Journal articles on the topic 'Auto-intersections'

Auto-archaeology is an emerging form of autoethnography exploring individuals’ artifacts as supporting evidence to interpret experiences explored using autoethnographic methodologies. Using multiple voices, this essay draws upon the data of photos and poetry from my past and lived experiences to interrogate complex intersections of disability, gender, and queerness. This approach contributes to emergent literature examining intersections of queer and disabled identities while using an intersectional lens to examine how privileged identities intersect with Femme/disabled identities. Finally, it considers balancing the ongoing performance of identities with needing to feel recognized, discussing ways to create space for intersections of invisible identities.

Using a blend of auto-archaeological, critical, and queer approaches, I descriptively and performatively articulate the position of my sexual identity when entrenched in the familial and organizational structures of scouting. Throughout this piece, I expose the intersections of father-son turmoil and organizational oppression along with offering defiant modes of queer resistance(s) and becoming(s).

With smart city infrastructures growing, the Internet of Things (IoT) has been widely used in the intelligent transportation systems (ITS). The traditional adaptive traffic signal control method based on reinforcement learning (RL) has expanded from one intersection to multiple intersections. In this paper, we propose a multi-agent auto communication (MAAC) algorithm, which is an innovative adaptive global traffic light control method based on multi-agent reinforcement learning (MARL) and an auto communication protocol in edge computing architecture. The MAAC algorithm combines multi-agent auto communication protocol with MARL, allowing an agent to communicate the learned strategies with others for achieving global optimization in traffic signal control. In addition, we present a practicable edge computing architecture for industrial deployment on IoT, considering the limitations of the capabilities of network transmission bandwidth. We demonstrate that our algorithm outperforms other methods over 17% in experiments in a real traffic simulation environment.

Credit scoring is a very critical task for banks and other financial institutions, and it has become an important evaluation metric to distinguish potential defaulting users. In this paper, we propose a credit score prediction method based on feature transformation and ensemble model, which is essentially a cascade approach. The feature transformation process consisting of boosting trees (BT) and auto-encoders (AE) is employed to replace manual feature engineering and to solve the data imbalance problem. For the classification process, this paper designs a heterogeneous ensemble model by weighting the factorization machine (FM) and deep neural networks (DNN), which can efficiently extract low-order intersections and high-order intersections. Comprehensive experiments were conducted on two standard datasets and the results demonstrate that the proposed approach outperforms existing credit scoring models in accuracy.

Road safety analysis is typically undertaken using traffic collision data. However, the collision data often suffer from quality and reliability problems. These problems can inhibit the ability of road safety engineers to evaluate and analyze road safety performance. An alternate source of data that characterize the events of a traffic collision is the records that become available from an auto insurance claim. In settling an auto insurance claim, a claim adjuster must make an assessment and determination of the circumstances of the event, recording important contributing factors that led to the crash occurrence. As such, there is an opportunity to access and use the claims data in road safety engineering analysis. This paper presents the results of an initial attempt to use auto insurance claims records in road safety evaluation by developing and applying a claim prediction model. The prediction model will provide an estimate of the number of auto insurance claims that can be expected at signalized intersections in the Vancouver area of British Columbia, Canada. A discussion of the usefulness and application of the claim prediction model will be provided together with a recommendation on how the claims data could be utilized in the future.Key words: road safety improvement programs, auto insurance claims, road safety analysis, prediction models.

The non line-of-sight (NLOS) scenario in urban intersections is critical in terms of traffic safety—a scenario where Vehicle-to-Vehicle (V2V) communication really can make a difference by enabling communication and detection of vehicles around building corners. A few NLOS V2V channel models exist in the literature but they all have some form of limitation, and therefore further research is need. In this paper, we present an alternative NLOS path loss model based on analysis from measured V2V communication channels at 5.9 GHz between six vehicles in two urban intersections. We analyze the auto-correlation of the large scale fading process and the influence of the path loss model on this. In cases where a proper model for the path loss and the antenna pattern is included, the de-correlation distance for the auto-correlation is as low as 2–4 m, and the cross-correlation for the large scale fading between different links can be neglected. Otherwise, the de-correlation distance has to be much longer and the cross-correlation between the different communication links needs to be considered separately, causing the computational complexity to be unnecessarily large. With these findings, we stress that vehicular ad-hoc network (VANET) simulations should be based on the current geometry, i.e., a proper path loss model should be applied depending on whether the V2V communication is blocked or not by other vehicles or buildings.

Modern trams, as a rapidly developed high-volume transport model, have strict requirements on schedule, because the delay will reduce the attractiveness of public transportation to passengers. To improve punctuality and reliability, Transit Signal Priority (TSP) has been employed at intersections, which can extend or insert green phase to trams. However, extending or inserting the green phase for every tram might lead to heavy delays to crossing vehicles. To address this problem, this study developed an integrated optimization model on tram schedule and signal priority which can balance the delay between trams and other vehicles to minimize person delay. Three conditional strategies named early green, green extension, and phase insertion are proposed for the signal priority. Simultaneously, arrival time, departure time of trams at stations, and stop line are optimized as well. The proposed model is tested with a numerical case and a real-world case at Ningbo tramline in China. The results indicate that the integrated optimization can reduce the average delay of all passengers on trams and other vehicles, compared to timetable optimization only and TSP only. It is also found that the proposed model is able to adapt to the fluctuation in the ratio of tram passenger to auto vehicle user, compared with only minimizing tram passenger delay or auto vehicle user delay.

This article is an examination of contemporary practices of pitch correction and what is called the Auto-Tune effect (TATE) on pop music voices. I argue that the split initiated by digital pitch correction softwares, which came to market in 1998, of the labor of precise pitch from the labor of singing more generally leaves in its wake a redoubled emphasis on the supposed truth of emotional delivery. Yet pitch corrected and Auto-Tuned voices are not understood to sound emotion in the same way, and instead rely upon and often reproduce hearings of voices as gendered and raced. I examine the status of pitch correction softwares (PCS) and the sometimes blunt, sometimes subtle ways they intersect with the statuses of marked identity and embodied vocality. These intersections inform ways of knowing emotion, creating epistemic relationships between emotion, body, voice, and work. Drawing on fieldwork conducted between 2014 and 2018 in Los Angeles and New York, I engage the specifics of the gendered labor involved creating pop voices, and the implications of the reality of that labor on the potentials the pop “cyborg” voice.

Achievement of fast and reliable travel time on urban road network is one of the major objectives for a transport planner against the enormous growth in vehicle population and urban traffic in most of the metropolitan cities in India. Urban arterials or main city corridors are subjected to heavy traffic flow resulting in degradation of traffic quality in terms of vehicular delays and increase in travel time. Since the Indian roadway traffic is characterized by heterogeneity with dominance of 2Ws (Two wheelers) and 3Ws (Auto rickshaw), travel times are varying significantly. With this in background, the present paper focuses on identification of travel time attributes such as heterogeneous traffic, road side friction and corridor intersections for recurrent traffic condition and to develop an appropriate Corridor Travel Time Estimation Model using Multi-Linear Regression (MLR) approach. The model is further subjected to sensitivity analysis with reference to identified attributes to realize the impact of the identified attributes on travel time so as to suggest certain measures for improvement.

This paper contributes to the intersections of post qualitative methods, digital methods, and internet studies, by describing the becoming of a digital posthuman visual method. I use posthuman autoethnography to argue that in the production of this method, the “auto” or my academic selfhood is decentered and entangled amidst an assemblage of material, discursive, and affective forces such as neoliberalism, Trump era terror, and dataism. I introduce a multitude of data points typically not made to matter but through which these material, discursive and affective forces importantly flowed in this production of this method: emails, personal correspondences, restaurant conversations, self-reflection, conferences talks and responses to conference talks. I focus specifically on the moments where the values and principles of feminist posthumanism were jarred and destabilized or where I was made to choose between foregoing my values or redesign my method and myself as methodologist. I argue academics have a response-ability to show both the forces at play behind the becoming of qualitative methods and knowledge in academia.

AbstractThe social networks of older people are a significant influence on their health and wellbeing. Adult children are an important element in their parent's network and provide the majority of informal care. The morphology of personal networks alters with age, employment, gender and relationships. Not having children automatically reduces both vertical familial structure and affects the wider formal and informal social links that children can bring. Childless men are missing from gerontological, reproduction, sociological and psychological research. These fields have all mainly focused on family and women. This paper reports on an auto/biographical qualitative study framed by biographical, feminist, gerontological and lifecourse approaches. Data were gathered from semi-structured biographical interviews with 14 self-defined involuntarily childless men aged between 49 and 82 years old. A latent thematic analysis highlighted the complex intersections between childlessness and individual agency, relationships and socio-cultural structures. The impact of major lifecourse events and non-events had significant implications for how childless people perform and view their social and self-identity. I argue that involuntary childlessness affects the social, emotional and relational aspects of men's lived experience across the lifecourse.

