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ISBN: 978-0-12-823946-9
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Contents
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Contents
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Contents
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Contents
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Contents
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Contents
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Contents
Chapter 15: Removal of volatile organic carbon and heavy metols through
microbial approach............................................................................................285
P. Senthil Kumar, P. Tsopbou Ngueagni
15.1 Introduction...................................................................................................... 285
15.2 Biological treatment of volatile organic compounds (VOCs).......................... 286
15.2.1 Definition and characteristics of VOCs.......................................................286
15.2.2 Classification and operating parameters of VOCs removal.........................287
15.2.3 Biofiltration process....................................................................................288
15.3 Removal of heavy metals using biological processes....................................... 295
15.3.1 Microbial remediation.................................................................................295
15.4 Conclusion........................................................................................................ 305
References................................................................................................................. 306
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Contents
16.8 Application of biofilters for color removal from textile wastewater.............. 321
16.8.1 Aerobic method........................................................................................323
16.8.2 Anaerobic methods...................................................................................323
16.8.3 Combined/mixed method.........................................................................324
16.9 Application of biofilters for VOCs removal from textile wastewater............ 325
16.10 Conclusion..................................................................................................... 326
References................................................................................................................. 326
Chapter 17: Biological based methods for the removal of volatile organic
compounds and heavy metals..............................................................................331
Shalini Srivastava, S.B. Agrawal, Monoj Kumar Mondal
17.1 Introduction...................................................................................................... 331
17.2 Volatile organic compounds: source, chemical property and toxicity.............. 333
17.3 Heavy metals: sources, chemical property and toxicity................................... 334
17.4 Biological techniques used for VOCs removal................................................. 336
17.4.1 Biofiltration.................................................................................................336
17.4.2 Biotrickling filter.........................................................................................337
17.4.3 Bioscrubber.................................................................................................337
17.5 Biological techniques used for heavy metal removal....................................... 338
17.5.1 Biosorption..................................................................................................338
17.5.2 Bioaccumulation..........................................................................................339
17.5.3 Bioleaching..................................................................................................339
17.5.4 Phytoremediation........................................................................................340
17.5.5 Phytofiltration of waters..............................................................................341
17.5.6 Phytovolatilization.......................................................................................341
17.6 Conclusion........................................................................................................ 341
Acknowledgements.................................................................................................... 342
References................................................................................................................. 342
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Contents
Chapter 23: Biofiltration: An emerging and promising technology for the treatment
of water and air pollutants.................................................................................459
Surbhi Sinha, Parul Chugh, Umme Abiha, Rachana Singh
23.1 Introduction...................................................................................................... 459
23.2 History of biofilter............................................................................................ 460
23.3 Biofiltration process.......................................................................................... 461
23.4 Designing of a biofilter..................................................................................... 462
23.4.1 Filter media.................................................................................................462
23.4.2 Selection of microorganisms.......................................................................464
23.4.3 Moisture......................................................................................................465
23.4.4 pH................................................................................................................465
23.4.5 Nutrients......................................................................................................466
23.4.6 Temperature.................................................................................................466
23.4.7 Oxygen concentration.................................................................................467
23.4.8 Waste gas pretreatment................................................................................467
