Dissertationen zum Thema „Uneven productions of space“

Vertical dance is a new and collaborative form of dance that typically utilises rock climbing equipment to suspend dancers against a range of vertical surfaces in public spaces. Its effects are to alter familiar systems we use to orientate ourselves in space and to produce or change social spaces. My pedagogical practice (2002 – the present day) and a portfolio of choreographic outputs (created and performed between 2009 and 2015) are of primary importance in my investigation into how I perceive space when dancing on a tilted floor and how this vertical stage and its location in social space influences my choreographic practice. The thesis begins with a manifesto for vertical dance that condenses the central arguments into a set of instructions. There follows a categorization of the form using prototype theory (Wittgenstein, 1953; Rosch, 1978; Lakoff, 1987) applied to a set of vertical dance case studies from the 1970s to the present day. I discuss how the specific spatial parameters of vertical dance affect how a dancer orientates herself on a vertical floor, and how a choreographer on the ground communicates with a dancer on a wall above, drawing on spatial theories in dance and cognitive linguistics (Laban, 1966; Levinson et al., 2002 and Lakoff and Johnson, 1980). Lefebvre’s (1974) work on the production of social space as an intersecting triad of spatial practice, representation of space and representational spaces, and recent site-specific discourse (Kwon, (2004), Kester (2004)), (e.g. Kaye (2001), Hunter et al. (2015), Pearson (2010), Kloetzel and Pavlik (2009)) are used to analyse how space is produced and changed, and how the built environment is reminded of nature through the vertical dancing body at diverse locations such as Belfast City Hall, Welsh Government offices, a WW2 German submarine station in France and Guildford Cathedral.

This project examines representations of Antarctica in the theatre and analyses these in terms of space and place in order to chart the development of awareness of the continent. As examples of cultural production, plays and their treatment of imagined Antarctic space can provide insights into how attitudes towards the continent have developed and been expressed by revealing the dominant narratives at various points in time. A close reading of nine plays from 1930 – 2011 focuses on the use of mimetic and diegetic space within the theatre, examining the language used, stories told and attitudes present. Such analysis reveals the factors determining the choice of an Antarctic setting, be they ecological, political or metaphorical, whilst shedding light on how attitudes towards place, space and representation have changed within the theatre context. These plays can be grouped under four thematic headings, namely “In Scott’s Footsteps,” “Retelling,” “Reimagining,” and “Returning.” While Antarctica remains a backdrop in earlier plays, where Heroic Era narratives are foregrounded, more recent productions have seen the continent come to the fore, where it is treated as part of a global web of connections. These plays illustrate a progression in how Antarctica has been represented upon the stage, a progression that parallels how we have thought about Antarctica in general.

This dissertation analyzes the group of postwar (1948-1964) independent films known as the New York city symphonies and argues that the films, rather than merely depicting space, produce it. City symphonies combine documentary, experimental, and sometimes fictional techniques to chronicle a paradigmatic day in the life of a given urban environment and its citizenry by concatenating spatially diverse, thematically related phenomena. Produced, distributed, and exhibited outside the commercial system, the New York city symphonies are nevertheless paradigmatic of the nonsynchronous spaces and layered temporalities that characterize late modernity. More important, as late modernist works, they critique this social order and the spaces that constitute it. City symphony films have often been studied as a crucial instance of the intersection of cinema and the urban environment. Previous work in film studies has used the films to argue for the mutual constitution of city and cinema on the grounds that urban modernity is primarily a mode of vision. This dissertation rejects that tradition on the grounds that it reduces space to a concept and cinema to the depiction of a pre-extant built reality. By contrast, this dissertation demonstrates that a city symphony is not a way of seeing but is rather a method for negotiating space - a spatial practice. Through extensive close readings of the films in close conversation with both Henri Lefebvre's theory of the production of space and models of narrative's spatial characteristics, this dissertation concludes that the New York city symphonies comprise a particular practice in which space can be inhabited and abstracted simultaneously, in which experience and language, place and story, are one in the same. That is, the films challenge modernity's dominant relation of production, in which space as a mental thing displaces space as it is lived and perceived. This relation largely depends on space being reduced to a series of metaphors and metonymies - to narrative. Modernity, Lefebvre argues, is constituted by such abstract space. Abstract space is reproduced through the construction of various narrations of space that naturalize or cover over the displacement of space as it is experienced. This dissertation identifies two such narratives, both of which employ microcosmic logic to produce the city as a unified, perfectly ordered, legible text to be read. Against the microcosmic narration of space, the New York city symphonies produce spaces that narrate. The films challenge the fantasy of "New York City" as a proper name that can refer to a single, knowable entity. Instead, they narrate an asynchronous multitude of sometimes overlapping, sometimes mutually exclusive New Yorks that are inhabited and invented by diverse populations as they perform their daily routines. They do this by narrating marginal areas as a series of secret passages that relate to the center through the time of the festival, and the center itself as a collective work. That is, the films not only produce space as an experience, but in doing so suggest an alternative concept of space. This dissertation proposes the New York films as a cinematic discourse capable of enunciating the multiple, contradictory meanings of given locations and from them positing an otherwise unfigurable, radically different social order characterized by both the perfect harmony of space as it is lived, perceived, and conceived as well as unlimited freedom. This dissertation claims the New York city symphonies as immanent utopias.

