Journal articles on the topic 'Meteorite lead content'

In the past of the earth several asteroids and meteoroids have been impacted, but most of these collisions have been eroded and today there are only sometimes direct and indirect indications, such as massive extinctions of species in the form of fossils, layers with content of extraterrestrial material among others. Based on our recent reconnaissance in the field in 2017, we have been able to identify a new impact of a meteorite on volcanic rock of the Miocene Tarqui Formation in central Ecuador. We were able to reveal and reconstruct the corresponding trajectory as well as its impact day being in 1995. Based on known impacts in South America, this is the very first to have been impacted on rocks, which would lead to a clear shock metamorphism. This discovery of the impact on a rock may soon be a major tourist attraction of the country due to its accessibility and importance for being unique in Ecuador and on the continent.

AbstractCarbonate minerals, likely of hydrothermal origins and included into orthopyroxenite, have been extensively studied in the ALH84001 meteorite. In this meteorite, nanocrystals comparable with those produced by magnetotactic bacteria have been found into a carbonate matrix. This leads naturally to a discussion of the role of such carbonates in panspermia theories. In this context, the present work sets the basis of a criterion to evaluate whether a carbonate matrix in a meteor entering a planetary atmosphere would be able to reach the surface. As a preliminary step, the composition of carbonate minerals in the ALH84001 meteorite is reviewed; in view of the predominance of Mg in these carbonates, pure magnesite (MgCO3) is proposed as a mineral model. This mineral is much more sensitive to high temperatures reached during an entry process, compared with silicates, due to facile decomposition into MgO and gaseous carbon dioxide (CO2). A most important quantity for further studies is therefore the decomposition rate expressed as CO2evaporation rateJ(molecules/m2s). An analytical expression forJ(T) is given using the Langmuir law, based on CO2pressure in equilibrium with MgCO3and MgO at the surface temperatureT. Results suggest that carbonate minerals rich in magnesium may offer much better thermal protection to embedded biological matter than silicates and significantly better than limestone, which was considered in previous studies, in view of the heat absorbed by their decomposition even at moderate temperatures. This first study can be extended in the future to account for more complex compositions, including Fe and Ca.

This paper uses newspaper articles to construct an account of the meteoric rise and eventual fall from grace of Takafumi Horie, a Japanese Internet entrepreneur. This trajectory is explored through a qualitative methodology that analyses the content of articles in international newspapers reporting key events in Horie's story. Tracking the representation of Horie as the story develops uncovers the ambiguous nature of the concept of entrepreneurship in Japan, where the enactment of entrepreneurship takes place within and at times against the mainstream of significant change in the nature of work in Japan. The paper concludes by linking Horie's story to the temporal construction of the entrepreneur in a social context in which bureaucratic challenge leads eventually to entrepreneurial marginalization through the likelihood of a jail term. Overall, the paper adds to the literature concerning the mutable and contested nature of the term ‘entrepreneur’.

In order that the physical - chemical interaction of the injection water with the porous-permeable or fissured medium of reservoirs do not lead to their degradation, it is necessary that the waters to meet a number of quality conditions. The treatment and conditioning of the injectable waters is imperative to do so due to the fact that their provenance is different, such as reservoir waters, wastewater resulting from various operations – petroleum operations, meteoric waters, etc. and, in particular, due to the very large volumes of injected water. Failure to follow the steps associated with the water treatment process inevitably leads to premature reduction of the injection wells receptivity. This aspect, as well as another, will be analysed in the context of this article. The injection of water in different geological formations, usually highly depleted, is a connected and defining one in the process of extraction of natural gas from reservoirs. The claim is based on the fact that the very large volumes of reservoir water taken from natural gas stream must be stored safely, otherwise their free discharge would create a real ecological catastrophe

The oxygen-isotope content of terrestrial plant cellulose is related to that of the source waters by a two-step process involving evapotranspirative leaf-water enrichment and equilibrium isotopic exchange between leaf water and atmospheric carbon dioxide. A combination of two models that describe these steps yields consistent agreement between measured and predicted climatic and isotopic data. Humidity is the dominant influence on variations in the cellulose 18O enrichment relative to the source water. A good first-order approximation of the average daytime relative humidity during the growth season at a site can be based on the linear correlation that exists between humidity and cellulose enrichment, without explicit consideration of factors such as temperature, δ18O of atmospheric vapour, and leaf boundary-layer dynamics.The value of the combined model for paleoclimatic reconstruction has been tested using fossil wood from a late glacial site at Brampton, Ontario. Estimates of the past relative humidity were derived from the divergence between measured δ18O values of fossil wood cellulose and environmental water isotopic compositions inferred from the carbon-bound deuterium contents of the cellulose. Growing conditions were apparently substantially drier than those at present between about 11 500 and 8700 years BP, at a time when coniferous forests predominated in southwestern Ontario. A shift in the inferred meteoric water composition over this period suggests a gradual increase in mean annual temperature of about 2 or 3 °C, in agreement with estimates of temperature change based on paleoentomological data.

Using the near-infrared spectral reflectance data of the Chandrayaan-1 Moon Mineralogy Mapper (M3) instrument, we report an unusually bright structure of 30 × 60 km2 on the lunar equatorial farside near crater Dufay. At this location, the 3-μm absorption band feature, which is commonly ascribed to hydroxyl (OH) and/or water (H2O), at local midday is significantly (∼30%) stronger than on the surrounding surface and, surprisingly, stronger than in the illuminated polar highlands. We did not find a similar area of excessively strong 3-μm absorption anywhere else on the Moon. A possible explanation for this structure is the recent infall of meteoritic or cometary material of high OH/H2O content forming a thin layer detectable by its pronounced 3-μm band, where a small amount of the OH/H2O is adsorbed by the surface material into binding states of relatively high activation energy. Detailed analysis of this structure with next-generation spacecraft instrumentation will provide further insight into the processes that lead to the accumulation of OH/H2O in the lunar regolith surface.

Fluid circulation in sedimentary basins is responsible for the transformation and cementation of mineral grains during diagenesis. Concretions and pipe chimneys are obvious features resulting from such circulation but some transformations in the matrix of rocks, if less spectacular, may lead to pervasive transformations of the sediments. Inherited slide surfaces in the Eocene Ainsa Basin (Spanish Pyrenees) have been chosen to test this hypothesis. In the Sobrarbe delta, the steady mineralogy of marls indicates homogeneity of the sedimentary source. Enrichment of montmorillonite is only observed close to scar surfaces and in the infilling of the scars. Scanning electron microscope (SEM) observation reveals that smectites are formed by in situ replacement of detrital mafic minerals resulting by transformation of detrital minerals under the action of cold sedimentary fluids, lower than 75 °C. The indications of low temperature conditions and local fluid circulation both support a meteoric origin of the fluids postdating the burial history, probably during an exhumation of the basin associated with the tectonic uplift. The higher smectite contents in the infilling of scars and along the unconformities of slide surfaces reveals enhanced circulation of fluids in under-consolidated sediments and the effective fluid circulation pathways along inherited slide surfaces.

Abstract. Plant–soil water isotopic dynamics in northern forests have been understudied relative to other forest types; nevertheless, such information can provide insight into how such forests may respond to hydroclimatic change. This study examines the co-evolution of xylem water and soil water stable isotopic compositions in a northern mixed forest in Ontario, Canada. Gross precipitation, bulk soil water and xylem water were sampled from pre-leaf out to post-senescence in 2016 for eastern white cedar, eastern hemlock, red oak and eastern white pine. Near-bole soil water contents and mobile soil water isotopic compositions were measured for the last three species. Mobile soil water did not deviate significantly from the local meteoric water line (LMWL). In contrast, near-surface bulk soil water showed significant evaporative enrichment relative to the LMWL from pre-leaf out to peak leaf out under all tree canopies, while xylem water was significantly depleted in 18O and particularly 2H relative to bulk soil water throughout the growing season. Inter-species differences in deviation of xylem water from the LMWL and their temporal changes emerged during the growing season, with coniferous species xylem water becoming isotopically enriched, while that of red oak became more depleted in 2H and 18O. These divergences occurred despite thin soil cover (generally <0.5 m depth to bedrock) which would constrain inter-species differences in tree rooting depths in this landscape. Isotopic fractionation at the tree root and fractionation of xylem water via evaporation through the tree bark are among the most plausible potential explanations for deviations between xylem and soil water isotopic compositions. Differences in the timing and intensity of water use between deciduous and coniferous trees may account for inter-specific variations in xylem water isotopic composition and its temporal evolution during the growing season in this northern forest landscape.

