Journal articles on the topic 'GRAFITE NATURAL'

In recent years, graffiti writings are increasingly regarded as a form of art. However, their presence on historic building remains a vandalism and different strategies have been developed to clean or, preferably, protect the surfaces. In this study, an experimental nano-filled coating, based on fluorine resin containing SiO2 nano-particles, and two commercial products have been applied on compact and porous calcareous stones, representative of building materials used in the Mediterranean basin, and their anti-graffiti ability has been analyzed. All the tested experimental and commercial coatings exhibited high hydrophobicity and oleophobicity, thus meeting one of the basic requirements for anti-graffiti systems. The effects of staining by acrylic blu-colored spray paint and felt-tip marker were, then, assessed; the properties of the treated stone surfaces after cleaning by acetone were also investigated. Visual observations, contact angle measurements and color evaluations were performed to this aim. It was found that the protective coatings facilitated the spray paint removal; however high oleophobicity or paint repellence did not guarantee a complete cleaning. The stain from the felt-tip marker was confirmed to be extremely difficult to remove. The cleaning with a neat unconfined solvent promoted the movement of the applied polymers (and likely of the paint, as well) in the porous structure of the stone substrate.

Property damage and vandalism through illegal graffiti can be found worldwide. As graffiti increased, so did the interest in proper removal and the possibilities of a high-quality protection system. Anti- graffiti systems (AGS) can be used to protect objects and buildings from damage caused by graffiti. At present, AGS is still recommended for use in unspecified areas for plastics, metal, wood, brick, concrete and natural stone. In practice, it has turned out that no AGS is suitable for all surfaces. A specific reference to surface quality and properties is missing. For graffiti protection, however, the surface properties are of particular importance. They influence the liability of the AGS on the one hand and the removability of the graffiti on the other. This study is intended to demonstrate the extent to which concrete types and surfaces influence the functionality and durability of permanent AGS. This paper presents first results of practical tests on 180 concrete test specimens after currently one year of outdoor weathering. The results from three years of weathering are to be used to conclude the study for the development of an evaluation concept. Matching surfaces and AGS, with focus on the surface properties should be defined.

The first academic studies on the use of microorganisms in cleaning procedures appeared in the late 1980s/early 1990s. In the past thirty years, most of such studies have addressed the removal of nitrate and sulphate salts and organic matter from surfaces by using non-pathogenic anaerobic microorganisms, mainly sulphate-reducing bacteria. The successful use of microbes in the removal of graffiti paint remains, however, a work in progress. Biocleaning surfaces to remove graffiti is not a simple task, because of the complex chemical composition of graffiti paints. This study looks at ways of improving the bioremoval of graffiti and presents the latest findings regarding different methodological aspects of cleaning natural and man-made stone. Granite and concrete substrates were coated with silver and black graffiti spray paints for comparison of the efficacy of the biocleaning method on these different materials. Visual and microscopic examination along with colour and infrared measurements made after application of the bacterial strains tested (previously shown to be suitable candidates for bioremoval of graffiti) revealed remarkably successful results. The findings presented thus represent progress in the development of a biocleaning protocol applicable to the in-situ removal of graffiti. Important improvements have been made regarding the time of treatment, which has been reduced by up to 20 days, and the use of a culture medium enriched with powdered graffiti, which facilitates and accelerates the adaptation of the microorganisms to the target surface.

The Persian inscriptions of India, which constitute an important source, particularly for the local history of a region, a district, a tehsil, a town and a village, have received inadequate if not scant attention from our historians. Worse and far more regrettable is the neglect of visitors' or travellers' records on the walls of sarais, tombs or mosques, and similar buildings which they passed and where they made a halt, overnight and otherwise. Against the commemorative stone tablets set in a monument to perpetuate the name of the builder, visitors' or travellers' records or graffiti, as they are also called, were written usually in ink and hence were of comparatively much less durable nature. Many of these graffiti have disappeared in the natural course with the passage of time.

The worm-like exfoliated graphite (EG) based adsorbents prepared from low-cost natural graphite flakes via facile synthesis processes have been found to be efficient adsorbents when it comes to removing Pb (II) from aqueous solution. EG was fabricated by chemical intercalation and microwave assisted exfoliation. Furthermore, the magnetic exfoliated graphite (MEG) was developed by incorporating CoFe2O4 particles into the EG layers using the citric acid based sol-gel technique. Adsorption behaviour of Pb (II) on the as-prepared adsorbents was investigated by taking several experimental conditions into consideration such as contact time, initial concentration, adsorbent dosage, and pH value. The results with initial neutral pH indicated that the adsorption isotherms for Pb (II) on the EG and MEG were well consistent with the Langmuir isotherm model revealing the maximum adsorption capacity of 106 mg/g and 68 mg/g for EG and MEG, respectively. The adsorption kinetics of Pb (II) was found to adhere to the pseudo-second-order kinetic model. The chemical interaction between ? electrons on graphite sheets and Pb (II) ions was suggested to play an essential role in the adsorption mechanism. The introduction of magnetic CoFe2O4 to the EG was found to induce the shift of optimal pH value to a more basic condition. The characterization of the adsorbents was performed using relevant analysis techniques such as Scanning electron microscope (SEM), X–ray powder diffraction (XRD), vibrating-sample magnetometer (VSM), and Fourier-transform infrared (FTIR). The results of this work suggest a high possibility for application of the as-prepared modified graphite to remove hazardous substances in practical wastewater treatment systems.
 ABSTRAK: Penyerap Pengelupas Grafit (EG) yang berupa seperti cacing dihasilkan dari grafit semulajadi yang murah melalui proses sintesis serpihan, ia juga merupakan penyerap yang bagus dalam mengasingkan Pb (II) daripada larutan akues. EG direka dengan tindak balas interkalasi kimia dan pengelupasan melalui gelombang mikro. Tambahan, pengelupas grafit magnet (MEG) telah dihasilkan dengan memasukkan zarah CoFe2O4 ke dalam lapisan EG menggunakan teknik sol-gel yang berasaskan asid sitrik. Tindak balas penyerapan Pb (II) pada penyerap yang disiapkan ini, dikaji dengan mengambil kira beberapa keadaan eksperimen seperti waktu disentuh, konsentrasi awal, dos penyerap dan nilai pH. Hasil keputusan pH neutral awal menunjukkan bahawa isoterm penyerapan bagi Pb (II) pada EG dan MEG adalah konsisten dengan model isoterm Langmuir. Ini menunjukkan kapasiti penyerapan maksimum 106 mg/g dan 68 mg/g bagi EG dan MEG, masing-masing. Penyerapan kinetik Pb (II) didapati mematuhi model kinetik pesudo-order-kedua. Interaksi kimia antara elektron ? pada helaian grafit dan ion Pb (II) memainkan peranan penting dalam mekanisme penyerapan. Pengenalan magnet CoFe2O4 kepada EG didapati telah mengubah nilai pH optimum kepada keadaan asal. Pengelasan penyerapan dilakukan menggunakan teknik analisis yang relevan seperti Mikroskop Elektron Pengimbasan (SEM), Difraksi Serbuk sinar-X (XRD), Magnetometer Sampel-Getaran (VSM) dan Inframerah Perubahan-Fourier (FTIR). Hasil kerja ini mencadangkan kemungkinan besar bagi penggunaan grafit ubah suai yang disediakan bagi membuang bahan berbahaya dalam sistem rawatan air sisa praktikal.

Esta investigación evalúa las formas de ocupación en el territorio mapuche y sus procesos de transformación en la comuna de Arauco. La hipótesis plantea que se ha perdido la relación simbiótica natural-cultural entre el mapuche y su entorno. La metodología consistió en la caracterización del paisaje de manera cualitativa y cuantitativa en el contexto del grupo indígena, partiendo con 39 indicadores de primera generación, asignados y creados a la medida. Luego se formaron 8 componentes principales o indicadores de segunda generación, representando un área de análisis multidimensional, para luego ser agrupados nuevamente y formar un indicador de tercera generación o Índice de Sustentabilidad del Paisaje de Arauco (ISPA). Cada indicador fue jerarquizado dentro de su componente por medio del Proceso de Análisis Jerárquico (PAJ), resultando una cifra única para entender el estado de sustentabilidad de la comuna analizada en 4 períodos de tiempo (Siglo XVI, Siglo XVII, 1960 y
 2016). El análisis de la información evidencia una pérdida de la condición simbiótica natural-cultural. Por último, se realiza la propuesta de una imagen objetivo, llevada a cabo con una sistematización de los resultados y la percepción actual de las comunidades mapuches por medio de talleres y entrevistas
 donde se graficó el esquema de una unidad comunitaria mínima para un territorio cuantificado por hectáreas y porcentajes promediados según los resultados. La propuesta se enfoca en la visión y recuperación del territorio para lograr la Sustentabilidad del Paisaje Mapuche.

Abstract. Spatially distributed detection of bedrock erosion is a long-standing challenge. Here we show how the spatial distribution of surface erosion can be visualized and analysed by observing the erosion of paint from natural bedrock surfaces. If the paint is evenly applied, it creates a surface with relatively uniform erodibility, such that spatial variability in the erosion of the paint reflects variations in the erosivity of the flow and its entrained sediment. In a proof-of-concept study, this approach provided direct visual verification that sediment impacts were focused on upstream-facing surfaces in a natural bedrock gorge. Further, erosion painting demonstrated strong cross-stream variations in bedrock erosion, even in the relatively narrow (5 m wide) gorge that we studied. The left side of the gorge experienced high sediment throughput with abundant lateral erosion on the painted wall up to 80 cm above the bed, but the right side of the gorge only showed a narrow erosion band 15–40 cm above the bed, likely due to deposited sediment shielding the lower part of the wall. This erosion pattern therefore reveals spatial stream bed aggradation that occurs during flood events in this channel. The erosion painting method provides a simple technique for mapping sediment impact intensities and qualitatively observing spatially distributed erosion in bedrock stream reaches. It can potentially find wide application in both laboratory and field studies.

The objective of the work was to evaluate the profile and environmental impacts at the Archeological Site xique-xique I, where the cave paintings of the city of Carnaúba dos Dantas - RN are located. The methodology included bibliographic research, questionnaire and site visit. 20 people were interviewed. It was found that there are environmental impacts, permanent risks of degradation by anthropic, natural factors and also by factors of human transformation caused by tourism present in that environment. Among the main impacts were cited: graffiti, deforestation and accumulation of solid waste. These factors can cause some paintings to disappear. The impacts are mainly associated with visiting practices by tourists themselves.

