papel artesanal, además se determinó el diagrama de procesos de operación para su fabricación. Finalmente, en la Etapa 4 se realizaron un conjunto de pruebas físicas, además se compararon los inventarios del Ciclo de Vida y las características del nuevo papel artesanal y del papel industrial.

AbstractNatural yellow plant dyes and traditional medicines were used widely on historical papers in ancient China for religious reasons and conservation considerations. This study aims to evaluate some traditional yellow botanical sources of dyes that contain different chemical colorant compositions in order to understand their effects on the properties of traditional handmade paper. The physical and chemical changes in paper specimens treated with plant dyes were studied by examining properties such as the color, pH, thermogravimetric (TG) characteristics, tensile strength, folding endurance and microstructure by scanning electron microscopy (SEM). The results indicated that different colorants had different toning effects and that the main components, including carboxyl and ketone groups, could affect the paper stability at high temperatures. The results also revealed that the mechanical properties of paper specimens were improved after treatment with plant dyes. The significant improvements in the tensile strength and folding endurance and the slightly higher decomposition temperature of Amur cork tree-dyed paper could be ascribed to the strong interaction between the colorants’ main components and the fibers. The scientific evaluation of the property changes is therefore valuable information for weighing the advantages and disadvantages of the various yellow toning materials for paper conservation treatment.

AbstractNon-destructive analysis of 1,578 paper specimens made between the fourteenth and the nineteenth centuries was undertaken in an effort to better understand changes in paper composition over time and how these variations might affect paper stability during long term natural ageing. Gelatine content and colour were determined using UV/Vis/NIR spectrometry. Residual metals were measured using XRF. These components included potassium and sulfur as elements indicative of alum concentration; iron as a typical paper contaminant; and calcium, which is often associated with compounds such as calcium carbonate that can serve as alkaline reserves. The research demonstrated that papers that are lighter in colour (closer to white) are associated with higher levels of gelatine and calcium, and lower levels of iron. The survey also showed significant decreases in gelatine and calcium concentration over time with the largest differences coinciding with the rise of printing around 1500. The drop in pH over the centuries observed by other researchers is explained by the decreases in these two components rather than by a rise in alum concentration, which remained fairly stable. The craftsmanship of the specimens was evaluated using materials and workmanship ratings which showed better quality paper associated with higher gelatine and calcium concentrations and colour closer to white. Poorer quality papers were associated with higher iron levels and greater thickness.

A HOMEMADE SPIN COATER BASED ON ELECTRONIC WASTE: A VERSATILE AND LOW COST ALTERNATIVE. High-precision equipment generally represents a significant portion of a laboratory budget, leading the access by laboratories with limited financial resources difficult. Then, adaptation of materials such as electronic trash may be a key factor to overcome financial obstacles. As the technological advancement brings with it an increase in the disposal of pieces of equipment considered obsolete, these pieces however can still be used in the construction of new equipment. The present work shows the employment of a scrapped computer HD in addition to an Arduino microcontroller and other electronic components to build a low-cost spin coater. The thickness of films obtained in the handmade equipment presented approximately five percent of difference in relation to films obtained in a commercial equipment.

AbstractValvasor's library is a unique example of a Seventeenth century personal library, including over 7300 prints and 1530 books. Today, it is kept in the Metropolitan Library of the Zagreb Archdiocese which is part of the Croatian State Archives. In this study, we analysed a selection of papers from Valvasor's collection (VC) of unknown origin and composition. We used a dual approach, combining the results of the analyses of two sets of samples to find the most useful tools for the characterization of historical handmade papers. 144 randomly selected papers were included in the study. As the VC is a cultural heritage, only non-destructive analyses were used, such as visual inspection, surface imaging, measurements of thickness and the determination of optical properties (brightness, yellowness, opacity and gloss). According to the optical properties, papers from the VC could be characterized as yellowish and opaque, without gloss. Due to the fact that the VC papers could not be destroyed, we took another set of samples consisting of 10 historical papers (HP) from archival materials, dating from the 16th to nineteenth century, and subjected them to non-destructive, as well as micro-destructive analyses. This was done to supplement the findings of non-destructive analyses of the original collection. Initially, spot tests were performed to determine water absorbency and to identify the presence of lignin and starch in the paper samples. SEM–EDS and XRF were applied for the identification of inorganic elements. FTIR analyses were used to identify the chemical structures of the paper components. Microscopic analyses were performed in two ways: the paper surface was imaged with a digital microscope, and the morphological characteristics of the fibres were studied using an optical microscope. The dominant fibres present were flax and hemp, with a smaller proportion of cotton. Additionally, thick and thin light brown fibres resembling straw were detected. The presence of calcium-containing components, gelatine and alum could be confirmed with SEM–EDS, XFR and FTIR analysis. Comparing the results of analyses performed on two sets of samples a connection was explored by which it was possible to define the characterization of VC papers. The main goal of the study was to document and characterize a specific collection for the future use of researchers of handmade paper or paper conservators. Furthermore, the study may serve as a model approach for other researchers who seek to document the characteristics of paper in their collections.

