Electronic cigarettes (EC) deliver aerosol by heating fluid containing nicotine. Cartomizer EC combine the fluid chamber and heating element in a single unit. Because EC do not burn tobacco, they may ...be safer than conventional cigarettes. Their use is rapidly increasing worldwide with little prior testing of their aerosol.
We tested the hypothesis that EC aerosol contains metals derived from various components in EC.
Cartomizer contents and aerosols were analyzed using light and electron microscopy, cytotoxicity testing, x-ray microanalysis, particle counting, and inductively coupled plasma optical emission spectrometry.
The filament, a nickel-chromium wire, was coupled to a thicker copper wire coated with silver. The silver coating was sometimes missing. Four tin solder joints attached the wires to each other and coupled the copper/silver wire to the air tube and mouthpiece. All cartomizers had evidence of use before packaging (burn spots on the fibers and electrophoretic movement of fluid in the fibers). Fibers in two cartomizers had green deposits that contained copper. Centrifugation of the fibers produced large pellets containing tin. Tin particles and tin whiskers were identified in cartridge fluid and outer fibers. Cartomizer fluid with tin particles was cytotoxic in assays using human pulmonary fibroblasts. The aerosol contained particles >1 µm comprised of tin, silver, iron, nickel, aluminum, and silicate and nanoparticles (<100 nm) of tin, chromium and nickel. The concentrations of nine of eleven elements in EC aerosol were higher than or equal to the corresponding concentrations in conventional cigarette smoke. Many of the elements identified in EC aerosol are known to cause respiratory distress and disease.
The presence of metal and silicate particles in cartomizer aerosol demonstrates the need for improved quality control in EC design and manufacture and studies on how EC aerosol impacts the health of users and bystanders.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
This study compared the performance of 12 brands of cartomizer style electronic cigarettes (EC) using different puffing protocols and measured the concentrations of nicotine in each product.
Air flow ...rate, pressure drop, and aerosol absorbance were measured using two different protocols, first 10 puffs and a modified smoke-out protocol.
First 10 puff protocol: The air flow rate required to produce aerosol ranged between brands from 4-21 mL/s. Pressure drop was relatively stable within a brand but ranged between brands from 14-71 mmH2O and was much lower than the earlier classic 3-piece models. Absorbance, a measure of aerosol density, was relatively consistent between puffs, but varied between brands. With the modified smoke-out protocol, most brands were puffed until 300 puffs. The pressure drop was relatively stable for all brands except three. Absorbance of the aerosol decreased as the number of puffs increased. Although there was some uniformity in performance within some brands, there was large variation between brands. The labeled and measured nicotine concentrations were within 10% of each other in only 1 out of 10 brands.
Over 10 puffs, the cartomizers all perform similarly within a brand but varied between brands. In smoke-out trials, most brands lasted at least 300 puffs, and performed similarly within brands with respect to pressure drop and absorbance. For five brands, products purchased at different times performed differently. These data show some improvement in performance during evolution of these products, but nevertheless indicate problems with quality control in manufacture.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
‘Safe space’ isn’t an actionable tool; it is an aspiration. It is through the execution of actions that aspirations are achieved. Simply stating that a creative process or environment is a ‘safe ...space’ because one hopes or aspires for it to be so, does not actually make safety the reality for all participants in the room. It is impossible to create truly ‘safe’ spaces, but that doesn’t mean that artists and arts educators facilitating creative processes should decrease our efforts. Instead, we should shift our focus to creating spaces of acceptable risk.
Questioning Past Practice: Front Matter Villarreal, Amanda Rose; Geffrard, Greg
The journal of consent-based performance,
02/2023, Letnik:
2, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Cover, publication information, and table of contents for this issue. This file also includes "Demystify the Moment: Choreographer's Notes" explaining the choreography featured in this issue's cover ...image, by Greg Geffrard, and Editor's Notes by Amanda Rose Villarreal.
Welcome to the JCBP Pace, Chelsea; Rikard, Laura; Villarreal, Amanda Rose
The journal of consent-based performance,
01/2022, Letnik:
1, Številka:
1
Journal Article
Recenzirano
Odprti dostop
In lieu of an abstract, here is an excerpt:
Things are changing. Consent and factors that complicate consent are finally being recognized as central, foundational considerations in production ...processes and in performing arts education. People are beginning to think critically about how they approach intimacies in the rehearsal room, in the classroom, on set, in theory, in practice, and in pedagogy. As theatres and producing organizations hire more and more intimacy professionals, we need to meet the educational, resource, partnership, and access needs of this growing, learning community.
And no one organization, school of thought, or individual has all of the answers.
We need this community’s knowledge, big ideas, and resources to be accessible in order for the field of consent-based performance to grow.
We need to work together to learn from--and to teach--one another to pause, interrogate what we’re doing, and then create more equitable and competent consent-based practices. As a collective, we need to recognize the value of the work that has come before us and the work our peers are doing now, and consciously recommit ourselves to growing, learning, and doing better now and in the future.
Curatorial Directing and Actor Agency Villarreal, Amanda Rose
The journal of consent-based performance,
02/2023, Letnik:
2, Številka:
1
Journal Article
Recenzirano
In lieu of an abstract, here is an excerpt:
recognition that digital performance will remain as a practice far beyond the pandemic, and in response to Rikard and Pace’s call for theatre educators to ...reconsider what consent looks like in on-camera classrooms, this article engages with the genre of digital performance that W.B. Worthen’s analysis of performances created during the pandemic names as “Zoom Theatre” (2021). Worthen highlights Zoom Theatre as “the defining genre of theatre during the pandemic,” describing this genre as that in which “actors in different places all perform live, but remotely, typically from their homes, gathered on a screen” (183). Due to this merging of liveness and digitally captured performance, intimacy practitioners engaging with this form of performance need to consider ways in which intimacy choreography and intimacy coordination must merge. This article focuses on the ways in which the framing of Zoom Theatre can complicate Laura Mulvey’s concept of the Male Gaze (1975), introducing the concepts of agentic framing and curatorial directing as tools for creating consent-based performance within the unique contexts of Zoom Theatre.
Front Matter Villarreal, Amanda Rose; Villarreal, Amanda Rose
The journal of consent-based performance,
01/2022, Letnik:
1, Številka:
1
Journal Article
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