Journal articles on the topic 'Miniature collection device'

Optical biopsy describes a range of medical procedures in which light is used to investigate disease in the body, often in hard-to-reach regions via optical fibres. Optical biopsies can reveal a multitude of diagnostic information to aid therapeutic diagnosis and treatment with higher specificity and shorter delay than traditional surgical techniques. One specific type of optical biopsy relies on Raman spectroscopy to differentiate tissue types at the molecular level and has been used successfully to stage cancer. However, complex micro-optical systems are usually needed at the distal end to optimise the signal-to-noise properties of the Raman signal collected. Manufacturing these devices, particularly in a way suitable for large scale adoption, remains a critical challenge. In this paper, we describe a novel fibre-fed micro-optic system designed for efficient signal delivery and collection during a Raman spectroscopy-based optical biopsy. Crucially, we fabricate the device using a direct-laser-writing technique known as ultrafast laser-assisted etching which is scalable and allows components to be aligned passively. The Raman probe has a sub-millimetre diameter and offers confocal signal collection with 71.3% ± 1.5% collection efficiency over a 0.8 numerical aperture. Proof of concept spectral measurements were performed on mouse intestinal tissue and compared with results obtained using a commercial Raman microscope.

Статья посвящена одной из сторон творчества английского миниатюриста-эмальера Уильяма Эссекса, выполнившего серию исторических портретов представителей тюдоровской династии. В контексте общего интереса к английской истории, а также определенной ретроспективной тенденции, свойственной викторианской эпохе, работы Эссекса демонстрируют восприятие портретной миниатюры как воплощение образов прошлого и как характерную «вещицу из прошлого». Традиция создавать небольшие изображения, предназначенные для приватного созерцания, довольно стара, и англичане, преуспевшие в развитии портретного жанра, на протяжении нескольких столетий были долгое время увлечены ею. В данной статье произведения Уильяма Эссекса рассматриваются с точки зрения стилистических и технических аспектов создания миниатюры, что позволяет осветить вопросы, связанные со сменой восприятия этой малой формы портретного искусства. Парадоксальность ситуации воспроизведения в миниатюре портретов английских монархов c миниатюрных же оригиналов, написанных в XVI – начале XVII вв., исследуется в статье с позиций теории и практики коллекционирования как способа взаимодействия с историей. Интерес к прошлому, разнообразно проявившийся в культуре викторианской Англии, здесь усиливается необходимостью представления фамильной истории английской короны. Выбор формы для ее визуализации определен предпочтением личного, приватного искусства миниатюры, которое придает обращению к истории сентиментальный характер. В контексте зарождения и распространения фотографических портретов той эпохи эмалевые миниатюры выступают как носители образов прошлого, как воплощение угасающего рукотворного искусства, вытесняемого новыми техническими средствами. Наконец, работа Эссекса над историческими портретами тюдоровской Англии, с его стремлением к формально-стилистическому подобию, становится частью сложного ретроспективного механизма, подобного двойной цитате, поскольку оригиналы воспроизводимых миниатюр также не являлись исходными изображениями. Анализ художественно-образных средств, характерных для серии портретов-миниатюр, и исторических обстоятельств возникновения интереса заказчика к конкретным образам прошлого позволяет выявить тонкую грань между воспроизведением и стилизацией, следованием традиции и идеализацией. Исследование специфического художественного опыта создания этих миниатюр обнаруживает особый способ обращения к культурной памяти, а также характер семейных и национальных ценностей, воплощенных через формирование коллекции. Практика коллекционирования – одно из проявлений викторианской визуальной культуры – в данном случае оказывает определенное влияние и на моделирование английской истории, и на формирование художественного вкуса эпохи. The article addresses the artworks of William Essex, an English enamel-painter, who created a series of the Tudors’ historical portraits. In the context of general interest in English history, as well as a certain retrospective trend peculiar for the Victorian era, William Essex`s works exemplify the miniature portraits as the embodiment of images from the past and as something characteristic to the past. The tradition of small-size portraits intended for private contemplation is quite old, and the British, who have succeeded in the development of the portrait genre, have been rather keen on it for several centuries. The article considers William Essex’s miniatures from the point of view of the stylistic and technical aspects of the genre, which allows casting some light on the issues related to the change of perception of this minor art form. The paradox of duplication by Essex of original sixteenth- and early-seventeenth-century miniatures is investigated in the article from the standpoint of the theory and practice of collecting as a way of interaction with history. The reason why the miniatures were commissioned by the Queen is both in necessity to create a gallery of family history of the English crown and in the Victorians` taste for reconstruction of the past. The choice of form for its embodiment is determined by the preference for personal, private miniature art, which gives a sentimental character to the appeal to history. In the context of the origin and spread of daguerreotypes at the time, enamel miniatures act as representatives of images of the past and the phenomenon of the fading handmade art, displaced by new technical means. In addition, Essex’s work on the Tudors’ historical portraits, with his aim for formal and stylistic resemblance, is included in a complex retrospective mechanism, like a double quote, since the sources of the reproduced miniatures were also not painted from the life and had their own originals. The analysis of artistic and imagery methods, characteristic for this series of miniatures, as well as the description of the historical circumstances in which the customer took interest in the specific images from the past, allows exposing a fine line between imitation and stylization, between tradition and idealization. In conclusion, it is stated that the specific artistic experience of the creation of these miniatures reveals a peculiar way to refer to the cultural memory, to assert some family and national values evoked in the process of the formation of the collection. Here the practice of collecting (one of the manifestations of the Victorian visual culture) is closely connected with the modeling of English history and the artistic taste of the era.

