The Great Depression brought on in large measure by the 1929 stock market crash, was a hard time for people all over the United States. Beset by large-scale unemployment which approached 25 percent in 1933, President Franklin D. Roosevelt instituted his New Deal program. The New Deal created programs to put people back to work and to generally relieve the hard times people were experiencing.
…native, human, eager and alive — all of it painted by their own kind in their own country, and painted about things they know and look at often and have touched and loved.
The Section of Painting and Sculpture was initiated to commission 1,400 murals in federal post office buildings in more than 1,300 cities across America. They are examples of New Deal art.
Under the direction of the Public Works Art Program, the agency oversaw the production of 15,660 works of art by 3,750 artists. These included 700 murals for public display. The post office was the one concrete link between every community of individuals and the Federal government that functioned importantly in the human structure of a community. The post office brought to a locality a symbol of government efficiency, permanence, service, and even culture.
Artists competed anonymously in national and regional contests. Runners-up often received commissions for smaller buildings. After receiving a commission, an artist was encouraged to consult with the postmaster and other townspeople to ensure that the subject would be meaningful. Since the local post office seemed to be the most frequented government building by the public, the Section requested that the murals, approximately 12' by 5' oil paintings on canvas, be placed on the walls of the newly constructed post offices exclusively. In 2006, more than 1,150 Post Offices across the continental United States continued to house this uniquely American art for people to enjoy as they go about their daily lives.
The McRae Post Office was built by the WPA in 1935. In 1939, artist Oliver M. Baker was commissioned to paint one of these murals for the new facility.
Entitled "Turpentine and Cotton", the mural was housed in the local post office until 1952. The mural was removed from the wall during some renovation and repair and was never replaced. According to the local post master, the mural was stored for a while but soon removed and destroyed. The method of destruction is not known. A search of the internet brought no results for Oliver M. Baker, so his background and expertise for this project is not known.
There are many questions surrounding this painting. It is very possible that many citizens of McRae and Telfair County who visited the post office may have seen this mural while it was still there. In addition, there may be one or more people who know exactly what happened to the painting.
It is very unfortunate that this work of art has disappeared. The Pioneer Historical Society is dedicated to the task of preserving as many of these artifacts as possible even though they may be only in published form.
The Pioneer Historical Society is a 501 (c)(3) organization whose mission is to sustain the interest of the county's citizens in the preservation of the county's history and to encourage interest in the arts. The Telfair Museum of History and the Telfair Center for the Arts are also integral parts of The Society. The Pioneer Historical Society meets the first Wednesday of each month at 11:30 am at the Fairway Restaurant at the Little Ocmulgee State Park. After a dutch meal, a short program of area interest is presented after which a short business meeting is held. Everyone interested in the history of Telfair County and the surrounding area is urged to join. Memberships are $10 per year for individuals. Family and business memberships are available.


One of the least understood issues when managing the risk of hearing loss is the combined exposure to noise and ototoxic chemicals.
There is widespread potential for hearing loss in Vehicle Repair Workshops. Prolonged and excessive exposure to noise results in long term harm to your hearing. This is irreversible, once you lose your hearing that's it – it's gone!
Exposure to some chemicals can result in hearing loss. These chemicals are known as ototoxic substances. Hearing loss is more likely to occur if a worker is exposed to both noise and ototoxic substances.
Many high noise activities are regularly undertaken at Vehicle Repair workshops. Removing and repairing body panels using pneumatic tools can be noisy work: air saws and chisels can typically produce levels as high as 107 dB(A) and grinders and orbital sanders 97 dB(A). Noise levels from panel beating and other repair operations using hand tools are variable but generally high. Welding and flame-cutting can also be noisy, and paint booths have been measured at 90 dB(A).
Many commonly used chemicals in Vehicle Repair workshops are ototoxic substances. For organic solvents such as toluene, styrene or xylene, the combined exposure with noise increases the risk of hearing loss in a synergistic manner.
