Journal articles on the topic 'Glass blowing and working – History'

Early Roman mould-blown glass vessels are widespread and well-known in the museums, private collections and sale rooms of Europe and America. However, one encounters such items less frequently in the regions where a great many of them were made. Although much work has been done on the origins and early practitioners of the craft of mould-blowing, few actual vessels have been recorded in the eastern Mediterranean and Middle East. So it is pleasing that I am able to add to the list a fine example in the Gaziantep Museum.Hexagonal flask. 1st century A.D. Translucent cobalt blue glass. Blown in a three-part mould. Flat bottom. Cylindrical neck with everted rim, lip folded inward. (Fig. 1 and Pl. XIX/a–c).Exact find-spot not recorded; acquired by purchase in the Gaziantep region. No registration number by October 1984.Height 7·8 cm. Diameter of bottom 2·4 cm.

In order to improve the structure, section shape and inner flow performance of micro-channel in Micro-fluidic system, a novel fabricating process of bio-micro-channel (BMC) is proposed based on the softening and forming property of glass material. By the manipulation of heating, pulling and blowing, a bio-micro-channel is made from glass capillary with specific functional units. A vitreous bio-micro-channel fabricating device (VBMCFD) is presented with working models of uniaxial and biaxial tension. Using common borosilicate glass capillary as experimental material, the affecting parameters of micro channel inner diameter, outer diameter, thickness and functional unit key parameter are tested, such as heating voltage, heating time, pulling velocity, pulling displacement and inner pressure. The bio-micro-channel is fabricated with micron scale inner diameter, about 5μm, and spherical functional unit. The experimental results show that the prototype of VBMCFD is characterized by reliable process, simple structure, low cost, etc. The vitreous bio-micro-channel is fabricated with circular-cross-section straight channels and uniform functional units, which are the key characters of biologic micro-channel.

Recent work at Qantir-Piramesses revealed a group of crucibles related to glass-working. At least 40 individual crucibles were identified, dating to the reign of Ramesses II or slightly earlier. They are almost cylindrical in shape. The fabric was a local Nile clay (Vienna Nile E) without much visible temper. Most fragments are coated on the inside with a white layer. The crucibles resemble finds from Tell el-Amarna, also attributed to New Kingdom glass-working. They also relate to a solid glass ingot fitting precisely into the reconstructed crucibles. The crucible fragments from Qantir allow us to deduce their original mode of operation, and give new insight into the organisation of Egyptian glass-making and high temperature industries.

Successful technological change in countries outside the northern Atlantic during the nineteenth and early twentieth centuries depended on entrepreneurial skills, not inventive expertise. In this examination of the Owens automatic glass-bottle-blowing machine in Mexico between 1905 and 1912, innovation is seen to have occurred within a broad context of incipient social and economic modernization. Although the obstacles encountered by technology importers and innovators were both substantial and stubbornly persistent, in this case, they turned out to be malleable.

This study investigated the breakdown trend in an automated production with an aim to recommend the application of reliability-centered maintenance (RCM) for improved productivity via a new preventive maintenance (PM) program. An individual section-forming machine (ISM)—a glass blowing machine for making glass bottles—was used as the case study for an automated production system. The machine parts and the working mechanisms were analysed with a special focus on methods of processes and procedures. This will enable the ISM maintenance department to run more effectively and achieve its essential goal of ensuring effective machine operation and reduction in machine downtime. In this work, information is provided on the steps and procedures to identify critical components of the ISM using failure modes and effect analysis (FMEA) as a tool to come up with an optimal and efficient maintenance program using the reliability data of the equipment’s functional components. A relationship between the failure rate of the machine components and the maintenance costs was established such that using the recommended PM program demonstrates evidence of an improvement in the machine’s availability, safety, and cost-effectiveness and will result in an increase in the company’s profit margin.

The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.

Stretch blow moulding (SBM) has been employed to manufacture bioresorbable vascular scaffold (BVS) from poly (l-lactic acid) (PLLA), whilst an experience-based method is used to develop the suitable processing conditions by trial-and-error. FEA modelling can be used to predict the forming process by the scientific understanding on the mechanical behaviour of PLLA materials above the glass transition temperature (Tg). The applicability of a constitutive model, the ‘glass-rubber’ (GR) model with material parameters from biaxial stretch was examined on PLLA sheets replicating the biaxial strain history of PLLA tubes during stretch blow moulding. The different stress–strain relationship of tubes and sheets under equivalent deformation suggested the need of re-calibration of the GR model for tubes. A FEA model was developed for PLLA tubes under different operation conditions, incorporating a virtual cap and rod to capture the suppression of axial stretch. The reliability of the FEA modelling on tube blowing was validated by comparing the shape evolution, strain history and stress–strain relationship from modelling to the results from the free stretch blow test.

AbstractIn the second half of the nineteenth century, gas discharge research was transformed from a playful and fragmented field into a new branch of physical science and technology. From the 1850s onwards, several technical innovations – powerful high-voltage supplies, the enhancement of glass-blowing skills, or the introduction of mercury air-pumps – allowed for a major extension of experimental practices and expansion of the phenomenological field. Gas discharge tubes served as containers in which resources from various disciplinary contexts could be brought together; along with the experimental apparatus built around them the tubes developed into increasingly complex interfaces mediating between the human senses and the micro-world. The focus of the following paper will be on the physicist and chemist Johann Wilhelm Hittorf (1824–1914), his educational background and his attempts to understand gaseous conduction as a process of interaction between electrical energy and matter. Hittorf started a long-term project in gas discharge research in the early 1860s. In his research he tried to combine a morphological exploration of gas discharge phenomena – aiming at the experimental production of a coherent phenomenological manifold – with the definition and precise measurements of physical properties.

This review gives a perspective of the thermal poling technique throughout its chronological evolution, starting in the early 1990s when the first observation of the permanent creation of a second order non-linearity inside a bulk piece of glass was reported. We then discuss a number of significant developments in this field, focusing particular attention on working principles, numerical analysis and theoretical advances in thermal poling of optical fibers, and conclude with the most recent studies and publications by the authors. Our latest works show how in principle, optical fibers of any geometry (conventional step-index, solid core microstructured, etc) and of any length can be poled, thus creating an advanced technological platform for the realization of all-fiber quadratic non-linear photonics.

The Historical Instruments Working Group (WG-HI) and Commission 41 started planning an interdisciplinary conference titled Astronomy and its instruments before and after Galileo since January 2007. This conference, as an IYA2009 initiative, aims “to highlight mankind's path toward an improved knowledge of the sky using mathematical and mechanical tools as well as monuments and buildings, giving rise, in doing so, to scientific astronomy”. Commission 46 and Commission 55 also support this conference, to be held on the Isle of San Servolo, Venice (Italy), 27 September – 3 October 2009. As a fact of history, it was in Venice that Galileo was advised and got material (glass) to make his telescope, and in Venice he presented an working instrument to Venetian Doge in August 1609. The conference is co-sponsored by IAU as a Joint Symposium with the INAF – Astronomical Observatory of Padova, Italy.

After the inclusion of a number of industrial diseases and injuries in the Workmen's Compensation Acts of 1896 and 1906, the government asked the Royal Society to investigate how and why glare and heat apparently caused glassworkers to develop cataracts during their working lives. The activities between 1908 and 1928 of the Glass Workers' Cataract Committee, which was made up of chemists, physiologists and ophthalmologists, are discussed. Emphasis is placed on the attempts by the octogenarian William Crookes (PRS 1913–15) to formulate a spectacle glass that was opaque to infrared and ultraviolet radiation. While providing relief for industrial workers, the research also laid the foundation for the modern sunglasses industry. Other significant work of the Committee concerned the biochemistry of the eye.

Prismatic glass, which was a highly successful building material in the United States between the turn of the century and the 1920s, promised to refract daylight from the façades deep into a building and thus would help to save energy, create healthier working environments, and contribute to the development of a new modern architecture. The Luxfer Prism Companies were the inventors and most prominent producers of this material. The article examines selected examples of the firms' commissions in the U. S. and abroad to show the influence that both a product's real or assumed qualities and the promoting skills of its producers could have on the formal and structural decisions of architects. These projects present the architect less as the dominating force in the design process than as a participant in a complex dialogue among different partners. Luxfer contributed to the contemporary architectural debate by promoting the small-scale pattern of its glass installations as a competing vision of architectural modernity to that of the emerging aesthetic of steel and glass façades. In the early 1930s prismatic glass finally lost the competition with electrical lighting and new structural daylighting devices such as hollow glass blocks.

This paper will introduce the use of intentional inclusions and inner space within glass as a means of creative expression, as an emerging area of practice-based research within the field of art glass. This includes the definition of key concepts, a short history of inclusions in glass, the development of technologies used by material scientists working with inclusions and the industrial applications of inclusions in glass will be discussed. This paper will discuss the completed doctoral research of Jessamy Kelly who explored ceramic inclusions within glass and Goshka Bialek who explored metal inclusions within glass. Both glass artists explored the use of foreign, intentional inclusions which have been entrapped within glass within their doctoral research. Glass artists that use a variety of metal, ceramic and other inclusions to penetrate the internal space of their objects will also be introduced. This paper will set the parameters of the field providing an in-depth study into the concept and use of inclusions which plays an important part in understanding why some glass artists use inclusions within their glass. It is significant to recognise a collective response, from many artists detailed in this paper and their exploration of the internal space within art glass objects, to create an inner space or world within their artworks. This paper will define and explore the variety of ways, both from a historical and contemporary perspective, that inclusions in glass, have been combined together over many years.

The article highlights the history of the village of Rokytne of Ovruch district in Volyn, which was founded in the 16th century. The rapid development of the village is associated with the change of owner at the end of the 19th century, the Russian nobleman V. M. Okhotnikov and the emergence of merchant of the first guild of St. Petersburg Yu. M. Rozenberg. The Belgian fund was involved with the participation of which it was built an glass enterprise the outskirt of Rokytne village. The factory worked to satisfy needs of the government and produce glass bottle of different capacity. Construction of the Rokytnе glass factory was possible in the presence of a raw material base — quartz sand and forests, which were used as fuel and as building material. Intensive development coincides with the reconstruction of the glass factory in 1900–1902 years. At the same time, a working settlement arose, whose infrastructure was constantly expanding, especially with the construction of railway connection. The number of population has also increased at the expense of employees who came to work from different parts of the Russian Empire. The administration of Rokytne glass factory provided dwelling for all workers and the representatives of small and midsize businesses and they rented the apartments for organization establishments of trade.

Introduction: Hypersensitivity pneumonitis, most frequent types are those related to farming and bird breeding. In this paper, a patient with occupational exposure to metal dusts and welding fumes but diagnosed with HP thanks to the guidance of detailed anamnesis revealing inhalational exposure to pigeon antigens both at home and in workplace Case: 32-year-old male. He applied with shortness of breath, dry cough. He has been working production of kitchen equipment made from stainless steel. When environmental exposures questioned, he declared that he bred up to ten pigeons at the basement of his house and up to fifteen pigeons at a coop next to workplace building. Spirometry revealed restrictive pattern. In patient’s chest X-ray, bilateral increased reticular densities were observed. Computed tomography of thorax revealed radiological findings supporting subacute hypersensitivity pneumonitis such as bilateral diffuse millimetric centrilobular ground-glass nodules which are coalescing in some areas, mosaic perfusion and air trapping in basal areas. Bronchoalveolar lavage cytology revealed percentages of lymphocytes as 85%. Discussion: Detailed anamnesis revealing environmental and occupational inhalational exposures guides the physician in diagnosis of HP. After initial suspicion, supporting laboratory and radiologic findings confirm the diagnosis to provide appropriate management.

The object of the paper is the development of Bulgarian science during the totalitari-an period (1945-1989), but its subject is the scientific career of the habilitated women, working in the Bulgarian Academy of Sciences (BAS) – the largest scientific organiza-tion in the country at that time. The aim is to explore the opportunities for vertical social (scientific) mobility and the existence of a “glass ceiling” for women’s scientific careers at the BAS. The research uses the social history approach, creating a collec-tive portrait and identifying major trends in the study period, using historical analysis of archival and published documents and content analysis of a prosopographic data-base containing biographies of habilitated women from the institutes and the labora-tories of the BAS.

Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.

Background: Occupational health has been included in National Health Policy, with a mission of providing safe healthy environment for the cotton textile workers by Government of India. With large population being agriculture dependent, the cotton textiles sector is the second largest provider of employment in India. Workers of these cotton and related industries are exposed to cotton dust in mills during carding, blowing, spinning and weaving of cotton fibers. Smoking is another causative factor for aggravating these respiratory symptoms in workers as most of them are habitual to smoking due to work load. Following studies was initiated with an objective to evaluate the interaction between cotton dust exposure and smoking on the lung function of these subjectsMethods: Five hundred (500) male weavers, from Varanasi, the state of Uttar Pradesh, North India working in various spinning outlets, were approached for this study with work duration of 10-15years. These subjects selected were in the age group of 28-41 years with no chronic medical history and lung ailments. Some of the workers had smoking history varying from 5-18 years. After segregating them in various groups (G1-G4), lung functions were monitored by evaluating the peak expiratory flow rate (PEFR) in workers of all the groups in lit/min.Results: As lung functions were evaluated in terms of PEFR as main parameter. The results of the present study indicate significantly low values of PEFR (lit/min) in cotton spinning workers (G-3) as compared to normal healthy individuals (G-1), which got further impaired due to prevalence of smoking in subjects of cotton spinners (G-4). The level of significance (p<0.05) for altered lung functions in smoking workers was much higher than those in nonsmoking workers suggesting involvement of larger airways.Conclusions: Present results of this study; indicate that smoking potentiates the effects of cotton dust exposure on the respiratory functions of spinners by indicating the prevalence of enhanced lung symptoms as well as byssinosis.

<p>A 7 year old working mule, with the history of traumatic injury on left hind limb, was presented to TVCC within 6-7 hours of injury with open complicated skin wound. Physical and clinical examination revealed rupture of superficial and deep digital flexor tendons with relative soft tissue and skin damage. The case was diagnosed as traumatic flexor tendon rupture and posted for surgical correction by Bunnell-Mayer suturing technique. Anaesthesia was induced using Xylazine (1.1 mg/kg) and Ketamine (2.2 mg/kg) combination and maintained with thiopental sodium (500 mg) under lateral recumbency. Polyglactin-910 (#2) suture was preferred for tenorrhaphy because of higher tensile and functional strength. Post-operative immobilization was achieved by fiber-glass full limb cast. Animal showed lameness for the first post-operative week, and then slowly reduced. During the cast removal at 6^th week post-operatively, there was exuberant granulation tissue formation, which was removed by using cauterization. The dressing of wound was continued with proper debridement and antibiotic till the re-establishment of damaged tissue.</p>

Hypersensitivity pneumonitis (HP) is a nonimmunoglobulin E-related immune-mediated parenchymal lung disease. A 45-year-old woman who was a lifelong nonsmoker with a six-month history of frequent episodes of cough and dyspnea was admitted to hospital. She had been working as a money counter for 20 years at a central bank. Bibasilar crackles on lung auscultation, ground-glass opacities and a mosaic pattern on high-resolution computed tomography, restrictive abnormality on pulmonary function tests and mild hypoxemia were the prominent findings. Bronchoalveolar lavage fluid analysis revealed a predominance of CD4-positive T cells, and she tested positive on her natural challenge test. She was diagnosed with subacute HP based on established criteria. She was advised to discontinue counting fresh banknotes. Prednisolone was commenced, then tapered to discontinue in the ensuing six months. Clinical and radiological improvement was achieved within two months. To the authors’ knowledge, the present report is the first to describe ‘hard cash HP’, possibly caused by chipping dust or printing dye.

Introduction. Industrial carcinogens are one of the causes leading to malignancy of epithelial neoplasms of the skin. The aim of study to assess the importance of conducting dermatoscopic research methods during periodic medical examinations of workers with industrial carcinogens. Materials and methods. 108 employees of the enterprise of Moscow were examined at periodic medical examinations of KPO FSBSI Izmerov Research Institute of Occupational Health. According to the special assessment of working conditions for harmful factors and types of work, a contingent of 60 people who had contact with industrial carcinogens and 48 people who did not have contact with industrial factors was identified. A complex of clinical-anamnestic and diagnostic methods was performed. Clinical research-interview of the patient, study of the patient's medical history, complaints, heredity, Constitution, professional activity, skin type and harmful effects; duration of existence and dynamics of changes in the size of the neoplasm. Visual examination of the patient's skin under natural and side lighting using a magnifying glass with 7x magnification. Physical examination of the primary skin tumor: the shape, color, size, and boundaries of the neoplasm were preliminarily evaluated. Epiluminescent surface microscopy (dermatoscopy) of each suspected pigmented neoplasm was performed using a Heine Delta 20 Dermatoscope (Heine Optotechnik, Germany). During dermatoscopy, in order to make the surface layers of the skin more transparent, oil was applied to the surface of the neoplasm. Digital photos during dermatoscopy were taken using a Nikon D 3100 18-55 II Kit digital camera, which was connected to the Dermatoscope by a Nikon UR-E15 adapter ring. Industrial carcinogens are one of the causes leading to malignancy of epithelial neoplasms of the skin. Results. According to the results of the study in a group of patients, it was found that workers who had contact with industrial carcinogens, epithelial skin neoplasms were much more common and more common at a young age (from 18 to 39 years), compared with patients who did not have contact with carcinogens at work. It was also revealed that epithelial neoplasms of the skin are most often diagnosed with longer work experience. It is noted that in patients who have contact with industrial carcinogens, even with work experience of up to 10 years, epithelial skin neoplasms are more often detected. Conclusions. There are good reasons to believe that exposure to industrial carcinogenic factors significantly increases the risk of developing skin neoplasms. The use of dermatoscopic diagnostic methods will allow timely detection of benign skin neoplasms in persons who have contact with industrial carcinogens during preventive medical examinations and thereby reduce the risk of malignant neoplasms.

