Journal articles on the topic 'Jim Rhodes'

The finding in 2017 of a female of Lethocerus patruelis, a species rarely collected in the Aegean Islands, is documented from Rhodes (Greece), more than 160 years after its first record in the same island. The general distribution of the giant water bug and its occurrence in the area are briefly discussed.Keywords: Belostomatidae, giant water bug, Lethocerus patruelis, Aegean Sea, Rhodes, Greece

Ehrlichia chaffeensis, the causative agent of human monocytic ehrlichiosis, is transmitted by Amblyomma americanum ticks, which are most abundant in the southern United States. Because serologic evidence suggests that residents of Connecticut are exposed to E. chaffeensis, A. americanum ticks were collected in Connecticut and Rhode Island for PCR analysis to detect E. chaffeensis DNA. Eight of 106 (7.6%) A. americanum ticks from Connecticut and 6 of 52 (11.5%) from Rhode Island contained E. chaffeensis DNA. Thus, E. chaffeensis is present in ticks in southern New England and transmission of E. chaffeensis may occur there.

Biopolis, Singapore's futuristic research hub. How does a country one-fourth the size of Rhode Island with little history in biomedical science become one of the world's biomedical research giants? The answer: with a pile of money and a large dose of chutzpah. Since 2000, Singapore has dumped more than US$2 billion into developing a biomedical research industry—from scratch. Is the gamble paying off?

Abstract This paper shows how Islamic astronomy played a significant role in the education of one of the most important Christian figures in the history of culture between eastern and western Europe, promoter of a crusade against the Ottoman Turks, namely Cardinal Bessarion (1400/1408–72). While the Byzantine polymath has generally been considered a purist of Ptolemaic astronomy, his interest in Islamic astronomy can be traced back to his youth and persisted throughout his life, as is testified by several sources from his manuscripts collection. It is misleading therefore to consider him a ‘purist’ of Ptolemy. The paper provides a survey of the texts of Islamic astronomy among the manuscripts of Bessarion’s estate. These are compared to Ptolemaic astronomy in order to assess the importance of Islamic astronomy within the framework of Bessarion’s collection. The results shed new light not only on Bessarion’s astronomical interests, but also on the reception of Islamic astronomy in non-Islamicate contexts in the fifteenth century, such as the late Byzantine Empire, Rhodes, Crete, Venice, and European humanism.

George Dennis’ The cities and cemeteries of Etruria, a massive two-volume work of over 1000 pages, was published towards the end of 1848, the British Museum’s copy (now the British Library’s) being received on 18 January 1849. It was quickly acclaimed as a literary and archaeological masterpiece (Rhodes 1973: 52–5; Pallottino 1955: 126, n. 1), which brought the then little-known Etruscans to life in the most vivid of ways. The fruit, in Dennis’ word, of extensive travelling in Etruria between 1842 and 1847, and of much work in the libraries of, in particular, Rome, it remains 150 years later an indispensable topographical source. Indeed, a 2nd, revised, edition appeared in 1878 (reprinted in 1883, but misleadingly entitled a 3rd edition), and a further version of the 1848 volume was published in J.M. Dent’s highly regarded ‘Everyman’ series in 1907.

The history of race in the nineteenth-century United States is often told as a story of black and white in the South, and white and Indian in the West, with little attention to the intersection between black and Indian. This article explores the history of nineteenth-century America's “little races”—racially ambiguous communities of African, Indian, and European origin up and down the eastern seaboard. These communities came under increasing pressure in the years leading up to the Civil War and in its aftermath to fall on one side or the other of a black-white color line. Drawing on trial records of cases litigating the racial identity of the Melungeons of Tennessee, the Croatans/Lumbee of North Carolina, and the Narragansett of Rhode Island, this article looks at the differing paths these three groups took in the face of Jim Crow: the Melungeons claiming whiteness; the Croatans/Lumbee asserting Indian identity and rejecting association with blacks; the Narragansett asserting Indian identity without rejecting their African origins. Members of these communities found that they could achieve full citizenship in the U.S. polity only to the extent that they abandoned their self-governance and distanced themselves from people of African descent.

A sensitive and specific nested PCR assay was developed for the detection of granulocytic ehrlichiae. The assay amplifies the 16S rRNA gene and was used to examine acute-phase EDTA-blood and serum samples obtained from seven humans with clinical presentations compatible with human granulocytic ehrlichiosis. Five of the seven suspected cases were positive by the PCR assay using DNA extracted from whole blood as the template, compared with a serologic assay that identified only one positive sample. The PCR assay using DNA extracted from the corresponding serum samples as the template identified three positive samples. The sensitivity of the assay on human samples was examined, and the limit of detection was shown to be fewer than 2 copies of the 16S rRNA gene. The application of the assay to nonhuman samples demonstrated products amplified from template DNA extracted fromIxodes scapularis ticks collected in Rhode Island and from EDTA-blood specimens obtained from white-tailed deer in Maryland. All PCR products were sequenced and identified as specific to granulocytic ehrlichiae. A putative variant granulocytic ehrlichia 16S rRNA gene sequence was detected among products amplified from both the ticks and the deer blood specimens.

