Over the past 4 years, the Every Disabled Child Matters campaign has secured almost £780 million in new funding for disabled children's services and has laid the foundation for addressing structural disadvantages for disabled children. Critical success factors for the campaign have included clear aims, a tight core strategy group, a leading political champion, widespread parliamentary support and effective mobilisation of disabled children and their families as campaigners. The campaign caught policymakers' attention at the right point to leverage significant support for a previously marginalised social group. Copyright © 2009 John Wiley & Sons, Ltd.
Light-traps have been routinely used to sample terrestrial insects for decades. They may provide a similar low cost standard method for sampling and monitoring mobile marine invertebrates. We deployed transparent plastic bottles, with their top inverted to form a funnel, and a chemical light-stick and weight inside, for at least 1 hour on the seabed (< 5 m depth) around Auckland, New Zealand. Traps collected 35 taxa of zooplanktonic and benthic taxa of 6 phyla, 11 classes, 12 orders. Most were Crustacea (26 taxa). Zooplankton included crustacean nauplii, cypris, zoea and megalopa larvae, gelatinous zooplankton, and calanoid Copepoda. In order of abundance, benthos included Amphipoda, Cumacea, Isopoda, Mysidacea, Ostracoda, Harpacticoida, Decapoda, Tanaidacea, Branchiopoda, Siphonostomatoida (caligid fish lice), Stomatopoda, Pycnogonida, and Collembola. Other taxa included Polychaeta, Clitellata (oligochaetes), Turbellaria, Nematoda, Chaetognatha, Gastropoda and Polyplacophora. These taxa are important prey of fish and thus a key link between primary producers and predators but collecting and sorting them from the benthos and plankton nets is time consuming. The light-traps have been efficient for introducing university students to the diversity of mobile macro-fauna and zooplankton. They show promise for surveillance of this component of marine biodiversity as they do for aerial arthropods.
Chaim Soutine’s (1893–1943) representation of clothes in his portraits has attracted very little scholarly or curatorial attention to date. For the first time in the near century of literature that has accumulated about the artist, this article discusses the women in Soutine’s portraits, focussing on their clothing and age, and ageing femininity more generally as a subject within Soutine’s practice. The status and fashions of women in inter-war France provide a context to demonstrate that youth, newness and fashionableness were not subjects for the artist, who instead favoured white women of middle- to older-age wearing their ‘Sunday best’ as his models. His practice of framing, containing and presenting women for inspection is also demonstrated for the first time, as well as the nuanced balance he strikes between accurately representing the details of studied garments and intensely working wider areas of colour in the same painting. The article’s wider conclusion is that acknowledgement of the complexity and rigour of Soutine’s art – including his detailed depiction of his sitters’ clothing – has consistently been blocked by the image of Soutine as purely expressionistic, uncontrolled painter, an image that must be released if new analysis of his work, such as that undertaken in this article, is going to take place.
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