Hexahedral elements provide greater accuracy and efficiency over tetrahedral elements for finite element analysis of solids and for this reason the all-hexahedral element auto meshing has a growing demand. The whisker-weaving based plastering algorithm developed by the authors can generate hexahedral mesh (HM) automatically. In this method the prerequisite for generating HM is quadrilateral surface mesh (SM). From the given SM, combinatorial dual cycles or whisker sheet loops for whisker weaving algorithm are generated to produce HM. Generation of good quality HM does not depend only on the quality of quadrilaterals of the SM but also on the quality of the dual cycles generated from it. If the dual cycles have self-intersection, it could cause the formation of degenerated hexahedron called knife element, which is not usable in finite element analysis. In this paper a detailed method is proposed to modify the SM to remove self-intersections from its dual loops. The SM modification procedure of this proposed method has three basic steps. These steps are (a) face collapsing, (b) new face generation and (c) template application. A fully automatic computer program is developed on the basis of this proposed method and a number of models are analyzed to show the effectiveness of the proposal.DOI: http://dx.doi.org/10.3329/jme.v41i2.7505

Abstract This article aims at contributing to the contemporary reception of Heidegger’s thought in eco-philosophical perspective. Its point of departure is Heidegger’s claim, in his Bremen lectures and The Question Concerning Technology, that today the earth is submitted to permanent requisition and planned ordering, and that, having thus lost sight of its auto-poiesis, we are no longer capable of listening, tuning in, and singing back to what he calls in his course on Heraclitus the “song of the earth.” Accordingly, first we examine how the inherently reciprocal dynamics of “earth” and “world,” as thematised by Heidegger in The Origin of the Work of Art, have become opaque. Second, we analyse whether it is possible to find those same dynamics at play behind Heidegger’s “Fourfold,” which we propose to reread in binary key in dialogue with contemporary anthropology, from Bateson and Lévi-Strauss to Wagner and Viveiros de Castro, and in light of Guattari’s notion of “trans-entitarian generativity.” Third, we stress the need to reposition Heidegger’s thought alongside contemporary concerns on “worlding” and we explore its plausible intersections with today’s object-oriented ethnography. Lastly, we discuss the possibility of rereading Heidegger’s Fourfold afresh against the backdrop of Heidegger’s non-foundational thinking, as a conceptual metaphor for the joint dynamics of Abgrund and Grund.


 
 
 Cet article est issu d’une recherche-action participative et communautaire menée dans la province de Québec auprès de 54 jeunes trans (15-25 ans). Il décrit la difficile réalité à laquelle font face les jeunes étant à la fois trans et handicapé-es et vivant à l’intersection du cisgenrisme (ou transphobie) et du capacitisme. Le projet de recherche, qui a fait appel à la méthodologie de la théorisation ancrée, s’est déroulé en deux vagues de collecte de données entre 2016 et 2019. Au total, 39 jeunes sur les 54 rencontré-es en entrevues (72.2%) se sont auto-identifié-es comme handicapé-es. Cet article se focalise donc sur l’expérience de ces jeunes. Nous débutons l’article par une recension des écrits sur la thématique «transitude et handicap». Ensuite, nous présentons le concept sensibilisateur dans notre recherche, soit l’intersectionnalité, de même que le cadre méthodologique ayant guidé le projet, à savoir la théorisation ancrée. Puis, nous présentons et discutons les résultats de recherche. Après avoir montré que, pour les jeunes trans, le handicap a des implications à tous les niveaux dans leur vie et ne peut être séparé de leur identité trans, nous explorons les intersections entre transitude et handicap dans la vie de ces jeunes à travers deux grands axes. D’une part, nous montrons comment les handicaps et le capacitisme deviennent parfois des obstacles à la réalisation de l’identité de genre et, d’autre part, comment l’identité de genre et le cisgenrisme peuvent parfois devenir handicapants.
 
 

Purpose The purpose of this paper is to extensively report the implications of the global trend of declining fertility rates and an increasingly ageing population. The experiences of childless men are mostly absent from gerontological, psychological, reproduction, and sociological, research. These disciplines have mainly focussed on family formation and practices, whilst the fertility intentions, history, and experience of men have been overlooked. Not fulfilling the dominant social status of parenthood provides a significant challenge to both individual and cultural identity. Distress levels in both infertile men and women have been recorded as high as those with grave medical conditions. Design/methodology/approach The aim of this paper is to provide some insight into the affect involuntarily childless has on the lives of older men. This auto/biographical qualitative study used a pluralistic framework drawn from the biographical, feminist, gerontological, and life course approaches. Data were gathered from in-depth semi-structured biographical interviews with 14 self-defined involuntary men aged between 49 and 82 years from across the UK. A broad thematic analysis highlighted the complex intersections between involuntary childlessness and agency, biology, relationships, and socio-cultural structures. Findings Diverse elements affected the men’s involuntary childlessness: upbringing, economics, timing of events, interpersonal skills, sexual orientation, partner selection, relationship formation and dissolution, bereavement, and the assumption of fertility. The importance of relationship quality was highlighted for all the men: with and without partners. Quality of life was affected by health, relationships, and social networks. Awareness of “outsiderness” and a fear of being viewed a paedophile were widely reported. Research limitations/implications This is a study based on a small self-selecting “fortuitous” sample. Consequently care should be taken in applying the findings to the wider population. Originality/value Health and social care policy, practice and research have tended to focus on family and women. The ageing childless are absent and excluded from policy, practice, and research. Recognition of those ageing without children or family is urgent given that it is predicted that there will be over two million childless people aged 65 and over by 2030 (approximately 25 per cent of the 65 and over population). The consequences for health and social care of individuals and organisations are catastrophic if this does not happen.

The pollution caused by road traffic is a significant problem for society in the 21st century. Climate change and mortality among the population, are increasingly influenced by increasing traffic in urban agglomerations. The present study aims at the multi-criteria analysis of the pollution caused by traffic at several busy intersections in the city of Sibiu, Romania. Classification of intersections was done using the Synchro Studio with Warrants software. Air pollutants, noise, and the number of vehicles in the traffic were taken into account. To analyze these criteria as a whole, the analytical hierarchy process (AHP) and technique for order preference by similarity to ideal solution (TOPSIS) methods were used. A comparative study has been undertaken on the results obtained by applying the two multicriteria methods. The paper aims to provide solutions for the eco-economy of the future.

Narratives of the Autistic experience are often told, interpreted, and assigned value by people who are not Autistic, allowing dominant cultural understandings of Autism to pervade without substantial inquiry. In academia, a space in which there is little room for Autistic people in the first place, the power of these dominant ideologies is used to minimize our voices, dismiss our concerns, and devalue our insights. Drawing from Spry’s definition of auto-ethnography and using the works of Derrida and Ronell as aesthetic inspiration, we share and interpret our lived experiences to reclaim our Autistic academic identity. We deliberately disrupt conventions of scholarly writing and storytelling to demonstrate that Autistic narratives should and do interrupt, challenge, or even completely undermine academic normativity. We deploy this cripping-up of our experiences to interrogate how Autistic identity is constructed and negotiated in academia. In doing so, we explore avenues to integrate and celebrate Autism in academic spaces so that scholarship in disability studies, critical autism studies, and gender studies can be enhanced.

Abstract One major key to autonomous driving is reliable knowledge about the vehicle's surroundings. In complex situations like urban intersections, the vehicle's on-board sensors are often unable to detect and classify all features of the environment. Therefore, high-precision digital maps are widely used to provide the vehicle with additional information. In this article, we introduce a system which makes use of a mobile edge computing architecture (MEC) for computing digital maps on infrastructure-based, distributed computers. In cooperation with the mobile network operator Vodafone an LTE test field is implemented at the Aldenhoven Testing Center (ATC). The proving ground thus combines an urban crossing with the MEC capabilities of the LTE test field so that the developed methods can be tested in a realistic scenario. In the near future the LTE test field will be equipped with the new 5G mobile standard allowing for fast and reliable exchange of map and sensor data between vehicles and infrastructure.

Unlike Wagner, Mahler, or Schoenberg, Johannes Brahms is often absent from discussions of Viennese fin-de-siècle psychological theories and their intersections with musical culture. The privileged context depicting an aging Brahms resistant to new trends in politics and the arts discourages the notion that he would have known and been influenced by any such developments in the developing field of psychology or psychological arts. As a case study exploring Brahms’s potential engagement in these areas, this article reexamines the contested “legend” of Brahms playing piano in dive bars as an adolescent, not to determine its veracity, but in part to reveal how this motif functions in two different narrative models of Brahms biographies to about 1933. In the first model, the composer emerges spotless from the trials of a low-income childhood; in the second, however, he remains scarred by the unhealthy sexual climate of the bars. I argue that cultural-intellectual contexts in fin-de-siècle Vienna influenced Brahms’s attempts to shape his biographical narratives and that both models could have originated with Brahms himself. From Paolo Mantegazza’s sexology treatises to Hermann Bahr’s scandalous plays, the Viennese reading public was confronted with both scientific and literary material that conflated psychology, sexuality, and personal identity, while other artists such as Max Klinger sought to explore the unconscious motivations behind behaviors. In this context, we may reevaluate anecdotal evidence in which Brahms accords his adult problems to a traumatic childhood experience of playing piano in dangerous establishments: it suggests that Brahms could have taken part in fin-de-siècle trends of self-analysis and psychologized autobiography.