Magnetotactic bacteria are a morphologically, metabolically and phylogenetically disparate array of bacteria united by the ability to biomineralize membrane-encased, single-magnetic-domain mineral crystals (magnetosomes) that cause the cell to orientate along the Earth’s geomagnetic field. The most commonly observed type of magnetotactic bacteria is the ubiquitous magnetotactic cocci, which comprise their own phylogenetic group. Strain MC-1T, a member of this group, was isolated from water collected from the oxic–anoxic interface of the Pettaquamscutt Estuary in Rhode Island, USA, and cultivated in axenic culture. Cells of strain MC-1T are roughly spherical, with two sheathed bundles of flagella at a single pole (bilophotrichous). Strain MC-1T uses polar magnetotaxis, and has a single chain of magnetite crystals per cell. Cells grow chemolithoautotrophically with thiosulfate or sulfide as the electron donors, and chemo-organoheterotrophically on acetate. During autotrophic growth, strain MC-1T relies on the reductive tricarboxylic acid cycle for CO2 fixation. The DNA G+C content is 54.2 mol%. The new genus and species Magnetococcus marinus gen. nov., sp. nov. are proposed to accommodate strain MC-1T ( = ATCC BAA-1437T = JCM 17883T), which is nominated as the type strain of Magnetococcus marinus. A new order (Magnetococcales ord. nov.) and family (Magnetococcaceae fam. nov.) are proposed for the reception of Magnetococcus and related magnetotactic cocci, which are provisionally included in the Alphaproteobacteria as the most basal known lineage of this class.

Nematic liquid crystal (LC)-based beam steering has been reported for wide applications. However, for conventional nematic LC beam steering the thickness is of several microns in order to have a wider deflection angle. The response time is relatively slow and the diffraction efficiency is low. In this work, novel beam steering based on polymer stabilized blue phase liquid crystal (PS-BPLC) has been designed and theoretically analyzed. This special mesophase of the chiral doped nematic LC has several advantageous characteristics, for example no need for alignment layers, microsecond response time and an isotropic voltage-off state. The results reveal control over phase retardation. The direction of the steered beam can be tuned by voltage. Depending on voltage configuration, either diffractive beam steering (0.5deg deviation for 1st order) or a tunable continuous phase (tunable deviation of 0.002deg) can be obtained. In the first case, the deflection angle could be tuned by stacks of samples. The second option has the same phase shift for the TE and TM modes so unpolarized light could be used. Full Text: PDF ReferencesF. Feng, I. White, T. Wilkinson, "Free Space Communications With Beam Steering a Two-Electrode Tapered Laser Diode Using Liquid-Crystal SLM", J. Lightwave Technol. 31, 2001 (2013). CrossRef E. Oton, J. Perez-Fernandez, D. Lopez-Molina, X. Quintana, J.M. Oton, M.A. Geday, "Reliability of Liquid Crystals in Space Photonics", IEEE Photonics Journal 7, 1 (2015). CrossRef J. Stockley, S. Serati, "Multi-access laser terminal using liquid crystal beam steering", IEEE in Aerospace Conference, 1972 (2005). CrossRef D. Zografopoulos and E. Kriezis, "Switchable beam steering with zenithal bistable liquid-crystal blazed gratings", Opt. Lett. 39, 5842 (2014). CrossRef Benedikt Scherger, et al., "Discrete Terahertz Beam Steering with an Electrically Controlled Liquid Crystal Device", J. Infrared. Millim. Terahertz Waves 33, 1117 (2012). CrossRef M.A. Geday, X. Quintana, E. Otón, B. Cerrolaza, D. Lopez, F. Garcia de Quiro, I. Manolis, A. Short, Proc. ICSO, Rhodes, Greece, pp. 1-4 (2010). CrossRef Y. Chen, S.