Academic literature on the topic 'Inc Empire Electric Association'

This article reviews that material and design improvements convert more electrical energy into mechanical power. According to the Department of Energy, electric motors account for two-thirds of the energy consumed by US industries, including chemicals, general manufacturing, mining, and utilities. More than 1.2 million integral electrical motors are sold each year, 10–15% of them high-efficiency motors, according to the National Electrical Manufacturers Association (NEMA), based in Rosslyn, VA. Greenville Tube Corp., based in Greenville, PA, is a subsidiary of Chart Industries Inc. in Cleveland. Greenville Tube’s 100,000-square-foot plant in Clarksville, AR, made a name for itself by quickly producing stainless steel tubing of specific size and type to reduce costly downtime caused by equipment failure. The Clarksville plant cold draws approximately one million feet of stainless steel tubing each month for use in automotive, aerospace, food processing, and medical equipment, pharmaceutical and petrochemical applications.

In 1978, the Japanese government started a national project for energy conservation called the Moonlight Project. The Engineering Research Association for Advanced Gas Turbines was selected to research and develop an advanced gas turbine for this project. The development stages were planned as follows: first, the development of a reheat gas turbine for a pilot plant (AGTJ-100A), and second, a prototype plant (AGTJ-100B). The AGTJ-100A has been undergoing performance tests since 1984 at the Sodegaura Power Station of the Tokyo Electric Power Co., Inc. (TEPCO). The inlet gas temperature of the high-pressure turbine (HPT) of the AGTJ-100A is 1573 K, while that of the AGTJ-100B is 100 K higher. Therefore, various advanced technologies have to be applied to the AGTJ-100B HPT. Ceramic coating on the HPT blades is the most desirable of these technologies. In this paper, the present level of development, and future R & D plans for ceramic coating, are taken into consideration. Steam blade cooling is applied for the IGSC.

In the new issue, our scientific journal offers you thirteen scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. In the article by Olha Chumachenko, оn the basis of a wide base of sources, the article highlights and analyzes the development of research work of aircraft engine companies in Zaporizhzhia during the 1970s. The existence of a single system of functioning of the Zaporizhzhia production association “Motorobudivnyk” (now the Public Joint Stock Company “Motor Sich”) and the Zaporizhzhia Machine-Building Design Bureau “Progress” (now the State Enterprise “Ivchenko – Progress”) has been taken into account. Leonid Griffen and Nadiia Ryzheva present their vision of the essence of technology as a socio-historical phenomenon. The article reveals the authors' vision of the essence of the technology as a sociohistorical phenomenon. It is based on the idea that technology is not only a set of technical devices but a segment of the general system – a society – located between a social medium and its natural surroundings in the form of a peculiar social technosphere, which simultaneously separates and connects them. Definitely the article by Denis Kislov, which examines the period from the end of the XVII century to the beginning of the XIX century, is also of interest, when on the basis of deep philosophical concepts, a new vision of the development of statehood and human values raised. At this time, a certain re-thinking of the management and communication ideas of Antiquity and the Renaissance took place, which outlined the main promising trends in the statehood evolution, which to one degree or another were embodied in practice in the 19th and 20th centuries. A systematic approach and a comparative analysis of the causes and consequences of those years’ achievements for the present and the immediate future of the 21st century served as the methodological basis for a comprehensive review of the studies of that period. The article by Serhii Paliienko is devoted to an exploration of archaeological theory issues at the Institute of archaeology AS UkrSSR in the 1960s. This period is one of the worst studied in the history of Soviet archaeology. But it was the time when in the USSR archaeological researches reached the summit, quantitative methods and methods of natural sciences were applied and interest in theoretical issues had grown in archaeology. Now there are a lot of publications dedicated to theoretical discussions between archaeologists from Leningrad but the same researches about Kyiv scholars are still unknown The legacy of St. Luke in medical science, authors from Greece - this study aims to highlight key elements of the life of Valentyn Feliksovych Voino-Yasenetskyi and his scientific contribution to medicine. Among the scientists of European greatness, who at the turn of the XIX and XX centuries showed interest to the folklore of Galicia (Halychyna) and Galician Ukrainians, contributed to their national and cultural revival, one of the leading places is occupied by the outstanding Ukrainian scientist Ivan Verkhratskyi. He was both naturalist and philologist, as well as folklorist and ethnographer, organizer of scientific work, publisher and popularizer of Ukrainian literature, translator, publicist and famous public figure. I. H. Verkhratskyi was also an outstanding researcher of plants and animals of Eastern Galicia, a connoisseur of insects, especially butterflies, the author of the first school textbooks on natural science written in Ukrainian. A new emerging field that has seen the application of the drone technology is the healthcare sector. Over the years, the health sector has increasingly relied on the device for timely transportation of essential articles across the globe. Since its introduction in health, scholars have attempted to address the impact of drones on healthcare across Africa and the world at large. Among other things, it has been reported by scholars that the device has the ability to overcome the menace of weather constraints, inadequate personnel and inaccessible roads within the healthcare sector. This notwithstanding, data on drones and drone application in Ghana and her healthcare sector in particular appears to be little within the drone literature. Also, little attempt has been made by scholars to highlight the use of drones in African countries. By using a narrative review approach, the current study attempts to address the gap above. By this approach, a thorough literature search was performed to locate and assess scientific materials involving the application of drones in the military field and in the medical systems of Africans and Ghanaians in particular. The paper by Artemii Bernatskyi and Vladyslav Khaskin is devoted to the analysis of the history of the laser creation as one of the greatest technical inventions of the 20th century. This paper focuses on establishing a relation between the periodization of the stages of creation and implementation of certain types of lasers, with their influence on the invention of certain types of equipment and industrial technologies for processing the materials, the development of certain branches of the economy, and scientific-technological progress as a whole. The paper discusses the stages of: invention of the first laser; creation of the first commercial lasers; development of the first applications of lasers in industrial technologies for processing the materials. Special attention is paid to the “patent wars” that accompanied different stages of the creation of lasers. A comparative analysis of the market development for laser technology from the stage of creation to the present has been carried out. Nineteenth-century world exhibitions were platforms to demonstrate technical and technological changes that witnessed the modernization and industrialization of the world. World exhibitions have contributed to the promotion of new inventions and the popularization of already known, as well as the emergence of art objects of world importance. One of the most important world events at the turn of the century was the 1900 World's Fair in Paris. Thus, the author has tried to analyze the participation of representatives of the sugar industry in the World's Fair in 1900 and to define the role of exhibitions as indicators of economic development, to show the importance and influence of private entrepreneurs, especially from Ukraine, on the sugar industry and international contacts. The article by Viktor Verhunov highlights the life and creative path of the outstanding domestic scientist, theorist, methodologist and practitioner of agricultural engineering K. G. Schindler, associated with the formation of agricultural mechanics in Ukraine. The methodological foundation of the research is the principles of historicism, scientific nature and objectivity in reproducing the phenomena of the past based on the complex use of general scientific, special, interdisciplinary methods. For the first time a number of documents from Russian and Ukrainian archives, which reflect some facts of the professional biography of the scientist, were introduced into scientific circulation. The authors from Kremenchuk National University named after Mykhailo Ostrohradskyi presented a fascinating study of a bayonet fragment with severe damages of metal found in the city Kremenchuk (Ukraine) in one of the canals on the outskirts of the city, near the Dnipro River. Theoretical research to study blade weapons of the World War I period and the typology of the bayonets of that period, which made it possible to put forward an assumption about the possible identification of the object as a modified bayonet to the Mauser rifle has been carried out. Metal science expert examination was based on X-ray fluorescence spectrometry to determine the concentration of elements in the sample from the cleaned part of the blade. In the article by Mykola Ruban and Vadym Ponomarenko on the basis of the complex analysis of sources and scientific literature the attempt to investigate historical circumstances of development and construction of shunting electric locomotives at the Dnipropetrovsk electric locomotive plant has been made. The next scientific article continues the series of publications devoted to the assessment of activities of the heads of the Ministry of Railways of the Russian Empire. In this article, the authors have attempted to systematize and analyze historical data on the activities of Klavdii Semyonovych Nemeshaev as the Minister of Railways of the Russian Empire. The article also assesses the development and construction of railway network in the Russian Empire during Nemeshaev's office, in particular, of the Amur Line and Moscow Encircle Railway, as well as the increase in the capacity of the Trans-Siberian Railway. The article discusses K. S. Nemeshaev's contribution to the development of technology and the introduction of a new type of freight steam locomotive for state-owned railways. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.