The Scottish zoologist Henry Charles Williamson was one of a group of young men who initiated fisheries science in the late Victorian age, schooled under Professor William Carmichael McIntosh at St Andrews University. Initially working for the Fishery Board of Scotland, Williamson contributed original studies on fish anatomy, morphology, systematics and life cycles; decapod Crustacea life-history stages; fish diseases and parasites. He was at the forefront of attempts to transport herring ova to Australia and New Zealand to introduce this European food fish to antipodean waters. That involved him researching how to retard development of ova using low temperatures and developing glass settlement-plate techniques for their transportation. He left Scotland in 1925 to spend five years in the Canadian Pacific, studying salmon migration by tagging and latterly becoming responsible for pilchard and herring work there too. Returning to his home town of Dundee in retirement, he lived a quiet life, giving talks to local groups, supporting his church's administration and contributing articles to the fishermen's press. Sadly he died before he could complete the two volumes on fishes that he was in the course of writing.

A solar air heater is needed for the drying process, especially in Indonesia. It means the researches to produce a solar air heater that had high performance is necessary. This research analyses the performance of solar air heater using trapezoidal absorber plate with variation of folded angle 83˚, 85˚, and 87˚. The research carry out artificial experimentally using halogen lamp as a solar simulator. The working principle of solar air heating begins with an induction fan sucking air to enter through the honeycomb then flowing into the air heating duct. The process of heat transfer occurs in a halogen heat lamp passed by the transparent glass and then absorbed by the absorbent plate. This heat will heat the air flowing in the air heating pipe to be transmitted into the drying cupboard. The experiment used several variations of the mass airflow rate 0.022 until 0.051 kg/s and intensity 850, 900, dan 950 W/m2. Temperature measurement is carried out by installing a thermocouple at several points that have been determined. The best performance produced by the wave plate-shaped trapezoidal wave heaters 83˚ when I = 950 W/m2 air mass flow rate 0.022 kg/s with the temperature of the absorbent plate 87 ˚C, the temperature of the exit air 43.2 ˚C, the difference in the rise in air temperature 15.2 ˚C, and when I = 950 W/m2 air mass flow rate 0.051 kg/s the useful heat generated by the air heater 527 Watt, and thermal efficiency 96.8%.

Dean Roden Chapman (1922-1995), an engineer and scientist at NASA Ames Research Center, was one of the founders of astronautics (rocket science). He used his laboratory to produce objects that are very similar to Australian tektites. There were two major questions about tektites in his day: did they come for the Earth or the Moon? And were they caused by meteor impacts or volcanic eruptions? Chapman came to believe that tektites were caused by meteor impacts on the Moon. He made many contributions to our understanding of tektites and was also one of the people who helped NASA get to the Moon. One percent of the Moon was covered with little glass spheres, but they are quite different from the tektites known on the Earth. The data from the Moon rocks was largely incompatible with the theory that terrestrial tektites are derived from the Moon. Chapman stopped publishing papers about tektites, but he remained interested in the subject for the rest of his life and believed that in the long run the lunar impact theory might become dominant again as new data was returned from the Moon. From our present understanding of tektites and the Moon, Chapman failed because he privileged the facts that he generated himself in his laboratory. He was not prepared to study the messy complexity of natural products. He was misled by the meteorite science traditions used in tektite science. He did not use appropriate statistical procedures, and because he was such a famous scientist in his own field the editors of two major journals in which he published did not properly assist him when he was working outside his area of major competence.

The history of formation and the current state of mammal collections of the Zoological Museum at Zaporizhia National University are considered. The essay comprises two main sections: a general description of the museum and a survey of unique specimens. The first presents historical information as well as a depiction of the building and a general description of the collection. The second section deals with the analysis of unique specimens as evidence and sources for valuable faunal data and as elements of the museum display. The museum was established in 1997, although the period of amassment of materials and the history of the osteological collection had already begun in 1987, when the Faculty of Biology was established at the University of Zaporizhia. The exposition of the museum consists of both skin-mounts and osteological materials (skulls) displayed in glass cabinets and on stands. This part of the exhibition is designed as a separate hall of the museum (“Green” hall) devoted to mammals and birds. However, the main part of the scientific collection of skulls (more than 800 specimens) is stored in cabinets located in working rooms of the Department of Forest Biology, Game Management, and Ichthyology. These are the working materials collected by scientists and students of the department. The osteological collection includes 240 skulls of Vulpes vulpes, 89 of Canis lupus, 77 of Ondatra zibethicus, 77 of Lepus europaeus, 57 of Nyctereutes procyonoides, 27 of Martes foina, 9 of Canis aureus, and 4 of Lutra lutra, which is in total 580 specimens. Though the number of ungulate speci­mens has yet to be accounted, their number is not less than the number of carnivores. The displayed part of the mammal collection is represented by 4 groups of notable specimens, including dynamic figures (representing game mammals of the local fauna), collection of skulls (1 or 2 specimens of each species, mainly of the size of a hedgehog or weasel to the size of a moose), exotic species (including monkeys, megabats, armadillos, etc.), and rare species of fauna of the Azov region. Among faunistically valuable specimens collected in Ukraine are such rare species as follows: 1) Allactaga major (1 specimen, 2011, near Primorsky Posad, Zaporizhia Oblast; 2) Spalax microphthalmus (1 specimen, skin-mount, Lysa Hora, near Vasylivka, Zaporizhia Oblast, 12.2013); 3) Plecotus austriacus (1 specimen, vicinities of Kushugum, Zaporizhia Oblast, 12.2018); 4) Desmana moschata (1 specimen, Sumy Oblast, 20.11.2018).

There are so many things made of concrete, glass and metal in modern cities. All of this displace nature and there is no space for planting. Plants produce oxygen and clean the environment. That is why the landscaping of the roofs of buildings is a kind of compensation in landscaping. The article is about studying methods of creating extensive green roofs from the origin to nowadays. The work includes the study of historical, architectural and regulatory documents and some literary sources. It also includes some facts from the history of green roofs creation, which appeared in the 9th century, on the example of the old house of the Vikings, who lived on the territory of the Faroe Islands. There is a comparative analysis of historical and modern technologies in the article. The design features of extensive roof landscaping are considered. The study revealed modern techniques of extensive landscaping, as well as a list of plants that are resistant to roof landscaping. Recommendations for the usage of waterproof materials like bitumen roll and other are given. The modern approach to the selection of substrates for growing plants on extensive green roofs is also considered. The study revealed modern techniques of extensive landscaping, as well as a list of plants that are resistant to roofing landscaping. It has been revealed that modern materials significantly reduce the specific weight of the construction and ensure the excellent efficiency of the system and the viability of plants during the all working lifespan of the roof. They are discussed the technology of growing planting material for roof landscaping like moss or sedum mats, growing plants in pallets and multiboards, etc.

The article presents a detailed analysis of achievements of Ukrainian artists working in the field of "art of fire", in particular professional ceramics and glassworks, while attracting close attention in the general artistic process of the 1980s to 2010s. Losses of the art industry in Ukraine in the 1990s did not stop the artists from searching the ways to streamline decorative imagery, as well as non‑standard approaches to materials in the individual work of artists in this field. European and global biennials and triennials of decorative art considerably contributed to finding new ways of the “art of fire” development. During such events masters of various artistic trends and schools exchanged their experience. And that proved to be the most powerful stimulus for both intensification of creativity and strengthening experimental activities in exposition works of Ukrainian artists at the turn of the 20th and 21st centuries. Since then, Ukrainian masters of ceramics and glassworks have begun mastering the heritage of artists from other countries, which contributed to the diversification of formal techniques of Ukrainian artists of decorative art. This, in its turn, has led to the emergence of various conceptual works, installations, and complicated spatial compositions. The author also carefully considers national competitive exhibitions, all‑Ukrainian presentations and symposia, which helped to introduce the latest artistic ideas and technologies of the “art of fire” masters. This study is actualized by globalization processes taking place in civilization. Stating specific challenges posed by the globalization to national culture, the author, at the same time, finds arguments in favor of its positive effects on art. A rapid entry of Ukrainian ceramic and glass artists into the global context at the turn of the 20th – 21st centuries, does not bring about a danger of dissolving in it, given the nature of professional decorative art of Ukraine. The “art of fire” is perceived as a powerful branch in the field of national culture with its inherent features of authentic spiritual genetics, as a dynamic balance of centuries‑old traditions and modern fine arts. It is paradoxical, the author believes, that globalization generates the opposite process as well: it directs Ukrainian artists to search for archetypes of their own culture, returns to their national historical heritage, and stimulates the preservation of national identity, as a result of which the “art of fire” becomes an important factor of national and cultural identification. In the context of professional decorative art problems and from the viewpoint of national and cultural identification in the conditions of globalization processes in Ukraine, such an aspect of studying the “art of fire” within the field of art history science is considered for the first time.

Abstract One week prior to demise, a 30 years old smoker male with a past medical history significant for intermittent asthma presented to emergency with shortness of breath, wheezing, productive cough, and generalized fatigue for 1 week. He was afebrile, normotensive, tachycardic and had O2 saturation of 96% on room air. Physical examination showed cachexia, audible wheezes and oropharyngeal erythema. Labs showed WBC 3600/uL with lymphocyte count of 700/uL and mild thrombocytopenia. Chest X ray was clear. Serology was reactive for HIV, pending viral load. Working diagnosis was asthma exacerbation in the setting of a possible viral infection for which he was discharged home to complete a 5-day course of high dose prednisone, with follow up with infectious diseases as an outpatient. Subsequent, HIV viral load after discharge was 194,643 copies/mL. One week later, he presented to the ED with worsening respiratory symptoms, new onset chest pain and vomiting. He was hypotensive, tachycardic, tachypneic, and afebrile. He had leukocytosis of 12,700/uL with neutrophilia, lactate of 6.6, BNP 841. Influenza A, B and RSV, and urine histoplasma antigen were negative. EKG showed abnormal ST segment elevation with concerns for STEMI. Chest CT revealed multifocal, bilateral ground glass and nodular opacities with cystic cavities. Mediastinal and hilar lymphadenopathy was also noted. Pulmonary embolism and pneumothorax were ruled out. Blood gases reflected acute hypoxemic respiratory failure. Vancomycin and Piperacillin/tazobactam were started. A bed side ultrasound showed significantly dilated right ventricle with severely reduced function and hence concerns for cardiogenic component of shock. He was intubated and shortly after developed asystole and expired after prolonged cardiopulmonary resuscitation within twelve hours of admission. At autopsy, gross exam showed bilateral pulmonary congestion, bilateral hilar adenopathy and matted lymph nodes in the mediastinum. Microscopy revealed cryptococcus (mucicarmine positive encapsulated yeast forms) involving intraalveolar and alveolar septal parts of all lobes of the lungs, effacing lymph nodes, and involving microscopic foci in bilateral myocardial ventricles. Modified GMS-positive cup shaped Pneumocystis organisms involved the alveolar spaces of all lung lobes. The lung parenchyma showed minimal inflammatory response. Our case is of an HIV patient with respiratory symptoms found to have pulmonary co-infection with PJP and Cryptococcus neoformans, confirmed on pathology report. This is uncommon in literature. Additionally, this case is unique in reporting the presentation of Cryptococcus neoformans as involving the mediastinal lymph nodes and myocardium.

It started with curiosity: The name of the French philosopher seemed to pop up here and there, while we were working on dissertations and postdoc-projects. Not just, as we already knew, in the works of the French philosophers Gilles Deleuze, Bernard Stiegler and German media historians like Bernhard Siegert and Erich Hörl, but also in books and articles by John Durham Peters, Elisabeth Grosz and Yuk Hui. Simondon seemed to be relevant when discussing the question of technology in the Anthropocene, digging into neo-cybernetic trends within critical theory, understanding New Materialism and challenging AI-philosophy. What was it about this French philosopher that could inspire so many different thinkers and fields of thoughts? We soon realized that we did not know very many people who had worked with the ideas of Simondon, and thus, set forth to produce some texts on him. With this issue, we do not intend to give a comprehensive introduction to Simondon’s philosophy. What we hope to do, is to offer a handful of reflections upon how to use Simondon today. We do this by publishing an article on the politics of problems in the thinking of Simondon and Gilles Deleuze, written by Stefano Daechsel and a three-part interview on Simondon’s oeuvre with Yale-professors Gary Tomlinson, John Durham Peters and Paul North, conducted by Johan Fredrikzon. In addition, we have pieced together a few editorial texts: An overview of interesting articles and books on Simondon that we came across as we edited this volume, and a brief vocabulary of Simondonian thought. The article and interview provide several answers to the question why Simondon is a relevant thinker today. Gary Tomlinson argues that Simondon offers key insights to evolutionary studies: He is able to bridge the gap between cultural and evolutionary biology. This is due to the Simondonian understanding of culture, Tomlinson argues, as something that arises in evolution and also shapes it. ”We were toolmakers before we were human”, as Tomlinson writes in the article ”Semiotic Epicycles and Emergent Thresholds in Human Evolution” (Glass-bead.org, 2017), which he quotes in the interview. Furthermore, Simondon flirts with what John Durham Peters calls neo-Thomism, a view of the history of technology that is not transcendental, nor teleologically determined or based on an idea of progress, but that is nevertheless intelligible. As John Durham Peters says in his interview: ”Thomism gives you a potential of the world as an intelligible totality, much like James Joyce in Finnegan's Wake: a vision of the world as a knowable whole.” Simondon’s philosophy according to Durham Peters is ”Aristotelian in the sense that nature has a structure which in some ways corresponds to the structure of understanding (…), the processes by which nature works and the processes by which technology works are analogous”. Most importantly, Simondon identifies possible strategies for resistance. Studying technology is necessary for us to act as political individuals, Stefano Daechsel argues in his article on Simondon and Deleuze. ”[T]here is an urgency to Simondon’s call for a technical culture that would foster a ‘genuine awareness of technical realities (…)’, such an awareness of technology ‘possesses political and social value’.” We need to delve into the technical realities, not in order to liberate ourselves from technology, but in order to modify and gain some kind of agency as technological beings. With reference to Robert de Niro’s character in Terry Gilliam’s film Brazil (1985), Paul North also reflects upon the agency of the individual through the figure of the tinkerer: ”The kind of freedom where you can do anything, like ex nihilo creation. Simondon wants nothing to do with that. It is the middle person, the one who can take an invention and actually make it into a form of life, bring it in line with the milieu and allow each to change the other, that is interesting for Simondon.” Toward the end of the interview, North claims philosophy of technology today is looking for new resources in order to comprehend the world we live in. Mazzilli-Daechsel begins his article by stating that we need a way out of our politics of defeatism today. Simondon is a useful source to go to, in both regards. We hope this volume demonstrates that. In addition to the section on Simondon, this issue of Sensorium Journal features two reviews, on the recent complete transcript of the Macy Conferences edited by Claus Pias and two books in the series “Understanding Media Ecology”. We hope you enjoy your reading!

