Journal articles on the topic 'Chemical metaphors'

The language used to describe the tastes of various wines ranges from specific references to chemical, vegetal and mineral components to a wealth of diverse metaphorical constructions. This paper explores the use and characteristics of the anthropomorphic metaphor in wine reviews from a cross–linguistic perspective. The theoretical framework relies on the cognitive approach to metaphor, most notably on the conceptual theory of metaphor. The case study presented is focused on the conceptual metaphor WINE IS A HUMAN BEING and its linguistic realisations in a corpus of wine reviews collected from selected Slovene and English sources. A number of metaphors will be examined with respect to their level of conventionality, from metaphorically motivated terminology to novel linguistic metaphors. It will be argued that despite some variations in the way metaphors are realised in English and Slovene wine discourses, there is a large overlap in the way the two languages conceptualise the taste of wine through the anthropomorphic metaphor.

Metaphors of Dawn in Lithuanian and Russian Poetry This article analyzes the realizations of certain basic metaphors of dawn/sunset in the works of twentieth-century Lithuanian and Russian poets. The first part of the article examines important discrepancies between biomorphic, zoomorphic and anthropomorphic metaphors, as well as mythological metaphors. In Lithuanian poetry, dawn/sunset is associated with different objects compared to Russian poetry (wild strawberries and cherry, birds, fish and snakes in Lithuanian poetry; cranberries, melons and apples, birds and animals in Russian poetry). There is a lack of anthropomorphic metaphors for girl or woman in Lithuanian poetry. The associations of dawn/sunset with mythic entities are also entirely different. In the realization of the metaphor of DAWN/SUNSET – JEWELS, DAWN/SUNSET – FABRIC/ITEM MADE of FABRIC, DAWN/SUNSET – METAL/ITEM MADE of METAL, both similarities and significant differences are registered.The second part of the article examines more closely the similarities between the realizations of three basic metaphors, in which the dawn/sunset is interpreted as: 1) fire or blaze; 2) a burning object; 3) liquid.The analyses embraces about 200 poetry texts excerpts: 95 excerpts from the poetry works by 28 Lithuanian authors and 105 excerpts from the works by 30 Russian authors. In both languages, the metaphoric expressions of the first group highlight the bright colors of dawn/sunset; intensity; impression of a burning object. The metaphorization of the dark hues of dawn is specific to the Russian poetry. Semantically close to this group are metaphors of the DAWN/SUNSET – BURNING OBJECT. Dawn/sunset is interpreted as fire, bonfire, holy fire, burning coals, a lantern or torch. The image of the sacrificial fire is more widespread in the Russian poetry than in Lithuanian. In both poetic systems, folkloric images are used to develop the basic metaphor. The realization of the common metaphor DAWN/SUNSET – LIQUID as DAWN/SUNSET – BLOOD is associated with the metaphor SUNSET – DEATH in the Lithuanian poetry, while in Russian poetry – with the metaphor SUNSET – WOUND. The metaphor DAWN/SUNSET – TEAR is equally rare. In the metaphor DAWN – WATER/WATER RESERVOIR, the overlap of the images and relation to the more general metaphor LIGHT – WATER is evident in the both groups. In the group DAWN/SUNSET – CHEMICAL LIQUID. The image of paint (including cosmetics) is widely used in the both poetical systems. In the latter group, one can notice the overlap of the metaphor DAWN – WINE. It is specific to the Russian metaphoric system the use of pickle, cod-liver oil images.The Lithuanian and Russian poetic systems are characterized by both specific and common metaphors of dawn and dusk. These metaphors reveal some differences in the frequency of using various models, as well as in their particular content. Metafory świtu w poezji litewskiej i rosyjskiej Artykuł analizuje realizację pewnych zasadniczych metafor świtu/zmierzchu w utworach dwudziestowiecznych poetów litewskich i rosyjskich. W pierwszej części artykułu omówiono istotne rozbieżności między metaforami biomorficznymi, zoomorficznymi, antropomorficznymi, jak też metaforami mitologicznymi. W poezji litewskiej świt/zmierzch kojarzy się z różnymi obiektami porównywanymi z poezją rosyjską (dzikie truskawki i jagody, ptaki, ryby i węże w poezji litewskiej; żurawina, arbuzy i jabłka, ptaki i zwierzęta w poezji rosyjskiej). W poezji litewskiej brak metafor antropomorficznych w odniesieniu do dziewczyny lub kobiety. Skojarzenia świt/zmierzch z hasłami mitycznymi są także całkowicie odmienne. W realizacji metafor ŚWIT/ZMIERZCH – KLEJNOTY, ŚWIT/ZMIERZCH – TKANINA/ ARTYKUŁ WYKONANY Z TKANINY, ŚWIT/ZMIERZCH – METAL/ ARTYKUŁ WYKONANY Z METALU, odnotowane zostały zarówno podobieństwa, jak i znaczące różnice.W drugiej części artykułu bliżej zbadane zostały podobieństwa w realizacji trzech podstawowych metafor, w których świt/zmierzch interpretowany jest jako: 1) ogień lub blask; 2) palący się przedmiot; 3) płyn.Analiza obejmuje ok. 200 wyjątków z tekstów poetyckich: 95 pochodzi z wierszy 28 autorów litewskich, zaś 105 z utworów 30 rosyjskich autorów. W obu językach wyrażenia metaforyczne z pierwszej grupy uwypuklają jaskrawe barwy świtu/zmierz­chu; intensywność; wrażenie płonącego obiektu. Metaforyzacja ciemnych odcieni świtu właściwa jest poezji rosyjskiej. Semantycznie bliskie tej grupie są metafory ŚWIT/ZMIERZCH – PALĄCY SIĘ OBIEKT. Świt/zmierzch interpretowany jest jako ogień, fajerwerk, święty ogień, rozżarzony węgiel, lampion lub pochodnia. Obraz ognia sakryfikowanego bardziej rozpowszechnił się w poezji rosyjskiej niż litewskiej. W obu systemach poetyckich wyobrażenia folklorystyczne służą do wywołania podstawowych metafor. Realizacja powszechnej metafory ŚWIT/ZMIERZCH – PŁYN jako ŚWIT/ ZMIERZCH – KREW kojarzy się z metaforą ZMIERZCH – ŚMIERĆ w poezji litewskiej, podczas gdy w rosyjskiej – z metaforą ZMIERZCH – RANA. Metafora ŚWIT/ ZMIERZCH – ŁZA jest także rzadka. W metaforze ŚWIT – WODA/ ZASOBNIK WODY nałożenie się na siebie obrazów i relacji z ogólniejszą metaforą ŚWIATŁO – WODA jest oczywiste w obu tych grupach. W grupie ŚWIT/ZMIERZCH – PŁYN CHEMICZNY obraz farby (łącznie z kosmetykiem) jest używany szeroko w obu poetyckich syste­mach. W tej ostatniej grupie można zauważyć nakładanie się na siebie z metaforą ŚWIT – WINO. Właściwe rosyjskiemu systemowi metafor jest użycie obrazów pikle, olej z wątroby dorsza itd.Systemy poetyckie litewski i rosyjski cechują zarówno konkretne, jak i ogólne metafory świtu i zmierzchu. Te metafory zdradzają pewne różnice w częstotliwości używania różnych modeli, a zarazem ich szczególne treści.

The basis for this study is to use students' creative texts in science as a mean to gain insight into their conceptual ideas. Eight grade students' creative writing tasks (n = 26) were analyzed with respect to the conceptual metaphors that were used to describe the abstract concept chemical bonding. The conceptual metaphors were identified and sorted into two main categories; location event-structure conceptual metaphors and object event-structure conceptual metaphors. Results show that most metaphors can be categorized as location event-structure conceptual metaphors. Embodied concepts and everyday language rooted in senso-motoric experiences from students’ daily life as well as from former science education seem to play a central role when they attempt to make meaning of the abstract concept ‘chemical bonding’ within a creative writing context. Creative writing tasks in science may have an unutilized potential for both uncovering and developing understanding of abstract phenomena on sub-microscopic level, such as chemical bonding.

