The objective of the proposed research is to design an experimental setup to assess the ability of impedance measurements to characterize mouse embryonic stem cell (ESC) and embryoid body (EB) growth and differentiation. Existing quality assurance measurements used to stage the growth and differentiation of embryoid bodies are labor intensive and most often destructive to the cells, thus present methods are typically valid for a single time point. Bioimpedance measurements are non-invasive and non-destructive, presenting an alternative approach to this challenge. These measurements can be done continuously for real-time measurements on the changes in embryoid body growth and differentiation. A system capable of making bioimpedance measurements of ESC and EB suspensions was designed along with a biocompatible test device to hold the cells and Ag-AgCl electrodes. The system uses a lock-in amplifier to record the magnitude and phase changes of the ESC and EB suspensions when a 1 Vpp signal sweeping frequencies from 100 Hz to 100 kHz is applied. The system performance was validated with a test case of 1 mL of 0.1 M KCl. Then experiments with cell culture media, ESCs, and EBs were performed, with varying concentrations of cells and EBs. Experimental results for single ESC suspensions showed promise in detecting a difference in cell concentration between 2 million and 4 million cells in 0.5 mL of media. Results for four day old EBs were ambiguous, and we conclude that a different experimental set up is required due to EB settling during experimentation.

A new experimental setup for studies on wake flow instability and its control that successfully has been designed and manufactured, is introduced and de- scribed. The main body is a dual-sided flat plate with an elliptic leading edge and a blunt trailing edge. Permeable surfaces enable boundary layer suction and/or blowing that introduce the unique feature of adjusting the inlet condition of the wake created behind the plate. This, in combination with a trailing edge that is easily modified, makes it an ideal experiment for studies of different control methods for the wake flow instability as well as extensive parameter studies. Experimental validation of the setup has been performed by means of measurements of the wake symmetry and boundary layer velocity profiles at the trailing edge. Some preliminary results on the Strouhal number versus different inlet conditions are reported. Additionally, an in-house vortex detection (VD) program has been developed in order to detect, analyse and compare small-scale vortical structures in instantaneous velocity fields from flow measurements. This will be a powerful tool for comparison of wake characteristics for varying inlet conditions and control methods in the new experimental setup. Measurements from three completely separate experimental setups with different geometries and flow cases, have been analysed by the VD-program.          i.     In order to obtain improved ventilation we have studied the effect of pulsating inflow into a closed volume compared to having the inflow at a constant flow rate. We show that the number of small-scale eddies is significantly increased and that the stagnation zones are reduced in size, which enhances the mixing.         ii.     Instantaneous velocity fields in the wake behind a porous cylinder subjected to suction or blowing through the entire cylinder surface have also been analysed using the VD-program. The results show that the major change for different levels of blowing or suction is the location of vortices while the most common vortex size and strength are essentially unchanged.        iii.     Another study on how the geometry of a V-shaped mixer in a pipe flow affects the mixing have also been examined, where no general differences were found between different thicknesses, why a thickness that is favourable from an acoustic point of view can be chosen.   We also propose a new method, using global mode analysis on experimental data, showing that randomly ordered snapshots of the velocity field behind the porous cylinder can be re-ordered and phase-averaged. / QC 20111108 / Active control of vortex shedding behind bluff bodies

Parkinson’s disease, dementia with Lewy bodies and multiple system atrophy are disorders featuring accumulation of Lewy bodies in brain. The main component of these large insoluble intracellular inclusions is the presynaptic protein alpha-synuclein (α-synuclein). It is generally believed that α-synuclein monomers adopt an abnormal conformation that favors the formation of soluble oligomers or protofibrils and, eventually, insoluble fibrils depositing as Lewy bodies. Notably, the intermediately sized oligomers/protofibrils seem to have particular neurotoxic effects. Several factors may influence the formation of α-synuclein oligomers/protofibrils, e.g. the reactive aldehydes 4-hydroxy-2-nonenal (HNE) and 4-oxo-2-nonenal (ONE) formed during oxidative stress. The overall aims of this thesis were to investigate biophysical and biochemical properties of in vitro generated α-synuclein oligomers, characterize their functional effects on cell and animal disease models as well as to explore whether their formation could be prevented in a cell culture model for oligomerization.  Here, it was found that α-synuclein rapidly formed oligomers after incubation with both ONE and HNE. The resulting oligomers were stable and did not continue to form insoluble fibrils. By comparing HNE- and ONE induced α-synuclein oligomers biochemically they were both found to exhibit extensive β-beta sheet structure and had a molecular size of ~2000 kDa. However, they differed in morphology; the ONE induced α-synuclein oligomers described round amorphous species whereas the HNE induced α-synuclein oligomers appeared as elongated protofibril-like structures. Both these oligomers were cell internalized to varying degrees and induced toxicity in neuroblastoma cells. In addition, the ONE induced α-synuclein oligomers seemed to initiate aggregation of monomeric α-synuclein in vitro, but failed to do so in vivo. Finally, treatment of α-synuclein overexpressing cells with monoclonal antibodies specific for α-synuclein significantly reduced aggregation and lowered levels of the protein, suggesting increased turnover in these cells.  To conclude, this thesis has characterized different oligomeric α-synuclein species, which may have properties similar to soluble species central to the pathogenesis of Parkinson’s disease and other disorders with α-synuclein pathology. For therapeutic strategies it is important to selectively target such harmful protein species and avoid interaction with other forms of α-synuclein, which may have vital physiological cellular functions.

