Academic literature on the topic 'Mexican Spy Company'

The CFE (Federal Electricity Commission), the state-owned company supplier of electricity in Mexico has to face the greatest challenge in its history: increase the electric power required for economic development; this would mean having to add an additional electricity capacity of 57,122.3 MW (Mega Watts) for 2030. The Mexican Secretary of Energy expects that 37.8% will be provided by conventional technologies, and 62.2% through clean technologies. Thus, there are 35,530.07 MW of additional capacity pending on future clean projects. This case shows the financial and ethical dilemmas in order to achieve these goals with a focus on sustainability, seeking to minimize emissions of greenhouse gases. Aging coal plants, cheap natural gas, and a downward trend in the price of renewable energy, are signs of a dramatic structural change in the world electricity sector. These trends are likely to hold in the future where solar technologies have made up a bigger share, and regardless of their small percentage of participation in the energy mix, solar energy could reveal a surprising new story for the world. Facing CFE’s challenge, this case explores the role that solar photovoltaic energy could play where the sky is the limit.

This paper presents the Planck Multi-frequency Catalogue of Non-thermal (i.e. synchrotron-dominated) Sources (PCNT) observed between 30 and 857 GHz by the ESA Planck mission. This catalogue was constructed by selecting objects detected in the full mission all-sky temperature maps at 30 and 143 GHz, with a signal-to-noise ratio (S/N)> 3 in at least one of the two channels after filtering with a particular Mexican hat wavelet. As a result, 29 400 source candidates were selected. Then, a multi-frequency analysis was performed using the Matrix Filters methodology at the position of these objects, and flux densities and errors were calculated for all of them in the nine Planck channels. This catalogue was built using a different methodology than the one adopted for the Planck Catalogue of Compact Sources (PCCS) and the Second Planck Catalogue of Compact Sources (PCCS2), although the initial detection was done with the same pipeline that was used to produce them. The present catalogue is the first unbiased, full-sky catalogue of synchrotron-dominated sources published at millimetre and submillimetre wavelengths and constitutes a powerful database for statistical studies of non-thermal extragalactic sources, whose emission is dominated by the central active galactic nucleus. Together with the full multi-frequency catalogue, we also define the Bright Planck Multi-frequency Catalogue of Non-thermal Sources (PCNTb), where only those objects with a S/N > 4 at both 30 and 143 GHz were selected. In this catalogue 1146 compact sources are detected outside the adopted Planck GAL070 mask; thus, these sources constitute a highly reliable sample of extragalactic radio sources. We also flag the high-significance subsample (PCNThs), a subset of 151 sources that are detected with S/N > 4 in all nine Planck channels, 75 of which are found outside the Planck mask adopted here. The remaining 76 sources inside the Galactic mask are very likely Galactic objects.

The objective of the research was to analyze sustainability and social development, in the search to determine the Ecological purchasing behavior (EPB) in millennials consumers. It was a quantitative descriptive study in a sample of 500 students, consumers chosen according to the criterion of convenience (men and women between 19 and 32 years), made in the first half of 2017 in Mexico (States of Puebla, Tlaxcala, Guanajuato, San Luis Potosí, Tabasco and Querétaro). With the personal application of questionnaires using the Likert scale. Regarding the measurement of dependent and independent variables, he used the various subscales that make up the revised scale of attitudes and environmental knowledge (EAKS) by Maloney et al. (1975). The consumer in Mexico presents a positive attitude toward the purchase of organic products and is even willing to stop buying those companies that pollute. Even though the stakeholders (Society, Government, Company and universities) stimulate consumption to millennials, who are really committed to the environment, they would not pay more for ecological products, they say that they are being aware of the economic change for a change of health, but they want not pay more money for buying ecological products.

