Conventional Paint Research Articles

The Political Unconscious in Nineteenth-Century Art

The session on the Political Unconscious in Nineteenth-Century Art at the 1986 Annual Meeting of the College Art Association,which served as the basis of this issue of Art Journal, owed its genesis to two rather different sources. First, the notion of an unconscious as opposed to a conscious inscription of the political in the work of art or in artistic institutions or within the processes of art making seemed to me to provide a necessary antithesis to those consciously formulated political programs or commissions which had been considered in the volume Art and Architecture in the Service of Politics, edited by Henry Millon and myself in 1978 (Cambridge, Mass., M.I.T Press). Second, I had been inspired by a reading of Fredric Jameson's magisterial text, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, Cornell University Press, 1981). It was not my intention to attempt a wholesale translation of Jameson's complex work into the realm of the visual arts-a project that would have been impossible in any case-but rather to see what would happen if one made the attempt to articulate such a problematic venture for the field of art history. In the case of art consciously designed to serve a political cause-for example, Repin's They Didn't Expect Him, representing the return of a Siberian exile, or Rude's heroic statue of Napoleon-the politics in question were often made manifest in the terms of iconographic, rather than formal analysis. It seemed to me that in the case of the presence of unconscious political presuppositions a different sort of methodology would be necessary, one that avoided displacing the political onto the realm of subject matter and, indeed, one that avoided the stereotypical opposition between iconographic and formal analysis entirely. The original call for papers for the session on the Political Unconscious stipulated proposals dealing in novel or innovative ways with the intersection of art and politics, particularly cases in which concrete historical relations of class, sex, nationality, or race were veiled, transformed, or even erased, thus functioning as an unconscious grounding for the production under consideration. By I meant to imply the discourses of art, modes of art production, and art institutions such as museums and academies, as well as works of art per se. Investigations of photography, print-making, and anonymous visual production, as well as the more conventional painting and sculpture, were invited. More than fifty proposals were submitted for consideration, many of them excellent and provocative. For purposes of consistency, papers dealing with French art were given priority, with the exception of Douglas Crimp's piece on the Altes Museum, which seemed to set the stage-both theoretical and material-for the whole undertaking, despite the fact that the museum in question was a German rather than a French one. An additional piece, by Michael Orwicz, which seemed entirely appropriate to the generally French tenor of the issue, was added to the papers presented by Douglas Crimp, Leila W. Kinney, Stephen F. Eisenman, Christopher J. Robinson, Jane Kromm, and Jeffrey J. Rosen at the 1986 session. I see now that my conception of the political unconscious was in fact rather nafve and too all-embracing. Yet it seemed to me to serve a real purpose in generating the methodologically various and often provocative texts that it did.

Dewatering Screen Design for Hydraulic Settling of Solids in Swine Manure

ABSTRACT IN a laboratory study, a sawdust mixed liquor was used to determine the effect of geometric screen opening on flow capacity and solids removal capacity. Results indicated that slots up to 180 mm long were superior to 6 mm round holes for maintaining flow capacity, but quality of screen effluent was not significantly affected. A follow-up field study showed that polyethylene slotted screens removed 74% more swine manure solids, were more resilient, were more corrosion resistant and were easier to maintain than metal slotted screens with zinc, polyurethane, epoxy, or conventional rust resistant paint coatings.

The application of instrumental colour management to the manufacture of powder coatings

The rapid growth of the powder coatings industry over the past ten years has brought with it dramatic changes in the technology of the manufacturing process and in the products themselves. Powder coatings have become recognised as a high performance and cost‐effective alternative to conventional wet paint systems. The increasing numbers of discerning end users who have adopted powder as a finishing process have demanded demonstrable improvements in product quality and performance over their existing finishing systems. This has lent additional impetus to the drive for better products and has accelerated the pace of technological change within the industry. Pressure on powder manufacturers has resulted in increasingly tighter requirements for consistency of product quality and none more so than in control of the colour of the powder coating, especially for demanding applications such as architectural and domestic appliance coatings.

