Steven Adams

Application of vibrational spectroscopy techniques to non-destructively monitor plant health and development

Vibrational spectroscopy is a powerful analytical tool that is yet to be fully developed in plant science. Previously, such tools have been primarily applied to fixed or in vitro biological materials, which do not effectively encapsulate real-time physiological conditions of whole organisms. Coupled with multivariate analysis, this study examines the potential application of ATR-FTIR or Raman spectroscopy to determine spectral alterations indicative of healthy plant growth in leaf samples of Solanum lycopersicum. This was achieved in the absence of destructive effects on leaf tissues locally or on plant health systemically; additionally, autofluorescence was not a confounder. Feature extraction techniques including PCA-LDA were employed to examine variance within spectral datasets. In vivo measurements are able to successfully characterise key constituents of the leaf cuticle and cell wall, whilst qualifying leaf growth. Major alterations in carbohydrate and protein content of leaves were observed, correlating with known processes within leaf development from cell wall expansion to leaf senescence. These findings show that vibrational spectroscopy is an ideal technique for in vivo investigations in plant tissues.

‘The fault of being purely French’ : the practice and theory of landscape painting in post-revolutionary France

For much of the nineteenth century, landscape painting was seen as the vehicle for an avant-garde keen to assert arts freedom. The Academie des beaux-arts was seen, in turn, as a harbinger of tradition, bent on the regulation of creative autonomy. From where did this well-worn modernist binary emerge and what proceded it? Focusing on the Academys first attempt to regulate landscape with the formation of the Prix de Rome for historical landscape painting in 1817, this essay sets out to map a set of essentially pre-modern cultural conventions and practices around landscape and to explain them in terms of the seismic demographic shifts brought about by the French Revolution and its aftermath. Landscape painting, it is argued, was shaped by two, hitherto largely unexamined, imperatives: a deregulated market fuelled by bourgeois consumption; and a fretful conservative art establishment desperate to find a way to preserve the nations cultural identity.