The recent availability of moderate power near-infrared diode lasers (780nm) and near-infrared sensitive ccd detectors have caused a noticeable resurgence in the application of Raman spectroscopy in analytical chemistry. We have long maintained an interest in Raman spectroscopy and have established a micro-Raman facility within the Chemistry Department of our organization. Recently, we have taken advantage of the aforementioned progress in spectroscopic equipment and have upgraded our micro-Raman facility to include a ccd detector and an imaging spectrograph.Since our micro-Raman spectrometer is designed around an ellipsoidal collection mirror, with Raman signal being directed through the illumination sample stage it has application to microscopic or small transparent samples. The improved performance of the device and the availability of highly transmissive optical fibers led one of us (B.J.M.) to propose an apparatus that could replace the existing illuminator with a miniature device that maintains a high collection efficiency and can be used remotely or in-situ by utilizing optical fibers.

A self-powered portable triboelectric nanogenerator (TENG) is used to collect biomechanical energy and monitor the human motion, which is the new development trend in portable devices. We have developed a self-powered portable triboelectric nanogenerator, which is used in human motion energy collection and monitoring mobile gait and stability capability. The materials involved are common PTFE and aluminum foil, acting as a frictional layer, which can output electrical signals based on the triboelectric effect. Moreover, 3D printing technology is used to build the optimized structure of the nanogenerator, which has significantly improved its performance. TENG is conveniently integrated with commercial sport shoes, monitoring the gait and stability of multiple human motions, being strategically placed at the immediate point of motion during the respective process. The presented equipment uses a low-frequency stabilized voltage output system to provide power for the wearable miniature electronic device, while stabilizing the voltage output, in order to effectively prevent voltage overload. The interdisciplinary research has provided more application prospects for nanogenerators regarding self-powered module device integration.

A miniature lightweight portable Raman spectrometer and a palm-sized device allow for fast and unambiguous detection of common gemstones mounted in complex jewels. Here, complex religious artefacts and the Ring Monstrance from the Loreto treasury (Prague, Czech Republic; eighteenth century) were investigated. These discriminations are based on the very good correspondence of the wavenumbers of the strongest Raman bands of the minerals. Very short laser illumination times and efficient collection of scattered light were sufficient to obtain strong diagnostic Raman signals. The following minerals were documented: quartz and its varieties, beryl varieties (emerald), corundum varieties (sapphire), garnets (almandine, grossular), diamond as well as aragonite in pearls. Miniature Raman spectrometers can be recommended for common gemmological work as well as for mineralogical investigations of jewels and cultural heritage objects whenever the antiquities cannot be transported to a laboratory. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

Abstract. Recent innovations in microelectronic and semiconductor technology enable the creation of smaller and economical hyperspectral cameras. A filter combined camera with advanced scanning module is a game changer that extends the application of miniature hyperspectral imagers to many security domains. This work presents the assessment of the imager L4 from Glana Sensors to detect concealed targets in woodland areas. Several target detection methods were applied to a collection of scenes acquired under various illumination conditions and containing different materials. The potential and limitations of this new imaging device in the context of difficult target detection in forested area are evaluated and discussed.

Bloodless surgery and a reduction in the use of allogeneic blood products has long been the standard of care in medicine. Many individuals in our communities have demanded this form of surgical treatment for personal and religious reasons. On 6 December 2002, a 72-year-old male patient was admitted to our institution as a critical air flight transfer. The patient’s height was 190.5 cm and weight was 59.3 kg (body surface area 1.83 m2). His preliminary diagnosis was chest pain with myocardial infarction as evidenced by elevated blood cardiac isoenzymes. His principle diagnosis was subendocardial infarction with paroxysmal ventricular tachycardia. Cardiac catheterization was performed and demonstrated severe triple vessel disease with an ejection fraction of 30%. He was evaluated and accepted as a candidate for coronary artery bypass grafting. Multidisciplinary consultation concluded that a safe and effective method of perioperative treatment would involve the use of arrested heart support with cold blood cardioplegia using a low prime miniature perfusion circuit as no blood products would be considered for use. Additionally, the combined modalities of perfusion interventions to minimize hemodilution consisted of intraoperative autologous blood collection totaling 500 mL and rapid autologous priming of the miniature perfusion circuit. The miniature perfusion system was a low prime Cardiovention (Santa Clara, CA) CORx device which includes a hollow-fiber oxygenator and integral centrifugal pump with a surface area of 1.2 m2. This system also incorporates an air sensing solenoid which triggers rapid air evacuation in a bolus range of 1 mL or greater. Kinetic venous drainage is another feature of this device as the centrifugal pump is integrated into the oxygenator. We believed that a miniature extracorporeal circuit would enhance the desired clinical outcome as opposed to the risk of: (1) off-pump coronary artery bypass (OPCAB) approach and the concern of emergent transition to an on-pump procedure and (2) use of larger surface area with conventional systems that impose a greater hemodilutional effect. Leukocyte filtration was employed as the patient had a significant past medical history of chronic obstructive pulmonary disease. We herein report our clinical experience with this method of treatment on a patient who refused the use of blood products in his surgical treatment. It is our belief that the multiple modalities utilized in combination during this procedure resulted in positive clinical outcomes as demonstrated by an intubation time of 8 hours 35 min with a discharge on the fifth postoperative day.

