Wet Paint Research Articles

Work and the Body in Hardy and Other Nineteenth-Century Novelists

EARLY IN The Woodlanders, an idle surgeon spends a long afternoon watching the wet white paint on a swinging gate detach itself from the gate's surface and latch onto first the body of one, then a second, then a third young woman crossing into his neighborhood. Much later that same surgeon, not now idle but engaged in the exhausting work of self-rescue, crawls toward the home of a wealthy woman, lifts himself over the stile, and leaves behind on its altered surface his own red blood.1 These two moments, clear counterparts of one another, belong to a long succession of moments in which a gate or threshold or stile or doorway or fence is crossed to permit the passage of one person into a space belonging to a person of another gender or of another class gates, fences, and doorways that thus open into scenes resonant with economic and political and sexual disturbance. Hardy's concern here with the crossing of three young laboring class women into a space watched over by a middle class man and again with the crossing of that middle class man into a space whose very air is radiant with monied femininity, at the same time requires him (requires him because he is Thomas Hardy) to be attentive to another sort of crossing: the crossing of the white paint from the non-sentient surface of the wooden gate to the sentient surface of the human body, and in turn the crossing of the red blood from the sentient surface of the human body to the non-sentient surface of the wooden stile. This second kind of crossing is at least as essential to Hardy as the first, for his subject is not the passage of persons through the world but the passage of embodied persons through the world, and he is, on this subject, without peer in the three centuries of the English novel.2 The human creature is for him not now and then but habitually embodied: it has at every moment a physical circumference and boundary. Thus it is, in its work and its play, in the midst of great yearning and in the moment of great fatigue, forever rubbing up against and leaving traces of itself (its blood) on the world, as the world is forever rubbing up against and leaving traces of itself (its paint) on the human creature. So it is that a girl passes through a swinging gate. Soon she is through the gate. A minute later she is beyond the gate which, if she were to look back over her would be invisible, eclipsed by an intervening lilac bush. The act is over, yet it is still with her: one might say to her not You have paint on your shoulder, but instead,

The role of sand gravel in lowering the mechanical wear of traffic paints

Tar‐impregnated paper strips, 2m long and 20cm width were painted with 1–1.25mm thick yellow traffic paint. Sand gravel having a grain size 2.0 + 1.5 mm was uniformly screened over the wet paint film. The dry painted samples were fixed on pavements of Jeddah‐Taif highway during the summer [42 ± 2°C]. The mechanical wear rate was determined and compared with that of sand‐free paint.

The ecology of Aedes (Stegomyia) africanus (Theobald) in a tropical forest in Uganda: mark-release-recapture studies on a female adult population

Two mark-release-recapture experiments were carried out on a female population of A. africanus in the Zika Forest, in Uganda, to estimate density, survival rates, dispersal range and duration of the gonotrophic cycle. Marking was achieved using powdered fluorescent pigments and wet paint. In the first experiment, unfed A. africanus female mosquitoes were marked and released. A high overall recapture rate of 17.6% was recorded consisting mainly of first recaptures (up to 85.6%). The highest recapture rate was recorded during the first 4 days after release. Using Jolly’s Stochastic Model, daily population estimates ranged from 1386 to 8406 during the first 7 days of release. The daily average population estimated over the first 10 days was 3591. Using the Simple Lincoln Index, population estimates ranged from 1104 mosquitoes to 16,320 with an average daily estimate of 3706. Of interest was the fact that the average daily population estimates using the two methods were not statistically significant. The 24-hr survival rate averaged over 9 days was 0.9228. Dispersal was rather random, and appeared to be of a limited range with an average distance of 50 m. In the second experiment, which involved marking only fully engorged mosquitoes, an overall recapture rate of 7.1% was recorded, with an average daily survival rate of 0.8209 averaged over the first 4 days. The pattern of recaptures indicated a gonotrophic cycle of 5–6 days with a small proportion of mosquitoes seeking secondary feeds during the first 48 hr. It was generally observed that marking and handling did not have any marked effect on mosquitoes during the first 8 days.

Effects of daily oral subtoxic doses of a wet lead-based paint on cattle.

Cattle were dosed daily with a wet lead-based paint at a rate of about 6 mg of lead per kg per day for 60 weeks. The cattle did not exhibit overt symptoms of lead toxicosis. Blood and fecal samples collected during the study, and tissue samples obtained at slaughter of the animals were analyzed for lead by atomic absorption spectrophotometer equipped with a graphite furnace. Levels of lead in whole blood generally did not exceed 0.5 ppm. The residues of lead in feces reached as high as 1000 ppm. Highest residues in tissues were in calcified bone, the kidney cortex, kidney medulla, and then in liver. Residues of lead in muscle, brain, spleen, and bone marrow were similar to residues of lead in the control animal. Calves born to 2 test animals had elevated levels of lead in bone, kidney and liver.

Experimental determination of brightness--Film thickness curves of wet paints

Experimental determination of brightness--Film thickness curves of wet paints

The thickness of wet paint films

1. 1. A new instrument, the Paint-Film Gauge, has been devised to measure the thickness of wet paint-films. The attainable accuracy is better than 3 per c 2. 2. The spreading-rates of different types of paints were determined by means of the Paint-Film Gauge. Variations introduced by the painters are greater 3. 3. Hiding-powers of paints, in particular those which become markedly brighter upon drying—increase as brightness increases and are but little affected by shrinkage of the paint-film.