In recent years, electric two-wheeled vehicles (E2Ws) including electric bicycles and electric motorcycles have been used widely in Vietnam. Currently, the total number of E2Ws used is 3 million and with an average growth rate of 13.33% an estimated 6 million E2Ws will be used in 2024. E2Ws have been used widely among Vietnam’s youth. Based on the Theory of Planned Behavior (TPB) of Ajzen (2005, 2016) [1, 2], the main purpose of this research is to identify factors affecting the attitude to and intention of high school students in Hanoi city towards E2W usage and their affected level. The analytical results show that the attitude towards E2W usage is influenced respectively in descending order by (i) perceptions of economic benefit, (ii) usage convenience, (iii) friendly environmental awareness, (iv) stylish design. Usage intention towards E2Ws is determined respectively in descending order by (i) subjective norm, (ii) attitude toward E2W usage, (iii) the attraction of motorcycles. Based on the research results, some proposals for producers, authorities and policy-makers have been recommended. Keywords Electric two-wheeled vehicle, intention, attitude toward E2W usage, perception, emission, battery References [1] I. Ajzen, Attitude, personality and behavior, 2nd Edition, England: Berkshire, 2005.[2] I. Ajzen, The Theory of Planned Behavior. https://people.umass.edu/ aizen/pdf.html/, 2016..[3] R.C. Christopher, Electric Two-Wheelers in China: Analysis of Environmental, Safety, and Mobility Impacts, PhD Dissertation, University of California, Berkeley, Spring 2007.[4] Chu Tien Dat, “Consumer behavior and marketing - mix strategy of mobile communication businesses in Vietnam”, Doctorate Dissertation, National Economic University, 2014.[5] Dang Thi Ngoc Dung, “Factors Affect Intention Usage Toward Metro System in Ho Chi Minh City” Master Thesis, Ho Chi Minh Economics University, 2012.[6] Government website, http://vanban.chinhphu.vn/portal/page/portal/chinhphu/hethongvanban. [7] Hanoi Department of Transport, “Scheme on strengthening management of road transport means to reduce traffic congestion and environmental pollution in Hanoi city, period 2017-2020, a vision to 2030”, General report, Hanoi People’s Committee, 2017. [8] Hoang Trong, Chu Nguyen Mong Ngoc, Data Analysis with SPSS, Hong Duc Publishing House, Ho Chi Minh City, 2008.[9] Ho Chi Minh Department of Transport, General Report: “Scheme on strengthening management of road transport means to reduce traffic congestion and environmental pollution in Hanoi city, period 2017-2020, a vision to 2030”, General report, Hochiminh People’s Committee, Department of Transportation, 2017.[10] D.W. Hoyer et al., Consumer Behaviour, 6th Edition, South Western Cengage Learning, 2013.[11] D. Jennifer, R. Geoffrey, “Electric Bikes and Transportation Policy: Insights from Early Adopters”, Transportation Research Record: Journal of the Transportation Research Board, No. 2314, Transportation Research Board of the National Academies, Washington, D.C., 2012, pp. 1-6. [12] Jica, Data Collection Survey on Railway in Main Urbans of Vietnam, final report, Part 2, Hanoi area, November, 2015.[13] X.W. Jonathan, The Rise of Electric Two-wheelers in China: Factors for their Success and Implications for the Future, Doctor of Philosophy In Transportation Technology and Policy, University of California, 2007.[14] P. Kotler, G. Amstrong, Principles of Marketing, 15th Edition, Pearson Prentice Hall, 2014.[15] Le Quan Hoang, Toshiyuki Okamura, “Influences of Motorcycle Use on Travel Intentions in Developing Countries: A case of Ho Chi Minh City, Vietnam”, Journal of Eastern Asia Society of Transportation Studies. 11 (2015) Số trang.[16] R. Luke et al, “The effect of incentives and technology on the adoption of electric motorcycles: A stated choice experiment in Vietnam”, Transportation Research Part A 57, 2013.[17] National Traffic Safety Committee, “The study on the traffic safety of highschool students in Hanoi and some proposed solutions”, Final Report, Vietnam Association of Motorcycle Manufacturers VAMM, 2017. [18] Nguyen Minh Tam, “Planning Orientation of Hanoi’s Urban Railway System to 2030 and Vision to 2050”, International workshop report, Hanoi Planning and Architecture Department, 2017.[19] Nguyen Ngoc Quang, “Qualitative Methods in Research on Consumer’s Behavior Toward Motorcycle in Vietnam”, Doctorate Dissertation, Hanoi National Economic University, 2008.[20] W. Ning, L. Yafei, “Key factors influencing consumers’ willingness to purchase electric vehicles in China”, School of Automotive Studies, Tongji University. Volume II, November (2015) 911-955.[21] R. Pranav, B. Yuvraj, S. Razia, “Assessment of consumer buying behavior toward electric scooters in Punjab”, International Journal of Research in Commerce and Management. 4 (2013) 7-15.[22] K. Rattanaporn, S. Wichuda, J. Sittha, S. Thaned, “Psychological factors influencing intentions to use Bus Rapid Transit (BRT) in Khon Kaen, Thailand”, Proceedings of the Eastern Asia Society for Transportation Studies. 10 (2015) số trang đầu và cuối.[23] M. Ronald, T. Debasis, “A Study on consumer buying behavior toward two wheeler bikes in context to Indian market”, International Journal of Advanced Research in Management (IJARM). 4 (2013) 65-số trang cuối. [24] S. Sheetal, S. Abhishek, “Consumer Behavior towards Two-Wheeler Bikes - A Comparative Study of Rural and Urban Consumers of Jodhpur District of Rajasthan, India”, Research Paper, Global Research Analysis. 1 (2012) 91-92.[25] M.R. Solomon, Behaviour - Buying, Having, Being, 10th Edition, Pearson Education, Inc., 2013.[26] Statistic Office of Hanoi. http://thongkehanoi.gov.vn/, 2018.[27] Tran Thuy, “Located fuel motorcycles, remote controls, and accident notices: a mother buys to supervise her child”. https://vietnamnet.vn/vn/kinh-doanh/dau-tu/xe-may-dien-ban-ra-nua-trieu-chiec-dai-gia-them-muon-475551.html/, 2018.[28] Trinh Thu Thuy, “Factors affects consumer’s behavior towards two-wheeled vehicles in Hanoi city”, Doctorate Dissertation, Hanoi University of Science and Technology, 2018.[29] S. William et al., “The influence of financial incentives and other socio-economic factors on electric vehicle adoption”, Journal of Energy Policy. 68 (2014) 183-194. Ch. Yi-Chang, T. Gwo-Hshiung, “The market acceptance of electric motorcycles in Taiwan experience through a stated preference analysis”, Transportation Research, Pergamon, Part D 4, January 9, 1999, pp. 127-146 (Published by Elsevier Science Ltd).

IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual convergence of producer and consumer roles is certainly not new, for “at electric speeds the consumer becomes producer as the public becomes participant role player” (McLuhan 4). Similarly, Toffler’s “Third Wave” challenges “old power relationships” and promises to “heal the historic breach between producer and consumer, giving rise to the ‘prosumer’ economics” (27). Prosumption blurs the traditionally separate consumer and producer creating a new creative era of mass customisation of artefacts culled from the (copyrighted) media landscape (Tapscott 62-3). Simultaneously, corporate interests dependent upon the protections provided by copyright law lobby for augmented rights and actively defend their intellectual property through law suits, takedown notices and technological reinforcement. Despite a lack demonstrable economic harm in many cases, the propertarian approach is winning and frequently leading to absurd results (Collins).The balance between private and public interests in creative works is facilitated by the doctrine of fair use (as codified in the United States Copyright Act 1976, section 107). The majority of copyright laws contain “fair” exceptions to claims of infringement, but fair use is characterised by a flexible, open-ended approach that allows the law to flex with the times. Until recently the defence was unique to the U.S., but on 2 January Israel amended its copyright laws to include a fair use defence. (For an overview of the new Israeli fair use exception, see Efroni.) Despite its flexibility, fair use has been systematically eroded by ever encroaching copyrights. This paper argues that copyright enforcement has spun out of control and the raison d’être of the law has shifted from being “an engine of free expression” (Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539, 558 (1985)) towards a “legal regime for intellectual property that increasingly looks like the law of real property, or more properly an idealized construct of that law, one in which courts seeks out and punish virtually any use of an intellectual property right by another” (Lemley 1032). Although the copyright landscape appears bleak, two recent cases suggest that fair use has not fallen by the wayside and may well recover. This paper situates fair use as an essential legal and cultural mechanism for optimising creative expression.A Brief History of CopyrightThe law of copyright extends back to eighteenth century England when the Statute of Anne (1710) was enacted. Whilst the length of this paper precludes an in depth analysis of the law and its export to the U.S., it is important to stress the goals of copyright. “Copyright in the American tradition was not meant to be a “property right” as the public generally understands property. It was originally a narrow federal policy that granted a limited trade monopoly in exchange for universal use and access” (Vaidhyanathan 11). Copyright was designed as a right limited in scope and duration to ensure that culturally important creative works were not the victims of monopolies and were free (as later mandated in the U.S. Constitution) “to promote the progress.” During the 18th century English copyright discourse Lord Camden warned against propertarian approaches lest “all our learning will be locked up in the hands of the Tonsons and the Lintons of the age, who will set what price upon it their avarice chooses to demand, till the public become as much their slaves, as their own hackney compilers are” (Donaldson v. Becket 17 Cobbett Parliamentary History, col. 1000). Camden’s sentiments found favour in subsequent years with members of the North American judiciary reiterating that copyright was a limited right in the interests of society—the law’s primary beneficiary (see for example, Wheaton v. Peters 33 US 591 [1834]; Fox Film Corporation v. Doyal 286 US 123 [1932]; US v. Paramount Pictures 334 US 131 [1948]; Mazer v. Stein 347 US 201, 219 [1954]; Twentieth Century Music Corp. v. Aitken 422 U.S. 151 [1975]; Aronson v. Quick Point Pencil Co. 440 US 257 [1979]; Dowling v. United States 473 US 207 [1985]; Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539 [1985]; Luther R. Campbell a.k.a. Luke Skyywalker, et al. v. Acuff-Rose Music, Inc. 510 U.S 569 [1994]). Putting the “Fair” in Fair UseIn Folsom v. Marsh 9 F. Cas. 342 (C.C.D. Mass. 1841) (No. 4,901) Justice Storey formulated the modern shape of fair use from a wealth of case law extending back to 1740 and across the Atlantic. Over the course of one hundred