Abstract In this work, capillary electrophoresis with contactless conductometric detection (CCD) was used for the analysis of the ionic content of exhaled breath condensate (EBC) to differentiate between healthy individuals and patients with gastroesophageal reflux disease (GERD). The exhaled breath condensate was collected using a miniature sample collection device and the content analyzed using a separation electrolyte composed of 20 mM 2-(N-morpholino)ethanesulfonic acid, 20 mM L-histidine, 2 mM 18-Crown-6 and 30 M cetyltrimethylammonium bromide. The separation of anions took less than 2.5 minutes, while the cations were separated in less than 1.5 minutes. The most significantly elevated ions in the group of patients suffering from gastroesophageal reflux disease were chloride, nitrate, propionate and butyrate. Although the number of subjects was too small to draw definite conclusions with regard to the discriminatory power of these ions, the pilot data are promising for EBC as a useful non-invasive alternative for other methods used in the diagnosis of gastroesophageal reflux disease

Chemosensory protein based olfactory biosensors are expected to play a significant role in next-generation volatile organic compound (VOC) detection systems due to their ultra-high sensitivity and selectivity. As these biosensors can perform most efficiently in aqueous environments, the detection systems need to incorporate a gas sampling interface for gas-to-liquid extraction. This interface should extract the VOCs from the gas phase with high efficiency and transfer them into the liquid containing biosensors to enable subsequent detection. To design such a transfer interface, an understanding of the key parameters influencing the gas-to-liquid extraction efficiency of target VOCs is crucial. This paper reports a gas sampling interface system based on a microfluidic open-channel device for gas-to-liquid extraction. By using this device as a model platform, the key parameters dictating the VOC extraction efficiency were identified. When loaded with 30 μL of capture liquid, the microfluidic device generates a gas-liquid interface area of 3 cm2 without using an interfacial membrane. The pumpless operation based on capillary flow was demonstrated for capture liquid loading and collection. Gas samples spiked with lipophilic model volatiles (hexanal and allyl methyl sulfide) were used for characterization of the VOC extraction efficiency. Decreasing the sampling temperature to 15 °C had a significant impact on increasing capture efficiency, while variation in the gas sampling flow rate had no significant impact in the range between 40–120 mL min−1. This study found more than a 10-fold increase in capture efficiency by chemical modification of the capture liquid with alpha-cyclodextrin. The highest capture efficiency of 30% was demonstrated with gas samples spiked with hexanal to a concentration of 16 ppm (molar proportion). The approach in this study should be useful for further optimisation of miniaturised gas-to-liquid extraction systems and contribute to the design of chemosensory protein-based VOC detection systems.

This article examines a collection of miniature objects, now held in museum collections, which were originally made by a Sámi political prisoner in Norway during the mid-19th century as part of an educational programme. The author draws on recent developments in the theory of miniaturization to consider these miniatures as examples of prison op-art autoethnography: communicative devices which seek to address broad and complex social issues through the process of the creation and distribution of semiophorically functionless mimetic objects of reduced scale and complexity, and which reflect the restrictions of incarcerated artistic expression and the questions this raises regarding authenticity and hybridity.

A high-brilliance synchrotron P12 beamline of the EMBL located at the PETRA III storage ring (DESY, Hamburg) is dedicated to biological small-angle X-ray scattering (SAXS) and has been designed and optimized for scattering experiments on macromolecular solutions. Scatterless slits reduce the parasitic scattering, a custom-designed miniature active beamstop ensures accurate data normalization and the photon-counting PILATUS 2M detector enables the background-free detection of weak scattering signals. The high flux and small beam size allow for rapid experiments with exposure time down to 30–50 ms covering the resolution range from about 300 to 0.5 nm. P12 possesses a versatile and flexible sample environment system that caters for the diverse experimental needs required to study macromolecular solutions. These include an in-vacuum capillary mode for standard batch sample analyses with robotic sample delivery and for continuous-flow in-line sample purification and characterization, as well as an in-air capillary time-resolved stopped-flow setup. A novel microfluidic centrifugal mixing device (SAXS disc) is developed for a high-throughput screening mode using sub-microlitre sample volumes. Automation is a key feature of P12; it is controlled by a beamline meta server, which coordinates and schedules experiments from either standard or nonstandard operational setups. The integrated SASFLOW pipeline automatically checks for consistency, and processes and analyses the data, providing near real-time assessments of overall parameters and the generation of low-resolution models within minutes of data collection. These advances, combined with a remote access option, allow for rapid high-throughput analysis, as well as time-resolved and screening experiments for novice and expert biological SAXS users.

A newly innovated UV-Pit-Light trap specific for trapping beetle species within oil palm plantations is described and the results of experiments on its efficacies that were carried out within different oil palm age stands are presented. The UV-Pit-Light trap is made of two parts: a lower located 1-L plastic collection container inserted into the ground, 6V fast recharging lead-acid battery and 4-W miniature UV-bulb attached to electronic device with wire clips, with the upper located plastic stool for the basic stand and the wide plastic basin for rain and light shield. The UV-Pit-Light trap caught significantly higher beetle specimens, which also included several morphospecies from the common beetle families found in oil palm plantations with 1.5 to 2 times higher in abundances including Nitidulidae, Curculionidae, Scarabaeidae, and Tenebrionidae. Rare beetle families of Aderidae, Cerambycidae, Histeridae, and Lagriidae, which not to be found in passive pitfall trap, were caught in considerable abundances in the UV-Pit-Light trap. The short electro-magnetic wavelengths of UV-light source included many closely packed epigeal related micro-habitats, which makes the UV-Pit-Light trap specific for sampling beetles specifically related within micro-habitats of various oil palm age stand types. The use of only four units of UV-Pit-Light trap compared with 100 units of passive pitfall trap is adequate for sampling beetle species community which includes both the common and uncommon families, and include two times higher for the most abundant and common species than the passive pitfall trap. Thus, the UV-Pit-Light trap allows accurate and unbiased diversity and ecological evaluations of beetle species and proposed to be the specific trapping system for insect species dwelling within the epigeal related micro-habitats oil palm plantations.Â