What are cells? How are they related to each other and to the organism as a whole? These questions have exercised biology since Schleiden and Schwann (1838–1839) first proposed cells as the key units of structure and function of all living things. But how do we try to understand them? Through new technologies like the achromatic microscope and the electron microscope. But just as importantly, through the metaphors our culture has made available to biologists in different periods and places. These two new volumes provide interesting history and philosophy of the development of cell biology. Reynolds surveys the field's changing conceptual structure by examining the varied panoply of changing metaphors used to conceptualize and explain cells – from cells as empty boxes, as building blocks, to individual organisms, to chemical factories, and through many succeeding metaphors up to one with great currency today: cells as social creatures in communication with others in their community. There is some of this approach in the Visions edited collection as well. But this collection also includes rich material on the technologies used to visualize cells and their dialectical relationship with the epistemology of the emerging distinct discipline of cell biology. This volume centres on, but is not limited to, ‘reflections inspired by [E.V.] Cowdry's [1924 volume] General Cytology’; it benefits from a conference on the Cowdry volume as well as a 2011 Marine Biological Lab/Arizona State University workshop on the history of cell biology.

BackgroundThe aetiology of depression is not fully understood, which allows many different perspectives on aetiology to be adopted. Researchers and clinicians may be attracted to concepts of aetiology that parallel other diagnoses with which they are familiar. Such parallels may assume the role of informal models or metaphors for depressive disorders. They may even function as informal scientific theories of aetiology, energising research activities by guiding hypothesis generation and organising new knowledge. Parallels between different types of disease may ultimately prove valuable as frameworks supporting the emergence and maturation of new knowledge. However, such models may be counterproductive if their basis, which is likely to lay at least partially in analogy, is unacknowledged or overlooked. This could cause such models to appear more compelling than they really are. Listing examples of situations in which models of depression may arise from, or be strengthened by, parallels to other familiar conditions may increase the accessibility of such models either to criticism or support. However, such a list has not yet appeared in the literature. The present paper was written with the modest goal of stating several examples of models or metaphors for depression.MethodThis paper adopted narrative review methods. The intention was not to produce a comprehensive list of such ideas, but rather to identify prominent examples of ways of thinking about depression that may have been invigorated as a result parallels with other types of disease.ResultsEight possible models are identified: depressive disorders as chemical imbalances (e.g., a presumed or theoretical imbalance of normally balanced neurotransmission in the brain), degenerative conditions (e.g., a brain disease characterised by atrophy of specified brain structures), toxicological syndromes (a result of exposure to a noxious psychological environment), injuries (e.g., externally induced brain damage related to stress), deficiency states (e.g., a serotonin deficiency), an obsolete category (e.g., similar to obsolete terms such as ‘consumption’ or ‘dropsy’), medical mysteries (e.g., a condition poised for a paradigm-shifting breakthrough) or evolutionary vestiges (residual components of once adaptive mechanisms have become maladaptive in modern environments).ConclusionsConceptualisation of depressive disorders may be partially shaped by familiar disease concepts. Analogies of this sort may ultimately be productive (e.g., through generating hypotheses by analogy) or destructive (e.g., by structuring knowledge in incorrect, but intellectually seductive, ways).

Systems Chemistry investigates the upkeep of specific interactions of an exceptionally broad choice of objects over longer periods of time than the average time of existence of the objects themselves. This maintenance of a dynamic state focuses on conditions where the objects are thermodynamically not very stable and should be rare or virtually inexistent. It does not matter whether they are homochirally enriched populations of chiral molecules, a specific composition of some sort of aggregate, supramolecules, or even a set of chemically relatively unstable molecules that constantly transform one into another. What does matter is that these specific interactions prevail in complex mixtures and eventually grow in numbers and frequency through the enhancing action of autocatalysis, which makes such systems ultimately resemble living cells and interacting living populations. Such chemical systems need to be correctly understood, but also intuitively described. They may be so complex that metaphors become practically more important, as a means of communication, than the precise and correct technical description of chemical models and complex molecular or supramolecular relations. This puts systems chemists on a tightrope walk of science communication, between the complex reality and an imaginative model world. This essay addresses, both, scientists who would like to read “A Brief History of Systems Chemistry”, that is, about its “essence”, and systems chemists who work with and communicate complex life-like chemical systems. I illustrate for the external reader a light mantra, that I call “to make more of it”, and I charily draw systems chemists to reflect upon the fact that chemists are not always good at drawing a clear line between a model and “the reality”: The real thing. We are in a constant danger of taking metaphors for real. Yet in real life, we do know very well that we cannot smoke with Magritte’s pipe, don’t we?

The manual annotation of large corpora is time-consuming and brings about issues of consistency. This paper aims to demonstrate how general rules for determining basic meanings can be formulated in large-scale projects involving multiple analysts applying MIP(VU) to authentic data. Three sets of problematic lexical units — chemical processes, colours, and sharp objects — are discussed in relation to the question of how the basic meaning of a lexical unit can be determined when human and non-human senses compete as candidates for the basic meaning; these analyses can therefore be considered a detailed case study of problems encountered during step 3.b. of MIP(VU). The analyses show how these problematic cases were tackled in a large corpus clean-up project in order to streamline the annotations and ensure a greater consistency of the corpus. In addition, this paper will point out how the formulation of general identification rules and guidelines could provide a first step towards the automatic detection of linguistic metaphors in natural discourse.

How can we conceive the cosmopolitan ideal of travelling and experiencing exotic difference, so much embraced by ‘countercultural’ practices, once it is aestheticized into phantasmagorical dream-worlds? How can we think of people getting wasted due to drug-fuelled, long-lasting dancing without resorting to idealisms of ‘alternate experiences’ and romanticisms about ideal ways of belonging? This article explores psytrance festivals ‐ a cultural product of the Electronic Dance Music (EDM) carnivalesque celebrations, drug consumption (for the most part LSD and MDMA) and euphoric travelling of the 1960s ‐ with an emphasis on cosmopolitanism, aesthetic intimacy and the care of the self. By examining the mobility of Greek aficionados in EDM festivals in Europe, which have gained great popularity since the first decade of the twenty-first century, I discuss the enactment of the chemical celebration in accordance with the sensorial formations, desiring-images and narratives that weave the imagination of psytrance music culture. In contrast with most of the academic literature that views EDM events as a ‘heterotopic’ set-up that facilitates ‘liminal experiences’ ‐ supposedly evidence of the possibility of an out-of-the-ordinary lifestyle as opposed to everyday normativity ‐ I propose to investigate the excesses of consumption and bodily expenditure within metaphors that support psytrance technoaesthetics.


 
 
 Nuclear events have inscribed the 20th century into a new chemical temporality, that generally escapes our scrutiny due to radioactivity’s invisibility. Radioactive particles keep falling back to earth since nuclear tests peaked during the Cold War, they form an iterative invisible presence that is coated in political invisibility. Through films and fictions, the paper traces haunted images that keep coming back. Two distinct geographies are weaved together, that of West Coast American deserts, where numerous tests were conducted, and that of the nuclear peninsula of La Hague, in France. The recurring metaphors of dust and mist, not only characterise the two landscapes, but illustrate how radioactive particles literally journey and affect natural environments and activate the trope of contamination. Viral Fictions address the issue of creating a nuclear marker for La Hague’s burial site. Underlying the fragility of material cultures and the aporia of projecting knowledge through deep time, the article creates a possible im- material fictional nuclear marker for La Hague. Merging a set of references from local folk oral legends with the ability of fiction to transmit forms of knowledge and imaginary archetypes, Viral Fictions uses AI algorithmic software to generate speculative forms of fictions and visuals.
 