Rigid bronchoscopy is a procedure that is performed in order to directly visualize the upper and lower airway, and is carried out for either a diagnostic or therapeutic purpose. Suspected foreign body (FB) aspiration is the most common indication for performing this procedure in the pediatric age group at the Philippine Children’s Medical Center where a recent census (May 2008 to April 2009) showed that of 21 cases where rigid bronchoscopy was performed, 10 were for suspected FB aspiration. A review of 101 cases in the same institution showed that the average age of patients with FB aspiration was 2 years and the most common item aspirated was a peanut followed by the atis (sweetsop) seed and chicken bone chips. The most common inorganic foreign body was an earring and “whistle” (which broke off from a toy).1 It is more common in males probably because of their usually more active nature and is frequently found in the right mainstem bronchus, where the FB more easily lodges - being straighter, shorter and wider in diameter. FBs are life-threatening events in children that require early diagnosis and prompt successful management.2 A good history, physical examination and analysis of diagnostic tests are vital in every situation. In most cases, the child’s aspiration of the foreign object is a witnessed event 3 and this history of aspiration is the most sensitive diagnostic tool. The main symptoms include choking, prolonged cough, and dyspnea. Abnormal physical examination findings are found in 67% to 80% of cases and include unilaterally decreased breath sounds, wheezing and stridor.2, 4 Radiographic procedures may show abnormal findings in only about 68-86% of cases.4 5 The most useful radiographs requested are the chest posteroanterior (anteroposterior in infants and small children) and lateral views which may help localize the impaction site when the object aspirated is radiopaque.3 However, most inhaled FBs are radiolucent, and their presence can be suspected by obtaining inspiration and expiration views to demonstrate unilateral hyperinflation. Other suggestive features include atelectasis, pneumothorax and pneumonia. These indirect radiologic features of FB inhalation are present in 76% of cases.2, Where inspiration and expiration views cannot be obtained, as in very young children, left and right decubitus views may be helpful. 6 Fluoroscopic studies may also be obtained along with the plain radiographs, however, specificity and sensitivity are not very high.4 Virtual bronchoscopy may also be used in patients with suspected FB aspiration. Virtual bronchoscopy which uses multislice computerized tomography (MDCT) with realistic 3-dimensional reconstruction may be helpful in detecting and localizing the FB prior to any surgical procedure and thus decreasing the number of patients needing diagnostic bronchoscopies.7 Flexible fiberoptic bronchoscopy under local anesthesia and premedication may also be performed in cases of suspected FB aspiration wherein clinical and radiologic findings are not consistent with FB aspiration. When no FB is visualized, the patient is saved a rigid bronchoscopic procedure under general anesthesia.8 Flexible fiberoptic bronchoscopy is also used therapeutically to remove FBs in the bronchus, however, successful removal is more common with rigid bronchoscopy. All the necessary instruments needed for the procedure must be prepared. As much as possible 2 of each instrument are prepared: 2 bronchoscopes (one estimated from the age and size of the child and one smaller than that – just in case!), 2 suction devices (if one gets clogged up, the other one is ready) and 2 forceps. The peanut forceps is ideal, not only for peanuts but usually for other nuts as well; the alligator forceps is useful for relatively flat foreign bodies; while the “jaw type” forceps appears to be useful for everything else.9 The instruments are then tried, to check if they are in working order before commencement of anesthesia. This involves checking the transparency of the glass window plug, ensuring that the light source and the proximal prismatic light deflector are both illuminating, and trying out all the forceps and suction tips. It is best to try the instruments on an object similar to what the child aspirated.3 The surgical assistant, nurse and instruments are usually on the right (if the surgeon is right-handed) and anesthesiologist on the left. The suction and bronchoscope are then made ready. Knowledge of the anatomy of the tracheobronchial tree is imperative to be able to navigate through this area while looking for the FB. The use of optical forceps with mounted rod-lens telescopes has made the removal of airway FBs simpler, quicker and safer. These new devices have led to decreased complication rates and fewer missed or incomplete FB removals. While access to FBs located in the distal small segmental bronchi especially in very young children may be limited with the use of optical forceps,10 this can be overcome by removal of the connecting bridge to allow the optical forceps to be passed distal to the tip of the bronchoscope. An anesthesiologist familiar with the procedure must be called in. It is very important to have discussed the case and the procedure with the anesthesiologist prior to the operation to minimize confusion and promote harmony. Most anesthesiologists have become at ease with giving intravenous general anesthesia which circumvents the use of potentially noxious gases. Assisted spontaneous ventilation can avoid the need for muscle relaxation and paralysis so that the wake-up time is shortened. Intravenous general anesthesia with propofol and assisted spontaneous ventilation is currently the frequently used anesthetic technique for rigid bronchoscopy although volatile agents and gases are still used.11,12 The patient is placed supine on the operating table. A shoulder roll is not required. After induction of anesthesia, the patient is hyperventilated to 100% oxygen saturation to take full advantage of operating time.3 A topical anesthetic (lidocaine or tetracaine) is sprayed into the laryngeal area and distally into the trachea to lessen stimulus and pain, thus lowering the level of the anesthetic agent used and minimizing the possible occurrence of laryngospasm after the procedure.12 The state of dentition is inspected and a tooth guard placed over the upper teeth. Although it is possible to do bronchoscopy directly without using a laryngoscope, it is more expedient to use the laryngoscope (with the left hand) to visualize the larynx. The assistant (most likely the ORL resident but occasionally, a nurse) hands over the bronchoscope (to the right hand) without the glass window plug initially (because it may fog up or fall off) and the bronchoscope is inserted by looking through the bronchoscope as it passes through the larynx. Rotating the bronchoscope by 900 (with the axis of the lip in the anteroposterior axis of the glottis chink) is often useful for easier bronchoscopic insertion.2 Never force the bronchoscope into the larynx – if there is difficulty, reposition the laryngoscope to better visualize the larynx. Where exposure of the larynx is adequate, inability to pass the bronchoscope may be due to the bronchoscope lip hitting a vocal fold instead of entering the glottic chink. Another possibility is that the bronchoscope is too large to fit through a narrowed subglottis. The laryngoscope is removed once the bronchoscope has been inserted and the anesthesiologist connects the anesthetic tube to the standard 15-mm adapter of the bronchoscope and the glass window plug is inserted (this is again removed when the forceps is introduced or suctioning needed). A 0o telescope of the appropriate size may be inserted at this time or even during the initial insertion of the bronchoscope. The left hand is placed over the tooth guard and the thumb and index finger are used to support the bronchoscope being held in the right hand, much like a billiard cue. The left thumb lifts the bronchoscope off the tooth guard to enable the bronchoscope to be advanced without resistance. The bronchoscope is advanced slowly, always ensuring that the lumen is clearly in view, and suctioning whenever needed. Once the carina is seen, the main bronchus, where the FB is likely to be located, is then entered. Turn the head to the left to enable passage into the right main bronchus, and then to the right to enter the left main bronchus. Some degree of neck flexion can also be helpful in aligning the main bronchus. The bronchoscope is advanced until it is as near as possible to the FB to allow accurate suction of secretions so that the surgeon can determine how best to orient the forceps during application. The bronchoscope is then slightly withdrawn to allow the forceps to be freely inserted beyond the bronchoscope. The forceps are opened as widely as possible as this stretches the airway walls and allows the foreign body to fall into the jaws of the forceps which is then firmly grasped. Care must be taken not to push the FB further down the airway. If the FB fits through the bronchoscope, then it is pulled right through without removing the bronchoscope. However, if the FB does not fit through the bronchoscope, then the bronchoscope has to be withdrawn with the FB trailing behind held by the forceps. It is important to keep your eyes (and hands) on the bronchoscope and forceps at all times. The FB may become caught in the larynx or dropped into the trachea, causing complete airway obstruction. This possibility should always be anticipated and equipment be able to deal with this needs to be readily at hand. To prevent the FB being lost at the laryngeal inlet, the bevel of the bronchoscope is moved around over the FB by rotating the bronchoscope 900 and the bronchoscope is slightly tilted down at this area. A firm grip on the forceps with the FB must be maintained and hopefully, it is still there when the forceps is removed from the oral cavity. If the FB has been removed from the tracheo-broncial tree, but is not found in the forceps, the naso-oro-hypo pharynx should be checked in addition to a repeat bronchoscopy. All throughout the procedure, it is imperative to listen to the sound of the oxygen saturation monitor for signs of desaturation and to inquire from the anesthesiologist regarding the condition of the patient. If desaturation occurs, the bronchoscope is moved back out of the bronchus and into the trachea to allow the anestheshiologist to ventilate the patient through the bronchoscope adaptor. If this is due to a large FB that slipped while in the trachea, then, the FB must be removed right away or pushed back into the bronchus to regain the airway. Once the FB is removed , a second bronchoscopic examination is done to check for any pooling of secretions or blood that may need to be suctioned or for any remnant of the FB- which may have accidentally separated from the bigger piece- that has to be retrieved. Small pieces can often be removed by suctioning. Rarely, a tracheostomy may have to be performed for a FB that, during extraction, will not fit through the laryngeal inlet. Tracheotomy is performed while the bronchoscope is in place and with the forceps grasping the FB. The FB is extracted through the tracheostoma. Afterwards, tracheostoma is closed with sutures and regular wound care is initiated. If the procedure took less that an hour with minimal trauma, then the child is assisted with ventilation until he/she recovers full spontaneous respiration. A dose ofteroids may also be given (I.V. Dexamethasone, 1.0 to 1.5 mg/kg; maximum, 20 mg). The patient is brought to the post-anesthesia room and observed. Delayed diagnosis and intervention (24 hours or more) were found to be related to higher complication rates such as recurrent or chronic pulmonary infections and prolonged hospital stay. 13 Thus the need for early diagnosis and treatment of cases with suspected FB aspiration.

AbstractRecent archaeological excavations carried out in the western suburbs of Cordoba (Spain) brought to light numerous fragments of archaeological glass from the caliphal period (929–1031 CE). The typological and compositional analysis by laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) of 66 fragments enabled the identification of different types of base glass and glass working techniques, identifying local productions, imports and decorative imitations of eastern models. The studied fragments include Mesopotamian, Levantine, Egyptian and possibly Sicilian soda-rich plant ash glass categories, and various glass-decorating techniques such as mould-blowing, pressing, cutting, staining or gilding. The systematic comparison of the trace element patterns of several relief-cut objects identified both imported ware and a locally manufactured sample, whereas all mould-blown pieces were made from locally sourced raw materials. Iberian glassworkers seem to have preferred mould-blowing, probably because of the distinct working properties of locally available high lead glass. The results thus confirm the continuous long-distance exchange of vitreous material, as well as the existence of multiple glassmaking centres in the Iberian Peninsula, illustrating a link between secondary glass working techniques and chemical composition. Furthermore, the identification of several fragments belonging to the same object based on chemical composition allowed us to reconstruct entire vessels and thereby expand the repertoire of known typologies circulating in Umayyad Spain.

AbstractThe combinatorial glass formation tester has been developed to determine the glass forming regions as quickly as possible. The 24 glass batches of about 1g were put into each carbon crucible on a carbon holder and heated in an electric furnace filled with dry nitrogen gas. After about a half an hour heating, the crucibles were taken out from the furnace and moved into the cooling chamber purged with dry nitrogen gas. The holder and the crucibles were moved on to a cooling stage to be cooled down quickly with a water flowing jacket together with nitrogen gas blowing. The time interval after taking out of the crucibles till the placement on the cooling stage was shortened as much as possible, resulting to be 10sec. The temperature of the melt in the crucibles was measured with an optical pyrometer to estimate the cooling rate. The top view of the crucibles on the holder was taken with a CCD camera during cooling. The CCD figures were stored on a computer for the judgments of the transparency of the samples in the crucibles to compile a glass forming region. The glass formation tester can manage 24 glass melting tests every 1 hours. In other words, the tester can produce at least 192 glass samples (24 x 8=192) within a day working time. The speed was roughly 100 times larger than the case of manual operation.

Objectives The Ellik Evacuator is a commonly used tool in transurethral endoscopic surgery and a standard of care for the rapid removal from the bladder of resected tumor fragments, prostatic chips, or blood. Little is known, however, about the inventor of the Ellik evacuator, his urologic contributions, and how the evacuator came to be. Methods We contacted surviving descendants of Dr. Milo Ellik, and conducted interviews as part of an oral history project. Original medical equipment and personal belongings, provided by the family of Dr. Ellik, were analysed. Secondary source materials included published urologic articles and unpublished biographic information. Results Milo Ellik was born in Chicago in 1905 but was orphaned and put himself through college. He graduated from the University of Iowa with an MD in 1932 and began residency under Nathan Alcock. Ellik conceived of the evacuator that bears his name as a resident, visiting the glass-blowing facility at the Iowa University Hospital to construct the prototype. He published the results in a 1937 issue of the Journal of Urology but did not obtain a patent which was eventually procured by Bard in 1940. Conclusions Milo Ellik designed a major innovation in transurethral surgery as a resident in urology by constructing the first glass evacuator that bears his name. The Ellik family donated a large quantity of Dr. Ellik’s inventions to the AUA’s Didusch Museum for permanent storage and study.

El vidrio es uno de los materiales que ha alcanzado una dimensión escultórica en el siglo XX. Fue a mediados de este siglo, aproximadamente, cuando tuvo lugar su incorporación a la escultura contemporánea, y aunque España se ha sumado con un cierto retraso a esta nueva vertiente del lengueje escultórico, no son pocos los nombres de escultores que podrían ser citados por haber descubierto las posibilidades que el vidrio encierra como material escultórico. Uno de ellos es Pedro García, quien ha encontrado en el vidrio laminado, un material de procedencia industrial, su medio de expresión plástica. El análisis de su evolución artística hasta el momento actual constituye el objeto de este artículo, para lo cual se ha partido de unas primeras obras que obedecen a un planteamiento constructivo, racionalista, y en las que el vidrio ha sido trabajado en frío.The apparition of glass as a new material in sculpture dates from the middle of the XXth century. Spain has incorporated the sculptoric possibilities of glass later than other countries, but it has had an important following by an important group of sculptors. One of them is Pedro García, who has found in laminated glass, an industrial type of glass, his chief inspiration. This article traces the history of his artistic evolution. In the beginning his sculptures were very constructive and rational. Later, he developed a special technique working on glass in the process of formation through heat.

The continual (re)development associated with urban spaces results in the demand that heritage spaces be preserved. This raises a number of questions to be considered such as: which spaces will be preserved, what stories will be associated with these, and how will the embodied experience of these spaces be mediated? Since Foucault, it has been accepted that knowledge, power and truth are inextricably interwoven. There are no golden sands of freedom, there is no transcendent truth free from composing discourses. The construction of truth and history as discursive practice has a strong spatial component in museums. Objects are taken out of their original contexts, placed into knowledge regimes that delimit how these shall be known and then fixed in a stasis that regulates any change or flow in the meanings that might be constructed around these. Figure 1 - Skeleton of a middle age woman on display in the Dublinia MuseumThe body in the museum becomes either an object to be displayed or a nuisance to be excluded from contact with 'artefacts'. The picture above is of the skeleton of a middle age woman who died in Dublin hundreds of years ago and is now on display in the Dublinia Museum. Once the decision is made that this skeleton is no longer a body but an artefact it is placed behind glass so that the living bodies which come to view it may not 'interfere' with its discursive or physical existence. Once 'preserved' in this way, 'she' becomes an 'it', an object translated and removed from the everyday. In this case, the skeleton is placed within a scientific-medical discourse where the fact that it once belonged to an old woman who had worn away teeth tells us that she lived in a time when the people of Dublin had a poor diet. Similar undertakings are accepted practice in the Hyde Park Barracks Museum. All 'real' artefacts are kept behind glass, preserved in carefully controlled conditions that prevent human physical contact. Only replicas or reconstructions are available for everyday handling by the general public. In the example below, the item discussed was kept behind glass, a thing to be observed, revered, a relic to lend authority to the power-knowledge-truth regime of the Hyde Park Barracks Museum. Figure 2 - box containing a lock of Captain James Cook's hair and a rendition of his death scene in Hawaii on display at the Hyde Park Barracks MuseumSo 'precious' was this object that it was kept doubly removed, a small wooden casket within a timber and glass case behind the display panel of the museum. Figure 3 - closer view of box containing a lock of Captain James Cook's hair and a rendition of his death scene in Hawaii on display at the Hyde Park Barracks MuseumThis particular item contains a lock of Captain James Cook's hair and a rendition of his death scene in Hawaii. The case is made from the wood of the Resolution (his ship at the time of his death) and the entire item was a memento given to his widow upon the Resolution's return to Britain. This 'relic' is iconic of the approach adopted by the presentation of the Barracks as a museum. But what happens when the history being 'preserved' is the fabric of a built space? The spatial process of 'encasing', 'preserving' and physically removing 'artefacts' from everyday contact is an ongoing aspect of the presentation of the Barracks. In 1996, not long after I began my employ with the Barracks as part of an extended engagement with the embodied experience of cityspace, the curator decided that each guide should have their skills at presenting the Barracks in an appropriate light assessed. The result was that each guide was required to prepare and present a 'wall talk'. The 'wall talk' was literally that. Each guide was assigned a physical section of the museum to research and then discuss for ten minutes to an audience composed of other guides, the curator, the manager and education staff. The aims were to get each guide to re-assess their lecture presentation technique and to spread awareness amongst the guides that each physical section of the museum held its own unique part in the story of the Barracks. My assignment was a piece of wall on the second floor directly above the reception area. Deep into the persona I created so that I could 'pass' in this environment, I began by examining the wall. It was constructed of the convict made brick laid down in 1818 held together by Aboriginal midden material that dated back thousands of years, overlaid with whitewash applied in 1848 when the men moved out and the women moved in, the whitewash was overlaid with plaster held in place by cows hair in 1887 when the building was converted to a courts complex which was topped with remnants of wall paper that dated back to 1952 when the room was renovated as a Judge's chambers. On a section of the wall that had once been covered by this wallpaper was a pencil drawn outline of a pair of scissors, the name Max Fry and the date 1952 was written next to these. Both the floor and ceiling above and below the wall had sections that had been replaced when air conditioning was installed in the first incarnation of the building as a museum under the management of the Museum of Applied Arts and Sciences. A red builders' chalk mark showing where this was to installed remained even though the ducting had been removed in a later enactment of this museum space under the auspices of the Historic Houses Trust. In the rebated corner closest to this wall, out of sight to any but the closest inspection, there was a pencil drawing of a boxer shaping up to an unseen opponent. The skirting board was two inches higher than in the next room and of an Edwardian rather than a Victorian style. 'Ghosts' from zinc tiles were etched upon the ceiling and scratch marks from the iron beds used by the immigrant women remained upon the floors. I considered the wall carefully and even more carefully thought about the discourses of this institution, the personality of the curator and the predilections of the manager and other guides. If I was to continue 'passing', which story should I tell? How should it be told? What emphasis should be made and, most importantly of all, what must be elided? I considered raising the awareness that anthrax spores had been found in similar cow-hair reinforced plaster in the London Tube system but this somehow seemed irreverent. Starting with an statement about the mortar, Aboriginal land claims and how the entire Historic Houses Trust functioned to legitimate European seizure of Aboriginal land and that this was reflected by the way in which Aboriginal artefacts were ignored seemed equally inadvisable. Perhaps a discussion of the judge who inspired the boxer was in order. Rumour had it that he used to pay 'taxi-drivers' to join him in his rooms and engage in a little 'wrestling' and 'boxing'. This was reputedly such a physical activity that grunts, groans and cries of pain (?) were heard throughout the building. I could talk about the rats that had infested the ceilings above and below the room from the time that false ceilings were put in place during the renovation of the building into a courts complex and perhaps even display some of the 'artefacts' that had been stolen by the rats and hidden under the floor or in the ceiling space. A straight 'history' of the wall that simply discussed its physical composition would have 'passed', but that was perhaps more superficial than I felt the material warranted. Instead, set to a background audio tape of Tracey Chapman singing "Talking Bout a Revolution", a selection from Pink Floyd's The Wall and The Beatles Revolution 9, I told a story about the scissors. The scissors tale began by introducing Max Fry as a humble paperhanger working in the chambers of a powerful Judge in the 1950's. Oppressed, voiceless, the only impact he could make within the Barracks was to trace his scissors, sign his name, date it and then paper over this minor act of rebellion. For nearly thirty years his legacy remained hidden under the paper as judge after judge used the room to write the judgements that ordered the lives of those unfortunate enough to pass before them. In 1979 this legacy was unveiled but ignored, covered over by an air-conditioning system decreed necessary to preserve the artefacts displayed in the building. This oversight was rectified (so my story went) by the current generation of carers for the heritage of the building when the air conditioning was removed and the slice of social history and iniquitous power relations that Max Fry's rebellion illustrated was put on display for all to see. The talk was received well by all except for the chief guide who felt the music was distracting. He wanted me to do another wall some other time and 'get it right this time'. The curator was delighted and over-ruled the chief guide and the wall talks were over as far as I was concerned. A few months later, I was surprised to discover that on one of my 'time in lieu' breaks from the Barracks, that the wall had been encased in glass. The original scissors whose outline was traced upon the now preserved wall had been 'rescued' from Max's tool shed and hung behind the glass along with a picture of himself and some other of his tools. A story panel iterated a simplified version of the story I had told that elided any reference to class inequality or the powerlessness of his position. History's truth and permanence was now safely assured and no meddling fingers would ever again touch the pencilled scissored outline or smudge the bleary red chalk-line. The boxer, however, remains un-encased, a few hands-breadths from Max's sanitised and now unapproachable history, awaiting the right 'story' to bring it to prominence and preservation. Citation reference for this article MLA Style Darrell, Aaron. "Whose History?" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/history.php>. Chicago Style Darrell, Aaron, "Whose History?" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/history.php> ([your date of access]). APA Style Darrell, Aaron. (2002) Whose History?. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/history.php> ([your date of access]).