Crime is costly, yet we understand little about it. The United States justice system costs $280 billion per year, but compared to other areas, such as medicine and agriculture, we have few answers for the field's fundamental questions, like what causes crime and how we can best use our justice system to respond to it. In addition, the success or failure of the justice system impacts our safety, freedoms, and trust in government. Criminologists are working to bridge this gap in knowledge using methods that are fundamentally statistical, including randomized designs, case-control studies, instrumental variables, and natural experiments. This review discusses how criminologists explore the police, courts, sentencing, and communities and their effect on crime using daylight saving time, natural disasters, coding errors, quirks in funding formulas, and other phenomena to simulate randomization. I include analyses of racial bias, police shootings, public defense, parolees, graffiti, vacant lots, and abandoned buildings. This review should encourage statisticians to bring their methods and expertise to bear on criminological questions, as the field needs broader and deeper scientific examination.

Rezumat Mixturile asfaltice sunt materiale compozite realizate din amestecuri de agregate naturale sau artificiale, filer și bitum, avȃnd la baza dozaje bine stabilite și o tehnologie adecvata astfel încȃt să rezulte un material rutier cât mai durabil posibil. În urma studiilor efectuate pe plan internațional cât și pe plan național, s-a demostrat că se pot înlocui cu succes agregatele naturale cu zguri siderurgice sau de oțelărie, care prin prelucrare și sortare la dimensiuni necesare sunt cele mai adecvate din punct de vedere al proprietăților fizico-mecanice. Mixturile asfaltice ecologice obținute prin înlocuirea agregatelor minerale cu zguri siderurgice vor intra în alcătuirea structurii rutiere, începand cu studiul pentru un strat de bază. Pentru evaluarea performanțelor mixturilor asfaltice în care agregatele naturale sunt înlocuite cu agregate artificiale, se va studia o mixtură asfaltică pentrul stratul de bază respectiv AB 31.5 pentru care se vor face încercări pentru trei rețete de mixturi asfaltice: mixtura asfaltică cu agregate minerale de carieră, mixtura asfaltică în care agregatele minerale vor fi înlocuite în proporție de 50 % cu zguri siderurgice și o mixtură asfaltică care va conține zguri siderurgice în proporție de 100%. Încercările de laborator se vor face în cadrul Laboratorului de Drumuri din cadrul Facultății de Căi Ferate, Drumuri și Poduri, Universitatea Tehnică de Construcții București; rezultatele obținute vor fi detaliate sub forma de tabele și grafice, concluziile urmând a face aprecieri asupra performanțelor mixturilor asfaltice ecologice. Astfel, se vor stabili performanțele mixturilor asfaltice ecologice comparativ cu calitățile mixturilor asfaltice clasice, folosind următoarele încercări: determinarea densității aparente, a volumului de goluri, caracteristicilor Marshall și a modulului de rigiditate.

The paper discusses three aspects of coastal quarrying in the island of Crete, Aegean Sea, Greece; issues of chronology in regard to the Mean Sea Level in antiquity, issues of ancient technology, and issues of local marble extraction. A series of violent seismic events, the most known being the so-called Early Byzantine Tectonic Paroxysm, affected the morphology of the coastline of Crete, the coastal quarries of which are today either uplifted or sunken. Quarries of aeolianite/sandstone, limestone, marble, and beach rock are related to adjacent rock-cut fish tanks and ship sheds. Traces of the ancient exploitation such as the circular holes observed in the coastal quarries are differentiated according to their dimensions and their natural or manmade form. A preliminary report of a new site, a white marble quarry at Istron (Gulf of Merambello, eastern Crete), is added to the white marble quarries of the area and correlated with the graffiti inscribed on the islet of Prasonēsi or Vryonēsi.

Este artículo es parte del 6to Seminario internacional de expertos en tratamiento de efluentes industriales y residuos. Se diseñó una celda para la captura electroquímica de dióxido de carbono disuelto en agua de marartificial mediante el fenómeno de electrodeposición mineral (precipitación del CO2 como carbonato de calcio y magnesio) para mitigar el efecto invernadero. La celda electroquímica está constituida por una malla cilíndrica de acero inoxidable como cátodo y una barra de grafito como ánodo. La celda presentó una adecuada precipitación de los carbonatos, un desgaste mínimo de los electrodos y un gasto energético pequeño. En el agua de mar artificial se realizaron mediciones de concentración de dióxido de carbono disuelto, con un electrodo selectivo, y de concentración de calcio y magnesio, por absorción atómica, para determinar la cantidad de carbonatos precipitados mientras se variaba la intensidad de corriente y tiempo de aplicación. Se encontró que el mayor porcentaje de captura de CO2 (99.17%) se obtuvo cuando se utilizaron dos amperios durante 60 minutos. El mejor sistema electrolítico se aplicó a una muestra de agua de mar natural de la Antártida para verificar su eficacia, lográndose un alto porcentaje de captura de dióxido de carbono (99.19%). Concluyéndose que el método desarrollado es eficiente, factible de implementar y, sobre todo, que puede ayudar en la mitigación del efecto invernadero.

Indonesia memiliki kekayaan alam yang sangat luar biasa. Salah satu kekayaan alam Indonesia adalah bahan tambang batubara, Sawahlunto merupakan satu dari sekian banyak daerah penghasil batubara. Batubara di Sawahlunto memiliki perbedaan dari daerah lain karena memiliki kalori yang cukup tinggi dan lebih rapuh. Batubara adalah sumber energi paling melimpah dan mudah terbakar yang digunakan di seluruh dunia. Namun, karakteristik strukturalnya menciptakan persepsi bahwa batu bara hanya berguna untuk menghasilkan energi melalui pembakaran. Penelitian ini bertujuan untuk mengetahui perubahan struktur dan kristalinitas yang terjadi akibat kenaikan suhu selama proses karbonisasi, sehingga batubara dapat dimanfaatkan sebagai bahan baku pengganti grafit dalam pembuatan grafena. Karbonisasi batubara dilakukan pada suhu 400°C, 600°C, 900°C, dan 1200°C. Perubahan struktur dan kristalinitas dikarakterisasi dengan XRD. Hasil menunjukkan bahwa ada perubahan struktur dan kristalinitas seiring dengan meningkatnya suhu karbonisasi.
 
 Indonesia has extraordinary natural resources. One of Indonesia's natural wealth is coal mining. Sawahlunto is one of the many coal producing regions. Coal in Sawahlunto is different from other regions because it has high enough calories and more brittle. Coal is the most abundant and flammable energy source used throughout the world. However, its structural characteristics create the perception that coal is only useful for producing energy through combustion. This study aimed to determine the structural changes and crystallinity that occur due to temperature increases during the carbonization process so that coal could be used as a raw material for graphite substitutes in the manufacture of graphene. Coal carbonization was carried out at 400°C, 600°C, 900°C, and 1200°C. Changes in the structure and crystallinity were characterized by XRD. The results showed that there was a change in structure and crystallinity as the carbonization temperature increased.

Poetics of death in the early work of Bohuslav ReynekThis article is dedicated to the poetics of death in the early works of the Czech poet, translator and graphic artist Bohuslav Reynek 1892–1971. The author focuses his attention on the topos of death, which is the overarching theme that encloses other important motives associated with it and described by the author as “intermotives”. Typical of the whole first volume of Reynek’s poetry is the combination of the natural world with the vision of a Christian order, which at the end of human life tends toward an apocalyptic end of the earth and confrontation with the salvation of Jesus Christ. Poetyka śmierci we wczesnej twórczości Bohuslava ReynkaArtykuł poświęcony jest poetyce śmierci we wczesnych dziełach czeskiego poety, tłumacza i grafika Bohuslava Reynka 1892–1971. Autor tekstu skupia swoją uwagę na toposie śmierci, na który składają się ważne motywy z nim związane, nazwane przez niego intermotywami. Dla całego pierwszego tomu poezji Reynka typowe jest połączenie świata natury z wizją chrześcijańskiego porządku, w którym kres ziemi i ludzkiego życia w konfrontacji z dziełem zbawienia Jezusa Chrystusa zmierza ku apokalipsie.

Anak Berkebutuhan Khusus (ABK) are children with distinct special characteristics without always showing mental, emotional or physical disabilities; One of them is Tunagrahita. The SLB C Muzdalifah is aimed at the education of disabled or individuals who do not have the ability to adapt so they need to get learning about self-development and socialization. Education in the SLB facing problems, such as the level of students ' intelligence, limited students ' independence, poor general public view, and environmental utilization as a learning medium. Garbage is the remnant of human day activities and/or solid-form natural processes (UU No. 18 year 2008). Medan Cleanliness Office recorded the volume of garbage as much as 1,535 tons of garbage/day that entered the final disposal (TPA). Trash is scattered to make the presence of neglected garbage. Implementation method with socialization and workshop so gained evaluation. Socialization is one way to give knowledge about waste and environment. Workshop with graffity that is painting garbage cans is an attraction of ABK in developing creativity. Strengthening creativity in art skills is able to explore the potential of students. The ability to describe modestly is contained with selection of objects, images and knowledge symbols is simple. This potential is able to prove that they are able to describe a single/simple topic.

El presente trabajo recuperó un año natural de actividad en torno a las cuentas personales de 20 periodistas con alta presencia televisiva en México, con la intención de esclarecer si dicha actividad se relaciona con la aparición de los periodistas en medios tradicionales, lo cual indicaría prácticas de doble pantalla como las que se han estudiado durante momentos de alta mediatización política. Se categorizó la actividad de acuerdo a horas del día, y se graficó comparativamente la distribución porcentual de la actividad de envío y recepción, teniendo en cuenta los horarios de aparición mediática de los periodistas. Se encontró que la interacción del público con los periodistas fue consecuencia de la aparición de los mismos en medios tradicionales, más que de su actividad en Twitter. Los resultados nos indican que la actividad en Twitter alrededor de los periodistas no existe en un vacío, sino que es parte de un ambiente mediático híbrido en el cual Twitter es utilizado como una herramienta de contestación de las enunciaciones en los noticieros televisivos. Se concluye que las prácticas de doble pantalla son un fenómeno de la cotidianeidad, y no sólo de momentos de alta mediatización como los debates electorales, y que esto debe reflejarse en la investigación sobre el fenómeno.

RESUMENLa nanotecnología es un área multidisciplinaria que ha tenido un gran auge en los últimos años, principalmente debido al desarrollo de instrumental que permite "ver", estudiar y manipular la materia a nivel atómico y molecular. El estilbeno y algunos de sus derivados son moléculas orgánicas de origen natural, que presentan una estructura química de interés en la fabricación de nanoestructuras y bloques constituyentes de máquinas moleculares (potencialmente aplicables en tecnología de nanosensores, almacenamiento de datos, liberación controlada de fármacos, entre otros). Sin embargo todavía no han sido ampliamente exploradas como nanomateriales. El interés en este tipo de sistemas reside en sus aplicaciones en medicina, farmacia y biotecnología.Este trabajo presenta los primeros resultados obtenidos al estudiar formas isoméricas de estilbeno: cis- y trans-estilbeno, líquido y sólido a temperatura ambiente, respectivamente, con el objetivo de explorar sus propiedades, al estar las mismas en contacto con superficies policristalinas de oro (Au/mica) y grafito (HOPG).Se encontró que la inmovilización de trans-estilbeno sobre una superficie puede modificar el proceso de cristalización de estas moléculas orgánicas, cuya morfología depende del sustrato. Mientras que el trans-estilbeno forma "clusters" que originan cristales de forma pseudo-romboide sobre HOPG, sobre la superficie de Au/mica forma estructuras dendríticas con ramificaciones en ángulos a 90 º.Por otra parte, se observó que el cis-estilbeno a escala nanométrica forma también "clusters" sobre HOPG, comportándose de manera similar al trans-estilbeno. Un paulatino incremento en la cantidad de cis-estilbeno conlleva al crecimiento de dichos "clusters" y a su coalescencia en una fase amorfa. Por el contrario, la interacción molécula-sustrato de cis-estilbeno sobre Au/mica es más lábil que sobre HOPG y ya no resulta posible observar centros de nucleación o nanoestructuras estables. Un aumento en la cantidad de cis-estilbeno sobre Au/mica resulta en una especie de película delgada líquida.