Exposure standards for chemicals and noise have not yet been altered to take account of increased risk to hearing. The Managing Noise and Preventing Hearing Loss at Work Code of Practice 2011, recommends that the daily noise exposure of workers exposed to ototoxic substances be controlled to 80 dB(A) or below and that workers exposed to ototoxic substances undergo audiometric testing.
Control measures such as substitution, isolation and local ventilation should be implemented to eliminate or reduce exposures. Personal protective equipment should be used to prevent skin and respiratory absorption when other controls are insufficient.
In many situations exposure to ototoxic substances can be eliminated or reduced through substitution with safer alternatives. There are readily available safer alternatives to the solvents used for parts degreasing, brake cleaning, cleaning paint equipment and surface preparation. Some examples of safer alternatives can be found at the Environmental Fluids Systems website.
For information on workplace noise assessments click here.
For information on hazardous chemical risk assessments click here.
A properly designed and operating spray booth is required to contain and remove spray painting hazardous chemicals and vapours. Spray booths are used for a variety of applications. Contaminants commonly encountered in spray booths include; organic solvents, isocyanates and polymers. Inhalation of paint vapours and overspray may result in respiratory irritation, respiratory sensitization, asthma, reduced lung function and nervous disorders.
Good maintenance and regular testing is essential to ensure that spray booths and spray rooms continue to remove contaminates in the air before people breathe them. It is a legal requirement that any PCBU who uses spray booths must ensure it is operating effectively and is checked regularly.
0.5 m/s for any other booth.
The air flow must be measured when the booth is empty, during the spray cycle in the area that the spray painting is done.
The Spray Painting and Powder Coating Code of Practice October 2012 states that the plant and equipment used in spray painting or powder coating activities should be inspected at regular intervals and maintained according to manufacturer's specifications.
The Spray Painting and Powder Coating Code of Practice October 2012 also recommends that spray booths should have a sign indicating the time workers should allow for chemicals to clear before entering the spray booth. This is commonly referred to as the clearance times. The clearance time is determined by conducting a smoke clearance test. The spray booth is filled with non-hazardous smoke and the time that the booth takes to remove contaminates is recorded as the clearance time.
Records for air flow testing and clearance times should be kept onsite.
For information on our spray booth air flow testing and clearance time services click here.
For further information on how we can assist you with noise assessment services call our office or use our contacts page to forward a request for further information.
Exposure to dust from sanding vehicle body fillers can cause damage to the respiratory system and irritation to the skin that may lead to dermatitis or other skin conditions. Dust can irritate and damage the eye. Appropriate control measures are required to manage the inhalation and dermatitis risk.
Most vehicle body fillers consist of thermosetting unsaturated polyester in a solvent which is mixed with a reactive hardener. Hardeners are usually skin irritants and some are strong skin sensitisers. Both the filler and hardnerer can cause dermatitis. Styrene and methacrylates are often found in these mixtures and have powerful odours. Both styrene and methacrylates can affect the nervous system.
Check the safety data sheet for these chemicals and if you find them, try to find alternative less harmful filler products. Glass fibre fillers can irritate the skin.
To minimise the number of people exposed to dust and vapours, separate the body filling and preparation area away from other work.
When using powered sanding tools and sander with built in extraction should be used. Portable local exhaust ventilation may be appropriate, positioning the local extraction close to the work is necessary.
Even if the dust does not contain specific harmful substances (such as styrene or methacrylates) you should keep dust to a minimum as the quantity generated can be damaging to health.
Where necessary, personal protective equipment such as disposable overalls should be sued to help prevent dust build up on clothing. Suitable gloves (eg nitrile gloves) should also be considered as fine dust will clog up the pores in the skin and they would also protect the hands when wet sanding.
In some situations respiratory protective equipment may be required, a P2 dust mask is usually adequate.
For information on air monitoring and exposure assessment click here.
Ten spray painting myths that can take your breath away (isocyanates).
Vehicle paint sprayers are 80 times more likely to get asthma than the average worker. 1 in 10 of workers in bodyshops who get asthma from isocyanates are not sprayers.