-T. Wu, "The outlook for blue-phase LCDs", Proc. SPIE 9005, Advances in Display Technologies IV, 900508 (2014). CrossRef G.D. Love, A.F. Naumov, "Modal liquid crystal lenses", Liq. Cryst. Today 10, 1 (2000). CrossRef V. Urruchi, J.F. Algorri, J.M. Sánchez-Pena, M.A. Geday, X. Quintana, N. Bennis, "Lenticular Arrays Based on Liquid Crystals", Opto-Electron. Rev. 20, 38 (2012). CrossRef J.F. Algorri, G. Love, and V. Urruchi, "Modal liquid crystal array of optical elements", Opt. Express 21, 24809 (2013). CrossRef J.F. Algorri, V. Urruchi, N. Bennis, J. Sánchez-Pena, "Modal liquid crystal microaxicon array", Opt. Lett. 39, 3476 (2014). CrossRef J.F. Algorri, V. Urruchi, B. Garcia-Camara, J.M. Sánchez-Pena, "Generation of Optical Vortices by an Ideal Liquid Crystal Spiral Phase Plate", IEEE Elect. Dev. Lett. 35, 856 (2014). CrossRef D. Xu, Y. Chen, Y. Liu, S. Wu, "Refraction effect in an in-plane-switching blue phase liquid crystal cell", Opt. Express 21, 24721 (2013). CrossRef Z. Ge, S. Gauza, M. Jiao, H. Xianyu, S.T. Wu, "Electro-optics of polymer-stabilized blue phase liquid crystal displays", Appl. Phys. Lett. 94 101104 (2009). CrossRef J. Yan et al., "Extended Kerr effect of polymer-stabilized blue-phase liquid crystals", Appl. Phys. Lett. 96, 071105 (2010). CrossRef X. Wang, D. Wilson, R. Muller, P. Maker, D. Psaltis, "Liquid-crystal blazed-grating beam deflector, Appl. Opt. 39, 6545 (2000). CrossRef

In the eastern United States, Monilinia laxa (Aderh. & Ruhl.) Honey has only been reported on tart cherry in New York (NY) (1). As a result of considerable rain in May of 2009 and 2011, an ornamental planting of Kwanzan cherries in Middletown, Rhode Island (RI), a planting of sweet cherry cvs. Ulster, Hedelfingen, Sam, and Lapins in Lanesboro, Massachusetts (MA), and plantings of apricot cvs. Harcot and Hargrande in Albion, Aurora, and Geneva, NY, and Harogem in Lanesboro, MA developed severe shoot blight (>15 to 100% of first-year shoots). Blighted shoots were wilted with the blight encompassing the distal end and often extending into second-year tissue with a distinct sunken margin. Leaves on symptomatic shoots had flushed, but were blighted and light brown. Blossom spurs were often blighted and gummosis was frequently observed at the base. In these same years, sweet cherry cv. Black Gold in Walworth, NY and plum cv. Stanley in Olcott, NY developed severe fruit rot (35 to 70% incidence). Plantings suffering from fruit rot had fruit lesions that began as pale brown, soft lesions with indiscriminant margins that covered 15 to 85% of the fruit surface area. Many blighted spurs, shoot tissues, and infected fruit were sporulating with tan-to-buff colored conidia produced in chains. From each planting with shoot blight, shoot tips were removed for pathogen isolation. Sections of symptomatic shoots (5 cm long) were surface sterilized in 0.6% NaOCl for 1 min and rinsed in sterile dH20. From plantings displaying blighted spurs or fruit rot, isolation was attempted directly from sporulating tissue. Cross sections of sterilized shoot tissue (3 mm thick) or tufts of sporulation from fruit and spurs were placed on potato dextrose agar amended with 50 μg/ml of streptomycin sulfate. After incubation at 24°C for 5 days, colonies with lobed margins, commonly described for M. laxa (4), were obtained. Several colonies resembling M. fructicola were isolated from all locations, but the majority of isolates from spurs and shoots resembled M. laxa. Conidia from both colony morphotypes were lemon shaped, but as expected, those from putative M. laxa isolates were smaller (10.75 × 12.0 μm) compared with those from putative M. fructicola isolates (15.75 × 18.25 μm) (4). Confirmation of M. laxa was further achieved by PCR amplification of the β-tubulin gene using M. laxa-specific primers as previously described (3). Pathogenicity of M. laxa isolates was proven by inoculating fruit of the stone fruit crop from which they were isolated as previously described (2). Fruit inoculated with M. laxa developed brown, soft sporulating lesions identical to the original observations, while those inoculated with water remained healthy. M. laxa was reisolated from symptomatic shoots and spurs, but not from water-inoculated tissues. The presence of M. laxa has been reported on tart cherries in NY (1), but to our knowledge, this is the first instance of economically devastating shoot blight on apricot in NY and MA, ornamental cherry in RI, and sweet cherry in MA and fruit rot on sweet cherry and plum in NY caused by M. laxa. In wet seasons, stone fruit growers may need to revise their chemical management programs to better prepare for M. laxa epidemics on several stone fruit species. References: (1) K. D. Cox and S. M. Villani. Plant Dis. 94:783, 2010. (2) K. D. Cox and S. M. Villani. Plant Dis. 95:828, 2011. (3) Z. Ma et al. Pest Manag. Sci. 61:449, 2005. J.M. (4) G. C. M. van Leeuwen and H. A. van Kesteren. Can. J. Bot. 76:2042, 1998.