 

Thermodynamics, and in particular entropy, has been found to be challenging for students, not least due to its abstract character. Comparisons with more familiar and concrete domains, by means of analogy and metaphor, are commonly used in thermodynamics teaching, in particular the metaphor ‘entropy is disorder’. However, this particular metaphor has met major criticism. In the present study, students (N= 73) answered a questionnaire before and after a course on chemical thermodynamics. They were asked to: (1) explain what entropy is; (2) list other scientific concepts that they relate to entropy; (3) after the course, describe how it had influenced their understanding. The disorder metaphor dominated students' responses, although in a more reflective manner after the course. The view of entropy as the freedom for particles to move became more frequent. Most students used particle interaction approaches to entropy, which indicates an association to the chemistry tradition. The chemistry identification was further illustrated by enthalpy and Gibbs free energy being the concepts most often mentioned as connected to entropy. The use of these two terms was particularly pronounced among students at the Chemical Engineering programme. Intriguingly, no correlation was found between the qualitative ideas of entropy and the results of the written exam, primarily focusing on quantitative problem solving. As an educational implication, we recommend that students are introduced to a range of different ways to interpret the complex concept entropy, rather than the use of a single metaphor.

The concept of hormesis, or low-dose U-shaped responses, is now well established in toxicology and pharmacology but requires development in medicine and therapeutics. In doing so, care must be taken to not confuse metaphorical and chemical uses of the term hormesis. Low dose, continuous adaptive responses are fundamentally different than conventional pharmacology, and they may improve the scientific underpinning for complementary medicine, nutrition and lifestyle therapies.

Abstract The article departs from the Teilhardean opposition of the inside (le dedans) and the outside (le dehors), notions of reflection and self-enclosure (enroulement sur lui-même), and an experimental law of recurrence (une loi expérimentale de recurrence). The author supplements them with his own apparatus of simplex-complex transformations as an epistemic principle and a set of related practices. The article starts with quantum emergence, forging its inside and outside by an interface and an alternative way to represent it as Diracean membrane, branes of the string theory, and the eigenform. The interface instrumentality for operating the inside and outside of the quantum allows their structured totality to enact agency potential. Simplex-complex transformations allow to represent an evolutionary series of agency transformations as modules of a single model up to a developed human self. The article discusses the recurrence, enclosure, and other trickeries of emergence as well as their representation with the help of cognitive metaphors likme Ouroboros or mathematical formalisms like the Moebius strip. It proceeds to chemical catalysis and autocatalysis, further to emergence of autopoiesis, and finally to biogenesis. Forms of life internalize environmental productive factor (Umwelt) by duplication, recursion, enclosing, folding, etc. to evolve a series of codes, making up integral genetic agency and genome as its key vehicle. The article considers organismic symbiosis and respective autocatalytic recursions, addresses the emergence of signal systems and cognition, which is parallel to and duplicating neural processes. It discusses primary cognitive abilities and their further autocatalytic transformations into a range of more advanced capabilities, along with the emergence of higher levelhigher-level signal systems. Finally, it ends up by discussing anthropogenesis and stepwise emergence and advancement of human language and thought in a series of internalizations of communicative contexts (frames, typical communicative settings, mementoes and typical remembrances, etc.) into codes of the first, second, and further orders.

DNA codeword design has been a fundamental problem since the early days of DNA computing. The problem calls for finding large sets of single DNA strands that do not crosshybridize to themselves, to each other or to others' complements. Such strands represent so-called domains, particularly in the language of chemical reaction networks (CRNs). The problem has shown to be of interest in other areas as well, including DNA memories and phylogenetic analyses because of their error correction and prevention properties. In prior work, a theoretical framework to analyze this problem has been developed and natural and simple versions of Codeword Design have been shown to be NP-complete using any single reasonable metric that approximates the Gibbs energy, thus practically making it very difficult to find any general procedure for finding such maximal sets exactly and efficiently. In this framework, codeword design is partially reduced to finding large sets of strands maximally separated in DNA spaces and, therefore, the size of such sets depends on the geometry of these spaces. Here, the authors describe in detail a new general technique to embed them in Euclidean spaces in such a way that oligonucleotides with high (low, respectively) hybridization affinity are mapped to neighboring (remote, respectively) points in a geometric lattice. This embedding materializes long-held metaphors about codeword design in analogies with error-correcting code design in information theory in terms of sphere packing and leads to designs that are in some cases known to be provably nearly optimal for small oligonucleotide sizes, whenever the corresponding spherical codes in Euclidean spaces are known to be so. It also leads to upper and lower bounds on estimates of the size of optimal codes of size under 20-mers, as well as to a few infinite families of DNA strand lengths, based on estimates of the kissing (or contact) number for sphere codes in high-dimensional Euclidean spaces. Conversely, the authors show how solutions to DNA codeword design obtained by experimental or other means can also provide solutions to difficult spherical packing geometric problems via these approaches. Finally, the reduction suggests a tool to provide some insight into the approximate structure of the Gibbs energy landscapes, which play a primary role in the design and implementation of biomolecular programs.

AbstractCase conceptualization is a foundation of cognitive-behavioural therapy (CBT) because it describes and explains clients' presentations in ways that inform interventions. Yet the evidence base challenges the claimed benefits of case conceptualization. This paper reviews the rationale and evidence base for case conceptualization and outlines a new approach that uses the metaphor of a case conceptualization crucible in which a client's particular history, experience and strengths are synthesized with theory and research to produce an original and unique account of clients' presenting issues. The crucible metaphor illustrates three key defining principles of case conceptualization. First, heat drives chemical reactions in a crucible. In our model, collaborative empiricism between therapist and client provides the heat. Second, like the chemical reaction in a crucible, conceptualization develops over time. Typically, it begins at more descriptive levels, later a conceptualization incorporates explanatory elements and, if necessary, it develops further to include a longitudinal explanation of how pre-disposing and protective factors influence client issues. Finally, new substances formed in a crucible are dependent on the chemical characteristics of the materials put into it. Rather than simply look at client problems, our model incorporates client strengths at every stage of the conceptualization process to more effectively alleviate client distress and promote resilience.

Because sociology is seeking mechanisms for explaining social phenomena, we discuss in this paper whether and how the metaphor of a chemical reaction network can be employed as a formal mechanism to describe social and political systems. A reaction network is a quite general concept that allows one to model a variety of dynamical systems. Furthermore, a set of powerful tools can infer potential dynamical properties from the network structure. Using a toy model of the political system inspired by Luhmann, we demonstrate how chemical organization theory can be applied and can give insight into the structure and dynamics of the resulting model. We show how chemical organization theory allows one to identify an overlapping hierarchy of important subsystems in these networks. Simulations reveal how this hierarchy constrains the potential dynamical behavior of the model.

The aim of this research was to know the heterozygosity of F2 generation from black rice and white rice crossing using microsatellite marker. The research material consisted of F2 Sx G plant population from black rice (S) and white rice Situbagendit (G) crosses, female parent of black rice (S), male parent of white rice (G), chemical and organic fertilizer, chemicals and tools for molecular activity and 3 microsatellite markers related to color properties (RM 220, RM 224 and RM 252). All of plant populations (generation F2, parent female, parent male) were planted in fields up to harvest. Young leaves (30 days after planting) all of plant populations were molecularly analyzed using 3 microsatellite markers (RM 220, RM 224 and RM 252). Stages of this activity include DNA isolation, PCR reaction, and visualization of PCR results using Metaphore Agarose Gel Electrophoresis. The results showed that the percentage of the number of individual plants showing heterozygous pattern in F2 S × G plant generation was 50% (RM 220); 40% (RM 224) and 60% (RM 252), so the RM 252 microsatellite marker was effectively used as a DNA-assisted selection tool on the crossbreed of black rice with white rice.

