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The study considers the opportunities and barriers facing the implementation of virtual exchange in K-12 education in the context of the federal US education system through examining a domestic program offered by Empatico known as Empathy Across the US. Our findings point to several of the known barriers in the facilitation of virtual exchange, including technology access and pressing demands facing teachers, both of which impact accessibility. As K-12 virtual exchange programs often rely on the willingness of teachers to implement these kinds of programs outside of the official school curriculum, our research indicated the importance of having leaders or “champions” within participating schools and districts, as those individuals, whether another teacher, principal, or another staff member, provide systemic and structural support to teachers to bring virtual exchange into their classrooms. This study offers insights into how teachers in different settings perceive and experience the implementation of virtual exchange.

Contemporary artists Elizabeth Colomba and Fabiola Jean-Louis employ eighteenth-century subject matter, iconography, and media to reimagine the visual history of Black women. Putting Colomba’s and Jean-Louis’s work in dialogue with my own, I return to the premises of my book Women, Performance, and the Material of Memory: The Archival Tourist (2019), to re-examine, interrogate, and acknowledge my position as a white scholar.

Cosmopolitanism and nationalism are often presented in binary terms, as standing in opposition to each other, especially with regards to education. In this paper, we establish a framework for studying education policy today through the lens of a concept we have developed: ‘cosmopolitan nationalism’. Many education systems around the world are grappling with and simultaneously integrating both cosmopolitan and nationalist elements in policy objectives, curricular content and pedagogic approaches. Through an in-depth analysis of three country examples – China, the US and Israel – we outline four different manifestations of education policy that can be explained by employing the analytical lens of cosmopolitan nationalism: (i) the increasing prominence and visibility of the International Baccalaureate within these three public education systems; (ii) reforms of specific curricula elements and pedagogies legitimised with reference to approaches assessed as globally leading through international assessments; (iii) efforts to promote national education systems as international beacons of best practice; (iv) creation of alternative education provisions that are promoted globally for very specific purposes and populations. We argue that, given our heterogeneous sample of case study countries, and careful analysis of these, a cosmopolitan nationalism lens offers important insights into education policy-making today which has the potential to be applied in other contexts.

Differential thermal analysis (DTA) was used to examine the effect of the particle size and morphology of cobalt (III/IV) oxide (Co3O4) on its thermal response under exposure to methane (1 vol % in dry synthetic air), which is a relevant gas for the detection of combustible gases. The DTA response results from the catalytic oxidation of methane, and its characteristics should correlate with the pellistor response. Co3O4 samples differing in particle size and morphology were produced by ball milling (top-down technique) or were synthesized from precursor molecules by precipitation (bottom-up technique). The investigations carried out in dry air and a temperature range between 250 and 450 ∘C reveal that both particle size and particle shape have a considerable effect on thermal response, since the resulting layer structures and the associated surface area available for gas interaction differ. The Co3O4 catalyst, with small particles and an irregular shape, exhibits significantly higher response than milled Co3O4 samples. Comparison of DTA with the mass spectroscopy signal of CO2 evolved by the reaction verified a certain analogy between DTA measurements and the response produced by a pellistor.

The detection of flammable gases is necessary to avoid explosive atmospheres. For this reason, low-cost pellistors are frequently used. However, such commercial pellistors require an operation temperature of 450 ∘C or more for the detection of methane and a correspondingly high power consumption. We present a novel wireless low-power catalytic gas sensor system based on non-precious metal catalyst for the detection of methane and propane operated at 350 ∘C. The combination of a microelectromechanical system (MEMS)-based sensor with a low-power radio system provides the opportunity to monitor complex infrastructure without using a power grid as power supply. The sensor system has been characterised extensively under the exposure to methane and propane at concentrations between 2000 and 8000 ppm, as these gases are the common test gases for pellistors in industry. Methane is the main component of natural gas; propane is an important component of liquified petroleum gas (LPG). In addition, the influence of changes in humidity on the sensor response to methane was examined in more detail. Due to the planned operation of the sensor and radio system in different application scenarios, short (3 s) and long (60 s) sampling rates were used for investigations.

Maternal lineages are important for the breeding decision in the Holstein horse breed. To investigate the genetic diversity of the maternal lineages and the relationships between founder mares, the maternal inherited mitochondrial genome (except the repetitive part of the non-coding region) of 271 mares representing 75 lineages was sequenced. The sequencing predominantly revealed complete homology in the nucleotide sequences between mares from one lineage with exceptions in 13 lineages, where differences in one to three positions are probably caused by de novo mutations or alternate fixation of heteroplasmy. We found 78 distinct haplotypes that have not yet been described in other breeds. Six of these occurred in two or three different lineages indicating a common ancestry. Haplotypes can be divided into eight clusters with all mares from one lineage belonging to the same cluster. Within a cluster, the average number of pairwise differences ranged from zero to 16.49 suggesting close maternal relationships between these mares. The results showed that the current breeding population originated from at least eight ancestral founder mares.