<p><strong>Resumen</strong></p><p>El feminismo británico negro se consolida a finales de los años 80 y está directamente vinculado a la lucha activista de mujeres inmigrantes, así como a la creación de grupos de escritura creativa. Este artículo traza una breve genealogía de escritoras británicas negras y asiáticas que utilizaron su voz para inscribir sus experiencias y reivindicar la necesidad de examinar las intersecciones entre las categorías de raza y género.</p><p><strong>Abstract</strong></p><p>The last years of the 80’s witnessed the consolidation of Black British and Asian British feminisms that have had their origins in the struggles and activism of Black and Asian women immigrants and the emergence of creative writing groups. This article draws a brief genealogy of Black and Asian British women writers who record their experiences and claim the need to re-examine the intersections between the categories of race and gender.</p><p> </p><div id="SLG_balloon_obj" style="display: block;"><div id="SLG_button" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png'); display: none; opacity: 0; transition: visibility 2s, opacity 2s linear;"> </div><div id="SLG_shadow_translation_result2" style="display: none;"> </div><div id="SLG_shadow_translator" style="display: none;"><div id="SLG_planshet" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg2.png') #f4f5f5;"><div id="SLG_arrow_up" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/up.png');"> </div><div id="SLG_providers" style="visibility: hidden;"><div id="SLG_P0" class="SLG_BL_LABLE_ON" title="Google">G</div><div id="SLG_P1" class="SLG_BL_LABLE_ON" title="Microsoft">M</div><div id="SLG_P2" class="SLG_BL_LABLE_ON" title="Translator">T</div></div><div id="SLG_alert_bbl" style="display: none;"> </div><div id="SLG_TB"><div id="SLG_bubblelogo" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png');"> </div><table id="SLG_tables" cellspacing="1"><tr><td class="SLG_td" align="right" width="10%"><input id="SLG_locer" title="Fijar idioma" type="checkbox" /></td><td class="SLG_td" align="left" width="20%"><select id="SLG_lng_from"><option value="auto">Detectar idioma</option><option value="">undefined</option></select></td><td class="SLG_td" align="center" width="3"> </td><td class="SLG_td" align="left" width="20%"><select id="SLG_lng_to"><option value="">undefined</option></select></td><td class="SLG_td" align="center" width="21%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" align="center" width="6%"> </td><td class="SLG_td" width="10%"> </td><td class="SLG_td" align="right" width="8%"> </td></tr></table></div></div><div id="SLG_shadow_translation_result" style="visibility: visible;"> </div><div id="SLG_loading" class="SLG_loading" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/loading.gif');"> </div><div id="SLG_player2"> </div><div id="SLG_alert100">La función de sonido está limitada a 200 caracteres</div><div id="SLG_Balloon_options" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg3.png') #ffffff;"><div id="SLG_arrow_down" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/down.png');"> </div><table width="100%"><tr><td align="left" width="18%" height="16"> </td><td align="center" width="68%"><a class="SLG_options" title="Mostrar opciones" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?bbl" target="_blank">Opciones</a> : <a class="SLG_options" title="Historial de traducciones" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?hist" target="_blank">Historia</a> : <a class="SLG_options" title="ImTranslator Ayuda" href="http://about.imtranslator.net/tutorials/presentations/google-translate-for-opera/opera-popup-bubble/" target="_blank">Ayuda</a> : <a class="SLG_options" title="ImTranslator Feedback" href="chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/html/options/options.html?feed" target="_blank">Feedback</a></td><td align="right" width="15%"><span id="SLG_Balloon_Close" title="Cerrar">Cerrar</span></td></tr></table></div></div></div>

Understanding the urban traffic flow at intersections is helpful to formulate traffic control strategies, so as to ease traffic pressure and improve people's living standards. There are many related researches on traffic flow, and similarity research is one of them. Different from the traditional way, this paper studies the traffic flow from the perspective of image similarity. The Convolutional Variational Auto-Encoder (CVAE) is introduced to extract the low-dimensional features of traffic flow during a day, and Affinity Propagation (AP) clustering algorithm is used to cluster the features without real labels. Combining the clustering results with geographic coordinates reveals the distribution pattern of traffic flow. The experimental data includes about 10 million vehicle records at 650 intersections in Changsha on a certain day. The clustering results show that the traffic flow at the intersection of Changsha City can be divided into three categories according to the time-variant trends, and the distribution of each category basically conforms to the daily traffic laws of the city. Furthermore, the effectiveness of the clustering process is further verified by clustering the open source temporal data of different lengths.

These papers were independently submitted to the Ethnography Division and the Disability Issues Caucus for the National Communication Association 2019 Annual Convention. The panel was entitled: “Survival in/at the Intersections: Contributed Papers on Race, Sexuality and Disability.” The substantive content of the papers in general bleed the disciplinary borders between self and community located in particular and shifting cultural contexts. These three essays take into consideration the ways in which place and space, positions and positionalities, as well as populations and politics always impact our shifting sense of self; and how desire and distain are held in tensive relations. Each essay sustains and promotes an activism of the self—through auto/ethnographic means that consistently promote critical qualitative scholarship in/as/for social justice, to change culture and to sustain community, especially as a response to how others construct us (as them).

Intercultural training is common practice in many organizations. By cross-cultural management scholars, intercultural training is often critiqued as overly simplistic. The argument is that intercultural trainers lack sophisticated cross-cultural management knowledge. Based on 6 years of ethnographic and auto-ethnographic research, I argue that such a categorical rejection of intercultural training practice as inferior functions as a closure mechanism towards higher scholarly relevance: The problem is not that intercultural training practice is overly simplistic but rather that cross-cultural management scholars fail to consider the actual processes of how intercultural training emerges in a certain (simplistic) and not in another (sophisticated) shape. What is required, is thus an investigation of the actual contexts, actors and chains of events, and of the power-relations underlying them, that bring a certain reality into being. To achieve this goal, I propose a practice approach to genealogy (based on Foucault) which I apply to rich auto-ethnographic and ethnographic material. In doing so, I work with ethnographic material in novel ways and move beyond a previously held, more structuralist, archival and textual approach to genealogy. Exemplifying the benefits of genealogy, I show how intercultural training is implicated by other, more intertwined and local, power-effects than those considered by academia, such as intersections of gender (women trainers), job precariousness, dominant male professionalism, organizational pressures and personal agendas. In walking the reader through the construction of a sample genealogy, I provide academics with a concrete approach of how to challenge taken-for-granted scholarly assumptions and make more impactful contributions to practice.

ABSTRACTThe article seeks to study the relationship between visuality and materiality. Visual Studies show an increasing interest in understanding the material dimension of images. The article stresses the need to understand the concepts of text and context as negative and problematic. A simple shift from text to context is insufficient for Visual Studies, which consider visuality as a no-self-evident concept. For this reason the validity of the concept is reviewed in order to maintain its critical force. Likewise it is recalled that the concept of text, far from being a tool for epistemological clarification, may end up adding new layers of complexity to research. The paper invites to understand social and narrative practices as articulated with a multitude of domains, realities, and material and social worlds. Accordingly it is argued that the study of the intersections between the material and the visual should abandon any dualistic logic in order to understand them as involved with processes of mutual co-constitution.RESUMENEl artículo pretende estudiar las relaciones entre visualidad y materialidad. Los Estudios Visuales muestran un creciente interés por entender la dimensión material de la imagen. El artículo subraya la necesidad de entender los concep-tos de texto y de contexto en su negatividad y problematicidad. Para unos Estudios que consideran la visualidad como un concepto no auto-evidente el simple desplazamiento del texto al contexto resulta insuficiente. Por ello se revisa la validez del concepto de texto para mantener su fuerza crítica. Del mismo modo se recuerda que el concepto de contexto, lejos de ser una herramienta de aclaración epistemológica, puede acabar añadiendo más capas de complejidad a la investigación. El artícu-lo invita a entender las prácticas y narrativas sociales articuladas con una multitud de dominios, realidades y mundos sociales y materiales. De acuerdo con ello se defiende que el estudio de las intersecciones entre lo visual y lo material debe abandonar cualquier lógica dualista para entenderlas dentro de procesos de co-constitución mutua.

AbstractThis paper analyzes and evaluates alternative options for action and earliest possible dates for intervention for an automated safety function to avoid or mitigate collisions in priority situations in which the right of way regulations are violated by the crossing road users. Based on a simulation of the collision avoidance strategies, the potential safety benefits could be predicted.