In 2015, a school readiness program was created for children who will turn 5 before the start of the school year and will start studying at the first grade of school in September. The components of the school readiness program are: «School Readiness Educational Standard», a teacher’s guideline, a collection of activities describing specific activities and provided relevant supplements.The goals of the study are: Study of the course of school readiness program on the example of Tbilisi kindergartens; Based on the situation, developing methodology for effective implementation of school readiness program. The project was implemented in Tbilisi. The selection of experimental and controlled preschool institutions was based on the existence of similar infrastructure (newly built building, existence of a yard) and three or four large size school readiness groups in kindergartenAs a result of the works carried out, experimental preschool institutions have improved in the following directions: Educators conduct dialogue and ask children questions individually and in small groups; Children have the opportunity to engage in different types of activities and games (games with rules, role playing games, movable games, creative activities); Children can independently take and use learning and gaming resources; The group uses handmade and secondary resources; Group space is organized into thematic centers; The natural materials are used in the group; Children can independently take toys and resources; Educators have planned and prepared a wide variety of activities (activity, games with rules, role playing games, project) related to the topic; Educator observes children in order to evaluate them.

Purpose The purpose of this paper is to investigate the wetting behaviors of Sn-5Sb-CuNiAg solders on copper substrates in different soldering processes and the effects of alloying elements on the wettability. Design/methodology/approach Sn-5Sb-CuNiAg solder balls (750 µm in diameter) were spread and wetted on 40 × 40 × 1 mm copper plates, in different fluxes, soldering temperatures and time. The contact angles were obtained by a home-made measuring instrument. The samples were polished and deep etched before analyzed by scanning electron microscopy. Energy dispersive X-ray spectroscopy was used to identify the composition of the joints. Findings The effects of different soldering processes and alloying elements on the wetting behaviors of Sn-5Sb-CuNiAg solders on copper substrates were calculated and expounded. The rosin-based flux could effectively remove oxidation layers and improve the wettability of Sn-5Sb-CuNiAg solders. Then with the increase of soldering temperature and time, the contact angles decreased gradually. The soldering processes suited for Sn-5Sb-CuNiAg solders were RMA218, 280°C and 30 s. Considered the effects of alloying elements, the wettability of Sn-5Sb-0.5Cu-0.1Ni-0.5Ag was relatively favorable on copper substrates. Besides, Ni could accumulate at the solder/Cu interface and form a jagged (Cu,Ni)6Sn5 IMC. Originality/value This work was carried out with our handmade experiment equipment and the production of the quinary lead-free solder alloy used in wetting tests belongs to us. The investigated Sn-5Sb-CuNiAg alloys exhibited higher melting point and preferable wettability, that was one of the candidates for high-temperature lead-free solders to replace high-Pb solders, and applied extremely to high temperature and frequency working environments of the third-generation semiconductors components, with a greater potential research and development value.

Abstract Objectives The key test in Content-Based Medical Image Retrieval (CBMIR) frameworks for MRI (Magnetic Resonance Imaging) pictures is the semantic hole between the low-level visual data caught by the MRI machine and the elevated level data seen by the human evaluator. Methods The conventional component extraction strategies centre just on low-level or significant level highlights and utilize some handmade highlights to diminish this hole. It is important to plan an element extraction structure to diminish this hole without utilizing handmade highlights by encoding/consolidating low-level and elevated level highlights. The Fleecy gathering is another packing technique, which is applied in plan depiction here and SVM (Support Vector Machine) is applied. Remembering the predefinition of bunching amount and enlistment cross-section is until now a significant theme, a new predefinition advance is extended in this paper, in like manner, and another CBMIR procedure is suggested and endorsed. It is essential to design a part extraction framework to diminish this opening without using painstakingly gathered features by encoding/joining low-level and critical level features. Results SVM and FCM (Fuzzy C Means) are applied to the power structures. Consequently, the incorporate vector contains all the objectives of the image. Recuperation of the image relies upon the detachment among request and database pictures called closeness measure. Conclusions Tests are performed on the 200 Image Database. Finally, exploratory results are evaluated by the audit and precision.

Cheese has a long history and this naturally fermented dairy product contains a range of distinctive flavors. Microorganisms in variety cheeses are an essential component and play important roles during both cheese production and ripening. However, cheeses from different countries are still handmade, the processing technology is diverse, the microbial community structure is complex and the cheese flavor fluctuates greatly. Therefore, studying the general processing technology and relationship between microbial structure and flavor formation in cheese is the key to solving the unstable quality and standardized production of cheese flavor on basis of maintaining the flavor of cheese. This paper reviews the research progress on the general processing technology and key control points of natural cheese, the biochemical pathways for production of flavor compounds in cheeses, the diversity and the role of yeasts in cheese. Combined with the development of modern detection technology, the evolution of microbial structure, population evolution and flavor correlation in cheese from different countries was analyzed, which is of great significance for the search for core functional yeast microorganisms and the industrialization prospect of traditional fermented cheese.