Abstract Objectives Nausea and vomiting have psychological negative effects on some pregnant women during gestation. Different strategies have been used for the treatment of nausea and vomiting during pregnancy, such as acupressure and psychological interventions. This study was conducted to evaluate the effects of psychological counseling and acupressure based on couple therapy procedures on vomiting and nausea in pregnant women in Iran. Methods Two hundred and eight women were divided into four groups (n=52): 1) they did not any intervention (control group), 2) they received the psychological intervention, 3) they received acupressure intervention, and 4) they received a combination of psychological + acupressure interventions. To investigate the effects of interventions on nausea and vomiting, the Rhodes index of nausea, vomiting and retching were used. The counseling period has lasted for 4 weeks. The pressure intervention on the site was conducted in clockwise form for 1 min and anticlockwise form for another 1 min. Results Groups did not have a significant difference for abortion and income (p>0.05). The effects of counseling, and acupressure interventions on severity and period of vomiting and nausea were not significant (p>0.05), but the intervention based on counseling and acupressure decreased severity of vomiting and nausea (p<0.05). Conclusions The intervention based on counseling and acupressure could not reduce nausea and vomiting during the gestation, but the intervention based on a combination of both decreased nausea and vomiting. It can be suggested to apply an intervention based on a combination of counseling and acupressure in short-time period for decreasing nausea and vomiting in women during pregnancy.

The Big Pineapple, Big Banana, the Big Potato , Australia positively groans under the weight of big things littered along the highway like jokes awaiting their punch-lines. These commercial road-side enterprises are a constant source of bemusement among Australians and this paper seeks to explore the attraction of the gargantuan and why Australians consider big things to be so funny. Discovering that big things not only give form to national icons but also celebrate the nation's tendency to larrikinism and the associated sardonic, ironic and anti-establishment humour, we are left to consider the role big things may play in the Australian national psyche and how their function as low art turns their collectivity into some strange, impulsive attempt at establishing a system of totems that comes to terms with this big land and its contested ownership. Historically big things like the Colossus of Rhodes, the Pyramids or the Great Wall of China have been physical manifestations of empire and dominion. No laughing matter. But in the United States from the 1920s, particularly in Southern California, we begin to see a profusion of "roadside vernacular architecture" including a big coffee percolator, a big pig, a big corn ear, a big teapot, a big Spanish dancer, a big duck, a big fish and many big hot dogs and big chilli bowls (Heimann and Georges). "Imaginana" is another way to conceptualise these strange forms of cultural production that replicate familiar, safe everyday items (Amdur 12). Early big things, particularly in the United States, had a clearly pragmatic function: to lure car-bound consumers off the highways and into local commercial enterprises with simple, one-to-one signification bringing function to form and high art to low purposes (Gebhard 14). The aim of these big things was to shock, startle and amuse the passing motorist and they took on a humourous edge due to the incongruity of scale and the surreal surprise of reality warping out of all proportion. While big things have a commercial purpose they achieve that purpose because they can be read playfully, always reminding us of the paradox they entail: they act dualistically as both the media and the message, both the referent and the real (Barcan 38). Reading big things as jokes in Freudian terms, we see how they may be eruptions of the unconscious into the mundane (Krahn 158). The first big thing in Australia was the Big Banana, built in Coffs Harbour by an American entomologist, John Landi (Negus). From that time on Australia has had a quirky relationship with big things. The banana is innately funny. The bent phallus, the unique shape, the skin as the standard slapstick cue to pratfall; everything about the banana is an invitation to laugh. Soon the banana was emulated by other funny produce such as the pineapple, the prawn and the lobster and within a decade monstrous agricultural products proliferated beside Australian highways regardless of their innate humour. They were joined by a variety of iconic figures, usually with an obvious connection such as the Big Penguin at the town of Penguin. Big things reinforce notions of national and regional identity: on the national level Australia is portrayed as a land of plenty, a fact emphasized by the sheer vastness of these creations; regionally, these totems function as identity markers and place makers (Barcan 31). Many big things were constructed by migrants and thus can be interpreted as optimistic acts of home making in the vast emptiness of the continent (Barcan 36). There is concern that big things obscure, or even obliterate, the history of regions and the whole continent: the incarcerations, land-grabbing, labour conflicts, corruption and failure. Instead