Статья посвящена истории возникновения городов Дагестана в XX веке. Отмече- но, что 6 из 10 городов Дагестана, а именно Хасавюрт, Дагестанские Огни, Кизилюрт, Каспийск, Избербаш и Южно-Сухокумск приобрели данный статус в советское время. В статье уделено внимание каждому из указанных городов, они рассмотрены со времени их возникновения, показан их рост и развитие, период приобретения статуса города. От- мечено, что появлению городов из рабочих поселков способствовало для одних — стро- ительство крупных промышленных предприятий — завода № 182 («Двигательстрой»), стекольного завода «Дагестанские Огни», для других — обнаружение нефти и газа, строи- тельство ГЭС и т.д. Все это благоприятствовало увеличению населения городов, повыше- нию благосостоянию горожан, изменению образа жизни многих дагестанцев, а также раз- витию транспортной и социально-культурной инфраструктуры городов и республики. Обращено внимание на то, что крупные предприятия, построенные в Дагестане в XX в. и оказавшие непосредственное влияние на развитие и формирование городов, в тоже время заложили основу для кризиса в функционировании городов в конце XX — начале XXI в. The article is devoted to the history of Dagestan towns’ emergence in the XX century. It is noted that 6 of the 10 towns of Dagestan, namely Khasavyurt, Dagestanskiye Ogni, Kizilyurt, Kaspiisk, Izberbash and Yuzhno-Sukhokumsk gained this status during the Soviet period. The article pays special attention to each of these towns, the time of their emergence, their growth and development are deing considered, the acquisition of the status of the town is shown. It is noted that the turning of the former working settlements into towns was promoted for some — by construction of large industrial enterprises — plant No. 182 («Dvigatelstroy»), a glass factory «Dagestanskiye Ogni», for others — by the discovery of oil and gas, construction of hydroelectric power stations, etc. All this favored the increase in the urban population, improving the welfare of citizens; a change in the way of life of many Dagestanians, as well as the development of transport and socio-cultural infrastructure of towns and the republic. Attention is paid to the fact that large enterprises were built in Dagestan in the XX century and had a direct impact on the development and formation of towns, at the same time laid the basis for a crisis in the functioning of these towns at the end of the XX — beginning of XXI century.

Abstract This paper investigates the gender promotion gap in a particular highly skilled profession, that of physicians. The following analyses are based on a dataset of more than a thousand doctors working in Italy, a country in which hospitals play a central role in the national health care system. Given a three-step career ladder—first level, vice, and head—this research finds that women are 8% less likely than men to be promoted from the first level to vice, whereas no significant disadvantage is found in the promotion from vice to head. This suggests that the vertical segregation is due more to a sticky floors mechanism than to a glass ceiling effect. Moreover, no motherhood penalty occurs. Private organizations appear to be more gender equal than public ones and similar, albeit weaker, findings come from the analysis of the specialties, cautiously suggesting that the male-dominated area of surgery is more gender equal than the female-dominated area of medicine. These findings point out that women in highly skilled professions may encounter fewer obstacles to promotion than in the general labor market. Furthermore, they may encounter fewer obstacles within the most competitive organizations and specialty areas than across the profession in general. This is not, however, because of a greater number of opportunities, but because they represent a highly selected and career-oriented population. These results shed light on the costs of such achievement for women, both in terms of effort and in terms of equality among women themselves.

As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure become fuzzy and soft. At this point, the hold of the dream dissolves and Alice, awakening on the other side of the mirror, realises she is shaking the kitten. Queens have long been associated with ideas of transformation. As Alice is duly advised when she first looks out across the chequered landscape of the looking glass world, the rules of chess decree that a pawn may become a queen if she makes it to the other side. The transformation of pawn to queen is in accord with the fairy tale convention of the unspoiled country girl who wins the heart of a prince and is crowned as his bride. This works in a dual register: on one level, it is a story of social elevation, from the lowest to the highest rank; on another, it is a magical transition, as some agent of fortune intervenes to alter the determinations of the social world. But fairy tales also present us with the antithesis and adversary of the fortune-blessed princess, in the figure of the tyrant queen who works magic to shape destiny to her own ends. The Queen and the mirror converge in the cultural imaginary, working transformations that disrupt the order of nature, invert socio-political hierarchies, and flout the laws of destiny. In “Snow White,” the powers of the wicked queen are mediated by the looking glass, which reflects and affirms her own image while also serving as a panopticon, keep the entire realm under surveillance, to pick up any signs of threat to her pre-eminence. All this turbulence in the order of things lets loose a chaotic phantasmagoria that is prime material for film and animation. Two major film versions of “Snow White” have been released in the past few years—Mirror Mirror (2012) and Snow White and the Huntsman (2012)—while Tim Burton’s animated 3D rendition of Alice in Wonderland was released in 2010. Alice through the Looking Glass (2016) and The Huntsman: Winter’s War, the 2016 prequel to Snow White and the Huntsman, continue the experiment with state-of-the-art-techniques in 3D animation and computer-generated imaging to push the visual boundaries of fantasy. Perhaps this escalating extravagance in the creation of fantasy worlds is another manifestation of the ancient lore and law of sorcery: that the magic of transformation always runs out of control, because it disrupts the all-encompassing design of an ordered world. This principle is expressed with poetic succinctness in Ursula Le Guin’s classic story A Wizard of Earthsea, when the Master Changer issues a warning to his most gifted student: But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power. (48)In Le Guin’s story, transformation is only dangerous if it involves material change; illusions of all kinds are ultimately harmless because they are impermanent.Illusions mediated by the mirror, however, blur the distinction Le Guin is making, for the mirror image supposedly reflects a real world. And it holds the seductive power of a projected narcissism. Seeing what we wish for is an experience that can hold us captive in a way that changes human nature, and so leads to dangerous acts with material consequences. The queen in the mirror becomes the wicked queen because she converts the world into her image, and in traditions of animation going back to Disney’s original Snow White (1937) the mirror is itself an animate being, with a spirit whose own determinations become paramount. Though there are exceptions in the annals of fairy story, powers of transformation are typically dark powers, turbulent and radically elicit. When they are mediated through the agency of the mirror, they are also the powers of narcissism and autocracy. Through a Glass DarklyIn her classic cultural history of the mirror, Sabine Melchior-Bonnet tracks a duality in the traditions of symbolism associated with it. This duality is already evident in Biblical allusions to the mirror, with references to the Bible itself as “the unstained mirror” (Proverbs 7.27) counterpointed by images of the mortal condition as one of seeing “through a glass darkly” (1 Corinthians 13.12).The first of these metaphoric conventions celebrates the crystalline purity of a reflecting surface that reveals the spiritual identity beneath the outward form of the human image. The church fathers drew on Plotinus to evoke “a whole metaphysics of light and reflection in which the visible world is the image of the invisible,” and taught that “humans become mirrors when they cleanse their souls (Melchior-Bonnet 109–10). Against such invocations of the mirror as an intermediary for the radiating presence of the divine in the mortal world, there arises an antithetical narrative, in which it is portrayed as distorting, stained, and clouded, and therefore an instrument of delusion. Narcissus becomes the prototype of the human subject led astray by the image itself, divorced from material reality. What was the mirror if not a trickster? Jean Delumeau poses this question in a preface to Melchior-Bonnet’s book (xi).Through the centuries, as Melchior-Bonnet’s study shows, these two strands are interwoven in the cultural imaginary, sometimes fused, and sometimes torn asunder. With Venetian advances in the techniques and technologies of mirror production in the late Renaissance, the mirror gained special status as a possession of pre-eminent beauty and craftsmanship, a means by which the rich and powerful could reflect back to themselves both the self-image they wanted to see, and the world in the background as a shimmering personal aura. This was an attempt to harness the numinous influence of the divinely radiant mirror in order to enhance the superiority of leading aristocrats. By the mid seventeenth century, the mirror had become an essential accessory to the royal presence. Queen Anne of Austria staged a Queen’s Ball in 1633, in a hall surrounded by mirrors and tapestries. The large, finely polished mirror panels required for this kind of display were made exclusively by craftsmen at Murano, in a process that, with its huge furnaces, its alternating phases of melting and solidifying, its mysterious applications of mercury and silver, seemed to belong to the transformational arts of alchemy. In 1664, Louis XIV began to steal unique craftsmen from Murano and bring them to France, to set up the Royal Glass and Mirror Company whose culminating achievement was the Hall of Mirrors at Versailles.The looking glass world of the palace was an arena in which courtiers and visitors engaged in the high-stakes challenge of self-fashioning. Costume, attitude, and manners were the passport to advancement. To cut a figure at court was to create an identity with national and sometimes international currency. It was through the art of self-fashioning that the many princesses of Europe, and many more young women of title and hereditary distinction, competed for the very few positions as consort to the heir of a royal house. A man might be born to be king, but a woman had to become a queen.So the girl who would be queen looks in the mirror to assess her chances. If her face is her fortune, what might she be? A deep relationship with the mirror may serve to enhance her beauty and enable her to realise her wish, but like all magical agents, the mirror also betrays anyone with the hubris to believe they are in control of it. In the Grimm’s story of “Snow White,” the Queen practises the ancient art of scrying, looking into a reflective surface to conjure images of things distant in time and place. But although the mirror affords her the seer’s visionary capacity to tell what will be, it does not give her the power to control the patterns of destiny. Driven to attempt such control, she must find other magic in order to work the changes she desires, and so she experiments with spells of self-transformation. Here the doubleness of the mirror plays out across every plane of human perception: visual, ethical, metaphysical, psychological. A dynamic of inherent contradiction betrays the figure who tries to engage the mirror as a servant. Disney’s original 1937 cartoon shows the vain Queen brewing an alchemical potion that changes her into the very opposite of all she has sought to become: an ugly, ill-dressed, and impoverished old woman. This is the figure who can win and betray trust from the unspoiled princess to whom the arts of self-fashioning are unknown. In Tarsem Singh’s film Mirror Mirror, the Queen actually has two mirrors. One is a large crystal egg that reflects back a phantasmagoria of palace scenes; the other, installed in a primitive hut on an island across the lake, is a simple looking glass that shows her as she really is. Snow White and the Huntsman portrays the mirror as a golden apparition, cloaked and faceless, that materialises from within the frame to stand before her. This is not her reflection, but with every encounter, she takes on more of its dark energies, until, in another kind of reversal, she becomes its image and agent in the wider world. As Ursula Le Guin’s sage teaches the young magician, magic has its secret economies. You pay for what you get, and the changes wrought will come back at you in ways you would never have foreseen. The practice of scrying inevitably leads the would-be clairvoyant into deeper levels of obscurity, until the whole world turns against the seer in a sequence of manifestations entirely contrary to his or her framework of expectation. Ultimately, the lesson of the mirror is that living in obscurity is a defining aspect of the human condition. Jorge Luis Borges, the blind writer whose work exhibits a life-long obsession with mirrors, surveys a range of interpretations and speculations surrounding the phrase “through a glass darkly,” and quotes this statement from Leon Bloy: “There is no human being on earth capable of declaring with certitude who he is. No one knows what he has come into this world to do . . . or what his real name is, his enduring Name in the register of Light” (212).The mirror will never really tell you who you are. Indeed, its effects may be quite the contrary, as Alice discovers when, within a couple of moves on the looking glass chessboard, she finds herself entering the wood of no names. Throughout her adventures she is repeatedly interrogated about who or what she is, and can give no satisfactory answer. The looking glass has turned her into an estranged creature, as bizarre a species as any of those she encounters in its landscapes.Furies“The furies are at home in the mirror,” wrote R. S. Thomas in his poem “Reflections” (265). They are the human image gone haywire, the frightening other of what we hope to see in our reflection. As the mirror is joined by technologies of the moving image in twentieth-century evolutions of the myth, the furies have been given a new lease of life on the cinema screen. In Disney’s 1937 cartoon of Snow White, the mirror itself has the face of a fury, which emerges from a pool of blackness like a death’s head before bringing the Queen’s own face into focus. As its vision comes into conflict with hers, threatening the dissolution of the world over which she presides, the mirror’s face erupts into fire.Computer-generated imaging enables an expansive response to the challenges of visualisation associated with the original furies of classical mythology. The Erinyes are unstable forms, arising from liquid (blood) to become semi-materialised in human guise, always ready to disintegrate again. They are the original undead, hovering between mortal embodiment and cadaverous decay. Tearing across the landscape as a flock of birds, a swarm of insects, or a mass of storm clouds, they gather into themselves tremendous energies of speed and motion. The 2012 film Snow White and the Huntsman, directed by Rupert Sanders, gives us the strongest contemporary realisation of the archaic fury. Queen Ravenna, played by Charlize Theron, is a virtuoso of the macabre, costumed in a range of metallic exoskeletons and a cloak of raven’s feathers, with a raised collar that forms two great black wings either side of her head. Powers of dematerialisation and rematerialisation are central to her repertoire. She undergoes spectacular metamorphosis into a mass of shrieking birds; from the walls around her she conjures phantom soldiers that splinter into shards of black crystal when struck by enemy swords. As she dies at the foot of the steps leading up to the great golden disc of her mirror, her face rapidly takes on the great age she has disguised by vampiric practices.Helena Bonham Carter as the Red Queen in Burton’s Alice in Wonderland is a figure midway between Disney’s fairy tale spectre and the fully cinematic register of Theron’s Ravenna. Bonham Carter’s Queen, with her accentuated head and pantomime mask of a face, retains the boundaries of form. She also presides over a court whose visual structures express the rigidities of a tyrannical regime. Thus she is no shape-shifter, but energies of the fury are expressed in her voice, which rings out across the presence chamber of the palace and reverberates throughout the kingdom with its calls for blood. Alice through the Looking Glass, James Bobin’s 2016 sequel, puts her at the centre of a vast destructive force field. Alice passes through the mirror to encounter the Lord of Time, whose eternal rule must be broken in order to break the power of the murdering Queen; Alice then opens a door and tumbles in free-fall out into nothingness. The place where she lands is a world not of daydream but of nightmare, where everything will soon be on fire, as the two sides in the chess game advance towards each other for the last battle. This inflation of the Red Queen’s macabre aura and impact is quite contrary to what Lewis Carroll had in mind for his own sequel. In some notes about the stage adaptation of the Alice stories, he makes a painstaking distinction between the characters of the queen in his two stories.I pictured to myself the Queen of Hearts as a sort of embodiment of ungovernable passion—a blind and aimless Fury. The Red Queen I pictured as a Fury, but of another type; her passion must be cold and calm—she must be formal and strict, yet not unkindly; pedantic to the 10th degree, the concentrated essence of governesses. (86)Yet there is clearly a temptation to erase this distinction in dramatisations of Alice’s adventures. Perhaps the Red Queen as a ‘not unkindly’ governess is too restrained a persona for the psychodynamic mythos surrounding the queen in the mirror. The image itself demands more than Carroll wants to accord, and the original Tenniel illustrations give a distinctly sinister look to the stern chess queen. In their very first encounter, the Red Queen contradicts every observation Alice makes, confounds the child’s sensory orientation by inverting the rules of time and motion, and assigns her the role of pawn in the game. Kafka or Orwell would not have been at all relaxed about an authority figure who practises mind control, language management, and identity reassignment. But here Carroll offers a brilliant modernisation of the fairy story tradition. Under the governance of the autocratic queen, wonderland and the looking glass world are places in which the laws of science, logic, and language are overturned, to be replaced by the rules of the queen’s games: cards and croquet in the wonderland, and chess in the looking glass world. Alice, as a well-schooled Victorian child, knows something of these games. She has enough common sense to be aware of how the laws of gravity and time and motion are supposed to work, and if she boasts of being able to believe six impossible things before breakfast, this signifies that she has enough logic to understand the limits of possibility. She would also have been taught about species and varieties and encouraged to make her own collections of natural forms. But the anarchy of the queen’s world extends into the domain of biology: species of all kinds can talk, bodies dissolve or change size, and transmutations occur instantaneously. Thus the world-warping energies of the Erinyes are re-imagined in an absurdist’s challenge to the scientist’s universe and the logician’s mentality.Carroll’s instinct to tame the furies is in accord with the overall tone and milieu of his stories, which are works of quirky charm rather than tales of terror, but his two queens are threatening enough to enable him to build the narrative to a dramatic climax. For film-makers and animators, though, it is the queen who provides the dramatic energy and presence. There is an over-riding temptation to let loose the pandemonium of the original Erinyes, exploiting their visual terror and their classical association with metamorphosis. FashioningThere is some sociological background to the coupling of the queen and the mirror in fairy story. In reality, the mirror might assist an aspiring princess to become queen by enchanting the prince who was heir to the throne, but what was the role of the looking glass once she was crowned? Historically, the self-imaging of the queen has intense and nervous resonances, and these can be traced back to Elizabeth I, whose elaborate persona was fraught with newly interpreted symbolism. Her portraits were her mirrors, and they reflect a figure in whom the qualities of radiance associated with divinity were transferred to the human monarch. Elizabeth developed the art of dressing herself in wearable light. If she lacked for a halo, she made up for it with the extravagant radiata of her ruffs and the wreaths of pearls around her head. Pearls in mediaeval poetry carried the mystique of a luminous microcosm, but they were also mirrors in themselves, each one a miniature reflecting globe. The Ditchely portrait of 1592 shows her standing as a colossus between heaven and earth, with the changing planetary light cycle as background. This is a queen who rules the world through the mediation of her own created image. It is an inevitable step from here to a corresponding intervention in the arrangement of the world at large, which involves the armies and armadas that form the backdrop to her other great portraits. And on the home front, a regime of terror focused on regular public decapitations and other grisly executions completes the strategy to remaking the world according to her will. Renowned costume designer Eiko Ishioka created an aesthetic for Mirror Mirror that combines elements of court fashion from the Elizabethan era and the French ancien régime, with allusions to Versailles. Formality and mannerism are the keynotes for the palace scenes. Julia Roberts as the Queen wears a succession of vast dresses that are in defiance of human scale and proportion. Their width at the hem is twice her height, and 100,000 Svarovski crystals were used for their embellishment. For the masked ball scene, she makes her entry as a scarlet peacock with a high arching ruff of pure white feathers. She amuses herself by arranging her courtiers as pieces on a chess-board. So stiffly attired they can barely move more than a square at a time, and with hats surmounted by precariously balanced ships, they are a mock armada from which the Queen may sink individual vessels on a whim, by ordering a fatal move. Snow White and the Huntsman takes a very different approach to extreme fashioning. Designer Colleen Atwood suggests the shape-shifter in the Queen’s costumes, incorporating materials evoking a range of species: reptile scales, fluorescent beetle wings from Thailand, and miniature bird skulls. There is an obvious homage here to the great fashion designer Alexander McQueen, whose hallmark was a fascination with the organic costuming of creatures in feathers, fur, wool, scales, shells, and fronds. Birds were everywhere in McQueen’s work. His 2006 show Widows of Culloden featured a range of headdresses that made the models look as if they had just walked through a flock of birds in full flight. The creatures were perched on their heads with outstretched wings askance across the models’ faces, obscuring their field of vision. As avatars from the spirit realm, birds are emblems of otherness, and associated with metempsychosis, the transmigration of souls. These resonances give a potent mythological aura to Theron’s Queen of the dark arts.Mirror Mirror and Snow White and the Huntsman accordingly present strikingly contrasted versions of self-fashioning. In Mirror Mirror we have an approach driven by traditions of aristocratic narcissism and courtly persona, in which form is both rigid and extreme. The Queen herself, far from being a shape-shifter, is a prisoner of the massive and rigid architecture that is her costume. Snow White and the Huntsman gives us a more profoundly magical interpretation, where form is radically unstable, infused with strange energies that may at any moment manifest themselves through violent transformation.Atwood was also costume designer for Burton’s Alice in Wonderland, where an invented framing story foregrounds the issue of fashioning as social control. Alice in this version is a young woman, being led by her mother to a garden party where a staged marriage proposal is to take place. Alice, as the social underling in the match, is simply expected to accept the honour. Instead, she escapes the scene and disappears down a rabbit hole to return to the wonderland of her childhood. In a nice comedic touch, her episodes of shrinking and growing involve an embarrassing separation from her clothes, so divesting her also of the demure image of the Victorian maiden. Atwood provides her with a range of fantasy party dresses that express the free spirit of a world that is her refuge from adult conformity.Alice gets to escape the straitjacket of social formation in Carroll’s original stories by overthrowing the queen’s game, and with it her micro-management of image and behaviour. There are other respects, though, in which Alice’s adventures are a form of social and moral fashioning. Her opening reprimand to the kitten includes some telling details about her own propensities. She once frightened a deaf old nurse by shouting suddenly in her ear, “Do let’s pretend that I’m a hungry hyaena and you’re a bone!” (147). Playing kings and queens is one of little Alice’s favourite games, and there is more than a touch of the Red Queen in the way she bosses and manages the kitten. It is easy to laud her impertinence in the face of the tyrannical characters she meets in her fantasies, but does she risk becoming just like them?As a story of moral self-fashioning, Alice through the Looking Glass cuts both ways. It is at once a critique of the Victorian social straitjacket, and a child’s fable about self-improvement. To be accorded the status of queen and with it the freedom of the board is also to be invested with responsibilities. If the human girl is the queen of species, how will she measure up? The published version of the story excludes an episode known to editors as “The Wasp in a Wig,” an encounter that takes place as Alice reaches the last ditch before the square upon which she will be crowned. She is about to jump the stream when she hears a sigh from woods behind her. Someone here is very unhappy, and she reasons with herself about whether there is any point in stopping to help. Once she has made the leap, there will be no going back, but she is reluctant to delay the move, as she is “very anxious to be a Queen” (309). The sigh comes from an aged creature in the shape of a wasp, who is sitting in the cold wind, grumbling to himself. Her kind enquiries are greeted with a succession of waspish retorts, but she persists and does not leave until she has cheered him up. The few minutes devoted “to making the poor old creature comfortable,” she tells herself, have been well spent.Read in isolation, the episode is trite and interferes with the momentum of the story. Carroll abandoned it on the advice of his illustrator John Tenniel, who wrote to say it didn’t interest him in the least (297). There is interest of another kind in Carroll’s instinct to arrest Alice’s momentum at that critical stage, with what amounts to a small morality tale, but Tenniel’s instinct was surely right. The mirror as a social object is surrounded by traditions of self-fashioning that are governed by various modes of conformity: moral, aesthetic, political. Traditions of myth and fantasy allow wider imaginative scope for the role of the mirror, and by association, for inventive speculation about human transformation in a world prone to extraordinary upheavals. ReferencesBorges, Jorge Luis. “Mirrors of Enigma.” Labyrinths: Selected Stories and Other Writings. Eds. Donald A. Yates and James Irby. New York: New Directions, 2007. 209–12. Carroll, Lewis. Alice through the Looking Glass. In The Annotated Alice. Ed. Martin Gardner. London: Penguin, 2000.The King James Bible.Le Guin, Ursula. The Earthsea Quartet. London: Penguin, 2012.Melchior-Bonnet, Sabine. The Mirror: A History. Trans. Katherine H. Jewett. London: Routledge, 2014.Thomas, R.S. “Reflections.” No Truce with the Furies, Collected Later Poems 1988–2000. Hexham, Northumberland: Bloodaxe, 2011.