The Nuocang Pb-Zn deposit is a newly discovered polymetallic skarn deposit in the southern Lhasa subterrane, western Gangdese, Tibet. The skarn occurs at the contact between the limestone of Angjie Formation and the Linzizong volcanic rocks of Dianzhong Formation (LDF), and the subvolcanic granite porphyry intruding those formations; the contact metasomatic skarn is well zoned mineralogically and texturally, as well as geochemically. The skarn minerals predominantly consist of an anhydrous to hydrous calc-silicate sequence pyroxene–garnet–epidote. The endoskarn mainly consists of an assemblage of pyroxene, garnet, ilvaite, epidote, and quartz, whereas the exoskarn is characterized proximal to distally, by decreasing garnet, and increasing pyroxene, ilvaite, epidote, chlorite, muscovite, quartz, calcite, galena, and sphalerite. Geochemical analyses suggest that the limestone provided the Ca for all the skarn minerals and the magmatic volatiles were the main source for Si (except the skarnified hornfels/sandstone, and muscovite-epidote-garnet-pyroxene skarn possibly from the host sandstones), with Fe and Mn and other mineralizing components. During the hydrothermal alteration, the garnet-pyroxene skarn and pyroxene-rich skarn gained Si, Fe, Mn, Pb, Zn, and Sn, but lost Ca, Mg, K, P, Rb, Sr, and Ba. However, the skarnified hornfels/sandstone, and muscovite-epidote-garnet-pyroxene skarn gained Fe, Ca, Mn, Sr, Zr, Hf, Th, and Cu, but lost Si, Mg, K, Na, P, Rb, Ba, and Li. The REEs in the skarn were sourced from magmatic fluids during the prograde stage. Skarn mineral assemblages and geochemistry indicate the skarn in the Nuocang deposit were formed in a disequilibrated geochemical system by infiltrative metasomatism of magmatic fluids. During the prograde stage, garnet I (And97.6Gro1.6) firstly formed, and then a part of them incrementally turned into garnet II (And64.4Gro33.8) and III (And70.22Gro29.1). The subsequent substitution of Fe for Al in the garnet II and III indicates the oxygen fugacity of the fluid became more reduced, then resulted in formation of significant pyroxene. However, the anisotropic garnet IV (And38.5Gro59.8) usually replaced the pyroxene. In the retrograde stage, the temperature decreased and oxygen fugacity increased, but hydrolysis increased with epidote, ilvaite, chlorite I, and muscovite forming with magnetite. The continuing decreasing temperature and mixing with meteoric water lead to Cu, Pb, and Zn saturation as sulfides. After the sulfides deposition, the continued mixing with large amounts of cold meteoric water would decrease its temperature, and increase its pH value (neutralizing), promoting the deposition of significant amounts of calcite and chlorite II. The geological, mineralogical, and geochemical characteristics of Nuocang skarn, suggest that the Nuocang deposit is of a Pb-Zn polymetallic type. Compared to the other typical skarn-epithermal deposits in the Linzizong volcanic area, it indicates that the Nuocang deposit may have the exploration potential for both skarn and epithermal styles of mineralization.

Context. Endogenous or exogenous, dry or wet, various scenarios have been depicted for the origin of water on the rocky bodies in our solar system. Hydrated silicates found in meteorites and in interplanetary dust particles, together with observations of abundant water reservoirs in the habitable zone of protoplanetary disks, are evidence that support aqueous alteration of silicate dust grains by water vapor condensation in a nebular setting. Aims. We investigate the thermodynamics (temperature and pressure dependencies) and kinetics (adsorption rates and energies, surface diffusion and cluster formation) of water adsorption on surfaces of forsterite grains, constraining the location in the solar nebula where aqueous alteration of silicates by water vapor adsorption can occur efficiently and leads to the formation of phyllosilicates. We analyze the astrophysical conditions favorable for such hydration mechanism and the implications for water on solid bodies. Methods. The protoplanetary disk model (ProDiMo) code is tuned to simulate the thermochemical disk structure of the early solar nebula at three evolutionary stages. Pressure, temperature, and water vapor abundance within 1 au of the protosun were extracted and used as input for a Monte Carlo code to model water associative adsorption using adsorption energies that resemble the forsterite [1 0 0] crystal lattice. Results. Hydration of forsterite surfaces by water vapor adsorption could have occurred within the nebula lifetime already at a density of 108 cm−3, with increasing surface coverage for higher water vapor densities. Full surface coverage is attained for temperatures lower than 500 K, while for hotter grain surfaces water cluster formation plays a crucial role. Between 0.5 and 10 Earth oceans can arise from the agglomeration of hydrated 0.1 μm grains into an Earth-sized planet. However, if grain growth occurs dry and water vapor processes the grains afterward, this value can decrease by two orders of magnitude. Conclusions. This work shows that water cluster formation enhances the water surface coverage and enables a stable water layer to form at high temperature and low water vapor density conditions. Finally, surface diffusion of physisorbed water molecules shortens the timescale for reaching steady state, enabling phyllosilicate formation within the solar nebula timescale.

The Yangla copper deposit (YCD) is located in the central part of the Jinshajiang tectonic belt (Jinshajiang metallogenic belt) and is one of the most important copper deposits which has the large-scale copper reserves of the northwestern Yunnan, China. The ore bodies are strictly controlled by the stratum, pluton, and structure, which are layered, lens, and vein-like within the contact or fracture zone of the pluton and surrounding rock. At Yangla, two styles of mineralization occur at the brecciated contact zone between the pluton (granodiorite and granitic porphyry) and carbonaceous wall rock and include strata bound/lens-shaped replacement of carbonate rocks (skarn style) and porphyry-style sulfide-quart-calcite veins. But, the granitic porphyry mineralization have received less attention; the isotope and fluid inclusion studies are relatively scarce for limited porphyry ore bodies that have been discovered at the YCD. Quartz-hosted fluid inclusions from the recently discovered granitic porphyry have homogenization temperature averaging around 180±20°C and 300±20°C with salinities ranging from 4 to 22 wt.% NaCleq, pointing toward the contribution of medium temperature-medium salinity and low temperature-low salinity fluids during the metallogenesis. These fluid inclusions have δ18OH2O values ranging between -1.91‰ and -1.02‰ and δD values ranging between -143.10‰ and -110‰, suggesting that the ore-forming fluid was a mix of magmatic and meteoric water. Ore-related pyrite/chalcopyrite have δ34SV-CDT values ranging from -1.0‰ to 1.0‰ and whole rocks have δ34SΣS = 0.34, suggesting that sulfur mainly derived from magmatic rocks of the Yangla mining area. The sulfides 208Pb/204Pb ranged from 38.8208-38.9969, 207Pb/204Pb from 15.7079-15.7357, and 206Pb/204Pb from 18.5363-18.7045, indicating that the lead mainly originated from the upper crust. It is demonstrated that the evolution of ore-forming fluid is continuous from the skarn ore body (SOB) stage to the porphyritic ore body stage and belong to the products of the same ore-forming fluid system, and the unisothermal mixing and cooling actions were maybe the main mechanism at the metallic minerals precipitation in mineralized granitic porphyry (MGP). A model is proposed according to the early stage, a magmatic fluid reacted and replaced with the surrounding carbonate rocks and then formed skarn-type ore bodies. The magmatic-hydrothermal fluid subsequently deposited porphyry-type quartz-calcite veins, veinlets, and stockwork mineralization.