it could be argued that big thing function to both signpost white history and subvert it at the same time: the Big Ned Kelly calling for revolution, the big goldminer looking ever expectant and ever disappointed, the Big Captain Cook in Cairns giving what appears to be a Nazi salute, all point to a larrikin refusal to take the brief and minor white history too seriously. The Australian larrikin sense of humour is mischievous, depreciatory and anti-authoritarian. This sense of humour arises from certain characteristics of the Australian "legend" identified by Ward such as scepticism, egalitarianism and derision towards affectation that are evident in larrikins' confrontations with authority, elaborate practical jokes on each other and the community at large and a "propensity for vulgarising the arts" (Reekie 97). This larrikinism is evident in the way dangerous nuisances (the big crocodile, the big red back spider) and mundane objects (the big jam tin, the big stubby holder, the big mower) are given the same treatment as national icons. There is also the variability of effort and attention to detail, where Aussie "ingenuity" and bush carpentry have been used to turn a good idea into reality in the shortest possible time to produce a very impressionist big koala or just the blob of concrete that is the big strawberry. Ignatius Jones explains: "get your local surfboard maker to cast you a giant prawn in fibreglass and you end up with the cicada that ate Yamba" (Negus). The early documentation of Australian big things was also carried out in a larrikin spirit (Amdur) including the claim that big things are part of an alien conspiracy to make us feel small (Stockwell). Every big thing requires a visionary, a postmodern artist with the passion and the obsession to realise their vision. It is a form of low art, a form of trash culture. But to many who do not frequent galleries and museums, low art is their available form of art and thus becomes their actual art. City planners and the upper middle class tend to denigrate these structures so at odds with their images of beautiful cities, so blatantly bastions of commercialism and so big that they run the risk of obscuring and obliterating real art (Gerbhard 25). Big things are criticised as ugly, kitsch, tacky and giving a wrong impression of a town. There are further concerns that big things allow the tourist to learn without knowing by presenting only one side of the story (Cross 51) and that they make observers minuscule in their presence, dominating the landscape and the attention of tourists (Krahn 165). But looking beyond the aesthetics of the individual instance it becomes apparent that big things also function as a network (Barcan 32), inviting the tourist along the highway of "the arrested fairground (in the) oxymoron of movement" (Krahn 157), offering the hyperreal adventure of collecting the experience, and small mementos, of more big things (Eco 1986). Big things are carnival, inverting social rules, promising some weird utopia (Krahn 171). As a collectivity, the larger psycho-political and metaphysical roles of big things become apparent. For Australia, the crucial question big things raise is the nature of our relationship with the land. Most of white Australia, huddled in cities on the seaboard, has a fear of the empty space at the heart of the continent. Big things are an attempt to assert that the settlers can match the dimensions of the land as, community by community, we write ourselves upon the land. The problem that big things highlight rather than obscure, the problem that can never be sublimated, that constantly erupts from the collective unconscious is that the ownership of the land remains contested, sometimes in the courts, sometimes in the streets, but most importantly in the hearts and dreams of the whole Australian people. All this land once had its own indigenous stories and big things may be seen as a pathetic attempt to replace, re-define and retell those stories by the interlopers now living on the land. "...Big things work allegorically, effacing, most notably, Aboriginal definitions of regional, tribal, spiritual, linguistic or other space" (Barcan 37). There is a sense in which big things are white trash barely obscuring black deaths (Nyoongah 12-14). But like a student's job-work over an old master's self portrait, big things invite us to peek through to the real totems of this land, totems enshrined in the creation myths of the indigenous dreaming. This is big things' contribution to the reconciliation process, to remind us of the fragile hold of white Australia on the land and to demand respect for the stories big things seek to displace. And that is the real big thing for white Australia in the reconciliation process, to accept these stories as our own so the land owns us. This is a much bigger leap than just saying sorry but in some strange way it has already commenced in the massive, mega-fauna that even now are rising from the land like the harbingers of a new dreamtime. A number of authors complain that, intentionally or otherwise, big things exclude indigenous flora and fauna and suggest that this points to a denial of history (Amdur 13, Barcan 36). But in recent years there has been a flood of big indigenous icons, many owned by indigenous corporations: big koalas, big kangaroos, big crocodiles, big bunyips and big barramundi. There is still the potential for indigenous artists to turn the joke around by creating big ancestral beings including rainbow serpents and the like. As Krahn (163) says: "I fear there must have been a Big Aboriginal Elder somewhere, gazing wistfully from the edge of town. But why a chicken?" Works Cited Amdur, Mark. It Really Is A Big Country . Sydney: Angus & Robertson, 1981. Barcan, Ruth. "Big Things: Consumer Totemism and Serial Monumentality." Linq 23.2 (1996): 31-39. Cane Toad Collective. "Big Things." Cane Toad Times 1 1983: 18-23. Eco, Umberto. Travels in Hyperreality. San Diego: Harcourt Brace, 1986. Gebhard, David. "Introduction." California Crazy: Roadside Vernacular Architecture . Eds. Jim Heimann and Rip Georges. San Francisco: Chronicle, 1985. 