<p>Aun siendo en la actualidad una alternativa de documento gráfico poco extendida, la fotografía métrica, por su naturaleza, nos ofrece un medio directo de representación patrimonial, incrementando significativamente el valor documental de un registro gráfico, pues va más allá de la mera información geométrica.</p><p>En efecto, este tipo de documentación a la vez que permite prescindir de la subjetividad interpretativa inherente a los productos gráficos obtenidos tradicionalmente de forma derivada a partir del empleo de la fotogrametría, minimiza la perdida de información gráfica en el proceso de documentación, aportando otros aspectos esenciales para la correcta interpretación del elemento a documentar.</p><p>Este artículo pone de manifiesto la potencialidad, las ventajas y las aplicaciones ulteriores de la fotogrametría, en su estado puro y natural, como una alternativa más de documentación gráfica del patrimonio en general y, en particular, de un campo, la arqueología, que precisa emprender, sin más dilación, el salto definitivo a las técnicas de registro gráfico más avanzadas.</p><p>Como paradigma de lo expuesto los autores presentan el resultado de sus trabajos de documentación gráfica llevados a cabo bajo la experimentación de esta modalidad de registro grafico aplicada a la intervención arqueológica desarrollada, hace ahora un año de su finalización, en la Capilla Real de la S.M.P. Catedral de Sevilla con motivo de la sustitución de su solería.</p>

The Art rock is formed as pictures on strones which are made in different forms and in different ways including crafted pictures, status, maps, crafting on castle walls, and ancient temples, and coloured pictures, which can be founed on the stone shelters, mountan sides, and caves.
 This ancient art reflects religious sprituality, cultural principles of community, and architecture framework of ancient communities. This study aims in showing the importance of this art in the archaeology of Kurdistan Region as national and regional treasure.
 Here, this art form is crucial similar to the global archoleagy in the world, because this art form is a special way for seperatin community, teaching values and norms, origionality, as well as human relations to the earth they are living on.
 Indicating the main natural and man-made factors such as; development, new construction, renovating some parts has negative influence on a portion of those archoloegical sites which has led to graffiti damages and intentional destrunction. Because, some of these archaeological sites are situated close to major touristes destinations which are another drawback for getting access to the sites without considering the human actions in those places. In this regard, being careless, and having limited awareness and information about the importance of archaeology and considering it as a national wealth has led to devastation of some significant sites. Aside from the human factors, natural disasters have left a negative influence on the archaeological sites in the Kurdistan Region.
 This research is composed of the following parts: the first section introduces the history of rock art and the types of this art, the objectives, and human intentions in drawing and crafting those symbols, and pictures that human beings have produced in the ancient times. The second part of this research highlights the human and natural factors that have put pressure on those important archaeological sites which are facing threats.
 The last part focuses on the findings, and recommendations; such as highlighting some of the legal principles, which aim to reduce the risks and pressure on rock art and their destruction. It will also include important procedures for spreading awareness of these sites to individuals and the wider community regarding archaeology and the need to protect the region’s tangible heritage.

En esta investigación se muestra un proyecto interdisciplinar que enlaza competencias, valores y contenidos a partir de la unión de enseñanzas artísticas y medioambientales. El objetivo principal es crear un método didáctico basado en la interacción del arte con espacios naturales destacados, teniendo el grabado, el color y las materias naturales como principales vehículos técnicos del proceso de enseñanza aprendizaje. Estas materias, tales como hojas, tallos e incluso frutos, no suelen ser aprovechadas por los agricultores o por los responsables de mantener en buenas condiciones las zonas medioambientales protegidas. El contexto se sitúa en la formación universitaria y plantea un discurso de innovación unificando los conceptos de educación artística y educación ambiental a través de una educación transversal para trabajar diferentes áreas del currículo. La línea de trabajo está denominada “planificaciones artísticas ecológicas”. Todo ello enfocado para alumnos del grado de Educación Primaria, futuros maestros, que a través de salidas de campo y experimentación en el aula con técnicas grafico-plásticas de grabado como el monotipo, llevan a cabo un método de construcción y relación de elementos del lenguaje visual y plástico con materiales extraídos del propio entorno natural, sin alteraciones del mismo. En dicho trabajo se analizan, los contenidos y el proceso como estrategias instrumentales de la competencia artística, que han de adquirir los alumnos para su futura labor docente. Los resultados del experimento se reflejan en forma de vivencias y creación de composiciones plásticas muy diversas, construidas individualmente, pero realizadas al unísono por todos los participantes en un clima de diálogo entre los integrantes y el propio entorno. Finalmente, en pleno contacto con la naturaleza, los hallazgos plásticos y curriculares son tratados en una asamblea con los trabajos expuestos. In this study we aim to show an interdisciplinary project that links competences, educational values and content from artistic and environmental teaching. The main objective is to create a teaching method based on the interaction of art with outstanding natural areas; taking engravings and colours and natural materials as the main vehicles of the teaching-learning process. These materials, including leaves, stems and even fruits, are not usually used by farmers and workers in charge of keeping protected natural areas. The context of the study is university education and we propose an innovative project that transversally couples the concepts of artistic and environmental education with a view to working with different areas of the curriculum. The line of work is called "ecological artistic planning." The project is aimed at primary education students, future teachers, that through field trips and classroom experimentation with graphic-art techniques such as monotype printmaking construct and relate elements of visual and plastic language with materials extracted from the natural environment without altering it. In this article we analyse content and processes as instrumental strategies of the artistic skills that students should acquire for their future teaching. The results of the experiment are reflected in experiences and different plastic compositions which, despite being built individually, all the students did at the same time in an atmosphere of dialogue among them and the environment. Finally, in full contact with nature, the plastic compositions are displayed and curricular findings are discussed in an assembly.

This study aims to provide an objective description of the analysis of early childhood images in kindergarten builders in Rato Village, Lambu Sub-district, Bima District. In collecting data, researchers used observation, interview, and documentation methods. This research uses a content analysis method (content analysis) that is analyzing children's pictures. The subject matter studied in this research is to describe the pictures of early childhood in Pembina Kindergarten of Rato Village, Lambu Sub-district, Bima District. Of the 25 works, there are several kinds of drawings, namely the pattern of the development of children's drawings of the mottled phase period (2-4 years). There are 13 works and the pre-reality period (4-7 years) there are 12 works. Objects drawn by an early childhood in kindergarten Pembina Rato Village Lambu District Bima District in the drawing are natural scenery objects, the environment around the house, animals, plants, and streaks. The result of the research shows that in the whole screw-up period the children's drawings only have meaningless graffiti, ie circle, horizontal, vertical, and curved. There are eight children whose age is already in the period of Prabagan but the image is still classified in the period of the screw-up. In the pre-reality period, the overall result of the child image has already begun to form the desired image object, but the average mastery of space on the child's image can not be mastered, and some children who have mastered the placement of space in the picture. The color used in the drawing is still fixated on the child's wishes and the concept of the shape on the image has not been seen clearly.

A extinta Nuclebrás, no final da década de 70 e início dos anos 80, conduziu o Projeto Rio Preto, por intermédio do qual efetuou o mapeamento geológico básico e a caracterização radiométrica por aerogamaespectrometria, sem discriminação de canais, da região nordeste do estado de Goiás, Brasil, a oeste da área do Parque Nacional da Chapada dos Veadeiros, perfazendo um total de 650 km2 e englobando a confluência dos Rios Claro e Preto. Os radioelementos naturais U, Th e 40K do Projeto Rio Preto (GO) foram posteriormente caracterizados por espectrometria gama aplicada aproximadamente a 300 amostras, a qual foi conduzida no LABIDRO-Laboratório de Isótopos e Hidroquímica do Departamento de Petrologia e Metalogenia do Instituto de Geociências e Ciências Exatas da UNESP-Campus de Rio Claro. Este trabalho descreve para todas as amostras os resultados obtidos na caracterizaçãoao petrográfica e análise química dos principais óxidos (SiO2, TiO2, Al2O3, Fe2O3, MgO, MnO, K2O, Na2O, CaO e P2O5), os quais foram utilizados na avaliação da ocorrência dos radioelementos naturais naquela área. Também são apresentados resultados do teor de matéria orgânica obtido por colorimetria em amostras selecionadas de diferentes litotipos para melhor investigar a possibilidade de relação entre a grafita e os radioelementos urânio e tório. Finalmente, dados da concentração de urânio e razão de atividade 234U/238U em amostras selecionadas de xistos e gneisss da Formação Ticunzal – Membro Inferior sugeriram a influência de processos intempéricos na área.ABSTRACT: The Rio Preto Project, developed by the extinct Brazilian nuclear state company, Nuclebrás, during the late 70s and early 80s, consisted of basic geologicalmapping and radiometric characterization by aerogeophysical gamma-ray spectrometry, without channel discrimination, of a surface area of 650 km2 located to the westof the Chapada dos Veadeiros National Park on the northeastern of Goiás State, Brazil, including the confluence area of Claro and Preto Rivers. Additionaly, the naturalradioelements U, Th and 40K were determined by gamma-ray spectrometry in 300 rock samples from cores of the Rio Preto Project area. The tests were conducted at LABIDRO-Isotopes and Hydrochemistry Laboratory of the Departamento de Petrologia e Metalogenia of the Instituto de Geociências e Ciências Exatas, UNESP, in RioClaro, SP, Brazil. This paper reports the results of petrographic characterization and chemical analyses of major oxides (SiO2, TiO2, Al2O3, Fe2O3, MgO, MnO, K2O,Na2O, CaO and P2O5) for all samples used to determine the natural radioelements present in the region. The organic matter content results obtained by colorimetryare also reported for selected cores of different lithotypes in order to investigate the possible relationship between graphite and the radioelements uranium and thorium.Finally, uranium content and 234U/238U activity ratio data for selected samples of schists and gneisses of the Lower Member of the Ticunzal Formation suggest theinfluence of weathering processes in the area.Keywords: Rio Preto (GO) Project, natural radioelements, gamma and alpha spectrometry.