"verbiage very thinly sliced and plated up real nice" (Barrett 1)IntroductionMany of us share in an obsessive collecting of cookbooks and recipes. Torn or cut from newspapers and magazines, recipes sit swelling scrapbooks with bloated, unfilled desire. They’re non-hybrid seeds, peas under the mattress, an endless cycle of reproduction. Desire and narrative are folded into each other in our drive, as humans, to create meaning. But what holds us to narrative is good writing. And what can also drive desire is image—literal as well as metaphorical—the visceral pleasure of the gaze, or looking and viewing the sensually aesthetic and the work of the imagination. Creative WritingCooking, winemaking, and food and wine writing can all be considered art. For example, James Halliday (31), the eminent Australian wine critic, posed the question “Is winemaking an art?,” answering: “Most would say so” (31). Cookbooks are stories within stories, narratives that are both factual and imagined, everyday and fantastic—created by both writer and reader from where, along with its historical, cultural and publishing context, a text gets its meaning. Creative writing, in broad terms of genre, is either fiction (imagined, made-up) or creative nonfiction (true, factual). Genre comes from the human taxonomic impulse to create order from chaos through cataloguing and classification. In what might seem overwhelming infinite variety, we establish categories and within them formulas and conventions. But genres are not necessarily stable or clear-cut, and variation in a genre can contribute to its de/trans/formation (Curti 33). Creative nonfiction includes life writing (auto/biography) and food writing among other subgenres (although these subgenres can also be part of fiction). Cookbooks sit within the creative nonfiction genre. More clearly, dietary or nutrition manuals are nonfiction, technical rather than creative. Recipe writing specifically is perhaps less an art and more a technical exercise; generally it’s nonfiction, or between that and creative nonfiction. (One guide to writing recipes is Ostmann and Baker.) Creative writing is built upon approximately five, more or less, fundamentals of practice: point of view or focalisation or who narrates, structure (plot or story, and theme), characterisation, heightened or descriptive language, setting, and dialogue (not in any order of importance). (There are many handbooks on creative writing, that will take a writer through these fundamentals.) Style or voice derives from what a writer writes about (their recurring themes), and how they write about it (their vocabulary choice, particular use of imagery, rhythm, syntax etc.). Traditionally, as a reader, and writer, you are either a plot person or character person, but you can also be interested primarily in ideas or language, and in the popular or literary.Cookbooks as Creative NonfictionCookbooks often have a sense of their author’s persona or subjectivity as a character—that is, their proclivities, lives and thus ideology, and historical, social and cultural place and time. Memoir, a slice of the author–chef/cook’s autobiography, is often explicitly part of the cookbook, or implicit in the nature of the recipes, and the para-textual material which includes the book’s presentation and publishing context, and the writer’s biographical note and acknowledgements. And in relation to the latter, here's Australian wine educator Colin Corney telling us, in his biographical note, about his nascent passion for wine: “I returned home […] stony broke. So the next day I took a job as a bottleshop assistant at Moore Park Cellars […] to tide me over—I stayed three years!” (xi). In this context, character and place, in the broadest sense, are inevitably evoked. So in conjunction with this para-textual material, recipe ingredients and instructions, visual images and the book’s production values combine to become the components for authoring a fictive narrative of self, space and time—fictive, because writing inevitably, in a broad or conceptual sense, fictionalises everything, since it can only re-present through language and only from a particular point of view.The CookbooksTo talk about the art of cookbooks, I make a judgmental (from a creative-writer's point of view) case study of four cookbooks: Lyndey Milan and Colin Corney’s Balance: Matching Food and Wine, Sean Moran’s Let It Simmer (this is the first edition; the second is titled Let It Simmer: From Bush to Beach and Onto Your Plate), Kate Lamont’s Wine and Food, and Greg Duncan Powell’s Rump and a Rough Red (this is the second edition; the first was The Pig, the Olive & the Squid: Food & Wine from Humble Beginnings) I discuss reading, writing, imaging, and designing, which, together, form the nexus for interpreting these cookbooks in particular. The choice of these books was only relatively random, influenced by my desire to see how Australia, a major wine-producing country, was faring with discussion of wine and food choices; by the presence of discursive text beyond technical presentation of recipes, and of photographs and purposefully artful design; and by familiarity with names, restaurants and/or publishers. Reading Moran's cookbook is a model of good writing in its use of selective and specific detail directed towards a particular theme. The theme is further created or reinforced in the mix of narrative, language use, images and design. His writing has authenticity: a sense of an original, distinct voice.Moran’s aphoristic title could imply many things, but, in reading the cookbook, you realise it resonates with a mindfulness that ripples throughout his writing. The aphorism, with its laidback casualness (legendary Australian), is affectively in sync with the chef’s approach. Jacques Derrida said of the aphorism that it produces “an echo of really curious, indelible power” (67).Moran’s aim for his recipes is that they be about “honest, home-style cooking” and bringing “out a little bit of the professional chef in the home cook”, and they are “guidelines” available for “sparkle” and seduction from interpretation (4). The book lives out this persona and personal proclivities. Moran’s storytellings are specifically and solely highlighted in the Contents section which structures the book via broad categories (for example, "Grains" featuring "The dance of the paella" and "Heaven" featuring "A trifle coming on" for example). In comparison, Powell uses "The Lemon", for example, as well as "The Sheep". The first level of Contents in Lamont’s book is done by broad wine styles: sparkling, light white, robust white and so on, and the second level is the recipe list in each of these sections. Lamont’s "For me, matching food and wine comes down to flavour" (xiii) is not as dramatic or expressive as Powell’s "Wine: the forgotten condiment." Although food is first in Milan and Corney’s book’s subtitle, their first content