And those gwalas in Mirzapur with their cattle fed on mango leaves—if indeed they existed at all. Toward the end of my visit to the Forbes, Khandekar, who has been following the ongoing debates surrounding Indian Yellow, waved a paper before me. “Guess what?” he said. According to two scholars at SUNY Buffalo State, in 1883 T. N. Mukharji sent samples of both purified and unrefined Indian Yellow to Kew Gardens, along with one of the earthenware collecting pots and a specimen of the cloths used to strain the urine before evaporation. In 2016, some of those samples, in addition to the balls of Indian Yellow from the Forbes Collection, were subjected to rigorous analysis using an array of novel techniques, including ultraviolet fluorescence and Raman spectroscopy. They were found to contain traces of the hippuric acid associated with animal, particularly ungulate, urine, and euxanthic acid—a possible by-product of the metabolic processing of mango leaves.

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Abstract: Methods, fluids, compositions, and suspensions are provided for treating subterranean formations. The fluids can be servicing fluids, such as drilling or fracturing fluids. The fluids may include an aqueous base fluid and a polysaccharide. The aqueous base fluid may be admixed with a crosslinker suspension. The crosslinker suspension may include an emulsion, an emulsifier, and a boron containing compound.

Since Nigeria is a geographical entity on the African continent, tracing the origin of the term, Nigerians in Diaspora to that era, would not be out of context.  Little wonder, the description of Nigerians across the globe as Nigerians in diaspora.   The Nigerian diaspora covers practically every part of the world but the largest populations of Nigerians can be found in the USA and UK and by extension South Africa in modern era whereas Xenophobia is the order of the day in latter which is rather unfortunate and unpalatable..

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Abstract: Systems and methods for providing a Barrier Modulated Cell (BMC) structure with reduced shifting in stored memory cell resistance levels over time are described. The BMC structure may comprise a reversible resistance-switching memory element within a memory array comprising a first conductive metal oxide (e.g., titanium oxide) in series with an alternating stack of one or more layers of an amorphous low bandgap material (e.g., germanium) with one or more layers of a second conductive metal oxide (e.g., aluminum oxide). The BMC structure may include a barrier layer comprising a first conductive metal oxide, such as titanium oxide or strontium titanate, in series with a germanium stack that includes a layer of amorphous germanium or amorphous silicon germanium paired with a second conductive metal oxide. The second conductive metal oxide (e.g., aluminum oxide) may be different from the first conductive metal oxide (e.g., titanium oxide).

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To get to the truth of the matter, Joseph Hooker, the director of Kew Gardens, sent T. N. Mukharji, an expert in the materials of Indian arts, to the village of Mirzapur, in the Bihar region. There, as Mukharji wrote in an account published in 1883, he discovered a sect of gwalas, or milkmen, who fed their cattle mango leaves; the cattle’s urine, when evaporated in earthenware pots set over a fire and then baked in the sun, produced the precious yellow powder. Cows are sacred in Hindu culture, and the ones Mukharji had seen were, he wrote, “very unhealthy.” Mukharji’s account apparently led the British-Indian government in Bengal to ban production of the pigment at the turn of the century. Doubts about Mukharji’s story remain. Victoria Finlay, the author of “Color: A Natural History of the Palette,” found no record of the pigment’s ban in the archives, nor did she find, when she travelled to Mirzapur around 2002, any local memory of cows being fed on mango leaves. Was this yet another fable in the great treasury of color lore? In her book, Finlay writes, “When I think of Indian Yellow, I will always wonder whether the explanation that I have heard is reality or merely a reflection of reality, and whether this story is simply an example of somebody gently, and literally, taking the piss.”

For Forbes, the precondition for understanding an art work lay in identifying and analyzing the materials from which it was created. In addition to collecting pigments, Forbes planted madder in his garden at Gerry’s Landing, on the Charles River, and taught the lab section of his courses at home, where students could brush gesso and lime on an assigned patch of wall or, using pigments ground at M.I.T., take a stab at Boston fresco. In pursuit of the authentic, he had resins sent from Singapore and Indonesia, and Japanese woodblock colors from his brother William, the American Ambassador to Japan in the early nineteen-thirties. Forbes set aside a small collection of these pigments in a cabinet for his students to inspect.

Khandekar’s comment brought to mind the contemporary artist Michael Craig-Martin, whose drolly indirect meditations on art’s capacity to make you believe what you don’t see included “An Oak Tree” (actually a glass of water sitting on a high shelf), but who went on to develop a radical, almost violent chromophilia. At a time when conceptual art ruled, it took guts to claim that, in fact, color is concept, and perhaps the irreducible core of painting. For such theorists as Leon Battista Alberti, it was disegno (drawing), especially from classical exempla, rather than colore, that elevated art from artisanal craftsmanship to the noble visualization of humanist ideals. Such thinking persisted. Even the Cubists saw the emerging Henri Matisse, who had dissolved plane and line in a bath of flat color in such works as “The Red Studio,” as somehow disengaged from radical ideas.