Die Verbindung von Kunst und Unternehmertum stellt ein konzeptionell nicht so neues Phanomen innerhalb des Kunstbetriebs dar. So beschreibt Andy Warhol einen Kunstlertypus, der das Zusammenspiel von kunstlerischem, kreativem Schaffen und unternehmerischem Handeln verwirklicht.

This article proposes a way to disambiguate the evaluative states currently identified as “adaptive preferences” in development literature. It provides a brief analysis of Serene Khader's Deliberative Perfectionist Approach, and demonstrates that distinguishing between adaptive states has important implications for the theory and practice of development intervention. Although I support Khader's general approach and consider my project to be complementary, I argue that the term preferences be replaced with four distinct terms: beliefs, choices, desires, and values. Distinguishing among adaptive states can serve to prevent inappropriate intervention and appreciate the costs of transforming inappropriate adaptations. I argue that adaptive values are especially problematic, given how central a person's values are to their sense of meaning and self. Attempts to transform adaptive values are likely to produce internal conflict, resulting in psychological distress and diminished agency. Furthermore, some values (referred to in moral psychology as sacred values) preclude deliberation and comparison given their communal status as infinitely valuable. To deliberate about sacred values is to violate them. The emotional and psychological damage that may result from value transformation is thus likely to be extensive, and must be taken into account when determining whether, and what type of, intervention is justified.

Over the past 20 years, the study of eighteenth-century British actresses has blossomed into an emerging interdisciplinary field. Early works on actresses in the 1990's coincided with a heightened interest in recovering non-canonical eighteenth-century texts by female authors as well as the publication of Judith Butler's ground breaking Gender Trouble in 1992. Actresses became, in many ways, the perfect vehicle for looking at how ideologies of femininity, performance, and embodiment materialized in eighteenth-century culture. The publication of Felicity Nussbaum's Rival Queens in 2010 signaled a new phase in actress studies. This article looks closely at the ways in which scholarship on eighteenth-century actresses and celebrity produced since 2010 responds to and/or complicates Nussbaum's invitation to move beyond the parameters of the lady/prostitute divide in actress studies towards more “productive frames of reference” and methodologies. In 2016, actress studies is a truly interdisciplinary field intersecting with art, music, literature, history, economics, psychology, anthropology, sociology, and fashion. Scholars in actress studies have pioneered new theoretical approaches to theater history, archives and evidence, re-enactment and performance, as well as studies of sound and material culture. Studies of actresses have contributed significantly to the history of early modern women specifically focusing on maternity, professionalism, marriage, domestic life, and kinship networks. Considering “Actress Studies” as a distinct field highlights an important legacy of paradoxical ideologies about women, power, and fame that still operate today.

We present a fast and simple method to monitor toxic gases in ambient air based on a visible color change of a printed paper sensor, which can be evaluated using a camera (e.g. smartphone) or naked eye. This study focuses on the developent of gas-sensitve pastes for the processing of the colorimetic material by screen printing. Indicators for the detection of ammonia (NH 3 ), hydrogen sulfide (H 2 S) and formaldehyde (CH 2 O) were examined in closer detail. The sensing proberties of the respective indicator towards the target gas was characterized via UV/Vis spectroscopy in reflection.

A novel colorimetric sensor system for the detection of carbon monoxide (CO) in low ppm concentrations for early fire gas detection is described. Due to its low power consumption and low fabrication costs the sensor enables the integration into a commercial fire detector.Screen printing methods for depositing thin films allow a fast gas interaction and a high degree of integration of the sensor system. The response of the sensor system to carbon monoxide was characterized both in the laboratory and in real firing tests.

This essay examines the relationship between actresses and material culture in England in the late eighteenth century, with particular reference to Eliza Farren. Actresses’ images were everywhere in the Georgian and Regency period; they appeared across visual media in portraits, miniatures, prints, caricatures, periodical illustrations, sculpture, and porcelain. The proliferation of materials representing actresses in various formats signalled the public’s interest in women on stage and celebrity culture in general. For female celebrities in particular, the blurred distinction between actresses and things and actresses as things foregrounds a central paradox for women on stage that still persists: i.e. the ways in which the visibility of the female figure and the cultural politics of female embodiment often mask the professionalism, labour, and skill of female performers. The relationship of representations of actresses to material objects, then, is not only about tracing the development of celebrity and fandom in the late eighteenth century, but also about interrogating the relationship between femininity, visibility, embodiment, and agency surrounding women in the theatre and, by extension, women in the public sphere.

The introduction provides context for the main theoretical threads of this book: tourism theory, performance theory, archive theory, and studies of women and material culture. I define and explore the idea of the “archival tourist” along with the strategies involved in curating the individual case studies in the book. In addition, I establish connections among the main figures in the narrative (Elizabeth Inchbald, Sally Siddons, The Countess of Blessington [Marguerite Gardiner], Isabella Beetham, Jane Read, Marie Tussaud, and Amelia M. Watson) and the trajectory of tangible objects (pocket diaries, paintings, magic lanterns, silhouettes, waxworks, and photographs) featured in each chapter.