To say something is complex can often be conclusive. It can mean that an issue or an idea is too difficult to explain or understand, or has too many aspects to examine clearly. In many ways the designation “complex” can be an abdication, an end to an argument or discussion. An epochal change in thinking about complexity dates from post structuralist challenges to the idea that the world was known by arguing that everything was indeed much more complex than master narratives would suggest. In the last decade a social scientific engagement with complexity theory has meant that social and cultural meanings of “complex” and “complexity” are being explored. “Complex” has also made a renaissance within the popular and everyday imagination. Reference to “complex” and “complexity” can be found in advertising campaigns for Sydney City Rail (Figure 1), as well as advertising for a telecommunication company (Figure 2). Figure 1 Figure 2 In our feature article Bob Hodge provides a detailed analysis of Sydney City Rail’s “Rail Clearways” advertising campaign. In a comparable campaign, a telecommunications company claims “Simplicity trumps Complexity”. It seems that advertisers will call any networking system “complex” because its binary is “simple”, from the Latin simplex. Simple versus Complex creates a nice image of a telecommunication company possessing a SIMPLE solution for any COMPLEX networking system. “Simplicity trumps Complexity” denotes a competition between the two meanings and a “simple” solution for “complex” networking needs can be found within this company’s product portfolio. Rather than position “complex” in competition with “simple”, we wanted to explore the possibilities of “complex”. The idea of “complex” as a beginning, not a conclusion, has been the driving concept behind this journal edition. This M/C Journal edition assembles seemingly disparate interpretations of “complex”. We did not want to reduce a journal edition on “complex” into “simple” neat links. Instead, we have grouped the articles together under four titles: “‘Complex’ and Affect: Complexities in the Concept of Love”, “Situating ‘Complex’ within Fixed Social and Cultural Systems”, “Positioning ‘Complex’ in Cultural Theories” and “Locating ‘Complex’ in Design”. This thematic arrangement demonstrates how each interpretation of “complex” forms assemblages and from this other assemblages can be formed. Such an approach reveals the way in which “complex” entities emerge from “complex” processes. Our feature article, “The Complexity Revolution”, outlines and categorises complex(ity) in its varying forms. Bob Hodge positions complex(ity) in popular culture, science and humanities. Complex(ity)’s popular meaning reduces the concept to something that is intricate, involved, complicated or multi-dimensional. In a more negative sense complex(ity) is often stripped to simplicity. This article decodes Sydney City Rail’s “Rail Clearways” publicity campaign “untangling our complex rail network” to illustrate how complex(ity) is not reducible to simplicity, it is not strictly a positive or a negative but encompasses many meanings located with popular culture, science and humanities. “Complex” and Affect: Complexities in the Concept of Love “The Heart of the Matter” positions romantic love as productive force and explores the complexity that lies within the notions of love and desire. Richard Carpenter examines why romantic love is so complex by exploring its development from a romantic ideal to encorporating notions of desire. Carpenter explores the move from love as fusion, encapsulated by the movie Jerry Maguire (“you complete me”), to Anthony Gidden’s “plastic sexuality” where desire is detached from reproductive imperatives. It is not that we have moved past romantic love, Carpenter argues, but that we should explore the complex range of possibilities created by its productive force. Adding to this exploration of love’s complexities, Glen Fuller uses the film Punch Drunk Love to illustrate the contingent nature of contemporary romance. Inspired by a conversation with a woman who claims “everyone does rsvp” this paper probes the very notion of love by relating the experiences of the film’s lead characters, Barry and Lisa, to theories by Badio and Deleuze. The continual striving for an elusive harmony is presented as the materiality of love; reconciling love’s contradictions by suggesting it is the problematic nature of romance that elicits the “wonder at the heart of love”. Situating “Complex” within Fixed Social and Cultural Processes Mario Lopez’s article explores contemporary Japanese-Philippine relations through an ethnographic study in Japan on marriages between Japanese men and Filipino women. In this article, he focuses on one aspect of his research: Filipino women attending a ‘care-giver’ course and the outcomes. Japan’s aging society and a shortage of labour in Health Care Facilities has sparked an effort by the Japanese State to source and educate Filipino women to fill the labour void. “Bride to Care Worker” outlines how Filipino women are located within a complex system of nation-state relations. It has become common to claim that we live within a culture of fear and a by-product of this is increased surveillance technologies. “Commodifying Terrorism” explores London’s Metropolitan Police use of Closed Circuit Television (CCTV) cameras to monitor and control public spaces. Yasmin Ibrahim examines how surveillance systems like CCTV locate the body and its everyday actions as stored data in an effort to “combat” terrorism and make public spaces “safer”. The ramifications are that it constructs and supports new power relationships and new risk hierarchies; raising questions of how surveillance technologies are making us safer. In “Decisions on Fire” Valerie Ingham asserts one thought process or model cannot encompass the complex decisions made on the fire-ground. Ingham