Les productions alimentaires régionales, dites « de terroir » ou « localisées » se sont remarquablement développées à partir du tournant des années 80, selon des modes de valorisation variés allant du petit producteur à l’industriel labélisé. A l’aune d’une enquête de terrain portant sur la diversité des modalités de valorisation des nombreuses productions du département de la Drôme, nous nous sommes rendus compte que la diversité des modes de valorisation sur ce territoire n’était pas seulement de nature organisationnelle et stratégique. En effet, le terrain nous a conduit à supposer l’existence d’une diversité de significations sociales associées à la production localisée. Cette diversité s’incarnait dans le fait que la référence à la tradition n’était plus le seul vecteur de légitimation pour une production localisée. C’est ainsi que nous avons cherché à analyser la diversité organisationnelle mais aussi symbolique des différents processus de valorisation. Au vu de la fonction sociale d’aliment identifié dans un contexte industrialisé qu’ont les productions localisées, nous avons alors compris, qu’un nouveau sens social associé à la production locale serait signifiant d’un rapport nouveau au besoin d’identification de l’alimentation dans un contexte industrialisé et mondialisé. Pour analyser cette diversité organisationnelle et symbolique, nous avons pensé les processus de valorisation comme des systèmes de domination, au sens où l’entend Max Weber. Ainsi, le système et la stratégie de valorisation ont été mis au jour, de même que la forme de la légitimation sur laquelle repose la signification sociale de la production. Dans ce cadre, nous avons analysé six variations de localisation par référence à la tradition ainsi qu’une manière de localiser émergente. Dans cette dernière, l’ancrage local de la production s’effectue par le fait d’avoir été produite, transformée et vendue localement par le petit fermier local, souvent néo-rural, selon des savoirs et des savoir-faire de production, de transformation et d’organisation de vente construits à travers les réseaux de partage et de vente existants entre ces exploitants. Ces réseaux, formels et informels, sont créés soit par le biais du monde associatif agricole soit en toute autonomie. Dans ce cadre, chaque exploitant a pour objectif de produire et de vendre mais aussi de « faire groupe » tout en gardant son indépendance face à ses pairs et face aux acteurs institutionnels. Ainsi, ces producteurs, dans leur rapport à la production et au groupe, permettent l’émergence de savoirs et de savoir-faire de production localisée ancrés dans un « ici et maintenant » culturel associé à leur figure de petits fermiers locaux<br>This research emanates from a field survey we conducted in the Department of Drôme, France, which deals with the analysis of a variety of valorization methods of local food productions we sought to explain. Local food productions are a traditional production rooted in time and space, regardless the organizational and strategic variety of valorization methods. In the Drôme territory, we found a variety of productions and a variety of organizational and strategic valorization methods. But those patterns are not sufficient to explain what we observed in the field. We observed also another form of reference to location of these productions than only the reference to tradition. From there, in addition to the analysis of the organizational diversity of valorization methods of local food production in Drôme, the characterization of a new form of reference to location of production we spotted is the main issue of this research. To analyze the organizational and symbolic diversity, we conceptualize the valorization methods as systems of domination (in the sense of Max Weber). Indeed, the system and the strategy of valorization are pointed out as well as the shape of the legitimacy on which the social significance of the production is expressed. In this framework, we analyzed six variations of localization types by reference to tradition and one emergent way of localizing productions. This last is assessed through the fact that productions are produced, processed and sold locally by small local farmers, often neo-rural, according to production knowledge and expertise, processing and selling organization built through sharing and selling networks constructed among these farmers. These networks, either formal or informal, are either created through agricultural associations, or either were built autonomously. In this framework, each farmer aims to produce and sell, but also to “build a community” while keeping its independence from peers and institutional actors. Therefore, these farmers, through their relationships to the production and to their community, induce the emergence of knowledge and know-how rooted in “here and now” cultural bedrock crystallized in the representation of the small local farmer