Over the last decade, the area of electroencephalography (EEG) witnessed a progressive move from high-end large measurement devices, relying on accurate construction and providing high sensitivity, to miniature hardware, more specifically wireless wearable EEG devices. While accurate, traditional EEG systems need a complex structure and long periods of application time, unwittingly causing discomfort and distress on the users. Given their size and price, aside from their lower sensitivity and narrower spectrum band(s), wearable EEG devices may be used regularly by individuals for continuous collection of user data from non-medical environments. This allows their usage for diverse, nontraditional, non-medical applications, including cognition, BCI, education, and gaming. Given the reduced need for standardization or accuracy, the area remains a rather incipient one, mostly driven by the emergence of new devices that represent the critical link of the innovation chain. In this context, the aim of this study is to provide a holistic assessment of the consumer-grade EEG devices for cognition, BCI, education, and gaming, based on the existing products, the success of their underlying technologies, as benchmarked by the undertaken studies, and their integration with current applications across the four areas. Beyond establishing a reference point, this review also provides the critical and necessary systematic guidance for non-medical EEG research and development efforts at the start of their investigation.

The paper aims to build a prototype of an automatic forklift robot that can collect and place goods in the stacking shelves, that are monitored remotely using an Android-based device. The method used is AGV (Automated Guided Vehicle) on this forklift robot prototype to adjust its positions, by following a line that preset trajectory for stacking shelf positions, where this forklift robot can collect and place goods. The robot navigation system uses a photodiode for the line follower system, and for storage of goods, it uses the proximity sensors detecting the presence of goods on miniature stacking goods and decide where it can store a good or not on that designated cell of the stacking shelf. The miniature of stacking shelves is two by three cells. The control of the robot has two input controllers. One is on a robot itself. The other was on handheld based on Android operating systems, which control remotely using the wireless system with Bluetooth protocol. The results of the discussion on paper, the forklift robot could manage the task given as the predefined line to a followed parameter of stacking shelves with two by three-stack configuration for collect and place goods into their positions, the average time for the robot to collecting and placing goods on stacking from standing still position to stacking shelf then back to the robot origin position. It resulted in the shortest processing time around 43 seconds and the longest time around 45,3 seconds from the start position to stacking shelf position.

Background: Biological sensors revolutionize the method of diagnoses of diseases from early to final stages using the biomarkers present in the body. Biosensors are advantageous due to the involvement of minimal sample collection with improved specificity and sensitivity for the detection of biomarkers. Methods: Conventional biopsies restrict problems like patient non-compliance, cross-infection and high cost and to overcome these issues biological samples like saliva, sweat, urine, tears and sputum progress into clinical and diagnostic research for the development of non-invasive biosensors. This article covers various non-invasive measurements of biological samples, optical-based, mass-based, wearable and smartphone-based biosensors for the detection of cancer. Results: The demand for non-invasive, rapid and economic analysis techniques escalated due to the modernization of the introduction of self-diagnostics and miniature forms of devices. Biosensors have high sensitivity and specificity for whole cells, microorganisms, enzymes, antibodies, and genetic materials. Conclusion: Biosensors provide a reliable early diagnosis of cancer, which results in faster therapeutic outcomes with in-depth fundamental understanding of the disease progression.

: A Wireless Sensor Network (WSN) is an effective sensing technology that is used to replicate the human capability of sensing, collecting, computing, processing and transmitting the data that is collected from a very large area. In recent past, sensor technology has shown tremendous development in the field of environment & health monitoring, military surveillance, vehicle tracking, and detection. The participating sensor nodes are prone to failure because of limited resources. The topology of the networks is highly dynamic in nature because of frequent failure of the sensor nodes. The Quality of Service support to highly dynamic networks is one of the challenging tasks. The dynamic nature, unpredictable topology, the demand of miniature size of the devices, tiny size of sensors and limited resources attract the researchers towards the designing of QoS aware protocols. This paper has discussed the architecture, applications, life cycle and types of WSN. Further, various QoS protocols, their limitations, and challenges have also been discussed. Further, this paper presents the most important open issues and challenges in providing QoSs provisioning to the WSN as QoS routing, energy consumption, bandwidth utilization, security, and mobility. This comprehensive review surely helps the researchers to find the new existing challenges and also help them to design new research problems for their future work.

Abstract. In just the past 5 years, the field of Earth observation has progressed beyond the offerings of conventional space-agency-based platforms to include a plethora of sensing opportunities afforded by CubeSats, unmanned aerial vehicles (UAVs), and smartphone technologies that are being embraced by both for-profit companies and individual researchers. Over the previous decades, space agency efforts have brought forth well-known and immensely useful satellites such as the Landsat series and the Gravity Research and Climate Experiment (GRACE) system, with costs typically of the order of 1 billion dollars per satellite and with concept-to-launch timelines of the order of 2 decades (for new missions). More recently, the proliferation of smartphones has helped to miniaturize sensors and energy requirements, facilitating advances in the use of CubeSats that can be launched by the dozens, while providing ultra-high (3–5 m) resolution sensing of the Earth on a daily basis. Start-up companies that did not exist a decade ago now operate more satellites in orbit than any space agency, and at costs that are a mere fraction of traditional satellite missions. With these advances come new space-borne measurements, such as real-time high-definition video for tracking air pollution, storm-cell development, flood propagation, precipitation monitoring, or even for constructing digital surfaces using structure-from-motion techniques. Closer to the surface, measurements from small unmanned drones and tethered balloons have mapped snow depths, floods, and estimated evaporation at sub-metre resolutions, pushing back on spatio-temporal constraints and delivering new process insights. At ground level, precipitation has been measured using signal attenuation between antennae mounted on cell phone towers, while the proliferation of mobile devices has enabled citizen scientists to catalogue photos of environmental conditions, estimate daily average temperatures from battery state, and sense other hydrologically important variables such as channel depths using commercially available wireless devices. Global internet access is being pursued via high-altitude balloons, solar planes, and hundreds of planned satellite launches, providing a means to exploit the internet of things as an entirely new measurement domain. Such global access will enable real-time collection of data from billions of smartphones or from remote research platforms. This future will produce petabytes of data that can only be accessed via cloud storage and will require new analytical approaches to interpret. The extent to which today's hydrologic models can usefully ingest such massive data volumes is unclear. Nor is it clear whether this deluge of data will be usefully exploited, either because the measurements are superfluous, inconsistent, not accurate enough, or simply because we lack the capacity to process and analyse them. What is apparent is that the tools and techniques afforded by this array of novel and game-changing sensing platforms present our community with a unique opportunity to develop new insights that advance fundamental aspects of the hydrological sciences. To accomplish this will require more than just an application of the technology: in some cases, it will demand a radical rethink on how we utilize and exploit these new observing systems.