argues incident commanders use “Multimodal Decision Making” a term that she developed from her ethnographic research with fire-fighters. “Multimodal Decision Making” illustrates how sensorial awareness and experiential knowledge is used when assessing and recommending a course of action to fight fires. Positioning “Complex” in Cultural Theories Sarah James examines one mural, from one street in San Francisco’s, predominantly Mexican, Mission District. She assesses how it is symbolic of complex assemblages denoting a diasporic community, post colonial histories and cultural hybridity. “Culture and Complexity: Graffiti on a San Francisco Streetscape” argues complexity theories can extend and contribute to established concepts in humanities such as post colonialism and cultural hybridity. Karen Cham and Jeffrey Johnson argue that complex systems are cultural systems. They trace the developments within interactive digital media and industry design practice to illustrate the relationship between art and complex systems. This relationship is epitomised by the possibilities inherent within interactive media for experimentation and innovation. Drawing on post-structural, science and art theory, Cham and Johnson suggest that digital mediums serve as a model that highlights the nature of complex adaptive systems. Locating “Complex” in Design A labyrinth epitomises complexity in design with its numerous choices of pathways and directions. In “A Vision of Complex Symmetry”, Ilana Shiloh applies a complexity perspective to the Coen Brothers’ neo-noir film The Man Who Wasn’t There (2001) by arguing its symbolic relationship to a labyrinth. Shiloh uses the labyrinth as a metaphor to highlight the difference between rationalistic genre in detective fiction in which complexity is simplified by the work of the detective to film noir in which the audience is taken deeper into the labyrinthine maze of a story where little makes sense and nothing is what it seems. Vince Dziekan’s curatorial project during his recent “Remote” exhibition inspired his interactive piece for our journal edition. In his paper Dziekan’s explores the creative process behind curatorship, presenting it as a design process which adds levels of complexity to the experience of the gallery space. By creating an interactive element to his work, Dziekan’s draws the reader into the experience of curatorial design, using layers of black, magenta, cyan and yellow. Each colour represents an aspect of design: the ‘black’ layer is a synopsis of curatorial design and complexity, the article is situated within the four magenta layers, the cyan layer provides a visual experience of the exhibition and the yellow layer embodies Marcel Duchamp’s “Mile of String”. Dziekan’s work is symbolic of “complex” representing layers of concepts each interacting, reflecting and affecting the other. Through these papers this journal edition presents an exploration of the idea of “complex”. A complex “revolution” (in a quiet way) infuses the vast range of topics by adding depth to challenge all types of research. This journal, in keeping with the idea of complex, illustrates the possibilities from which to start/continue in an effort to expand rather than limit the possibilities of further explorations of “complex”. Citation reference for this article MLA Style Cahir, Jayde, and Sarah James. "Complex." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/00-editorial.php>. APA Style Cahir, J., and S. James. (Jun. 2007) "Complex," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/00-editorial.php>.

The American Broadcasting Company (ABC) Family Network show Switched at Birth tells two stories—one which follows the unique plot of the show, and one about the new openness of television executives toward integrating more people with a variety of visible and invisible physical embodiments, such as hearing loss, into television content. It first aired in 2011 and in 2017 aired its fifth and final season.The show focuses on two teen girls in Kansas City who find out they were switched due to a hospital error on the day of their birth and who grew up with parents who were not biologically related to them. One, Bay Kennish (Vanessa Marano), lives with her wealthy parents—a stay-at-home mom Kathryn (Lea Thompson) and a former professional baseball player, now businessman, father John (D.W. Moffett). She has an older brother Toby (Lucas Grabeel) who is into music. In her high school science class, Bay learns about blood types and discovers her parents’ blood types could not have produced her. The family has professional genetic tests done and discovers the switch (ABC Family, “This Is Not a Pipe”).In the pilot episode, Bay’s parents find out that deaf teen, Daphne Vasquez (Katie Leclerc), is actually their daughter. She lives in a working class Hispanic neighbourhood with her hairdresser single mother Regina (Constance Marie) and grandmother Adrianna (Ivonne Coll), both of whom are of Puerto Rican ancestry. Daphne is deaf due to a case of meningitis when she was three, which the rich Kennishes feel happened because of inadequate healthcare provided by working class Regina. Daphne attends an all-deaf school, Carlton.The man who was thought to be her biological father, Angelo Sorrento (Gilles Marini), doesn’t appear in the show until episode 10 but becomes a series regular in season 2. It becomes apparent that Daphne believes her father left because of her deafness; however, as the first season progresses, the real reasons begin to emerge. From the pilot onwards, the show dives into clashes of language, culture, ethnicity, class, and even physical appearance—in one scene in the pilot, the waspy Kennishes ask Regina if she is “Mexican.” As later episodes reveal, many of these physical appearance issues are revealed to have fractured the Vasquez family early on—Daphne is a freckled, strawberry blonde, and her father (who is