Biocomputing emerged as a promising paradigm capable of coping efficiently with challenges of programming decentralized but concerted reaction systems. The chemical programming metaphor subsumes different encoding techniques into molecular or spatial structures in conjunction with artificial reaction networks. Here, a variety of supplementary assumptions like predefined polymeric sequences or availability of inhibiting reactions is frequently used. Inspired by the idea to build chemical computers based on minimal requirements in chemistry from a theoretical perspective, we introduce a pure chemical register machine model operating on binary numbers. The register machine architecture is composed of reaction network motifs acting as fast switching logic gates, oscillators, and self-reproducible bit storage units. The dynamical machine behavior consistently employs mass-action kinetics. Two case studies, calculating the maximum of three natural numbers as well as numerical addition, illustrate the practicability of the design along with dynamical simulations.

David Hume’s ‘science of man’ is frequently interpreted as an enterprise inspired in crucial respects by Newton’s Principia. However, a closer look at Hume’s central concepts and methodological commitment suggests that his Treatise of Human Nature is much more congruent with the research traditions that arose in the wake of Newton’s Opticks. In this paper I argue that the label Hume frequently attached to his project, ‘anatomy of the mind,’ is a metaphor that, considered in itself, seems to be expressing a commitment to the study of human nature in analogy with organic living nature. In this vein, Hume’s anatomy relies on conceptual and methodological resources derived from a chemical and physiological perspective on the natural cognitive and affective functioning of human beings. Since the idea of natural functioning provides various options for deriving normative considerations, Hume’s account can be seen as a middle-range theory that connects the discourses of organic nature and normative morality.

Based on the Valence Bond theory, an attempt is proposed to the complex network. The principle of chemical bonding of the basic particles that make up the substance creates a metaphor between the formation of social networks. By analyzing the integration of atoms by relying on the chemical bonds between particles, then the social basis for the connection between social network nodes should depend on the tangible or intangible attribute resources that characterize social capital around the main node. Based on the above analysis, the social node is divided into active nodes and passive nodes, and a dynamic model of social network formation is proposed, the Valence Bond model of social network. Through this model, the actual athlete group nodes are depicted, and the representation of the model and the evolution of network structure are given with the actual data.

We examine the qualitative dynamics of a catalytic self-organizing system of binary strings that is inspired by the chemical information processing metaphor. A string is interpreted in two different ways: either (a) as raw data or (b) as a machine that is able to process another string as data in order to produce a third one. This article focuses on the phenomena of evolution whose appearance is notable because no explicit mutation, recombination, or artificial selection operators are introduced. We call the system self-evolving because every variation is performed by the objects themselves in their machine form.

Purpose – The purpose of this paper is to explore the interactive element in social and environmental reporting during a controversy between business organisations and a stakeholder over environmental performance. Design/methodology/approach – The paper adopts Aristotle's triangular framework of the rhetorical situation to examine how the writer, the audience, and the purpose of communication interact in the choice of rhetorical strategies used to persuade others of the validity and legitimacy of a claim during a public controversy. The analysis focuses on the strategies (i.e. moves and their rhetorical realisations) in the form of logos (appealing to logic), ethos (appealing to authority), and pathos (appealing to emotion), with a particular emphasis on metaphor, used to achieve social and political goals. The authors base the analysis on a case study involving a conflict between Greenpeace and six organisations in the sportswear/fashion industry over wastewater discharge of hazardous chemicals. The conflict played out in a series of 20 press releases issued by the parties over a two-month period. Findings – All six firms interacting with Greenpeace in the form of press releases eventually conceded to Greenpeace's demand to eliminate hazardous chemicals from their supply chains. The paper attributes this to Greenpeace's ability to harness support from other key stakeholders and to use rhetoric effectively. Results show the extensive use of rhetoric by all parties. Originality/value – The authors regard legitimacy construction as reliant on communication and as being achieved by organisations participating in a dialogue with stakeholders. For this purpose, the paper develops an analytical framework which situates environmental reporting in a specific rhetorical situation and links rhetoric, argument, and metaphor.

I study the intersection between contemporary neuroscience and the theory of criminal responsibility. Hanging around disciplinary intersections like this can be fun: people don’t always look where they are going and if you wait long enough you might witness a crash or two. Casting aside the metaphor, my job begins by identifying the problems and tensions that emerge from the different ways in which we view the world. What might those problems be in the case of neuroscience and criminal responsibility? Well, we can divide it into two classic problems. The first is the problem of competing descriptions. Simplifying somewhat, we can say that neuroscientists describe human behaviour from the bottom-up, beginning with chemical and electrical signals between individual nerve cells and working up to the functional processing that takes place within and between different brain regions. These descriptions are mechanistic, deterministic and reductive. By way of contrast, theorists of ...

A large quantity of kitchen waste is generated in India which is either burnt, left in open or landfilled posing a serious problem of its safe disposal. To mitigate this problem all the kitchen waste can be converted into highly valuable nutrient rich vermicompost using the locally available epigeic earthworms. The biodegradable kitchen waste like vegetables, fruits, food waste etc can be cultured with earthworms to form the vermicompost by using vermitechnology. Since these vermicomposts are rich in nutrients which can replace the chemical fertilizers. In the present study the vermicomposting of kitchen waste has been attempted using locally available epigeic earthworm species of Jammu namely Amynthus diffringens, Metaphire houlleti and Octolasion tyrtaeum. The physico-chemical analysis of generated vermicomposts was carried out and compared with each other and with that of original soil sample that has been added in vermibeds prior to earthworm inoculation and addition of kitchen waste. The average values of macronutrients in the vermicompost produced by O. tyrtaeum were observed to be the highest among all types of vermicomposts i.e. Organic Carbon (OC)- 11.66 ± 0.34% , Nitrogen (N)- 1.17 ± 0.20%, Phosphorus (P)- 2.97 ± 0.32%, Potassium (K)- 1.18 ± 0.15%, Calcium (Ca)- 0.26 ± 0.04%, Magnesium (Mg)- 0.17 ± 0.04%.

Sequence databases can be searched for homologies of zinc coordination motifs with characteristic ligand signatures. Ensuing predictions that 3-10 % of the human genes encodes zinc proteins are most remarkable. But they seem conservative when considering that database mining cannot discover new signatures or coordination environments that employ nonsequential binding of ligands and sulfur-ligand bridges. Predictions also fall short for zinc/protein interactions at protein interfaces and for inhibitory zinc sites. Zinc ions transiently target proteins that are not known to be zinc proteins, adding a hitherto unrecognized dimension to the human zinc proteome. Predicted zinc sites need to be verified experimentally. The metal can be absent or sites may bind metal ions other than zinc because protein coordination environments do not have absolute specificity for zinc. The metaphor of the "galvanization of biology" continues to gain prominence in terms of the sheer number of approximately 3000 human zinc proteins and their annotation with new functions. Clearly, description of zinc proteomes cannot be pursued solely in silico and requires zinc proteomics, an integrated scientific approach. Progress hinges on a combination of bioinformatics, biology, and significantly, analytical and structural chemistry.