is wine, then matching food with colour and specific grape, from Sauvignon Blanc to Barbera and more. Powell claims that the third of his rules (the idea of rules is playful but not comedic) for choosing the best wine per se is to combine region with grape variety. He covers a more detailed and diversified range of grape varieties than Lamont, systematically discussing them first-up. Where Lamont names wine styles, Powell points out where wine styles are best represented in Australian states and regions in a longish list (titled “13 of the best Australian grape and region combos”). Lamont only occasionally does this. Powell discusses the minor alternative white, Arneis, and major alternative reds such as Barbera and Nebbiolo (Allen 81, 85). This engaging detail engenders a committed reader. Pinot Gris, Viognier, Sangiovese, and Tempranillo are as alternative as Lamont gets. In contrast to Moran's laidbackness, Lamont emphasises professionalism: "My greatest pleasure as a chef is knowing that guests have enjoyed the entire food and wine experience […] That means I have done my job" (xiii). Her reminders of the obvious are, nevertheless, noteworthy: "Thankfully we have moved on from white wine/white meat and red wine/red meat" (xiv). She then addresses the alterations in flavour caused by "method of cooking" and "combination of ingredients", with examples. One such is poached chicken and mango crying "out for a vibrant, zesty Riesling" (xiii): but where from, I ask? Roast chicken with herbs and garlic would favour "red wine with silky tannin" and "chocolatey flavours" (xiii): again, I ask, where from? Powell claims "a different evolution" for his book "to the average cookbook" (7). In recipes that have "a wine focus", there are no "pretty […] little salads, or lavish […] cakes" but "brown" albeit tasty food that will not require ingredients from "poncy inner-city providores", be easy to cook, and go with a cheap, budget-based wine (7). While this identity-setting is empathetic for a Powell clone, and I am envious of his skill with verbiage, he doesn’t deliver dreaming or desire. Milan and Corney do their best job in an eye-catching, informative exemplar list of food and wine matches: "Red duck curry and Barossa Valley Shiraz" for example (7), and in wine "At-a-glance" tables, telling us, for example, that the best Australian regions for Chardonnay are Margaret River and the Adelaide Hills (53). WritingThe "Introduction" to Moran’s cookbook is a slice of memoir, a portrait of a chef as a young man: the coming into being of passion, skill, and professionalism. And the introduction to the introduction is most memorable, being a loving description of his frugal Australian childhood dinners: creations of his mother’s use of manufactured, canned, and bottled substitutes-for-the-real, including Gravox and Dessert Whip (1). From his travel-based international culinary education in handmade, agrarian food, he describes "a head of buffalo mozzarella stuffed with ricotta and studded with white truffles" as "sheer beauty", "ambrosial flavour" and "edible white 'terrazzo'." The consonants b, s, t, d, and r are picked up and repeated, as are the vowels e, a, and o. Notice, too, the comparison of classic Italian food to an equally classic Italian artefact. Later, in an interactive text, questions are posed: "Who could now imagine life without this peppery salad green?" (23). Moran uses the expected action verbs of peel, mince, toss, etc.: "A bucket of tiny clams needs a good tumble under the running tap" (92). But he also uses the unexpected hug, nab, snuggle, waltz, "wave of garlic" and "raining rice." Milan and Corney display a metaphoric-language play too: the bubbles of a sparkling wine matching red meat become "the little red broom […] sweep[ing] away the […] cloying richness" (114). In contrast, Lamont’s cookbook can seem flat, lacking distinctiveness. But with a title like Wine and Food, perhaps you are not expecting much more than information, plain directness. Moran delivers recipes as reproducible with ease and care. An image of a restaurant blackboard menu with the word "chook" forestalls intimidation. Good quality, basic ingredients and knowledge of their source and season carry weight. The message is that food and drink are due respect, and that cooking is neither a stressful, grandiose nor competitive activity. While both Moran and Lamont have recipes for Duck Liver Pâté—with the exception that Lamont’s is (disturbingly, for this cook) "Parfait", Moran also has Lentil Patties, a granola, and a number of breads. Lamont has Brioche (but, granted, without the yeast, seeming much easier to make). Powell’s Plateless Pork is "mud pies for grown-ups", and you are asked to cook a "vat" of sauce. This communal meal is "a great way to spread communicable diseases", but "fun." But his passionately delivered historical information mixed with the laconic attitude of a larrikin (legendary Australian again) transform him into a sage, a step up from the monastery (Powell is photographed in dress-up friar’s habit). Again, the obvious is noteworthy in Milan and Corney’s statement that Rosé "possesses qualities of both red and white wines" (116). "On a hot summery afternoon, sitting in the sun overlooking the view … what could be better?" (116). The interactive questioning also feeds in useful information: "there is a huge range of styles" for Rosé so "[g]rape variety is usually a good guide", and "increasingly we are seeing […] even […] Chambourcin" (116). Rosé is set next to a Bouillabaisse recipe, and, empathetically, Milan and Corney acknowledge that the traditional fish soup "can be intimidating" (116). Succinctly incorporated into the recipes are simple greyscale graphs of grape "Flavour Profiles" delineating the strength on the front and back palate and tongue (103).Imaging and DesigningThe cover of Moran’s cookbook in its first edition reproduces the colours of 1930–1940's beach towels, umbrellas or sunshades in matt stripes of blue, yellow, red, and green (Australian beaches traditionally have a grass verge; and, I am told (Costello), these were the colours of his restaurant Panoroma’s original upholstery). A second edition has the same back cover but a generic front cover shifting from the location of his restaurant to the food in a new subtitle: "From Bush to Beach and onto Your Plate". The front endpapers are Sydney’s iconic Bondi Beach where Panoroma restaurant is embedded on the lower wall of an old building of flats, ubiquitous in Bondi, like a halved avocado, or a small shallow elliptic cave in one of the sandstone cliff-faces. The cookbook’s back endpapers are his bush-shack country. Surfaces, cooking equipment, table linen, crockery, cutlery and glassware are not ostentatious, but simple and subdued, in the colours and textures of nature/culture: ivory, bone, ecru, and cream; and linen, wire, wood, and cardboard. The mundane, such