French and Italian) suspected infidelity.The two families merge when the Kennishes ask Daphne and her mother to move into their guest house in order get to know their daughter better. That forces the Kennishes into the world of deafness, and throughout the show this hearing family therefore becomes a surrogate for a hearing audience’s immersion into Deaf culture.Cultural Inclusivity: The Way ForwardShow creator Lizzy Weiss explained that it was actually the ABC Family network that “suggested making one of the kids disabled” (Academy of Television Arts & Sciences). Weiss was familiar with American Sign Language (ASL) because she had a “classical theatre of the Deaf” course in college. She said, “I had in the back of my head a little bit of background at least about how beautiful the language was. So I said, ‘What if one of the girls is deaf?’” The network thought it was wonderful idea, so she began researching the Deaf community, including spending time at a deaf high school in Los Angeles called Marlton, on which she modelled the Switched at Birth school, Carlton. Weiss (Academy of Television Arts & Sciences) says of the school visit experience:I learned so much that day and spoke to dozens of deaf teenagers about their lives and their experiences. And so, this is, of course, in the middle of writing the pilot, and I said to the network, you know, deaf kids wouldn’t voice orally. We would have to have those scenes only in ASL, and no sound and they said, ‘Great. Let’s do it.’ And frankly, we just kind of grew and grew from there.To accommodate the narrative structure of a television drama, Weiss said it became clear from the beginning that the show would need to use SimCom (simultaneous communication or sign supported speech) for the hearing or deaf characters who were signing so they could speak and sign at the same time. She knew this wasn’t the norm for two actual people communicating in ASL, but the production team worried about having a show that was heavily captioned as this might distance its key—overwhelmingly hearing—teen audience who would have to pay attention to the screen during captioned scenes. However, this did not appear to be the case—instead, viewers were drawn to the show because of its unique sign language-influenced television narrative structure. The show became popular very quickly and, with 3.3 million viewers, became the highest-rated premiere ever on the ABC Family network (Barney).Switched at Birth also received much praise from the media for allowing its deaf actors to communicate using sign language. The Huffington Post television critic Maureen Ryan said, “Allowing deaf characters to talk to each other directly—without a hearing person or a translator present—is a savvy strategy that allows the show to dig deeper into deaf culture and also to treat deaf characters as it would anyone else”. Importantly, it allowed the show to be unique in a way that was found nowhere else on television. “It’s practically avant-garde for television, despite the conventional teen-soap look of the show,” said Ryan.Usually a show’s success is garnered by audience numbers and media critique—by this measure Switched at Birth was a hit. However, programs that portray a disability—in any form—are often the target of criticism, particularly from the communities they attempting to represent. It should be noted that, while actress Katie Leclerc, who plays Daphne, has a condition, Meniere’s disease, which causes hearing loss and vertigo on an intermittent basis, she does not identify as a deaf actress and must use a deaf accent to portray Daphne. However, she is ASL fluent, learning it in high school (Orangejack). This meant her qualifications met the original casting call which said “actress must be deaf or hard of hearing and must speak English well, American Sign Language preferred” (Paz, 2010) Leclerc likens her role to that of any actor to who has to affect body and vocal changes for a role—she gives the example of Hugh Laurie in House, who is British with no limp, but was an American who uses a cane in that show (Bibel).As such, initially, some in the Deaf community complained about her casting though an online petition with 140 signatures (Nielson). Yet many in the Deaf community softened any criticism of the show when they saw the production’s ongoing attention to Deaf cultural details (Grushkin). Finally, any lingering criticisms from the Deaf community were quieted by the many deaf actors hired for the show who perform using ASL. This includes Sean Berdy, who plays Daphne’s best friend Emmett, his onscreen mother, played by actress Marlee Matlin, and Anthony Natale who plays his father; their characters both sign and vocalize in the show. The Emmett character only communicates in ASL and does not vocalise until he falls in love with the hearing character Bay—even then he rarely uses his voice.This seemingly all-round “acceptance” of the show gave the production team more freedom to be innovative—by season 3 the audience was deemed to be so comfortable with captions that the shows began to feature less SimCom and more all-captioned scenes. This lead to the full episode in ASL, a first on American mainstream television.For an Hour, Welcome to Our WorldSwitched at Birth writer Chad Fiveash explained that when the production team came up with the idea for a captioned all-ASL episode, they “didn’t want to do the ASL episode as a gimmick. It needed to be thematically resonant”. As a result, they decided to link the episode to the most significant event in American Deaf history, an event that solidified its status as a cultural community—the 1988 Deaf President Now (DPN) protest at Gallaudet University in Washington. This protest inspired the March 2013 episode for Switched at Birth and aired 25 years to the week that the actual DPN protest happened. This episode makes it clear the show is trying to completely embrace Deaf culture and