The Shanmen Ag deposit, located in the southeastern part of the Siping area, Jilin Province, is one of the large-scale Ag deposits in Northeastern (NE) China. Almost all Ag orebodies, Ag-bearing quartz-sulfide veins are strictly controlled by NE-trending faults or brittle fractures and are hosted in the Yanshanian monzonite and quartz diorite. In terms of deposit geology, three mineralization stages are recognized: the pyrite-quartz stage (I), the quartz-Ag-polymetallic sulfide stage (II), and the carbonate-quartz stage (III). The research results of the fluid inclusions in the different stages indicate that the early stage (Stage I) mainly contains three types of fluid inclusions: liquid-rich two-phase (L-type), vapor-rich two-phase (V-type), and CO2 aqueous multi-phase (C-type). The fluid belongs to a medium–high temperature and medium–low salinity H2O-NaCl-CO2 system and has boiling characteristics. The middle stage (Stage II) is mainly characterized by liquid-rich two-phase (L-type) and vapor-rich two-phase (V-type) inclusions, in which the mixing of fluids of different nature leads to the escape of CO2. Only liquid-rich two-phase (L-type) inclusions are distinguished in the late stage (Stage III). The fluids of two later stages belong to the medium-low-temperature and low-salinity H2O-NaCl system. Homogenization temperatures from the early to late stages range from 272.2 to 412.5 °C, 124.1 to 313.3 °C, and 128.6 to 224 °C, respectively. Fluid salinities in the early to late stages range from 1.6 to 12.1, 1.4 to 8.9, and 0.4 to 5.8 wt.% NaCl equivalent, respectively. The gradually decreasing trends of homogenization temperatures and salinities and the reduction in the CO2 content indicate that the release of CO2 and the low-temperature environment are important causes of the precipitation of Ag-bearing minerals. The δ18OH2O values of the ore-bearing quartz veins in the different stages range from −3.7 to +8.1‰, and the δD values of fluid inclusions in the quartz range from −113 to −103‰, indicating that the initial ore-forming fluid was mainly derived from magma and that the input of meteoric water gradually increased during the mineralization process. The δ34S values (ranging from −11.4‰ to +1.8‰) and Pb isotope compositions (206Pb/204Pb = 18.143–18.189, 207Pb/204Pb = 15.543–15.599, 208Pb/204Pb = 38.062–38.251) of sulfides suggest that the ore-forming materials have mixed mantle and crustal sources. Therefore, we propose that the release of CO2 and the low-temperature environment are important conditions for silver minerals precipitation, and the mixing of fluids of different nature is the dominant mechanism causing precipitation. The Shanmen Ag deposit can be classified as an intrusion-related medium–low temperature hydrothermal vein-type deposit.

Gastrointestinal diseases in young animals are recorded quite often, especially in industrial complexes. Diseases of this group can be up to 70-80 % of the entire internal pathology of young animals. Literary data show that in the etiology and pathogenesis of the disease in weaned piglets an allergic reaction to the components of the feed, which significantly complicates its course, may play. The development of nutritional allergies is also favored by the functional insufficiency of the glands of the digestive system of pigs during the first weeks of life, as well as the violation of their functions in various diseases of the gastrointestinal tract, which can lead to incomplete protein breakdown and accumulation of antigenic substances. The aim of the study was to study the most characteristic symptoms and blood indices during experimental reproduction of food allergies in piglets and spontaneous occurrence under production conditions. Studies were performed in 2 stages. At first, under the conditions of the clinic of the Department of Internal noninfectious Animal Diseases of the Vitebsk State Academy of Veterinary Medicine formed two groups of pigs aged 30–35 days with an average weight of 8–10 kg. In animals of the experimental group, experimental reproduction of feed allergies was carried out by abruptly changing the milk type of feeding to the concentrated one. At the second stage of the research, in the conditions of a pig complex, 200 pigs of 40- to 60-day-old patients with gastroenteritis were examined. Gastroenteritis in experimental animals was non-infectious in nature and was primarily due to the sharp weaning of animals. To detect an allergic reaction, laboratory blood tests were performed using the above methods, and also the clinical manifestations of the disease were taken into account. The clinical picture of experimental pathology at first was characterized by lethargy, reluctant eating of new food, the pigs periodically showed anxiety, which was followed by apathy. During the first three days of the experiment, intestinal meteorism was observed in piglets, which in 6 animals and 66,7 % was replaced by diarrhea, and in 33.3 % animals it was accompanied by constipation. Body temperature in all porosyat remained within the normal range. On the fourth day of the experiment, one of the animals of the experimental group fell, and according to the results of the autopsy, catarrhal-hemorrhagic were found: pa-strorenteritis, typhlitis and colitis. By the twelfth day, the functions of the gastrointestinal tract were normalized in all animals of the experimental group. In the animals of the control group during clinical observation for this period, no abnormalities were identified. On the 14th day of the experiment, an intracutaneous test was performed. As an allergen, we used a protein extract from the feed used in the experiment, containing the gliadin, albumin and globulin fractions of the gluten protein. In all the animals of the experimental group, after 6 hours, edema of the skin and hyperemia appeared at the injection site, the skin fold thickness was from 1,5 to 2,5 mm at the injection site of the allergen, compared with 0,5-0,7 mm in injection site phosphate buffer. 24 hours after the injection of the allergen, the intensity of skin hyperemia decreased, but there was a noticeable thickening of the skin fold in the animals of the experimental group, it was 3,6 ± 0,22 mm compared to 0.6 ± 0.04 mm at the injection site of phosphate buffer. Changes in the skin at the injection site disappeared within 24 to 48 hours. The results of laboratory blood tests indicate the development of an allergic reaction in animals of the experimental group. They were characterized by more pronounced leukocytosis and eosinophilia, as well as a higher concentration of total protein in the blood serum, of immunoglobulins at 14-21 days, i.e. during the period of the greatest severity of the allergic reaction. The most significant and statistically significant in such animals was a more than 2-fold increase in the number of eosinophils and an increase in the concentration of immunoglobulins by 21 %. A significant concentration of circulating immune complexes of the CIC was detected in the blood of the piglets of the experimental group, as evidenced by a lower % of light transmission in a special test – below 95 %. In the experiment in the conditions of the pig complex, it was found that in 27 % of weaned piglets in the pathogenesis of gastroenteritis, sensibilization of the body develops and the allergic factor affects the duration and severity of the disease. The duration of the disease (with treatment without antihistamine drugs) was 5 –10 days (6,8 ± 0,32 days) with a mortality rate of 4.4 %. More than 30 % of the pigs during the first 7 to 14 days after weaning and recovery observed the recurrence of the disease for no apparent reason. Thus, an unusual new feed load, in the period of extraction, leads to the depletion of the local protection mechanisms of the gastrointestinal tract in piglets. In the mucous membrane of the small intestine, inflammation develops, which leads to a violation of the secretory, enzymatic, absorbing function of the intestine and metabolic disorder. Against this background, feed antigens come from the intestine into the blood and as a result of their contact with immunocompetent cells, an immune response and body sensitization develops. Experimental and spontaneous feed allergies in weaned piglets are similar in clinical laboratory to laboratory. In terms of production, the weaned piglets of patients with gastroenteritis developed an allergic reaction as a complication of the disease, while the duration of the disease and mortality was almost 2 times greater. Key words: food allergies, gastroenteritis, piglets, weaning, therapeutic efficacy, circulating immune complexes.

Moravian meteorite Stannern is the only one meteorite fallen into our region which represents achondrite group of meteorites. This meteorite is very unique due to its composition and it is one of the most examined meteorite - eucrite in the world. Samples of eucrites NWA 5235 and HaH 286 found in african deserts were studied and compared with Stannern trend eucrites. NWA 5235 is relatively fresh, HaH 286 is weakly weathered, with fractures fi lled by calcite. Electron microprobe analyses showed that these meteorites represent typical non cumulate basalts which fall within main trend eucrites. They mainly consist of pyroxenes (low-Ca pyroxenes and augites) and plagioclase (bytownite – anorthite). Accessories include ilmenite, chromite, rarely silica phase, troilite and metal Fe. The bulk composition of these samples has been determined for major elements. Research of these meteorites helps to understand the petrological context of their parent bodies. It also leads to understanding of magmatic processes of asteroid 4 Vesta which is believeded to be the parent body of the eucrites.