Knowledge about objects beads ss cultural works, mainly because it is used for clothing and jewelry of the human body. Since when made and used, is a question that requires a search through research. Small objects is one of the many artifacts of human cultural objects can be studied through the field of archeology. Beads of all types, materials and co/ora, thought to have been present to accompany the man, from prehistoric times to the modem era. From archaeological research report states that the findings bead old age, among other things found in the cave sites such as Sulawesi, Mangkulirang East Kutai, Kalimantan and East Java and the surrounding environment Is in the karst region. This research aims to understand the early history of the presence of beads for human life is based on archaeological evidence that is already known. Through the identification of artifacts beads diversity, ranging from the type, shape up the material element, it can put forward a variety of beads found in Indonesia starting from stone material, glass, metal to organic materials. Beads that can be identified include stone beads, glass, and only a small amount of organic materials and metals. Beads, mainly dominated glass beads, particularly the type of monochrome and polychrome. In connection with the scientific effort, the methods and ways of working that are used to understand the data artifacts beads that am completely limited, by using the method; contextual analysis, analysis of typology, analogy, arid interpretation. AbstrakPengetahuan mengenai benda manik-manlk sebagai karya budaya, temtama karana digunakan untuk pakaian dan pertiiasan tubuh manusla. Sejak kapan dibuat dan dipakai, adalah suatu psrtanyaan yang meroerlukan penelusuran melalui penelitian. Benda kecil ini merupakan salah satu artefak dan sekian banyak benda budaya mantissa yang dapat dikaji melalui bidang artceoiogi. Manik-manlk dengan berbagaijenls, bahan dan wama, dlperkirakan telah hadir menemani manusia, sejak masa prasejarah hingga di jaman modern ini. Dari iaporan penelitian arkeologl menyebutkan bahwa temuan manik-manik yang berumur tua, antara lain ditemukan di situs-situs gua saperti Sulawesi, Mangkulirang, Kutal Timur, Kalimantan, dan di Jawa Timur dan sekitarnya yang berada di lingkungan kawasan karat. Penulisan Ini bertujuan untuk memahami sejanah awai kehadiran manik-manik bagi kehidupan manusia bendasarkan bukti-bukti arkeoiogi yang sudah diketahui. Melalui identifikasi keragaman artefak manik-manik, mulai dari sisl Jenis, bentuk hingga pada unsur bahan, maka dapat dikemukakan anaka ragam manik-manik yang ditemukan di Indonesia mulai dari bahan batu, kaca, logam hingga bahan organik. Manik-manik yang dapat di identifikasi meliputi manik-manik batu, kaca, dan hanya sedikit jumlahnya daribahan organik dan logam. Manik-manik itu, terutama dkJomlnasl manik-manik kaca, khususnya tips monokrom dan poiikrom. Sehubungan dengan upaya iimiah, maka metode dan cara keija yang digunakan untuk memahami data artefak manik-manik yang sifatnya serba terbatas itu, yaitu dengan menggunakan metode; anal Isis kontektual, analisis tipologi, analog!, dan penafeiran.

With projected lifespans of many decades, infrastructure initiatives such as Europe’s Distributed System of Scientific Collections (DiSSCo), USA’s Integrated Digitized Biocollections (iDigBio), National Specimen Information Infrastructure (NSII) of China and Australia’s digitisation of national research collections (NRCA Digital) aim at transforming today’s slow, inefficient and limited practices of working with natural science collections. The need to borrow specimens (plants, animals, fossils or rocks) or physically visit collections, and absence of linkages to other relevant information represent significant impediments to answering today’s scientific and societal questions. A logical extension of the Internet, Digital Object Architecture (Kahn and Wilensky 2006) offers a way of grouping, managing and processing fragments of information relating to a natural science specimen. A ‘digital specimen’ acts as a surrogate in cyberspace for a specific physical specimen, identifying its actual location and authoritatively saying something about its collection event (who, when, where) and taxonomy, as well as providing links to high-resolution images. A digital specimen exposes supplementary information about related literature, traits, tissue samples and DNA sequences, chemical analyses, environmental information, etc. stored elsewhere than in the natural science collection itself. By presenting digital specimens as a new layer between data infrastructure of natural science collections and user applications for processing and interacting with information about specimens and collections, it’s possible to seamlessly organise global access spanning multiple collection-holding institutions and sources. Virtual collections of digital specimens with unique identifiers offer possibilities for wider, more flexible, and ‘FAIR’ (Findable, Accessible, Interoperable, Reusable) access for varied research and policy uses: recognising curatorial work, annotating with latest taxonomic treatments, understanding variations, working with DNA sequences or chemical analyses, supporting regulatory processes for health, food, security, sustainability and environmental change, inventions/products critical to the bio-economy, and educational uses. Adopting a digital specimen approach is expected to lead to faster insights for lower cost on many fronts. We propose that realising this vision requires a new TDWG standard. OpenDS is a specification of digital specimen and other object types essential to mass digitisation of natural science collections and their digital use. For five principal digital object types corresponding to major categories of collections and specimens’ information, OpenDS defines structure and content, and behaviours that can act upon them: Digital specimen: Representing a digitised physical specimen, contains information about a single specimen with links to related supplementary information; Storage container: Representing groups of specimens stored within a single container, such as insect tray, drawer or sample jar; Collection: Information about characteristics of a collection; Organisation: Information about the legal-entity owning the specimen and collection to which it belongs; and, Interpretation: Assertion(s) made on or about the specimen such as determination of species and comments. Digital specimen: Representing a digitised physical specimen, contains information about a single specimen with links to related supplementary information; Storage container: Representing groups of specimens stored within a single container, such as insect tray, drawer or sample jar; Collection: Information about characteristics of a collection; Organisation: Information about the legal-entity owning the specimen and collection to which it belongs; and, Interpretation: Assertion(s) made on or about the specimen such as determination of species and comments. Secondary classes gather presentation/preservation characteristics (e.g., herbarium sheets, pinned insects, specimens in glass jars, etc.), the general classification of a specimen (i.e., plant, animal, fossil, rock, etc.) and history of actions on the object (provenance). Equivalencing concepts in ABCD 3.0 and EFG extension for geo-sciences, OpenDS is also an ontology extending OBO Foundry’s Biological Collection Ontology (BCO) (Walls et al. 2014) from bco:MaterialSample, which has preferred label dwc:specimen from Darwin Core, thus linking it also with that standard. OpenDS object content can be serialized to specific formats/representations (e.g. JSON) for different exchange and processing purposes.