The present article contemplates some reflections produced from the accumulation produced in our research group around a research project that sought to understand some practices of education developed by Brazilian communists, in periods in which they lived educational practices in or for clandestinity, particularly between the 1950s and 1970s.From the intersection between history of education and political culture, we present theoretical-methodological reflections on the autobiographical narratives that constituted the sources of ongoing research. The methodology is qualitative in nature and based on the presentation of notes that could serve as a motto for reflection about the use of narratives and their interfaces with the experience and the collective memory. The reflections carried out argue that the analysis of the narratives present in the autobiographical sources must consider some theoretical-methodological intersections from the (autobiographical) research perspective, as well as on memory and experience.ResumoO presente artigo contempla algumas reflexões produzidas a partir do acúmulo produzido em nosso grupo de pesquisa em torno de um projeto de investigação que buscou compreender algumas práticas de educação desenvolvidas por comunistas brasileiros, em períodos nos quais viveram práticas educativas na ou para a clandestinidade, particularmente entre as décadas de 1950 e 1970. A partir da intersecção entre história da educação e cultura política, apresentamos reflexões de cunho teórico-metodológico sobre as narrativas autobiográficas que constituíram as fontes da investigação em curso. A metodologia é de natureza qualitativa e se pauta na apresentação de algumas notas que possam servir de mote para a reflexão sobre o uso de narrativas e suas interfaces com a experiência e a memória coletiva. As reflexões realizadas defendem que a análise das narrativas presentes nas fontes autobiográficas deve considerar algumas intersecções teórico-metodológicas da perspectiva da pesquisa (auto)biográfica, bem como sobre memória e experiência.ResumenEl presente artículo contempla algunas reflexiones producidas a partir de la acumulación producida en nuestro grupo de investigación en torno a un proyecto de investigación que buscó comprender algunas prácticas educativas desarrolladas por comunistas brasileños, en períodos en los que vivieron prácticas educativas en o para la clandestinidad, en particular entre los años 1950 y 1970. Desde la intersección entre la historia de la educación y la cultura política, presentamos reflexiones teórico-metodológicas sobre las narrativas autobiográficas que constituyeron las fuentes de la investigación en curso. La metodología es de naturaleza cualitativa y se basa en la presentación de algunas notas que pueden servir como un lema para la reflexión sobre el uso de las narrativas y sus interfaces con la experiencia y la memoria colectiva. Las reflexiones sostenidas sostienen que el análisis de las narrativas presentes en las fuentes autobiográficas debe considerar algunas intersecciones teóricas y metodológicas desde la perspectiva de la investigación (biográfica), así como sobre la memoria y la experiencia.Palavras-chave: Educação clandestina, Experiência, Memória coletiva, Narrativas.Keywords: Clandestine education, Experience, Collective memory, Narratives.Palabras clave: Educación clandestina, Experiencia, Memoria colectiva, Narrativas.ReferencesABRAHÃO, Maria Helena Menna Barreto (Orgs.). Educadores Sul-Rio-Grandenses: muita vida nas histórias de vida. Porto Alegre: EDIPUCRS, 2008.ABRAHÃO, Maria Helena Menna Barreto. História e histórias de vida – destacados educadores fazem a história da educação rio-grandense. Porto Alegre: EDIPUCRS, 2001.ABRAHÃO, Maria Helena Menna Barreto. Pesquisa (auto)biográfica: tempo, memória e narrativas. In: ______ (Org.). A aventura (auto)biográfica – teoria e empiria. 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Bracketed by a quotation from famed 1950s West German soccer coach S. Herberger and the word "Ende", the running length of the 1998 film Run Lola Run, directed by Tom Tykwer, is 9 minutes short of the official duration of a soccer match. Berlin has often been represented, in visual art and in cinematic imagery, as the modern metropolis: the Expressionist and Dadaist painters, Walter Ruttmann, Fritz Lang and Rainer Werner Fassbinder all depicted it as the modernising city. Since the '60s artists have staged artworks and performances in the public space of the city which critiqued the cold war order of that space, its institutions, and the hysterical attempt by the German government to erase a divided past after 1990. Run Lola Run depicts its setting, Berlin, as a cyberspace obstacle course or environment usually associated with interactive video and computer games. The eerie emptiness of the Berlin of Run Lola Run -- a fantasy projected onto a city which has been called the single biggest construction site in Europe -- is necessary to keep the protagonist Lola moving at high speed from the West to the East part of town and back again -- another fantasy which is only possible when the city is recast as a virtual environment. In Run Lola Run Berlin is represented as an idealised space of bodily and psychic mobility where the instantaneous technology of cyberspace is physically realised as a utopia of speed. The setting of Run Lola Run is not a playing field but a playing level, to use the parlance of video game technology. Underscored by other filmic devices and technologies, Run Lola Run emulates the kinetics and structures of a virtual, quasi-interactive environment: the Berlin setting of the film is paradoxically rendered as an indeterminate, but also site specific, entertainment complex which hinges upon the high-speed functioning of multiple networks of auto-mobility. Urban mobility as circuitry is performed by the film's super-athletic Lola. Lola is a cyber character; she recalls the 'cyberbabe' Lara Croft, heroine of the Sega Tomb Raider video game series. In Tomb Raider the Croft figure is controlled and manipulated by the interactive player to go through as many levels of play, or virtual environments, as possible. In order for the cyber figure to get to the next level of play she must successfully negotiate as many trap and puzzle mechanisms as possible. Speed in this interactive virtual game results from the skill of an experienced player who has practiced coordinating keyboard commands with figure movements and who is familiar with the obstacles the various environments can present. As is the case with Lara Croft, the figure of Lola in Run Lola Run reverses the traditional gender relations of the action/adventure game and of 'damsel in distress' narratives. Run Lola Run focusses on Lola's race to save her boyfriend from a certain death by obtaining DM 100,000 and delivering it across town in twenty minutes. The film adds the element of the race to the game, a variable not included in Tomb Raider. Tykwer repeats Lola's trajectory from home to the location of her boyfriend Manni thrice in the film, each time ending her quest with a different outcome. As in a video game, Lola can therefore be killed as the game unwinds during one turn of play, and on the next attempt she, and also we as viewers or would-be interactive players, would have learned from her previous 'mistakes' and adjust her actions accordingly. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film, which proceeds primarily at the pace of techno music. This quick rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. These events mark the end of one turn of 'play' and the restart of Lola's route. Tykwer visually contrasts Lola's linear mobility and her physical and mental capacity for speed with her boyfriend Manni's centripetal fixity, a marker of his helplessness, throughout the film. Manni, a bagman-in-training for a local mafioso, has to make his desperate phone calls from a single phone booth in the borough of Charlottenburg after he bungles a hand-off of payment money by forgetting it on the U-Bahn (the subway). In a black and white flashback sequence, viewers learn about Manni's ill-fated trip to the Polish border with a shipment of stolen cars. In contrast to his earlier mobility, Manni becomes entrapped in the phone booth as a result of his ineptitude. A spiral store sign close to the phone booth symbolizes Manni's entrapment. Tykwer contrasts this circular form with the lines and grids Lola transverses throughout the film. Where at first Lola is also immobilised after her moped is stolen by an 'unbelieveably fast' thief, her quasi-cybernetic thought process soon restores her movement. Tykwer visualizes Lola's frantic thinking in a series of photographic portraits which indicates her consideration of who she can contact to supply a large sum of money. Lola not only moves but thinks with the fast, even pace of a computer working through a database. Tykwer then repeats overhead shots of gridded pavement which Lola follows as she runs through the filmic frame. The grid, emblem of modernity and structure of the metropolis, the semiconductor, and the puzzles of a virtual environment, is necessary for mobility and speed, and is performed by the figure of Lola. The grid is also apparent in the trajectories of traffic of speeding bikes, subway trains,and airplanes passing overhead, which all parallel Lola's movements in the film. The city/virtual environment is thus an idealised nexus of local, national and global lines of mobility and communication.: -- OR -- Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. At no point