as a colander, is highlighted: humbleness elevated, hands at work, cooking as an embodied activity. Moran is photographed throughout engaged in cooking, quietly fetching in his slim, clean-cut, short-haired, altar-boyish good-looks, dressed casually in plain bone apron, t-shirt (most often plain white), and jeans. While some recipes are traditionally constructed, with the headnote, the list of ingredients and the discursive instructions for cooking, on occasion this is done by a double-page spread of continuous prose, inviting you into the story-telling. The typeface of Simmer varies to include a hand-written lookalike. The book also has a varied layout. Notes and small images sit on selected pages, as often as not at an asymmetric angle, with faux tape, as if stuck there as an afterthought—but an excited and enthusiastic afterthought—and to signal that what is informally known is as valuable as professional knowledge/skill and the tried, tested, and formally presented.Lamont’s publishers have laid out recipe instructions on the right-hand side (traditional English-language Western reading is top down, left to right). But when the recipe requires more than one item to be cooked, there is no repeated title; the spacing and line-up are not necessarily clear; and some immediate, albeit temporary, confusion occurs. Her recipes, alongside images of classic fine dining, carry the implication of chefing rather than cooking. She is photographed as a professional, with a chef’s familiar striped apron, and if she is not wearing a chef’s jacket, tunic or shirt, her staff are. The food is beautiful to look at and imagine, but tackling it in the home kitchen becomes a secondary thought. The left-hand section divider pages are meant to signal the wines, with the appropriate colour, and repetitive pattern of circles; but I understood this belatedly, mistaking them for retro wallpaper bemusedly. On the other hand, Powell’s bog-in-don’t-wait everyday heartiness of a communal stewed dinner at a medieval inn (Peasy Lamb looks exactly like this) may be overcooked, and, without sensuousness, uninviting. Images in Lamont’s book tend toward the predictable and anonymous (broad sweep of grape-vined landscape; large groups of people with eating and drinking utensils). The Lamont family run a vineyard, and up-market restaurants, one photographed on Perth’s river dockside. But Sean's Panoroma has a specificity about it; it hasn’t lost its local flavour in the mix with the global. (Admittedly, Moran’s bush "shack", the origin of much Panoroma produce and the destination of Panoroma compost, looks architect-designed.) Powell’s book, given "rump" and "rough" in the title, stridently plays down glitz (large type size, minimum spacing, rustic surface imagery, full-page portraits of a chicken, rump, and cabbage etc). While not over-glam, the photography in Balance may at first appear unsubtle. Images fill whole pages. But their beautifully coloured and intriguing shapes—the yellow lime of a white-wine bottle base or a sparkling wine cork beneath its cage—shift them into hyperreality. White wine in a glass becomes the edge of a desert lake; an open fig, the jaws of an alien; the flesh of a lemon after squeezing, a sea anemone. The minimal number of images is a judicious choice. ConclusionReading can be immersive, but it can also hover critically at a meta level, especially if the writer foregrounds process. A conversation starts in this exchange, the reader imagining for themselves the worlds written about. Writers read as writers, to acquire a sense of what good writing is, who writing colleagues are, where writing is being published, and, comparably, to learn to judge their own writing. Writing is produced from a combination of passion and the discipline of everyday work. To be a writer in the world is to observe and remember/record, to be conscious of aiming to see the narrative potential in an array of experiences, events, and images, or, to put it another way, "to develop the habit of art" (Jolley 20). Photography makes significant whatever is photographed. The image is immobile in a literal sense but, because of its referential nature, evocative. Design, too, is about communication through aesthetics as a sensuous visual code for ideas or concepts. (There is a large amount of scholarship on the workings of image combined with text. Roland Barthes is a place to begin, particularly about photography. There are also textbooks dealing with visual literacy or culture, only one example being Shirato and Webb.) It is reasonable to think about why there is so much interest in food in this moment. Food has become folded into celebrity culture, but, naturally, obviously, food is about our security and survival, physically and emotionally. Given that our planet is under threat from global warming which is also driving climate change, and we are facing peak oil, and alternative forms of energy are still not taken seriously in a widespread manner, then food production is under threat. Food supply and production are also linked to the growing gap between poverty and wealth, and the movement of whole populations: food is about being at home. Creativity is associated with mastery of a discipline, openness to new experiences, and persistence and courage, among other things. We read, write, photograph, and design to argue and critique, to use the imagination, to shape and transform, to transmit ideas, to celebrate living and to live more fully.References Allen, Max. The Future Makers: Australian Wines for the 21st Century. Melbourne: Hardie Grant, 2010. Barratt, Virginia. “verbiage very thinly sliced and plated up real nice.” Assignment, ENG10022 Writing from the Edge. Lismore: Southern Cross U, 2009. [lower case in the title is the author's proclivity, and subsequently published in Carson and Dettori. Eds. Banquet: A Feast of New Writing and Arts by Queer Women]Costello, Patricia. Personal conversation. 31 May 2012. Curti, Lidia. Female Stories, Female Bodies: Narrative, Identity and Representation. UK: Macmillan, 1998.Derrida, Jacques. "Fifty-Two Aphorisms for a Foreword." Deconstruction: Omnibus Volume. Eds. Andreas Apadakis, Catherine Cook, and Andrew Benjamin. New York: Rizzoli, 1989.Halliday, James. “An Artist’s Spirit.” The Weekend Australian: The Weekend Australian Magazine 13-14 Feb. (2010): 31.Jolley, Elizabeth. Central Mischief. Ringwood: Viking/Penguin 1992. Lamont, Kate. Wine and Food. Perth: U of Western Australia P, 2009. Milan, Lyndey, and Corney, Colin. Balance: Matching Food and Wine: What Works and Why. South Melbourne: Lothian, 2005. Moran, Sean. Let It Simmer. Camberwell: Lantern/Penguin, 2006. Ostmann, Barbara Gibbs, and Jane L. Baker. The Recipe Writer's Handbook. Canada: John Wiley, 2001.Powell, Greg Duncan. Rump and a Rough Red. Millers Point: Murdoch, 2010. Shirato, Tony, and Jen Webb. Reading the Visual. Crows Nest: Allen & Unwin, 2004.