Truth 1: Almost all bodyshops use isocyanate-containing paints. Rumours that isocyanate-containing paints will be banned are incorrect. Isocyanates will continue to be used in some primers and base coats as well as UV-cured coatings and some water-based paints.
Remember, 'Water-based' does not mean 'isocyanate-free'. And almost all top coats contain isocyanates.
Truth 2: All modern guns are designed to produce less mist. But that assumes that they are set up as the manufacturer intended – and that still doesn't make them safe. Modern guns still produces average levels of isocyanate over 1000 ug/m3 (over 50 times the workplace exposure value, which itself is not a safe value).
It is used at all times when exposure is possible – many sprayers believe it is safe to remove their mask as soon as they have finished spraying but the air still contains large quantities of paint mist that is invisible to the naked eye.
Truth 4: If you work in a modern purpose built spray booth with large quantities of filtered air flowing past it is easy to believe that all the overspray is instantly carried away leaving the air safe to breath as soon as spraying is finished. This is a dangerous misconception. In fact, spray booths typically take between one to five minutes to clear. During this time, it is essential that you keep wearing your air-fed mask and no unprotected person enters the booth.
Spray rooms are much cruder devices than booths and are much slower to clear (it can take half an hour or more). The levels of isocyanate in spray spaces have been measured at levels up to 300 times the workplace exposure limit. If you want to carry on using a spray room you need to make sure it works as safely and efficiently as possible.
Anyone using a spray booth or room needs to know what the clearance time is. Booths and spray rooms only work effectively if they are kept maintained.
Truth 5: One in 10 of people who get asthma from isocyanates in bodyshops are not sprayers. This means they are getting exposed some other way. One of those ways is entering a spraybooth/spray room before the entire fine, invisible mist has cleared. Even the most efficient booths take over a minute to clear after spraying has finished. Some take significantly longer. A spray room can take up to half an hour to clear.
Anyone entering a spray booth or spray room needs to know what the clearance time.
Truth 7: There is no known case of isocyanate used in paints causing cancer! But they are the biggest cause of occupational asthma in Australia. To confuse the two may cause someone to overlook the classic early symptoms of asthma – wheezing, breathlessness and tightness of the chest. This means they don't seek medical attention and the problems at work that are leading to exposure aren't put right because they are unlikely to link their symptoms to work.
Truth 9: Many sprayers believe that a significant or even the main route of entry for isocyanate paint spray is through the skin with the "thin skin around the eyes" being a particular concern. These views are confusing and wrong. The overwhelming route of entry for isocyanate paint mist in MVR bodyshops is through inhalation of fine airborne paint mist and this is what puts sprayers at risk of getting occupational asthma. Getting mixed 2-pack isocyanate paint or liquid hardener drips/splashes on the hands/skin can cause dermatitis but that is a different issue.
Truth 10: Asthma is a very variable condition. One day you may feel fine and the next you cannot breathe so, just because you showed up clear on the day of your breathing test doesn't mean you should ignore other symptoms. If you experience problems such as wheezing, breathlessness or tightness of the chest (which may occur some hours after exposure), make sure you report them to your GP, explaining that you work with isocyanates. A urine test (in addition to the annual ones you should be giving) should show up any exposure to isocyanate.
For information on air monitoring click here.
For information on health risk assessments click here.
For further information on how we can assist you with air monitoring services call our office or use our contacts page to forward a request for further information.
Contamination in compressor supplied air can be a serious health risk. Testing of Air quality for supplied air respirators provide confidence to the workers required to use supplied air respirators.
The compressor breathing air quality requirement for supplied air respirators is often one of the least understood elements of a respiratory protection program.
As part of the respirator protection program for a compressor air supply system, it is necessary to check the quality of the air regularly. Air quality checks should be conducted to an appropriate schedule. In many situations annual checks are sufficient to show if there is any deterioration in the system. The frequency of testing should be reviewed dependant on the usage and results of the testing.
Onsite testing is conducted by our technicians using use the Dräger Breathing Air Test Kit Method, Aerotest Simultan to determine the concentration of oil, water vapour, carbon monoxide (CO), and carbon dioxide (CO2) contained in the breathing air that is delivered to workers. Real-time monitoring equipment is used to determine the oxygen content. The capability of the compressor is assessed and a determination made on its ability to supply sufficient air to each person using a respirator connected to the system.