University of Technology, Sydney. Faculty of Humanities and Social Sciences. / My grandfather was in a fix. He wasn’t black, like his father, but he wasn’t quite white either, like his mother. He was marrying a woman who also wasn’t-black-but-wasn’t­quite-white. The problem was that his mother was worried that her future daughter-in-law’s father was a bit too ‘dark, Oriental looking’, whilst her mother was worried because his father was half-black ‘negro’. It really was a case of pot calling kettle black. And she was already three months pregnant, so everyone was worried about whether ‘the throwback thing’ would mean that they would have a black, ‘negro’ baby. My grandparents had managed to modify their ‘brown’ bodies so they could ‘pass’ as ‘white’, but could they also somehow also modify their potentially ‘non-white’ offspring? What might the materially affective mechanisms be, that have the power to ‘fix’ bodies, so as that a brown body can become white? Franken-rat, in a different time and place, was a rat in a laboratory who had a human ear growing on its back. Its body was hideous, a monstrous blend of ratty-human flesh. Franken-rat lived and died in a laboratory, in the service of science and humanity. But how does its body, and the discourses surrounding it, materialise certain understandings about our bodies and their relationships to ‘others’ and to the world? How might our bodies understand that relationship? If my understanding of my relationship to ‘others’ is based upon a liberal humanist construct that separates ‘self’ from ‘other’ and such fleshy intertwinings as monstrous, then can I ‘become posthuman’ and affectively create that relationship as a generous and welcoming of ‘otherness’? Can posthumanism ‘overcome’ the abjection and horror of liberal humanist ideas of monstrosity? This thesis is a fictocritical exploration of bodies and their dynamic discursive and material relations with the world. If the world is a site continually in flux, how might bodies modify or be modified in order to continually belong to it? And how might we sift through the facts, the stories and the affects of family narratives, institutional spaces, historical documents, philosophical ideas, and cultural texts, discourses and practices, in order to find spaces of integrity in connection and becoming, and affective, corporeal knowledges to take into the future?

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

This project explores notions of seeing and knowing, underpinned by performative and phenomenological fields of enquiry that relate this exploration to the sensate experience of the viewer. A specific interest considers ideas of embodied vision with an aim at generating events that vacillate in the bodies of the audience. A primary focus is on the arena of encounter as a multi-sensory experiential event, and within this context this project proposes a temporal and spatial framework for exploration. Studio methods develop a cinematic-body of video work negotiating performative practice involving video projection and temporality. Pivotal goals are to explore the significance of the ‘chiasm’ between seeing and knowing, raising questions about how humans see, and how humans make how they see matter. Therefore, this thesis project progresses along experimental approaches to video installation, particularly in relation to the phenomena of encounter, the viewer, and film experience. The central motivation of this video practice is aimed at corporeal affect in the body/s of the audience. This thesis project is constituted as 80% practice-based work accompanied by a 20% exegesis.

Harm minimisation approaches to illicit drug use have proven extremely successful in reducing drug-related harm and improving health outcomes for those using drugs, their families and the broader community. Despite these successes, however, many harm minimisation programmes face strong community opposition, and many others are limited in their effectiveness by their reluctance to acknowledge the complex ways in which drug using contexts, social relationships, desire, pleasure and aesthetics are involved in the production and reduction of drug-related harm.[NP] Deleuze and Guattari’s ethico-aesthetic philosophy offers a conceptual framework through which to begin to grapple with the sensory and affective elements of illicit drug use and their implications for an embodied ethics. Following an introduction to their key concepts, this thesis explores the implications of their ontology for understandings of injecting drug use across four inter-related dimensions: the drug using body; urban spaces of injecting; public overdose memorials; and drug referenced, ‘heroin chic’ advertising imagery. It argues that aesthetics and ethics are complexly intertwined, and that ethically positive responses to drug use require an active appreciation of the ways in which aesthetics affect bodies and their capacities to form relations with others

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

Univ., FB Geschichte, Philosophie u. Sozialwissenschaften, Diss.--Halle, 2005.