The Qiangtang Basin is a large endorheic basin in the inner part of the Tibetan Plateau, and has been thought to be a dry region in contrast with the surrounding wet outer region that feeds all the major Asian rivers. Combining surface hydrological data with modeling and satellite data from 2002 to 2016 CE, our study reveals that an enormous amount of water, ~54 ± 4 km3, is unaccounted for annually in the Qiangtang Basin. The amount of missing water is comparable to the total annual discharge of the Yellow River. Data from the Gravity Recovery and Climate Experiment (GRACE) satellite mission show little increase of local terrestrial water storage. Thus, the missing water must have flowed out of the basin through underground passages. Interpreting this result in the context of recent seismic and geological studies of Tibet, we suggest that a significant amount of meteoric water in the Qiangtang Basin leaks out by way of groundwater flow through deep normal faults and tensional fractures along the nearly north-south rift valleys that are oriented subnormal to and cross the surficial hydrological divide on the southern margin of the basin. Cross-basin groundwater outflow of such a magnitude defies the traditional view of a basin-scale water cycle and leads to a very different picture from the previous hydrological view of the Qiangtang Basin. This finding calls for major rethinking of the regional water balance.

Abstract The Tuwu porphyry Cu deposit is located in the northern segment of the Jueluotage metallogenic belt in Eastern Tianshan, on the southern margin of the Central Asian orogenic belt, Xinjiang, northwest China. Tuwu is hosted by diorite porphyry and tonalite porphyry intrusions, which intruded volcanic rocks of the Carboniferous Qi’eshan Group. Four stages (I-IV) of hydrothermal activity have been identified. Chalcopyrite is the dominant ore mineral and mainly occurs in vein stages II (quartz-chalcopyrite-pyrite ± sericite ± bornite ± enargite veins with phyllic halos) and III (quartz-molybdenite-chalcopyrite ± pyrite ± chlorite ± epidote veins). Re-Os dating of molybdenite samples yielded an isochron age of 335.6 ± 4.1 Ma (2σ, mean square of weighted deviates = 0.15, n = 8). Silicon, oxygen, and carbon stable isotope compositions of quartz and calcite provide evidence for predominantly magmatic contributions with a late meteoric water component at Tuwu. Chalcopyrite samples from stages I and III record a narrow range of bulk δ34S values between –3.9 and 0.4‰, whereas pyrite samples from stages I to IV show decreasing δ34S values from 1.7 to 0.2‰. Chalcopyrite has 206Pb/204Pb, 207Pb/204Pb, and 208Pb/204Pb ratios similar to those of porphyry intrusions, and Pb isotope data from sulfide samples display a positive trend transecting the growth curves of crustal lead. The ore-forming components (metals and sulfur) were sourced from a mantle-derived magmatic reservoir with some upper crustal components in a subduction-related arc setting. Plagioclase compositions in the porphyry intrusions are consistent with magmatic H2O contents of ~7 wt %. Copper sulfides in the high-grade phyllic alteration zones at Tuwu are characterized by elevated δ65Cu values consistent with deposits from oxidized and hydrous magmatic-hydrothermal fluids, whereas lower δ65Cu values and low copper grades correspond to the potassic alteration zones. Recognition of copper isotope zonation patterns at Tuwu has potential applications in the exploration of porphyry Cu deposits.

Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapologetic commercialism, and outright catatonic demeanour, is completely disruptive to the traditional humanist artist biography. It is unsurprising, then, that recent film protagonists within the more traditional bio-pic framework found Warhol a figure that needed to be contained, neutralised, discredited, and even shot. Mainstream cinematic narrative has added little to the conventions of the artist biography since the Renaissance. Renaissance painter and biographer Giorgio Vasari appropriated the Petrarchian edifying "Great Lives" model to ennoble and sanitise the often problematic and distasteful personalities who populated the Italian art world. This approach prevailed over the next several hundred years, and was expanded upon by the intellectual figures of the Romantic period (who were very aware of Vasari's work). The Romantics contributed to the profile of a proper artist the following traits: misunderstood intellectual fury, dark psychological depths, and flouting of social convention. The bio-pic genre, especially as it relates to biographies of artists, also lauds humanistic "greatness" as its standard of significance. The bio-pic absolutely relies on a strong central figure, who can be shown in about two hours to have some substantial educational value, worthy of the expense of the film-makers and the attention of the viewer. In the mid-1990s, not long after his unexpected death in 1987, a character called "Andy Warhol" appeared in supporting roles in a number of feature films. The Doors (1991), Basquiat (1996), and I Shot Andy Warhol (1996) all feature an Andy Warhol character grounded squarely in various popular myths. All of the three 90s feature films which include Warhol in a substantial speaking role explicitly contrast him against another artist-figure. This other artist is presented as somehow preferable to Warhol, whether in conviction, authenticity, or validity of vision. The artist in question, Basquiat/Morrison/Solanas, predictably serves as the film-makers' lens through which the past is refracted (though more problematically in the case of Solanas). Warhol is outward sign of Basquiat's slide, the danger of fame-mongering for Morrison, and Valerie Solanas's misogynist nemesis. In each case, the more valorised figure is at first twinned with Warhol when drawn into his orbit. Eventually, the film's narrative contrasts the main subject against what the diegetic Warhol represents. In each case, Warhol becomes a metonymic representation of a larger organising factor: the economic/personality-driven entertainment industry, phallocentric hegemony, art's dead end, etc. The demonisation of Warhol in recent bio-pics is a good starting point for examining how his image is being interpreted by the mainstream media. It is clear that in this particular forum, Warhol's impact is understood only negatively. The purpose of this study will be to demonstrate how uncomfortable the creative arts world in general, and narrative film-making in particular, is with the "empty" legacy of Warhol and his Factory, and how the reactions against it illustrate a fear of Warhol's anti-humanist, subject-less project. It is fascinating that in the feature films, Warhol appears solely as a character in other people's stories rather than as the focus of biographical treatment. Warhol's very conscious emptying-out project has made nearly impossible any effort to deal with him and his legacy in any traditional narrative manner. Warhol's public persona -- simple, boring, derivative, and unheroic -- is directly at odds with the conventional "artist-hero" subjects necessary to the bio pic genre. This type is seen most typically in the old potboilers The Agony and the Extasy, about Michelangelo, and Lust for Life, about Van Gogh, as well as the more recent Artemisia about Artemisia Gentileschi. The very fact of Andy's posthumous film career fits neatly into his performative œuvre as a whole, and is easily interpreted as an extension of his life-long project. Warhol's entire self-imaging stratagem steadfastly affirmed that there is no center to illuminate -- no "real" Andy Warhol behind the persona. Warhol constantly disavowed any "meaning" beyond the surface of his art works, and ascribed it no value beyond market price. He preferred methods and forms (advertising, silk-screening, and film-making) that were easy for his Factory workers to execute and endlessly duplicate after his vague orders. Further, he ascribed no importance to his own bodily shell as "artist Andy Warhol". In an act of supreme self-branding, Warhol sent actors to impersonate him at lectures (most famously at University of Utah, who demanded he return the lecture fee), since he was only a packaged, reproducible product himself. In Warhol's art, there is no hand-made integrity, no originality, no agonised genius in a garret. He displays none of the traits that traditionally have allowed artists to be called geniuses. Warhol's studio's automation, the laying bare of the cheapest and slickest aspects of the culture industry, has long been the most feared facet of Warhol's artistic legacy. It is beside the point to argue that Warhol's meaninglessness is thematised to the degree that it has meaning. Warhol's erasure of all humanistic "aura" clearly remains threatening to a great number of artists, who rely heavily on such artistic stereotypes. Basquiat In 1996's Basquiat, painter/director Julian Schnabel used the dead painter as a proxy for telling his "I was there" version of the 80s New York art scene. In Schnabel's rather heavy-handed morality tale, young African-American painter Jean-Michel Basquiat's meteoric burn-out career is treated as a metaphor for the 80s art world as a whole. Schnabel clearly knows his Vasari. His film's scenario is a barely modified adaptation of humanist/romantic artist mythology. Traces of Vasari's tale of Cimabue's discovery of Giotto, as well as Van Gogh's various misunderstood artist scenarios are laboriously played out. In fact, the first words in the film invoke the Van Gogh cliché, foregrounding Schnabel's myth-making impulse. They are art critic Rene Ricard's, speaking over Basquiat waking up in a cardboard box in Central Park: "everyone wants to get on the Van Gogh boat. ... No one wants to be part of a generation that ignores another Van Gogh, ... When you first see a new picture, you have to be very careful. You might be staring at Van Gogh's ear." This quote sets the tone for Basquiat's art world experience narrative, trotting out every single Van Gogh-inspired legend (with heroin abuse standing in for the cut-off ear) to apply to Basquiat. In fact, the film veritably thematises Romantic cliché. The film's main project is the mythologisation of Jean-Michel and by extension Schnabel. However, by foregrounding the Van Gogh/Basquiat connection in such self-conscious terms, it seems the viewer is supposed to find it "ironic". (The irony is really that this po-mo window dressing is otherwise deeply at odds with the rest of the film's message.) The film suggests that Basquiat is both worthy of the allusion to the great humanistic tradition, and that his special case ("the first great black painter") changes all the rules and makes all clichés inapplicable. Schnabel's art, which is usually described as "Neo-Abstract Expressionist", and particularly his market value, relies heavily on the aura created by previous artists in the macho heroic mold. His paintings take up Pollock's "all over" effect but with de Kooning's jauntier color. He also fastens found objects, most famously broken plates, in a pastiche of Rauschenberg and Jasper Johns. Like Warhol, Schnabel often borrows recognisable motifs. However, instead of advertising and popular culture, Schnabel's come from a more elevated tradition; Old Master paintings appropriated from "legitimate" art history. Needless to say, Julian Schnabel himself has much invested in reaffirming the artist-genius myth that is threatening to be deconstructed by a good number of art critics and historians. Schnabel's agenda is specifically art historical, though no less political. Schnabel, through Basquiat, restores the artist to his proper place as individual creator challenging the outmoded conventions of established art. Warhol, portrayed as the quintessential post-modern artist, represents all that has gone wrong in the art world: superficiality, mass production, commodification, popular culture influence, and the erasure of art history and deep significance. In spite of the film's self-consciousness about the phoniness of the gallery scene, Basquiat's lionisation by it validates a retrograde concept of "pure" artist's vision. Schnabel is attacking what he sees as the deadening effect of post-modernism that threatens Schnabel's own place in art history. Basquiat's escalating drug problem and alliance late in the film with Warhol signals that he has followed the wrong direction, that he is hitting a dead end. The character Milo (Gary Oldman), the Schnabel manqué, sets up the contrast to illustrate Basquiat's slide. Milo is aligned with all that is exemplary in establishment virtues of hearth and home (doting fatherhood, settled domesticity, good living). The wholesome hand-made integrity of Milo/Schnabel's art, in line with traditional definitions of artistic greatness, is deeply at odds with the affected commercialism of Warhol's work. Schnabel's artistic influences show up clearly in his very marked progressive view of art history and clearly named privileged pantheon. In the film, Schnabel is at pains to insert Basquiat and himself into this tradition. The very first scene of the film sees Jean-Michel as a child with his mother at the MOMA, where she is in tears in front of Picasso's Guernica. In the narrative, this is quickly followed by Ricard's Van Gogh quote above. As an adult, Jean-Michel enacts Rauschenberg's edict, to "narrow the gap between art and life". This is illustrated by Jean-Michel not restricting his artistic output to work on canvas in a studio. He graffitis walls, signs table tops à la Rauschenberg, and makes designs on a diner countertop in maple syrup. Later, Jean-Michel is shown painting in his studio walking around the canvas on the floor, in an all-over technique, mirroring