years the English judiciary developed a relatively cohesive set of principles governing the use of a first author’s work by a subsequent author without consent. Storey’s synthesis of these principles proved so comprehensive that later English courts would look to his decision for guidance (Scott v. Stanford L.R. 3 Eq. 718, 722 (1867)). Patry explains fair use as integral to the social utility of copyright to “encourage. . . learned men to compose and write useful books” by allowing a second author to use, under certain circumstances, a portion of a prior author’s work, where the second author would himself produce a work promoting the goals of copyright (Patry 4-5).Fair use is a safety valve on copyright law to prevent oppressive monopolies, but some scholars suggest that fair use is less a defence and more a right that subordinates copyrights. Lange and Lange Anderson argue that the doctrine is not fundamentally about copyright or a system of property, but is rather concerned with the recognition of the public domain and its preservation from the ever encroaching advances of copyright (2001). Fair use should not be understood as subordinate to the exclusive rights of copyright owners. Rather, as Lange and Lange Anderson claim, the doctrine should stand in the superior position: the complete spectrum of ownership through copyright can only be determined pursuant to a consideration of what is required by fair use (Lange and Lange Anderson 19). The language of section 107 suggests that fair use is not subordinate to the bundle of rights enjoyed by copyright ownership: “Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work . . . is not an infringement of copyright” (Copyright Act 1976, s.107). Fair use is not merely about the marketplace for copyright works; it is concerned with what Weinreb refers to as “a community’s established practices and understandings” (1151-2). This argument boldly suggests that judicial application of fair use has consistently erred through subordinating the doctrine to copyright and considering simply the effect of the appropriation on the market place for the original work.The emphasis on economic factors has led courts to sympathise with copyright owners leading to a propertarian or Blackstonian approach to copyright (Collins; Travis) propagating the myth that any use of copyrighted materials must be licensed. Law and media reports alike are potted with examples. For example, in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004) a Sixth Circuit Court of Appeals held that the transformative use of a three-note guitar sample infringed copyrights and that musicians must obtain licence from copyright owners for every appropriated audio fragment regardless of duration or recognisability. Similarly, in 2006 Christopher Knight self-produced a one-minute television advertisement to support his campaign to be elected to the board of education for Rockingham County, North Carolina. As a fan of Star Wars, Knight used a makeshift Death Star and lightsaber in his clip, capitalising on the imagery of the Jedi Knight opposing the oppressive regime of the Empire to protect the people. According to an interview in The Register the advertisement was well received by local audiences prompting Knight to upload it to his YouTube channel. Several months later, Knight’s clip appeared on Web Junk 2.0, a cable show broadcast by VH1, a channel owned by media conglomerate Viacom. Although his permission was not sought, Knight was pleased with the exposure, after all “how often does a local school board ad wind up on VH1?” (Metz). Uploading the segment of Web Junk 2.0 featuring the advertisement to YouTube, however, led Viacom to quickly issue a take-down notice citing copyright infringement. Knight expressed his confusion at the apparent unfairness of the situation: “Viacom says that I can’t use my clip showing my commercial, claiming copy infringement? As we say in the South, that’s ass-backwards” (Metz).The current state of copyright law is, as Patry says, “depressing”:We are well past the healthy dose stage and into the serious illness stage ... things are getting worse, not better. Copyright law has abandoned its reason for being: to encourage learning and the creation of new works. Instead, its principal functions now are to preserve existing failed business models, to suppress new business models and technologies, and to obtain, if possible, enormous windfall profits from activity that not only causes no harm, but which is beneficial to copyright owners. Like Humpty-Dumpty, the copyright law we used to know can never be put back together.The erosion of fair use by encroaching private interests represented by copyrights has led to strong critiques leveled at the judiciary and legislators by Lessig, McLeod and Vaidhyanathan. “Free culture” proponents warn that an overly strict copyright regime unbalanced by an equally prevalent fair use doctrine is dangerous to creativity, innovation, culture and democracy. After all, “few, if any, things ... are strictly original throughout. Every book in literature, science and art, borrows, and must necessarily borrow, and use much which was well known and used before. No man creates a new language for himself, at least if he be a wise man, in writing a book. He contents himself with the use of language already known and used and understood by others” (Emerson v. Davis, 8 F. Cas. 615, 619 (No. 4,436) (CCD Mass. 1845), qted in Campbell v. Acuff-Rose, 62 U.S.L.W. at 4171 (1994)). The rise of the Web 2.0 phase with its emphasis on end-user created content has led to an unrelenting wave of creativity, and much of it incorporates or “mashes up” copyright material. As Negativland observes, free appropriation is “inevitable when a population bombarded with electronic media meets the hardware [and software] that encourages them to capture it” and creatively express themselves through appropriated media forms (251). The current state of copyright and fair use is bleak, but not beyond recovery. Two recent cases suggest a resurgence of the ideology underpinning the doctrine of fair use and the role played by copyright.Let’s Go CrazyIn “Let’s Go Crazy #1” on YouTube, Holden Lenz (then eighteen months old) is caught bopping to a barely recognizable recording of Prince’s “Let’s Go Crazy” in his mother’s Pennsylvanian kitchen. The twenty-nine second long video was viewed a mere twenty-eight times by family and friends before Stephanie Lenz received an email from YouTube informing her of its compliance with a Digital Millennium Copyright Act (DMCA) take-down notice issued by Universal, copyright owners of Prince’s recording (McDonald). Lenz has since filed a counterclaim against Universal and YouTube has reinstated the video. Ironically, the media exposure surrounding Lenz’s situation has led to the video being viewed 633,560 times at the time of writing. Comments associated with the video indicate a less than reverential opinion of Prince and Universal and support the fairness of using the song. On 8 Aug. 2008 a Californian District Court denied Universal’s motion to dismiss Lenz’s counterclaim. The question at the centre of the court judgment was whether copyright owners should consider “the fair use doctrine in formulating a good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law.” The court ultimately found in favour of Lenz and also reaffirmed the position of fair use in relation to copyright. Universal rested its argument on two key points. First, that copyright owners cannot be expected to consider fair use prior to issuing takedown notices because fair use is a defence, invoked after the act rather than a use authorized by the copyright owner or the law. Second, because the DMCA does not mention fair use, then there should be no requirement to consider it, or at the very least, it should not be considered until it is raised in legal defence.In rejecting both arguments the court accepted Lenz’s argument that fair use is an authorised use of copyrighted materials because the doctrine of fair use is embedded into the Copyright Act 1976. The court substantiated the point by emphasising the language of section 107. Although fair use is absent from the DMCA, the court reiterated that it is part of the Copyright Act and that “notwithstanding the provisions of sections 106 and 106A” a fair use “is not an infringement of copyright” (s.107, Copyright Act 1976). Overzealous rights holders frequently abuse the DMCA as a means to quash all use of copyrighted materials without considering fair use. This decision reaffirms that fair use “should not be considered a bizarre, occasionally tolerated departure from the grand conception of the copyright design” but something that it is integral to the constitution of copyright law and essential in ensuring that copyright’s goals can be fulfilled (Leval 1100). Unlicensed musical sampling has never fared well in the courtroom. Three decades of rejection and admonishment by judges culminated in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004): “Get a license or do not sample. We do not see this stifling creativity in any significant way” was the ruling on an action brought against an unlicensed use of a three-note guitar sample under section 114, an audio piracy provision. The Bridgeport decision sounded a death knell for unlicensed sampling, ensuring that only artists with sufficient capital to pay the piper could legitimately be creative with the wealth of recorded music available. The cost of licensing samples can often outweigh the creative merit of the act itself as discussed by McLeod (86) and Beaujon (25). In August 2008 the Supreme Court of New York heard EMI v. Premise Media in which EMI sought an injunction against an unlicensed fifteen second excerpt of John Lennon’s “Imagine” featured in Expelled: No Intelligence Allowed, a controversial documentary canvassing alleged chilling of intelligent design proponents in academic circles. (The family of John Lennon and EMI had previously failed to persuade a Manhattan federal court in a similar action.) The court upheld Premise Media’s arguments for fair use and rejected the Bridgeport approach on which EMI had rested its entire complaint. Justice Lowe criticised the Bridgeport court for its failure to examine the legislative intent of section 114 suggesting that courts should look to the black letter of the law rather than blindly accept propertarian arguments. This decision is of particular importance because it establishes that fair use applies to unlicensed use of sound recordings and re-establishes de minimis use.ConclusionThis paper was partly inspired by the final entry on eminent copyright scholar William Patry’s personal copyright law blog (1 Aug. 2008). A copyright lawyer for over 25 years, Patry articulated his belief that copyright law has swung too far away from its initial objectives and that balance could never be restored. The two cases presented in this paper demonstrate that fair use – and therefore balance – can be recovered in copyright. The federal Supreme Court and lower courts have stressed that copyright was intended to promote creativity and have upheld the fair doctrine, but in order for the balance to exist in copyright law, cases must come before the courts; copyright myth must be challenged. As McLeod states, “the real-world problems occur when institutions that actually have the resources to defend themselves against unwarranted or frivolous lawsuits choose to take the safe route, thus eroding fair use”(146-7). ReferencesBeaujon, Andrew. “It’s Not the Beat, It’s the Mocean.” CMJ New Music Monthly. April 1999.Collins, Steve. “Good Copy, Bad Copy: Covers, Sampling and Copyright.” M/C Journal 8.3 (2005). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0507/02-collins.php›.———. “‘Property Talk’ and the Revival of Blackstonian Copyright.” M/C Journal 9.4 (2006). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0609/5-collins.php›.Donaldson v. Becket 17 Cobbett Parliamentary History, col. 953.Efroni, Zohar. “Israel’s Fair Use.” The Center for Internet and Society (2008). 26 Aug. 2008 ‹http://cyberlaw.stanford.edu/node/5670›.Lange, David, and Jennifer Lange Anderson. “Copyright, Fair Use and Transformative Critical Appropriation.” Conference on the Public Domain, Duke Law School. 2001. 26 Aug. 2008 ‹http://www.law.duke.edu/pd/papers/langeand.pdf›.Lemley, Mark. “Property, Intellectual Property, and Free Riding.” Texas Law Review 83 (2005): 1031.Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001.———. Free Culture. New York: Penguin, 2004.Leval, Pierre. “Toward a Fair Use Standard.” Harvard Law Review 103 (1990): 1105.McDonald, Heather. “Holden Lenz, 18 Months, versus Prince and Universal Music Group.” About.com: Music Careers 2007. 26 Aug. 2008 ‹http://musicians.about.com/b/2007/10/27/holden-lenz-18-months-versus-prince-and-universal-music-group.htm›.McLeod, Kembrew. “How Copyright Law Changed Hip Hop: An interview with Public Enemy’s Chuck D and Hank Shocklee.” Stay Free 2002. 26 Aug. 2008 ‹http://www.stayfreemagazine.org/archives/20/public_enemy.html›.———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday, 2005.McLuhan, Marshall, and Barrington Nevitt. Take Today: The Executive as Dropout. Ontario: Longman Canada, 1972.Metz, Cade. “Viacom Slaps YouTuber for Behaving like Viacom.” The Register 2007. 26 Aug. 2008 ‹http://www.theregister.co.uk/2007/08/30/viacom_slaps_pol/›.Negativland, ed. 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In March 2002, I was visiting the University of Southern California. One night, as sometimes happens on a vibrant campus, two interesting but very different public lectures were scheduled against one another. The first was by the co-chairman and co-founder of Adobe Systems Inc., Dr. John E. Warnock, talking about books. The second was a lecture by acclaimed video artist Bill Viola. The first event was clearly designed as a networking forum for faculty and entrepreneurs. The general student population was conspicuously absent. Warnock spoke of the future of Adobe, shared stories of his love of books, and in an embodiment of the democratising potential of Adobe software (and no doubt to the horror of archivists in the room) he invited the audience to handle extremely rare copies of early printed works from his personal library. In the lecture theatre where Viola was to speak the atmosphere was different. Students were everywhere; even at the price of ten dollars a head. Viola spoke of time and memory in the information age, of consciousness and existence, to an enraptured audience—and showed his latest work. The juxtaposition of these two events says something about our cultural moment, caught between a paradigm modelled on reverence toward the page, and a still emergent sense of medium, intensity and experimentation. But, the juxtaposition yields more. At one point in Warnock’s speech, in a demonstration of the ultra-high resolution possible in the next generation of Adobe products, he presented a scan of a manuscript, two pages, two columns per page, overflowing with detail. Fig. 1. Dr John E. Warnock at the Annenberg Symposium. Photo courtesy of http://www.annenberg.edu/symposia/annenberg/2002/photos.php Later, in Viola’s presentation, a fragment of a video work, Silent Mountain (2001) splits the screen in two columns, matching Warnock’s text: inside each a human figure struggles with intense emotion, and the challenges of bridging the relational gap. Fig. 2. Images from Bill Viola, Silent Mountain (2001). From Bill Viola, THE PASSIONS. The J. Paul Getty Museum, Los Angeles in Association with The National Gallery, London. Ed. John Walsh. p. 44. Both events are, of course, lectures. And although they are different in style and content, a ‘columnular’ scheme informs and underpins both, as a way of presenting and illustrating the lecture. Here, it is worth thinking about Pierre de la Ramée or Petrus (Peter) Ramus (1515-1572), the 16th century educational reformer who in the words of Frances Yates ‘abolished memory as a part of rhetoric’ (229). Ramus was famous for transforming rhetoric through the introduction of his method or dialectic. For Walter J. Ong, whose discussion of Ramism we are indebted to here, Ramus produced the paradigm of the textbook genre. But it is his method that is more noteworthy for us here, organised through definitions and divisions, the distribution of parts, ‘presented in dichotomized outlines or charts that showed exactly how the material was organised spatially in itself and in the mind’ (Ong, Orality 134-135). Fig. 3. Ramus inspired study of Medicine. Ong, Ramus 301. Ong discusses Ramus in more detail in his book Ramus: Method, and the Decay of Dialogue. Elsewhere, Sutton, Benjamin, and I have tried to capture the sense of Ong’s argument, which goes something like the following. In Ramus, Ong traces the origins of our modern, diagrammatic understanding of argument and structure to the 16th century, and especially the work of Ramus. Ong’s interest in Ramus is not as a great philosopher, nor a great scholar—indeed Ong sees Ramus’s work as a triumph of mediocrity of sorts. Rather, his was a ‘reformation’ in method and pedagogy. The Ramist dialectic ‘represented a drive toward thinking not only of the universe but of thought itself in terms of spatial models apprehended by sight’ (Ong, Ramus 9). The world becomes thought of ‘as an assemblage of the sort of things which vision apprehends—objects or surfaces’. Ramus’s teachings and doctrines regarding ‘discoursing’ are distinctive for the way they draw on geometrical figures, diagrams or lecture outlines, and the organization of categories through dichotomies. This sets learning up on a visual paradigm of ‘study’ (Ong, Orality 8-9). Ramus introduces a new organization for discourse. Prior to Ramus, the rhetorical tradition maintained and privileged an auditory understanding of the production of content in speech. Central to this practice was deployment of the ‘seats’, ‘images’ and ‘common places’ (loci communes), stock arguments and structures that had accumulated through centuries of use (Ong, Orality 111). These common places were supported by a complex art of memory: techniques that nourished the practice of rhetoric. By contrast, Ramism sought to map the flow and structure of arguments in tables and diagrams. Localised memory, based on dividing and composing, became crucial (Yates 230). For Ramus, content was structured in a set of visible or sight-oriented relations on the page. Ramism transformed the conditions of visualisation. In our present age, where ‘content’ is supposedly ‘king’, an archaeology of content bears thinking about. In it, Ramism would have a prominent place. With Ramus, content could be mapped within a diagrammatic page-based understanding of meaning. A container understanding of content arises. ‘In the post-Gutenberg age where Ramism flourished, the term “content”, as applied to what is “in” literary productions, acquires a status which it had never known before’ (Ong, Ramus 313). ‘In lieu of merely telling the truth, books would now in common estimation “contain” the truth, like boxes’ (313). For Ramus, ‘analysis opened ideas like boxes’ (315). The Ramist move was, as Ong points out, about privileging the visual over the audible. Alongside the rise of the printing press and page-based approaches to the word, the Ramist revolution sought to re-work rhetoric according to a new scheme. Although spatial metaphors had always had a ‘place’ in the arts of memory—other systems were, however, phonetically based—the notion of place changed. Specific figures such as ‘scheme’, ‘plan’, and ‘table’, rose to prominence in the now-textualised imagination. ‘Structure’ became an abstract diagram on the page disconnected from the total performance of the rhetor. This brings us to another key aspect of the Ramist reformation: that alongside a spatialised organisation of thought Ramus re-works style as presentation and embellishment (Brummett 449). A kind of separation of conception and execution is introduced in relation to performance. In Ramus’ separation of reason and rhetoric, arrangement and memory are distinct from style and delivery (Brummett 464). While both dialectic and rhetoric are re-worked by Ramus in light of divisions and definitions (see Ong, Ramus Chs. XI-XII), and dialectic remains a ‘rhetorical instrument’ (Ramus 290), rhetoric becomes a unique site for simplification in the name of classroom practicality. Dialectic circumscribes the space of learning of rhetoric; invention and arrangement (positioning) occur in advance (289). Ong’s work on the technologisation of the word is strongly focused on identifying the impact of literacy on consciousness. What Ong’s work on Ramus shows is that alongside the so-called printing revolution the Ramist reformation enacts an equally if not more powerful transformation of pedagogic space. Any serious consideration of print must not only look at the technologisation of the word, and the shifting patterns of literacy produced alongside it, but also a particular tying together of pedagogy and method that Ong traces back to Ramus. If, as is canvassed in the call for papers of this issue of M/C Journal, ‘the transitions in print culture are uneven and incomplete at this point’, then could it be in part due to the way Ramism endures and is extended in electronic and hypermedia contexts? Powerpoint presentations, outlining tools (Heim 139-141), and the scourge of bullet points, are the most obvious evidence of greater institutionalization of Ramist knowledge architecture. Communication, and the teaching of communication, is now embedded in a Ramist logic of opening up content like a box. Theories of communication draw on so-called ‘models’ that draw on the representation of the communication process through boxes that divide and define. Perhaps in a less obvious way, ‘spatialized processes of thought and communication’ (Ong, Ramus 314) are essential to the logic of flowcharting and tracking new information structures, and even teaching hypertext (see the diagram in Nielsen 7): a link puts the popular notion that hypertext