11-25. Heimann, Jim and Rip Georges. California Crazy: Roadside Vernacular Architecture . San Francisco: Chronicle, 1985. Krahn, Uli "The Arrested Fairground, or, Big Things as Oxymoron of Movement." Antithesis 13 (2002): 157-176. Negus, George, "Big Things", New Dimensions (In Time) . 21 July 2003. 26 September 2003 < http://www.abc.net.au/dimensions/dimensions_in_time/Transcripts/2003_default.htm >. Nyoongah, Janine Little. "'Unsinkable' Big Things: Spectacle, Race, and Class through Elvis, Titanic, O.J. and Sumo." Overland 148 (1997): 12-15. Reekie, Gail. "Nineteenth-Century Urbanization." Australian Studies: A Survey. Ed. James Walter. Melbourne: Oxford University Press, 1989. Stockwell, Stephen. "Cairns Collossi." Cane Toad Times 2 1984: 21. Ward, Russel. The Australian Legend . Melbourne: Oxford University Press, 1989. Links http://members.ozemail.com.au/~arundell/bigthing.htm http://www.alphalink.com.au/~richardb/page4.htm http://www.general.uwa.edu.au/u/rpinna/big/big_things_intro.html http://www.bigthings.com.au/ http://www.alphalink.com.au/~richardb/page4.htm Citation reference for this article MLA Style Stockwell, Stephen & Carlisle, Bethany. "Big Things" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0311/6-stockwell-carlisle-big-things.php>. APA Style Stockwell, S. & Carlisle, B. (2003, Nov 10). Big Things. M/C: A Journal of Media and Culture, 6, <http://www.media-culture.org.au/0311/6-stockwell-carlisle-big-things.php>

Warning: This film may be especially unsatisfying for those who dislike having others read over their shoulders So Is This (1982) is a 43-minute silent film composed entirely of type-set words that appear on the screen one at a time, gradually forming sentences and paragraphs as the viewer pieces the individual frames together. This strange process of reading words on moving celluloid frames is distinct from the self-regulated steady reading of words on the page and, in most cases, words on electronic screens. So Is This shows how film as a critical practice can engage with the writing that surrounds it. Film reviews, film theory, and a range of other texts interact with the ideas and methods of filmmaking. In So Is This, Michael Snow, who is most well known for films such as Wavelength (1967) and La Region Centrale (1971), uses the ‘material’ of film critics – the written word – and the moving image, to raise questions about the specific practices of looking and reading. This exploration of film and writing has been explored in a wealth of conceptual films from the 1960s and 1970s. Lis Rhodes’ Light Reading (1978) uses collage and text, and is possibly referred to in So Is This, which states “this is light reading”, a pun on the two meanings of ‘light’ – as physical brightness, or shallowness (a light read). Mike Dunford’s Tautology (1973) employs single words contrasted with images. Paul Sharits’ Word Movie (1972) explores the relationship between spoken language via the soundtrack and written text on the screen, and comes closest to So Is This in its focus on text as imagery. So Is This stands out among these explorations because of its singular and sustained focus. Snow’s film is composed entirely of text without the inclusion of any pictorial imagery and, unlike Sharits’ film, doesn’t rely on sound. On film and writing/About film and writing . The distinction Morris makes between texts which write on and texts which write about – a choice, she suggests, “made for reasons as well as rhythms” (151) – may seem trivial, but it is a useful place to start thinking about methodological and stylistic tendencies in film criticism. Morris reminds us of the literal meaning of ‘on’ – one writes or scribbles on a surface (151). Film criticism typically contains both Abouts and Ons, with a stronger dose of the former. A writing practice based on ‘abouts’ is one which deciphers texts, ‘cuts’ into them. “Clairvoyant reading tears through” (152), as Morris describes, in order to interpret. The term ‘clairvoyant’ is used to describe a practice which penetrates the surface of a text to find meaning. When Morris reminds her reader that “Ons . . . are the smooth swirls which are not straight lines which bind the pieces [of ideas] together” (151), she gives a warning about the critical ellipses that can occur when a reading practice emphasises the Abouts at the expense of the Ons. The vagueness of ‘smooth swirls’ and ‘straight lines’ is made less opaque when reading Morris’ own particularly likable ‘patterns’, but another way of thinking about the difference between writing on and writing about, is to think about writing on as a method of writing with. Snow, like Morris, pays attention to the small words which cradle the meaning of more complex sentences. The individual words that make up the frames of