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Thirty clinical isolates of Staphylococcus aureus were tested for tolerance to oxacillin, cephalothin, and gentamicin by using killing curves and broth dilution susceptibility tests. Tolerance was defined as the presence of≥100 colony-forming units per ml remaining after 24 h of incubation of the killing curve suspensions. Nineteen of 30 isolates were tolerant to oxacillin and cephalothin, but none was tolerant to gentamicin. Among the tolerant isolates, there was a wide spectrum of tolerance, with from 0.2 to 43% of the colony-forming units in the starting inoculum remaining after 18 to 24 h of incubation. Tolerance was unrelated to phage type or to any of several other characteristics studied.

This article explores the affectual and relational contexts in which rock art is embedded through an exploration of the encounters, reactions, and responses to a well‐known sorcery rock art site known as Kurrmurnnyini in northern Australia's southwest Gulf country. These encounters with a culturally powerful place, and the emotions derived from people's personal memories and experiences of Kurrmurnnyini and its sorcery‐infused rock art, are vital to establishing an understanding of contemporary perceptions of what is clearly more than an ‘archaeological site’. We contend that by turning our attention to the often‐overlooked affectual and relational dimensions of rock art and the contexts in which it is found, researchers place themselves in a better position to access and become aware of the agency and affect of graphic imagery as well as the significance these powerful images and places hold for people today.

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Archaeologists have frequently employed formal style-based approaches to identify regional rock art styles as a means to learning about social organization, territoriality, boundaries and interaction/communication. However, less attention has been devoted to interrogating the relational and cultural understandings of the motifs and sites subsumed under these broad regional style labels. In this article we focus on the complex social and cultural relationships tied to rock art at a regional level from northern Australia’s Gulf country to explore the association between a regional rock art style – the ‘Gulf style’ – and local Indigenous understandings of rock art. We argue that images from the southwest Gulf country are more than part of a regional rock art style – they are a part of an important network of ontological and epistemological encounters, which extends far beyond the rock wall in which they are encountered and into the realm of kinship, ceremony and Indigenous philosophical systems.