is close to the way we truly think into an interesting perspective. The notion that we are embedded in print culture is not in itself new, even if the forms of our continual reintegration into print culture can be surprising. In the experience of printing, of the act of pressing the ‘Print’ button, we find ourselves re-integrated into page space. A mini-preview of the page re-assures me of an actuality behind the actualizations on the screen, of ink on paper. As I write in my word processing software, the removal of writing from the ‘element of inscription’ (Heim 136) —the frictionless ‘immediacy’ of the flow of text (152) — is conditioned by a representation called the ‘Page Layout’, the dark borders around the page signalling a kind of structures abyss, a no-go zone, a place, beyond ‘Normal’, from which where there is no ‘Return’. At the same time, however, never before has the technological manipulation of the document been so complex, a part of a docuverse that exists in three dimensions. It is a world that is increasingly virtualised by photocopiers that ‘scan to file’ or ‘scan to email’ rather than good old ‘xeroxing’ style copying. Printing gives way to scanning. In a perverse extension of printing (but also residually film and photography), some video software has a function called ‘Print to Video’. That these super-functions of scanning to file or email are disabled on my department photocopier says something about budgets, but also the comfort with which academics inhabit Ramist space. As I stand here printing my lecture plan, the printer stands defiantly separate from the photocopier, resisting its colonizing convergence even though it is dwarfed in size. Meanwhile, the printer demurely dispenses pages, one at a time, face down, in a gesture of discretion or perhaps embarrassment. For in the focus on the pristine page there is a Puritanism surrounding printing: a morality of blemishes, smudges, and stains; of structure, format and order; and a failure to match that immaculate, perfect argument or totality. (Ong suggests that ‘the term “method” was appropriated from the Ramist coffers and used to form the term “methodists” to designate first enthusiastic preachers who made an issue of their adherence to “logic”’ (Ramus 304).) But perhaps this avoidance of multi-functionality is less of a Ludditism than an understanding that the technological assemblage of printing today exists peripherally to the ideality of the Ramist scheme. A change in technological means does not necessarily challenge the visile language that informs our very understanding of our respective ‘fields’, or the ideals of competency embodied in academic performance and expression, or the notions of content we adopt. This is why I would argue some consideration of Ramism and print culture is crucial. Any ‘true’ breaking out of print involves, as I suggest, a challenge to some fundamental principles of pedagogy and method, and the link between the two. And of course, the very prospect of breaking out of print raises the issue of its desirability at a time when these forms of academic performance are culturally valued. On the surface, academic culture has been a strange inheritor of the Ramist legacy, radically furthering its ambitions, but also it would seem strongly tempering it with an investment in orality, and other ideas of performance, that resist submission to the Ramist ideal. Ong is pessimistic here, however. Ramism was after all born as a pedagogic movement, central to the purveying ‘knowledge as a commodity’ (Ong, Ramus 306). Academic discourse remains an odd mixture of ‘dialogue in the give-and-take Socratic form’ and the scheduled lecture (151). The scholastic dispute is at best a ‘manifestation of concern with real dialogue’ (154). As Ong notes, the ideals of dialogue have been difficult to sustain, and the dominant practice leans towards ‘the visile pole with its typical ideals of “clarity”, “precision”, “distinctness”, and “explanation” itself—all best conceivable in terms of some analogy with vision and a spatial field’ (151). Assessing the importance and after-effects of the Ramist reformation today is difficult. Ong describes it an ‘elusive study’ (Ramus 296). Perhaps Viola’s video, with its figures struggling in a column-like organization of space, structured in a kind of dichotomy, can be read as a glimpse of our existence in or under a Ramist scheme (interestingly, from memory, these figures emote in silence, deprived of auditory expression). My own view is that while it is possible to explore learning environments in a range of ways, and thus move beyond the enclosed mode of study of Ramism, Ramism nevertheless comprises an important default architecture of pedagogy that also informs some higher level assumptions about assessment and knowledge of the field. Software training, based on a process of working through or mimicking a linked series of screenshots and commands is a direct inheritor of what Ong calls Ramism’s ‘corpuscular epistemology’, a ‘one to one correspondence between concept, word and referent’ (Ong, Orality 168). My lecture plan, providing an at a glance view of my presentation, is another. The default architecture of the Ramist scheme impacts on our organisation of knowledge, and the place of performance with in it. Perhaps this is another area where Ong’s fascinating account of secondary orality—that orality that comes into being with television and radio—becomes important (Orality 136). Not only does secondary orality enable group-mindedness and communal exchange, it also provides a way to resist the closure of print and the Ramist scheme, adapting knowledge to new environments and story frameworks. Ong’s work in Orality and Literacy could thus usefully be taken up to discuss Ramism. But this raises another issue, which has to do with the relationship between Ong’s two books. In Orality and Literacy, Ong is careful to trace distinctions between oral, chirographic, manuscript, and print culture. In Ramus this progression is not as prominent— partly because Ong is tracking Ramus’ numerous influences in detail —and we find a more clear-cut distinction between the visile and audile worlds. Yates seems to support this observation, suggesting contra Ong that it is not the connection between Ramus and print that is important, but between Ramus and manuscript culture (230). The interconnections but also lack of fit between the two books suggests a range of fascinating questions about the impact of Ramism across different media/technological contexts, beyond print, but also the status of visualisation in both rhetorical and print cultures. References Brummett, Barry. Reading Rhetorical Theory. Fort Worth: Harcourt, 2000. Heim, Michael. Electric Language: A Philosophical Study of Word Processing. New Haven: Yale UP, 1987. Maras, Steven, David Sutton, and with Marion Benjamin. “Multimedia Communication: An Interdisciplinary Approach.” Information Technology, Education and Society 2.1 (2001): 25-49. Nielsen, Jakob. Multimedia and Hypertext: The Internet and Beyond. Boston: AP Professional, 1995. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London: Methuen, 1982. —. Ramus: Method, and the Decay of Dialogue. New York: Octagon, 1974. The Second Annual Walter H. Annenberg Symposium. 20 March 2002. http://www.annenberg.edu/symposia/annenberg/2002/photos.php> USC Annenberg Center of Communication and USC Annenberg School for Communication. 22 March 2005. Viola, Bill. Bill Viola: The Passions. Ed. John Walsh. London: The J. Paul Getty Museum, Los Angeles in Association with The National Gallery, 2003. Yates, Frances A. The Art of Memory. Harmondsworth: Penguin, 1969. Citation reference for this article MLA Style Maras, Steven. "Reflections on Adobe Corporation, Bill Viola, and Peter Ramus while Printing Lecture Notes." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/05-maras.php>. APA Style Maras, S. (Jun. 2005) "Reflections on Adobe Corporation, Bill Viola, and Peter Ramus while Printing Lecture Notes," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/05-maras.php>.

Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assumed that the re-imagining of cultural material for children will involve a process of “dumbing down” that strips the original text of its complexity so that it is more easily consumed by young audiences (see Semenza; Kellogg; Hastings; and Napolitano). This is especially the case when children’s films draw from texts—or genres—that are specifically associated with an adult readership. This paper explores such an interplay between children’s and adult’s culture with reference to the re-imagining of the horror genre in children’s animated film. Recent years have seen an inrush of animated films that play with horror tropes, conventions, and characters. These include Frankenweenie (2012), ParaNorman (2012), Hotel Transylvania (2012), Igor (2008), Monsters Inc. (2001), Monster House (2006), and Monsters vs Aliens (2009). Often diminishingly referred to as “kiddie horror” or “goth lite”, this re-imagining of the horror genre is connected to broader shifts in children’s culture, literature, and media. Anna Jackson, Karen Coats, and Roderick McGillis, for instance, have written about the mainstreaming of the Gothic in children’s literature after centuries of “suppression” (2); a glance at the titles in a children’s book store, they tell us, may suggest that “fear or the pretence of fear has become a dominant mode of enjoyment in literature for young people” (1). At the same time, as Lisa Hopkins has pointed out, media products with dark, supernatural, or Gothic elements are increasingly being marketed to children, either directly or through product tie-ins such as toys or branded food items (116-17). The re-imagining of horror for children demands our attention for a number of reasons. First, it raises questions about the commercialisation and repackaging of material that has traditionally been considered “high culture”, particularly when the films in question are seen to pilfer from sites of the literary Gothic such as Mary Shelley’s Frankenstein (1818) or Bram Stoker’s Dracula (1897). The classic horror films of the 1930s such as James Whale’s Frankenstein (1931) also have their own canonical status within the genre, and are objects of reverence for horror fans and film scholars alike. Moreover, aficionados of the genre have been known to object vehemently to any perceived simplification or dumbing down of horror conventions in order to address a non-horror audience. As Lisa Bode has demonstrated, such objections were articulated in many reviews of the film Twilight, in which the repackaging and simplifying of vampire mythology was seen to pander to a female, teenage or “tween” audience (710-11). Second, the re-imagining of horror for children raises questions about whether the genre is an appropriate source of pleasure and entertainment for young audiences. Horror has traditionally been understood as problematic and damaging even for adult viewers: Mark Jancovich, for instance, writes of the