does the film make explicit that the space of action is Berlin; in fact the setting of the film is far less significant than the filmic self-reflexivity Tykwer explores in Run Lola Run. Berlin becomes a postmodernist filmic text in which earlier films by Lang, Schlöndorff, von Sternberg and Wenders are cited in intertextual fashion. It is not by chance that the protagonist of Run Lola Run shares the name of Marlene Dietrich's legendary character in von Sternberg's The Blue Angel. The running, late-20th-century Lola reconnects with and gains power from the originary Lola Lola as ur-Star of German cinema. The high overhead shots of Run Lola Run technologically exceed those used by Lang in M in 1931 but still quote his filmic text; the spiral form, placed in a shop window in M, becomes a central image of Run Lola Run in marking the immobile spot that Manni occupies. Repeated several times in the film, Lola's scream bends events, characters and chance to her will and slows the relentless pace of the narrative. This vocal punctuation recalls the equally willful vocalisations of Oskar Matzerath in Schlöndorff's Tin Drum (1979). Tykwer's radical expansions and compressions of time in Run Lola Run rely on the temporal exploitation of the filmic medium. The film stretches 20 minutes of 'real time' in the lives of its two protagonists into the 84 minutes of the film. Tykwer also distills the lives of the film's incidental or secondary characters into a few still images and a few seconds of filmic time in the 'und dann...' [and then...] sequences of all three episodes. For example, Lola's momentary encounter with an employee of her father's bank spins off into two completely different life stories for this woman, both of which are told through four or five staged 'snapshots' which are edited together into a rapid sequence. The higher-speed photography of the snapshot keeps up the frenetic pace of Run Lola Run and causes the narrative to move forward even faster, if only for a few seconds. Tykwer also celebrates the technology of 35 mm film in juxtaposing it to the fuzzy imprecision of video in Run Lola Run. The viewer not only notes how scenes shot on video are less visually beautiful than the 35 mm scenes which feature Lola or Manni, but also that they seem to move at a snail's pace. For example, the video-shot scene in Lola's banker-father's office also represents the boredom of his well-paid but stagnant life; another video sequence visually parallels the slow, shuffling movement of the homeless man Norbert as he discovers Manni's forgotten moneybag on the U-Bahn. Comically, he breaks into a run when he realises what he's found. Where Wim Wenders's Wings of Desire made beautiful cinematographic use of Berlin landmarks like the Siegessäule in black and white 35 mm, Tykwer relegates black and white to flashback sequences within the narrative and rejects the relatively meandering contemplation of Wenders's film in favour of the linear dynamism of urban space in Run Lola Run. -- OR -- Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. Nevertheless he establishes the united Berlin as the specific setting of the film. While Run Lola Run does not explicitly indicate that the space of action is Berlin, viewers are clear of the setting: a repeated establishing shot of the Friedrichstrasse U-Bahn stop, a central commuting street near the Brandenburg Gate in the former East Berlin which has undergone extensive reconstruction since 1990, begins each episode of the film. The play between the locality of Berlin and its role as the universal modernist metropolis is a trope of German cinema famously deployed by Fritz Lang in M, where the setting is also never explicitly revealed but implied by means of the use of the Berlin dialect in the dialogue of the film1. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film which proceeds primarily at the pace of techno music. Techno is also closely identified with the city of Berlin through its annual Techno Festival, which seems to grow larger with each passing year. Quick techno rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. Berlin is also made explicit as Tykwer often stages scenes at clearly-marked street intersections which identify particular locations or boroughs thoughout east and west Berlin. The viewer notes that Lola escapes her father's bank during one episode and faces Unter den Linden; several scenes unfold on the banks of the river Spree; Lola sprints between the Altes Museum and the Berlin Cathedral. Manni's participation in a car-theft ring points to the Berlin-focussed activity of actual Eastern European and Russian crime syndicates; the film features an interlude at the Polish border where Manni delivers a shipment of stolen Mercedes to underworld buyers, which has to do with the actual geographic proximity of Berlin to Eastern European countries. Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. Nevertheless he establishes the united Berlin as the specific setting of the film. While Run Lola Run does not explicitly indicate that the space of action is Berlin, viewers are clear of the setting: a repeated establishing shot of the Friedrichstrasse U-Bahn stop, a central commuting street near the Brandenburg Gate in the former East Berlin which has undergone extensive reconstruction since 1990, begins each episode of the film. The play between the locality of Berlin and its role as the universal modernist metropolis is a trope of German cinema famously deployed by Fritz Lang in M, where the setting is also never explicitly revealed but implied by means of the use of the Berlin dialect in the dialogue of the film1. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film which proceeds primarily at the pace of techno music. Techno is also closely identified with the city of Berlin through its annual Techno Festival, which seems to grow larger with each passing year. Quick techno rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. Berlin is also made explicit as Tykwer often stages scenes at clearly-marked street intersections which identify particular locations or boroughs thoughout east and west Berlin. The viewer notes that Lola escapes her father's bank during one episode and faces Unter den Linden; several scenes unfold on the banks of the river Spree; Lola sprints between the Altes Museum and the Berlin Cathedral. Manni's participation in a car-theft ring points to the Berlin-focussed activity of actual Eastern European and Russian crime syndicates; the film features an interlude at the Polish border where Manni delivers a shipment of stolen Mercedes to underworld buyers, which has to do with the actual geographic proximity of Berlin to Eastern European countries. Yet the speed of purposeful mobility is demanded in the contemporary united and globalised Berlin; lines of action or direction must be chosen and followed and chance encounters become traps or interruptions. Chance must therefore be minimised in the pursuit of urban speed, mobility, and commications access. In the globalised Berlin, Tykwer compresses chance encounters into individual snapshots of visual data which are viewed in quick succession by the viewer. Where artists such Christo and Sophie Calle had investigated the initial chaos of German reunification in Berlin, Run Lola Run rejects the hyper-contemplative and past-obsessed mood demanded by Christo's wrapping of the Reichstag, or Calle's documentation of the artistic destructions of unification3. Run Lola Run recasts Berlin as a network of fast connections, lines of uninterrupted movement, and productive output. It is therefore perhaps not surprising that Tykwer's idealised and embodied representation of Berlin as Lola has been politically appropriated as a convenient icon by the city's status quo: an icon of the successful reconstruction and rewiring of a united Berlin into a fast global broadband digital telecommunications network4. Footnotes See Edward Dimendberg's excellent discussion of filmic representations of the metropolis in "From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's and Joseph Losey's M." Wide Angle 19.4 (1997): 62-93. This is despite the fact that the temporal parameters of the plot of Run Lola Run forbid the aimlessness central to spazieren (strolling). See Walter Benjamin, "A Berlin Chronicle", in Reflections. Ed. Peter Demetz. Trans. Edmund Jephcott. New York: Schocken, 1986. 3-60. See Sophie Calle, The Detachment. London: G+B Arts International and Arndt & Partner Gallery, n.d. The huge success of Tykwer's film in Germany spawned many red-hair-coiffed Lola imitators in the Berlin populace. The mayor of Berlin sported Lola-esque red hair in a poster which imitated the one for the film, but legal intercession put an end to this trendy political statement. Brian Pendreigh. "The Lolaness of the Long-Distance Runner." The Guardian 15 Oct. 1999. I've relied on William J. Mitchell's cultural history of the late 20th century 'rebuilding' of major cities into connection points in the global telecommunications network, City of Bits: Space, Place, and the Infobahn. Cambridge: MIT P, 1995. Citation reference for this article MLA style: Claudia Mesch. "Racing Berlin: The Games of Run Lola Run." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/speed.php>. Chicago style: Claudia Mesch, "Racing Berlin: The Games of Run Lola Run," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/speed.php> ([your date of access]). APA style: Claudia Mesch. (2000) Racing Berlin: the games of Run Lola run. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/speed.php> ([your date of access]).