Background: Equine semen storage and shipment, being it colled or frozen, allows the veterinarian to direct matings, providing the use of genetically superior stallions, which are mostly located in breeding stations or training centers. Achieving good pregnancy rates depends, beyond the moment of artificial insemination (AI), on factors related to the semen cooling, such as: system used for transport, cooling rate, final storage temperature, storage time and individual variation among stallions, such as age and resistance to cooling. Based on these aspects, this experiment was conducted in order to test a polyethylene system to ship equine semen.Materials, Methods & Results: A total of 87 ejaculates from five stallions with known fertility were used. The stallions aged between 6 to 14 years old, being three Thoroughbred and two Miniature Pony horse. The ejaculates were collected twice a week using a Hannover artificial vagina. After each collection, the semen sample was macroscopically evaluated for appearance, color and smell. A semen sample was used to evaluate the parameters of total motility, vigor and concentration, being these last three parameters assessed by counting 100 sperm cells for analysis. These analysis were performed using an optical microscope, being the concentration taken with a Neubauer chamber after dilution of 1:20 (semen: citrate formol). Subsequently to this, the semen was diluted 1+1 (diluent+semen) with skim UHT milk, and divided into four aliquots of equal volume, yielding a total of four groups. In the control group (GC) the semen was analyzed immediately after dilution (zero h - 0-h). Samples from other groups were stored for eight h (8-h) in three different devices: Equitainer® (GE), BotuFLEX® (GB) or Polyethylene System - Cooled (SP) and non-Cooled (SPN). During storage of the samples the cooling curve of the system under study was evaluated, using a digital thermometer. To estimate the sperm viability, the parameters of total sperm motility and vigor were evaluated, the integrity of plasma membrane were evaluated using CFDA / PI, and the plasma membrane functionality using the hiposmotic test (HOST), being also examined the percentage of spermatozoa considered morphologically normal (sperm morphology). The SP showed a PM integrity and sperm morphology as the only parameters that did not occur a statistical difference when compared to Equitainer® and the BotuFLEX® (averages of the CFDA/PI = 71.12%, 73.29%, 71.32 and averages of morphology = 80.50%, 82.29% and 81.28%, respective values of each parameter to SP, GE and GB, while SPN showed mean values lower than the GC and GE for all parameters (averages of total motility = 50.65% and 62, 60%; averages of vigor = 1.78 and 2.43; averages of CFDA/PI = 72.56% and 78.30%; averages of HOST = 43.56% and 48.87%; averages of morphology = 77.17% and 84.82%, respectively for SPN and GE). Compared to BotuFLEX®, the SPN had no significant difference only for the parameter of PM functionality (HOST).Discussion: The average temperature of SP was 18.0°C, and the SPN was 18.2°C. The SP was equal or similar to the other used systems, but the SPN showed no difference when compared to PS. However NPS was worse than the other systems from this experiment. These results show that the PS might be an alternative to ship equine semen for eight h, compared to the other cooled systems studied in this work.

AbstractMicrocombs—optical frequency combs generated in microresonators—have advanced tremendously in the past decade, and are advantageous for applications in frequency metrology, navigation, spectroscopy, telecommunications, and microwave photonics. Crucially, microcombs promise fully integrated miniaturized optical systems with unprecedented reductions in cost, size, weight, and power. However, the use of bulk free-space and fiber-optic components to process microcombs has restricted form factors to the table-top. Taking microcomb-based optical frequency synthesis around 1550 nm as our target application, here, we address this challenge by proposing an integrated photonics interposer architecture to replace discrete components by collecting, routing, and interfacing octave-wide microcomb-based optical signals between photonic chiplets and heterogeneously integrated devices. Experimentally, we confirm the requisite performance of the individual passive elements of the proposed interposer—octave-wide dichroics, multimode interferometers, and tunable ring filters, and implement the octave-spanning spectral filtering of a microcomb, central to the interposer, using silicon nitride photonics. Moreover, we show that the thick silicon nitride needed for bright dissipative Kerr soliton generation can be integrated with the comparatively thin silicon nitride interposer layer through octave-bandwidth adiabatic evanescent coupling, indicating a path towards future system-level consolidation. Finally, we numerically confirm the feasibility of operating the proposed interposer synthesizer as a fully assembled system. Our interposer architecture addresses the immediate need for on-chip microcomb processing to successfully miniaturize microcomb systems and can be readily adapted to other metrology-grade applications based on optical atomic clocks and high-precision navigation and spectroscopy.