long-standing assumption that horror “is moronic, sick and worrying; that any person who derives pleasure from the genre is moronic, sick and potentially dangerous” and that both the genre and its fans are “deviant” (18). Consequently, discussions about the relationship between children and horror have tended to emphasise regulation, restriction, censorship, effect, and “the dangers of imitative violence” (Buckingham 95). As Paul Wells observes, there is a “consistent concern […] that horror films are harmful to children, but clearly these films are not made for children, and the responsibility for who views them lies with adult authority figures who determine how and when horror films are seen” (24). Previous academic work on the child as horror viewer has tended to focus on children as consumers of horror material designed for adults. Joanne Cantor’s extensive work in this area has indicated that fright reactions to horror media are commonly reported and can be long-lived (Cantor; and Cantor and Oliver). Elsewhere, the work of Sarah Smith (45-76) and David Buckingham (95-138) has indicated that children, like adults, can gain certain pleasures from the genre; it has also indicated that children can be quite media savvy when viewing horror, and can operate effectively as self-censors. However, little work has yet been conducted on whether (and how) the horror genre might be transformed for child viewers. With this in mind, I explore here the re-imagining of horror in two children’s animated films: Frankenweenie and ParaNorman. I will consider the way horror tropes, narratives, conventions, and characters have been reshaped in each film with a child’s perspective in mind. This, I argue, does not make them simplified texts or unsuitable objects of pleasure for adults; instead, the films demonstrate that the act of re-imagining horror for children calls into question long-held assumptions about pleasure, taste, and the boundaries between “adult” and “child”. Frankenweenie and ParaNorman: Rewriting the Myth of Childhood Innocence Frankenweenie is a stop-motion animation written by John August and directed by Tim Burton, based on a live-action short film made by Burton in 1984. As its name suggests, Frankenweenie re-imagines Shelley’s Frankenstein by transforming the relationship between creator and monster into that between child and pet. Burton’s Victor Frankenstein is a young boy living in a small American town, a creative loner who enjoys making monster movies. When his beloved dog Sparky is killed in a car accident, young Victor—like his predecessor in Shelley’s novel—is driven by the awfulness of this encounter with death to discover the “mysteries of creation” (Shelley 38): he digs up Sparky’s body, drags the corpse back to the family home, and reanimates him in the attic. This coming-to-life sequence is both a re-imagining of the famous animation scene in Whale’s film Frankenstein and a tender expression of the love between a boy and his dog. The re-imagined creation scene therefore becomes a site of negotiation between adult and child audiences: adult viewers familiar with Whale’s adaptation and its sense of electric spectacle are invited to rethink this scene from a child’s perspective, while child viewers are given access to a key moment from the horror canon. While this blurring of the lines between child and adult is a common theme in Burton’s work—many of his films exist in a liminal space where a certain childlike sensibility mingles with a more adult-centric dark humour—Frankenweenie is unique in that it actively re-imagines as “childlike” a film and/or work of literature that was previously populated by adult characters and associated with adult audiences. ParaNorman is the second major film from the animation studio Laika Entertainment. Following in the footsteps of the earlier Laika film Coraline (2009)—and paving the way for the studio’s 2014 release, Boxtrolls—ParaNorman features stop-motion animation, twisted storylines, and the exploration of dark themes and spaces by child characters. The film tells the story of Norman, an eleven year old boy who can see and communicate with the dead. This gift marks him as an outcast in the small town of Blithe Hollow, which has built its identity on the historic trial and hanging of an “evil” child witch. Norman must grapple with the town’s troubled past and calm the spirit of the vengeful witch; along the way, he and an odd assortment of children battle zombies and townsfolk alike, the latter appearing more monstrous than the former as the film progresses. Although ParaNorman does not position itself as an adaptation of a specific horror text, as does Frankenweenie, it shares with Burton’s film a playful intertextuality whereby references are constantly made to iconic films in the horror genre (including Halloween [1978], Friday the 13th [1980], and Day of the Dead [1985]). Both films were released in 2012 to critical acclaim. Interestingly, though, film critics seemed to disagree over who these texts were actually “for.” Some reviewers described the films as children’s texts, and warned that adults would likely find them “tame and compromised” (Scott), “toothless” (McCarthy) or “sentimental” (Bradshaw). These comments carry connotations of simplification: the suggestion is that the conventions and tropes of the horror genre have been weakened (or even contaminated) by the association with child audiences, and that consequently adults cannot (or should not) take pleasure in the films. Other reviewers of ParaNorman and Frankenweenie suggested that adults were more likely to enjoy the films than children (O’Connell; Berardinelli; and Wolgamott). Often, this suggestion came together with a warning about scary or dark content: the films were deemed to be too frightening for young children, and this exclusion of the child audience allowed the reviewer to acknowledge his or her own enjoyment of and investment in the film (and the potential enjoyment of other adult viewers). Lou Lumenick, for instance, peppers his review of ParaNorman with language that indicates his own pleasure (“probably the year’s most visually dazzling movie so far”; the climax is “too good to spoil”; the humour is “deliciously twisted”), while warning that children as old as eight should not be taken to see the film. Similarly, Christy Lemire warns that certain elements of Frankenweenie are scary and that “this is not really a movie for little kids”; she goes on to add that this scariness “is precisely what makes ‘Frankenweenie’ such a consistent wonder to watch for the rest of us” (emphasis added). In both these cases a line is drawn between child and adult viewers, and arguably it is the film’s straying into the illicit area of horror from the confines of a children’s text that renders it an object of pleasure for the adult viewer. The thrill of being scared is also interpreted here as a specifically adult pleasure. This need on the part of critics to establish boundaries between child and adult viewerships is interesting given that the films themselves strive to incorporate children (as characters and as viewers) into the horror space. In particular, both films work hard to dismantle the myths of childhood innocence—and associated ideas about pleasure and taste—that have previously seen children excluded from the culture of the horror film. Both the young protagonists, for instance, are depicted as media-literate consumers or makers of horror material. Victor is initially seen exhibiting one of his home-made monster movies to his bemused parents, and we first encounter Norman watching a zombie film with his (dead) grandmother; clearly a consummate horror viewer, Norman decodes the film for Grandma, explaining that the zombie is eating the woman’s head because, “that’s what they do.” In this way, the myth of childhood innocence is rewritten: the child’s mature engagement with the horror genre gives him agency, which is linked to his active position in the narrative (both Norman and Victor literally save their towns from destruction); the parents, meanwhile, are reduced to babbling stereotypes who worry that their sons will “turn out weird” (Frankenweenie) or wonder why they “can’t be like other kids” (ParaNorman). The films also rewrite the myth of childhood innocence by depicting Victor and Norman as children with dark, difficult lives. Importantly, each boy has encountered death and, for each, his parents have failed to effectively guide him through the experience. In Frankenweenie Victor is grief-stricken when Sparky dies, yet his parents can offer little more than platitudes to quell the pain of loss. “When you lose someone you love they never really leave you,” Victor’s mother intones, “they just move into a special place in your heart,” to which Victor replies “I don’t want him in my heart—I want him here with me!” The death of Norman’s grandmother is similarly dismissed by his mother in ParaNorman. “I know you and Grandma were very close,” she says, “but we all have to move on. Grandma’s in a better place now.” Norman objects: “No she’s not, she’s in the living room!” In both scenes, the literal-minded but intelligent child seems to understand death, loss, and grief while the parents are unable to speak about these “mature” concepts in a meaningful way. The films are also reminders that a child’s first experience of death can come very young, and often occurs via the loss of an elderly relative or a beloved pet. Death, Play, and the Monster In both films, therefore, the audience is invited to think about death. Consequently, there is a sense in each film that while the violent and sexual content of most horror texts has been stripped away, the dark centre of the horror genre remains. As Paul Wells reminds us, horror “is predominantly concerned with the fear of death, the multiple ways in which it can occur, and the untimely nature of its occurrence” (10). Certainly, the horror texts which Frankenweenie and ParaNorman re-imagine are specifically concerned with death and mortality. The various adaptations of Frankenstein that are referenced in Frankenweenie and the zombie films to which ParaNorman pays homage all deploy “the monster” as a figure who defies easy categorisation as living or dead. The othering of this figure in the traditional horror narrative allows him/her/it to both subvert and confirm cultural ideas about life, death, and human status: for monsters, as Elaine Graham notes, have long been deployed in popular culture as figures who “mark the fault-lines” and also “signal the fragility” of boundary structures, including the boundary between human and not human, and that between life and death (12). Frankenweenie’s Sparky, as an iteration of the Frankenstein monster, clearly fits this description: he is neither living nor dead, and his monstrosity emerges not from any act of violence or from physical deformity (he remains, throughout the film, a cute and lovable dog, albeit with bolts fixed to his neck) but from his boundary-crossing status. However, while most versions of the Frankenstein