Purpose City has a continuous need to diversify its products and services to ensure longer tourists’ stays and a profitable tourism industry. Kuala Lumpur is one of the most popular cities in the world, and within its vicinity, Batu Caves are not only an important Hindu religious site, but also a popular tourist attraction. Guided by the four realms of experience dimensions (Pine and Gilmore, 1998), the purpose of this paper is to analyze 54 essays written by university students, to examine the experience of their visit to Batu Caves. The findings confirmed the application of all the four realm dimensions – entertainment, educational, esthetic and escapist – revealing both positive and negative aspects of the experience. Batu Caves may capitalize on the positive experiences as pointers to create an effective marketing communication, while negative experiences are opportunities to devise appropriate corrective measures, and perhaps further develop tourism products and services that would appeal to the visitors’ experience. Design/methodology/approach This study employed a qualitative research strategy to examine visitors’ experiences at Batu Caves using the four realms of experience theory as coined by Pine and Gilmore (1998). A total of 54 undergrads were asked to describe their visit to Batu Caves (Lucia-Palacios et al., 2016) providing a complete insight of their opinions, feelings and perceptions (Jüttner et al., 2013) using the essay writing method. Findings The authors discovered firm evidence of the theory’s application, revealing the expected four experiential dimensions in explaining experience at a cultural religious site, extending the description to include its positive and negative aspects, all of which are useful for destination management. The study points out a lot of aspects that must be managed by the site, such as the poor esthetic experience (e.g. smell, rubbish, graffiti, etc.), controlling the animal aggression (i.e. monkeys) and perhaps develop new products and services which could enhance some experiences (e.g. cultural escapism through cultural performances in which visitors could participate). Research limitations/implications The main weakness of the research is perhaps the qualitative research work in which data were collected from essays written by the university students. Data of this nature prevent us from being able to generalize the findings and reflect on the experience to the general public. Practical implications Tourist stays in Kuala Lumpur could be enhanced by providing meaningful, deep and memorable experiences. Tourist attractions such as Batu Caves should continuously examine the experience that they provide to the visitors. Batu Caves’ management could continuously measure its tourists’ experience provisions, as tourists’ needs evolve over time. From the results they could revamp their products and services offering to ensure the sustainability of Batu Caves’ natural and cultural appeal among visitors and tourists alike. Originality/value The outcome provides a better understanding of the current tourism product and services at the destination that have an impact on a visitor’s experience. The findings will assist the Batu Caves’ management to revise and develop the products and service offerings to the visitors.

L’auto-osservazione e il follow-up grafico del ciclo mestruale in caso di presunta sterilità, aiutano a diagnosticare e trattare certe alterazioni ginecologiche, al fine di attuare il rapporto sessuale finalizzato ad ottimizzare concepimento. Attraverso queste procedure naturali (naprotecnologia), prive di aspetti negativi da un punto di vista etico, possiamo ottenere tassi di natalità che sono paragonabili, o addirittura superiori, a quelle ottenute con trattamenti invasivi. ---------- Self-observation and the graphic follow-up of the menstrual cycle in cases of supposed infertility, help to diagnose and treat certain gynaecological alterations in order to carry out the sexual intercourse focused on optimising conception. Through these natural procedures (Naprotechnology), with no ethical drawbacks, we can obtain birth rates that are comparable, or even higher, to those obtained with invasive treatments.


 
 
 
 
 En este documento se evaluaron escenarios de reglas fiscales aplicables para paises en desarrollo que son dependientes de recursos naturales. Se empleo un enfoque de trayectorias, tambien llamado Fan-Chart (grafico de abanicos) para la deuda publica de Bolivia, dependiente del gas natural. La metodologia consistio en un pronostico fuera de muestra (cinco anos) comparado con los niveles observados (2012-2016). Los resultados sugirieron que, sin la presencia de regla fiscal, la deuda publica se aproximo al maximo nivel de endeudamiento del pronostico aleatorio. Con la perspectiva de evidenciar menor nivel de deuda, los ingresos del recurso natural se deben canalizar en determinados niveles hacia el gasto de capital, limitando el gasto corriente y fijando limites en el deficit fiscal. Al introducir una regla fiscal se reduce la volatilidad de la deuda publica en comparacion con un escenario base (sin regla fiscal).
 
 
 
 
 
 
 

Abstract In this paper, we argue that there is strategic complementarity in criminal behavior. Strategic complementarity arises because the apprehension probability that affects the crime rate depends on the crime rate itself. The natural consequence is the possible multiplicity of the equilibrium crime rate. The actual crime rate is realized by the self-fulfilling nature of the crime rate. Our analysis provides an economic rationalization of the broken window theory as the result of strategic complementarity and self-fulfilling crime rates. Regardless of how effective polices prescribed by the broken window theory are (e.g. removing graffiti, reducing trash in the street, and repairing broken windows), our model demonstrates the theory’s important contribution of introducing to the economics of crime the idea of belief-based deterrence. We also show that the equilibrium crime rate is stable whenever the broken window policy targets the lowest among multiple equilibrium crime rates.

Subvertising, a portmanteau for ‘subverting advertising’, is the illicit practice of intervening into urban advertising space, from graffiti scribbles and removed adverts, to full-blown billboard takeovers and digitally hacked adverts. In this article, I draw from 24 months of ethnography with subvertisers to suggest that a particular ideal of public space, that of a ‘regime of order’, is folded into the hegemonic spatial management of urban communication by advertising actors. This ‘regime’ relies on separating worlds from common use, that is, on what Giorgio Agamben has phrased ‘consecration’. As an operation with capacities for ‘profanation’, subvertising makes visible the ‘natural’ appearance of this urban regime, and enacts highly temporary placeholder forms for the communicative commons to come. Contributing to debates on the geographies of public space and publicness, subvertisers show that the possibility of common use does not emerge from property rights, shared value-systems or a pre-determined scope of usage. Instead, common use emerges from the deactivation of the very notions of rights, laws, identity and ends. Here I trace subvertisers’ insistence on taking seriously the charge of openness, incompatibility, contestation, excess and the dysfunctional in urban expression as sources of inspiration and (self-)transformation.


 
 