23.4.9 Maintenance................................................................................................468
23.5 Applications of biofiltration process................................................................. 468
23.6 Biofiltration vs. other existing technologies..................................................... 469
23.7 Conclusion........................................................................................................ 470
References................................................................................................................. 471
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Contributors
Umme Abiha Amity Institute of Biotechnology, Amity University, Noida, Uttar Pradesh, India
S.B. Agrawal Department of Botany, Institute of Science, Banaras Hindu University, Varanasi, India
Sudipti Arora Dr. B. Lal Institute of Biotechnology, Jaipur, India
Pallavi Akkishetty Mallikarjuna Babu Department of Biotechnology, Ramaiah Institute of
Technology, Bengaluru, India
Hajar Ali Salim Al Bahlouli Department of Civil and Environmental Engineering, College of
Engineering, National University of Science and Technology, Muscat, Oman
Srijoni banerjee Department of Biotechnology, Indian Institute of Technology, Kharagpur
Randhir Kumar Bharti University School of Environmental Management, Guru Gobind Singh
Indraprastha University, New Delhi, India
Sourish Bhattacharya Process Design and Engineering Cell, CSIR−Central Salt and Marine
Chemicals Research Institute, Bhavnagar, India
Jayanta Kumar Biswas Department of Ecological Studies and International Centre for Ecological
Engineering, University of Kalyani, Kalyani, West Bengal, India
Charline Bonatto Federal University of Fronteira Sul, Rio Grande do Sul, Erechim, Brazil; Department
of Chemical Engineering and Food Engineering, Federal University of Santa Catarina, Florianópolis,
Santa Catarina, Brazil
Rafael Dorighello Cadamuro Applied Virology Laboratory, Federal University of Santa Catarina,
Florianópolis, Santa Catarina, Brazil
Aline Frumi Carmargo Federal University of Fronteira Sul, Rio Grande do Sul, Erechim, Brazil
Hoysala N Chanakya Centre for Sustainable Technologies, Indian Institute of Science, Bengaluru,
Karnataka, India
Jayeeta Chattopadhyay Chemistry Department, Amity School of Engineering and Technology,
Amity University Jharkhand, Ranchi, India
Nitin Chauhan Department of Microbiology, Swami Shraddhanand College, University of Delhi,
New Delhi, India
Parul Chugh Amity Institute of Biotechnology, Amity University, Noida, Uttar Pradesh, India
Ariádne Cristiane Cabral da Cruz Applied Virology Laboratory, Federal University of Santa
Catarina, Florianópolis, Santa Catarina, Brazil; Department of Dentistry, Federal University of Santa
Catarina, Florianópolis, SC, Brazil
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But there is further evidence. If we could definitely claim the
platypus design as authentic, it would mean that the ancient artist
was familiar with the form of an animal which at the present time is
quite unknown in central Australia. But geology tells us that in times
gone by, in the Pliocene period, perhaps even later, all the great lake
systems of the Australian interior were not salt, as they are now, but
fresh water. Under those conditions, it is quite feasible that the duck-
billed monotreme might easily have lived in that region; if so, it might
have supplied prehistoric man in Australia with a model he
perpetuated in the rocks.
The platypus design is by no means unique. Among the carvings
at Yunta there are several depicting the spoor of a very large animal,
which are rounded at one end like a heel and have four or five
serrations resembling toe-marks at the other. The picture is not
unlike that of a wombat track, but the dimensions are far too great.
The Yunta “tracks” measure nearly ten inches in length and are
practically the same in width. There is no animal living in Australia at
the present time whose track would be anything like as large; the
nearest known animal which might answer the form of the carving
would perhaps be that of a hippopotamus. This animal is, of course,
not indigenous to Australia, but we know that an extinct animal,
probably not unlike a hippopotamus, used to roam the fertile plains
of central Australia in Pliocene times; that was the Diprotodon. In the
accompanying sketch I have placed a tracing of the Yunta carving
beside one of the reconstructed manus of the Diprotodon, and one
must admit that there is a plausible agreement between the two.
Vide Fig. 13.
Fig. 13. Sketch of reconstructed manus of Diprotodon compared
with tracing of carving of supposed Diprotodon track at Yunta (×
1/8).
Fig. 14. Carved grave posts of Melville and Bathurst Islanders (× 1/40).
Designs and patterns quite similar to, but on a smaller scale than
those cut on trees, are found carved upon weapons of some of the
tribes. Shields and spear-throwers are those most commonly found
decorated with incised patterns. Some of the hardwood shields of
the River Murray tribes are richly incised with parallel, zig-zag, and
geniculate lines, and with squares standing point to point in a
longitudinal line, all the spaces between the squares being filled in
with parallel “elbows.” The Worora tribe at Port George IV, on the
other hand, decorate their shields with fantastic representations of
snakes, emus, and tracks of various animals. The light-wood shields
of central Australia are destitute of any ornamentation except wide
and shallow longitudinal grooves, which are also characteristic of the
bark food-carriers in use all over the continent of Australia.
So far as spear-throwers are concerned, the handsomely carved
specimens produced by the natives of the Warburton and Gascoyne
Rivers, and of the King Leopold Ranges in Western Australia,
deserve special mention. The favourite pattern in that region appears
to be longitudinal geniculate bands, alternately incised lengthwise
and crosswise, together giving the effect of a false herring-bone
motive. A new element is introduced in wood-carving in the
ceremonial spear-throwers of central Australian tribes by the
inclusion of the concentric circles pattern already referred to; the
Arunndta in particular produce some very showy specimens on gala
occasions. The decoration is very finely graved upon the inner flat
surface. The old Victorian types occasionally had pictures of animals,
birds, and men carved upon them.