IntroductionContemporary theorisations of family often present change in marriage as an icon of deinstitutionalisation (Cherlin). This idea, widely discussed in sociology, has been deepened and extended by Giddens, Beck and Beck-Gernsheim, Beck-Gernsheim and Bauman, considered to be the main architects of the individualisation, detraditionalisation and risk theses (Brannen and Nielsen). According to these authors, contemporary family is an ephemeral, fluid, and fragilereality, and weakening as a traditional institution. At the same time, and partly as a result of the changes to this institution, there has been a rise in the individual’s capacity to reflect on and choose their own life, to the point that living a life of their own becomes the individual’s defining injunction. Based on an in-depth and detailed analysis of a number of young Portuguese people’s accounts of their entry into conjugality, this paper seeks to unveil some of the hidden constraints which persist despite this claim to individualisation. Whilst individuals incorporate a personalised narrative in their construction of that “special day” – stressing the performance of the wedding they wanted, in the way they chose – these data show the continuing influence of the family on individual decisions (e.g. to marry or not to marry, and how to marry). These empirical findings thus contribute to the recent body of literature complexifying the individualisation and detraditionalisation theses (Smart and Shipman, Gross, Smart, Eldén).Using Sociology to Unveil Individualisation’s Hidden ConstraintsThis discussion of contemporary marriages is driven by empirical data from a sociological qualitative study based on episodic interviews (Flick, An Introduction to Qualitative Research and The Episodic Interview). This research (Costa) was developed in 2009 and aimed at an in-depth understanding of family practices (Morgan, Risk and Family Practices, Family Connections and Rethinking Family Practices), specifically family rituals (Bossard and Boll, Imber-Black and Roberts, Wolin and Bennett). Using a theoretical sampling (Glaser and Strauss), accounts were collected from 30 middle-class individuals, both men and women, living in an urban medium-sized city (Évora) in the south of Portugal (southern Europe), and with at least one small child between the age of 3 and 14 years old. Confidentiality and anonymity were maintained, and all names used in this paper are pseudonyms. For the purposes of this paper, I focus only on the women’s accounts. On the one hand, particularly for them, socialisation and media culture helped to consolidate a social representation around the wedding (Gillis, Marriages of the Mind); on the other hand, their more exhaustive descriptions of the wedding day allow better for examining the hidden constraints to individualisation. Data were coded and analysed through a thematic and structural content analysis (Bardin). The analysis of emerging themes and issues regarding the diverse ways of entering into conjugality was primarily assisted by qualitative software (NVivo, QSR International) and then presented in the form of contextualised narratives. Using a sociological perspective, the themes presented below illustrate the major conclusions of this study. Big Decisions: To Marry or Not to Marry? How to Marry?At the core of the decision of whether “to marry or not to marry?” and “how to marry?,” one can find multiple and complex arguments, which go beyond simplistic justifications based exclusively on the couple’s decision (Chesser; Maillochnon and Castrén). Women in particular display an awareness of the ways in which their decisions regarding marriage are crossed by the will, desires or preferences of the parents or in-laws. This was the case of Maria dos Anjos, married at the age of 26:It was a choice of the two of us [to marry]. Not an imposition. I didn’t care whether we were married by church or not… and there were times when I even put forward the possibility of a simple civil marriage. However, my parents really liked that I got married by the church. I'm not sure if this is due to tradition, if… and... they talked about it… and I also thought it was beautiful... it was a beautiful party... the dress, all that fantasy... and I really loved marrying in the church... so it became a strong possibility when we began to think about it [to get marry]… The argument that two people might marry because of or also to please the parents or in-laws explains, at least partially, a certain pressure that the fiancées feel before marriage to marry “in a certain way.” Filipa, who dated for ten years, lived the wedding day like “the realisation of a childhood’s dream.” The satisfaction she obtained was shared with her parents and in-laws:To marry in the church, with the wedding dress, and everything else... My mother in-law is a religious person too, right? So we felt that we both like it, the two of us, my mother, my mother-in-law, they would also like it, so we decided to marry in the church. To do the parents’ will is to meet the expectations around a “beautiful” wedding, but sometimes also to fulfil the marriage that the parents did not have. Lurdes is an only daughter, married at the age of 29. She argues that “marriage should be primarily significant for those who actually marry, not the parents or in-laws”. Yet, that was not her case: For us, maybe it was not so important; the paper signed, the ceremony in the church… maybe the two of us made it for our parents. It doesn’t mean that we didn’t have fun [...] and I don’t mean by this that it was a sacrifice, or a hardship […] My mother had no more daughters, and had a great will to marry her only daughter in the church. My mother was not married by the church, but was only married by civil registry. She never managed to convince my dad to get married by the church. And perhaps it was a bit... to project on me what she had not done! Despite her having the will to do but did not achieve it. And maybe I made her wish come true; I realise that she had that desire, a great desire that her daughter would marry in the church. For me, it was not a problem. So, we finally did agree and married in the church. The family of origin thus clearly has a great influence over some of the big decisions associated