 Figure 1 Recently I was walking down a street in The Mission district of San Francisco, which has a high proportion of the city’s Mexican population, when I was struck by a mural on the side of a shop. Vivid and colourful, the mural depicted a large Aztec face surrounded by lush jungle, aesthetically balanced by a carved stone face on the other end of the mural (Figure 1). It was not the beauty, size or colour of the artwork that most impressed me but the way it replicated art I had seen days before walking around Aztec ruins near Mexico City. The paintings I had seen at these pyramids were close to two thousand years old, and this mural, complete with ‘tags’, was created with spray-paint in (probably) the last few years. One was in the ‘traditional home’ of the Aztecs, Mexico, and the other in the Mexican neighbourhood of a neo-colonial American city. However, while one site was celebrating people long since dead, the other a vibrantly alive culture in the cityscape of San Francisco. The migrant, or the diasporic community, is central to many contemporary discussions on the effect of increased globalisation on human cultures and societies (Chambers ). This is not to suggest, however, that globalisation or its impact on human cultures is only a recent phenomenon. Such an assumption implies a sense of amnesia about the processes of migration and diaspora that both instigated, and developed from, processes such as colonisation. San Francisco’s Mexican community do not represent the colonised indigenous people of the United States (US), but they have been affected by a colonial history of their own and the neo-colonialism of the US through processes such as the North American Free Trade Agreement (NAFTA). This rendering, while obviously reductionist, indicates the complex nature of the position of Mexican migrants in San Francisco, and the multiple places, events, histories, countries, politics and policies that shape their journey. The picture of an Aztec face, situated within a largely Mexican neighbourhood, fiercely facing San Francisco presents a number of questions around ideas of culture, hybridity and thirdspace that are connected to theories of complexity. The concept of complexity provides a rich framework through which to engage with themes of culture and hybridity, explored through this symbolic painted presence in the urban landscape. Engagement with complexity theories can illustrate the already present, albeit unarticulated, engagement with complexity in concepts such as cultural hybridity, as well as opening up new ways in which to engage with such ideas. In this paper, I seek to illustrate how complexity can develop concepts in humanities, allowing for a greater exploration and sense of adventure of what is and can be. I will explore the idea of culture and its complexity, and how it can be enriched by complexity. It is an exploration of what can be produced and is emerging rather than the (continued) search for the ‘real’ or an uncovering of bedrock ‘truth’ in social science. As a number of commentators have argued, this idea continues to persist in social science research, despite the apparent changes wrought by poststructuralist thought (Crang, “There Is Nothing”; Crang, “New Orthodoxy”; Lorimer). This article seeks to contribute to current dialogues regarding how theories of complexity might enrich social science research using the concept of culture. The limitations of paper size and breadth of topic shape this article as gesturing towards the possibilities of engaging with the notion of complexity in social science, explored using the symbol of a mural and its location within the Mission District of San Francisco. There are a number of theoretical positions that fall under the notion of complexity; these include chaos theory, catastrophe theory, mathematical complexity and fractals (Manson). From the 1970s, there has been an increasing acceptance and application of complexity theories into social science and popular knowledge, in particular from the late 1990s (Nowotny; Thrift; Manson; Urry, Global Complexity). In my discussion of complexity I am drawing on the translations of these ideas into the domain of social science. I am looking at the disjuncture between cause and effect and the concept of emergence (Thrift; Urry, Global Complexity). These concepts, I argue, can be used to develop areas in the social science such as post-colonial theory that may, at first, seem unrelated. As complexity theory is, well, so complex and really an umbrella term or a "scientific amalgam", it is important to clarify how these theories will be interpreted here (Thrift). Emergence, according to Urry, is the way in which things self-organise over time (Urry, “The Complexities” 33). To expand on this, emergence can be described as the process of self-organisation of things (human and non-human) to create a new entity, an assemblage (Urry, Global Complexity). A central idea of emergence is that complexity is more than ‘complicated’, more than simply the coming together of multiple entities or aspects. The relationship between its parts constitute a new set of entities that make the whole more than the sum of its parts (Urry, Global Complexity; Thrift). It is also the process though which new hybrid entities emerge from this assemblage of previously separate entities. To return to the mural, an analysis of this painting (based on the hypothesis that it has been created by the diaspora from Mexico in San Francisco) would suggest it has emerged through an assemblage of processes of migration, issues of cultural heritage, ideas of authentic tradition, resistance, social inequity, difference and (possibly) a shopkeepers desire for a nice wall. All the known (and unknown) elements, human and non-human, that have (hypothetically) influenced this murals creation do not simply fit together in an equation that automatically results in ‘graffiti art’. Instead it has emerged due to a unique coming together of elements, an assemblage, in a particular time and geographical location. The disjuncture between cause and effect highlighted in a complexity perspective is illustrated here as it is possible to see the process of colonisation of Mexico and the United States has started a chain of events that have lead to the creation of this mural. However, there is no direct line of cause and effect that the act of colonisation would lead to the construction of such a mural. While we can begin to unpack this process in hindsight, the emergent processes that have lead to its creation ensure that such an endeavour will not easily or ever produce a simple equation for its occurrence. Cultural Complexity Social science in many ways relies on the notion that things are not easily analysed, not simply quantifiable or knowable (Dwyer and Limb). The actual language of complexity, however, has generally been missing from such discussions. This absence has limited the ability or, perhaps more accurately, the willingness to articulate logically and rationally what it means to gesture to an unknowingness, to processes of which outcomes cannot be fully predicted or explained (Lorimer; Crang, “There Is Nothing”). It is perhaps only now that it has been ‘validated’ through scientific knowledge such as physics, that we can embrace these ideas explicitly in social science. Using the notion of culture I will illustrate how complexity has been part of social science before it was articulated as such, what complexity theory offers in relation to the social world and how it might be engaged in relation to theory such cultural hybridity. The concept of culture in social science has expanded from the notion of fixed, homogenous ‘way of life’ in a specific geographic space, in early anthropological accounts, to a more complex processual view of culture (Ang, Not Speaking; Couldry). The work of Raymond Williams was seminal in the development of this idea of culture, which continues to be a central aspect of disciplines such as cultural geography and cultural studies (Anderson and Gale; Anderson et al.; Anderson; Ang, “Predicament”; Ang, Not Speaking). This work illustrates the complexities of culture as not only porous and shifting at its boundaries but also internally differentiated so that cultural coherence cannot be assumed (Anderson; Ang, “Predicament”). In terms of complexity theory, the entities that together form a ‘culture’ exist outside of the culture and can in turn work to destabilise and change the culture internally (DeLanda). While recognising that there have always been flows of people, trade and ideas around the world, it has been argued that the current epoch sees these flows at an unprecedented rate (Appadurai; Castells). The level of trans-national migration and movement of people, and the disruption of space and time created by processes of globalisation, further challenge conceptions of culture as fixed or homogenous (Couldry). This expansion of the notion of culture has dual connotations for my reading of the mural. The mural depicts a ‘traditional’ image of Mexican culture before it was affected by contemporary globalisation, but this is being depicted from the position of a diasporic subject in downtown San Francisco. In the painting of this mural it is possible to see the tension between idealisations of more traditional conceptions of a fixed, homogenous culture and the changes wrought on this culture by globalisation. The contrast of the painting’s subject and its location conveys the process of emergence of the (imagined) Mexican-American painter’s hybrid identity. Global Complexity These developments in cultural theory present a complex notion of culture, highlighting the influence of globalisation in creating this complexity. The interjection of complexity theory into social science more recently can enrich these readings of the complexity of cultural systems. It provides an overarching framework through which to organise and analyse concepts such as culture, but also can also connect this dynamic and processual ‘culture’ to a broader system of human and non-human entities. According to Urry, the global “comprises a set of emergent systems possessing properties and patterns that are often far from equilibrium. Complexity emphasises that there are diverse networked time-space paths, that there are often massive disproportionalities between cause and effects, and that unpredictable and yet irreversible patterns seem to characterise all social and physical systems.” (Urry, Global Complexity 8). A key notion of global complexity as discussed by Urry is that the ‘global’ is comprised and created through networks, drawing on the work of Appadurai and Castells. This coming together or connection of a multitude of varied human and non-human entities is seen to produce the emergence of things not connected to their cause, highlighting the disconnection between cause and effect. However, while it emphasises a disjuncture between cause and effect in terms of prediction, complexity theory has also been utilised to illustrate how things assemble together and from these things new things are made. Entities such as cultural hybridity can be seen as emerging from complex assemblages – time, place, people – from which unexpected, unpredictable entities emerge. The mural in San Francisco can be seen as one such entity. Thirdspace To complete gesture towards the use of complexity theory in research on culture, I would like to engage with the notion of thirdspace. This concept contributes to discussions of cultural complexity, as it seeks to describe the emergence of new hybrid forms created by the coming together of different cultural entities. The subject of the migrant, that I have sought to discuss in relation to the mural, is perhaps the epitome of the hybrid figure in the ‘in-between space’ as Ian Chambers has discussed. Chambers discusses the migrant as in-between home and the new country, and the processes of change that migrants undergo, taking on from the new but not letting go completely of the ‘old’, and so to become something different again. Homi Bhabha also discusses the idea of the hybrid, but presents the ‘in-between’ space as a product of the colonial encounter. Bhabha uses to the term ‘thirdspace’ to describe the hybridity that arises from the forced co-existence of groups with different histories, from different places, in a shared space. This creates a ‘thirdspace’ that is not of ‘One nor the Other but something else besides, in between” (Bhabha 219). It is this space of emergence that is simultaneously a space of unknowableness that is being presented by these theorists. The concept of thirdspace engenders an understanding of the complexity that social changes bring about as they facilitate or force the interaction of different groups. While complexity may mean that we do not know what the result is of such a coming together or intersection, the concept of a thirdspace allows us to see the intricacies of the complexity that is created illustrated by the case of the mural. A complexity framework also indicates to the assemblage of multiplicity of entities – human and non-human, material and immaterial – that these hybrid subjects have emerged from, enriching the possible field for social science enquiry. While the hybrid – human or non-human entity – is not simply a sum of its parts, or that which came together to produce it, it does provide pointers to follow in uncovering the intricacies of its make up. It is, however, also the unknowableness, the newness, produced that makes it more than a composite that injects both challenge and wonder into intellectual endeavor. Conclusion In attempting to draw common threads through these examples of cultural theory I wish to highlight how the notion of complexity supports theories such as hybridity that seek to outline rather than map certain social processes. The multiple and complex subjectivities and experiences that emerge from the colonial encounter, or process of migration do not lend themselves to easy counting or mapping. To dissect such experiences for greater understanding, to attempt to put it all together like a puzzle to find a true picture surely creates an incomplete picture. Beginning instead from a position of complexity does not deny the need to explore such processes but suggests different methods and different outcomes are sought. It gestures towards a different framework through which to understanding the world. The interjection of complexity theory into the social sciences offers a rich conceptual framework through which to re-look at and develop ideas already central to such research. As a mural on a wall in San Francisco connects to 2000 year old frescos on pyramids at the edge of Mexico City, so too does it speak to us of diaspora, hybridity, and the thirdspaces that arise post-colonially in a globalised world. The effect of these processes on ideas of culture, identity and place, the local and the global are all engaged and enhanced by complexity theories that present ideas of emergence. Urry argues that complexity breaks down any connection between cause and effect. It tells us of the unknowability of things, and so indicates that what we can map or frame within a research project or paper is always incomplete. It opens a space for wonder, for possibility, for change. It breaks down certainty and the idea that there is a process or reality that can be made known through social inquiry. Adopting this approach may seem like an abdication, suggesting a level of futility to research, a giving up or giving in. However, it can instead inspires us to look beyond what we assume is true or the obvious effect from a particular cause, to explore the complexity of the processes through which things come into being. It is this idea that I have attempted to gesture towards in considering the places, people, time and multiple other entities have assembled in the creation of a single piece of graffiti art. It is to say that the greatest value of complexity theory to social science research is perhaps not that it provides answers but that it gestures to (multiple) beginnings. Acknowledgments I would like to thank Jayde Cahir and my two anonymous reviewers for their constructive comments on earlier drafts of this article. I would also like to thank the Centre for Cultural Research, University of Western Sydney, for providing the funding to attend the American Association of Geographers Annual Conference in San Francisco. References Anderson, Kay. “Introduction.” Cultural Geographies. Eds. Kay Anderson and Fay Gale. 2nd ed. Australia: Addision Wesley Longman, 1999. 1-21. Anderson, Kay, et al. “A Rough Guide.” Handbook of Cultural Geography. Eds. Kay Anderson et al. London: Sage, 2003. 1-35. Anderson, Kay, and Fay Gale, eds. Inventing Places: Studies in Cultural Geography. Melbourne: Longman Cheshire, 1992. Ang, Ien. On Not Speaking Chinese: Living between Asia and the West. New York: Routledge, 2001. ———. “The Predicament of Diversity: Multiculturalism in Practice at the Art Museum.” ethnicities 5.3 (2005): 305-20. Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalisation. Public Worlds, Volume 1. Minneapolis: U of Minnesota P, 1996. Bhabha, Homi. The Location of Culture. Routledge, 2004. Castells, Manuel. The Rise of the Network Society. 2nd ed. Oxford: Blackwell, 2000. Chambers, Iain. Migrancy, Culture and Identity. London: Routledge, 1994. Couldry, Nick. Inside Culture: Re-Imagining the Method of Cultural Studies. London: Sage, 2000. Crang, Mike. “Qualitative Methods: The New Orthodoxy?” Progress in Human Geography 26.2 (2002): 647-55. ———. “Qualitative Methods: There Is Nothing outside the Text?” Progress in Human Geography 29.2 (2005): 225-33. DeLanda, Manuel. A New Philosophy of Society: Assemblage Theory and Social Complexity. London and New York: Continuum, 2006. Dwyer, Claire, and Melanie Limb. “Introduction: Doing Qualitative Research in Geography.” Qualitative Methodologies for Geographers: Issues and Debates. Eds. Claire Dwyer and Melanie Limb. London: Arnold, 2001. 1-22. Lorimer, Hayden. “Cultural Geography: The Busyness of Being ‘More-than-Representational’.” Progress in Human Geography 29.1 (2005): 83-94. Manson, Steven M. “Simplifying Complexity: A Review of Complexity Theory.” Geoforum 32 (2001): 405-14. Nowotny, Helga. “The Increase of Complexity and Its Reduction: Emergent Interfaces between the Natural Sciences, Humanities and Social Sciences.” Theory, Culture and Society 22.5 (2005): 15-31. Thrift, Nigel. “The Place of Complexity.” Theory, Culture and Society 16.3 (1999): 31-69. Urry, John. “The Complexities of the Global.” Theory, Culture and Society 22.5 (2005): 235-54. ———. Global Complexity. Oxford: Polity, 2003. Williams, Raymond. Culture. Glasgow: Fontanta Paperbacks, 1981. 
 
 
 
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 James, S. (Jun. 2007) "Culture and Complexity: Graffiti on a San Francisco Streetscape," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/07-james.php>. 