This chapter examines silhouettes and waxworks by late eighteenth- and nineteenth-century women artists in order to consider the ways in which these mysterious artifacts represent traces of the embodied presence of specific individuals. Viewing a silhouette connects the observer directly to the moment of the object’s creation—staging a kind of reenactment scenario across time. The extraordinary skill and technique of silhouette artists such as Isabella Beetham (1750–1825) and her daughter Jane Read (c. 1773–1800) provide insight into modes of late eighteenth-century style, gesture, and expression. In the second part of the chapter, I turn to waxworks, specifically to Madame Tussaud’s self-portraits. Encountering waxworks involves a sense of tangibility that disrupts the boundaries between spectators and objects. Silhouettes and waxworks are both quintessential tourist objects because they are things that are specifically connected to technologies of presence. I argue that the particular properties of silhouettes and waxworks as media are analogous to how women have appeared and disappeared in the archives, as well as the ways in which women’s embodied experiences are mediated through material representations that both preserve and obscure their presence.

In 1915, the illustrator, photographer, and painter Amelia M. Watson, inspired by her fascination with the transatlantic actress, writer, and social historian Fanny Kemble’s memoir Journal of a Residence on a Georgian Plantation (1864), traveled with two female companions to the remains of Kemble’s plantation located on St. Simons Island off the coast of Georgia. Once there she took a stunning series of photographs of the plantation house, the surrounding landscape, and the descendants of the original enslaved people who lived there. In this chapter I explore what I call Amelia Watson’s “plantation tourism,” investigating the overlapping and contradictory narratives of sympathy, voyeurism, and aesthetic practice present in the interplay between Watson’s images, the texts that accompany her photographs, and the original narratives the images were meant to illustrate. Watson’s projects consciously and unconsciously reinforce the ideology of white supremacy, while at the same time specific photographs, particularly of female subjects, recreate and reimagine the haunting realities of the past, potentially providing a more progressive narrative of survival and renewal through their presence.

In this chapter, I consider excerpts from Elizabeth Inchbald’s pocket diaries from 1781–1820 in order to theorize the significance of the pocket diary as an embodied archive—that is, as an object and receptacle of information that is literally and figuratively tied to the body. In particular, I examine Inchbald’s references to clothing—wearing her “white silk” dress onstage and off, and her use of a “cletin” elastic waistcoat, which she wore to alleviate the symptoms of her “complaint” (an ailment that plagued her in her later years). Tracing the larger cultural resonance of these garments connects Inchbald’s daily performances to a range of representations of eighteenth-century women. The chapter also looks at Inchbald’s vexed relationship with the notorious actress Mary Wells. I contend that material about their association recorded in Inchbald’s pocket diary represents a “shadow archive” or an alternative record of theatrical women that does not appear in official documents, memoirs, or biographies. The present-day scholar’s relationship to this text, a hybrid genre of private and public material, resembles a touristic encounter—the diary itself presents an opportunity for “staged intimacy,” a window into the backstage regions of Inchbald’s experience.

A series of letters housed in the Cambridge Library and published in 1904, in a volume entitled An Artist’s Love Story edited by Oswald G. Knapp, tells the story of a tragic love triangle between the celebrated artist Sir Thomas Lawrence and both of the famous actress Sarah Siddons’s daughters—Sally and Maria. During the course of the correspondence (1797–1800), Lawrence completed an extraordinary series of drawings and paintings of Sarah, Sally, and Maria Siddons . The wealth of narrative and visual material (both tangible and imagined) surrounding the actors in this ensemble creates a unique opportunity to consider how tangible materials connect to intangible traces. Using Rebecca Schneider’s concept of performing remains and Hanneke Grootenboer’s theory of “intimate vision,” I explore how as archival tourists we might consider the ways in which these artifacts “look back” at us from the past. Putting these materials together stages a form of reenactment for the archival tourist that mimics the experience of an interactive museum exhibition.

In this chapter, I explore how the theatrical event or tourist attraction of the auction might help us to theorize the ways in which objects act as souvenirs and as conduits to embodied experience. Just after Sir Thomas Lawrence completed his famous portrait of her, Lady Blessington composed a fictional account of an auction in her book The Magic Lantern; or, Sketches of Scenes in the Metropolis (1822). Juxtaposing Blessington’s narrative with a journal article by an “American Traveller” chronicling his experience at the Gore House auction of her possessions in 1849 suggests a number of important things about the connections among auctions, tourism, souvenirs, archives, and ghosts. The operation of magic lanterns, auctions, and tourism share a preoccupation with fantasy, projection, and types of surveillance. Blessington’s use of the magic lantern as a guiding trope serves to remind readers of the spectral and uncanny nature of urban existence as a continuous barrage of the strange and the familiar.

We present our investigation on the gasochromic reaction of E141 (ii) towards the toxic gas nitrogen dioxide (NO2). E141 (ii) is a chlorophyllin-based food additive, typically used as green coloring for nearly all kinds of sweets. In this presentation we show an alternative approach for using E141 (ii) as optical gas indicator. All solid samples are prepared by multi-layer screen printing on different substrates like paper and PE-foil. Gas measurements are performed using an UV/Vis spectrometer. The influence of the substrate and according layer thickness is shown.