Drawing mainly on Lefebvre’s, Soja’s and Smith’s theorizations of space in order to understand the spatial dynamics of social inequality, this study investigates how a low-income Syrian refugee community negotiates its precarious location in a neighborhood on the periphery of one of Cairo’s desert ‘New Towns’. It also examines the way in which urban spatiality shapes the everyday lived reality of this particular community of Syrians. Through an ethnographic focus, I explore how Syrian people living in Cairo are marginalized through broader processes of neoliberal capitalist development which in turn give rise to socio-spatial disparities within cityspace. By developing the concept of socio-spatial exclusion imbued with defiant (hyper)locality, I argue that although these Syrian refugees lack access to transportation and other types of social services, they nevertheless manage to disrupt the spatial status-quo by devising creative solutions to problems concerning amenity availability in the neighborhood where they live. The investigation of these urban trajectories are guided by the notion that spatiality is at once a social product as well as a force in shaping social life. Research for this project draws on multiple sources, including conversations with neighborhood residents, interviews with NGOs and Cairo-based specialists on refugees and urban development, as well as ethnographic observation, an online questionnaire, satellite imagery and social media content.

O mamão (Carica papaya L.) cv. \"Sunrise Solo\" é um fruto que apresenta mudança gradual e desuniforme da cor da casca, que vai de verde para amarela. Isso faz com que a metodologia instrumental para avaliação da cor, por meio de um colorímetro, seja subjetiva, devido ao número de pontos observados, bem como às localizações deles no fruto. Como alternativa, foi proposta a utilização de imagens digitalizadas de toda região da casca do fruto, obtidas por meio de um scanner de mesa. Para avaliar a precisão desses métodos, foi conduzido um experimento com 20 repetições. Cada repetição era constituída de um fruto de mamoeiro cv. \"Sunrise Solo\", mantido sob temperatura e umidade relativa controladas. A cor da casca dos frutos foi avaliada, diariamente, utilizando um colorímetro e um scanner. Com o scanner, foram digitalizadas as duas faces do fruto e, com o colorímetro, foram observados quatro pontos equidistantes, na região equatorial do mesmo. Como a avaliação para cada fruto foi feita ao longo do tempo, os dados são classificados como longitudinais. Assim, utilizaram-se modelos lineares de efeitos mistos para estudar o comportamento da tonalidade média, pois essa técnica permite o uso de diferentes estruturas de variâncias e covariâncias para as matrizes dos efeitos aleatórios e dos erros. O processo de seleção do modelo foi realizado por meio do teste da razão de verossimilhanças e dos critérios de informação AIC e BIC, resultando no mesmo preditor linear e matrizes de variâncias e covariâncias para ambas as metodologias de quantificação da cor. O modelo final apresentou um preditor linear quadrático com efeitos aleatórios para o intercepto e para os termos linear e quadrático com matriz de variâncias e covariâncias dos efeitos aleatórios não estruturada e componentes de variância com heterocedasticidade para os erros. A utilização do scanner revelou dois grupos de maturação fisiológica distintos, que podem estar relacionados ao ponto de colheita do fruto, fato que não ficou evidente ao utilizar um colorímetro. De forma geral, o uso de um scanner possibilitou obter uma avaliação precisa da maturação do fruto, além de ser mais consistentes e eficiente do que o uso de um colorímetro para estudar a tonalidade média da casca de frutos que apresentam coloração desuniforme.<br>Papayas (Carica papaya L.) of \"Sunrise solo\" variety are fruits that present gradual and uneven changes in the peel color, which goes from green to yellow. As a consequence, when using a colorimeter to quantify their color, the results are subjective because of the number of observed points, as well as because of their position on the fruit. A proposed alternative was to use scanned images of the whole fruit peel to quantify color. To assess the precision of these methods, an experiment with 20 replicates was carried out. Each replicate consisted of a papaya fruit, kept under controlled temperature and relative humidity. The fruits\' peel colors were assessed, daily, using a colorimeter and a scanner. With the scanner, both sides of the fruit were scanned and, with the colorimeter, four equidistant points at the equatorial region of the fruit were observed. As the assessment was made through time for a same fruit, the data are classified as longitudinal. Therefore, linear mixed effect models were used to study the behavior of the average fruit color tonality through time, as this technique allows usage of different random effects and error covariance structures. Model selection was made using likelihood-ratio tests and the Akaike and Bayesian information criteria, which resulted in the selection of the same linear predictor and covariance matrices for both color quantification methods. The final model presented a quadractic linear predictor with random effects for the intercept, linear and quadractic terms with an unstructured variance-covariance matrix for the random effects and a variance components with heterogeneity matrix for the residuals. The use of a scanner revealed two distinct phisiological maturation groups, which may be related to the harvesting time. This was not observed when using a colorimeter. In general, using a scanner made possible to obtain more consistent observations, which makes it a more efficient methodology to study the average fruit peel color tonality.

