title: Two phase aqueous extraction of whey proteins in a polyethylene glycol - arabinogalactan system

authors: Ng, Timothy Wei Choong

subjects: two-phase aqueous extraction

abstract: The whey protein separation potential of aqueous two-phase systems of arabinogalactan [AG] (Lonza FiberAidTM) and polyethylene glycol [PEG], buffered with 10 mmol/g phosphate or citrate buffer, was studied. 100 mmol/g potassium chloride [KCl] was added as required. Previously-published phase equilibrium results were verified and the absorbance of whey protein isolate [WPI] in an AG-PEG solution was measured. The effect of pH, KCl concentration, initial WPI concentrations and upper to lower phase mass ratios on whey partitioning was studied. The best separation system contained 17.20% (w/w) AG, 7.20% (w/w) PEG, 10 mmol citrate buffer (pH 5.4) and 100 mmol KCl per gram of total system. The upper to lower phase mass and volume ratios were 1:1 and 16:11 respectively. Approximately 12 mg (mainly α-lactalbumin) of the 20 mg WPI added partitioned into the AG-rich upper phase. This system has potential to reduce chromatographic requirements in large scale separation of protein mixtures.

text: Two phase aqueous extraction of whey proteins in a polyethylene glycol - arabinogalactan system The whey protein separation potential of aqueous two-phase systems of arabinogalactan [AG] (Lonza FiberAidTM) and polyethylene glycol [PEG], buffered with 10 mmol/g phosphate or citrate buffer, was studied. 100 mmol/g potassium chloride [KCl] was added as required. Previously-published phase equilibrium results were verified and the absorbance of whey protein isolate [WPI] in an AG-PEG solution was measured. The effect of pH, KCl concentration, initial WPI concentrations and upper to lower phase mass ratios on whey partitioning was studied. The best separation system contained 17.20% (w/w) AG, 7.20% (w/w) PEG, 10 mmol citrate buffer (pH 5.4) and 100 mmol KCl per gram of total system. The upper to lower phase mass and volume ratios were 1:1 and 16:11 respectively. Approximately 12 mg (mainly α-lactalbumin) of the 20 mg WPI added partitioned into the AG-rich upper phase. This system has potential to reduce chromatographic requirements in large scale separation of protein mixtures.

year: 2014

title: Learning to describe data in actions

authors: Maulsby, David

subjects: computer science

abstract: Traditional machine learning algorithms have failed to serve the needs of systems for Programming by Demonstration (PBD), which require interaction with a user (a teacher) and a task environment. We argue that traditional learning algorithms fail for two reasons: they do not cope with the ambiguous instructions that users provide in addition to examples; and their learning criterion requires only that concepts classify examples to some degree of accuracy, ignoring the other ways in which an active agent might use concepts. We show how a classic concept learning algorithm can be adapted for use in PBD by replacing the learning criterion with a set of instructional and utility criteria, and by replacing a statistical preference bias with a set of heuristics that exploit user hints and background knowledge to focus attention.

text: Learning to describe data in actions Traditional machine learning algorithms have failed to serve the needs of systems for Programming by Demonstration (PBD), which require interaction with a user (a teacher) and a task environment. We argue that traditional learning algorithms fail for two reasons: they do not cope with the ambiguous instructions that users provide in addition to examples; and their learning criterion requires only that concepts classify examples to some degree of accuracy, ignoring the other ways in which an active agent might use concepts. We show how a classic concept learning algorithm can be adapted for use in PBD by replacing the learning criterion with a set of instructional and utility criteria, and by replacing a statistical preference bias with a set of heuristics that exploit user hints and background knowledge to focus attention.

year: 1995

title: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience

authors: Bright, Deborah Ann

subjects: female

abstract: This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

text: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

year: 2010