wants its audience to better understand Deaf identity.DPN was a pivotal moment for Deaf people—it truly solidified members of a global Deaf community who felt more empowered to fight for their rights. Students demanded that Gallaudet—as the premier university for deaf and hard-of-hearing students—no longer have a hearing person as its president. The Gallaudet board of trustees, the majority of whom were hearing, tried to force students and faculty to accept a hearing president; their attitude was that they knew what was best for the deaf persons there. For eight days, deaf people across America and the world rallied around the student protestors, refusing to give in until a deaf president was appointed. Their success came in the form of I. King Jordan, a deaf man who had served as dean of the College of Arts & Sciences at the time of the protest.The event was covered by media around the world, giving the American Deaf community international attention. Indeed, Gallaudet University says the DPN protest symbolized more than just the hiring of a Deaf president; it brought Deaf issues before the public and “raised the nation’s consciousness of the rights and abilities of deaf and hard of hearing people” (Gallaudet University).The activities of the students and their supporters showed dramatically that in the 1980s deaf people could be galvanized to unite around a common issue, particularly one of great symbolic meaning, such as the Gallaudet presidency. Gallaudet University represents the pinnacle of education for deaf people, not only in the United States but throughout the world. The assumption of its presidency by a person himself deaf announced to the world that deaf Americans were now a mature minority (Van Cleve and Crouch, 172).Deaf people were throwing off the oppression of the hearing world by demanding that their university have someone from their community at its helm. Jankowski (Deaf Empowerment; A Metaphorical Analysis of Conflict) studied the Gallaudet protest within the framework of a metaphor. She found a recurring theme during the DPN protest to be Gallaudet as “plantation”—which metaphorically refers to deaf persons as slaves trying to break free from the grip of the dominant mastery of the hearing world—and she parallels the civil rights movement of African Americans in the 1960s. As an example, Gallaudet was referred to as the “Selma of the Deaf” during the protest, and protest signs used the language of Martin Luther King such as “we still have a dream.” For deaf Americans, the presidency of Gallaudet became a symbol of hope for the future. As Jankowski attests:deaf people perceived themselves as possessing the ability to manage their own kind, pointing to black-managed organization, women-managed organizations, etc., struggling for that same right. They argued that it was a fight for their basic human rights, a struggle to free themselves, to release the hold their ‘masters’ held on them. (“A Metaphorical Analysis”)The creators of the Switched at Birth episode wanted to ensure of these emotions, as well as historical and cultural references, were prevalent in the modern-day, all-ASL episode, titled Uprising. That show therefore wanted to represent both the 1988 DPN protest as well as a current issue in the US—the closing of deaf schools (Anderson). The storyline focuses on the deaf students at the fictitious Carlton School for the Deaf seizing one of the school buildings to stage a protest because the school board has decided to shut down the school and mainstream the deaf students into hearing schools. When the deaf students try to come up with a list of demands, conflicts arise about what the demands should be and whether a pilot program—allowing hearing kids who sign to attend the deaf school—should remain.This show accomplished multiple things with its reach into Deaf history and identity, but it also did something technologically unique for the modern world—it made people pay attention. Because captioning translated the sign language for viewers, Lizzy Weiss, the creator of the series, said, “Every single viewer—deaf or hearing—was forced to put away their phones and iPads and anything else distracting … and focus … you had to read … you couldn’t do anything else. And that made you get into it more. It drew you in” (Stelter). The point, Weiss said, “was about revealing something new to the viewer—what does it feel like to be an outsider? What does it feel like to have to read and focus for an entire episode, like deaf viewers do all the time?” (Stelter). As one deaf reviewer of the Uprising episode said, “For an hour, welcome to our world! A world that’s inconvenient, but one most of us wouldn’t leave if offered a magic pill” (DR_Staff).This episode, more than any other, afforded hearing television viewers an experience perhaps similar to deaf viewers. The New York Times reported that “Deaf and hard-of-hearing viewers commented by the thousands after the show, with many saying in effect, “Yes! That’s what it feels like” (Stelter).Continued ResonancesWhat is also unique about the episode is that in teaching the hearing viewers more about the Deaf community, it also reinforced Deaf community pride and even taught young deaf people a bit of their own history. The Deaf community and Gallaudet were very pleased with their history showing up on a television show—the university produced a 30-second commercial which aired within the episode, and held viewing parties. Gallaudet also forwarded the 35 pages of Facebook comments they’d received about the episode to ABC Family and Gallaudet President T. Alan Hurwitz said of the episode (Yahr), “Over the past 25 years, [DPN] has symbolised self-determination and empowerment for deaf and hard of hearing people around the world”. The National Association of the Deaf (NAD) also lauded the episode, describing it as “phenomenal and groundbreaking, saying the situation is very real to