the familiar Hans Namuth film of Jackson Pollock. Aligning Jean-Michel with the pre-Warhol, and especially Abstract Expressionist artists, positions Basquiat and Schnabel together against the "dead end" of Warhol's version of Pop. Basquiat and the director have inherited the "right" kind of art, and will be the progenitors of the next generation. Warhol as a "dead end" leads to a discussion of the relationship between artists' procreative sexuality and their art. In the film, Warhol is assumed to be asexual (rather than homosexual), and this lack of virility is clearly linked to the sterility, transitoriness, and barrenness of his art. Schnabel/Milo and Basquiat, in their marked heterosexuality, are the "fathers" of the next generation. In Basquiat's collaboration with Warhol, even Andy understands his own impotence. Warhol says, "I can't teach you anything, you're a natural, are you kidding me?", and most importantly, "you paint out everything I do, Jean-Michel". By privileging Jean-Michel's art (and his own) over Warhol's, Schnabel is clearly trying to paint out the mutation of the Warholisation of art, and paint in his own art historical eugenics. The Doors In a less substantial role but in a similar vein, Warhol also appears briefly in Oliver Stone's 1991 The Doors, as part of a brief "rising fame" montage of New York incidents. Like Schnabel, Stone has a lot to lose from investment in Warhol's spiritual and aesthetic emptiness. Though brief, Warhol's appearance in the film, like in Basquiat, serves as a cautionary tale for its hero. The contrast made between the vacuous Factory crowd and the "authentic" Doors presages the dominant trope for the Warhol character that Schnabel would expand upon later. The Factory sequence dramatises the glamour and seductiveness of the hollow side of fame that may lead Morrison off his spiritual-quest path. The Native American shaman who Jim sees at pivotal points in his life appears at the Factory, warning him not to take the wrong path represented by Warhol. The Doors are at a pivotal moment, the onset of fame, and must act carefully or risk ending up as meaningless as Warhol. Stone's chronicling of the 60s relies heavily on what could be called the humanist ideal of the power of the individual to effect change, raise consciousness, and open minds. Via Stone's simple reductiveness, Warhol represents here the wrong kind of counter-culture, the anti-hippie. By emulating Warhol, the Doors follow the wrong shaman. To Stone, Warhol's superficiality represents all that is dangerous about celebrity and entertainment: the empty, mind-destroying cocaine high of the masses. I Shot Andy Warhol The film I Shot Andy Warhol (1996) problematises the idea put forth in the other films of Warhol as artistic anti-Christ, simply because the film's subject is much more difficult to heroise, and like Warhol does not fit snugly into bio-pic conventions. Like Basquiat, the film also takes the point of view of a protagonist at the edge of Warhol's sphere of influence, here radical feminist and S.C.U.M. (the Society for Cutting Up Men) Manifesto scribe Valerie Solanas, in order to criticise what Warhol represents. Unlike the previous films, here Warhol's character is central to the narrative. Although Warhol clearly represents something very negative to the Solanas character, the film never fully endorses its subject's point of view. That Warhol deserved and needed to be shot for any reason beyond Solanas's personal demons is never established. Perhaps this ambivalence is a flaw of the film, but it is also telling about the problematic legacies of feminism and Pop, two movements that have led to challenges of the hero-artist ideal. In this film, the relationship between Warhol and the main protagonist is extremely complex. Andy and his crowd are presented as clearly odious. Though Valerie comes off as more interesting and sympathetic, she is also still clearly an unhinged oddball spewing specious ideology. Within the film, Valerie's attraction to the Factory scene seems to stem from something her friend, transvestite Candy Darling, says: "if anyone can make you a star, Andy Warhol can". Valerie desperately wants attention for her radicalism (and likely for other psychological reasons, which make radicalism attractive to her, as well), and sees Andy's power for "star-making", especially among the more marginal of society, as something from which she can profit. Valerie's mistake seems to be in confusing the artistic avant-garde with the politically radical. Valerie finds kinship in Warhol's androgyny and lack of enthusiasm for sex, but does not realise immediately that Andy is interested in her play Up Your Ass primarily for its titillation and shock value, and is entirely uninterested in it from a content standpoint. The content/emptiness conflict in Valerie and Andy's "artistic visions" becomes one of the major thematics in the film. Though like Solanas, he finds community with margin-dwellers, Andy is portrayed as far too implicated in and dependent on the so-called culture industry in order to be "Andy Warhol -- Superstar". Andy's interest in the low-life that Valerie represents is, of course, wholly superficial, which enrages her. She sees no worthy theoretical position in the banal contentlessness of Andy's circle. Valerie's manifesto and dramatic works have almost an excess of content. They work to kick people in the balls to get them to open their eyes and see the appalling conditions around them. The Warhol here, like in The Doors, wants people to see empty banality, but has no interest in effecting change. Valerie's play, as read simultaneously in the lesbian coffee shop and at Andy's studio, dramatises this divergence. When Warhol and crowd read the script with dull inflection, inert on the couch, one can imagine the very words being put to use in a Warhol film. When Valerie and friends perform those same words, the passionate engagement and deep meaningfulness -- at least to Valerie -- capture her urgent commitment to her ideas. As Valerie gets more desperate to disseminate her ideas, and thus begins to further alienate the Factory crowd, she starts to see Andy as in fact the bodily symbol of the "man" she wants cut up. Not only does he represent the patriarch of the art world who has dismissed her and has invalidated her vision, but also more broadly the hierarchy and deep structure of Andy's world parallels the consumeristic and image-driven society at large. If Valerie wants to live with integrity within her own code, the "man" must be deposed. On top of the personal gratification she would receive in this act, Solanas would also finally find a world-wide audience for her views. Now we can understand why, when asked by the press why she shot Andy, Valerie tells them "he had too much control over my life." Unhappily, instead of women rising up against their male oppressors to take up their rightful place of superiority, Solanas gets labeled a "lunatic" by the same media and larger establishment which (in this film) proclaim Warhol a genius. Solanas dissolves into a bit-player in the Andy Warhol story. One of the major interests of this film is that it excerpts a player from the limits of that "master narrative" story and allows them their own subjecthood. I Shot Andy Warhol, with its assertive quotational title, seems to want to reinscribe subjecthood to one of the most truly radical of Andy's superstars, reclaiming the value of Valerie's polemics from the emptiness of her anecdotal role in Warhol's biography. Though Valerie clearly sees Andy as her nemesis, the film constructs him as a boring, ineffectual, self-absorbed effete. The great weakness of the film is that their conflict begins to look like a midget wrestling contest. Since both are competing for higher freakdom, the broader implications of either of their projects are only rarely glimpsed. It should be clear by now that for so many, fictional Warhol is not just a problematic figure, but nearly a monstrous one. The film-makers clearly show what elements of Warhol's representative strategy they find so threatening. Schnabel and Stone have the most to lose in the replacement of their value systems (genius investment and 60s macho spirituality) by what they perceive as postmodern de-centredness, and therefore need to attack that threat the most forcefully. Less conservatively, for Harron, Warhol's Pop objectification of everyone, including women, seems to threaten women's hard-won subjectivity through feminism. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Perhaps the character Andy Warhol is put to most appropriate use when he is only glimpsed, such as in the films Death Becomes Her, where he appears as one of the party guests for people who have taken the magic potion to live forever, and as part of the 70s glam wallpaper in 54. This kind of "product placement" use of Warhol most succinctly encapsulates the vacant banality he espoused. In these films, Warhol is unburdened by other artists' attempts to fill him up with meaning. Warhol is taken at his word. His easily recognisable and reproducible bodily shell is hollow and superficial, just as he said it was. Warhol, Morrison, Basquiat and Solanas were all artists who played heavily on their roles as outsiders to mainstream society. These films build the film-makers' soapbox on the "right" way to be alienated, bourgeois-hating, and rebellious, and the films assume a sympathetic viewing audience. Even though the interest in Warhol and his flashy milieu probably got at least two of these films made in the first place, it seems clear that even the more independently-minded film establishment would rather align themselves with the romanticised artist bio-pic subject than the black hole they fear Warhol personifies. Citation reference for this article MLA style: Julie Turnock. "Painting Out Pop: "Andy Warhol" as a Character in 90s Films." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/warhol.php>. Chicago style: Julie Turnock, "Painting Out Pop: "Andy Warhol" as a Character in 90s Films," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]). APA style: Julie Turnock. (1999) Painting out pop: "Andy Warhol" as a character in 90s films. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/warhol.php> ([your date of access]).

