In the last few years, the prevalence of legal party pills in New Zealand has risen dramatically. These pills contain new piperazine designer drugs, two of the more common being 1-benzylpiperazine (BZP) and m-trifluoromethylphenylpiperazine (TFMPP). This thesis describes an optimised LC-MS/MS method for the detection of BZP and TFMPP in whole blood, using an automated solid phase extraction (SPE) for sample clean-up. The method was validated on three different days using five replicate samples each day. The standard curve was linear from 7 - 7000 ng/mL for BZP and 10 - 10,000 ng/mL for TFMPP, with coefficients of variation (CV) below 10%, and accuracy greater than 90% for both drugs. The method was used to quantitate samples provided by the Medical Research Institute of New Zealand. Blood levels were used to show concentrations in the blood over time, and relate these to performance of subjects on a driving simulator. The study was stopped after 41% of the participants who received BZP and TFMPP had adverse reactions to the pills, including vomiting and migraines. The LC-MS/MS method was also used to detect and quantitate methamphetamine, amphetamine, methylenedioxymethamphetamine, methylenedioxyamphetamine, morphine, codeine and 6-monoacetylmorphine in hair. The drugs were extracted from 20 mg of hair using hydrochloric acid in a water bath overnight, then purified using SPE. Validation on three days with five replicate samples gave coefficients of variation (CV) below 12% and acceptable accuracy for all drugs. The method was tested on three samples, previously reported by Environmental Science and Research (ESR) using gas chromatography mass spectrometry (GC-MS) giving results in good agreement. This thesis describes a sensitive, accurate, reproducible LC-MS/MS method easily adapted to analyse drugs of abuse in different biological matrices. It demonstrates the versatility of LC-MS/MS and its applications in forensic work.

<p><font face="Times New Roman"> <p align="left">The aims of this study were therefore to describe the personal experiences of a methamphetamine addict as well as the effects of this addiction on the family&rsquo / s communication and problem-solving abilities.</p> </font></p>

This dissertation examines a small selection of the hundreds of films made by Andy Warhol and his collaborators between 1963 and 1968. Each chapter contextualizes a particular aspect of Warhol's filmmaking in terms of the artistic and cultural circumstances that informed it. Through an analysis of the content of specific films, rather than just their formal or stylistic tendencies, I discuss how the filmmaking process might have functioned for those involved in the films' production, as well as how those films might have functioned for specific spectators. The first chapter is a speculation on how Warhol might have understood filmmaking as a method for creating concrete connections between feelings and things -- for collecting imagery with his camera in order to create a historical catalog of people and their emotions. This first chapter also considers how some art critics in the 1960s used Warhol's early silent films as exemplars for their own anti-formalist art-historical and critical discourses. The second chapter examines the relationship between Warhol's films and the proliferation of amphetamine use amongst his collaborators. Amphetamines functioned to perpetuate for its users a way of life based on an alternative conception of time, and often involved a continued engagement with bad feelings, which fueled much of the creativity of the artistic community whose locus was Warhol's Factory in the mid-1960s. As such, many of Warhol's films from this period exhibit what I term an "amphetamine aesthetic" -- visual clues that suggest the effects of long-term amphetamine use by its participants. The third chapter is an analysis of a single film, Lonesome Cowboys. Participants in the film's production used the conventions of the Hollywood Western film genre to create a circumscribed space for transforming their everyday lives and their relationship to contemporary politics in the late 1960s. All of these chapters explore the effects of Warhol's particular approach to filmmaking, which involved Warhol's own detached style of directing, as well as his cultivation of an ultrapermissive environment in which his collaborators -- actors, directors, writers, and technicians -- felt free to experiment. This environment was predicated on the idea that the boundary between the space in front of the camera and the world beyond it was simultaneously arbitrary and deeply imbricated. Such a fluid boundary between the world inside and outside the scope of Warhol's camera is in part why some spectators, watching his films a half-century after they were made, might still find new meanings for the present in the films themselves. / text

<p><font face="Times New Roman"> <p align="left">The aims of this study were therefore to describe the personal experiences of a methamphetamine addict as well as the effects of this addiction on the family&rsquo / s communication and problem-solving abilities.</p> </font></p>

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Psychology, 2008. / Includes bibliographical references.

Thesis--Uppsala. / Without thesis statement. Bibliography: p. [152]-162.

Thesis--Uppsala. / Without thesis statement. Bibliography: p. [152]-162.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 100-112).

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Made available in DSpace on 2014-10-09T12:25:49Z (GMT). No. of bitstreams: 0 / Made available in DSpace on 2014-10-09T14:03:33Z (GMT). No. of bitstreams: 1 11316.pdf: 4559706 bytes, checksum: 49490bf32ac2f606f4a79e8d49abe990 (MD5) / Dissertacao (Mestrado) / IPEN/D / Intituto de Pesquisas Energeticas e Nucleares, IPEN/CNEN-SP