So Is This are all set to the same margins. This results in the small words taking up a larger portion of the screen, while the longer ones are shrunk to fit the margins. As the title indicates, this process inevitably places more emphasis on the small words. The word which is emphasised the most is ‘this’, which Snow describes as “the most present tense word there is” (‘Comments’ 24). Light Reading . The letters maintain the characteristic imperfections of manual typesetting. They are sometimes cracked, or slightly fraying at the edges. Similarly, Snow uses out-of-date colour film stock to make this ‘black and white’ film, which one soon realises is not black and white, but a range of dark and light colours. Snow continually reminds his viewers that although they are ‘reading’ words, the words are created by light, creating a practice of ‘light reading’. “[I]n this film writing is lighting” So Is This cheekily proclaims. To further emphasise that we are viewing a film, Hillier notes that, “Snow leaves in the end-of-roll flaring – normally simply junked as unusable – during which ‘image’ (here, written text) is progressively unable to be registered” (85). Some words have a flicker effect, and at times the ‘white’ text bleeds into a yellow tone, while the ‘black’ background moves toward a dark green. Although minimal in its use of ‘imagery’, So Is This maintains a particular beauty in the simplicity of shapes and colours and the unpredictable nature of out-of-date film. The duration of each word on the screen varies greatly, as does the darkness in the pauses between words. This rhythmic pacing of words and darkness is amusing and at times infuriating. Unlike other textual forms, where you can scan through sentences and paragraphs to make meaning, So Is This allows you to read one word at a time, at a pace controlled by the filmmaker. These nuances of timing create a ‘tone’ of address – Snow acknowledges that at times he structures the rhythm to make it conversational (‘Comments’ 28) – while also highlighting the ability of the film medium to structure time. This supervised reading in which the audience engages is frustrating – some words are held on the screen for nearly a minute, causing all kinds of bodily aches and irritations – and also very entertaining, although not in the sense that the film promises when it claims that “[i]t's going to get into some real human stuff that will make you laugh and cry and change society”. When watching the film I am reminded of being read aloud to by primary-school teachers, who would hold the book with the text facing the class, allowing students to follow the words while she or he read aloud. The sensation of staring at the teacher’s hands, willing them to turn the page a little faster, resurfaces during So Is This. The film coyly reminds us that; Everybody of course is equal and capable of reading at the same speed. But really some prefer it slow and some prefer it fast and you can't please everybody. So Is This refers to itself as both “script” and “score”. This musical analogy is important, considering Snow’s career as a jazz musician. So Is This is not a film about sound, yet it shares the concerns of rhythm, pace and ‘tone’ that are explored in his musical works. Jim Hillier’s connection between Snow’s description of the concerns of Rameau’s Nephew and the explorations he makes in So Is This, carefully highlights this point. Snow explains; To use spoken language to any deeper effect in film, I think one ought to be involved in provoking differences of hearing and listening counterpointed with those of seeing, watching, looking and making possible raw or concrete understandings. Meaning is a constituent not only of the words used but, even more than in real speech, of qualities possible only with film sound: a conscious use of the differences between actual speech and recorded speech (Snow in Hillier 80). Communal reading In a discussion of Snow’s film works, Thierry de Duve uses the word ‘hostage’ to describe the process of being ‘forced’ to literally ‘read’ an entire film (23). Although joking, de Duve hits on a salient point about the type of reading practice that Snow’s film demands you undertake. It is impossible to skim through the text of So Is This, or to read ahead; a more dedicated and active reader is required. To watch So Is This requires a level of involvement that films - even most experimental films – don’t typically demand. Towards the beginning of the film So Is This informs the audience that it “will consist of single words presented one after another to construct sentences and hopefully (this is where you come in) to convey meanings”. The construction of sentences, into paragraphs, a word at a time, means that the film slyly entices reflection and deliberation, through the necessity of holding onto the previous words, in order to understand the meaning Snow is conveying with subsequent words. This enduring involvement creates a closeness/intimacy with the text. In an interview with Snow, Mike Hoolboom describes So Is This as having a “friendly, warm feeling” (18). This is produced partly by the rhythm and tone of the words but also because the film doesn’t fail to remind its viewers that language is a relationship between people. The sociality of language – written and spoken – is referenced in So Is This when the film flippantly consoles its viewers for watching a film composed solely of text; But look at the bright side of it: Sharing! When was the last time you and your neighbour read together? This is communal reading, it's Group Lit! We could even read aloud but let's not. Is there anybody reading this right now? Secondly, Snow responds to the criticism in his typically humorous manner, by making a film containing nothing but words, which could be read as a direct response to the practices of reading films into theory. When So Is This muses, “a good thing about reading words like this and not hearing a voice is that you can't accuse it of being male or female”, the film responds to the disapproval aimed at Presents. So Is This also responds to the censoring of Snow’s earlier film Rameau’s Nephew by Diderot, (Thanx to Dennis Young) by Wilma Schoen (1974). Rameau’s Nephew, a four-and-a-half hour film which contains graphic sexual imagery, was censored by The Ontario Board of Censors. In a hilarious ‘paragraph’ of So Is This, Snow inserts single-frame – and hence subliminal – ‘offensive’ words amongst the slower paced text; Since this film was tits originally composed ass The Ontario Board of Censors has started to inspect so-called Experimental Films eg This. It's difficult to cock understand why but it seems as if their purpose is to protect you from this. To protect you from people like cunt the author discussing their sexual lives or fantasies on this screen. So Is This goes as far as to directly address the then-Ontario film censor, Mary Brown, who banned Rameau’s Nephew, with a cheery ‘Hi Mary’. These jibes at the practice of film censorship work to highlight the difference between reading a word and seeing a picture. Although the film mocks ideas about semiotics and film, it also, as Hillier argues, engages with semiological concepts much less opaquely than many theorists describe them in books (85). A whole discussion about critical writing practices seems to vibrate within the humorous and ‘light’ text of So Is This. It could be read as a film on film criticism, or at least a response to the methods of film writing, but it is about a lot of other things as well. Scott MacDonald writes that So Is This “turns film onto language in the way that language is normally turned loose on film (20 ‘Interview’). This is certainly true in the sense that language is forced to succumb to the limitations of the celluloid frame, just as the filmic image is typically paraphrased into linguistic descriptions. Works Cited Duve, Thierry de. ‘Here I Am’. Michael Snow, Digital Snow DVD-ROM. Ed. Anne-Marie Duguet. Paris: Pompidou, 2002. Hillier, Jim. ‘Writing, Cinema and the Avant-garde: Michael Snow and So Is This’. Writing and Cinema. Ed. Jonathon Bignell. Edinburgh: Longman, 1999. 74-87. Hoolbloom, Mike. Inside the Pleasure Dome: Fringe Film in Canada. Toronto: Coach House, 2001. Lauretis, Teresa de. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington: Indiana U P, 1984. MacDonald, Scott. ‘So Is This’. Michael Snow, Digital Snow DVD-ROM. Ed. Anne-Marie Duguet. Paris: Pompidou, 2002. Morris, Meaghan. The Pirate’s Fiancée: Feminism, Reading, Postmodernism. London: Verso, 1988. Sitney, P. Adams. Modernist Montage: The Obscurity of Vision In Cinema and Literature. New York: Columbia U P, 1990. Snow, Michael. Rameau’s Nephew by Diderot, (Thanx to Dennis Young) by Wilma Schoen, 1974. ---. Presents, 1981. ---. So Is This, 1982. ---. ‘Present Tense Situation: Michael Snow Comments on So Is This’. Words and Moving Images: Essays on Verbal and Visual Expression in Film and Television. Ed. William C. Wees and Michael Dorland. Montréal: Mediatexte, 1984. 19-32. Testa, Bart. ‘An Axiomatic Cinema: Michael Snow’s Films’. Michael Snow, Digital Snow DVD-ROM. Ed. Anne-Marie Duguet. Paris: Pompidou, 2002. For more information on Michael Snow and several links to sites about his work visit http://www.digitalsnow.org Editors’ Note At the author’s request, and in keeping with Michael Snow’s font choice for So Is This, this article is presented in Helvetica, rather than M/C’s usual font, Verdana. If, however, your browser does not support Helvetica, this article will most likely appear in Arial, a version of Helvetica. Links http://www.ms-studio.com/articles.html Citation reference for this article MLA Style Simon, Jane. "Reading in the Dark" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/05-simon.php>. APA Style Simon, J. (2004, Jan 12). Reading in the Dark. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/05-simon.php>

A doença mão-pé-boca é uma infecção viral, normalmente benigna que afeta comumente crianças até 10 anos, causada pelos enterovírus humano. O propósito deste estudo foi revisar os aspectos da doença que se faz presente nos dias atuais abordando a etiologia, epidemiologia, surtos, sintomatologia e comorbidades, diagnóstico, prevenção e tratamento. Foram selecionadas publicações em periódicos referenciados nas fontes de dados do Google Acadêmico, Pubmed e Periódicos Capes com as palavras chaves relacionadas ao tema desse trabalho como doença mão-pé-boca e crianças, sendo selecionados artigos produzidos até 2017. Apesar de diagnóstico clínico aparentemente simples, a doença pode ser confundida com outras enfermidades por suas características semelhantes, que podem induzir o colega odontólogo ao equívoco de diagnóstico.Descritores: Doença de Mão, Pé e Boca; Diagnóstico, Odontopediatria.ReferênciasSarkar PK, Sarker NK, Tayab A. Hand, foot and mouth disease (hfmd):an update. 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