Introduction It has frequently been noted that ICTs and social networking applications have blurred the once-clear boundary between work, leisure and entertainment, just as they have collapsed the distinction between public and private space. While each individual has a sense of what “home” means, both in terms of personal experience and more conceptually, the following three examples of online interaction (based on participants’ interest, or involvement, in activities traditionally associated with the home: pet care, craft and cooking) suggest that the utilisation of online communication technologies can lead to refined and extended definitions of what “home” is. These examples show how online communication can assist in meeting the basic human needs for love, companionship, shelter and food – needs traditionally supplied by the home environment. They also provide individuals with a considerably expanded range of opportunities for personal expression and emotional connection, as well as creative and commercial production, than that provided by the purely physical (and, no doubt, sometimes isolated and isolating) domestic environment. In this way, these case studies demonstrate the interplay and melding of physical and virtual “home” as domestic practices leach from the most private spaces of the physical home into the public space of the Internet (for discussion, see Gorman-Murray, Moss, and Rose). At the same time, online interaction can assert an influence on activity within the physical space of the home, through the sharing of advice about, and modeling of, domestic practices and processes. A Dog’s (Virtual) Life The first case study primarily explores the role of online communities in the formation and expression of affective values and personal identity – as traditionally happens in the domestic environment. Garber described the 1990s as “the decade of the dog” (20), citing a spate of “new anthropomorphic” (22) dog books, Internet “dog chat” sites, remakes of popular classics such as Lassie Come Home, dog friendly urban amenities, and the meteoric rise of services for pampered pets (28-9). Loving pets has become a lifestyle and culture, witnessed and commodified in Pet Superstores as well as in dog collectables and antiques boutiques, and in publications like The Bark (“the New Yorker of Dog Magazines”) and Clean Run, the international agility magazine, Website, online book store and information gateway for agility products and services. Available online resources for dog lovers have similarly increased rapidly during the decade since Garber’s book was published, with the virtual world now catering for serious hobby trainers, exhibitors and professionals as well as the home-based pet lover. At a recent survey, Yahoo Groups – a personal communication portal that facilitates social networking, in this case enabling users to set up electronic mailing lists and Internet forums – boasted just over 9,600 groups servicing dog fanciers and enthusiasts. The list Dogtalk is now an announcement only mailing list, but was a vigorous discussion forum until mid-2006. Members of Dogtalk were Australian-based “clicker-trainers”, serious hobbyist dog trainers, many of whom operated micro-businesses providing dog training or other pet-related services. They shared an online community, but could also engage in “flesh-meets” at seminars, conferences and competitive dog sport meets. An author of this paper (Rutherford) joined this group two years ago because of her interest in clicker training. Clicker training is based on an application of animal learning theory, particularly psychologist E. F. Skinner’s operant conditioning, so called because of the trademark use of a distinctive “click” sound to mark a desired behaviour that is then rewarded. Clicker trainers tend to dismiss anthropomorphic pack theory that positions the human animal as fundamentally opposed to non-human animals and, thus, foster a partnership (rather than a dominator) mode of social and learning relationships. Partnership and nurturance are common themes within the clicker community (as well as in more traditional “home” locations); as is recognising and valuing the specific otherness of other species. Typically, members regard their pets as affective equals or near-equals to the human animals that are recognised members of their kinship networks. A significant function of the episodic biographical narratives and responses posted to this list was thus to affirm and legitimate this intra-specific kinship as part of normative social relationship – a perspective that is not usually validated in the general population. One of the more interesting nexus that evolved within Dogtalk links the narrativisation of the pet in the domestic sphere with the pictorial genre of the family album. Emergent technologies, such as digital cameras together with Web-based image manipulation software and hosting (as provided by portals like Photobucket and Flickr ) democratise high quality image creation and facilitate the sharing of these images. Increasingly, the Dogtalk list linked to images uploaded to free online galleries, discussed digital image composition and aesthetics, and shared technical information about cameras and online image distribution. Much of this cultural production and circulation was concerned with digitally inscribing particular relationships with individual animals into cultural memory: a form of family group biography (for a discussion of the family photograph as a display of extended domestic space, see Rose). The other major non-training thread of the community involves the sharing and witnessing of the trauma suffered due to the illness and loss of pets. While mourning for human family members is supported in the off-line world – with social infrastructure, such as compassionate leave and/or bereavement counselling, part of professional entitlements – public mourning for pets is not similarly supported. Yet, both cultural studies (in its emphasis on cultural memory) and trauma theory have highlighted the importance of social witnessing, whereby traumatic memories must be narratively integrated into memory and legitimised by the presence of a witness in order to loosen their debilitating hold (Felman and Laub 57). Postings on the progress of a beloved animal’s illness or other misfortune and death were thus witnessed and affirmed by other Dogtalk list members – the sick or deceased pet becoming, in the process, a feature of community memory, not simply an individual loss. In terms of such biographical narratives, memory and history are not identical: “Any memories capable of being formed, retained or articulated by an individual are always a function of socially constituted forms, narratives and relations … Memory is always subject to active social manipulation and revision” (Halbwachs qtd. in Crewe 75). In this way, emergent technologies and social software provide sites, akin to that of physical homes, for family members to process individual memories into cultural memory. Dogzonline, the Australian Gateway site for purebred dog enthusiasts, has a forum entitled “Rainbow Bridge” devoted to textual and pictorial memorialisation of deceased pet dogs. Dogster hosts the For the Love of Dogs Weblog, in which images and tributes can be posted, and also provides links to other dog oriented Weblogs and Websites. An interesting combination of both therapeutic narrative and the commodification of affect is found in Lightning Strike Pet Loss Support which, while a memorial and support site, also provides links to the emerging profession of pet bereavement counselling and to suppliers of monuments and tributary urns for home or other use. loobylu and Narratives of Everyday Life The second case study focuses on online interactions between craft enthusiasts who are committed to the production of distinctive objects to decorate and provide comfort in the home, often using traditional methods. In the case of some popular craft Weblogs, online conversations about craft are interspersed with, or become secondary to, the narration of details of family life, the exploration of important life events or the recording of personal histories. As in the previous examples, the offering of advice and encouragement, and expressions of empathy and support, often characterise these interactions. The loobylu Weblog was launched in 2001 by illustrator and domestic crafts enthusiast Claire Robertson. Robertson is a toy maker and illustrator based in Melbourne, Australia, whose clients have included prominent publishing houses, magazines and the New York Public Library (Robertson “Recent Client List” online). She has achieved a measure of public recognition: her loobylu Weblog has won awards and been favourably commented upon in the Australian press (see Robertson “Press for loobylu” online). In 2005, an article in The Age placed Robertson in the context of a contemporary “craft revolution”, reporting her view that this “revolution” is in “reaction to mass consumerism” (Atkinson online). The hand-made craft objects featured in Robertson’s Weblogs certainly do suggest engagement with labour-intensive pursuits and the construction of unique objects that reject processes of mass production and consumption. In this context, loobylu is a vehicle for the display and promotion of Robertson’s work as an illustrator and as a craft practitioner. While skills-based, it also, however, promotes a family-centred lifestyle; it advocates the construction by hand of objects designed to enhance the appearance of the family home and the comfort of its inhabitants. Its specific subject matter extends to related aspects of home and family as, in addition to instructions, ideas and patterns for craft, the Weblog features information on commercially available products for home and family, recipes, child rearing advice and links to 27 other craft and other sites (including Nigella Lawson’s, discussed below). The primary member of its target community is clearly the traditional homemaker – the mother – as well as those who may aspire to this role. Robertson does not have the “celebrity” status of Lawson and Jamie Oliver (discussed below), nor has she achieved their market saturation. Indeed, Robertson’s online presence suggests a modest level of engagement that is placed firmly behind other commitments: in February 2007, she announced an indefinite suspension of her blog postings so that she could spend more time with her family (Robertson loobylu 17 February 2007). Yet, like Lawson and Oliver, Robertson has exploited forms of domestic competence traditionally associated with women and the home, and the non-traditional medium of the Internet has been central to her endeavours. The content of the loobylu blog is, unsurprisingly, embedded in, or an accessory to, a unifying running commentary on Robertson’s domestic life as a parent. Miles, who has described Weblogs as “distributed documentaries of the everyday” (66) sums this up neatly: “the weblogs’ governing discursive quality is the manner in which it is embodied within the life world of its author” (67). Landmark family events are narrated on loobylu and some attract deluges of responses: the 19 June 2006 posting announcing the birth of Robertson’s daughter Lily, for example, drew 478 responses; five days later, one describing the difficult circumstances of her birth drew 232 comments. All of these comments are pithy, with many being simple empathetic expressions or brief autobiographically based commentaries on these events. Robertson’s news of her temporary retirement from her blog elicited 176 comments that both supported her decision and also expressed a sense of loss. Frequent exclamation marks attest visually to the emotional intensity of the responses. By narrating aspects of major life events to which the target audience can relate, the postings represent a form of affective mass production and consumption: they are triggers for a collective outpouring of largely homogeneous emotional reaction (joy, in the case of Lily’s birth). As collections of texts, they can be read as auto/biographic records, arranged thematically, that operate at both the individual and the community levels. Readers of the family narratives and the affirming responses to them engage in a form of mass affirmation and consumerism of domestic experience that is easy, immediate, attractive and free of charge. These personal discourses blend fluidly with those of a commercial nature. Some three weeks after loobylu announced the birth of her daughter, Robertson shared on her Weblog news of her mastitis, Lily’s first smile and the family’s favourite television programs at the time, information that many of us would consider to be quite private details of family life. Three days later, she posted a photograph of a sleeping baby with a caption that skilfully (and negatively) links it to her daughter: “Firstly – I should mention that this is not a photo of Lily”. The accompanying text points out that it is a photo of a baby with the “Zaky Infant Sleeping Pillow” and provides a link to the online pregnancystore.com, from which it can be purchased. A quotation from the manufacturer describing the merits of the pillow follows. Robertson then makes a light-hearted comment on her experiences of baby-induced sleep-deprivation, and the possible consequences of possessing the pillow. Comments from readers also similarly alternate between the personal (sharing of experiences) to the commercial (comments on the product itself). One offshoot of loobylu suggests that the original community grew to an extent that it could support specialised groups within its boundaries. A Month of Softies began in November 2004, describing itself as “a group craft project which takes place every month” and an activity that “might give you a sense of community and kinship with other similar minded crafty types across the Internet and around the world” (Robertson A Month of Softies online). Robertson gave each month a particular theme, and readers were invited to upload a photograph of a craft object they had made that fitted the theme, with a caption. These were then included in the site’s gallery, in the order in which they were received. Added to the majority of captions was also a link to the site (often a business) of the creator of the object; another linking of the personal and the commercial in the home-based “cottage industry” sense. From July 2005, A Month of Softies operated through a Flickr site. Participants continued to submit photos of their craft objects (with captions), but also had access to a group photograph pool and public discussion board. This extension simulates (albeit in an entirely visual way) the often home-based physical meetings of craft enthusiasts that in contemporary Australia take the form of knitting, quilting, weaving or other groups. Chatting with, and about, Celebrity Chefs The previous studies have shown how the Internet has broken down many barriers between what could be understood as the separate spheres of emotional (that is, home-based private) and commercial (public) life. The online environment similarly enables the formation and development of fan communities by facilitating communication between those fans and, sometimes, between fans and the objects of their admiration. The term “fan” is used here in the broadest sense, referring to “a person with enduring involvement with some subject or object, often a celebrity, a sport, TV show, etc.” (Thorne and Bruner 52) rather than focusing on the more obsessive and, indeed, more “fanatical” aspects of such involvement, behaviour which is, increasingly understood as a subculture of more variously constituted fandoms (Jenson 9-29). Our specific interest in fandom in relation to this discussion is how, while marketers and consumer behaviourists study online fan communities for clues on how to more successfully market consumer goods and services to these groups (see, for example, Kozinets, “I Want to Believe” 470-5; “Utopian Enterprise” 67-88; Algesheimer et al. 19-34), fans regularly subvert the efforts of those urging consumer consumption to utilise even the most profit-driven Websites for non-commercial home-based and personal activities. While it is obvious that celebrities use the media to promote themselves, a number of contemporary celebrity chefs employ the media to construct and market widely recognisable personas based on their own, often domestically based, life stories. As examples, Jamie Oliver and Nigella Lawson’s printed books and mass periodical articles, television series and other performances across a range of media continuously draw on, elaborate upon, and ultimately construct their own lives as the major theme of these works. In this, these – as many other – celebrity chefs draw upon this revelation of their private lives to lend authenticity to their cooking, to the point where their work (whether cookbook, television show, advertisement or live chat room session with their fans) could be described as “memoir-illustrated-with-recipes” (Brien and Williamson). This generic tendency influences these celebrities’ communities, to the point where a number of Websites devoted to marketing celebrity chefs as product brands also enable their fans to share their own life stories with large readerships. Oliver and Lawson’s official Websites confirm the privileging of autobiographical and biographical information, but vary in tone and approach. Each is, for instance, deliberately gendered (see Hollows’ articles for a rich exploration of gender, Oliver and Lawson). Oliver’s hip, boyish, friendly, almost frantic site includes the what are purported-to-be self-revelatory “Diary” and “About me” sections, a selection of captioned photographs of the chef, his family, friends, co-workers and sponsors, and his Weblog as well as footage streamed “live from Jamie’s phone”. This self-revelation – which includes significant details about Oliver’s childhood and his domestic life with his “lovely girls, Jools [wife Juliette Norton], Poppy and Daisy” – completely blurs the line between private life and the “Jamie Oliver” brand. While such revelation has been normalised in contemporary culture, this practice stands in great contrast to that of renowned chefs and food writers such as Elizabeth David, Julia Child, James Beard and Margaret Fulton, whose work across various media has largely concentrated on food, cooking and writing about cooking. The difference here is because Oliver’s (supposedly private) life is the brand, used to sell “Jamie Oliver restaurant owner and chef”, “Jamie Oliver cookbook author and TV star”, “Jamie Oliver advertising spokesperson for Sainsbury’s supermarket” (from which he earns an estimated £1.2 million annually) (Meller online) and “Jamie Oliver social activist” (made MBE in 2003 after his first Fifteen restaurant initiative, Oliver was named “Most inspiring political figure” in the 2006 Channel 4 Political Awards for his intervention into the provision of nutritious British school lunches) (see biographies by Hildred and Ewbank, and Smith). Lawson’s site has a more refined, feminine appearance and layout and is more mature in presentation and tone, featuring updates on her (private and public) “News” and forthcoming public appearances, a glamorous selection of photographs of herself from the past 20 years, and a series of print and audio interviews. Although Lawson’s children have featured in some of her television programs and her personal misfortunes are well known and regularly commented upon by both herself and journalists (her mother, sister and husband died of cancer) discussions of these tragedies, and other widely known aspects of her private life such as her second marriage to advertising mogul Charles Saatchi, is not as overt as on Oliver’s site, and the user must delve to find it. The use of Lawson’s personal memoir, as sales tool, is thus both present and controlled. This is in keeping with Lawson’s professional experience prior to becoming the “domestic goddess” (Lawson 2000) as an Oxford graduated journalist on the Spectator and deputy literary editor of the Sunday Times. Both Lawson’s and Oliver’s Websites offer readers various ways to interact with them “personally”. Visitors to Oliver’s site can ask him questions and can access a frequently asked question area, while Lawson holds (once monthly, now irregularly) a question and answer forum. In contrast to this information about, and access to, Oliver and Lawson’s lives, neither of their Websites includes many recipes or other food and cooking focussed information – although there is detailed information profiling their significant number of bestselling cookbooks (Oliver has published 8 cookbooks since 1998, Lawson 5 since 1999), DVDs and videos of their television series and one-off programs, and their name branded product lines of domestic kitchenware (Oliver and Lawson) and foodstuffs (Oliver). Instruction on how to purchase these items is also featured. Both these sites, like Robertson’s, provide various online discussion fora, allowing members to comment upon these chefs’ lives and work, and also to connect with each other through posted texts and images. Oliver’s discussion forum section notes “this is the place for you all to chat to each other, exchange recipe ideas and maybe even help each other out with any problems you might have in the kitchen area”. Lawson’s front page listing states: “You will also find a moderated discussion forum, called Your Page, where our registered members can swap ideas and interact with each other”. The community participants around these celebrity chefs can be, as is the case with loobylu, divided into two groups. The first is “foodie (in Robertson’s case, craft) fans” who appear to largely engage with these Websites to gain, and to share, food, cooking and craft-related information. Such fans on Oliver and Lawson’s discussion lists most frequently discuss these chefs’ television programs and books and the recipes presented therein. They test recipes at home and discuss the results achieved, any problems encountered and possible changes. They also post queries and share information about other recipes, ingredients, utensils, techniques, menus and a wide range of food and cookery-related matters. The second group consists of “celebrity fans” who are attracted to the chefs (as to Robertson as craft maker) as personalities. These fans seek and share biographical information about Oliver and Lawson, their activities and their families. These two areas of fan interest (food/cooking/craft and the personal) are not necessarily or always separated, and individuals can be active members of both types of fandoms. Less foodie-orientated users, however (like users of Dogtalk and loobylu), also frequently post their own auto/biographical narratives to these lists. These narratives, albeit often fragmented, may begin with recipes and cooking queries or issues, but veer off into personal stories that possess only minimal or no relationship to culinary matters. These members also return to the boards to discuss their own revealed life stories with others who have commented on these narratives. Although research into this aspect is in its early stages, it appears that the amount of public personal revelation either encouraged, or allowed, is in direct proportion to the “open” friendliness of these sites. More thus are located in Oliver’s and less in Lawson’s, and – as a kind of “control” in this case study, but not otherwise discussed – none in that of Australian chef Neil Perry, whose coolly sophisticated Website perfectly complements Perry’s professional persona as the epitome of the refined, sophisticated and, importantly in this case, unapproachable, high-end restaurant chef. Moreover, non-cuisine related postings are made despite clear directions to the contrary – Lawson’s site stating: “We ask that postings are restricted to topics relating to food, cooking, the kitchen and, of course, Nigella!” and Oliver making the plea, noted above, for participants to keep their discussions “in the kitchen area”. Of course, all such contemporary celebrity chefs are supported by teams of media specialists who selectively construct the lives that these celebrities share with the public and the postings about others’ lives that are allowed to remain on their discussion lists. The intersection of the findings reported above with the earlier case studies suggests, however, that even these most commercially-oriented sites can provide a fruitful data regarding their function as home-like spaces where domestic practices and processes can be refined, and emotional relationships formed and fostered. In Summary As convergence results in what Turow and Kavanaugh call “the wired homestead”, our case studies show that physically home-based domestic interests and practices – what could be called “home truths” – are also contributing to a refiguration of the private/public interplay of domestic activities through online dialogue. In the case of Dogtalk, domestic space is reconstituted through virtual spaces to include new definitions of family and memory. In the case of loobylu, the virtual interaction facilitates a development of craft-based domestic practices within the physical space of the home, thus transforming domestic routines. Jamie Oliver’s and Nigella Lawson’s sites facilitate development of both skills and gendered identities by means of a bi-directional nexus between domestic practices, sites of home labour/identity production and public media spaces. As participants modify and redefine these online communities to best suit their own needs and desires, even if this is contrary to the stated purposes for which the community was instituted, online communities can be seen to be domesticated, but, equally, these modifications demonstrate that the activities and relationships that have traditionally defined the home are not limited to the physical space of the house. While virtual communities are “passage points for collections of common beliefs and practices that united people who were physically separated” (Stone qtd in Jones 19), these interactions can lead to shared beliefs, for example, through advice about pet-keeping, craft and cooking, that can significantly modify practices and routines in the physical home. Acknowledgments An earlier version of this paper was presented at the Association of Internet Researchers’ International Conference, Brisbane, 27-30 September 2006. 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The Wired Homestead: An MIT Press Sourcebook on the Internet and the Family. Cambridge, MA: MIT Press, 2003. Citation reference for this article MLA Style Brien, Donna Lee, Leonie Rutherford, and Rosemary Williamson. "Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/10-brien.php>. APA Style Brien, D., L. Rutherford, and R. Williamson. (Aug. 2007) "Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/10-brien.php>.