The effectiveness of power ultrasound for the microbial decontamination of minimally processed fruits and vegetables was studied. Reductions in Salmonella typhimurium attached to iceberg lettuce obtained by cleaning with water, chlorinated water, ultrasound with water and ultrasound with chlorinated water were 0.7, 1.7, 1.5 and 2.7 logs, respectively, for small‐scale (2 L) trials. The cleaning action of cavitation appears to remove cells attached to the surface of fresh produce, rendering the pathogens more susceptible to the sanitizer. For large‐scale (40 L) trials, the addition of chlorine to water in the tank gave a systematic difference in Escherichia coli decontamination efficiency. However, the frequency of ultrasound treatment (25, 32–40, 62–70 kHz) had no significant effect on decontamination efficiency (P > 0.69). With the potentially high capital expenditure together with the expensive process of optimization and water treatment, it is unlikely that the fresh produce industry would be willing to take up this technology. Furthermore, the additional one log reduction achieved by applying ultrasound to a chlorinated water wash does not completely eliminate the risk of pathogens on fresh produce.
In the fiftieth year since the publication of Silent Spring, the importance of Rachel Carson's work can be measured in its affective influence on contemporary environmental writing across the humanities. The ground broken by Silent Spring in creating new forms of writing has placed affect at the very centre of contemporary narratives that call for pro-environmental beliefs and behaviours. A critical publicfeelings framework is used to explore these issues and trace their passage from the private and intimate, where they risk remaining denuded of agency, and into the public sphere. The work of Lauren Berlant and Kathleen Stewart and their focus on the struggle of everyday citizenship in contemporary life is helpful in illustrating how Silent Spring mobilised private feelings, particularly anger aimed at environmental destruction, into political action. This template is then explored in two contemporary environmental writers. First, The End of Nature by Bill McKibben is examined for its debt to Silent Spring and its use (and overuse) of sadness in its attempt to bring climate change to the public's attention. Second, Early Spring by Amy Seidl is shown to be a more affective and effective descendant of Silent Spring in its adherence to Carson's narrative procedures, by bringing attention back to the unpredictable and intimate power of ordinary, everyday affects. As such, Silent Spring is shown to occupy a foundational position in the history of the environmental humanities, and a cultural politics concerned with public feelings.
How can theories of affect and felt emotions be useful in studying the communication of environmental crises? Beginning from tears spilt over a graph of transgressed planetary boundaries published in an academic paper, this article explores the presentation in graphic visual forms of affective imagery and a growing sophistication amongst scientists, policymakers and activist communicators in the visualization of information, data and stories employed to carry the often difficult and complex messages of current earth systems crises. Critically, this article attends to the "emotion work" of such images. Taking a lead from cultural sociology and attempting to elucidate the relationship between societies under pressure and its choice of texts, this article considers the environmental documentary Cowspiracy [Anderson, K., & Kuhn, K. (2014). Cowspiracy. San Francisco, CA: AUM Films & First Spark Media.] to ask questions of affect's relation to expressions of the earth systems crisis, which is also a crisis of culture.
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