us” (Stelter)—NAD had been vocally against budget cuts and closings of US deaf schools.Deaf individuals all over the Internet and social media also spoke out about the episode, with overwhelmingly favourable opinions. Deaf blogger Amy Cohen Efron, who participated in 1988′s DPN movement, said that DPN was “a turning point of my life, forcing me to re-examine my own personal identity, and develop self-determinism as a Deaf person” and led to her becoming an activist.When she watched the Uprising episode, she said the symbolic and historical representations in the show resonated with her. In the episode, a huge sign is unfurled on the side of the Carlton School for the Deaf with a girl with a fist in the air under the slogan “Take Back Carlton.” During the DPN protest, the deaf student protesters unfurled a sign that said “Deaf President Now” with the US Capitol in the background; this image has become an iconic symbol of modern Deaf culture. Efron says the image in the television episode was much more militant than the actual DPN sign. However, it could be argued that society now sees the Deaf community as much more militant because of the DPN protest, and that the imagery in the Uprising episode played into that connection. Efron also acknowledged the episode’s strong nod to the Gallaudet student protestors who defied the hearing community’s expectations by practising civil disobedience. As Efron explained, “Society expected that the Deaf people are submissive and accept to whatever decision done by the majority without any of our input and/or participation in the process.”She also argues that the episode educated more than just the hearing community. In addition to DPN, Uprising was filled with other references to Deaf history. For example a glass door to the room at Carlton was covered with posters about people like Helen Keller and Jean-Ferdinand Berthier, a deaf educator in 19th century France who promoted the concept of deaf identity and culture—Efron says most people in the Deaf community have never heard of him. She also claims that the younger Deaf community may also not be aware of the 1988 DPN protest—“It was not in high school textbooks available for students. Many deaf and hard of hearing students are mainstreamed and they have not the slightest idea about the DPN movement, even about the Deaf Community’s ongoing fight against discrimination, prejudice and oppression, along with our victories”.Long before the Uprising episode aired, the Deaf community had been watching Switched at Birth carefully to make sure Deaf culture was accurately represented. Throughout season 3 David Martin created weekly videos in sign language that were an ASL/Deaf cultural analysis of Switched at Birth. He highlighted content he liked and signs that were incorrect, a kind of a Deaf culture/ASL fact checker. From the Uprising episode, he said he thought this quote from Marlee Matlin’s character said it all, “Until hearing people walk a day in our shoes they will never understand” (Martin). That succinctly states what the all-ASL episode was trying to capture—creating an awareness of Deaf people’s cultural experience and their oppression in hearing society.Even a deaf person who was an early critic of Switched at Birth because of the hiring of Katie Leclerc and the use of SimCom admitted he was impressed with the all-ASL episode (Grushkin):all too often, we see media accounts of Deaf people which play into our society’s perceptions of Deaf people: as helpless, handicapped individuals who are in need of fixes such as cochlear implants in order to “restore” us to society. Almost never do we see accounts of Deaf people as healthy, capable individuals who live ordinary, successful lives without necessarily conforming to the Hearing ‘script’ for how we should be. And important issues such as language rights or school closings are too often virtually ignored by the general media.In addition to the episode being widely discussed within the Deaf community, the mainstream news media also covered Uprising intensely, seeing it as a meaningful cultural moment, not just for the Deaf community but for popular culture in general. Lacob wrote that he realises that hearing viewers probably won’t understand what it means to be a deaf person in modern America, but he believes that the episodeposits that there are moments of understanding, commonalities, and potential bridge-building between these two communities. And the desire for understanding is the first step toward a more inclusive and broad-minded future.He continues:the significance of this moment can’t be undervalued, nor can the show’s rich embrace of deaf history, manifested here in the form of Gallaudet and the historical figures whose photographs and stories are papered on the windows of Carlton during the student protest. What we’re seeing on screen—within the confines of a teen drama, no less—is an engaged exploration of a culture and a civil rights movement brought to life with all of the color and passion it deserves. It may be 25 years since Gallaudet, but the dreams of those protesters haven’t faded. And they—and the ideals of identity and equality that they express—are most definitely being heard.Lacob’s analysis was praised by several Deaf people—by a Deaf graduate student who teaches a Disability in Popular Culture course and by a Gallaudet student who said, “From someone who is deaf, and not ashamed of it either, let me say right here and now: that was the most eloquent piece of writing by someone hearing I have ever seen” (Emma72). The power of the Uprising episode illustrated a political space where “groups actively fuse and blend their culture with the mainstream culture” (Foley 119, as cited in Chang 3). Switched at Birth—specifically the Uprising episode—has indeed fused Deaf culture and ASL into a place in mainstream television culture.ReferencesABC Family. “Switched at Birth Deaf Actor Search.” Facebook (2010). <https://www.facebook.com/SwitchedSearch>.