Unlike some current discourse on automediality, this essay eschews most of the analysis concerning the adoption or modification of avatars to deliberately enhance, extend or distort the self. Rather than the automedial enabling of alternative, virtual selves modified by playful, confronting or disarming avatars we concentrate instead on emerging efforts to present the self in hyper-realist, interactive modes. In doing so we ask, what is the relationship between traumatic forms of automediation and the affective impact on and response of the audience? We argue that, while on the one hand there are promising avenues for valuable individual and social engagements with traumatic forms of automediation, there is an overwhelming predominance of suffering as a theme in such virtual depictions, comingled with uncritically asserted promises of empathy, which are problematic as the technology assumes greater mainstream uptake.As Smith and Watson note, embodiment is always a “translation” where the body is “dematerialized” in virtual representation (“Virtually” 78). Past scholarship has analysed the capacity of immersive realms, such as Second Life or online games, to highlight how users can modify their avatars in often spectacular, non-human forms. Critics of this mode of automediality note that users can adopt virtually any persona they like (racial, religious, gendered and sexual, human, animal or hybrid, and of any age), behaving as “identity tourists” while occupying virtual space or inhabiting online communities (Nakamura). Furthermore, recent work by Jaron Lanier, a key figure from the 1980s period of early Virtual Reality (VR) technology, has also explored so-called “homuncular flexibility” which describes the capacity for humans to seemingly adapt automatically to the control mechanisms of an avatar with multiple legs, other non-human appendages, or for two users to work in tandem to control a single avatar (Won et. al.). But this article is concerned less with these single or multi-player online environments and the associated concerns over modifying interactive identities. We are principally interested in other automedial modes where the “auto” of autobiography is automated via Artificial Intelligences (AIs) to convincingly mimic human discourse as narrated life-histories.We draw from case studies promoted by the 2017 season of ABC television’s flagship science program, Catalyst, which opened with semi-regular host and biological engineer Dr Jordan Nguyen, proclaiming in earnest, almost religious fervour: “I want to do something that has long been a dream. I want to create a copy of a human. An avatar. And it will have a life of its own in virtual reality.” As the camera followed Nguyen’s rapid pacing across real space he extolled: “Virtual reality, virtual human, they push the limits of the imagination and help us explore the impossible […] I want to create a virtual copy of a person. A digital addition to the family, using technology we have now.”The troubling implications of such rhetoric were stark and the next third of the program did little to allay such techno-scientific misgivings. Directed and produced by David Symonds, with Nguyen credited as co-developer and presenter, the episode “Meet the Avatars” immediately introduced scenarios where “volunteers” entered a pop-up inner city virtual lab, to experience VR for the first time. The volunteers were shown on screen subjected to a range of experimental VR environments designed to elicit fear and/or adverse and disorienting responses such as vertigo, while the presenter and researchers from Sydney University constantly smirked and laughed at their participants’ discomfort. We can only wonder what the ethics process was for both the ABC and university researchers involved in these broadcast experiments. There is little doubt that the participant/s experienced discomfort, if not distress, and that was televised to a national audience. Presenter Nguyen was also shown misleading volunteers on their way to the VR lab, when one asked “You’re not going to chuck us out of a virtual plane are you?” to which Nguyen replied “I don't know what we’re going to do yet,” when it was next shown that they immediately underwent pre-programmed VR exposure scenarios, including a fear of falling exercise from atop a city skyscraper.The sweat-inducing and heart rate-racing exposures to virtual plank walks high above a cityscape, or seeing subjects haptically viewing spiders crawl across their outstretched virtual hands, all elicited predictable responses, showcased as carnivalesque entertainment for the viewing audience. As we will see, this kind of trivialising of a virtual environment’s capacity for immersion belies the serious use of the technology in a range of treatments for posttraumatic stress disorder (see Rizzo and Koenig; Rothbaum, Rizzo and Difede).Figure 1: Nguyen and researchers enjoying themselves as their volunteers undergo VR exposure Defining AutomedialityIn their pioneering 2008 work, Automedialität: Subjektkonstitution in Schrift, Bild und neuen Medien, Jörg Dünne and Christian Moser coined the term “automediality” to problematise the production, application and distribution of autobiographic modes across various media and genres—from literary texts to audiovisual media and from traditional expression to inter/transmedia and remediated formats. The concept of automediality was deployed to counter the conventional critical exclusion of analysis of the materiality/technology used for an autobiographical purpose (Gernalzick). Dünne and Moser proffered a concept of automediality that rejects the binary division of (a) self-expression determining the mediated form or (b) (self)subjectivity being solely produced through the mediating technology. Hence, automediality has been traditionally applied to literary constructs such as autobiography and life-writing, but is now expanding into the digital domain and other “paratextual sites” (Maguire).As Nadja Gernalzick suggests, automediality should “encourage and demand not only a systematics and taxonomy of the constitution of the self in respectively genre-specific ways, but particularly also in medium-specific ways” (227). Emma Maguire has offered a succinct working definition that builds on this requirement to signal the automedial universally, noting it operates asa way of studying auto/biographical texts (of a variety of forms) that take into account how the effects of media shape the kinds of selves that can be represented, and which understands the self not as a preexisting subject that might be distilled into story form but as an entity that is brought into being through the processes of mediation.Sidonie Smith and Julia Watson point to automediality as a methodology, and in doing so emphasize how the telling or mediation of a life actually shapes the kind of story that can be told autobiographically. They state “media cannot simply be conceptualized as ‘tools’ for presenting a preexisting, essential self […] Media technologies do not just transparently present the self. They constitute and expand it” (Smith and Watson “Virtually Me” 77).This distinction is vital for understanding how automediality might be applied to self-expression in virtual domains, including the holographic avatar dreams of Nguyen throughout Catalyst. Although addressing this distinction in relation to online websites, following P. David Marshall’s description of “the proliferation of the public self”, Maguire notes:The same integration of digital spaces and platforms into daily life that is prompting the development of new tools in autobiography studies […] has also given rise to the field of persona studies, which addresses the ways in which individuals engage in practices of self-presentation in order to form commoditised identities that circulate in affective communities.For Maguire, these automedial works operate textually “to construct the authorial self or persona”.An extension to this digital, authorial construction is apparent in the exponential uptake of screen mediated prosumer generated content, whether online or theatrical (Miller). According to Gernalzick, unlike fictional drama films, screen autobiographies more directly enable “experiential temporalities”. Based on Mary Anne Doane’s promotion of the “indexicality” of film/screen representations to connote the real, Gernalzick suggests that despite semiotic theories of the index problematising realism as an index as representation, the film medium is still commonly comprehended as the “imprint of time itself”:Film and the spectator of film are said to be in a continuous present. Because the viewer is aware, however, that the images experienced in or even as presence have been made in the past, the temporality of the so-called filmic present is always ambiguous” (230).When expressed as indexical, automedial works, the intrinsic audio-visual capacities of film and video (as media) far surpass the temporal limitations of print and writing (Gernalzick, 228). One extreme example can be found in an emergent trend of “performance crime” murder and torture videos live-streamed or broadcast after the fact using mobile phone cameras and FaceBook (Bender). In essence, the political economy of the automedial ecology is important to understand in the overall context of self expression and the governance of content exhibition, access, distribution and—where relevant—interaction.So what are the implications for automedial works that employ virtual interfaces and how does this evolving medium inform both the expressive autobiographical mode and audiences subjectivities?Case StudyThe Catalyst program described above strove to shed new light on the potential for emerging technology to capture and create virtual avatars from living participants who (self-)generate autobiographical narratives interactively. Once past the initial gee-wiz journalistic evangelism of VR, the episode turned towards host Nguyen’s stated goal—using contemporary technology to create an autonomous virtual human clone. Nguyen laments that if he could create only one such avatar, his primary choice would be that of his grandfather who died when Nguyen was two years old—a desire rendered impossible. The awkward humour of the plank walk scenario sequence soon gives way as the enthusiastic Nguyen is surprised by his family’s discomfort with the idea of digitally recreating his grandfather.Nguyen next visits a Southern California digital media lab to experience the process by which 3D virtual human avatars are created. Inside a domed array of lights and cameras, in less than one second a life-size 3D avatar is recorded via 6,000 LEDs illuminating his face in 20 different combinations, with eight cameras capturing the exposures from multiple angles, all in ultra high definition. Called the Light Stage (Debevec), it is the same technology used to create a life size, virtual holocaust survivor, Pinchas Gutter (Ziv).We see Nguyen encountering a life-size, high-resolution 2D screen version of Gutter’s avatar. Standing before a microphone, Nguyen asks a series of questions about Gutter’s wartime experiences and life in the concentration camps. The responses are naturalistic and authentic, as are the pauses between questions. The high definition 4K screen is photo-realist but much more convincing in-situ (as an artifact of the Catalyst video camera recording, in some close-ups horizontal lines of transmission appear). According to the project’s curator, David Traum, the real Pinchas Gutter was recorded in 3D as a virtual holograph. He spent 25 hours providing 1,600 responses to a broad range of questions that the curator maintained covered “a lot of what people want to say” (Catalyst).Figure 2: The Museum of Jewish Heritage in Manhattan presented an installation of New Dimensions in Testimony, featuring Pinchas Gutter and Eva SchlossIt is here that the intersection between VR and auto/biography hybridise in complex and potentially difficult ways. It is where the concept of automediality may offer insight into this rapidly emerging phenomenon of creating interactive, hyperreal versions of our selves using VR. These hyperreal VR personae can be questioned and respond in real-time, where interrogators interact either as casual conversers or determined interrogators.The impact on visitors is sobering and palpable. As Nguyen relates at the end of his session, “I just want to give him a hug”. The demonstrable capacity for this avatar to engender a high degree of empathy from its automedial testimony is clear, although as we indicate below, it could simply indicate increased levels of emotion.Regardless, an ongoing concern amongst witnesses, scholars and cultural curators of memorials and museums dedicated to preserving the history of mass violence, and its associated trauma, is that once the lived experience and testimony of survivors passes with that generation the impact of the testimony diminishes (Broderick). New media modes of preserving and promulgating such knowledge in perpetuity are certainly worthy of embracing. As Stephen Smith, the executive director of the USC Shoah Foundation suggests, the technology could extendto people who have survived cancer or catastrophic hurricanes […] from the experiences of soldiers with post-traumatic stress disorder or survivors of sexual abuse, to those of presidents or great teachers. Imagine if a slave could have told her story to her grandchildren? (Ziv)Yet questions remain as to the veracity of these recorded personae. The avatars are created according to a specific agenda and the autobiographical content controlled for explicit editorial purposes. It is unclear what and why material has been excluded. If, for example, during the recorded questioning, the virtual holocaust survivor became mute at recollecting a traumatic memory, cried or sobbed uncontrollably—all natural, understandable and authentic responses given the nature of the testimony—should these genuine and spontaneous emotions be included along with various behavioural ticks such as scratching, shifting about in the seat and other naturalistic movements, to engender a more profound realism?The generation of the photorealist, mimetic avatar—remaining as