IntroductionThey shall grow not old, as we that are left grow old; Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.Recited at many Anzac and Remembrance Day services, ‘The Ode’, an excerpt from a poem by Laurence Binyon, speaks of a timelessness within the inexorable march of time. When we memorialise those for whom time no longer matters, time stands still. Whether those who died in service of their country have finally “beaten time” or been forced to acknowledge that “their time on earth was up”, depends on your preference for clichés. Time and death are natural bedfellows. War memorials, be they physical or digital, declare a commitment to “remember them”. This article will compare and contrast the purpose of, and community response to, virtual and physical war memorials. It will examine whether virtual war memorials are a sign of the times – a natural response to the internet era. If, as Marshall McLuhan says, the medium is the message, what experiences do we gain and lose through online war memorials?Physical War MemorialsDuring and immediately after the First World War, physical war memorials were built in almost every city, town and village of the Allied countries involved in the war. They served many purposes. One of the roles of physical war memorials was to keep the impact of war at the centre of a town’s consciousness. In a regional centre like Bathurst, in New South Wales, the town appears to be built around the memorial – the court, council chambers, library, churches and pubs gather around the war memorials.Similarly, in small towns such as Bega, Picton and Kiama, war memorial arches form a gateway to the town centre. It is an architectural signal that you are entering a community that has known pain, death and immense loss. Time has passed, but the names of the men and women who served remain etched in stone: “lest we forget”.The names are listed in a democratic fashion: usually in alphabetical order without their rank. However, including all those who offered their service to “God, King and Country” (not just those who died) also had a more sinister and divisive effect. It reminded communities of those “eligibles” in their midst whom some regarded as “shirkers”, even if they were conscientious objectors or needed to stay and continue vital industries, like farming (Inglis & Phillips 186).Ken Inglis (97) estimated that every second Australian family was in mourning after the Great War. Jay Winter (Sites 2) goes further arguing that “almost every family” in the British Commonwealth was grieving, either for a relative; or for a friend, work colleague, neighbour or lover. Nations were traumatised. Physical war memorials provided a focal point for that universal grief. They signalled, through their prominence in the landscape or dominance of a hilltop, that it was acceptable to grieve. Mourners were encouraged to gather around the memorial in a public place, particularly on Anzac Day and Remembrance Day each year. Grief was seen, observed, respected.Such was the industrial carnage of the Western Front, that about one third of Australia and New Zealand’s fatal casualties were not brought home. Families lost a family member, body and soul, in the Great War. For those people who subscribed to a Victorian view of death, who needed a body to grieve over, the war memorial took on the role of a gravesite and became a place where people would place a sprig of wattle, poke a poppy into the crevice beside a name, or simply touch the letters etched or embossed in the stone (Winter, Experience 206). As Ken Inglis states: “the statue on its pedestal does stand for each dead man whose body, identified or missing, intact or dispersed, had not been returned” to his home town (11).Physical war memorials were also a place where women could forge new identities over time. Women accepted, or claimed their status as war widows, grieving mothers or bereft fiancés, while at the same time coming to terms with their loss. As Joy Damousi writes: “mourning of wartime loss involved a process of sustaining both a continuity with, and a detachment from, a lost soldier” (1). Thus, physical war memorials were transitional, liminal spaces.Jay Winter (Sites 85) believes that physical war memorials were places to both honour and mourn the dead, wounded, missing and shell-shocked. These dual functions of both esteeming and grieving those who served was reinforced at ceremonies, such as Anzac or Remembrance Day.As Joy Damousi (156) and Ken Inglis (457, 463) point out, war memorials in Australia are rarely sites of protest, either for war widows or veterans campaigning for a better pension, or peace activists who opposed militarism. When they are used in this way, it makes headlines in the news (Legge). They are seldom used to highlight the tragedy, inhumanity or futility of war. The exception to this, were the protests against the Vietnam War.The physical war memorials which mushroomed in Australian country towns and cities after the First World War captured and claimed those cataclysmic four years for the families and communities who were devastated by the war. They provided a place to both honour and mourn those who served, not just once, but for as long as the memorial remained. They were also a place of pilgrimage, particularly for families who did not have a grave to visit and a focal point for the annual rituals of remembrance.However, over the past 100 years, some unmaintained physical war memorials are beginning to look like untended graves. They have become obstacles rather than sentinels in the landscape. Laurence Aberhart’s haunting photographs show that memorials in places like Dorrigo in rural New South Wales “go largely unnoticed year-round, encroached on by street signage and suburbia” (Lakin 49). Have physical war memorials largely fulfilled their purpose and are they becoming obsolete? Perhaps they have been supplanted by the gathering space of the 21st century: the Internet.Digital War MemorialsThe centenary of the Great War heralded a mushrooming of virtual war memorials. Online First World War memorials focus on collecting and amassing information that commemorates individuals. They are able to include far more information than will fit on a physical war memorial. They encourage users to search the digitised records that are available on the site and create profiles of people who served. While they deal in records from the past, they are very much about the present: the user experience and their connection to their ancestors who served.The Imperial War Museum’s website Lives of the First World War asks users to “help us build the permanent digital memorial to all who contributed during the First World War”. This request deserves scrutiny. Firstly, “permanent” – is this possible in the digital age? When the head of Google, Vint Cerf, disclosed in 2015 that software programming wizards were still grappling with how to create digital formats that can be accessed in 10, 100 or a 1000 years’ time; and recommended that we print out our precious digital data and store it in hard copy or risk losing it forever; then it appears that online permanency is a mirage.Secondly, “all who contributed” – the website administrators informed me that “all” currently includes people who served with Canada and Britain but the intention is to include other Commonwealth nations. It seems that the former British Empire “owns” the First World War – non-allied, non-Commonwealth nations that contributed to the First World War will not be included. One hundred years on, have we really made peace with Germany and Turkey? The armistice has not yet spread to the digital war memorial. The Lives of the First world War website missed an opportunity to be leaders in online trans-national memorialisation.Discovering Anzacs, a website built by the National Archives of Australia and Archives New Zealand, is a little more subdued and honest, as visitors are invited to “enhance a profile dedicated to the wartime journey of someone who served”.Physical and online war memorials can work in tandem. In 2015, the Supreme Court of Victoria created a website that provides background information on the military service of the 159 members of the legal profession who are named on their Memorial board. This is an excellent example of a digital medium expanding on and reinvigorating a physical memorial.It is noteworthy that all of these online memorial websites commemorate those who served in the First World War, and sometimes the Boer or South African War. There is no space for remembering those who served or died in more recent wars like Afghanistan or Iraq. James Brown and others discuss how the cult of Anzac is overshadowing the service and sacrifices of the men and women who have been to more recent wars. The proximity of their service mitigates against its recognition – it is too close for comfortable, detached remembrance.Complementary But Not ExclusiveA comparison of their functions indicates that online memorials which focus on the First World War complement, but will never replace the role of physical war memorials. As discussed, physical war memorials were sites for grieving, pilgrimage and collectively honouring the men and women who served and died. Online websites which allow users to upload scanned documents and photographs; transcribe diary entries or letters; post tribute poems, songs or video clips; and provide links to other relevant records online are neither places of pilgrimage nor sites for grieving. They are about remembrance, not memory (Scates, “Finding” 221).Ken Inglis describes physical war memorials as “bearers of collective memory” (7). In a sense, online war memorials are keepers of individual, user-enhanced archival records. It can be argued that online memorials to the First World War tap into the desire for hero-worship, the boom in family history research and what Scates calls the “cult of remembrance” (“Finding” 218). They provide a way for individuals, often two or three generations removed, to discover, understand and document the wartime experiences of individuals in their family. By allowing descendants to situate their family story within the larger, historically significant narrative of the First World War, online memorials encourage people to feel that the suffering and untimely death of their forbear wasn’t in vain – that it contributed to something worthwhile and worth remembering. At a collective level, this contributes to the ANZAC myth and former Australian Prime Minister John Howard’s attempt to use it as a foundational myth for Australia’s nationhood.Kylie Veale (9) argues that cyberspace has encouraged improvements on traditional memorial practices because online memorials can be created in a more timely fashion, they are more affordable and they are accessible and enable the