———. “This Is Not a Pipe.” Switched at Birth. Pilot episode. 6 June 2011. <http://freeform.go.com/shows/switched-at-birth>.———. “Not Hearing Loss, Deaf Gain.” Switched at Birth. YouTube video, 11 Feb. 2013. <https://www.youtube.com/watch?v=F5W604uSkrk>.Academy of Television Arts & Sciences. “Talking Diversity: ABC Family’s Switched at Birth.” Emmys.com (Feb. 2012). <http://www.emmys.com/content/webcast-talking-diversity-abc-familys-switched-birth>.Anderson, G. “‘Switched at Birth’ Celebrates 25th Anniversary of ‘Deaf President Now’.” Pop-topia (5 Mar. 2013). <http://www.pop-topia.com/switched-at-birth-celebrates-25th-anniversary-of-deaf-president-now/>.Barney, C. “’Switched at Birth’ Another Winner for ABC Family.” Contra Costa News (29 June 2011). <http://www.mercurynews.com/tv/ci_18369762>.Bibel, S. “‘Switched at Birth’s Katie LeClerc Is Proud to Represent the Deaf Community.” Xfinity TV blog (20 June 2011). <http://xfinity.comcast.net/blogs/tv/2011/06/20/switched-at-births-katie-leclerc-is-proud-to-represent-the-deaf-community/>.Chang, H. “Re-Examining the Rhetoric of the ‘Cultural Border’.” Essay presented at the American Anthropological Association Annual Meeting, Philadelphia, Dec. 1988.DR_Staff. “Switched at Birth: How #TakeBackCarlton Made History.” deafReview (6 Mar. 2013). <http://deafreview.com/deafreview-news/switched-at-birth-how-takebackcarlton-made-history/>.Efron, Amy Cohen. “Switched At Birth: Uprising – Deaf Adult’s Commentary.” Deaf World as I See It (Mar. 2013). <http://www.deafeyeseeit.com/2013/03/05/sabcommentary/>.Emma72. “ABC Family’s ‘Switched at Birth’ ASL Episode Recalls Gallaudet Protest.” Comment. The Daily Beast (28 Feb. 2013). <http://www.thedailybeast.com/articles/2013/02/28/abc-family-s-switched-at-birth-asl-episode-recalls-gallaudet-protest.html>.Fiveash, Chad. Personal interview. 17 Jan. 2014.Gallaudet University. “The Issues.” Deaf President Now (2013). <http://www.gallaudet.edu/dpn_home/issues.html>.Grushkin, D. “A Cultural Review. ASL Challenged.” Switched at Birth Facebook page. Facebook (2013). <https://www.facebook.com/SwitchedatBirth/posts/508748905835658>.Jankowski, K.A. Deaf Empowerment: Emergence, Struggle, and Rhetoric. 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All books in this flagship series extract key cases, legislation, and academic debate, providing students with an invaluable resource. This new edition includes discussion of new legislation, including the new Insolvency Act 1986, ss 263H–263O; the Payment Services Regulations 2017; the Electronic Presentment of Instruments (Evidence of Payment and Compensation for Loss) Regulations 2018; and the Business Terms (Assignment of Receivables) Regulations 2018. In addition it discusses new case law such as Glencore International AG v MSC (on personal property law and shipping documents); Volcafe Ltd v Cia Sud Americana de Vapores (on bailment); Kaefer Aislamientos v AMS Drilling Mexico, Bailey v Angove’s Pty, and Banca Nazionale del Lavoro v Playboy Club (on agency); PST Energy 7 Shipping v OW Bunker Malta, Bajaj Healthcare v Fine Organics, Gunvor v Sky Oil & Gas, and Euro-Asian Oil SA v Crédit Suisse AG (on sale of goods); The Erin Schulte and Taurus Petroleum v State Oil Company (on trade finance); BP Oil International v First Abu Dhabi Bank (on assignment); Haywood v Zurich Insurance, The DC Merwestone, and Axa Insurance UK v Financial Claims Solutions (on insurance); and Jetivia SA v Bilta (UK) Ltd and JSC BTA Bank v Ablyazov (on insolvency). Other developments are also covered, such as the proposed reform of bills of sale recommended in the 2017 Law Commission report on Bills of Sale. The book contains a new introductory section on the likely detailed impact of Brexit on English commercial law.

The author of this poem demonstrates the artistic, living power of empathetic imagination. “Soy Mujer Cuando . . . A Collective Poem” is a poetic excerpt from the theatre work Fronteras Desviadas/Deviant Borders. Bilingual in its conception and written in collaboration with the acting company known as Mujeres en Ritual Danza-Teatro, the author composed the poem in a community-based process with women on both sides of the U.S.-Mexico border in 2004. Conceptually, Soy Mujer Cuando comprises three parts as a recurrent thread throughout the poem. The first two parts incorporate the multiple voices of women from the community and the ensemble of collaborating artists.

Abstract Introduction In the United States, the Bureau of Safety and Environmental Enforcement (BSEE) requires an offshore lease operator to implement a Safety and Environmental Management System (SEMS), and to have it audited at least once every 3 years to evaluate its compliance to the regulatory requirements detailed in 30 CFR 250, Subpart S. The first round of these SEMS audits, which concluded in 2013, was executed using varying audit styles – from system audits through to compliance audits. These varying audit styles, in turn, lead to differing types output, levels of detail, format and presentation.These diverse approaches may have been due, at least in part, to disparities in the expectations of stakeholders, differing interpretations of the use of the Center for Offshore Safety's (COS) SEMS Audit Protocol tools, use of other audit protocols, the experience-level of individual auditors, and the newness of the regulation. System audits are intended to be a holistic assessment of a system, its elements, and how the elements work together to achieve system objectives. Compliance audits, on the other hand, are intended to assess adherence to specific requirements. This white paper proposes that both types of audits should be used in tandem to reduce risk and increase confidence that a management system, and its verification programs, is operating as designed and meeting regulatory and company requirements.