Molecular biology is based on two great discoveries: the first is that genes carry hereditary information in the form of linear sequences of nucleotides; the second is that in protein synthesis a sequence of nucleotides is translated into a sequence of amino acids, a process that amounts to a transfer of information from genes to proteins. These discoveries have shown that the information of genes and proteins is the specific linear order of their sequences. This is a clear definition of information and there is no doubt that it reflects an experimental reality. What is not clear, however, is the ontological status of information, and the result is that today we have two conflicting paradigms in biology. One is the ‘chemical paradigm’, the idea that ‘life is chemistry’, or, more precisely, that ‘life is an extremely complex form of chemistry’. The other is the ‘information paradigm’, the view that chemistry is not enough, that ‘life is chemistry plus information’. This implies that there is an ontological difference between information and chemistry, a difference which is often expressed by saying that information-based processes like heredity and natural selection simply do not exist in the world of chemistry. Against this conclusion, the supporters of the chemical paradigm have argued that the concept of information is only a linguistic metaphor, a word that summarizes the result of countless underlying chemical reactions. The supporters of the information paradigm insist that information is a real and fundamental component of the living world, but have not been able to prove this point. As a result, the chemical view has not been abandoned and the two paradigms both coexist today. Here, it is shown that a solution to the ontological problem of information does exist. It comes from the idea that life is artefact-making , that genes and proteins are molecular artefacts manufactured by molecular machines and that artefacts necessarily require sequences and coding rules in addition to the quantities of physics and chemistry. More precisely, it is shown that the production of artefacts requires new observables that are referred to as nominable entities because they can be described only by naming their components in their natural order. From an ontological point of view, in conclusion, information is a nominable entity, a fundamental but not-computable observable.

By means of their pivotal role in the outbreak of a variety of diseases, such as, recently, COVID-19, the molecular aspects of cell membrane function have gained considerable attention from researchers in recent decades. The resulting information explosion and the growing interdisciplinary character of cell biology seems, however, to not be represented in science classrooms. Hence, there appears to be a gap between what is scientifically known and what is actually taught in classrooms. Framed by the model of educational reconstruction (MER), the aim of our study is therefore to identify scientific core ideas of cell membrane biology from an educational point of view. This is achieved by conducting qualitative content analysis of relevant cell biology literature. By using Conceptual Metaphor as a theory of understanding, we additionally illuminate the experiential grounding of scientific conceptions. Our results propose that cell membrane biology can be structured into three core ideas, comprising compartmentalisation, physical and chemical properties, and multicellular coordination interrelated by evolution as a key aspect. Our results show that scientists conceive these ideas metaphorically. Embodied part-whole relations seem, for example, to lay the grounds for their understanding of biological function. The outcomes of the study may inform future cell membrane teaching.

The article presents and analyzes the results of laboratory studies on food safety control conducted in 2015-2019 by state veterinary laboratories of the Russian Federation and Federal institutions of Rosselkhoznadzor. During this period, the laboratories annually conducted from three to seven million different types of studies of samples of products, feed and water. Positive results for microbiological control were 3%. Salmonella (7%) and staphylococci (4,38%) were detected in the food egg, and 0,01% of the isolated microorganisms were resistant to antibiotics. In chemical studies, positive results were obtained in 0,1% of cases. At the same time, organochlorine (0,09%) and organophosphorus pesticides (1,4%), mercury-containing compounds (0,4%), zoocides (0,38%), herbicides (0,13%), nitrates (1,4%), nitrites (0,08%), antibacterial agents (0,9%), arsenic-containing substances (0,5%), pyrethroids (0,1%), chlorides (0,07%), fluorine (0,8%), growth stimulants (2%), plant poisons (0,1%) preservatives (0,09%); the feed revealed: microorganisms: Escherichia coli (0,06%), Salmonella (0,7%), Pseudomonas aeruginosa (2,5%), Proteus (0,1%), Pasteurella (0,4%), enterococci (0,7%), anaerobes (0,15%); mycotoxins: aflatoxin B0,2 (0,4%), zearalenone (1%), T-0,2 toxin (0,7%), ochratoxin (2%), DON (0,7%), fumonisin (0,5%); xenobiotics: herbicides (0,6%), metaphos (0,4%), phosphamide and diazinone (0,9% each), carbamates (0,01%), urease (0,1%), feed preservatives (0,2%), peroxide and acid number (2,8%), poisonous plants (0,6%), barn pests (2,6%).

Abstract This article brings together recent writing on eco-media, media materialism, and racialized Otherness to rethink the place of China and Asia in debates about the Anthropocene. We begin by examining the nonwhite postapocalyptic futures imagined in Bong Joon-ho’s sci-fi film Snowpiercer and argue that the film problematizes a persistent Western-centric bias in both the environmental humanities and the literature on media materialism. Inspired by the metaphoric power of Kronon, the industrial-waste-turned-explosive in Snowpiercer, we theorize the instantaneously mediated and circulated chemical dust explosions in Kunshan and Tianjin in 2014–15 as eco-media events—that is, spectacular and ephemeral moments in which the material processes of digital production link the old forms of resource extraction with our new lives of electronic gadgetry and media tool dependency. Writing against the discourse of Yellow Eco-peril, which depicts such events (in both academic and journalistic writings) through a racialized Eco-Otherness, we offer a counter-politics to reconnect mainland China to the very systems of globalized production and consumption—the deep earth mining, the slow violence of black lung disease, the factory work, the digital consumption practices—that have propelled and intensified the country’s stupendous development as well as its ecological challenges. We find new work on eco-media and media materialism most productive, as it sheds light on three closely intertwined dimensions of eco-media events: time, body, and matter. Probing the deep entanglements between the human and the nonhuman, a critical engagement with these events presents new possibilities to think anew environmental humanities in China, across Asia, and globally.

AbstractLearning about neural communication can be a dry and challenging undertaking, particularly for students without a background in biology. To enhance learning of this and other STEM material, there has been a call for science educators to embrace the use of active learning techniques. The aim of this Brief Communication is to encourage the use of embodied metaphors in the university classroom by sharing an active learning method for introducing students to a number of key concepts in neural communication. The students work in pairs or small groups, using foam projectiles such as Nerf guns to work through several metaphors for electrical and chemical processes including action potentials, neurotransmission and receptor action, excitatory and inhibitory post-synaptic potentials and neurotransmitter inactivation. The activities are easy to stage and lend themselves well to customisation based on available class size, classroom space, and resources. Student feedback showed that the activities improved self-reported impressions of understanding and ability to convey key concepts to others. The activities thus can serve as a useful method of student engagement and help develop understanding of complex material in a neuroscience classroom.

The essence of the designers work is the creation of new solutions, usually related to the project of products to be produced in large scale. Thus, design is explicit in manufacturing companies but it is not usually related to raw material industries. However, designers work is necessary to materialize intangible products, as chemicals inputs, into concrete concepts. This is not as easy as it could seem and may demands special methods, as semantic panel. The semantic panel is a technique based on communication through metaphors. This can stimulate creativity allowing the designer to combine things that belong to different contexts and formulate new solutions to project from these associations. This paper describes the method and the steps performed for the development of a product that aims to turn tangible a new chemical solution with low environmental impact developed by an Italian chemical company. The method was conducted in two steps. First, an analysis of the design problem was performed by the designer and the company’s technicians and executives. Secondly, a semantic panel was constructed under the theoretical basis of bionics to define practical, symbolic, aesthetic and green product functions. The bionic analysis of a groundling plant resulted in the detection of parameters that could be suitable for the product design, as a good balance, physical and mechanical strength. The concept, plus the problem presented and the semantic panel led to the requirements of the product aesthetics (color and texture), symbolism (meaning) and ecological factors (processes of tanning the leather with chemical inputs). The resulting product from this procedure; a purse, achieved the project goals expressing clearly the performance expected from the chemical input.