The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.<br>Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

Thesis (M.F.A.)--University of Wisconsin--Madison, 2002.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 53-57).

The problem I investigated in this research is the extent to which participation in a secondary school musical production contributes curricularly and pedagogically towards equipping learners for meaningful and successful living in a rapidly changing and transforming society within a life skills education programme. The importance of creating a dialogic space where secondary school learners may practise life skills within the Life Orientation curriculum has been my main focus. My aim was to investigate and discuss the Life Orientation potential of the secondary school musical production as dialogic educative space for life skills attainment. I specifically employed a hybrid epistemology, namely constructivist hermeneutic phenomenology. In this qualitative study a small number of participants were interviewed individually and in focus groups because of their particular knowledge and lived experience regarding the research topic and the musical The Green Crystal as the chosen case study. This enabled me to construct and interpret their subjective reality and construct meaning within the particular social context of the secondary school musical production. The data I generated, coded and interpreted validate the notion that the secondary school musical production is a hybrid genre which is essentially a practise ground for life skills attainment through the media of music, movement and drama. It also emerged from the data that the secondary school musical production provides a dialogic and educative space to and for all participants to practise life skills within the subject Life Orientation. The participants indicated that their participation in the productions have been life-changing events. A notable contribution from the data was the confirmation that life skills learnt and practised during the musical production are transported into adult life. The life skills learnt through participation in a secondary school musical production are embedded in the memory of the participants and the lessons learnt purify over time. These individual and psychosocial life skills gained, honed and practised by participants assisted them in adapting to a changing and transforming society as functional and contributing adults (self-in-society).<br>MEd (Learning and Teaching), North-West University, Potchefstroom Campus, 2012

碩士<br>國立臺灣大學<br>建築與城鄉研究所<br>99<br>Through the readings of the production of tourism space and the socio-cultural theories of tourism, the researcher treats it as forces for producing space and culture. That is the creative role of tourism and leisure to change and transform places. It implicates the capacity of tourism to produce social reality: it involves the ways of organization of different things, such as ‘the tourist gaze’, the world view, and the imagination and understanding of other place. However, such a role involves the operation of power relationship. We have to notice whose knowledge to create tourism/space, and what kind of effects it produces. The fieldwork located in a northern-east coastal village Wai’ao. During 2005~2010, the researcher recorded its spatial and socio-cultural changes. By participatory observation and interview, he attempts to understand that what people thought of and how they have done to respond to tourism in the process. In the beginnings, the tourism development tends to be triggered by a kind of dominant exogenous forces. The B&B owner together with the tourism bureau both in the central and the local governments, through the tourism texts, holding festival and the construction of facilities, which inscribe the new image above the ordinary environment. Therefore, the village turns to be a leisure and tourism destination of attraction. However, it brings the impacts and conflicts; the environment becomes several ‘tourist territories’, kind of de-context, closed and excluded space, more or less for the locals in the Wai’ao; moreover, increasing immigration of outsiders buying the seaside lands accompanied with the emigration of insiders. These vicious cycle make Wai’ao a place that the ‘Homeland Turned into a Strange-land’ for most local people. However, Tourism also means the ‘encounter’ that different knowledge and opinions between insiders and outsiders meet in the space. The local people seem to become self-conscious and got reflection from that. Gradually the local elements have been actively chosen, organized and adapted in a new tourism context, people start to produce these practices: conducting ecological explanation to visitors based on their understanding of environment resources; self-naming and constructing the local tourism image; building a ‘tourist setting’ for ‘host-and-guest’ common uses by the bamboo materials that linked up the community around Wai’ao; and some old man revitalize an old fishing method to maintain their fisherman identity and to let the visitors experiencing it. From the ‘Homeland Turned into a Strange-land’ to a ‘New Homeland’, this means the negotiated place meanings emergent from the spatial and cultural transformations interacted between the inside and outside forces. Through the local practices responding to tourism, the place of Wai’ao transforms itself. That is the so-called ‘New Homeland’, which implies the new experience and interpretation logic of place and towards a ‘host-and-guest’ tourist space with more openness.