The physiological effects of the leachates from a self-polishing organotin antifouling paint on marine diatoms

Two diatom species, Amphora coffeaeformis (found on an organotin plus copper-based, self-polishing copolymer [Spc], antifouling paint) and Nitzschia ovalis-(found on conventional copper-based antifouling paints but not on the former) were tested for tolerance to the toxins released by SPC. Measurements for growth, net photosynthesis, and silicate and nitrate uptake all indicated that A. coffeaeformis can tolerate 10–100 times greater concentrations of SPC toxins than N. ovalis. Both species showed a recovery in cell division rate after 24–48 h of exposure to sublethal but inhibitory levels. A 24-h time course study of the toxic effects of SPC leachates showed that for N. ovalis silicate uptake was more sensitive to the immediate (< 2h) toxic effects than was nitrate uptake. The latter was actually enhanced for the first 8h exposure and only was inhibited after 12 h. In the case of A. coffeaeformis, nitrate uptake was initially inhibited but recovered after 24h of exposure.

THE USE OF COPPER‐NICKEL IN SHIPBUILDING: A STATUS REPORT

ABSTRACTCopper‐base alloy CA‐706 has an excellent erosion‐corrosion and biofouling resistance. While this paper recounts the long history of copper's role in marine use, the emphasis is on recent applications. Technical details of Cu/Ni sheathing of steel hulls and the results of a field test program after 18 months of continuous service with a 91,000 DWT tanker named Arco Texas are discussed. A comparison of life‐cycle economic analysis for conventional antifouling paint, self‐polishing copolymers and copper‐nickel sheathing is presented. The analysis is carried out for a medium‐speed RO/RO ship and a slow‐speed oil tanker.

Economic and Technical Feasibility of Copper-Nickel Sheathing of Ship Hulls

This paper is an objective evaluation of the feasibility of copper-nickel (Cu-Ni) sheathing as a protection against biofouling for ship hulls. The first part of the paper covers the economic feasibility of Cu-Ni sheathing. An economic analysis was performed for trade-off purposes using the life-cycle method. Three different antifouling systems were analyzed for this purpose: conventional antifouling paint, self-polishing copolymer, and Cu-Ni sheathing. In this analysis two ship types were considered, a medium-speed roll-on/rolloff vessel and a slow-speed crude oil carrier. In the second part of the paper the technical feasibility of Cu-Ni sheathing is evaluated. The current technology is discussed for the physical application of Cu-Ni sheathing to the hull, including several methods of attaching the sheathing. Current test results on the Cu-Ni sheathing test panels installed on the tanker Arco Texas are presented and new cost-effective welding techniques for Cu-Ni sheathing of ship hulls are proposed.

The Patronage of John of Northampton

AbstractJohn of Northampon, a monk at Westminster from 1372 to 1404 is mentioned in Abbey records as having paid for paintings of a Judgement and an Apocalypse, both in the chapter house. The present painting at the east of the building is unlike conventional Doom paintings, and inscriptions on the wings of one angelic figure indicate an iconography of penance rather than judgement. Even if these concepts are seen to be associated, there is a further problem concerning John of Northampton's recorded payment for the painting, as its style is Italianate and most conveniently dated C.1350, before John joined the Abbey. Furthermore his recorded payment would have been insufficient to fund the painting. The possible solution is that John paid for the work's completion or repair. Less controversial is his commissioning of the Apocalypse. The suitability of this subject for a chapter house is discussed, and it is proposed that Continental artists, in several groups, performed the work which, on grounds of style ...

NEW TECHNOLOGY ANTIFOULING PAINTS: U.S. GOVERNMENT RESEARCH AND ASSESSMENT

ABSTRACTMarine fouling growth on the hulls of ships results in unacceptable increases in drag and consequent increases in fuel consumption. Conventional paints cannot maintain hulls free of fouling for the extended operating cycles now being imposed. Accordingly, new antifouling paints featuring organometallic polymer (OMP) toxicants have been developed at a U.S. Government laboratory in response to these requirements. In addition, commercial paints based on the use of OMP biocides have become increasingly available in the last several years, most of which have ablative properties that enhance antifouling performance and promote retention of smooth surfaces. Screening tests that include static and dynamic panel exposure and laboratory evaluation of coating properties are being conducted to qualify candidate materials for ship trials.This paper describes several ship trials that are now underway on various types of ships. Over twenty different commercial and U.S. Government specification paints have been applied as patches, as bands, on entire hulls, and on exposure test panels mounted on bilge keels. Periodic inspections utilizing diver‐operated still and video cameras are made. The factors of ship power, paint condition, and hull roughness are being correlated for selected test vessels.New trends in antifouling paint technology are also discussed, as are problems associated with application and removal of toxic paint materials.