Boomerangs are often decorated with incised patterns, but more
frequently the decoration is only lightly graved into the wood with the
point of a stone-knife or with the sharp cutting edge of a shell, tooth,
or bone. From an art point of view, the finest productions come from
the north of Western Australia. The King Leopold Ranges natives
cover one whole side of their boomerangs with an incised pattern,
consisting usually of parallel geniculate lines, false herring-bone, or
concentric rhomboids posed along a median line. Some of the most
attractive specimens, however, come from the Pidunga tribe at
Broome. These natives covered both surfaces of the missile with a
wonderful variety of designs, which included excellent
representations of emu, kangaroo, snakes, crocodiles, turtle, tracks
of every description, dancing men, corrobboree circles, and many
decorative designs. Other articles, such as adze-handles, tjuringas,
and message sticks, are carved after much the same fashion.
Fig. 16. Carved crocodile design on boabab nut, Derby district, Western Australia
(× 3/5). Tracing.
Unlike his racial relative, who used to live in Europe during the
Stone Age, the Australian aboriginal does not pay much attention to
the carving of bone. The little he does, in fact, is more utilitarian than
artistic. We have had occasion to note that the old Murray River
tribes used to make the points of their spear-throwers of bone. In
central Australia a wing bone of the pelican is cut at both ends and
worn through the septum of the nose; occasionally one end is
plugged with triodia resin whilst the hollow in the opposite end
carries a plume. Not infrequently the slender ulna of a kangaroo
serves a similar purpose; the shaft is cut about six inches from one
end and sharpened by scraping it with a stone fragment; the
condyles are left intact to represent the head of the pin. Two types of
bone fish-hooks have already been referred to.
The central tribes make a useful gouge out of a strong hollow
bone of the kangaroo or dingo by splitting it longitudinally and
grinding down its ends on the slope. The implement thus fashioned
has a sharp, bevelled, semi-cylindrical cutting edge at either one or
both ends.
We now come to the consideration of another big and important
branch of primitive art, which comprises the charcoal, kaolin, and
ochre drawings of the aboriginal of Australia. As did his palæolithic
relative in the Old World, the aboriginal during the rainy season
spends much of his time under the cover of overhanging rock
shelters, well within the cheerful influence of his never-failing fire.
Moreover, in mid-summer months, when the heat of the sun
becomes intense, he often finds his way to the same haunts to have
the full benefit of the shade the solid walls of rock produce.
Congregated under these conditions, there are always some who
spend their time in decorating the surrounding walls of the cave. This
may be done for purely æsthetic reasons, or as the result of a
discussion, or, indeed, to sanctify the abode and so to make it
impregnable to the Evil Spirit. Whatever the reason may be, the
mere act of drawing a figure upon the wall by a recognized artist
always solicits the patronage of many, who will follow the different
manipulations of the entertainer with considerable interest. There are
usually a few men in every tribe who have established a reputation
as artists; and their work is prized by the heads and protected by
tribal law from the hands of vandals who would at a frivolous
moment deface or disfigure a work of art which the tribe is proud to
look upon as their own. It is gratifying to observe that there is very
little tendency on the part of the aboriginal, humble as he is, to
destroy wantonly or deliberately a work designed to create an
environment for him during his leisure or to protect his body and kin
against aggression by evil during the darkness of night.
Fig. 17. “Dangorra,” the great emu in the southern sky.
Fig. 18. Boomerang with a number of emu designs carved upon it, Pidunga tribe,
Broome (× 1/7.) Tracing.
Suddenly the party was ordered to halt. Just ahead of them was
the platform of rock upon which the sacred emu had expired. The
men were requested to remain where they stood and to keep silent
whilst the old fellow made for a chasm below the platform. He
returned not long after, with his hands full of rich red ochre, which he
rubbed over the bodies of his young attendants. Thereupon all
present cut off their beards, which they had been wearing long
purposely for the occasion, and walked in a body to the chasm. “The
great Emu wants feathers,” they exclaimed, “we offer her the token
of our manhood”; and, as they spoke, they threw the beards into the
chasm below. Then each man was allowed to fill his bag with red
ochre, and, placing it upon his head, he ran down the hill to the place
at which he left his belongings. Nobody was allowed to look back;
and should, by accident, a bag of ochre be dropped on the way, it
had to be left just where it fell, and under no circumstances picked
up again.
