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originally posted by: BoomGiggle
I do have a small question to postulate. Whom, may I ask, is this Resident Lurker that you mentioned. I believe I have seen Cranky speak of this entity and n the past and am curious as to who it might be.
I don't mean to take things personally. I do, however, have a bad tendency to lurk( I lurked this site for almost a decade and a half before creating an account last year)
cheers
originally posted by: Thoughtful1
a reply to: crankyoldman
Cranky I need to know what to do.
That’s the conclusion of a new study published in Analytical Methods by scientists who used formaldehyde fume-sensing devices to monitor Hirst’s artwork during a show at the Tate Modern in London. If it seems like a stretch to conduct peer-reviewed research just to bring down a famous artist, don’t worry—the study was primarily devoted to showing proof of concept of a miniature, bracelet-style sensor that monitors formaldehyde levels in indoor air.
But the results point a finger at Hirst nonetheless: The study concludes that multiple Hirst works, including sheep, sausages and a cow immersed in the substance, leaked formaldehyde gas at levels up to five parts per million. To put that in context, the average amount of airborne formaldehyde in an American home is 11 to 20 parts per billion, and the permissible amount of formaldehyde in the air in American workplaces is 0.75 parts per million. When it is breathed in, formaldehyde can cause respiratory distress and long-term exposure to its fumes is associated with cancer.
The study’s authors warned of another danger—the risk formaldehyde gas presents to artwork. Since formaldehyde affects both proteins and amino acids, they explain, “such a reaction, besides being harmful to the proteins in our body fluids, can be devastating…in processes of restoration of artwork.”
These props -- "advanced technology" as advanced technology -- were amazingly effective, doing what all good theater props will: setting a believable scene. The Ghost Army, some 1,100 men in all, ended up staging more than twenty battlefield deceptions between 1944 and 1945, starting in Normandy two weeks after D-Day and ending in the Rhine River Valley. Many of those performances -- "illusions," the men appropriately preferred to call them -- took place within a few hundred yards of the front lines.