sharing of grief and bereavement on a global scale. As evidence of this, an enterprising group in the USA has developed an android app which provides a template for creating an online memorial. They compete with Memorialsonline.com. Veale’s arguments remind us that the Internet is a hyper-democratic space where interactions and sites that are collaborative or contemplative exist alongside trolling and prejudice. Veale also contends that memorial websites facilitate digital immortality, which helps keep the memory of the deceased alive. However, given the impermanence of much of the content on the Internet, this final attribute is a bold claim.It is interesting to compare the way individual soldiers are remembered prior to and after the arrival of the Internet. Now that it is possible to create a tribute website, or Facebook page in memory of someone who served, do families do this instead of creating large physical scrapbooks or photo albums? Or do they do both? Garry Roberts created a ‘mourning diary’ as a record of his journey of agonising grief for his eldest son who died in 1918. His diary consists of 27 scrapbooks, weighing 10 kilograms in total. Pat Jalland (318) suggests this helped Roberts to create some sort of order out of his emotional turmoil. Similarly, building websites or digital tribute pages can help friends and relatives through the grieving process. They can also contribute the service person’s story to official websites such as those managed by the Australian Defence Forces. Do grieving family members look up a website or tribute page they’ve created in the same way that they might open up a scrapbook and remind themselves of their loved one? Kylie Veale’s research into online memorials created for anyone who has died, not necessarily those killed by war, suggests online memorials are used in this way (5).Do grieving relatives take comfort from the number of likes, tags or comments on a memorial or tribute website, in the same way that they might feel supported by the number of people who attend a memorial service or send a condolence card? Do they archive the comments? Garry Roberts kept copies of the letters of sympathy and condolence that he received from friends and relatives after his son’s tragic death and added them to his 27 scrapbooks.Both onsite and online memorials can suffer from lack of maintenance and relevance. Memorial websites can become moribund like untended headstones in a graveyard. Once they have passed their use as a focal point of grief, a place to post tributes; they can languish, un-updated and un-commented on.Memorials and PilgrimageOne thing that online memorials will never be, however, are sites of pilgrimage or ritual. One does not need to set out on a journey to visit an online memorial. It is as far away as your portable electronic device. Online memorials cannot provide the closure or sense of identity and community that comes from visiting a memorial or gravesite.This was evident in December 2014 when people felt the need to visit the Lindt Café in Sydney’s Martin Place after the terrorist siege and lay flowers and tributes. While there were also Facebook tribute pages set up for these victims of violence, mourners still felt the need to visit the sites. A permanent memorial to the victims of the siege has now opened in Martin Place.Do people gather around a memorial website for the annual rituals which take place on Anzac or Remembrance Day, or the anniversaries of significant battles? In 2013, the Australian War Memorial (AWM) saw a spike in people logging onto the Memorial’s Remembrance Day web page just prior to 11am. They left the site immediately after the minute’s silence. The AWM web team think they were looking for a live broadcast of the Remembrance Day service in Canberra. When that wasn’t available online, they chose to stay on the site until after the minute’s silence. Perhaps this helped them to focus on the reason for Remembrance Day. Perhaps, as Internet speeds get faster, it will be possible to conduct your own virtual ceremony in real time with friends and family in cyberspace.However, I cannot imagine a time when visiting dignitaries from other countries will post virtual wreaths to virtual war memorials. Ken Inglis argues that the tomb of the Unknown Soldier in the AWM has become the ritual centre of the Australian nation, “receiving obligatory wreaths from every visiting head of state” (459).Physical and Online Memorials to the War in AfghanistanThere are only eight physical war memorials to the Afghanistan conflict in Australia, even though this is the longest war Australia has been involved in to date (2001-2015). Does the lack of physical memorials to the war in Afghanistan mean that our communities no longer need them, and that people are memorialising online instead?One grieving father in far north Queensland certainly felt that an online memorial would never suffice. Gordon Chuck’s son, Private Benjamin Chuck, was killed in a Black Hawk helicopter crash in Afghanistan in 2010 when he was only 27 years old. Spurred by his son’s premature death, Gordon Chuck rallied family, community and government support, in the tiny hinterland town of Yungaburra, west of Cairns in Queensland, to establish an Avenue of Honour. He knocked on the doors of local businesses, the Returned Servicemen’s League (RSL), the Australian Defence Forces and every level of government to raise $300,000. His intention was to create a timeless memorial of world standard and national significance. On 21 June 2013, the third anniversary of his son’s death, the Chief of the Defence Force and the Prime Minister formally opened the Avenue of Honour in front of “thousands” of people (Nancarrow).Diggers from Afghanistan who have visited the Yungaburra Avenue of Honour speak of the closure and sense of healing it gave them (Nancarrow). The Avenue, built on the shores of Lake Tinaroo, features parallel rows of Illawarra flame trees, whose red blossoms are in full bloom around Remembrance Day and symbolise the blood and fire of war and the cycle of life. It commemorates all the Australian soldiers who have died in the Afghanistan war.The Avenue of Honour, and the memorial in Martin Place clearly demonstrate that physical war memorials are not redundant. They are needed and cherished as sites of grief, hope and commemoration. The rituals conducted there gather gravitas from the solemnity that falls when a sea of people is silent and they provide healing through the comfort of reverent strangers.ConclusionEven though we live in an era when most of us are online every day of our lives, it is unlikely that virtual war memorials will ever supplant their physical forebears. When it comes to commemorating the First World War or contemporary conflicts and those who fought or died in them, physical and virtual war memorials can be complementary but they fulfil fundamentally different roles. Because of their medium as virtual memorials, they will never fulfil the human need for a place of remembrance in the real world.ReferencesBinyon, Laurence. “For the Fallen.” The Times. 21 Sep. 1914. 7 Oct. 2019 <https://www.army.gov.au/our-history/traditions/for-the-fallen>.Brown, James. Anzac’s Long Shadow. Sydney: Black Inc., 2014.Damousi, Joy. The Labour of Loss. Great Britain: Cambridge UP, 1999.Hunter, Kathryn. “States of Mind: Remembering the Australian-New Zealand Relationship.” Journal of the Australian War Memorial 36 (2002). 7 Oct. 2019 <https://www.awm.gov.au/articles/journal/j36/nzmemorial>.Inglis, Ken. Sacred Places: War Memorials in the Australian Landscape. Melbourne: Melbourne UP, 1998.Inglis, Ken, and Jock Phillips. “War Memorials in Australia and New Zealand: A Comparative Survey.” Australian Historical Studies 24.96 (1991): 179-191.Jalland, Pat. Australian Ways of Death: A Social and Cultural History 1840-1918. London: Oxford University Press, 2002.Knapton, Sarah. “Print Out Digital Photos or Risk Losing Them, Google Boss Warns.” Telegraph 13 Feb. 2015. 7 Oct. 2019 <http://www.telegraph.co.uk/news/science/science-news/11410506/Print-out-digital-photos-or-risk-losing-them-Google-boss-warns.html>.Lakin, Shaune. “Laurence Aberhart ANZAC.” Artlink 35.1 (2015): 48-51.Legge, James. “Vandals Deface Two London War Memorials with ‘Islam’ Graffiti”. Independent 27 May 2013. 7 Oct. 2019 <https://www.independent.co.uk/news/uk/crime/vandals-deface-two-london-war-memorials-with-islam-graffiti-8633386.html>.Luckins, Tanya. The Gates of Memory. Fremantle, WA: Curtin University Books, 2004.McLuhan, Marshall. Understating Media: The Extensions of Man. New York: Mentor, 1964.McPhedran, Ian. “Families of Dead Soldiers Angered after Defence Chief David Hurley Donates Memorial Plinth to Avenue of Honour.” Cairns Post 7 June 2014. 7 Oct. 2019 <http://www.cairnspost.com.au/news/cairns/families-of-dead-soldiers-angered-after-defence-chief-david-hurley-donates-memorial-plinth-to-avenue-of-honour/story-fnjpusyw-1226946540125>.McPhedran, Ian. “Backflip over Donation of Memorial Stone from Afghanistan to Avenue of Honour at Yungaburra.” Cairns Post 11 June 2014. 7 Oct. 2019 <http://www.cairnspost.com.au/news/cairns/backflip-over-donation-of-memorial-stone-from-afghanistan-to-avenue-of-honour-at-yungaburra/story-fnkxmm0j-1226950508126>.Ministry for Culture and Heritage. “Interpreting First World War Memorials.” Updated 4 Sep. 2014. <http://www.nzhistory.net.nz/war/interpreting-first-world-war-memorials>.Nancarrow, Kirsty. “Thousands Attend Opening of Avenue of Honour, a Memorial to Diggers Killed in Afghanistan”. ABC News 7 Nov. 2014. 2 Oct. 2014 <http://www.abc.net.au/news/2013-06-22/avenue-of-honour-remembers-fallen-diggers/4773592>.Scates, Bruce. “Finding the Missing of Fromelles: When Soldiers Return.” Anzac Legacies: Australians and the Aftermath of War. Eds. Martin Crotty and Marina Larsson. Melbourne: Australian Scholarly Publishing, 2010. 212-231.Scates, Bruce. “Soldiers’ Journeys: Returning to the Battlefields of the Great War.” Journal of the Australian War Memorial 40 (2007): n.p.Scott, Ernest. Australia during the War: The Official History of Australia in the War of 1914–1918. Vol. XI. Sydney: Angus and Robertson, 1941.Stanley, Peter. “Ten Kilos of First World War Grief at the Melbourne Museum.” The Conversation 27 Aug. 2014. 10 Oct. 2019 <https://theconversation.com/ten-kilos-of-first-world-war-grief-at-the-melbourne-museum-30362>.Veale, Kylie. “Online Memorialisation: The Web as a Collective Memorial Landscape for Remembering the Dead.” Fibreculture Journal 3 (2004). 7 Oct. 2019 <http://three.fibreculturejournal.org/fcj-014-online-memorialisation-the-web-as-a-collective-memorial-landscape-for-remembering-the-dead/>.Winter, Jay. Sites of Memory, Sites of Mourning. Cambrigde: Cambridge UP, 1995.———. The Experience of World War I. London: Macmillan, 1988.