According to the Kukata, there was once an old man who had
several wild dogs, which were ferocious in habit, generally, but
obeyed their master. One day, when he was out hunting, he saw the
track of a kangaroo which he made up his mind to follow. He had his
little daughter with him, and, not thinking it advisable to take her with
him into the scrub, he decided to leave her to play on a clay-pan
while he followed his prey into the hills. He captured the kangaroo
and returned to the clay-pan, but imagine his disgust when he found
that his dogs had, during his absence, killed his child and devoured
her flesh.
In his wrath, the old man chased the dogs into the hills at the point
of his spears, until eventually he drove them into a cave, the
entrance of which he closed with a number of large stones. The
wounded dogs in their plight attacked one another and tore
themselves to pieces. In consequence, their blood poured freely into
the cave and soaked deeply into the rocks. Ever since, the tribe have
gone to that cave to collect supplies of the “blood-stained” rock—the
red ochre—which they require for their ceremonies and
corrobborees.
Ochre and pipe-clay, which form an article for inter-tribal barter,
are carried from one tribe to another in oblong parcels contained in
bark wraps, which are folded at the ends and kept together with
fibre-string. Small quantities are always carried by the men in their
chignons and dilly bags, and, when larger supplies are required for
special occasions, they are consigned to the care of the women.
When ochre is required for decorative purposes, it is necessary to
reduce it to a fine powder. This is done by placing a measured
amount upon a level surface of rock and grinding it with the aid of a
medium-sized pebble. Hand-mills of this description are to be found
at any sites which natives have been in the habit of embellishing with
their drawings; they may be recognized as small, shallow
depressions scooped into the surface by the continued abrasion of
the hand-piece. Where there is no flat, natural surface available, the
grinding is done upon portable slabs the women carry around from
one camp to another.
Fig. 19. Charcoal sketch of crows, Pigeon Hole, Victoria River (× 1/3). Tracing.
The native spreads the paint with his fingers, where larger
surfaces are concerned, and with a short stick where finer lines or
details are to be added. The Bathurst Islanders cut short pieces off
the green shoots of the lawyer-cane (Calamus) and chew one or
both ends of the sticks until all the fibres have been separated; these
then fulfil the same purpose as the paint brushes of a modern artist.
PLATE XL
A favourite practice, and one which is met with all over the
continent, is to obtain a “negative” shape of a person’s hand. This is
done in the following way: The person puts a small handful of ochre
or pipe-clay into his mouth and crunches it to a pulp; then he fills his
mouth with water and thoroughly mixes the contents. He holds the
hand he wishes to stencil against a flat surface, spacing the fingers
at equal distances, and spurts the contents of his mouth all about it.
A short while after, the hand is withdrawn. The area which it covered
remains in its natural condition, whilst the space surrounding it has
adopted the colour of the ochre or clay. Very often the “hand” is
subsequently painted over with a colour different from that of the
surrounding area. The Arunndta refer to the hand-marks as “ilja
imbadja.” Vide Plate XLIV.
Fig. 21. Charcoal drawing of hopping kangaroos, Pigeon Hole, Victoria River (×
1/6). Tracing.
Fig. 23. Pipe-clay drawing of man and dogs, Humbert River (× 1/12).
He has a distinct liking for the beautiful and does not hesitate to
avail himself of anything which might tend to make his person more
attractive looking by the application of colour. Not only the sire, but
the whole family endeavour to improve their swarthy appearance by
painting ornate designs over different regions of their bodies.
Longitudinal, parallel bands of red, yellow, or black, extending up the
legs, back, and abdomen, together with transverse lines on the
chest, shoulders, upper arms, and outer surfaces of thighs, are
symmetrically drawn, and connected here and there (as, for
instance, on the chest or back) by lattice patterns and concentric
circles. Parents are very proud of their children thus decorated. On
the Forrest River, a favourite mode is to draw a broad step-ladder-
like pattern from the ankles up the front surfaces of the legs,
continuing this up the trunk to about the level of the nipples, and then
circling outwards, down an arm on either side, to run out at the
elbow. This design is usually painted in yellow.
PLATE XLI