This study is entitled “Figurative Language in Westlife Album “Coast to Coast” and My Chemical Romance Album ‘Welcome to Black Parade”. The problems formulated in this study are the types of figurative language employed in Westlife’s and My Chemical Romance’s song lyrics and to find out how is the meaning of figurative language contrasted with its lexical meaning. There were five songs of Westlife chosen to be the source of first data, namely; Againts All Odds, I Lay My Love on You, My Love, What Makes a Man, and When You’re Looking Like That and five songs of My Chemical Romance also chosen to be the source of second data, namely; I Don’t Love You, The Sharpest Live, This How I Disappear, MAMA, and Welcome to Black Parade. The data were collected using documentation method then they were analyzed through qualitative method. After the data were analyzed and discussed, it was found that there were seven kinds of figure of speech employed in all the ten song lyrics; they were Simile, Personification, Hyperbole, Metonymy, Irony, Metaphor and Paradox. And then we find out the meaning of figurative language contrasted with its lexical meaning

In the late 1980s, Professor of Immunology Ana Soto accidentally discovered the presence of synthetic estrogens in her lab equipment. Her lab had designed an experiment to test the effect of estrogen on the proliferation of human breast cancer cells (MCF7). Based on previous findings, Soto and her research partner Carlos Sonnenschein believed that, contrary to popular wisdom, the introduction of estrogen would not directly induce the proliferation of the cells, but would instead interfere with a naturally occurring inhibitor in the blood. But the control setup containing positive and negative controls (used in the past without problem) was now producing odd readings: although no estrogenic compound had been introduced, the cancer cells were still proliferating. Soto and Sonnenschein methodically removed each item in the control setup that might be producing the estrogen-like result. When they discovered that the estrogenic activity leached from the plastic centrifuge tubes used to store components of the cell culture medium, they called the manufacturer to find out what could have changed. The manufacturer let them know that the constituent materials of the tubes had recently been modified in order to reduce the possibility of breakage during centrifugation but declined to reveal what specific changes had been made. So Soto’s lab turned to studying the tubes themselves. After a year of further research, they concluded that the estrogenic activity was due to the additive that had been introduced by the manufacturer—nonylphenol, an antioxidant used in numerous other applications, some of which are meant for human use (e.g., spermicide) and the synthesis of detergents. Soto and Sonnenschein’s assay is called E-SCREEN and has been enormously influential; in fact, most of the environmental estrogens discovered in the 1990s rely on it.
 Conducted by Gracen Brilmyer at UCLA during the Chemical Entanglements Symposium, this 2017 interview with Soto highlights her experiences of sexism in the sciences and how those experiences have shaped her thinking on language, science, and scholarship

Emotion is caused by many factors, some of which are evolutionary, neurological, chemical, environmental, societal, personal and religious. Mostly, however, we are oblivious of the causal factors, many of which may function on a biological level or subconsciously, although the emotional effect is experienced physically and consciously. Emotions change as the trigger mechanisms in the cultural context change. This usually happens unnoticed over long periods. Internet databases have now made it possible to study the use of emotive words; this point is discussed. Of particular interest is the interaction between emotion and reason. Models that reduce emotion to the physical level are scrutinised critically. Reason is not emotionless and emotion is not always irrational. The close interrelationship of emotion and reason often makes it difficult to distinguish accurately between the two. The so-called affective turn takes cognisance of cultural, social, religious and other environmental factors; this broader approach clarifies the importance of affect’s role in rationality. One way of viewing emotion and affect is to look at the accompanying language; here the role of metaphor and narrative is pertinent. The traditional elevation of reason above emotion is examined critically as part of the affective turn that broadens the meaning and scope of emotions. I focus on the role of emotion in religion and factors that influence it, and explore the accent of affect in new spiritualities.

Abstract Background Pheretima is a minister drug in Naoxintong capsule (NXTC), a well-known traditional Chinese medicine (TCM) formula for the treatment of cardiovascular and cerebrovascular diseases. Owing to the loss of morphological and microscopic characteristics and the lack of recognized chemical marker, it is difficult to identify Pheretima in NXTC. This study aims to evaluate the feasibility of using DNA techniques to authenticate Pheretima, especially when it is processed into NXTC. Methods DNA was extracted from crude drugs of the genuine and adulterant species, as well as nine batches of NXTCs. Based on mitochondrial cytochrome c oxidase subunit I (COI) gene, specific primers were designed for two genera of genuine species, Metaphire and Amynthas, respectively. PCR amplification was performed with the designed primers on crude drugs of Pheretima and NXTCs. The purified PCR products were sequenced and the obtained sequences were identified to species level with top hit of similarity with BLAST against GenBank nucleotide database. Results Primers MF2R2 and AF3R1 could amplify specific DNA fragments with sizes around 230–250 bp, both in crude drugs and NXTC. With sequencing and the BLAST search, identities of the tested samples were found. Conclusion This study indicated that the molecular approach is effective for identifying Pheretima in NXTC. Therefore, DNA identification may contribute to the quality control and assurance of NXTC.

Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities like clothes and cars (Englis; McCracken), but they do feature across a wide range of genres, some of which enjoy archetypal associations with this beverage. m.o.m.m.y. Needs c.o.f.f.e.e.: The Psychoactive Effect of Coffee The act of performing and listening to popular music involves psychological elements comparable to the overwhelming sensory experience of drug taking: altered perceptions, repetitive grooves, improvisation, self-expression, and psychological empathy—such as that between musician and audience (Curry). Most popular music genres are, as a result, culturally and sociologically identified with the consumption of at least one mind-altering substance (Lyttle; Primack; Schapiro). While the analysis of lyrics referring to this theme has hitherto focused on illegal drugs and alcoholic beverages (Cooper), coffee and its psychoactive ingredient caffeine have been almost entirely overlooked (Summer). The most recent study of drugs in popular music, for example, defined substance use as “tobacco, alcohol, marijuana, cocaine and other stimulants, heroin and other opiates, hallucinogens, inhalants, prescription drugs, over-the-counter drugs, and nonspecific substances” (Primack 172), thereby ignoring a chemical stimulant consumed by 90 per cent of adult Americans every day (Lovett). The wide availability of coffee and the comparatively mild effect of caffeine means that its consumption rarely causes harm. One researcher has described it as a ubiquitous and unobtrusive “generalised public activity […] ‘invisible’ to analysts seeking distinctive social events” (Cooper 92). Coffee may provide only a relatively mild “buzz”—but it is now accepted that caffeine is an addictive substance (Juliano) and, due to its universal legality, coffee is also the world’s most extensively traded and enthusiastically consumed psychoactive consumer product (Juliano 1). The musical genre of jazz has a longstanding relationship with marijuana and narcotics (Curry; Singer; Tolson; Winick). Unsurprisingly, given its Round Midnight connotations, jazz standards also celebrate the restorative impact of coffee. Exemplary compositions include Burke/Webster’s insomniac torch song Black Coffee, which provided hits for Sarah Vaughan (1949), Ella Fitzgerald (1953), and Peggy Lee (1960); and Frank Sinatra’s recordings of Hilliard/Dick’s The Coffee Song (1946, 1960), which satirised the coffee surplus in Brazil at a time when this nation enjoyed a near monopoly on production. Sinatra joked that this ubiquitous drink was that country’s only means of liquid refreshment, in a refrain that has since become a headline writer’s phrasal template: “There’s an Awful Lot of Coffee in Vietnam,” “An Awful Lot of Coffee in the Bin,” and “There’s an Awful Lot of Taxes in Brazil.” Ethnographer Aaron Fox has shown how country music gives expression to the lived social experience of blue-collar and agrarian workers (Real 29). Coffee’s role in energising working class America (Cooper) is featured in such recordings as Dolly Parton’s Nine To Five (1980), which describes her morning routine using a memorable “kitchen/cup of ambition” rhyme, and Don't Forget the Coffee Billy Joe (1973) by Tom T. Hall which laments the hardship of unemployment, hunger, cold, and lack of healthcare. Country music’s “tired truck driver” is the most enduring blue-collar trope celebrating coffee’s analeptic powers. Versions include Truck Drivin' Man by Buck Owens (1964), host of the country TV show Hee Haw and pioneer of the Bakersfield sound, and Driving My Life Away from pop-country crossover star Eddie Rabbitt (1980). Both feature characteristically gendered stereotypes of male truck drivers pushing on through the night with the help of a truck stop waitress who has fuelled them with caffeine. Johnny Cash’s A Cup of Coffee (1966), recorded at the nadir of his addiction to pills and alcohol, has an incoherent improvised lyric on this subject; while Jerry Reed even prescribed amphetamines to keep drivers awake in Caffein [sic], Nicotine, Benzedrine (And Wish Me Luck) (1980). Doye O’Dell’s Diesel Smoke, Dangerous Curves (1952) is the archetypal “truck drivin’ country” song and the most exciting track of its type. It subsequently became a hit for the doyen of the subgenre, Red Simpson (1966). An exhausted driver, having spent the night with a woman whose name he cannot now recall, is fighting fatigue and wrestling his hot-rod low-loader around hairpin mountain curves in an attempt to rendezvous with a pretty truck stop waitress. The song’s palpable energy comes from its frenetic guitar picking and the danger implicit in trailing a heavy load downhill while falling asleep at the wheel. Tommy Faile’s Phantom 309, a hit for Red Sovine (1967) that was later covered by Tom Waits (Big Joe and the Phantom 309, 1975), elevates the “tired truck driver” narrative to gothic literary form. Reflecting country music’s moral code of citizenship and its culture of performative storytelling (Fox, Real 23), it tells of a drenched and exhausted young hitchhiker picked up by Big Joe—the driver of a handsome eighteen-wheeler. On arriving at a truck stop, Joe drops the traveller off, giving him money for a restorative coffee. The diner falls silent as the hitchhiker orders up his “cup of mud”. Big Joe, it transpires, is a phantom trucker. After running off the road to avoid a school bus, his distinctive ghost rig now only reappears to rescue stranded travellers. Punk rock, a genre closely associated with recreational amphetamines (McNeil 76, 87), also features a number of caffeine-as-stimulant songs. Californian punk band, Descendents, identified caffeine as their drug of choice in two 1996 releases, Coffee Mug and Kids on Coffee. These songs describe chugging the drink with much the same relish and energy that others might pull at the neck of a beer bottle, and vividly compare the effects of the drug to the intense rush of speed. The host of “New Music News” (a segment of MTV’s 120 Minutes) references this correlation in 1986 while introducing the band’s video—in which they literally bounce off the walls: “You know, while everybody is cracking down on crack, what about that most respectable of toxic substances or stimulants, the good old cup of coffee? That is the preferred high, actually, of California’s own Descendents—it is also the subject of their brand new video” (“New Music News”). Descendents’s Sessions EP (1997) featured an overflowing cup of coffee on the sleeve, while punk’s caffeine-as-amphetamine trope is also promulgated by Hellbender (Caffeinated 1996), Lagwagon (Mr. Coffee 1997), and Regatta 69 (Addicted to Coffee 2005). Coffee in the Morning and Kisses in the Night: Coffee and Courtship Coffee as romantic metaphor in song corroborates the findings of early researchers who examined courtship rituals in popular music. Donald Horton’s 1957 study found that hit songs codified the socially constructed self-image and limited life expectations of young people during the 1950s by depicting conservative, idealised, and traditional relationship scenarios. He summarised these as initial courtship, honeymoon period, uncertainty, and parting (570-4). Eleven years after this landmark analysis, James Carey replicated Horton’s method. His results revealed that pop lyrics had become more realistic and less bound by convention during the 1960s. They incorporated a wider variety of discourse including the temporariness of romantic commitment, the importance of individual autonomy in relationships, more liberal attitudes, and increasingly unconventional courtship behaviours (725). Socially conservative coffee songs include Coffee in the Morning and Kisses in the Night by The Boswell Sisters (1933) in which the protagonist swears fidelity to her partner on condition that this desire is expressed strictly in the appropriate social context of marriage. It encapsulates the restrictions Horton identified on courtship discourse in popular song prior to the arrival of rock and roll. The Henderson/DeSylva/Brown composition You're the Cream in My Coffee, recorded by Annette Hanshaw (1928) and by Nat King Cole (1946), also celebrates the social ideal of monogamous devotion. The persistence of such idealised traditional themes continued into the 1960s. American pop singer Don Cherry had a hit with Then You Can Tell Me Goodbye (1962) that used coffee as a metaphor for undying and everlasting love. Otis Redding’s version of Butler/Thomas/Walker’s Cigarettes and Coffee (1966)—arguably soul music’s exemplary romantic coffee song—carries a similar message as a couple proclaim their devotion in a late night conversation over coffee. Like much of the Stax catalogue, Cigarettes and Coffee, has a distinctly “down home” feel and timbre. The lovers are simply content with each other; they don’t need “cream” or “sugar.” Horton found 1950s blues and R&B lyrics much more sexually explicit than pop songs (567). Dawson (1994) subsequently characterised black popular music as a distinct public sphere, and Squires (2002) argued that it displayed elements of what she defined as “enclave” and “counterpublic” traits. Lawson (2010) has argued that marginalised and/or subversive blues artists offered a form of countercultural resistance against prevailing social norms. Indeed, several blues and R&B coffee songs disregard established courtship ideals and associate the product with non-normative and even transgressive relationship circumstances—including infidelity, divorce, and domestic violence. Lightnin’ Hopkins’s Coffee Blues (1950) references child neglect and spousal abuse, while the narrative of Muddy Waters’s scorching Iodine in my Coffee (1952) tells of an attempted poisoning by his Waters’s partner. In 40 Cups of Coffee (1953) Ella Mae Morse is waiting for her husband to return home, fuelling her anger and anxiety with caffeine. This song does eventually comply with traditional courtship ideals: when her lover eventually returns home at five in the morning, he is greeted with a relieved kiss. In Keep That Coffee Hot (1955), Scatman Crothers supplies a counterpoint to Morse’s late-night-abandonment narrative, asking his partner to keep his favourite drink warm during his adulterous absence. Brook Benton’s Another Cup of Coffee (1964) expresses acute feelings of regret and loneliness after a failed relationship. More obliquely, in Coffee Blues (1966) Mississippi John Hurt sings affectionately