with marriage, such as whether to get married at all, and whether to involve the church in the process.Small decisions: It Is All about Details! The intrusion of the family of origin is also felt on the apparently more individual decisions as the choice of the dress or several other details concerning the organisation of the ceremony and the party (Chesser, Leeds-Hurwitz). The wedding dress is a good example of how women in particular perceive a certain pressure for conformity and subjection to buy it or choose it “in a certain way.” Silvia, who married at age 23, remembers: I married with a traditional wedding dress, even though I did not want to. I took a long veil, yet I did not want it... because at the time... I wanted to take a short dress... my mum thought I should not... because my mother did not marry in a wedding dress, did not marry in the church, she was already pregnant at the time and so on [downgrade of the tone] so she made pressure so that I was dressed properly.Precisely in order to run away from these impositions, some women admit having bought the dress alone, almost secretly. Maria dos Anjos, for example, chose and bought the wedding dress alone so that she did not have to give in to pressure from anyone: I really enjoyed it! I took a wedding dress... I was the one who chose it; I went to buy it myself, with my own money. I said to myself ‘the wedding dress, I will choose it; I will not be constrained by... I will not take my godmother and then think’... oh... I knew that if I did it, I would have to submit a little to her likes and dislikes… no! So I went to choose the dress alone. The girl who was in the shop was an acquaintance of mine, I tried a lot of them, and when I tried that one, I said to myself ‘this is it!’ and so it was the one!The position of the spouses in the sibling group also has an effect on numerous decisions that fiancées must make in the lead-up to the wedding. Raquel, who felt this pressure before marriage, attributed it to a large extent to the fact that her husband is an only child: Pressure in the sense that João [her husband]... he is an only child, right? So… his parents were always very concerned with certain things. And... everybody... even little things that had no importance, they wanted to decide on that! […] There are a lot of things that have to be decided, a lot of detail and… what I really think is that it is a really unique day, and it's all very important and all that but... but... then each one gives his/her opinion... And ‘I want this,’ ‘I want that,’ ‘I want the other’… it's too much; it's a lot of pressure... to manage... on one side, on the other side… because to try not to hurt vulnerabilities ends up being... crazy. Completely! Those fifteen days before... I think they are... they are a little crazy!Seemingly unimportant details (such as the fact that the mother did not marry in a wedding dress) end up becoming major arguments behind the suggestions or impositions made by both parents and in-laws in relation to decisions surrounding their children’s weddings.(Un)important Decisions: The Guest List The parents of the couple are often heavily involved in the planning of the wedding partly because, although the day is officially about the bride and groom, it is also the way that the parents share this important milestone with their family and friends (Pleck, Kalmijn, Maillochnon and Castrén). Interviewees say it is “easy” to decide on the guest list, since, at first glance arguments behind the most significant family relatives and friends to be present on the wedding day have to do with proximity, relationality and pleasure or happiness in sharing the moment. Nevertheless, it can be a hard task for couples to implement the criteria of proximity in the selection of guests as initially planned. In cases where the family is larger and there are economic constraints, it is common for fiancées to feel some unpleasantness from those relatives who would like to have been invited and were not. In other cases, parents, closer to the extended family, are the ones who produce this tension. On the one hand, they feel the need to justify to some relatives the choices of their adult children who did not include them in the guest list; on the other hand, they are forced to accept the fact that that decision lies with the couple. When planning the marriage of Dora, her mother at one point said something like “[…] ‘but my aunt invited us to her wedding and now...’” Dora understood the suspension of the sentence as a subtle pressure from her mother, although, for her, the question was indeed a very simple one: I give a lot of importance to the people who are with me on a day-to-day basis and that really are with me in good and bad times. [...] It happened. It was easy. For me, it was [laughs]. To my way of thinking it was. It cost my parents. However, not to me [laughs]. It cost me nothing! When the family is larger – but when there are no economic constraints which limit the number of guests – it is more common that weddings are bigger. In these circumstances, it is also more common to have a certain meddling from the families of origin encouraging couples to include the guests of the parents. Teresa admits this is precisely what happened with her: It was not so difficult because we were not also so limited. […] We left everything to the satisfaction of all. […] there were many people who were distant relatives, whom I was not close to. It didn’t really matter to me whether those people were present or not. It had more to do with the will of my parents. And usually we were also invited to those people’s weddings, so maybe it was also because of that… In some other cases there is a kind of agreement between parents and adult children, which allows both to invite “whoever they want”. This is the case of Marina, who had 194 guests “on her side,” against around 70 invited by her husband: I invited more people than him. Why? Well... I could count on my parents, right? And what my parents told me was: ‘you invite whoever you want!’. So, I invited my friends, and some other people I was not as close to, but who my parents wanted me to invite, right? […] but ok, they made a point of inviting them, and since they did not impose any financial limits, instead, they said to me ‘invite whoever you want to’, and we invited... For me, it was a ‘deal.’ I was indifferent about it [laughs]. Marina admits that she made a “deal” with her parents. By letting them pay the costs, she gave tacit consent that they could invite those who they wanted, even if it was the case those guests “didn’t relate to [her] at all.” At the wedding of Raquel, the fact that “there is family that [only her] parents were keen on inviting” was one of the main points of contention between her parents and the couple. The indignation was greater since it was “your [their own, not the parent’s] wedding” and they were being pressed to include people who they “hardly knew,” and with whom they “had no connection”: There were people who came who I did not know even who they were! Never seen them anywhere... but ok, my parents were keen on inviting some people, because they know them and all that... and then... it went into widening, extending and then... it ended up with more than one hundred guests […] we wanted it to be more intimate, more... with closer people… but it was not! The engaged couple thus recognises the importance of the parents’ guests. As one of the interviewees points out, the question is not so much the imposition of the will of the parents, rather the recognition of the importance of certain guests because “they are important to the parents.” Thus, the importance of these guests is not directly measured by the couple, but indirectly by being part of the importance that parents give them.Counter-Decisions: Narratives from the Inside Out Joana, a first daughter, “felt in her skin” the “punishment” for not having succumbed to the pressure she felt over her decision to marry. She told us she had her teenage dreams; however, as she grew older she identified herself less and less with the wedding ceremony. Moreover, with the death of her grandmother, who was especially meaningful to her, “it no longer made sense” to arrange that kind of ceremony since it would always be “incomplete” without her presence. Her boyfriend also did not urge that they marry, instead preferring to live in a de facto union. Joana felt strongly the pressure to take on a role that her parents and in-laws wanted: on the one hand, because she was “a girl, and the oldest daughter;” on the other hand, because her mother-in-law insisted since she had not saw her other daughter to get marry in church, as she was only civilly married. In fact, Joana could marry in church because she had been educated in the Catholic religion and met all the formal requirements to perform a religious marriage: I was the person who was prepared to move forward with this. And I did not! I'm not sorry. I don’t regret it at all! Although not regretted, Joana felt “very deeply” the gap between the expectations of her parents and the direction that she decided to give to her life when she told her parents she did not wanted to marry. She had the same boyfriend since adolescence, whom she moved in with on a New Year's Day at the age of 27. On that evening she organised a small party in the house they had rented and furnished, and stayed there for good. The mother “never forgave her.” The following year, when her sister got married, Joana “had the punishment” of, in the eyes of the mother, “not having done the right thing”: one thing I would have loved to have was a nightshirt [old piece of clothing, handmade] of my grandmother [...] But my mother kept the nightshirt and gave it to my sister on the day she married! My sister also loved my grandmother..., but she didn’t have the same emotional bond that I had with her! So, I got hurt. Honestly, I got! And the day of my sister's wedding for me it was full of surprises... This episode is particularly revealing of how Joana experienced the disappointment that caused to her parents for not having married: I did not have the faintest idea that she [her mother] was going to do that... Yet she kept it [the nightshirt]! [...] She kept it, and then she gave it to my sister! [...] It was my grandmother’s! And then I said, ‘but I was the first to get married!’ And it was I who had a closer relationship with my grandmother. I found it very unfair! [...] Joana sees this wedding gift as “a prize”: It was... she [her sister] was awarded because ‘you did the right thing,’ ‘you got married,’ ‘you had done it with all the pomp ... so take this [the nightshirt], that was of your grandmother!’ The day of her sister's wedding would still hold another surprise for Joana, that one coming from her father. She remembers always seeing at home a bottle of aged whiskey that her father “kept for the first daughter who gets to marry.” I did not get married, right? And... and it was sad to see that day and get the bottle open, the bottle that was proudly kept untouched for many years until the first daughter to marry... Whilst most women admit to have given in to pressure from parents and in-laws, Joana’s example demonstrates another side – emotionally painful – of those who did not conform to marry or to marry in a certain way.Conclusion Based on empirical research on marriages as a family ritual, I have argued that behind representations and discourses of a wedding “of our own,” quite often individuals grant the importance, of, and sometimes they are even pressured by, their families of origin (e.g. parents and in-laws). At the crossroad of tradition and modernity, this pressure is pervasive from the most important to the most apparently trivial decisions or details concerning the mise en scène of the ritual elements chosen to give a symbolic meaning to the ceremony and party (Chesser, Leeds-Hurwitz).Empirical findings and data discussion thus confirm and reinforce the high symbolic value that, despite all the changes weddings, still assume in contemporary society (Berger and Kellner, Segalen and Gillis, A World of their Own Making, Our Virtual Families and Marriages of the Mind). The power and influence of the size and density of the families of origin is not a part of history left behind by the processes of individualization and detraditionalization; rather, families continue to play a central role in structuring the actual options behind the anticipation, planning, and organisation of the wedding. 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