Saturday, 24 July 1971, Tower Mill Hotel The man jiggles the brick, gauges its weight. His stout hand, a flash of his watch dial, the sleeve rolled back, muscles on the upper arm bundled tight. His face half-erased by the dark. There’s something going on beneath the surface that Murray can’t grasp. He thinks of the three witches in Polanski’s Macbeth, huddled together on the beach, digging a circle in the sand with bare hands, unwrapping their filthy bundle. A ritual. The brick’s in the air and it’s funny but Murray expected it to spin but it doesn’t, it holds its position, arcs forward, as though someone’s taken the sky and pulled it sideways to give the impression of movement, like those chase scenes in the Punch and Judy shows you don’t see anymore. The brick hits the cement and fractures. Red dust on cops’ shined shoes. Murray feels the same sense of shock he’d felt, sitting in the sagging canvas seat at one of his film nights, recognising the witches’ bundle, a severed human arm, hacked off just before the elbow; both times looking so intently, he had no distance or defence when the realisation came. ‘What is it?’ says Lan. Murray points to the man who threw the brick but she is looking the other way, at a cop in a white riot helmet, head like a globe, swollen up as though bitten. Lan stands on Murray’s feet to see. The pig yells through a megaphone: ‘You’re occupying too much of the road. It’s illegal. Step back. Step back.’ Lan’s back is pressed against Murray’s stomach; her bum fits snugly to his groin. He resists the urge to plant his cold hands on her warm stomach, to watch her squirm. She turns her head so her mouth is next to his ear, says, ‘Don’t move.’ She sounds winded, her voice without force. He’s pinned to the ground by her feet. Again, ‘Step back. Step back.’ Next to him, Roger begins a chant. ‘Springboks,’ he yells, the rest of the crowd picking up the chant, ‘out now!’ ‘Springboks!’ ‘Out now!’ Murray looks up, sees a hand pressed against the glass in one of the hotel’s windows, quickly withdrawn. The hand belongs to a white man, for sure. It must be one of the footballers, although the gesture is out of keeping with his image of them. Too timid. He feels tired all of a sudden. But Jacobus Johannes Fouché’s voice is in his head, these men—the Springboks—represent the South African way of life, and the thought of the bastard Bjelke inviting them here. He, Roger and Lan were there the day before when the footballers pulled up outside the Tower Mill Hotel in a black and white bus. ‘Can you believe the cheek of those bastards?’ said Roger when they saw them bounding off the bus, legs the span of Murray’s two hands. A group of five Nazis had been lined up in front of the glass doors reflecting the city, all in uniform: five sets of white shirts and thin black ties, five sets of khaki pants and storm-trooper boots, each with a red sash printed with a black and white swastika tied around their left arms, just above the elbow. The Springboks strode inside, ignoring the Nazi’s salute. The protestors were shouting. An apple splattered wetly on the sidewalk. Friday, 7 April 1972, St Lucia Lan left in broad daylight. Murray didn’t know why this upset him, except that he had a vague sense that she should’ve gone in the night time, under the cover of dark. The guilty should sneak away, with bowed heads and faces averted, not boldly, as though going for an afternoon walk. Lan had pulled down half his jumpers getting the suitcase from the top of the cupboard. She left his clothes scattered across the bedroom, victims of an explosion, an excess of emotion. In the two days after Lan left, Murray scours the house looking for some clue to where she was, maybe a note to him, blown off the table in the wind, or put down and forgotten in the rush. Perhaps there was a letter from her parents, bankrupt, demanding she return to Vietnam. Or a relative had died. A cousin in the Viet Cong napalmed. He finds a packet of her tampons in the bathroom cupboard, tries to flush them down the toilet, but they keep floating back up. They bloat; the knotted strings make them look like some strange water-dwelling creature, paddling in the bowl. He pees in the shower for a while, but in the end he scoops the tampons back out again with the holder for the toilet brush. The house doesn’t yield anything, so he takes to the garden, circles the place, investigates its underbelly. The previous tenant had laid squares of green carpet underneath, off-cuts that met in jagged lines, patches of dirt visible. Murray had set up two sofas, mouldy with age, on the carpeted part, would invite his friends to sit with him there, booze, discuss the state of the world and the problem with America. Roger rings in the afternoon, says, ‘What gives? We were supposed to have lunch.’ Murray says, ‘Lan’s left me.’ He knows he will cry soon. ‘Oh Christ. I’m so sorry,’ says Roger. Murray inhales, snuffs up snot. Roger coughs into the receiver. ‘It was just out of the blue,’ says Murray. ‘Where’s she gone?’ ‘I don’t know.’ ‘She didn’t say anything?’ ‘No,’ says Murray. ‘She could be anywhere. Maybe you should call the police, put in a missing report,’ says Roger. ‘I’m not too friendly with the cops,’ says Murray, and coughs. ‘You sound a bit crook. I’ll come over,’ says Roger. ‘That’d be good,’ says Murray. Roger turns up at the house an hour later, wearing wide pants and a tight collared shirt with thick white and red stripes. He’s growing a moustache, only cuts his hair when he visits his parents. Murray says, ‘I’ll make us a cuppa.’ Roger nods, sits down at the vinyl table with his hands resting on his knees. He says, ‘Are you coming to 291 on Sunday?’ 291 St Paul’s Terrace is the Brisbane Communist Party’s headquarters. Murray says, ‘What’s on?’ ‘Billy needs someone to look after the bookshop.’ Murray gives Roger a mug of tea, sits down with his own mug between his elbows, and cradles his head in his hands so his hair falls over his wrists. After a minute, Roger says, ‘Does her family know?’ Murray makes a strange noise through his hands. ‘I don’t even know how to contact them,’ he says. ‘She wrote them letters—couldn’t afford to phone—but she’s taken everything with her. The address book. Everything.’ Murray knows nothing of the specifics of Lan’s life before she met him. She was the first Asian he’d ever spoken to. She wore wrap-around skirts that changed colour in the sun; grew her hair below the waist; sat in the front row in class and never spoke. He liked the shape of her calf as it emerged from her skirt. He saw her on the great lawn filming her reflection in a window with a Sony Portapak and knew that he wanted her more than anything. Murray seduced her by saying almost nothing and touching her as often as he could. He was worried about offending her. What reading he had done made him aware of his own ignorance, and his friend in Psych told him that when you touch a girl enough — especially around the aureole — a hormone is released that bonds them to you, makes them sad when you leave them or they leave you. In conversation, Murray would put his hand on Lan’s elbow, once on the top of her head. Lan was ready to be seduced. Murray invited her to a winter party in his backyard. They kissed next to the fire and he didn’t notice until the next morning that the rubber on the bottom of his shoe melted in the flames. She moved into his house quickly, her clothes bundled in three plastic bags. He wanted her to stay in bed with him all day, imagined he was John Lennon and she Yoko Ono. Their mattress became a soup of discarded clothes, bread crumbs, wine stains, come stains, ash and flakes of pot. He resented her when she told him that she was bored, and left him, sheets pulled aside to reveal his erection, to go to class. Lan tutored high-schoolers for a while, but they complained to their mothers that they couldn’t understand her accent. She told him her parents wanted her to come home. The next night he tidied the house, and cooked her dinner. Over the green peas and potato—Lan grated ginger over hers, mixed it with chili and soy sauce, which she travelled all the way to Chinatown on a bus to buy—Murray proposed. They were married in the botanic gardens, surrounded by Murray’s friends. The night before his father called him up and said, ‘It’s not too late to get out of it. You won’t be betraying the cause.’ Murray said, ‘You have no idea what this means to me,’ and hung up on him. Sunday, 9 April 1972, 291 St Paul’s Terrace Murray perches on the backless stool behind the counter in The People’s Bookshop. He has the sense he is on the brink of something. His body is ready for movement. When a man walks into the shop, Murray panics because Billy hadn’t shown him how to use the cash register. He says, ‘Can I help?’ anyway. ‘No,’ says the man. The man walks the length of the shelves too fast to read the titles. He stops at a display of Australiana on a tiered shelf, slides his hand down the covers on display. He pauses at Crocodile Hunt. The cover shows a drawing of a bulky crocodile, scaled body bent in an S, its jaws under the man’s thumb. He picks it up, examines it. Murray thinks it odd that he doesn’t flip it over to read the blurb. He walks around the whole room once, scanning the shelves, reaches Murray at the counter and puts the book down between them. Murray picks it up, turns it over, looking for a price. It’s stuck on the back in faded ink. He opens his mouth to tell the man how much, and finds him staring intently at the ceiling. Murray looks up too. A hairline crack runs along the surface and there are bulges in the plaster where the wooden framework’s swollen. It’s lower than Murray remembers. He thinks that if he stood on his toes he could reach it with the tips of his fingers. Murray looks down again to find the man staring at him. Caught out, Murray mutters the price, says, ‘You don’t have it in exact change, do you?’ The man nods, fumbles around in his pocket for a bit and brings out a note, which he lays at an angle along the bench top. He counts the coins in the palm of his hand. He makes a fist around the coins, brings his hand over the note and lets go. The coins fall, clinking, over the bench. One spins wildly, rolls past Murray’s arm and across the bench. Murray lets it fall. He recognises the man now; it is the act of release that triggers the memory, the fingers spread wide, the wrist bent, the black watch band. This is the man who threw the brick in the Springbok protest. Dead set. He looks up again, expecting to see the same sense of recognition in the man, but he is walking out of the shop. Murray follows him outside, leaving the door open and the money still on the counter. The man is walking right along St Paul’s Terrace. He tucks the book under his arm to cross Barry Parade, as though he might need both hands free to wave off the oncoming traffic. Murray stands on the other side of the road, unsure of what to do. When Murray came outside, he’d planned to hail the man, tell him he recognised him from the strike and was a fellow comrade. They give discounts to Communist Party members. Outside the shop, it strikes him that perhaps the man is not one of them at all. Just because he was at the march doesn’t make him a communist. Despite the unpopularity of the cause —‘It’s just fucking football,’ one of Murray’s friends had said. ‘What’s it got to do with anything?’— there had been many types there, a mixture of labour party members; unionists; people in the Radical Club and the Eureka Youth League; those not particularly attached to anyone. He remembers again the brick shattered on the ground. It hadn’t hit anyone, but was an incitement to violence. This man is dangerous. Murray is filled again with nervous energy, which leaves him both dull-witted and super-charged, as though he is a wind-up toy twisted tight and then released, unable to do anything but move in the direction he’s facing. He crosses the road about five metres behind the man, sticks to the outer edge of the pavement, head down. If he moves his eyes upwards, while still keeping his neck lowered, he can see the shoes of the man, his white socks flashing with each step. The man turns the corner into Brunswick Street. He stops at a car parked in front of the old Masonic Temple. Murray walks past fast, unsure of what to do next. The Temple’s entry is set back in the building, four steps leading up to a red door. Murray ducks inside the alcove, looks up to see the man sitting in the driver’s seat pulling out the pages of Crocodile Hunt and feeding them through the half wound-down window where they land, fanned out, on the road. When he’s finished dismembering the book, the man spreads the page-less cover across the back of the car. The crocodile, snout on the side, one eye turned outwards, stares out into the street. The man flicks the ignition and drives, the pages flying out and onto the road in his wake. Murray sits down on the steps of the guild and smokes. He isn’t exactly sure what just happened. The man must have bought the book just because he liked the picture on the front of the cover. But it’s odd though that he had bothered to spend so much just for one picture. Murray remembers how he had paced the shop and studiously examined the ceiling. He’d given the impression of someone picking out furniture for the room, working out the dimensions so some chair or table would fit. A cough. Murray looks up. The man’s standing above him, his forearm resting on the wall, elbow bent. His other arm hangs at his side, hand bunched up around a bundle of keys. ‘I wouldn’t of bothered following me, if I was you,’ the man says. ‘The police are on my side. Special branch are on my side.’ He pushes himself off the wall, stands up straight, and says, ‘Heil Hitler.’ Tuesday April 19, 1972, 291 St Paul’s Terrace Murray brings his curled fist down on the door. It opens with the force of his knock and he feels like an idiot for even bothering. The hallway’s dark. Murray runs into a filing cabinet, swears, and stands in the centre of the corridor, with his hand still on the cabinet, calling, ‘Roger! Roger!’ Murray told Roger he’d come here when he called him. Murray was walking back from uni, and on the other side of the road to his house, ready to cross, he saw there was someone standing underneath the house, looking out into the street. Murray didn’t stop. He didn’t need to. He knew it was the man from the bookshop, the Nazi. Murray kept walking until he reached the end of the street, turned the corner and then ran. Back on campus, he shut himself in a phone box and dialed Roger’s number. ‘I can’t get to my house,’ Murray said when Roger picked up. ‘Lock yourself out, did you?’ said Roger. ‘You know that Nazi? He’s back again.’ ‘I don’t get it,’ said Roger. ‘It doesn’t matter. I need to stay with you,’ said Murray. ‘You can’t. I’m going to a party meeting.’ ‘I’ll meet you there.’ ‘Ok. If you want.’ Roger hung up. Now, Roger stands framed in the doorway of the meeting room. ‘Hey Murray, shut up. I can hear you. Get in here.’ Roger switches on the hallway light and Murray walks into the meeting room. There are about seven people, sitting on hard metal chairs around a long table. Murray sits next to Roger, nods to Patsy, who has nice breasts but is married. Vince says, ‘Hi, Murray, we’re talking about the moratorium on Friday.’ ‘You should bring your pretty little Vietnamese girl,’ says Billy. ‘She’s not around anymore,’ says Roger. ‘That’s a shame,’ says Patsy. ‘Yeah,’ says Murray. ‘Helen Dashwood told me her school has banned them from wearing moratorium badges,’ says Billy. ‘Far out,’ says Patsy. ‘We should get her to speak at the rally,’ says Stella, taking notes, and then, looking up, says, ‘Can anyone smell burning?’ Murray sniffs, says ‘I’ll go look.’ They all follow him down the hall. Patsy says, behind him, ‘Is it coming from the kitchen?’ Roger says, ‘No,’ and then the windows around them shatter. Next to Murray, a filing cabinet buckles and twists like wet cardboard in the rain. A door is blown off its hinges. Murray feels a moment of great confusion, a sense that things are sliding away from him spectacularly. He’s felt this once before. He wanted Lan to sit down with him, but she said she didn’t want to be touched. He’d pulled her to him, playfully, a joke, but he was too hard and she went limp in his hands. Like she’d been expecting it. Her head hit the table in front of him with a sharp, quick crack. He didn’t understand what happened; he had never experienced violence this close. He imagined her brain as a line drawing with the different sections coloured in, like his Psych friend had once showed him, except squashed in at the bottom. She had recovered, of course, opened her eyes a second later to him gasping. He remembered saying, ‘I just want to hold you. Why do you always do this to me?’ and even to him it hadn’t made sense because he was the one doing it to her. Afterwards, Murray had felt hungry, but couldn’t think of anything that he’d wanted to eat. He sliced an apple in half, traced the star of seeds with his finger, then decided he didn’t want it. He left it, already turning brown, on the kitchen bench. Author’s Note No one was killed in the April 19 explosion, nor did the roof fall in. The bookstore, kitchen and press on the first floor of 291 took the force of the blast (Evans and Ferrier). The same night, a man called The Courier Mail (1) saying he was a member of a right wing group and had just bombed the Brisbane Communist Party Headquarters. He threatened to bomb more on Friday if members attended the anti-Vietnam war moratorium that day. He ended his conversation with ‘Heil Hitler.’ Gary Mangan, a known Nazi party member, later confessed to the bombing. He was taken to court, but the Judge ruled that the body of evidence was inadmissible, citing a legal technicality. Mangan was not charged.Ian Curr, in his article, Radical Books in Brisbane, publishes an image of the Communist party quarters in Brisbane. The image, entitled ‘After the Bomb, April 19 1972,’ shows detectives interviewing those who were in the building at the time. One man, with his back to the camera, is unidentified. I imagined this unknown man, in thongs with the long hair, to be Murray. It is in these gaps in historical knowledge that the writer of fiction is free to imagine. References “Bomb in the Valley, Then City Shots.” The Courier Mail 20 Apr. 1972: 1. Curr, Ian. Radical Books in Brisbane. 2008. 24 Jun. 2011 < http://workersbushtelegraph.com.au/2008/07/18/radical-books-in-brisbane/ >. Evans, Raymond, and Carole Ferrier. Radical Brisbane: An Unruly History. Brisbane: Vulgar Press, 2004.

Abstract Case report - Introduction Based on initial clinical data, it was suggested that patients with vasculitis who were immunosuppressed, would have a more severe COVID-19 infection. Here we present a case of a young 26-year old lady with granulomatosis with polyangiitis (GPA) on rituximab who developed COVID-19 infection while on active GPA treatment. Her COVID-19 infection confirmed on PCR serology, has been protracted but non-fulminant. She did not require mechanical respiratory support. At the same time her GPA remained active and worsened requiring further immunosuppression after she developed mild pulmonary haemorrhage. She is currently still receiving vasculitis treatment. Case report - Case description A 26-year-old lady with a background history of obstructive sleep apnoea and fibromyalgia was diagnosed with ENT-limited GPA in 2017. She was initially treated with azathioprine then methotrexate, and later switched to Rituximab in 2018 after she developed organ-threatening manifestations with bilateral hearing loss. She was stable on periodic infusions of rituximab at 6 to 9-monthly intervals and did not develop other organ-threatening features. She had been given one dose of rituximab for a flare of her GPA. In between rituximab doses, she was admitted with acute COVID-19 infection with related pneumonia and treated with antibiotics, fluids, and oxygen. Shortly after discharge, she was readmitted with worsening symptoms of non-resolving COVID-19 pneumonia which was evident on chest x-ray and levofloxacin treatment was initiated. Her condition improved and she was discharged. No mechanical respiratory support was required. She had her 2nd dose of rituximab after it had been delayed by about 2 weeks. She had been afebrile after the acute COVID-19 infection and her persistent positive results were explained as related viral shedding over a period of 8 weeks. One week later, she represented to hospital with fever, cough and shortness of breath, and her blood results showed a remarkable rise in inflammatory markers, including a CRP of 242. She was treated for non-resolving COVID-19 pneumonitis with worsening chest x-ray features. After hospital discharge, her GPA continued to flare with persistent epistaxis with nasal crusting. She also had worsening inflammatory arthritis with purpuric rash on her legs. An ENT review confirmed nasal septum perforation, but no renal involvement was found. Additional cyclophosphamide was commenced via the day-case unit. Her SARS-CoV-2 serology was negative prior to commencing cyclophosphamide. She is now SARS-CoV-2 positive after two doses of cyclophosphamide, but she is afebrile and stable. Case report – Discussion COVID-19 infection carries a high mortality rate in patients with multiple co-morbidities, but recent literature suggests that patients on immunosuppressants may not actually have fulminant COVID-19 disease. This case illustrates the challenges of treating active vasculitis in the context of ongoing COVID-19 infection. Her vasculitis remained active requiring escalation of immunosuppression with caution, while she was concomitantly fighting SARS-CoV-2 and superadded bacterial infection. A similar case has been published by Guilpain et al of a 52-year-old woman with PR3-ANCA vasculitis on maintenance therapy with rituximab and low-dose prednisone who developed COVID-19 infection. They reported milder evolution of COVID-19 infection in comparison with previous reports. It is now well known that some disease-modifying anti-rheumatic drugs (DMARDs) such as tocilizumab, hydroxychloroquine and tofacitinib could suppress the cytokine profile seen in severe COVID-19 infection. In addition, several case reports have even reported possible protective effect of immunosuppressants against severe complications of COVID-19 in patients with rheumatological and non-rheumatological conditions. Another complexity in this case was monitoring the disease progression, since both COVID-19 and GPA can have similar findings on chest CT scan of ground glass opacity. In order to better understand the role of immunosuppressants in rheumatological patients with COVID-19 infection, more data is required, currently European League Against Rheumatism (EULAR) is collecting data to monitor and report outcomes of COVID-19 in adult and paediatric population, this will provide invaluable insight for Rheumatologists. Case report - Key learning points This case poses a challenge for Rheumatologists in managing a patient with active vasculitis and concomitant COVID-19 infection due to limited data available literature. It has also stressed the importance of working in a multidisciplinary team when managing such complex patients. Importance of continuous surveillance of patients receiving immunosuppressive therapy is advised due to possible increased risk to SARS-CoV-2.

"It's a poor sort of memory that only works backwards," the Queen remarked. "What sort of things do you remember best?" Alice ventured to ask. "Oh, things that happened in the week after next," the Queen replied in a careless tone. Lewis Carroll, Through the Looking Glass. It would seem, odd as the notion may appear at first glance, that memory can in fact be thought of as working in two directions: both backwards and forwards. Take, for example, the commonly enough expressed sentiment that one should avail of every opportunity that life presents to "learn from experience". Isn't to do so, in fact, a projection into the future of the 'memory' that has been gained in the past, and stored in the present? Isn't the implication that, with a little careful observation of last week, one can begin to 'remember' what happened in the week after next? Consider now the development of a revolutionary new communications technology. Who are its pioneers? Experience has taught that there are at least three categories of person (or organisation) which are to be found wherever tomorrow is being actualised. They are the visionaries, the enthusiasts, and the entrepreneurs -- though some may argue that this last category would better be called economic opportunists. Of course, these are not, and shouldn't be thought of as, completely distinct categories, separated by impermeable barriers; one can be in all three as easily as not. The early days of Radio fit this model. As an infant technology it was fostered by visionaries like Marconi, enthusiasts like the many around the world who cobbled together their own home-made transmitters and receivers, and entrepreneur/opportunists like Frank Conrad of Westinghouse, whose 8XK transmitted periodically during the first world war to test equipment made by the company for the American military (Mishkind). The emergence of interactive networked computing, and ultimately of the Internet, fits this model too. There were early visionaries like Douglas Engelbart, and the MIT professor J.C.R. Licklider, who were among the first to see a potential for more than simply large scale number crunching in the fledgling electronic computing industry (Rheingold 65-89). Enthusiasts include the North Carolina students who created Usenet, and the Chicago hobbyists who "triggered the worldwide BBS movement because they wanted to transfer files from one PC to another without driving across town" (Rheingold 67). As for entrepreneur/opportunists, well, organisations like Netscape, Yahoo!, and Amazon.com leap to mind. When revolutionary development is underway the potential for change is seen to be boundless. Radio was quickly recognised as a means to cross vast distances, and difficult terrain. It became a lifeline to ships in distress, bridging the dreadful isolation of the unforgiving oceans. It was put to use as a public service: the US Agriculture Department's broadcasting of weather reports as early as 1912 being some of the earliest radio broadcasts in that country (White). Similarly, Westinghouse's 8XK, along with many other fledgling stations, broadcast the results of the US presidential election on the night of November 2nd, 1920 (Mishkind). The "wireless" telegraph helped to join that huge nation together, and having done so, went on to inform and entertain it with news, concerts, lectures and the like. The democratising potential of the new medium and its easily disseminated information was soon recognised and debated: "Will Radio Make People the Government" demanded a 1924 headline in Radio Broadcast, an early industry magazine (Lappin). All this inevitably gave rise to questions of control; for a free medium could also be seen, depending on one's point of view, as a dangerous, anarchic medium. Perhaps those who pay for it should control it; but who is to pay for it, and with what? For a long time there was no clear vision anywhere of how the medium could be made to turn a dollar. In England a tax on the sale of radio hardware was introduced to fund the newly formed, and government owned, British Broadcasting Corporation. Such a model was rejected in the US, however, where large corporations -- among them AT&T, Westinghouse and General Electric -- gradually gained the upper hand. The system they put in place at first involved the leasing of airtime on large networks to commercial 'sponsors', which subsequently grew into direct on-air advertising. It won't have escaped the notice of many, I'm sure, that much of this could just as easily be about the Internet in the 1990s as Radio in the 1920s. And this is where memory comes into play. Certainly there are many, and profound, differences between the two media. The very nature of the Internet may seem to many to be just too decentralised, too anarchic, to ever be effectively harnessed -- or hijacked if you prefer -- by commercial interests. But it was, at one time, also impossible to see how Radio could ever show a profit. And sure, commercial Radio isn't the only kind of Radio out there. Radio National in Australia, for example, is a publicly funded network that does many of the good things a relatively uncoerced technology can do; but is this aspect of the medium central or marginalised, and which do we want it to be? Robert Mc Chesney considers that "to answer the question of whither the Internet, one need only determine where the greatest profits are to be found". This is a fairly bleak view but it may well be true. To find out for yourself where the Internet is likely to go, exercise the memory of the past, and you might remember the future. References Carroll, Lewis. Through the Looking Glass and What Alice Found There: The Annotated Alice. Ed. Martin Gardner. Harmondsworth: Penguin, 1965. 166-345. Lappin, Todd. "Deja Vu All Over Again." Wired. 11 Aug. 1998 <http://www.wired.com/wired/3.05/features/dejavu.php>. McChesney, Robert. "The Internet and US Communication Policy-Making in Historical and Critical Perspective." Journal of Computer Mediated Communication 1.4 (1995). 30 May 1998 <http://www.ascusc.org/jcmc/vol1/issue4/mcchesney.php>. Mishkind, Barry. "Who's On First?" 20 Aug. 1995. 11 Aug. 1998 <http://www.oldradio.com/archives/general/first.php>. Radio Museum. 11 Aug. 1998 <http://home.luna.nl/~arjan-muil/radio/museum.php>. Rheingold, Howard. The Virtual Community: Surfing the Internet. London: Minerva, 1995. Surfing the Aether. 11 Aug. 1998 <http://www.northwinds.net/bchris/index.htm>. White, Thomas H. "United States Early Radio History." 25 Jul. 1998. 11 Aug. 1998 <http://www.ipass.net/~whitetho/index.php>. Citation reference for this article MLA style: Paul Mc Cormack. "Remembering the Week after Next." M/C: A Journal of Media and Culture 1.2 (1998). [your date of access] <http://www.uq.edu.au/mc/9808/week.php>. Chicago style: Paul Mc Cormack, "Remembering the Week after Next," M/C: A Journal of Media and Culture 1, no. 2 (1998), <http://www.uq.edu.au/mc/9808/week.php> ([your date of access]). APA style: Paul Mc Cormack. (1998) Remembering the week after next. M/C: A Journal of Media and Culture 1(2). <http://www.uq.edu.au/mc/9808/week.php> ([your date of access]).