The parameters for the air quality for supplied air respirators are detailed below.
* Cylinder initially filled to pressure of at least 12 MPa.
The specification for water content does not specifically apply to low pressure breathing air supply systems, however high water content can lead to contamination of the supply lines and associated contamination of the breathing air.
All testing is conducted by trained technicians using accredited state-of-the-art sampling and analysis methodologies. Testing can be conducted for industrial breathing air systems such as air hoods used for spray painting, and airline systems used in confined spaces, welding and chemical applications.
Our technicians can assist resolve any issues that are identified and will issue certification for the system once testing shows that the legislative requirements for breathing air quality have been met.
Download a generic Air Quality Supplied Air Respirator Certificate.
For detailed advice on assessment and specific control measures for your workplace contact our consultants.
For further information on testing air quality for supplied air respirators click here.


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Home/Articles/Dreaming explained by quantum physicists
Dreaming explained by quantum physicists
Core Spirit member since Sep 4, 2019
The observer effect, the central pillar of quantum physics, demonstrates that the act of observation is not just a passive reception of information, but in fact, is a creative act that we are all—knowingly or unknowingly—participating in every moment of our lives. This process is tantamount to the same type of dynamic creativity that we engage with in our night dreams. In a dream, the un-manifest potentialities (the wavefunction of dream possibilities) within the unconscious, depending upon the psyche of the dreamer, are actualized or "dreamed up" into particular appearances through and as the fabric of the dream. In an ordinary non-lucid dream, the dreamer relates to the forms of the dream as if they exist objectively, separate from themselves (which is to say, just like most of us relate to waking life), and then reacts to, and becomes conditioned by the appearances within the dream as if they are other than their own mind, which further conjures up the dream to manifest as if it is objectively real and other than themselves, in a self-perpetuating feedback loop whose generative source is our own mind.
When we become lucid in a dream, the idea is not to take control of the dream—which would be an expression of our non-lucidity (i.e., the spell of the separate self)—for in attempting to control the dream, we are still relating to it as something other than ourselves. Rather, when we become lucid in a dream, we become naturally "in control" of ourselves, which is to say in touch with our own sovereign power of co-creating reality. When we become lucid, our relationship to the forms of the dream changes, for once we recognize that the dream is our own energy appearing seemingly outside of ourselves, we can creatively flow with the manifestations of the dream in a different way than when we were entranced by its forms.
When quantum physics first appeared in the early part of the twentieth century, it was during a time of great collective asleep-ness. Quantum physics' creation/discovery can be seen as an inkling of a burgeoning awakening in the collective unconscious, expressed through the realm of science. The process that quantum physics is articulating regarding how an observer/participant evokes (i.e., "dreams up") reality is typically unfolding unconsciously in most humans, which is to say most of us in the waking dream of life are dreaming non-lucidly. A question that naturally arises is what would happen as more of us become more and more aware of the world-shaping creative power that we are wielding, which is to say how would things change as we wake up to our powers of quantum creation? How would an enhancement of our awareness of our powers of quantum creation impact these very powers as we are more and more consciously using them? Like quantum physics reflects back to us, oftentimes asking the right question is more significant than finding the right answer.
How would the world itself change as more of us become fluent with what quantum physics is revealing to us about our amazing—but mostly untapped and unconscious—power to co-create reality? I find myself imagining that the world would reflect back our inner realization of its quantum nature, and would manifest in a much more fluid, plastic, malleable—and dreamlike way. And how would the realization of the dreamlike nature of our universe change our experience of ourselves as well as our understanding of who we really are? I can only imagine.
How would applying the power of lucid observer/participancy to the theory of quantum physics itself transform the field of quantum physics, not to mention the very physics of existence? Could the very nature of quantum physics be expanded so as to register and reflect this awakening force of lucidity that is flowing through our species? Might quantum physics as a theory become transformed by its and our realizations into a new and more coherent version of itself?