an interactive persona long after the corporeal, authorial being is gone—reinforces Baudrillard’s concept of simulacra, where a clone exists devoid of its original entity and unable to challenge its automedial discourse. And what if some unscrupulous hacker managed to corrupt and subvert Gutter’s AI so that it responded antithetically to its purpose, by denying the holocaust ever happened? The ethical dilemmas of such a paradigm were explored in the dystopian 2013 film, The Congress, where Robyn Wright plays herself (and her avatar), as an out of work actor who sells off the rights to her digital self. A movie studio exploits her screen persona in perpetuity, enabling audiences to “become” and inhabit her avatar in virtual space while she is limited in the real world from undertaking certain actions due to copyright infringement. The inability of Wright to control her mimetic avatar’s discourse or action means the assumed automedial agency of her virtual self as an immortal, interactive being remains ontologically perplexing.Figure 3: Robyn Wright undergoing a full body photogrammetry to create her VR avatar in The Congress (2013)The various virtual exposures/experiences paraded throughout Catalyst’s “Meet the Avatars” paradoxically recorded and broadcast a range of troubling emotional responses to such immersion. Many participant responses suggest great caution and sensitivity be undertaken before plunging headlong into the new gold rush mentality of virtual reality, augmented reality, and AI affordances. Catalyst depicted their program subjects often responding in discomfort and distress, with some visibly overwhelmed by their encounters and left crying. There is some irony that presenter Ngyuen was himself relying on the conventions of 2D linear television journalism throughout, adopting face-to-camera address in (unconscious) automedial style to excitedly promote the assumed socio-cultural boon such automedial VR avatars will generate.Challenging AuthenticityThere are numerous ethical considerations surrounding the potential for AIs to expand beyond automedial (self-)expression towards photorealist avatars interacting outside of their pre-recorded content. When such systems evolve it may be neigh impossible to discern on screen whether the person you are conversing with is authentic or an indistinguishable, virtual doppelganger. In the future, a variant on the Turning Test may be needed to challenge and identify such hyperreal simulacra. We may be witnessing the precursor to such a dilemma playing out in the arena of audio-only podcasts, with some public intellectuals such as Sam Harris already discussing the legal and ethical problems from technology that can create audio from typed text that convincingly replicate the actual voice of a person by sampling approximately 30 minutes of their original speech (Harris). Such audio manipulation technology will soon be available to anybody with the motivation and relatively minor level of technological ability in order to assume an identity and masquerade as automediated dialogue. However, for the moment, the ability to convincingly alter a real-time computer generated video image of a person remains at the level of scientific innovation.Also of significance is the extent to which the audience reactions to such automediated expressions are indeed empathetic or simply part of the broader range of affective responses that also include direct sympathy as well as emotions such as admiration, surprise, pity, disgust and contempt (see Plantinga). There remains much rhetorical hype surrounding VR as the “ultimate empathy machine” (Milk). Yet the current use of the term “empathy” in VR, AI and automedial forms of communication seems to be principally focused on the capacity for the user-viewer to ameliorate negatively perceived emotions and experiences, whether traumatic or phobic.When considering comments about authenticity here, it is important to be aware of the occasional slippage of technological terminology into the mainstream. For example, the psychological literature does emphasise that patients respond strongly to virtual scenarios, events, and details that appear to be “authentic” (Pertaub, Slater, and Barker). Authentic in this instance implies a resemblance to a corresponding scenario/activity in the real world. This is not simply another word for photorealism, but rather it describes for instance the experimental design of one study in which virtual (AI) audience members in a virtual seminar room designed to treat public speaking anxiety were designed to exhibit “random autonomous behaviours in real-time, such as twitches, blinks, and nods, designed to encourage the illusion of life” (Kwon, Powell and Chalmers 980). The virtual humans in this study are regarded as having greater authenticity than an earlier project on social anxiety (North, North, and Coble) which did not have much visual complexity but did incorporate researcher-triggered audio clips of audience members “laughing, making comments, encouraging the speaker to speak louder or more clearly” (Kwon, Powell, and Chalmers 980). The small movements, randomly cued rather than according to a recognisable pattern, are described by the researchers as creating a sense of authenticity in the VR environment as they seem to correspond to the sorts of random minor movements that actual human audiences in a seminar can be expected to make.Nonetheless, nobody should regard an interaction with these AIs, or the avatar of Gutter, as in any way an encounter with a real person. Rather, the characteristics above function to create a disarming effect and enable the real person-viewer to willingly suspend their disbelief and enter into a pseudo-relationship with the AI; not as if it is an actual relationship, but as if it is a simulation of an actual relationship (USC). Lucy Suchman and colleagues invoke these ideas in an analysis of a YouTube video of some apparently humiliating human interactions with the MIT created AI-robot Mertz. Their analysis contends that, while it may appear on first glance that the humans’ mocking exchange with Mertz are mean-spirited, there is clearly a playfulness and willingness to engage with a form of AI that is essentially continuous with “long-standing assumptions about communication as information processing, and in the robot’s performance evidence for the limits to the mechanical reproduction of interaction as we know it through computational processes” (Suchman, Roberts, and Hird).Thus, it will be important for future work in the area of automediated testimony to consider the extent to which audiences are willing to suspend disbelief and treat the recounted traumatic experience with appropriate gravitas. These questions deserve attention, and not the kind of hype displayed by the current iteration of techno-evangelism. Indeed, some of this resurgent hype has come under scrutiny. From the perspective of VR-based tourism, Janna Thompson has recently argued that “it will never be a substitute for encounters with the real thing” (Thompson). Alyssa K. Loh, for instance, also argues that many of the negatively themed virtual experiences—such as those that drop the viewer into a scene of domestic violence or the location of a terrorist bomb attack—function not to put you in the position of the actual victim but in the position of the general category of domestic violence victim, or bomb attack victim, thus “deindividuating trauma” (Loh).Future work in this area should consider actual audience responses and rely upon mixed-methods research approaches to audience analysis. In an era of alt.truth and Cambridge Analytics personality profiling from social media interaction, automediated communication in the virtual guise of AIs demands further study.ReferencesAnon. “New Dimensions in Testimony.” Museum of Jewish Heritage. 15 Dec. 2017. 19 Apr. 2018 <http://mjhnyc.org/exhibitions/new-dimensions-in-testimony/>.Australian Broadcasting Corporation. “Meet The Avatars.” Catalyst, 15 Aug. 2017.Baudrillard, Jean. “Simulacra and Simulations.” Jean Baudrillard: Selected Writings. Ed. Mark Poster. Stanford: Stanford UP, 1988. 166-184.Bender, Stuart Marshall. Legacies of the Degraded Image in Violent Digital Media. 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München: Wilhelm Fink, 2008. 7-16.Harris, Sam. “Waking Up with Sam Harris #64 – Ask Me Anything.” YouTube, 16 Feb. 2017. 16 Mar. 2018 <https://www.youtube.com/watch?v=gMTuquaAC4w>.Kwon, Joung Huem, John Powell, and Alan Chalmers. “How Level of Realism Influences Anxiety in Virtual Reality Environments for a Job Interview.” International Journal of Human-Computer Studies 71.10 (2013): 978-87.Loh, Alyssa K. "I Feel You." Artforum, Nov. 2017. 10 Apr. 2018 <https://www.artforum.com/print/201709/alyssa-k-loh-on-virtual-reality-and-empathy-71781>.Marshall, P. 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"Effectiveness of Virtual Environment Desensitization in the Treatment of Agoraphobia." International Journal of Virtual Reality 1.2 (1995): 25-34.Pertaub, David-Paul, Mel Slater, and Chris Barker. “An Experiment on Public Speaking Anxiety in Response to Three Different Types of Virtual Audience.” Presence: Teleoperators and Virtual Environments 11.1 (2002): 68-78.Plantinga, Carl. "Emotion and Affect." The Routledge Companion to Philosophy and Film. Eds. Paisley Livingstone and Carl Plantinga. New York: Routledge, 2009. 86-96.Rizzo, A.A., and Sebastian Koenig. “Is Clinical Virtual Reality Ready for Primetime?” Neuropsychology 31.8 (2017): 877-99.Rothbaum, Barbara O., Albert “Skip” Rizzo, and JoAnne Difede. "Virtual Reality Exposure Therapy for Combat-Related Posttraumatic Stress Disorder." Annals of the New York Academy of Sciences 1208.1 (2010): 126-32.Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide to Interpreting Life Narratives. 2nd ed. Minneapolis: U of Minnesota P, 2010.———. “Virtually Me: A Toolbox about Online Self-Presentation.” Identity Technologies: Constructing the Self Online. Eds. Anna Poletti and Julie Rak. Madison: U of Wisconsin P, 2014. 70-95.Suchman, Lucy, Celia Roberts, and Myra J. Hird. "Subject Objects." Feminist Theory 12.2 (2011): 119-45.Thompson, Janna. "Why Virtual Reality Cannot Match the Real Thing." The Conversation, 14 Mar. 2018. 10 Apr. 2018 <http://theconversation.com/why-virtual-reality-cannot-match-the-real-thing-92035>.USC. "Skip Rizzo on Medical Virtual Reality: USC Global Conference 2014." YouTube, 28 Oct. 2014. 2 Apr. 2018 <https://www.youtube.com/watch?v=PdFge2XgDa8>.Won, Andrea Stevenson, Jeremy Bailenson, Jimmy Lee, and Jaron Lanier. "Homuncular Flexibility in Virtual Reality." Journal of Computer-Mediated Communication 20.3 (2015): 241-59.Ziv, Stan. “How Technology Is Keeping Holocaust Survivor Stories Alive Forever”. 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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each audience member, and the nature of storytelling in the absence of a unifying author, or when authorship itself takes on a serial character. This special issue opens a conversation on the intersection of these three concepts and their implications for a variety of disciplines, artistic practices, and philosophies. By re-thinking these concepts from fresh perspectives, the collection challenges scholars to consider how a wide range of academic, aesthetic, and social phenomena might be productively thought through using the overlapping lenses of transmedia, seriality, and narrativity. Thus, the collection gathers scholars from life-writing, sport, film studies, cultural anthropology, fine arts, media studies, and literature, all of whom find common ground at this fruitful crossroads. This breadth also challenges the narrow use of transmedia as a specialized term to describe current developments in corporate mass media products that seek to exploit the affordances of hybrid digital media environments. Many prominent scholars, including Marie-Laure Ryan and Henry Jenkins, acknowledge that a basic definition of transmedia as stories with extensions and reinterpretations in numerous media forms includes the oldest kinds of human expression, such as the ancient storyworlds of Arthurian legend and The Odyssey. Yet, what Jenkins terms “top-down” transmedia—that is, pre-planned and often corporate transmedia—has received a disproportionate share of scholarly attention, with modern franchises like The Matrix, the Marvel universe, and Lost serving as common exemplars (Flanagan, Livingstone, and McKenny; Hadas; Mittell; Scolari). Thus, many of the contributions to this issue push the boundaries of what has commonly been studied as transmedia as well as the limits of what may be considered a serial structure or even a story. For example, these papers imagine how an autobiography may also be a digital concept album unfolding in reverse, how participatory artistic performances may unfold in unpredictable instalments across physical and digital space, and how studying sports fandom as a long series of transmedia narrative elements encourages scholars to grapple with the unique structures assembled by audiences of non-fictional story worlds. Setting these experimental offerings into dialogue with entries that approach the study of transmedia in a more established manner provides the basis for building bridges between such recognized conversations in new media studies and potential collaborations with other disciplines and subfields of media studies.This issue builds upon papers collected from four years of the International Transmedia Serial Narration Seminar, which I co-organized with Dr. Claire Cornillon, Assistant Professor (Maîtresse de Conférences) of comparative literature at Université de Nîmes. The seminar held sessions in Paris, Le Havre, Rouen, Amsterdam, and Utrecht, with interdisciplinary speakers from the USA, Australia, France, Belgium, and the Netherlands. As a transnational, interdisciplinary project intended to cross both theoretical and physical boundaries, the seminar aimed to foster exchange between academic conversations that can become isolated not only within disciplines, but also within national and linguistic borders. The seminar thus sought to enhance academic mobility between both people