La perspective écologique qui s’est développée en criminologie adopte une notion implicite de la spatialité qui réduit l’environnement à un simple site géographique et exclut les rapports de pouvoir, les dynamiques sociales et culturelles ainsi que les valeurs qui y sont véhiculées. La présente étude interroge donc l’importance de l’espace géographique en criminologie. Elle se penche particulièrement sur le rôle de l’espace dans la (re)production et la régulation d’illégalismes et de déviance ludique ainsi que sur la production du savoir par le biais du concept de liminalité compris comme un espace-temps symbolique. Pour exposer le concept de liminalité, la thèse repose sur une ethnographie de 5 mois et demi réalisée dans deux villes balnéaires du Costa Rica. Elle montre comment les pratiques néolibérales de l’industrie touristique créent un espace liminaire qui répond aux quêtes d’exotisme, mais surtout de sens et d’authenticité recherchées par les touristes qui souhaitent rompre avec leur vie quotidienne. Alors qu’un pan de la littérature scientifique considère la liminalité comme un espace où les normes quotidiennes sont suspendues, cette thèse suggère que les touristes adhèrent aux normes présentes dans cet espace, soit à celles qui reposent spécifiquement sur la consommation d’un hédonisme agressif. Cela les mène à une consommation d’alcool et de drogues ainsi qu’à une sexualité dites hors de l’ordinaire. S’inscrivant dans une approche interdisciplinaire, cette étude emprunte, dans un premier temps, la notion d’espace à la géographie culturelle. Cette conception de l’espace qui comprend une dialectique idéaliste-matérialiste permet d’adopter une perspective analytique de développement inégal. Celle-ci permet de comprendre non seulement pourquoi certains endroits, lieux, régions et pays sont connus pour être des espaces dits liminaires, mais également en quoi les pratiques d’une économie capitaliste poussent ceux-ci à miser sur une image de liminalité pour (sur)vivre dans l’économie de marché. Inspirée dans un deuxième temps par l’anthropologie sociale, la thèse considère l’expérience touristique comme un rite de passage et propose que les touristes soient soumis.es à un dispositif symbolique qui les mène à performer in situ une identité de touriste. Cette performance, concrétisée par la consommation de transgressions, a pour conséquence de (re)produire l’espace liminaire. La thèse montre également que ce dispositif symbolique est un mécanisme de régulation non seulement des conduites, mais aussi des corps. Enfin, la thèse indique que le terrain de recherche est également une liminalité pour les chercheur.ses qui les affecte ainsi que le savoir produit.<br>Within the field of criminology, the ecological perspective argues for an implicit notion of spatiality, one which reduces the physical environment to nothing more than a basic geographical site, thereby excluding the power relationships, as well as the social and cultural dynamics, or values- and meaning-based dynamics, conveyed therein. As such, this study investigates the importance of geographical space in criminology. By employing the concept of liminality, defined as a symbolic space-time, this thesis also specifically studies the role space plays in the (re)production of both illegalisms and playful deviance, their respective regulation, as well as in the production of knowledge. In order to shed light on the liminality concept, this thesis draws on a five-and-a-half-month-long ethnography, carried out in two Costa Rican beach towns. It also illustrates how the tourism industry’s neoliberal practices produce a liminal space that caters to quests for the exoticism, and especially the hedonism and authenticity, sought by tourists seeking to escape the confines of their everyday lives. While a segment of the scientific literature views liminality as a space where everyday norms are suspended, this thesis instead suggests that tourists adhere to norms already present in such spaces, ones specifically based on an aggressive form of hedonism, which in turn result in “out of the ordinary” alcohol and drug consumption, as well as sexuality, on the part of tourists. In adopting an interdisciplinary approach, this study initially employs cultural geography’s notion of space. This conception of space, which employs an idealist-materialist dialectic, also allows for the adoption of an analytical perspective based on the concept of uneven development. It also makes it possible to understand not only why certain places, regions, and countries are recognized as being so-called liminal spaces, but also how the practices of a capitalist economy push them to rely on an image of liminality in order to survive and operate within the market economy. In additionally taking inspiration from social anthropology, this thesis views the touristic experience as a rite of passage, while also proposing that tourists are subjected to a symbolic device, which leads them to perform a site-specific tourist identity. This performance, given concrete form by the consumption of transgressions, results in the (re)production of the liminal space. The thesis also shows that this symbolic device is a regulating mechanism in regard to conducts, but additionally to bodies. Lastly, the thesis illustrates the ways in which the research field is also a liminality for researchers, one which affects them, as well as the knowledge produced therein.