The effects of some common pigments on the photo-oxidation of linseed oil-based paint media

simple infrared, sodium chloride disc technique is described which monitors the loss of binder in a paint medium. The early stages of this process correlate both with oxygen absorption measurements and with the formation of scission products (dicarboxylic acid half esters) by GLC in conventional pigmented paint media. The sodium chloride disc technique constitutes an accelerated environmental ageing test which can be used to predict the effects of pigments and their wavelength sensitivity on the physical deterioration of the medium. It is found that vermilion, one of the more effective photo-sensitizers for photo-oxidation, is relatively insensitive to wavelength variation in the diffuse daylight region and it is concluded that physical screening of the near UV wavelength is not in itself a satisfactory solution to conservation of old paint media.

FOULING RELEASE COATINGS

ABSTRACTThe concept of producing coating sufficiently anti‐adhesive that marine foaling organisms attached to the surface can be removed by relatively small mechanical forces is being investigated. Central to this effort is a group of new fluorinated resins of the epoxy and polyurethane classes which provide properties in ambient‐cured coatings not previously attainable. Fluorocarbon properties and silicone properties can be imparted to coatings ranging in physical consistency from elastomers to hard plastics, and the combination of physicochemical alteration with application ease in the manner of conventional paints allows fouling‐release experiments never previously attempted. Some of these include the bonding of silicone‐filled porous Teflon to underwater surfaces, painting with Teflon pigmented epoxies and polyurethanes enhances by silicone additives, and the bonding of elastomeric sheets with flame‐fused surfaces.Some experiments have been performed to assess the ease of fouling removal from Teflon‐filled fluorinated polyurethanes, and it has been demonstrated that all but the most tenacious organism can be removed by small‐stream water blasting at nozzle pressures between 50 and 600 psi. Some evidence has also been accumulated which suggests that turbulent regions such as steering plans in a propeller stream, may be cleaned by ships' motion.

The Pretreatment and Conventional Wet Painting of Aluminium Extrusions

The Pretreatment and Conventional Wet Painting of Aluminium Extrusions

The determination of lead and cadmium in paint by atomic-absorption spectrophotometry utilising the Delves micro-sampling technique.

The Delves micro-sampling technique has been applied to the determination of lead and cadmium in paints by atomic-absorption spectrophotometry using both liquid and solid samples. The method involving liquid samples consists in suspending the paint sample in an appropriate solvent and transfering 10 µl of the suspension into a nickel cup. After evaporating the suspension to dryness and pre-igniting the residue in a muffle furnace, the cup is inserted directly into an air-acetylene flame. The concentration of the metal is determined by the method of standard addition. The standard deviation was found to be ± 2·6 per cent. at the 99·4 p.p.m. of lead level at 283·3 nm and ± 1·8 per cent. at the 31·7 p.p.m. of cadmium level at 326·1 nm.The method involving solid samples consists in directly inserting a weighed amount of paint into an air-acetylene flame. Calibration was accomplished by the method of standard additions. The standard deviation was found to be ± 5·5 per cent. at the 230 p.p.m. of lead level at 261·4 nm and ± 20 per cent. at the 1·7 p.p.m. of cadmium level at 326·1 nm.Results for lead and cadmium in several paint samples by the two methods agreed well with those obtained by the conventional atomic-absorption method. Both methods are applicable to oil- and water-based paints and the time-consuming steps of ashing and dissolution of the ash required in conventional paint analysis are eliminated. The method with solid samples is more rapid than that with liquid samples, but is less widely applicable because the concentration range of the metal that can be determined is limited.