and ideas, and the digital, open-access publication of the collected papers alongside additional scholarly interlocutors serves to broaden the seminar’s goals of creating a border-crossing conversation. After two special issues primarily collecting the French language papers in TV/Series (2014) and Revue Française des Sciences de l’Information et de la Communication (2017), this issue seeks to share the Transmedia Serial Narration project with a wider audience by publishing the remaining English-language papers, accompanied by several other contributions in dialogue with the seminar’s themes. It is our hope that this collection will invite a broad international audience to creatively question the meaning of transmedia, seriality, and narrativity both historically and in the modern, rapidly changing, global and digital media environment.Several articles in the issue illuminate existing debates and common case studies in transmedia scholarship by comparing theoretical models to the much more slippery reality of a media form in flux. Thus, Mélanie Bourdaa’s feature article, “From One Medium to the Next: How Comic Books Create Richer Storylines,” examines theories of narrative complexity and transmedia by scholars including Henry Jenkins, Derek Johnson, and Jason Mittell to then propose a new typology of extensions to accommodate the lived reality expressed by producers of transmedia. Because her interviews with artists and writers emphasize the co-constitutive nature of economic and narrative considerations in professionals’ decisions, Bourdaa’s typology can offer researchers a tool to clarify the marketing and narrative layers of transmedia extensions. As such, her classification system further illuminates what is particular about forms of corporate transmedia with a profit orientation, which may not be shared by non-profit, collective, and independently produced transmedia projects.Likewise, Radha O’Meara and Alex Bevan map existing scholarship on transmedia to point out the limitations of deriving theory only from certain forms of storytelling. In their article “Transmedia Theory’s Author Discourse and Its Limitations,” O’Meara and Bevan argue that scholars have preferred to focus on examples of transmedia with a strong central author-figure or that they may indeed help to rhetorically shore up the coherency of transmedia authorship through writing about transmedia creators as auteurs. Tying their critique to the established weaknesses of auteur theory associated with classic commentaries like Roland Barthes’ “Death of the Author” and Foucault’s “What is an Author?”, O’Meara and Bevan explain that this focus on transmedia creators as authority figures reinforces hierarchical, patriarchal understandings of the creative process and excludes from consideration all those unauthorized transmedia extensions through which audiences frequently engage and make meaning from transmedia networks. They also emphasize the importance of constructing academic theories of transmedia authorship that can accommodate collaborative forms of hybrid amateur and professional authorship, as well as tolerate the ambiguities of “authorless” storyworlds that lack clear narrative boundaries. O’Meara and Bevan argue that such theories will help to break down gendered power hierarchies in Hollywood, which have long allowed individual men to “claim credit for the stories and for all the work that many people do across various sectors and industries.”Dan Hassler-Forest likewise considers existing theory and a corporate case study in his examination of analogue echoes within a modern transmedia serial structure by mapping the storyworld of Twin Peaks (1990). His article, “‘Two Birds with One Stone’: Transmedia Serialisation in Twin Peaks,” demonstrates the push-and-pull between two contemporary TV production strategies: first, the use of transmedia elements that draw viewers away from the TV screen toward other platforms, and second, the deployment of strategies that draw viewers back to the TV by incentivizing broadcast-era appointment viewing. Twin Peaks offers a particularly interesting example of the manner in which these strategies intertwine partly because it already offered viewers an analogue transmedia experience in the 1990s by splitting story elements between TV episodes and books. Unlike O’Meara and Bevan, who elucidate the growing prominence of transmedia auteurs who lend rhetorical coherence to dispersed narrative elements, Hassler-Forest argues that this older analogue transmedia network capitalized upon the dilution of authorial authority, due to the distance between TV and book versions, to negotiate tensions between the producers’ competing visions. Hassler-Forest also notes that the addition of digital soundtrack albums further complicates the serial nature of the story by using the iTunes and TV distribution schedules to incentivize repeated sequential consumption of each element, thus drawing modern viewers to the TV screen, then the computer screen, and then back again.Two articles offer a concrete test of these theoretical perspectives by utilizing ethnographic participant-observation and interviewing to examine how audiences actually navigate diffuse, dispersed storyworlds. For example, Céline Masoni’s article, “From Seriality to Transmediality: A Socio-narrative Approach of a Skilful and Literate Audience,” documents fans’ highly strategic participatory practices. From her observations of and interviews with fans, Masoni theorizes the types of media literacy and social as well as technological competencies cultivated through transmedia fan practices. Olivier Servais and Sarah Sepulchre’s article similarly describes a long-term ethnography of fan transmedia activity, including interviews with fans and participant-observation of the MMORPG (Massively Multiplayer Online Role-Playing Game) Game of Thrones Ascent (2013). Servais and Sepulchre find that most people in their interviews are not “committed” fans, but rather casual readers and viewers who follow transmedia extensions sporadically. By focusing on this group, they widen the existing research which often focuses on or assumes a committed audience like the skilful and literate fans discussed by Masoni.Servais and Sepulchre’s results suggest that these viewers may be less likely to seek out all transmedia extensions but readily accept and adapt unexpected elements, such as the media appearances of actors, to add to their serial experiences of the storyworld. In a parallel research protocol observing the Game of Thrones Ascent MMORPG, Servais and Sepulchre report that the most highly-skilled players exhibit few behaviours associated with immersion in the storyworld, but the majority of less-skilled players use their gameplay choices to increase immersion by, for example, choosing a player name that evokes the narrative. As a result, Servais and Sepulchre shed light upon the activities of transmedia audiences who are not necessarily deeply committed to the entire transmedia network, and yet who nonetheless make deliberate choices to collect their preferred narrative elements and increase their own immersion.Two contributors elucidate forms of transmedia that upset the common emphasis on storyworlds with film or TV as the core property or “mothership” (Scott). In her article “Transmedia Storyworlds, Literary Theory, Games,” Joyce Goggin maps the history of intersections between experimental literature and ludology. As a result, she questions the continuing dichotomy between narratology and ludology in game studies to argue for a more broadly transmedia strategy, in which the same storyworld may be simultaneously narrative and ludic. Such a theory can incorporate a great deal of what might otherwise be unproblematically treated as literature, opening up the book to interrogation as an inherently transmedial medium.L.J. Maher similarly examines the serial narrative structures that may take shape in a transmedia storyworld centred on music rather than film or TV. In her article “You Got Spirit, Kid: Transmedial Life-Writing Across Time and Space,” Maher charts the music, graphic novels, and fan interactions that comprise the Coheed and Cambria band storyworld. In particular, Maher emphasizes the importance of autobiography for Coheed and Cambria, which bridges between fictional and non-fictional narrative elements. This interplay remains undertheorized within transmedia scholarship, although a few have begun to explicate the use of transmedia life-writing in an activist context (Cati and Piredda; Van Luyn and Klaebe; Riggs). As a result, Maher widens the scope of existing transmedia theory by more thoroughly connecting fictional and autobiographical elements in the same storyworld and considering how serial transmedia storytelling structures may differ when the core component is music.The final three articles take a more experimental approach that actively challenges the existing boundaries of transmedia scholarship. Catherine Lord’s article, “Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-serial,” explores the unique storytelling structures of a cluster of independent films that traverse time, space, medium, and gender. Although not a traditional transmedia project, since the network includes a novel and film adaptations and extensions by different directors as well as real-world locations and histories, Lord challenges transmedia theorists to imagine storyworlds that include popular history, independent production, and spatial performances and practices. Lord argues that the main character’s trans identity provides an embodied and theoretical pivot within the storyworld, which invites audiences to accept a position of radical mobility where all fixed expectations about the separation between categories of flora and fauna, centre and periphery, the present and the past, as well as authorized and unauthorized extensions, dissolve.In his article “Non-Fiction Transmedia: Seriality and Forensics in Media Sport,” Markus Stauff extends the concept of serial transmedia storyworlds to sport, focusing on an audience-centred perspective. For the most part, transmedia has been theorized with fictional storyworlds as the prototypical examples. A growing number of scholars, including Arnau Gifreu-Castells and Siobhan O'Flynn, enrich our understanding of transmedia storytelling by exploring non-fiction examples, but these are commonly restricted to the documentary genre (Freeman; Gifreu-Castells, Misek, and Verbruggen; Karlsen; Kerrigan and Velikovsky). Very few scholars comment on the transmedia nature of sport coverage and fandom, and when they do so it is often within the framework of transmedia news coverage (Gambarato, Alzamora, and Tárcia; McClearen; Waysdorf). Stauff’s article thus provides a welcome addition to the existing scholarship in this field by theorizing how sport fans construct a user-centred serial transmedia storyworld by piecing together narrative elements across media sources, embodied experiences, and the serialized ritual of sport seasons. In doing so, he points toward ways in which non-fiction transmedia may significantly differ from fictional storyworlds, but he also enriches our understanding of an audience-centred perspective on the construction of transmedia serial narratives.In his artistic practice, Robert Lawrence may most profoundly stretch the existing parameters of transmedia theory. Lawrence’s article, “Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art,” details his decades-long interrogation of transmedia seriality through performative and participatory forms of art that bridge digital space, studio space, and public space. While theatre and fine arts have often been considered through the theoretical lens of intermediality (Bennett, Boenisch, Kattenbelt, Vandsoe), the nexus of transmedia, seriality, and narrative enables Lawrence to describe the complex, interconnected web of planned and unplanned extensions of his hybrid digital and physical installations, which often last for decades and incorporate a global scope. Lawrence thus takes the strategies of engagement that are perhaps more familiar to transmedia theorists from corporate viral marketing campaigns and turns them toward civic ends (Anyiwo, Bourdaa, Hardy, Hassler-Forest, Scolari, Sokolova, Stork). As such, Lawrence’s artistic practice challenges theorists of transmedia and intermedia to consider the kinds of social and political “interventions” that artists and citizens can stage through the networked possibilities of transmedia expression and how the impact of such projects can be amplified through serial repetition.Together, the whole collection opens new pathways for transmedia scholarship, more deeply explores how transmedia narration complicates understandings of seriality, and constructs an international, interdisciplinary dialogue that brings often isolated conversations into contact. In particular, this issue enriches the existing scholarship on independent, artistic, and non-fiction transmedia, while also proposing some important limitations, exceptions, and critiques to existing scholarship featuring corporate transmedia projects with a commercial, top-down structure and a strong auteur-like creator. These diverse case studies and perspectives enable us to understand more inclusively the structures and social functions of transmedia in the pre-digital age, to theorize more robustly how audiences experience transmedia in the current era of experimentation, and to imagine more broadly a complex future for transmedia seriality wherein professionals, artists, and amateurs all engage in an iterative, inclusive process of creative and civic storytelling, transcending artificial borders imposed by discipline, nationalism, capitalism, and medium.ReferencesAnyiwo, U. Melissa. "It’s Not Television, It’s Transmedia Storytelling: Marketing the ‘Real’World of True Blood." True Blood: Investigating Vampires and Southern Gothic. Ed. Brigid Cherry. New York: IB Tauris, 2012. 157-71.Barthes, Roland. "The Death of the Author." Image, Music, Text. Trans. Stephen Heath. Basingstoke: Macmillian, 1988. 142-48.Bennett, Jill. "Aesthetics of Intermediality." 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