about his favourite brand, a “lovin’ spoonful” of Maxwell House. In this, he bequeathed the moniker of folk-rock band The Lovin’ Spoonful, whose hits included Do You Believe in Magic (1965) and Summer in the City (1966). However, an alternative reading of Hurt’s lyric suggests that this particular phrase is a metaphorical device proclaiming the author’s sexual potency. Hurt’s “lovin’ spoonful” may actually be a portion of his seminal emission. In the 1950s, Horton identified country as particularly “doleful” (570), and coffee provides a common metaphor for failed romance in a genre dominated by “metanarratives of loss and desire” (Fox, Jukebox 54). Claude Gray’s I'll Have Another Cup of Coffee (Then I’ll Go) (1961) tells of a protagonist delivering child support payments according to his divorce lawyer’s instructions. The couple share late night coffee as their children sleep through the conversation. This song was subsequently recorded by seventeen-year-old Bob Marley (One Cup of Coffee, 1962) under the pseudonym Bobby Martell, a decade prior to his breakthrough as an international reggae star. Marley’s youngest son Damian has also performed the track while, interestingly in the context of this discussion, his older sibling Rohan co-founded Marley Coffee, an organic farm in the Jamaican Blue Mountains. Following Carey’s demonstration of mainstream pop’s increasingly realistic depiction of courtship behaviours during the 1960s, songwriters continued to draw on coffee as a metaphor for failed romance. In Carly Simon’s You’re So Vain (1972), she dreams of clouds in her coffee while contemplating an ostentatious ex-lover. Squeeze’s Black Coffee In Bed (1982) uses a coffee stain metaphor to describe the end of what appears to be yet another dead-end relationship for the protagonist. Sarah Harmer’s Coffee Stain (1998) expands on this device by reworking the familiar “lipstick on your collar” trope, while Sexsmith & Kerr’s duet Raindrops in my Coffee (2005) superimposes teardrops in coffee and raindrops on the pavement with compelling effect. Kate Bush’s Coffee Homeground (1978) provides the most extreme narrative of relationship breakdown: the true story of Cora Henrietta Crippin’s poisoning. Researchers who replicated Horton’s and Carey’s methodology in the late 1970s (Bridges; Denisoff) were surprised to find their results dominated by traditional courtship ideals. The new liberal values unearthed by Carey in the late 1960s simply failed to materialise in subsequent decades. In this context, it is interesting to observe how romantic coffee songs in contemporary soul and jazz continue to disavow the post-1960s trend towards realistic social narratives, adopting instead a conspicuously consumerist outlook accompanied by smooth musical timbres. This phenomenon possibly betrays the influence of contemporary coffee advertising. From the 1980s, television commercials have sought to establish coffee as a desirable high end product, enjoyed by bohemian lovers in a conspicuously up-market environment (Werder). All Saints’s Black Coffee (2000) and Lebrado’s Coffee (2006) identify strongly with the culture industry’s image of coffee as a luxurious beverage whose consumption signifies prominent social status. All Saints’s promotional video is set in a opulent location (although its visuals emphasise the lyric’s romantic disharmony), while Natalie Cole’s Coffee Time (2008) might have been itself written as a commercial. Busting Up a Starbucks: The Politics of Coffee Politics and coffee meet most palpably at the coffee shop. This conjunction has a well-documented history beginning with the establishment of coffee houses in Europe and the birth of the public sphere (Habermas; Love; Pincus). The first popular songs to reference coffee shops include Jaybird Coleman’s Coffee Grinder Blues (1930), which boasts of skills that precede the contemporary notion of a barista by four decades; and Let's Have Another Cup of Coffee (1932) from Irving Berlin’s depression-era musical Face The Music, where the protagonists decide to stay in a restaurant drinking coffee and eating pie until the economy improves. Coffee in a Cardboard Cup (1971) from the Broadway musical 70 Girls 70 is an unambiguous condemnation of consumerism, however, it was written, recorded and produced a generation before Starbucks’ aggressive expansion and rapid dominance of the coffee house market during the 1990s. The growth of this company caused significant criticism and protest against what seemed to be a ruthless homogenising force that sought to overwhelm local competition (Holt; Thomson). In response, Starbucks has sought to be defined as a more responsive and interactive brand that encourages “glocalisation” (de Larios; Thompson). Koller, however, has characterised glocalisation as the manipulative fabrication of an “imagined community”—whose heterogeneity is in fact maintained by the aesthetics and purchasing choices of consumers who make distinctive and conscious anti-brand statements (114). Neat Capitalism is a more useful concept here, one that intercedes between corporate ideology and postmodern cultural logic, where such notions as community relations and customer satisfaction are deliberately and perhaps somewhat cynically conflated with the goal of profit maximisation (Rojek). As the world’s largest chain of coffee houses with over 19,400 stores in March 2012 (Loxcel), Starbucks is an exemplar of this phenomenon. Their apparent commitment to environmental stewardship, community relations, and ethical sourcing is outlined in the company’s annual “Global Responsibility Report” (Vimac). It is also demonstrated in their engagement with charitable and environmental non-governmental organisations such as Fairtrade and Co-operative for Assistance and Relief Everywhere (CARE). By emphasising this, Starbucks are able to interpellate (that is, “call forth”, “summon”, or “hail” in Althusserian terms) those consumers who value environmental protection, social justice and ethical business practices (Rojek 117). Bob Dylan and Sheryl Crow provide interesting case studies of the persuasive cultural influence evoked by Neat Capitalism. Dylan’s 1962 song Talkin’ New York satirised his formative experiences as an impoverished performer in Greenwich Village’s coffee houses. In 1995, however, his decision to distribute the Bob Dylan: Live At The Gaslight 1962 CD exclusively via Starbucks generated significant media controversy. Prominent commentators expressed their disapproval (Wilson Harris) and HMV Canada withdrew Dylan’s product from their shelves (Lynskey). Despite this, the success of this and other projects resulted in the launch of Starbucks’s in-house record company, Hear Music, which released entirely new recordings from major artists such as Ray Charles, Paul McCartney, Joni Mitchell, Carly Simon and Elvis Costello—although the company has recently announced a restructuring of their involvement in this venture (O’Neil). Sheryl Crow disparaged her former life as a waitress in Coffee Shop (1995), a song recorded for her second album. “Yes, I was a waitress. I was a waitress not so long ago; then I won a Grammy” she affirmed in a YouTube clip of a live performance from the same year. More recently, however, Crow has become an avowed self-proclaimed “Starbucks groupie” (Tickle), releasing an Artist’s Choice (2003) compilation album exclusively via Hear Music and performing at the company’s 2010 Annual Shareholders’s Meeting. Songs voicing more unequivocal dissatisfaction with Starbucks’s particular variant of Neat Capitalism include Busting Up a Starbucks (Mike Doughty, 2005), and Starbucks Takes All My Money (KJ-52, 2008). The most successful of these is undoubtedly Ron Sexsmith’s Jazz at the Bookstore (2006). Sexsmith bemoans the irony of intense original blues artists such as Leadbelly being drowned out by the cacophony of coffee grinding machines while customers queue up to purchase expensive coffees whose names they can’t pronounce. In this, he juxtaposes the progressive patina of corporate culture against the circumstances of African-American labour conditions in the deep South, the shocking incongruity of which eventually cause the old bluesman to turn in his grave. Fredric Jameson may have good reason to lament the depthless a-historical pastiche of postmodern popular culture, but this is no “nostalgia film”: Sexsmith articulates an artfully framed set of subtle, sensitive, and carefully contextualised observations. Songs about coffee also intersect with politics via lyrics that play on the mid-brown colour of the beverage, by employing it as a metaphor for the sociological meta-narratives of acculturation and assimilation. First popularised in Israel Zangwill’s 1905 stage play, The Melting Pot, this term is more commonly associated with Americanisation rather than miscegenation in the United States—a nuanced distinction that British band Blue Mink failed to grasp with their memorable invocation of “coffee-coloured people” in Melting Pot (1969). Re-titled in the US as People Are Together (Mickey Murray, 1970) the song was considered too extreme for mainstream radio airplay (Thompson). Ike and Tina Turner’s Black Coffee (1972) provided a more accomplished articulation of coffee as a signifier of racial identity; first by associating it with the history of slavery and the post-Civil Rights discourse of African-American autonomy, then by celebrating its role as an energising force for African-American workers seeking economic self-determination. Anyone familiar with the re-casting of black popular music in an industry dominated by Caucasian interests and aesthetics (Cashmore; Garofalo) will be unsurprised to find British super-group Humble Pie’s (1973) version of this song more recognisable. Conclusion Coffee-flavoured popular songs celebrate the stimulant effects of caffeine, provide metaphors for courtship rituals, and offer critiques of Neat Capitalism. Harold Love and Guthrie Ramsey have each argued (from different perspectives) that the cultural micro-narratives of small social groups allow us to identify important “ethnographic truths” (Ramsey 22). Aesthetically satisfying and intellectually stimulating coffee songs are found where these micro-narratives intersect with the ethnographic truths of coffee culture. 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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. 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