I find myself imagining that this realization would spawn a new awakening generation of lucid quantum physicists/dreamers—instead of "Generation X," they would be "Generation QP," or maybe "Generation LD." This new generation of quantum-physicized lucid dreamers would be able to creatively dream up an enriched, deeper and more rigorous articulation of quantum physics which would go far beyond the present formulation, as it would more elegantly reflect and codify the creative role that our consciousness plays in the very unfoldment of the universe. Or so I imagine.
My best friend, a long-time student of quantum physics, in a conversation he had years ago with David Bohm, shared with the great physicist that when he becomes lucid in his night dreams, he does physics experiments. Bohm was very excited by this, saying that this was exactly the kind of study that was necessary for a breakthrough in the field. He shared that he had done the same thing in a few of his lucid dreams.
My friend was struck by how Bohm was taking seriously that night dreams had its own physics that was worthy of being researched—an idea that was summarily dismissed by most other physicists. Bohm was of the opinion that it is very important for physicists to conduct more careful physics experiments in their lucid dreams in order to compare how the physics of the dream-world compares to the physics of the waking state, for the way consciousness intervenes in the waking dream seems "slower" and less obvious due to the apparent density of the waking dream. He was convinced that through this type of physics research we could uncover the fact that there was a still yet to be discovered and articulated physics of the dream state that was linked to but differed in some essential ways from the physics of the physical world.
Bohm confided to my friend that he felt that lucid dreaming very likely held an essential key to a deeper understanding of the link between consciousness and the manifestation of our experience in the world—in both our night and waking dream-worlds. Bohm humorously added that doing physics research in our lucid dreams would solve the ever-present challenge of obtaining funding for cutting-edge physics research, as in our lucid dreams we could potentially dream up our own laboratories, research assistants and whatever other kinds of support we would need.
Though night dreams and the waking dream appear to be different, the question arises: are they, deep down in their essence, actually different, or are they made of the same "dream stuff?" All of the spiritual wisdom traditions on this planet from time immemorial—including quantum physics—have pointed out the dreamlike nature of reality. What if we were to take seriously what these converging wisdom streams are reflecting back to us about the dreamlike nature of our situation, and step more into the dream, so to speak? What would happen if we carried on our explorations into the nature of reality—i.e., doing our physics experiments—in this light? How would it change our experience to interpret our experience as if we really were in a dream?
The idea is to not just do physics experiments in our lucid dreams, but to recognize that life itself is potentially the dream within which we can become lucid. The more we recognize the dreamlike nature of our waking experience, the more our waking life will reflect back this realization and manifest itself in a dreamlike way, thereby enhancing our lucidity even further. In a positive feedback loop, our ever-increasing lucidity, driven by consciousness, builds on itself and at a certain point becomes self-generating, reminiscent of Wheeler's idea of the universe as a self-excited circuit. Adding lucidity to our experience of life is a powerful spiritual practice, a form of "dream yoga." Becoming lucid in our waking dream changes everything.
Could lucidity (a word which etymologically speaking, is related to the word "light") be the missing evolutionary ingredient that our species has been dreaming about? Could the process of transforming passive, semi-conscious non-lucid quantum physics into a more lucid quantum physics be the very shift that our species desperately needs in order to make the critical evolutionary transition from "Homo Somnabulens" to "Homo Lucidus?" Adding the light of lucidity to our collective human experience and thus to our current understanding of quantum physics may be the very factor that enables us to finally bring about and e-lucid-ate a comprehensive and long dreamed about spiritual/scientific synthesis.
Could this bridging and blending of science and spirit provide humanity with a more refined and integral map of reality which could lead us back—both individually and collectively—to living, sharing and having an enriched experience of the intrinsic wholeness that currently lies implicit, but yet unlived and largely unfulfilled within every human being? This is a real potential and a very realizable outcome of Lucid-Dreaming Quantum Physics—a human world that is able to collectively embrace its power of open-ended lucid dreaming so as to dream into physical reality the many as yet unrealized yearnings that lie deep within the most sacred visionary chambers of the human heart.
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