monster are deliberately positioned to confront ideas about the human/machine boundary and to perform notions of the posthuman, such concerns are sidelined in Frankenweenie. Instead, the emphasis is on concerns that are likely to resonate with children: Sparky is a reminder of the human preoccupation with death, loss, and the question of why (or whether, or when) we should abide by the laws of nature. Arguably, this indicates a re-imagining of the Frankenstein tale not only for child audiences but from a child’s perspective. In ParaNorman, similarly, the zombie–often read as an articulation of adult anxieties about war, apocalypse, terrorism, and the deterioration of social order (Platts 551-55)—is re-used and re-imagined in a childlike way. From a child’s perspective, the zombie may represent the horrific truth of mortality and/or the troublesome desire to live forever that emerges once this truth has been confronted. More specifically, the notion of dealing meaningfully with the past and of honouring rather than silencing the dead is a strong thematic undercurrent in ParaNorman, and in this sense the zombies are important figures who dramatise the connections between past and present. While this past/present connection is explored on many levels in ParaNorman—including the level of a town grappling with its dark history—it is Norman and his grandmother who take centre stage: the boundary-crossing figure of the zombie is re-realised here in terms of a negotiation with a presence that is now absent (the elderly relative who has died but is still remembered). Indeed, the zombies in this film are an implicit rebuke to Norman’s mother and her command that Norman “move on” after his grandmother’s death. The dead are still present, this film playfully reminds us, and therefore “moving on” is an overly simplistic and somewhat disrespectful response (especially when imposed on children by adult authority figures.) If the horror narrative is built around the notion that “normality is threatened by the Monster”, as Robin Wood has famously suggested, ParaNorman and Frankenweenie re-imagine this narrative of subversion from a child’s perspective (31). Both films open up a space within which the child is permitted to negotiate with the destabilising figure of the monster; the normality that is “threatened” here is the adult notion of the finality of death and, relatedly, the assumption that death is not a suitable subject for children to think or talk about. Breaking down such understandings, Frankenweenie and ParaNorman strive not so much to play with death (a phrase that implies a certain callousness, a problematic disregard for human life) but to explore death through the darkness of play. This is beautifully imaged in a scene from ParaNorman in which Norman and his friend Neil play with the ghost of Neil’s recently deceased dog. “We’re going to play with a dead dog in the garden,” Neil enthusiastically announces to his brother, “and we’re not even going to have to dig him up first!” Somewhat similarly, film critic Richard Corliss notes in his review of Frankenweenie that the film’s “message to the young” is that “children should play with dead things.” Through this intersection between “death” and “play”, both films propose a particularly child-like (although not necessarily child-ish) way of negotiating horror’s dark territory. Conclusion Animated film has always been an ambiguous space in terms of age, pleasure, and viewership. As film critic Margaret Pomeranz has observed, “there is this perception that if it’s an animated film then you can take the little littlies” (Pomeranz and Stratton). Animation itself is often a signifier of safety, fun, nostalgia, and childishness; it is a means of addressing families and young audiences. Yet at the same time, the fantastic and transformative aspects of animation can be powerful tools for telling stories that are dark, surprising, or somehow subversive. It is therefore interesting that the trend towards re-imagining horror for children that this paper has identified is unfolding within the animated space. It is beyond the scope of this paper to fully consider what animation as a medium brings to this re-imagining process. However, it is worth noting that the distinctive stop-motion style used in both films works to position them as alternatives to Disney products (for although Frankenweenie was released under the Disney banner, it is visually distinct from most of Disney’s animated ventures). The majority of Disney films are adaptations or re-imaginings of some sort, yet these re-imaginings look to fairytales or children’s literature for their source material. In contrast, as this paper has demonstrated, Frankenweenie and ParaNorman open up a space for boundary play: they give children access to tropes, narratives, and characters that are specifically associated with adult viewers, and they invite adults to see these tropes, narratives, and characters from a child’s perspective. Ultimately, it is difficult to determine the success of this re-imagining process: what, indeed, does a successful re-imagining of horror for children look like, and who might be permitted to take pleasure from it? Arguably, ParaNorman and Frankenweenie have succeeded in reshaping the genre without simplifying it, deploying tropes and characters from classic horror texts in a meaningful way within the complex space of children’s animated film. References Berardinelli, James. “Frankenweenie (Review).” Reelviews, 4 Oct. 2012. 6 Aug. 2014 ‹http://www.reelviews.net/php_review_template.php?identifier=2530›. Bode, Lisa. “Transitional Tastes: Teen Girls and Genre in the Critical Reception of Twilight.” Continuum: Journal of Media & Cultural Studies 24.5 (2010): 707-19. Bradshaw, Peter. “Frankenweenie: First Look Review.” The Guardian, 11 Oct. 2012. 6 Aug. 2014 ‹http://www.theguardian.com/film/2012/oct/10/frankenweenie-review-london-film-festival-tim-burton›. Buckingham, David. Moving Images: Understanding Children’s Emotional Responses to Television. Manchester and New York: Manchester University Press, 1996. Cantor, Joanne. “‘I’ll Never Have a Clown in My House’ – Why Movie Horror Lives On.” Poetics Today 25.2 (2004): 283-304. Cantor, Joanne, and Mary Beth Oliver. “Developmental Differences in Responses to Horror”. The Horror Film. Ed. Stephen Prince. New Brunswick, NJ: Rutgers UP, 2004. 224-41. Corliss, Richard. “‘Frankenweenie’ Movie Review: A Re-Animated Delight”. Time, 4 Oct. 2012. 6 Aug. 2014 ‹http://entertainment.time.com/2012/10/04/tim-burtons-frankenweenie-a-re-animated-delight/›. Frankenweenie. Directed by Tim Burton. Walt Disney Pictures, 2012. Graham, Elaine L. Representations of the Post/Human: Monsters, Aliens and Others in Popular Culture. Manchester: Manchester UP, 2002. Hastings, A. Waller. “Moral Simplification in Disney’s The Little Mermaid.” The Lion and the Unicorn 17.1 (1993): 83-92. Hopkins, Lisa. Screening the Gothic. Austin: U of Texas P, 2005. Jackson, Anna, Karen Coats, and Roderick McGillis. “Introduction.” The Gothic in Children’s Literature: Haunting the Borders. Eds. Anna Jackson, Karen Coats, and Roderick McGillis. New York: Routledge, 2008. 1-14. Jancovich, Mark. “General Introduction.” Horror: The Film Reader. Ed. Mark Jancovich. London: Routledge, 2002. 1-19. Kellogg, Judith L. “The Dynamics of Dumbing: The Case of Merlin.” The Lion and the Unicorn 17.1 (1993): 57-72. Leitch, Thomas. “Twelve Fallacies in Contemporary Adaptation Theory.” Criticism 45.2 (2003): 149-71. Lemire, Christy. “‘Frankenweenie’ Review: Tim Burton Reminds Us Why We Love Him.” The Huffington Post, 2 Oct. 2012. 6 Aug. 2014 ‹http://www.huffingtonpost.com/2012/10/03/frankenweenie-review-tim-burton_n_1935142.html›. Lumenick, Lou. “So Good, It’s Scary (ParaNorman Review)”. New York Post, 17 Aug. 2012. 3 Jun. 2015 ‹http://nypost.com/2012/08/17/so-good-its-scary/›. McCarthy, Todd. “Frankenweenie: Film Review.” The Hollywood Reporter, 20 Sep. 2012. 6 Aug. 2014 ‹http://www.hollywoodreporter.com/movie/frankenweenie/review/372720›. Napolitano, Marc. “Disneyfying Dickens: Oliver & Company and The Muppet Christmas Carol as Dickensian Musicals.” Studies in Popular Culture 32.1 (2009): 79-102. O’Connell, Sean. “Middle School and Zombies? Awwwkward!” Washington Post, 17 Aug. 2012. 3 Jun. 2015 ‹http://www.washingtonpost.com/gog/movies/paranorman,1208210.html›. ParaNorman. Directed by Chris Butler and Sam Fell. Focus Features/Laika Entertainment, 2012. Platts, Todd K. “Locating Zombies in the Sociology of Popular Culture”. Sociology Compass 7 (2013): 547-60. Pomeranz, Margaret, and David Stratton. “Igor (Review).” At the Movies, 14 Dec. 2008. 6 Aug. 2014 ‹http://www.abc.net.au/atthemovies/txt/s2426109.htm›. Scott, A.O. “It’s Aliiiive! And Wagging Its Tail: ‘Frankenweenie’, Tim Burton’s Homage to Horror Classics.” New York Times, 4 Oct. 2012. 6 Aug. 2014 ‹http://www.nytimes.com/2012/10/05/movies/frankenweenie-tim-burtons-homage-to-horror-classics.html›. Semenza, Gregory M. Colón. “Teens, Shakespeare, and the Dumbing Down Cliché: The Case of The Animated Tales.” Shakespeare Bulletin 26.2 (2008): 37-68. Shelley, Mary. Frankenstein, or, The Modern Prometheus. Hertfordshire: Wordsworth Editions, 1993 [1818]. Smith, Sarah J. Children, Cinema and Censorship: From Dracula to the Dead End Kids. London: I.B. Tauris, 2005. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Eds. Robert Stam and Alessandra Raengo. Oxford: Blackwell, 2005. 1-52. Wells, Paul. The Horror Genre: From Beelzebub to Blair Witch. London: Wallflower, 2000. Whelehan, Imelda. “Adaptations: the Contemporary Dilemmas.” Adaptations: From Text to Screen, Screen to Text. Eds. Deborah Cartmell and Imelda Whelehan. London: Routledge, 1999. 3-19. Wolgamott, L. Kent. “‘Frankenweenie’ A Box-Office Bomb, But Superior Film.” Lincoln Journal Star, 10 Oct. 2012. 18 Aug. 2014 ‹http://journalstar.com/entertainment/movies/l-kent-wolgamott-frankenweenie-a-box-office-bomb-but-superior/article_42409e82-89b9-5794-8082-7b5de3d469e2.html›. Wood, Robin. “The American Nightmare: Horror in the 70s.” Horror: The Film Reader. Ed. Mark Jancovich. London: Routledge, 2002. 25-32.

For several decades, researchers have studied the comparative effects of face-to-face and electronic communication. Some have claimed that electronic communication is detrimental to outcomes while others have emphasized its advantages. For members of healthcare quality improvement (QI) collaboratives, a mix of both of types of communication is often used, due to geographical dispersion. This chapter examines the outcomes of a specific QI collaborative, the Empira Falls Prevention project in Minnesota, USA. Levels of electronic communication between collaborative members were found to be associated with a positive patient outcome, specifically a reduction in falls. Electronic and face-to-face communication differed in their association with success measures for the collaborative. The findings suggest that the two modes of communication can be leverage to attain maximum benefits from participating in a quality improvement collaborative.