 
 
 As Earth heats up and water vapourises, “Adapt” is a word that is frequently invoked right now, in a world seething with change and challenge. Its Oxford English Dictionary definitions—“to fit, to make suitable; to alter so as to fit for a new use”—give little hint of the strangely divergent moral values associated with its use. There is, of course, the word’s unavoidable Darwinian connotations which, in spite of creationist controversy, communicate a cluster of positive values linked with progress. By contrast, the literary use of adapt is frequently linked with negative moral values. Even in our current “hyper-adaptive environment” (Rizzo)—in which a novel can become a theme park ride can become a film can become a computer game can become a novelisation—an adaptation is seen as a debasement of an original, inauthentic, inferior, parasitic (Hutcheon, 2-3). A starting point from which to explore the word’s “positive”—that is, evolutionary—use is the recently released Stern Review: The Economics of Climate Change, which argues the necessity of adapting in order to survive. Indeed, an entire section is titled “Policy responses for adaptation,” outlining—among other things—“an economic framework for adaptation”; “barriers and constraints to adaptation”; and “how developing countries can adapt to climate change” (403). Although evolution is not directly mentioned, it is evoked through the review’s analysis of a dire situation which compels humans to change in response to their changing environment. Yet the mere existence of the review, and its enumeration of problems and solutions, suggests that human adaptive abilities are up to the task, drawing on positive traits such as resilience, flexibility, agility, innovation, creativity, progressiveness, appropriateness, and so on. These values, and their connection to the evolutionary use of “adapt”, infuse 21st-century life. “Adapt,” “evolution”, and that cluster of values are entwined so closely that recalling effort is required to remind oneself that “adapt” existed before evolutionary theory. And whether or not one accepts the premise of evolution—or even understands it beyond the level of reductive popular science—it provides an irresistible metaphor that underlies areas as diverse as education, business, organisational culture, politics, and law. For example, Judith Robinson’s article “Education as the Foundation of the New Economy” quotes Canada’s former deputy prime minister John Manley: “The future holds nothing but change. … Charles Darwin said, ‘It is not the strongest of the species that survives, nor the most intelligent, but the most responsive to change.’” Robinson adds: “Education is how we equip our people with the ability to adapt to change.” Further examples show “adapt” as a positive metaphor for government. A study into towns in rural Queensland discovered that while some towns “have reinvented themselves and are thriving,” others “that are not innovative or adaptable” are in decline (Plowman, Ashkanasy, Gardner and Letts, 8). The Queensland Government’s Smart State Strategy also refers to the desirability of adapting: “The pace of change in the world is now so rapid—and sometimes so unpredictable—that our best prospects for maintaining our lead lie in our agility, flexibility and adaptability.” The Australian Government Department of Education, Science and Training, in setting national research priorities, identifies “An Environmentally Sustainable Australia” and in that context specifically mentions the need to adapt: “there needs to be an increased understanding of the contributions of human behaviour to environmental and climate change, and on [sic] appropriate adaptive responses and strategies.” In the corporate world, the Darwinian allusion is explicit in book titles such as Geoffrey Moore’s 2005 Dealing with Darwin: How Great Companies Innovate at Every Phase of their Evolution: “Moore’s theme is innovation, which he sees as being necessary to the survival of business as a plant or animal adapting to changes in habitat” (Johnson). Within organisations, the metaphor is also useful, for instance in D. Keith Denton’s article, “What Darwin Can Teach Us about Success:” “In order to understand how to create and manage adaptability, we need to look first at how nature uses it. … Species that fail to adapt have only one option left.” That option is extinction, which is the fate of “over 99% of all species that have ever existed.” However, any understanding of “adapt” as wholly positive and forward-moving is too simplistic. It ignores, for example, aspects of adaptation that are dangerous to people (such as the way the avian influenza virus or simian AIDS can adapt so that humans can become their hosts). Bacteria rapidly adapt to antibiotics; insects rapidly adapt to pesticides. Furthermore, an organism that is exquisitely adapted to a specific niche becomes vulnerable with even a small disturbance in its environment. The high attrition rate of species is breathtakingly “wasteful” and points to the limitations of the evolutionary metaphor. Although corporations and education have embraced the image, it is unthinkable that any corporation or educational system would countenance either evolution’s tiny adaptive adjustments over a long period of time, or the high “failure” rate. Furthermore, evolution can only be considered “progress” if there is an ultimate goal towards which evolution is progressing: the anthropocentric viewpoint that holds that “the logical and inevitable endpoint of the evolutionary process is the human individual,” as Rizzo puts it. This suggests that the “positive” values connected with this notion of “adapt” are a form of self-congratulation among those who consider themselves the “survivors”. A hierarchy of evolution-thought places “agile,” “flexible” “adaptors” at the top, while at the bottom of the hierarchy are “stagnant,” “atrophied” “non-adaptors”. The “positive” values then form the basis for exclusionary prejudices directed at those human and non-human beings seen as being “lower” on the evolutionary scale. Here we have arrived at Social Darwinism, the Great-Chain-of-Being perspective, Manifest Destiny—all of which still justify many kinds of unjust treatment of humans, animals, and ecosystems. Literary or artistic meanings of “adapt”—although similarly based on hierarchical thinking (Shiloh)—are, as mentioned earlier, frequently laden with negative moral values. Directly contrasting with the evolutionary adaptation we have just discussed, value in literary adaptation is attached to “being first” rather than to the success of successors. Invidious dichotomies that actually reverse the moral polarity of Darwinian adaptation come into play: “authentic” versus “fake”, “original” versus “copy”, “strong” versus “weak”, “superior” versus “inferior”. But, as the authors collected in this issue demonstrate, the assignment of a moral value to evolutionary “adapt”, and another to literary “adapt”, is too simplistic. The film Adaptation (Spike Jonze, 2002)—discussed in three articles in this issue—deals with both these uses of the word, and provides the impetus to these authors’ explorations of possible connections and contrasts between them. Evidence of the pervasiveness of the concept is seen in the work of other writers, who explore the same issues in a range of cultural phenomena, such as graffiti, music sampling, a range of activities in and around the film industry, and several forms of identity formation. A common theme is the utter inadequacy of a single moral value being assigned to “adapt”. For example, McMerrin quotes Ghandi in her paper: “Adaptability is not imitation. It means power of resistance and assimilation.” Shiloh argues: “If all texts quote or embed fragments of earlier texts, the notion of an authoritative literary source, which the cinematic version should faithfully reproduce, is no longer valid.” Furnica, citing Rudolf Arnheim, points out that an adaptation “increases our understanding of the adapted work.” All of which suggests that the application of “adapt” to circumstances of culture and nature suggests an “infinite onion” both of adaptations and of the “core samples of difference” that are the inevitable corollary of this issue’s theme. To drill down into the products of culture, to peel back the “facts” of nature, is only ever to encounter additional and increasingly minute variations of the activity of “adapt”. One never hits the bottom of difference and adaptation. Still, why would you want to, when the stakes of “adapt” might be little different from the stakes of life itself? At least, this is the insight that the philosophy of Gilles Deleuze—in all its rhizomatic variations—seems constantly to be leading us towards: “Life” (capitalised) is a continual germination that feeds on a thousand tiny adaptations of open-ended desire and of a ceaselessly productive mode of difference. Besides everything else that they do, all of the articles in this issue participate—in one way or another—in this notion of “adapt” as a constant impetus towards new configurations of culture and of nature. They are the proof (if such proof were to be requested or required) that the “infinite onion” of adaptation and difference, while certainly a mise en abyme, is much more a positive “placing into infinity” than a negative “placing into the abyss.” Adaptation is nothing to be feared; stasis alone spells death. What this suggests, furthermore, is that a contemporary ethics of difference and alterity might not go far wrong if it were to adopt “adapt” as its signature experience. To be ever more sensitive to the subtle nuances, to the evanescences on the cusp of nothingness … of adaptation … is perhaps to place oneself at the leading edge of cultural activity, where the boundaries of self and other have, arguably, never been more fraught. Again, all of the contributors to this issue dive—“Alice-like”—down their own particular rabbit holes, in order to bring back to the surface something previously unthought or unrecognised. However, two recent trends in the sciences and humanities—or rather at the complex intersection of these disciplines—might serve as useful, generalised frameworks for the work on “adapt” that this issue pursues. The first of these is the upwelling of interest (contra Darwinism) in the theories of Jean-Baptiste Lamarck (1744-1829). For Lamarck, adaptation takes a deviation from the Darwinian view of Natural Selection. Lamarckism holds, in distinction from Darwin, that the characteristics acquired by individuals in the course of their (culturally produced) lifetimes can be transmitted down the generations. If your bandy-legged great-grandfather learnt to bend it like Beckham, for example, then Manchester United would do well to sign you up in the cradle. Lamarck’s ideas are an encouragement to gather up, for cultural purposes, ever more refined understandings of “adapt”. What this pro-Lamarckian movement also implies is a new “crossing-over point” of the natural/biological with the cultural/acquired. The second trend to be highlighted here, however, does more than merely imply such a refreshed configuration of nature and culture. Elizabeth Grosz’s recent work directly calls the bluff of the traditional Darwinian (not to mention Freudian) understanding of “biology as destiny”. In outline form, we propose that she does this by running together notions of biological difference (the male/female split) with the “ungrounded” difference of Deleuzean thinking and its derivatives. Adaptation thus shakes free, on Grosz’s reading, from the (Darwinian and Freudian) vestiges of biological determinism and becomes, rather, a productive mode of (cultural) difference. Grosz makes the further move of transporting such a “shaken and stirred” version of biological difference into the domains of artistic “excess”, on the basis that “excessive” display (as in the courting rituals of the male peacock) is fundamentally crucial to those Darwinian axioms centred on the survival of the species. By a long route, therefore, we are returned, through Grosz, to the interest in art and adaptation that has, for better or for worse, tended to dominate studies of “adapt”, and which this issue also touches upon. But Grosz returns us to art very differently, which points the way, perhaps, to as yet barely recognised new directions in the field of adaptation studies. We ask, then, where to from here? Responding to this question, we—the editors of this issue—are keen to build upon the groundswell of interest in 21st-century adaptation studies with an international conference, entitled “Adaptation & Application”, to be held on the Gold Coast, Queensland, Australia in early 2009. The “Application” part of this title reflects, among other things, the fact that our conference will be, perhaps uniquely, itself an example of “adapt”, to the extent that it will have two parallel but also interlocking strands: adaptation; application. Forward-thinking architects Arakawa and Gins have expressed an interest in being part of this event. (We also observe, in passing, that “application”, or “apply”, may be an excellent theme for a future issue of M/C Journal…) Those interested in knowing more about the “Adaptation and Application” conference may contact either of us on the email addresses given in our biographical notes. There are several groups and individuals that deserve public acknowledgement here. Of course, we thank the authors of these fourteen articles for their stimulating and reflective contributions to the various debates around “adapt”. We would also like to acknowledge the hugely supportive efforts of our hard-pressed referees. Equally, our gratitude goes out to those respondents to our call for papers whose submissions could not be fitted into this already overflowing issue. What they sent us kept the standard high, and many of the articles rejected for publication on this occasion will, we feel sure, soon find a wider audience in another venue (the excellent advice provided by our referees has an influence, in this way, beyond the life of this issue). We also wish to offer a very special note of thanks to Linda Hutcheon, who took time out from her exceptionally busy schedule to contribute the feature article for this issue. Her recent monograph A Theory of Adaptation is essential reading for all serious scholars of “adapt”, as is her contribution here. We are honoured to have Professor Hutcheon’s input into our project. Special thanks are also due to Gold-Coast based visual artist Judy Anderson for her “adaptation of adaptation” into a visual motif for our cover image. This inspiring piece is entitled “Between Two” (2005; digital image on cotton paper). Accessing experiences perhaps not accessible through words alone, Anderson’s image nevertheless “speaks adaptation”, as her Artist’s Statement suggests: The surface for me is a sensual encounter; an event, shifting form. As an eroticised site, it evokes memories of touch. … Body, object, place are woven together with memory; forgetting and remembering. The tactility and materiality of touching the surface is offered back to the viewer. These images are transitions themselves. As places of slippage and adaptation, they embody intervals on many levels; between the material and the immaterial, the familiar and the strange. Their source remains obscure so that they might represent spaces in-between—overlooked places that open up unexpectedly. If we have learned just one thing from the experience of editing the M/C Journal ‘adapt’ issue, it is that our theme richly rewards the sort of intellectual and creative activity demonstrated by our contributors. Much has been done here; much remains to be done. Some of this work will take place, no doubt, at the “Adaptation and Application” conference, and we hope to see many of you on the Gold Coast in 2009. But for now, it’s over to you, to engage with what you might encounter here, and to work new “adaptations” upon it. References Australian Government Department of Education, Science and Training. Environmentally Sustainable Australia. 2005. 28 Apr. 2007 http://www.dest.gov.au/sectors/research_sector/policies_issues_reviews /key_issues/national_research_priorities/priority_goals /environmentally_sustainable_australia.htm>. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaux. Minneapolis: University of Minnesota Press, 1987. Denton, D Keith. “What Darwin Can Teach Us about Success.” Development and Learning in Organizations 20.1 (2006): 7ff. Furnica, Ioana. “Subverting the ‘Good, Old Tune’: Carlos Saura’s Carmen Adaptation.” M/C Journal 10.2 (2007). 28 Apr. 2007 . Grosz, Elizabeth. In the Nick of Time: Politics, Evolution and the Untimely. Durham: Duke University Press, 2004. Grosz, Elizabeth. “Sensation”. Plenary III Session. 9th Annual Comparative Literature Conference. Gilles Deleuze: Texts and Images: An International Conference. University of South Carolina, Columbia. 7 April 2007. Grosz, Elizabeth. Time Travels: Feminism, Nature, Power. Durham: Duke University Press, 2005. Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006. Johnson, Cecil. “Darwinian Notions of Corporate Innovation,” Boston Globe, 15 Jan. 2006: L.2. McMerrin, Michelle. “Agency in Adaptation.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/03 mcmerrin.php mcmerrin.php>. Neimanis, Astrida. “A Feminist Deleuzian Politics? It’s About Time.” TOPIA: Canadian Journal of Cultural Studies 16 (2006): 154-8. Plowman, Ian, Neal M. Ashkanasy, John Gardner, and Malcolm Letts. Innovation in Rural Queensland: Why Some Towns Thrive while Others Languish: Main Report. University of Queensland/Department of Primary Industries. Queensland, Dec. 2003. 28 Apr. 2007 http://www2.dpi.qld.gov.au/business/14778.html>. Queensland Government. Smart State Strategy 2005-2015 Timeframe. 2007. 28 Apr. 2007 http://www.smartstate.qld.gov.au/strategy/strategy05_15/timeframes.shtm>. Rizzo, Sergio. “Adaptation and the Art of Survival.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/02-rizzo.php>. Shiloh, Ilana. “Adaptation, Intertextuality, and the Endless Deferral of Meaning: Memento.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/08-shiloh.php>. Stern Review: The Economics of Climate Change. 2006. 28 Apr. 2007 http://www.hm-treasury.gov.uk/independent_reviews/stern_review_ economics_climate_change/stern_review_report.cfm>. 
 
 
 
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