Abstract Case report - Introduction Sjögren’s is an autoimmune multisystem disorder characterised by xerostomia, keratoconjunctivitis sicca and extra glandular manifestations. The presence of sicca symptoms helps with diagnosis but up to 20% patients do not have these. The prevalence of lung involvement has been reported up to 9-24% and includes changes such as NSIP and organising pneumonia. We present an interesting patient who had no sicca symptoms but positive immunology to suggest Sjögren’s. Changes in sequential CT chest scans were in keeping with Connective Tissue Disease- Associated Interstitial Lung disease (CTAILD). However, presentation with an acute renal injury resulted in a diagnosis of ANCA positive vasculitis. Case report - Case description A 64-year-old Indian gentleman with medical background of controlled asthma was referred after 9 months of investigations for gluteal weakness. Initial blood tests included normal CK, ESR, CRP, vitamin B12, HbA1c and TFTs. Rheumatoid factor was low positive (20IU/ml), CCP negative. ANA was 1:80 with positive Ro, negative dsDNA. MRI of thighs was normal -no evidence of myositis. Nerve conduction studies showed no active denervation to suggest inflammatory myopathy and muscle biopsy showed myopathic features only. A CT scan revealed 3 small lung nodules recommending repeat scan. When seen in rheumatology clinic, there was additional bilateral shoulder arthralgia with no reports of sicca symptoms or rashes. A repeat autoimmune screen and CT chest was sent. His ANA was 1:1280 with Ro antibodies; CT showed new ground glass changes (with old nodules). Organising Pneumonia was suggested, and respiratory opinion sought. Extended myositis screen was negative. When seen in respiratory clinic he had new haematuria- ANCA screen showed positive anti-PR3 antibody (23U/ml) with normal U+Es, urine PCR and CRP 8mg/L. Based on these results a renal biopsy was performed-which showed no obvious morphological abnormalities. Thus, a suspected diagnosis of CTAILD with Sjögren’s was made. In clinic 2 months later, there was new shortness of breath and haemoptysis. Urine dip showed haematoproteinuria and Chest X-ray showed increase in peri-hilar masses. He was admitted urgently- blood tests showed a decline in renal function- urea 26.8mmol/L, Creatinine 838umol/L, CRP of 435mg/L and Haemoglobin 100g/L. Urgent repeat renal biopsy was done and CT thorax showed deterioration with bilateral consolidation and new lung lesions. Urgent Plasma exchange and dialysis (9 cycles) was given. Initial results from renal biopsy showed presence of crescents and he was started on cyclophosphamide. On this kidney function has improved- urea 18.4mmol/L and Creatinine 302umol/L; he remains on oral cyclophosphamide. Case report - Discussion With ongoing symptoms, an underlying autoimmune cause of his symptoms was felt likely. However inflammatory markers remained normal and so did CK. Despite this MRI and muscle biopsies were performed - which again were normal. The only tests that were positive were immunology (Ro antibodies) and a CT chest (showing initial small lung nodules). These findings pointed toward CTAILD with Sjögren’s being the likely diagnosis. As new lung nodules were seen, repeat CT scans were done- which showed gradual interstitial changes- the main radiological differential diagnosis was Organising pneumonia. Further investigations were delayed due to patient travel and COVID, but ongoing respiratory advice was sought. Even with changes in CT findings the patient remained stable with normal inflammatory markers. However, the clinical picture changed quite rapidly over a month (despite 2+ years of previous symptoms) with presentation of pulmonary-renal vasculitis. Plasma exchange and dialysis were given. A good response with a positive renal biopsy confirmed the most likely diagnosis was Granulomatosis with Polyangiitis (GPA). This case was interesting- the main complaint was of myopathy with no physical signs. Despite this biopsy were performed (muscle and kidney), which were all normal. The red herring in his case was a normal renal biopsy- steering us in the direction of CTD-AILD instead of GPA. Case report - Key learning points In patients with clear symptoms matching their investigations the diagnosis is often obvious. When this is not the case and symptomatology does not match results (i.e. no Sicca symptoms but positive immunology to suggest Sjögren’s) suspicion should remain high. Multidisciplinary working can provide insight, which this case does highlight-with input required from Neurology, Respiratory and Renal medicine. Negative results should be taken in context with patients and their symptoms. Initial renal biopsy in this case was normal- however after a review, further comments were made on the sparsity of glomeruli in the sample. Therefore, tissue obtained for diagnosis should always be questioned and clinical suspicion should remain high. In addition, repeat investigations (6 monthly CT scans) can help note any interval change. Thorough history and examination in follow up of patients can help look out for evolving changes. With the new symptoms of haemoptysis and haematoproteinuria this pointed us to the eventual diagnosis. The road to diagnosis in this case was prolonged with an acute drop in kidney function and pulmonary haemorrhage needing urgent Plasma exchange and dialysis. Thankfully, the patient continues to make a good recovery. A last point to add is although isolated myalgia has been described as a presentation of systemic vasculitis in the literature, those patients have had elevated CK and positive muscle biopsy. Our patient did not have any positive findings with over 2 years of symptoms. Therefore, we feel this case was unique in presentation and has valid learning points as above.