In 1978, the Japanese government started a national project for energy conservation called the Moonlight Project. The Engineering Research Association for Advanced Gas Turbines was selected to research and develop an advanced gas turbine for this project. The development stages were planned as follows: First, the development of a reheat gas turbine for a pilot plant (AGTJ-100A), and second, a prototype plant (AGTJ-100B). The AGTJ-100A has been undergoing performance tests since 1984 at the Sodegaura Power Station of the Tokyo Electric Power Co., Inc. (TEPCO). The inlet gas temperature of the high pressure turbine (HPT) of the AGTJ-100A is 1573K, while that of the AGTJ-100B is 100K higher. Therefore, various advanced technologies have to be applied to the AGTJ-100B HPT. Ceramic coating on the HPT blades is the most desirable of these technologies. In this paper, the present situation of development, as well as future R & D plans for ceramic coating will be described.

New Jersey Transit’s (NJT) ALP-46 locomotives have been successfully introduced into revenue service. On April 7, 2003, NJT received Federal Railroad Administration (FRA) approval to operate at 100 mph on Amtrak’s Northeast Corridor. Bombardier Transportation (Holding) USA, Inc. supplied these all-electric locomotives after proving the safety and performance of their product by passing an aggressive test specification prescribed by the FRA. The FRA specifications call for strict dynamic performance and compliance with wheel/rail interaction forces. Transportation Technology Center, Inc. (TTCI), a wholly owned subsidiary of the Association of American Railroads (AAR), designed and constructed two instrumented wheelsets (IWS) for use on NJT’s ALP-46 Locomotive Project. This Cardan drive locomotive required an innovative wheelset design because the right and left wheel plate shapes were not the same. To complete this unique system, TTCI incorporated a new amplifier system that digitized all the signals and transmits them via a single fiber optic cable to the data collection and analysis computer. This system eliminated the need for traditional slip rings normally used to transmit signals from rotating equipment. The vehicle qualification tests were conducted on Bombardier’s ALP-4601 locomotive in Amtrak’s Northeast Corridor (NEC) from Newark, New Jersey, to Philadelphia, Pennsylvania. The maximum speed achieved was 110 mph and the maximum cant deficiency (CD) was 6 inches. The FRA criteria for the vehicle qualification test were pre-programmed into TTCI’s real-time data analysis system to produce exception reports every 3 minutes during the actual testing. All data and any exception reports are referenced to a milepost via Global Positioning System (GPS) signals that are incorporated as part of the data collection.

In 1978, the Japanese government started a national project for energy conservation called the Moonlight Project. The Engineering Research Association for Advanced Gas Turbines was selected to research and develop an advanced gas turbine for this project. The development stages were planned as follows: First, the development of a reheat gas turbine for a pilot plant (AGTJ-100A), and second, a prototype plant (AGTJ-100B). The AGTJ-100A has been undergoing performance tests since 1984 at the Sodegaura Power Station of the Tokyo Electric Power Co., Inc. (TEPCO). The inlet gas temperature of the high pressure turbine (HPT) of the AGTJ-100A is 1573K, while that of the AGTJ-100B is 100K higher. Therefore, various advanced technologies have to be applied to the AGTJ-100B HPT. Ceramic coating on the HPT blades is the most desirable of these technologies. In this paper, the present situation of development, as well as future R & D plans for ceramic coating, is taken into consideration. Steam blade cooling is applied for the IGSC.

The Minnesota Valley Alfalfa Producers (MnVAP), a farmer owned cooperative, is developing a 75 MW combined cycle power plant integrated with alfalfa processiag facilities in southwestern Minnesota. The Minnesota Agri-Power (MAP) project is supported by the U. S. Department of Energy and a project development team that includes Stone & Webster, the University of Minnesota, United Power Association, Carbona Corporation/Kvaerner Pulping Inc. and Westinghouse. Alfalfa processing facilities separate the fibrous stem material from the protein-rich leaf fraction. The resulting alfalfa leaf meal (ALM) is further processed into a variety of valuable livestock feed products. Alfalfa stem material is gasified using air-blown fluidized bed technology to produce a hot, clean, fuel gas. The fuel gas is fired in a combustion turbine and the exhaust heat is used to produce steam to power a steam turbine. At base load, the electric power plant will consume 1000 tons per day of biomass fuel. This paper briefly describes the project development activities of the alfalfa feed trials and the combined cycle power plant. This commercial scale demonstration represents an important milestone on a continuing pathway towards environmentally and economically sustainable energy systems.

In the summer of 2009, Governor John P. DeJongh, Jr. announced that the Virgin Islands Water and Power Authority (WAPA) had just signed two 20-year Power Purchase Agreements, and the Virgin Islands Waste Management Authority (VIWMA) had signed two 20-year Solid Waste Management Services Agreements with affiliates of Denver-based Alpine Energy Group, LLC (AEG) to build, own, and operate two alternative energy facilities that will serve the residents of St. Croix, St. John, and St. Thomas. The alternative energy facilities, to be built on St. Croix and St. Thomas, have a projected cost of $440 million and will convert an estimated 146,000 tons per year of municipal solid waste into refuse-derived fuel (RDF) using WastAway Services® technology, which will be combined with petroleum coke as fuel in fluidized bed combustion facilities to generate steam and electric power. These sustainable projects will provide 33 MW of electric power to St. Thomas and St. John and 16 MW of electric power to St. Croix, and will help to provide long-term cost stability for electric power and solid waste management in the Territory. Construction is expected to start in spring 2010 with an anticipated completion date during the fourth quarter of 2012. This procurement is a significant achievement for the U.S. Virgin Islands. When the projects are fully implemented, they will allow the Territory to reduce its dependence on oil, recover the energy value and certain recyclable materials from its municipal solid waste, and divert this waste from landfill. Since VIWMA has the responsibility to collect and/or dispose of solid waste year-round, having a system incorporating multiple solid waste processing lines and an adequate supply of spare parts on hand at all times is crucial to meeting the daily demands of waste receiving and processing, and RDF production. Also, with the location of the US Virgin Islands in a hurricane zone, and with only one or two combustion units available in each Project, the ability to both stockpile waste pre-RDF processing and store the produced RDF is very important. Gershman, Brickner & Bratton, Inc. (GBB)’s work has included a due diligence review of the Projects and providing professional support in VIWMA’s negotiations with AEG. GBB’s initial primary assignment centered on reviewing the design and operations of the RDF processing systems that will be built and operated under the respective Service Contracts. VIWMA needed to undertake a detailed technical review of the proposed RDF processing system, since this was the integration point of the waste collection system and waste processing/disposal services. GBB, in association with Maguire, was requested to provide this review and present the findings and opinions to VIWMA. In the completion of this effort, which included both a technical review and participation in negotiations to advance the Service Contracts for the Projects, GBB made direct contact with the key equipment suppliers for the Projects proposed by AEG. This included Bouldin Corporation, the primary RDF processing system supplier, with its patented WastAway technology, and Energy Products of Idaho, the main thermal processing equipment supplier, with its fluidized bed combustion technology and air pollution control equipment. Additionally, since the combustion systems for both Projects will generate an ash product that will require marketing for use and/or disposal over the term of the Service Contracts, GBB made contact with LA Ash, one of the potential subcontractors identified by AEG for these ash management services. Due to the nature of the contract guarantees of VIWMA to provide 73,000 tons per year of Acceptable Waste to each Project for processing, VIWMA authorized GBB to perform a current waste stream characterization study. Part of this effort included waste sorts for one week each in February 2009 on St. Croix and March 2009 on St. Thomas, with the results shared with VIWMA and AEG, as compiled. The 2009 GBB waste stream characterization study incorporated historical monthly waste weigh data from both the Bovoni and Anguilla Landfills that were received from VIWMA staff. The study has formed a basis for continuing to augment the waste quantity information from the two landfills with the additional current monthly results compiled by VIWMA staff going forward following the waste sorts. The final GBB report was published in December 2009 and includes actual USVI landfill receipt data through August 31, 2009. The information contained in this document provides the underpinnings to allow for better tracking and analysis of daily, weekly and monthly waste quantities received for recycling, processing and disposal, which are important to the overall waste processing system operations, guarantees and cost projections. GBB’s annual projections are that the total waste on St. Croix is currently over 104,000 tons per year and over 76,000 tons per year on St. Thomas. The thermal processing technology selected for both Projects is a fluidized bed process, employing a heated bed of sand material “fluidized” in a column of air to burn the fuel — RDF and/or Pet Coke. As such, the solid waste to be used in these combustion units must be size-reduced from the myriad of sizes of waste set out at the curb or discharged into the large roll-off boxes or bins at the many drop-off sites in the US Virgin Islands. While traditional RDF would typically have several days of storage life, the characteristics of the pelletized RDF should allow several weeks of storage. This will be important to having a sound and realistic operating plan, given the unique circumstances associated with the climate, waste moisture content, island location, lack of back-up disposal options and downtime associated with the Power Generation Facility. During the negotiations between AEG and VIWMA, in which GBB staff participated, in addition to RDF and pelletized RDF as the waste fuel sources, other potential fuels have been discussed for use in the Projects and are included as “Opportunity Fuels” in the Service Contracts. These Opportunity Fuels include ground woody waste, dried sludges, and shredded tires, for example. Therefore, the flexibility of the EPI fluidized bed combustion boilers to handle multi-fuels is viewed as an asset over the long term, especially for an island location where disposal options are limited and shipping materials onto and off of each island is expensive. This presentation will provide a unique behind-the-scenes review of the process that led to this historic agreement, from the due diligence of the proposed technologies, to implementation planning, to the negotiations with the contractor. Also discussed will be the waste characterization and quantity analysis performed in 2009 and the fast-track procurement planning and procurement of construction and operating services for a new transfer station to be sited on St. Croix.