Abstract As the Managed Pressure Drilling (MPD) systems for deepwater drilling rigs mature, operators are applying the technology on more complex prospects. Wells are encountering higher pressures in deeper water depths, pushing against the boundaries of technical limits not previously encountered. A prospect in the US Gulf of Mexico required drilling to measured depths exceeding 31000 feet in water deepwater. Under such demanding depth, a non-typical drillstring was required to manage the tensile loading. Typical drill pipe connections on 6 5/8" S-135 tool joints are 8.5" diameter. This drill string would require V-150 landing string, with a 6 5/8" FH tool joint diameter of 8.875". Hard banding would bring the tool joint nominal OD above 9". The depth of the well and planned string RPM presented risk of casing wear, therefore drillpipe protectors would also be required. The depth of the reservoir and size of the drillstring meant pipe would need to be stripped out of the well with up to 900 psi backpressure in order to maintain constant bottom hole pressure. All well challenges were used to determine design specifications for a custom sealing element. The scope of work was to design, validate through finite element analysis, then validate in a test fixture per API16RCD test procedures. On conclusion of the product validation, a land test rig trial, with mock-up of the planned system, including dual sealing elements in the Rotating Control Device (RCD), the required non-rotating drill pipe protectors on the planned drillpipe, was executed. The development schedule from start to finish was compressed to less than 6 months also, targeting completion ahead of the rig's drilling program. This paper will recount the various phases of the design-build-validate-test effort that went into resolving these technical limits. It will conclude with field results and lessons learned from first deployment. As operators pursue more challenging deepwater wells, this systematic approach, through alignment of the operator, drilling contractor and MPD technology company, serves as a model to expand the operating envelope of drilling systems, improving safe performance in a cost-effective manner.

Abstract The success or failure of cement plugs are known to alter the timeline of an oil well; not to mention the additional costs and NPT associated with the rig activities. Unsuccessful cement plug costs oil companies considerable amount of capital both in extra rig time and service company expenses. Suggested procedures for placing cement plugs have been presented in number of papers - comprising of slurry design, spacer recommendations, laboratory testing and placement techniques. However, it is very easy to deviate from these standard practices due to over confidence, negligence or both. In Mexico, it was observed that the success rate of placing cement plugs dropped due to operational and engineering design shortcomings. Towards the end of 2018 there were several unsuccessful cement plug jobs that questioned the regular plug procedures. Careful analysis of the past mistakes led to the conclusion that an effective approach to alter the local plug placement practices was necessary. An updated cement plug placement software was used in conjunction with strict standard practices that turned around the trend and enabled consistent successful placement of cement plugs in the first attempt itself. A detailed yet simple approach towards cement plugs was adopted in both engineering design and operational execution. Additionally the updated plug placement software ensured accurate prediction of the cement plug top; that was confirmed by the actual tag of the plug. This paper will enlist the major analysis carried out on the unsuccessful plug jobs and highlight the different techniques that were adopted in the subsequent jobs to ensure successful placement and tagging of the cement plug. The paper will also focus on how the plug placement software's new additional features have made a significant contribution to this success story.

Abstract This paper details how a major international operator was able to work directly with a Managed Pressure Drilling (MPD) service provider during the global pandemic to mobilize to a deep water Tension Leg Platform (TLP) in the Gulf of Mexico in fewer than four weeks from notification to being operationally ready. Apart from the time crunch, the challenging part was achieving it virtually without face-to-face meetings or rig visit. The legacy hydraulically controlled MPD system used on the previous well had proven to be very challenging. It could not provide the desired precise control to maintain the annular pressures within the operational window, thus necessitating a change. Furthermore, the deck space limitations had significantly restricted the equipment that could be used to gain accurate pressure control. Despite COVID, all the planning stages were performed, albeit virtually, and a compact modular electric servo choke MPD system was deployed, installed, and commissioned within four weeks from the initial discussions. The new MPD system, which replaced the legacy system, was successfully utilized on this project executing the constant bottom hole pressure (CBHP) MPD variations. It achieved bottom hole pressure (BHP) control within a 0.1 - 0.2 ppg operational window. This paper will discuss how, operationally, this 1-man per shift MPD crew communicated with the rig and operator personnel, delivered accurate pressure control on connections, performed dynamic formation integrity tests (FITs), delivering flawless execution, and meeting the client's expectations. Global pandemic made big changes in our work, learning and interact with people with social distancing.