Young, Cybèle. Ten Birds. Toronto: Kids Can Press, 2011. Print.Faced with the prospect of fording a river, ten chubby, adorable birds use found objects to devise vehicles that will convey them, one by one, to the other side. Sound simple? Perhaps not. When Ten Birds won the 2011 Governor General’s Literary Award for Children’s Illustration, the jury praised it as a “visual riddle.” And indeed, there does seem to be more to this enigmatic counting book than mere plot summary can provide. For starters, the birds’ predicament is innately absurd: why don’t they just fly across the river? Or make use of the bridge that looms in the background of every illustration? And what are we to make of the birds’ report-card epithets (Outstanding, Quite Advanced, Needs Improvement), which may or may not correspond to their river-crossing ingenuity? Perhaps Ten Birds is less about birds and rivers than our tendency to overcomplicate the simplest problems, confusing complexity with elegance. Young’s exquisite pen-and-ink illustrations certainly suggest a tension between the two: dense, furious skeins of crosshatching resolve into minimalistic set pieces, in which vast swaths of negative space dwarf the objects depicted. Come to think of it, perhaps the book is simply an extension of Young’s prevailing sensibilities as a visual artist. Known for her miniature sculptures in Japanese paper, Young has a gift for amplifying the strangeness of everyday objects by reproducing them, out of context and much reduced, in a vacuum of blank space. Likewise, her ten flightless birds and their bizarre contraptions, intricately rendered yet utterly inexplicable, riddle the reader with their presence. (And, like the paper sculptures, they are darn cute.) The fact that Ten Birds refuses to explain itself is one of its principal charms, and its mystery will beguile readers young and old.Highly recommended: 4 out of 4 stars.Reviewer: Sarah Mead-WillisSarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Для мониторинга состояния лесов и лесных пожаров принято использовать различные технические наземные, авиационные и космические средства. Однако применение данных средств часто затрудняется отсутствием в лесу доступа к источникам электропитания и информационным сетям. Единственной на сегодняшний день технологией, позволяющей успешно решать задачи мониторинга состояния лесов и лесных пожаров, обеспечивающей длительное использование системы без необходимости замены ее устройств из-за отсутствия энергообеспечения и их технического обслуживания непосредственно в местах развертывания сети, является технология беспроводных сенсорных сетей. Беспроводная сенсорная сеть - это совокупность миниатюрных необслуживаемых распределенных в пространстве вычислительных устройств, которые снабжены сенсорами и приемопередатчиками сигналов, работающих в радиодиапазоне и образующих самоорганизующуюся систему сбора, обработки и передачи информации. Применимо к мониторингу лесов наиболее подходящей топологией беспроводной сенсорной сети является ячеистая топология, в которой все сенсоры обладают функциями маршрутизации. Маршрутизация позволяет обеспечить возможность самовосстановления сетей в случае выхода из строя некоторых сенсоров при лесных пожарах или других негативных воздействиях, что позволяет достаточно быстро переформировать сеть с новой конфигурацией. Информация, собираемая сетью, передается на шлюз, который выполняет координирующие функции по организации работы беспроводной сенсорной сети, и связан с корпоративной сетью с помощью проводной или беспроводной связи. Благодаря способности узлов ретранслировать сообщения, обеспечивается значительная площадь покрытия территории даже при малой мощности передатчиков, поскольку информация передается от одних сенсоров к другим по цепочке, и в итоге ближайшие к узлу сенсоры сбрасывают ему всю аккумулированную информацию. Предлагается использовать геоинформационные технологии, обеспечивающие разработку специализированных решений для визуализации и анализа данных, что позволит пользователю осуществлять оперативный мониторинг лесных территорий и прогнозировать неблагоприятные воздействия, в том числе лесные пожары. Данная информационная система мониторинга лесов и лесных пожаров с использованием беспроводных сенсорных сетей эффективно и с малыми затратами обеспечивает решение задач контроля труднодоступных лесных территорий, устойчива к отказу отдельных узлов по различным причинам, что позволяет использовать и эксплуатировать сеть на лесных территориях с различными ландшафтными, таксационными и антропогенными параметрами. Monitoring of the state of forests and wildfires is common to use a variety of technical ground, air and space assets. However, using these funds is often hampered by lack of access to sources of electricity supply and information networks. The only technology solution of the problem of monitoring forests and wildfires, which provides long-term use of the system without having to change its device due to lack of energy and maintenance directly in the field of network deployment is a wireless sensor networks. Wireless sensor network - a set of miniature independent distributed computing devices, which are equipped with sensors and transceivers operating in the radio range and forming a self-organizing system of collecting, processing and transmitting information. Applicable to the monitoring of forests the most appropriate topology of wireless sensor network is a mesh topology in which all sensors have routing functions. Routing provides the possibility of self-healing network in case of failure of some sensors in case of wildfires or other negative influences that allows one to quickly rebuild the network with the new configuration. The information collected by the network is transmitted to the gateway, which performs coordinating functions related to the organization of a wireless sensor network and is connected to the corporate network via a wired or wireless connection. The ability of nodes to relay messages provides significant area coverage area, even at low power transmitters, because the information is transferred from one sensor to another, and finally coming to a gateway sensor and dump all accumulated information. We suggested to use GIS technology to ensure the development of specialized solutions for the visualization and analysis of data, allowing the user to perform real-time monitoring of forest areas and to predict hazards. The information system of forest and wildfires monitoring with the use of wireless sensor networks efficiently and at low cost provides a solution to control tasks for inaccessible forest areas and can be resistant to failure of individual nodes, for various reasons, so it can be used to operate the network in forest areas with different landscape, biometrical and anthropogenic parameters.

Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of the gameplay experience. In doing so I propose that an understanding of aesthetic spatial issues as an element of player interactivity and engagement is important for understanding the cultural practice of adventure gameplay. In approaching these questions, I am focussing on the single-player exploration adventure game in particular Myst and The Crystal Key. In describing these games as adventures I am drawing on Chris Crawford's The Art of Computer Game Design, which although a little dated, focusses on game design as a distinct activity. He brings together a theoretical approach with extensive experience as a game designer himself (Excalibur, Legionnaire, Gossip). Whilst at Atari he also worked with Brenda Laurel, a key theorist in the area of computer design and dramatic structure. Adventure games such as Myst and The Crystal Key might form a sub-genre in Chris Crawford's taxonomy of computer game design. Although they use the main conventions of the adventure game -- essentially a puzzle to be solved with characters within a story context -- the main focus and source of pleasure for the player is exploration, particularly the exploration of worlds or cosmologies. The main gameplay of both games is to travel through worlds solving clues, picking up objects, and interacting with other characters. In Myst the player has to solve the riddle of the world they have entered -- as the CD-ROM insert states "Now you're here, wherever here is, with no option but to explore." The goal, as the player must work out, is to release the father Atrus from prison by bringing magic pages of a book to different locations in the worlds. Hints are offered by broken-up, disrupted video clips shown throughout the game. In The Crystal Key, the player as test pilot has to save a civilisation by finding clues, picking up objects, mending ships and defeating an opponent. The questions foregrounded by a focus on the aesthetics of navigation are: What types of representational context are being set up? What choices have designers made about representational context? How are the players positioned within these spaces? What are the implications for the player's sense of orientation and navigation? Architectural Fabrication For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. The creation of a digital architecture in adventure games mimics the Pompeii wall paintings with their interplay of extruded and painted features. In visualising the space of a cosmology, the environment starts to be coded like the urban or built environment with underlying geometry and textured surface or dressing. In The Making of Myst (packaged with the CD-ROM) Chuck Carter, the artist on Myst, outlines the process of creating Myst Island through painting the terrain in grey scale then extruding the features and adding textural render -- a methodology that lends itself to a hybrid of architectural and painted geometry. Examples of external architecture and of internal room design can be viewed online. In the spatial organisation of the murals of Pompeii and later Rome, orthogonals converged towards several vertical axes showing multiple points of view simultaneously. During the high Renaissance, notions of perspective developed into a more formal system known as the construzione legittima or legitimate construction. This assumed a singular position of the on-looker standing in the same place as that occupied by the artist when the painting was constructed. In Myst there is an exaggeration of the underlying structuring technique of the construzione legittima with its emphasis on geometry and mathematics. The player looks down at a slight angle onto the screen from a fixed vantage point and is signified as being within the cosmological expanse, either in off-screen space or as the cursor. Within the cosmology, the island as built environment appears as though viewed through an enlarging lens, creating the precision and coldness of a Piero della Francesca painting. Myst mixes flat and three-dimensional forms of imagery on the same screen -- the flat, sketchy portrayal of the trees of Myst Island exists side-by-side with the monumental architectural buildings and landscape design structures created in Macromodel. This image shows the flat, almost expressionistic trees of Myst Island juxtaposed with a fountain rendered in high detail. This recalls the work of Giotto in the Arena chapel. In Joachim's Dream, objects and buildings have depth, but trees, plants and sky -- the space in-between objects -- is flat. Myst Island conjures up the realm of a magic, realist space with obsolete artefacts, classic architectural styles (the Albert Hall as the domed launch pad, the British Museum as the library, the vernacular cottage in the wood), mechanical wonders, miniature ships, fountains, wells, macabre torture instruments, ziggurat-like towers, symbols and odd numerological codes. Adam Mates describes it as "that beautiful piece of brain-deadening sticky-sweet eye-candy" but more than mere eye-candy or graphic verisimilitude, it is the mix of cultural ingredients and signs that makes Myst an intriguing place to play. The buildings in The Crystal Key, an exploratory adventure game in a similar genre to Myst, celebrate the machine aesthetic and modernism with Buckminster Fuller style geodesic structures, the bombe shape, exposed ducting, glass and steel, interiors with movable room partitions and abstract expressionist decorations. An image of one of these modernist structures is available online. The Crystal Key uses QuickTime VR panoramas to construct the exterior and interior spaces. Different from the sharp detail of Myst's structures, the focus changes from sharp in wide shot to soft focus in close up, with hot-spot objects rendered in trompe l'oeil detail. The Tactility of Objects "The aim of trompe l'oeil -- using the term in its widest sense and applying it to both painting and objects -- is primarily to puzzle and to mystify" (Battersby 19). In the 15th century, Brunelleschi invented a screen with central apparatus in order to obtain exact perspective -- the monocular vision of the camera obscura. During the 17th century, there was a renewed interest in optics by the Dutch artists of the Rembrandt school (inspired by instruments developed for Dutch seafaring ventures), in particular Vermeer, Hoogstraten, de Hooch and Dou. Gerard Dou's painting of a woman chopping onions shows this. These artists were experimenting with interior perspective and trompe l'oeil in order to depict the minutia of the middle-class, domestic interior. Within these luminous interiors, with their receding tiles and domestic furniture, is an elevation of the significance of rhyparography. In the Girl Chopping Onions of 1646 by Gerard Dou the small things are emphasised -- the group of onions, candlestick holder, dead fowl, metal pitcher, and bird cage. Trompe l'oeil as an illusionist strategy is taken up in the worlds of Myst, The Crystal Key and others in the adventure game genre. Traditionally, the fascination of trompe l'oeil rests upon the tension between the actual painting and the scam; the physical structures and the faux painted structures call for the viewer to step closer to wave at a fly or test if the glass had actually broken in the frame. Mirian Milman describes trompe l'oeil painting in the