Image 1: View from Geodha Sgoilt towards the sea stacks, Uig, Isle of Lewis. Image credit: George Jaramillo.IntroductionOver the cliffs of Mangerstadh on the west coast of the Isle of Lewis, is a small plot of land called Geodha Sgoilt that overlooks the North Atlantic Ocean (Image 1). On the site is a small dirt gravel road and the remnants of a World War II listening station. Below, sea stacks rise from the waters, orange and green cliff sides stand in defiance to the crashing waves. An older gentleman began to tell me of what he believed could be located here on the site. A place where visitors could learn of the wonders of St Kilda that contained all types of new storytelling technologies to inspire them. He pointed above the ruined buildings, mentioning that a new road for the visitors’ vehicles and coaches would be built. With his explanations, you could almost imagine such a place on these cliffs. Yet, before that new idea could even be built, this gentleman and his group of locals and incomers had to convince themselves and others that this new heritage centre was something desired, necessary and inevitable in the development of the Western Isles.This article explores the developing relationships that come about through design innovation with community organisations. This was done through a partnership between an academic institution and a non-profit heritage community group as part of growing study in how higher education design research can play an active partner in community group development. It argues for the use of design thinking and innovation in improving strategy and organisational processes within non-profit organisations. In this case, it looks at what role it can play in building and enabling organisational confidence in its mission, as well as, building “beyond the museum”. The new approach to this unique relationship casts new light towards working with complexities and strategies rather than trying to resolve issues from the outset of a project. These enabling relationships are divided into three sections of this paper: First it explores the context of the island community group and “building” heritage, followed by a brief history of St Kilda and its current status, and designation as a World Heritage site. Second, it seeks the value of developing strategy and the introduction of the Institute of Design Innovation (INDI). This is followed by a discussion of the six-month relationship and work that was done that elucidates various methods used and ending with its outcomes. The third section reflects upon the impacts at the relationship building between the two groups with some final thoughts on the partnership, where it can lead, and how this can represent new ways of working together within community groups. Building HeritageCurrent community research in Scotland has shown struggles in understanding issues within community capability and development (Barker 11; Cave 20; Jacuniak-Suda, and Mose 23) though most focus on the land tenure and energy (McMorran 21) and not heritage groups. The need to maintain “resilient” (Steiner 17) communities has shown that economic resilience is of primary importance for these rural communities. Heritage as economic regenerator has had a long history in the United Kingdom. Some of these like the regeneration of Wirksworth in the Peak District (Gordon 20) have had great economic results with populations growing, as well as, development in the arts and design. These changes, though positive, have also adversely impacted the local community by estranging and forcing lower income townspeople to move away due to higher property values and lack of work. Furthermore, current trends in heritage tourism have managed to turn many rural regions into places of historic consumption (Ronström 7) termed “heritagisation” (Edensor 35). There is thus a need for critical reflection within a variety of heritage organisations with the increase in heritage tourism.In particular, existing island heritage organisations face a variety of issues that they focus too much on the artefactual or are too focused to strive for anything beyond the remit of their particular heritage (Jacuniak-Suda, and Mose 33; Ronström 4). Though many factors including funding, space, volunteerism and community capability affect the way these groups function they have commonalities that include organisational methods, volunteer fatigue, and limited interest from community groups. It is within this context that the communities of the Outer Hebrides. Currently, projects within the Highlands and islands focus on particular “grassroots” development (Cave 26; Robertson 994) searching for innovative ways to attract, maintain, and sustain healthy levels of heritage and development—one such group is Ionad Hiort. Ionad Hiort Ionad Hiort is a community non-profit organisation founded in 2010 to assist in the development of a new type of heritage centre in the community of Uig on the Isle of Lewis (“Proposal-Ionad Hiort”). As stated in their website, the group strives to develop a centre on the history and contemporary views of St Kilda, as well as, encouraging a much-needed year-round economic impetus for the region. The development of the group and the idea of a heritage centre came about through the creation of the St Kilda Opera, a £1.5 million, five-country project held in 2007, led by Scotland’s Gaelic Arts agency, Proiseact nan Ealan (Mckenzie). This opera, inspired by the cliffs, people, and history of St Kilda used creative techniques to unite five countries in a live performance with cliff aerobatics and Gaelic singing to present the island narrative. From this initial interest, a commission from the Western Isles council (2010), developed by suggestions and commentary from earlier reports (Jura Report 2009; Rebanks 2009) encouraged a fiercely contentious competition, which saw Ionad Hiort receive the right to develop a remote-access heritage centre about the St Kilda archipelago (Maclean). In 2013, the group received a plot of land from the local laird for the establishment of the centre (Urquhart) thereby bringing it closer to its goal of a heritage centre, but before moving onto this notion of remote-heritage, a brief history is needed on the archipelago. Image 2: Location map of Mangerstadh on the Isle of Lewis and St Kilda to the west, with inset of Scotland. Image credit: © Crown Copyright and Database Right (2017). Ordnance Survey (Digimap Licence).St KildaSt Kilda is an archipelago about 80 kilometres off the coast of the Outer Hebrides in the North Atlantic (Image 2). Over 2000 years of habitation show an entanglement between humans and nature including harsh weather, limited resources, but a tenacity and growth to develop a way of living upon a small section of land in the middle of the Atlantic. St Kilda has maintained a tenuous relationship between the sea, the cliffs and the people who have lived within its territory (Geddes, and Gannon 18). Over a period of three centuries beginning in the eighteenth century an outside influence on the island begin to play a major role, with the loss of a large portion of its small (180) population. This population would later decrease to 100 and finally to 34 in 1930, when it was decided to evacuate the final members of the village in what could best be called a forced eviction.Since the evacuation, the island has maintained an important military presence as a listening station during the Second World War and in its modern form a radar station as part of the Hebridean Artillery (Rocket) Range (Geddes 14). The islands in the last thirty years have seen an increase in tourism with the ownership of the island by the National Trust of Scotland. The UNESCO World Heritage Organisation (UNESCO), who designated St Kilda in 1986 and 2004 as having outstanding universal value, has seen its role evolve from not just protecting (or conserving) world heritage sites, but to strategically understand sustainable tourism of its sites (“St Kilda”). In 2012, UNESCO selected St Kilda as a case study for remote access heritage conservation and interpretation (Hebrides News Today; UNESCO 15). This was partly due to the efforts of 3D laser scanning of the islands by a collaboration between The Glasgow School of Art and Historic Environment Scotland called the Centre for Digital Documentation and Visualisation (CDDV) in 2009.The idea of a remote access heritage is an important aspect as to what Ionad Hiort could do with creating a centre at their site away from St Kilda. Remote access heritage is useful in allowing for sites and monuments to be conserved and monitored “from afar”. It allows for 3D visualisations of sites and provides new creative engagements with a variety of different places (Remondino, and Rizzi 86), however, Ionad Hiort was not yet at a point to even imagine how to use the remote access technology. They first needed a strategy and direction, as after many years of moving towards recognition of proposing the centre at their site in Uig, they had lost a bit of that initial drive. This is where INDI was asked to assist by the Highlands and Islands Enterprise, the regional development organisation for most of rural Scotland. Building ConfidenceINDI is a research institute at The Glasgow School of Art. It is a distributed, creative collective of researchers, lecturers and students specialising in design innovation, where design innovation means enabling creative capabilities within communities, groups and individuals. Together, they address complex issues through new design practices and bespoke community engagement to co-produce “preferable futures” (Henchley 25). Preferable futures are a type of future casting that seeks to strive not just for the probable or possible future of a place or idea, but for the most preferred and collectively reached option for a society (McAra-McWilliam 9). INDI researches the design processes that are needed to co-create contexts in which people can flourish: at work, in organisations and businesses, as well as, in public services and government. The task of innovation as an interactive process is an example of the design process. Innovation is defined as “a co-creation process within social and technological networks in which actors integrate their resources to create mutual value” (Russo‐Spena, and Mele 528). Therefore, innovation works outside of standard consultancy practices; rather it engenders a sense of mutual co-created practices that strive to resolve particular problems. Examples include the work that has looked at creating cultures of innovation within small and medium-sized enterprises (Lockwood 4) where the design process was used to alter organisational support (Image 3). These enterprises tend to emulate larger firms and corporations and though useful in places where economies of scale are present, smaller business need adaptable, resilient and integrated networks of innovation within their organisational models. In this way, innovation functioned as a catalyst for altering the existing organisational methods. These innovations are thus a useful alternative to existing means of approaching problems and building resilience within any organisation. Therefore, these ideas of innovation could be transferred and play a role in enabling new ways of approaching non-profit organisational structures, particularly those within heritage. Image 3: Design Council Double Diamond model of the design process. Image credit: Lockwood.Developing the WorkIonad Hiort with INDI’s assistance has worked together to develop a heritage centre that tries to towards a new definition of heritage and identity through this island centre. Much of this work has been done through local community investigations revolving around workshops and one-on-one talks where narratives and ideas are held in “negative capability” (McAra-McWilliam 2) to seek many alternatives that would be able to work for the community. The initial aims of the partnership were to assist the Uig community realise the potential of the St Kilda Centre. Primarily, it would assist in enabling the capabilities of two themes. The first would be, strategy, for Ionad Hiort’s existing multi-page mission brief. The second would be storytelling the narrative of St Kilda as a complex and entangled, however, its common views are limited to the ‘fall from grace’ or ‘noble savage’ story (Macdonald 168). Over the course of six months, the relationship involved two workshops and three site visits of varying degrees of interaction. An initial gathering had InDI staff meet members of Ionad Hiort to introduce members to each other. Afterwards, INDI ran two workshops over two months in Uig to understand, reflect and challenge Ionad Hiort’s focus on what the group desired. The first workshop focused on the group’s strategy statement. In a relaxed and facilitated space in the Uig Community Hall, the groups used pens, markers, and self-adhesive notes to engage in an open dialogue about the group’s desires. This session included reflecting on what their heritage centre could look like, as well as what their strategy needed to get there. These resulted in a series of drawings of their ‘preferred’ centre, with some ideas showing a centre sitting over the edge of the cliffs or one that had the centre be an integral component of the community. In discussing that session, one of members of the group recalled:I remember his [one of INDI’s staff] interrogation of the project was actually pretty – initially – fairly brutal, right? The first formal session we had talking about strategy and so on. To the extent that I think it would be fair to say he pissed everybody off, right? So much so that he actually prompted us to come back with some fairly hard hitting ripostes, which, after a moment’s silence he then said, ‘That’s it, you’ve convinced me’, and at that point we kind of realised that that’s what he’d been trying to do; he’d been trying to really push us to go further in our articulation of what we were doing and … why we were doing it in this particular way than we had done before. (Participant A, 2016).The group through this session found out that their strategy could be refined into a short mission statement giving a clear focus as to what they wanted and how they wanted to go about doing it. In the end, drawings, charts, stories (Image 4) were drawn to reflect on what the community had discussed. These artefacts became a key role-player in the following months of the development of the group. Image 4: View of group working through their strategy workshop session. Image credit: Fergus Fullarton-Pegg (2014). The second set of workshops and visits involved informal discussion with individual members of the group and community. This included a visit to St Kilda with members from INDI, Ionad Hiort and the Digital Design Studio, which allowed for everyone to understand the immensity of the project and its significance to World Heritage values. The initial aims thus evolved into understanding the context of self-governance for distributed communities and how to develop the infrastructure of development. As discussed earlier, existing development processes are useful, though limited to only particular types of projects, and as exemplified in the Highlands and Islands Enterprise and Western Isles Council commission, it tends to put communities against each other for limited pots of money. This existing system can be innovated upon by becoming creative liaisons, sharing and co-creating from existing studies to help develop more effective processes for the future of Ionad Hiort and their ‘preferable future’. Building RelationshipsWhat the relationship with GSA has done, as a dialogue with the team of people that have been involved, has been to consolidate and clarify our own thinking and to get us to question our own thinking across several different aspects of the whole project. (Participant A, 2016)As the quote states, the main notion of using design thinking has allowed Ionad Hiort to question their thinking and challenge preconceptions of what a “heritage centre” is, by being a critical sounding board that is different from what is provided by consultants and other stakeholders. Prior to meeting INDI, Ionad Hiort may have been able to reach their goal of a strategy, however, it would have taken a few more years. The work, which involved structured and unstructured workshops, meetings, planning events, and gatherings, gave them a structured focus to move ahead with their prospectus planning and bidding. INDI enabled the compression and focus of their strategy making and mission strategy statement over the course of six months into a one-page statement that gave direction to the group and provided the impetus for the development of the prospectus briefs. Furthermore, INDI contributed a sense of contemporary content to the historic story, as well as, enable the community to see that this centre would not just become another gallery with café. The most important outcome has been an effective measure in building relationships in the Outer Hebrides, which shows the changing roles between academic and third sector partnerships. Two key points can be deemed from these developing relationships: The first has been to build a research infrastructure in and across the region that engages with local communities about working with the GSA, including groups in North Uist, Barra and South Uist. Of note is a comment made by one of the participants saying: “It’s exciting now, there’s a buzz about it and getting you [INDI] involved, adding a dimension—we’ve got people who have got an artistic bent here but I think your enthusiasm, your skills, very much complement what we’ve got here.” (Participant B, 2016). Second, the academic/non-profit partnership has encouraged younger people to work and study in the area through a developing programme of student research activity. This includes placing taught masters students with local community members on the South Uist, as well as, PhD research being done on Stornoway. These two outcomes then have given rise to interest in not only how heritage is re-developed in a community, but also, encourages future interest, by staff and students to continue the debate and fashion further developments in the region (GSAmediacentre). Today, the cliffs of Mangerstadh continue to receive the pounding of waves, the blowing wind and the ever-present rain on its rocky granite surface. The iterative stages of work that the two groups have done showcase the way that simple actions can carve, change and evolve into innovative outcomes. The research outcomes show that through this new approach to working with communities we move beyond the consultant and towards an ability of generating a preferable future for the community. In this way, the work that has been created together showcases a case study for further island community development. We do not know what the future holds for the group, but with continued support and maintaining an open mind to creative opportunities we will see that the community will develop a space that moves “beyond the museum”. AcknowledgementsThe author would like to thank Ionad Hiort and all the residents of Uig on the Isle of Lewis for their assistance and participation in this partnership. For more information on their work please visit http://www.ionadhiort.org/. The author also thanks the Highlands and Islands Enterprise for financial support in the research and development of the project. Finally, the author thanks the two reviewers who provided critical commentary and critiques to improve this paper. ReferencesBarker, Adam. “Capacity Building for Sustainability: Towards Community Development in Coastal Scotland.” Journal of Environmental Management 75.1 (2005): 11-19. 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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern Soul handshake, involving upturned thumbs. ‘Spread the Faith’, he says. Drinkers are lined up along the long bar to the right and I grab a glass of iced water. A few dancers are out on the wooden floor and a mirror ball rotates overhead. Pat Fisher, the main Perth scene organiser, is away working in Monaco, but the usual suspects are there: Carlisle Derek, Ivan from Cheltenham, Ron and Gracie from Derby. Danny is back from DJing in Tuscany, after a few days in Widnes with old friends. We chat briefly mouth to ear, as the swirling strings and echo-drenched vocals of the Seven Souls’ 45 record, ‘I still love you’ boom through the sound system. The drinkers at the bar hit the floor for Curtis Mayfield’s ‘Move on up’ and the crowd swells to about 80. When I move onto the floor, Barbara Acklin’s ‘Am I the Same Girl?’ plays, prompting reflection on being the same, older person dancing to a record from my teenage years. On the bridge of the piano and conga driven ‘’Cause you’re mine’, by the Vibrations, everybody claps in unison, some above their heads, some behind their backs, some with an expansive, open-armed gesture. The sound is like the crack of pistol. We are all living in the moment, lost in the music, moving forward and backward, gliding sideways, and some of us spinning, dervish-like, for a few seconds, if we can still maintain our balance.Having relocated their scene from England south to the Antipodes, most of the participants described on this night are now in their sixties. Part of the original scene myself, I was a participant observer, dancing and interviewing, and documenting and exploring scene practices over five years.The local Perth scene, which started in 1996, is still going strong, part of a wider Australian and New Zealand scene. The global scene goes back nearly 50 years to the late 1960s. Northern Soul has now also become southern. It has also become significantly present in the USA, its place of inspiration, and in such disparate places as Medellin, in Colombia, and Kobe, in Japan.The feeling of ‘living in the moment’ described is a common feature of dance-oriented subcultures. It enables escape from routines, stretches the present opportunity for leisure and postpones the return to other responsibilities. The music and familiar dance steps of a long-standing scene like Northern Soul also stimulate a nostalgic reverie, in which you can persuade yourself you are 18 again.Dance steps are forward, backward and sideways and on crowded dancefloors self-expression is necessarily attenuated. These movements are repeated and varied as each bar returns to the first beat and in subcultures like Northern Soul are sufficiently stylised as to show solidarity. This solidarity is enhanced by a unison handclap, triggered by cues in some records. Northern Soul is not line-dancing. Dancers develop their own moves.Place of Origin: Soul from the North?For those new to Northern Soul, the northern connection may seem a little puzzling. The North of England is often still imagined as a cold, rainy wasteland of desolate moors and smoky, industrial, mostly working-class cities, but such stereotyping obscures real understanding. Social histories have also tended to focus on such phenomena as the early twentieth century Salford gang members, the “Northern Scuttlers”, with “bell-bottomed trousers … and the thick iron-shod clogs” (Roberts 123).The 1977 Granada television documentary about the key Northern Soul club, Wigan Casino, This England, captured rare footage; but this was framed by hackneyed backdrops of mills and collieries. Yet, some elements of the northern stereotype are grounded in reality.Engels’s portrayal of the horrors of early nineteenth century Manchester in The Condition of the Working Class in England in 1844 was an influential exploration of the birth pains of this first industrial city, and many northern towns and cities have experienced similar traumas. Levels of social disadvantage in contemporary Britain, whilst palpable everywhere, are still particularly significant in the North, as researched by Buchan, Kontopantelis, Sperrin, Chandola and Doran in North-South Disparities in English Mortality 1965–2015: Longitudinal Population Study.By the end of the 1960s, the relative affluence of Harold Wilson’s England began to recede and there was increased political and counter-cultural activity. Into this social climate emerged both skinheads, as described by Fowler in Skins Rule and the Northern Soul scene.Northern Soul scene essentially developed as an extension of the 1960s ‘mod’ lifestyle, built around soul music and fashion. A mostly working-class response to urban life and routine, it also evidenced the ability of the more socially mobile young to get out and stay up late.Although more London mods moved into psychedelia and underground music, many soul fans sought out obscure, but still prototypical Motown-like records, often from the northern American cities Detroit and Chicago. In Manchester, surplus American records were transported up the Ship Canal to Trafford Park, the port zone (Ritson and Russell 1) and became cult club hits, as described in Rylatt and Scott’s Central 1179: The Story of Manchester's Twisted Wheel.In the early 1970s, the rare soul fans found a name for their scene. “The Dave Godin Column” in the fanzine Blues and Soul, published in London, referred for the first time to ‘Northern Soul’ in 1971, really defining ‘Northern’ directionally, as a relative location anywhere ‘north of Watford’, not a specific place.The scene gradually developed specific sites, clothes, dances and cultural practices, and was also popular in southern England, and actually less visible in cities such as Liverpool and Newcastle. As Nowell (199) argues, the idea that Northern Soul was regionally based is unfounded, a wider movement emerging as a result of the increased mobility made possible by railways and motorways (Ritson and Russell 14).Clubs like the Blackpool Mecca and Wigan Casino were very close to motorway slip roads and accessible to visitors from further south. The initial scene was not self-consciously northern and many early clubs, like the ‘Golden Torch’, in Tunstall were based in the Midlands, as recounted by Wall (441).The Time and Space of the DancefloorThe Northern Soul scene’s growth was initially covered in fanzines like Blues and Soul, and then by Frith and Cummings (23-32). Following Cosgrove (38-41) and Chambers (142), a number of insider accounts (Soul Survivors: The Wigan Casino Story by Winstanley and Nowell; Too Darn Soulful: The Story of Northern Soul by Nowell; The In-Crowd: The Story of the Northern & Rare Soul Scene by Ritson & Russell) were followed by academic studies (Milestone 134-149; Hollows and Milestone 83-103; Wall 431-445). The scene was first explored by an American academic in Browne’s Identity Scene and Material Culture: The Place of African American Rare Soul Music on the British Northern Soul Scene.Many clubs in earlier days were alcohol-free, though many club-goers substituted amphetamines (Wilson 1-5) as a result, but across the modern scene, drug-taking is not significant. On Northern Soul nights, dancing is the main activity and drinking is incidental. However, dance has received less subtle attention than it deserves as a key nexus between the culture of the scene and black America.Pruter (187) referred to the earlier, pre-disco “myopia” of many music writers on the subject of dance, though its connection to leisure, pleasure, the body and “serious self-realization” (Chambers 7) has been noted. Clearly Northern Soul dancers find “evasive” pleasure (Fiske 127) and “jouissance” (Barthes v) in the merging of self into record.Wall (440) has been more nuanced in his perceptions of the particular “physical geography” of the Northern Soul dance floor, seeing it as both responsive to the music, and a vehicle for navigating social and individual space. Dancers respond to each other, give others room to move and are also connected to those who stand and watch. Although friends often dance close, they are careful not to exclude others and dancing between couples is rare. At the end of popular records, there is often applause. Some dance all night, with a few breaks; others ‘pace’ themselves (Mercieca et al. 78).The gymnastics of Northern Soul have attracted attention, but the forward dives, back drops and spins are now less common. Two less noticed markers of the Northern Soul dancing style, the glide and the soul clap, were highlighted by Wall (432). Cosgrove (38) also noted the sideways glide characteristic of long-time insiders and particularly well deployed by female dancers.Significantly, friction-reducing talcum powder is almost sacramentally sprinkled on the floor, assisting dancers to glide more effectively. This fluid feature of the dancing makes the scene more attractive to those whose forms of expression are less overtly masculine.Sprung wooden floors are preferred and drink on the floor is frowned upon, as spillage compromises gliding. The soul clap is a communal clap, usually executed at key points in a record. Sometimes very loud, this perfectly timed unison clap is a remarkable, though mostly unselfconscious, display of group co-ordination, solidarity and resonance.Billy from Manchester, one of the Perth regulars, and notable for his downward clapping motion, explained simply that the claps go “where the breaks are” (Mercieca et al. 71). The Northern Soul clap demonstrates key attributes of what Wunderlich (384) described as “place-temporality in urban space”, emerging from the flow of music and movement in a heightened form of synchronisation and marked by the “vivid sense of time” (385) produced by emotional and social involvement.Crucially, as Morris noted, A Sense of Space is needed to have a sense of time and dancers may spin and return via the beat of the music to the same spot. For Northern Soul dancers, the movements forwards, backwards, sideways through objective, “geometric space” are paralleled by a traversing of existential, “conceived space”. The steps in microcosm symbolise the relentless wider movements we make through life. For Lefebvre, in The Production of Space, these “trialectics” create “lived space”.A Sense of Place and Evolving IdentitySpaces are plastic environments, charged with emerging meanings. For Augé, they can also remain spaces or be manipulated into “Non-Places”. When the sense of space is heightened there is the potential for lived spaces to become places. The space/place distinction is a matter of contention, but, broadly, space is universal and non-relational, and place is particular and relational.For Augé, a space can be social, but if it lacks implicit, shared cultural understandings and requires explicit signs and rules, as with an airport or supermarket, it is a non-place. It is not relational. It lacks history. Time cannot be stretched or temporarily suspended. As non-places proliferate, urban people spend more time alone in crowds, ”always, and never, at home” (109), though this anonymity can still provide the possibility of changing identity and widening experience.Northern Soul as a culture in the abstract, is a space, but one with distinct practices which tend towards the creation of places and identities. Perth’s Hyde Park Hotel is a place with a function space at the back. This empty hall, on the night described in the opening, temporarily became a Northern Soul Club. The dance floor was empty as the night began, but gradually became not just a space, but a place. To step onto a mostly empty dance floor early in the night, is to cross liminal space, and to take a risk that you will be conspicuous or lonely for a while, or both.This negotiation of space is what Northern Soul, like many other club cultures has always offered, the promise and risk of excitement outside the home. Even when the floor is busy, it is still possible to feel alone in a crowd, but at some stage in the night, there is also the possibility, via some moment of resonance, that a feeling of connection with others will develop. This is a familiar teenage theme, a need to escape bonds and make new ones, to be both mobile and stable. Northern Soul is one of the many third spaces/places (Soja 137) which can create opportunities to navigate time, space and place, and to find a new sense of direction and identity. Nicky from Cornwall, who arrived in Perth in the early 1970s, felt like “a fish out of water”, until involvement in the Northern Soul scene helped him to achieve a successful migration (Mercieca et al. 34-38). Figure 1: A Perth Northern Soul night in 2007. Note the talcum powder on the DJ table, for sprinkling on the dancefloor. The record playing is ‘Helpless’, by Kim Weston.McRobbie has argued in Dance and Social Fantasy that Northern Soul provides places for women to define and express themselves, and it has appealed to more to female and LGBTQIA participants than the more masculine dominated rock, funk and hip-hop scenes. The shared appreciation of records and the possibilities for expression and sociality in dance unite participants and blur gender lines.While the more athletic dancers have tended to be male, dancing is essentially non-contact, as in many other post-1960s ‘discotheque’ styles, yet there is little overt sexual display or flirtation involved. Male and female styles, based on foot rather than arm movements, are similar, almost ungendered, and the Soul scene has differed from more mainstream nightlife cultures focussed on finding partners, as noted in Soul Survivors: The Wigan Casino Story by Winstanley and Nowell. Whilst males, who are also involved in record buying, predominated in the early scene, women now often dominate the dance floor (Wall 441).The Perth scene is little different, yet the changed gender balance has not produced more partner-seeking for either the older participants, who are mostly in long-term relationships and the newer, younger members, who enjoy the relative gender-blindness, and focus on communality and cultural affinity. Figure 2: A younger scene member, ‘Nash’, DJing in Perth in 2016. He has since headed north to Denmark and is now part of the Nordic Northern Soul scene.In Perth, for Stan from Derby, Northern Soul linked the experiences of “poor white working class kids” with young black Americans (Mercieca et al. 97). Hollows and Milestone (87-94) mapped a cultural geographic relationship between Northern Soul and the Northern cities of the USA where the music originated. However, Wall (442) suggested that Northern Soul is drawn from the more bi-racial soul of the mid-1960s than the funky, Afro-centric 1970s and essentially deploys the content of the music to create an alternative British identity, rather than to align more closely with the American movement for self-determination. Essentially, Northern Soul shows how “the meanings of one culture can be transformed in the cultural practices of another time and place” (Wall 444).Many contemporary Australian youth cultures are more socially and ethnically mixed than the Northern Soul scene. However, over the years, the greater participation of women, and of younger and newer members, has made its practices less exclusive, and the notion of an “in-crowd” more relaxed (Wall 439). The ‘Northern’ connection is less meaningful, as members have a more adaptable sense of cultural identity, linked to a global scene made possible by the internet and migration. In Australia, attachment seems stronger to locality rather than nation or region, to place of birth in Britain and place of residence in Perth, two places which represent ‘home’. Northern Soul appears to work well for all members because it provides both continuity and change. As Mercieca et al. suggested of the scene (71) “there is potential for new meanings to continue to emerge”.ConclusionThe elements of expression and directional manoeuvres of Northern Soul dancing, symbolise the individual and social negotiation of direction, place, space, identity and time. The sense of time and space travelled can create a feeling of being pushed forward without control. It can also produce an emotional pull backwards, like an elastic band being stretched. For those growing older and moving far from places of birth, these dynamics can be particularly challenging. Membership of global subcultures can clearly help to create successful migrations, providing third spaces/places (Soja 137) between home and host culture identities, as evidenced by the ‘Southern’ Northern Soul scene in Australia. For these once teenagers, now grandparents in Australia, connections to time and space have been both transformed and transcended. They remain grounded in their youth, but have reduced the gravitational force of home connections, projecting themselves forward into the future by balancing aspects of both stability and mobility. Physical places and places and their connections with culture have been replaced by multiple and overlapping mappings, but it is important not to romanticise notions of agency, hybridity, third spaces and “deterritorialization” (Deleuze and Guattari in Anti-Oedipus: Capitalism and Schizophrenia). In a globalised world, most people are still located geographically and labelled ideologically. The Northern Soul repurposing of the culture indicates a transilience (Richmond 328) “differentially available to those in different locations in the field of power” (Gupta and Ferguson 20). However, the way in which Northern Soul has moved south over the decade via migration, has arguably now provided a stronger possible sense of resonance with the lives of black Americans whose lives in places like Chicago and Detroit in the 1960s, and their wonderful music, are grounded in the experience of family migrations in the opposite direction from the South to the North (Mercieca et al. 11). In such a celebration of “memory, loss, and nostalgia” (Gupta and Ferguson 13), it may still be possible to move beyond the exclusion that characterises defensive identities.ReferencesAugé, Marc. Non-Places: An Introduction to Supermodernity. Trans. John Howe. London: Verso, 2008.Barthes, Roland. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang, 1975Browne, Kimasi L. 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