Corrosion Protection of Steel Highway Bridges: I Full scale trials of paint systems

Full scale trials of ten paint systems, applied on the plate girders of the Loudwater Viaduct, are described. The best performance during four years of exposure was given by a solvent less epoxy system, but its application requirements were stringent and may be difficult to meet in practice. For high corrosivity sites, a chlorinated rubber paint system should give a good performance with easy application, although transportation damage between fabrication shop and site may be a problem. A general conclusion is that aluminium pigment should be excluded from conventional micaceous iron oxide paints. In several instances aluminium has been leached out as aluminium salts leading to deterioration. of the paint system and rusting of the substrate.The importance of the micro-climate to which sheltered bridge steelwork is exposed is discussed. Steel girders are not washed by rain and the combination of corrosive contaminants and long periods of wetness can be a particularly severe condition for paint coatings under a bridge deck. Further research on the characterisation of bridge sites and evaluation of priming paints has been initiated.

Comment

At last two major car manufacturers in the United Kingdom have taken practical steps to reduce the level of atmospheric pollution resulting from their spraying operations. Both British Leyland and Ford at Dagenham have started using the ICI Dispersymer process, a system which won the Queen's Award for Technological Innovation in 1969. It enables paint to be made with greatly improved application properties, because the polymer is dispersed in the solvents rather than being dissolved in them as is the case with conventional paints.

Improved stability and film properties of emulsion coatings through reversed encapsulation

Viscosity-stable emulsion paints that produce glossy films have been produced by reverse encapsulation. This process has been accomplished without aggregation by dispersing pigments in a hexane solution of 10% linseed oil, based on the weight of the pigment. The suspension is emulsified in water, and the hexane evaporated under vacuum at ambient or slightly increased temperature. Additional oil is emulsified directly into the suspension to form a paint that maintains viscosity at neutral pH and the films of which are semiglossy to glossy in appearance. The coatings system consists essentially of an emulsion in which part of the droplets contain pigment particles. Since pigments are not in direct contact with water, they do not exhibit the reactivity that may result in increased pH, viscosity, and sedimentation volume in conventional aqueous paints.

Test of Paints for Water Tank Interiors

In 1950, the Steel Structures Painting Council (SSPC), the Ambridge Water Authority, and the Pittsburgh‐ Des Moines Steel Co., all located in the Pittsburgh area, cooperated in undertaking an extensive test of paints for use on the interior of water tanks. The purpose of this test was to evaluate the relative performance of several of the most serviceable conventional paint systems applied to surfaces that had been blast cleaned. Also evaluated were several of the vinyl paints available at that time. A 1‐mil gal open‐topped steel tank, 84 ft. in diameter and 25 ft high, was selected as the test site. It is located about 20 mi north of Pittsburgh, at Ambridge, Pennsylvania. The inside of the tank was divided into 54 panels. Each of the panels received a system consisting of some combination made up from twelve paint systems, two pretreatments, and ten methods of surface preparation. Pretreatment consisted of either a vinyl washcoat or a phosphoric acid treatment. In all instances, the panels were blast cleaned and the pretreatment or primer applied before any detrimental rusting could occur. The article discusses test preparation, along with results and conclusions.

PROTECTION OF STEEL DRUMS

Among their wide range of steel drums for the packaging of liquid products, Victor Blagden &amp; Co. Ltd. of Manchester manufacture containers painted with a chemically‐resistant coating for such products as solvents and strong chemicals which attack more conventional paints. For this purpose an ‘Epikote’ phenolic lacquer system (Robert Ingham Clark 2088) is used, two coats being applied automatically. The first coat is lightly stoved and the drums are fully cured after the second coat. The accompanying photographs show stages in the painting process.

Some Effects of Cathodic Protection On Conventional Paints

Abstract The use of cathodic protection with metal protective paints is of interest to industry where steel structures are immersed in water or buried in soil. While both systems of protection offer many advantages, both have some disadvantages. Hence the question, “Are they compatible and would a combination of the two systems overcome some or all of the disadvantages of each?” It was felt that with conventional paint systems, blistering could be minimized by applying a constant potential between an anode and the painted surface rather than a constant current. Four groups of tests were set up in fresh and salt water. Details of tests are given. In fresh water it was noted that blistering of paint increased rapidly with increasing potential measured against the surface of the paint film with a saturated KCl calomel half cell. Although considerable blistering was observed where the potential measured against a calomel half cell did not exceed —850 millivolts, the paint films materially assisted cathodic pr...