following manner: "the repertory of trompe-l'oeil painting is made up of obsessive elements, it represents a reality immobilised by nails, held in the grip of death, corroded by time, glimpsed through half-open doors or curtains, containing messages that are sometimes unreadable, allusions that are often misunderstood, and a disorder of seemingly familiar and yet remote objects" (105). Her description could be a scene from Myst with in its suggestion of theatricality, rich texture and illusionistic play of riddle or puzzle. In the trompe l'oeil painterly device known as cartellino, niches and recesses in the wall are represented with projecting elements and mock bas-relief. This architectural trickery is simulated in the digital imaging of extruded and painting elements to give depth to an interior or an object. Other techniques common to trompe l'oeil -- doors, shadowy depths and staircases, half opened cupboard, and paintings often with drapes and curtains to suggest a layering of planes -- are used throughout Myst as transition points. In the trompe l'oeil paintings, these transition points were often framed with curtains or drapes that appeared to be from the spectator space -- creating a painting of a painting effect. Myst is rich in this suggestion of worlds within worlds through the framing gesture afforded by windows, doors, picture frames, bookcases and fireplaces. Views from a window -- a distant landscape or a domestic view, a common device for trompe l'oeil -- are used in Myst to represent passageways and transitions onto different levels. Vertical space is critical for extending navigation beyond the horizontal through the terraced landscape -- the tower, antechamber, dungeon, cellars and lifts of the fictional world. Screen shots show the use of the curve, light diffusion and terracing to invite the player. In The Crystal Key vertical space is limited to the extent of the QTVR tilt making navigation more of a horizontal experience. Out-Stilling the Still Dutch and Flemish miniatures of the 17th century give the impression of being viewed from above and through a focussing lens. As Mastai notes: "trompe l'oeil, therefore is not merely a certain kind of still life painting, it should in fact 'out-still' the stillest of still lifes" (156). The intricate detailing of objects rendered in higher resolution than the background elements creates a type of hyper-reality that is used in Myst to emphasise the physicality and actuality of objects. This ultimately enlarges the sense of space between objects and codes them as elements of significance within the gameplay. The obsessive, almost fetishistic, detailed displays of material artefacts recall the curiosity cabinets of Fabritius and Hoogstraten. The mechanical world of Myst replicates the Dutch 17th century fascination with the optical devices of the telescope, the convex mirror and the prism, by coding them as key signifiers/icons in the frame. In his peepshow of 1660, Hoogstraten plays with an enigma and optical illusion of a Dutch domestic interior seen as though through the wrong end of a telescope. Using the anamorphic effect, the image only makes sense from one vantage point -- an effect which has a contemporary counterpart in the digital morphing widely used in adventure games. The use of crumbled or folded paper standing out from the plane surface of the canvas was a recurring motif of the Vanitas trompe l'oeil paintings. The highly detailed representation and organisation of objects in the Vanitas pictures contained the narrative or symbology of a religious or moral tale. (As in this example by Hoogstraten.) In the cosmology of Myst and The Crystal Key, paper contains the narrative of the back-story lovingly represented in scrolls, books and curled paper messages. The entry into Myst is through the pages of an open book, and throughout the game, books occupy a privileged position as holders of stories and secrets that are used to unlock the puzzles of the game. Myst can be read as a Dantesque, labyrinthine journey with its rich tapestry of images, its multi-level historical associations and battle of good and evil. Indeed the developers, brothers Robyn and Rand Miller, had a fertile background to draw on, from a childhood spent travelling to Bible churches with their nondenominational preacher father. The Diorama as System Event The diorama (story in the round) or mechanical exhibit invented by Daguerre in the 19th century created a mini-cosmology with player anticipation, action and narrative. It functioned as a mini-theatre (with the spectator forming the fourth wall), offering a peek into mini-episodes from foreign worlds of experience. The Musée Mechanique in San Francisco has dioramas of the Chinese opium den, party on the captain's boat, French execution scenes and ghostly graveyard episodes amongst its many offerings, including a still showing an upper class dancing party called A Message from the Sea. These function in tandem with other forbidden pleasures of the late 19th century -- public displays of the dead, waxwork museums and kinetescope flip cards with their voyeuristic "What the Butler Saw", and "What the Maid Did on Her Day Off" tropes. Myst, along with The 7th Guest, Doom and Tomb Raider show a similar taste for verisimilitude and the macabre. However, the pre-rendered scenes of Myst and The Crystal Key allow for more diorama like elaborate and embellished details compared to the emphasis on speed in the real-time-rendered graphics of the shoot-'em-ups. In the gameplay of adventure games, animated moments function as rewards or responsive system events: allowing the player to navigate through the seemingly solid wall; enabling curtains to be swung back, passageways to appear, doors to open, bookcases to disappear. These short sequences resemble the techniques used in mechanical dioramas where a coin placed in the slot enables a curtain or doorway to open revealing a miniature narrative or tableau -- the closure of the narrative resulting in the doorway shutting or the curtain being pulled over again. These repeating cycles of contemplation-action-closure offer the player one of the rewards of the puzzle solution. The sense of verisimilitude and immersion in these scenes is underscored by the addition of sound effects (doors slamming, lifts creaking, room atmosphere) and music. Geographic Locomotion Static imagery is the standard backdrop of the navigable space of the cosmology game landscape. Myst used a virtual camera around a virtual set to create a sequence of still camera shots for each point of view. The use of the still image lends itself to a sense of the tableauesque -- the moment frozen in time. These tableauesque moments tend towards the clean and anaesthetic, lacking any evidence of the player's visceral presence or of other human habitation. The player's navigation from one tableau screen to the next takes the form of a 'cyber-leap' or visual jump cut. These jumps -- forward, backwards, up, down, west, east -- follow on from the geographic orientation of the early text-based adventure games. In their graphic form, they reveal a new framing angle or point of view on the scene whilst ignoring the rules of classical continuity editing. Games such as The Crystal Key show the player's movement through space (from one QTVR node to another) by employing a disorientating fast zoom, as though from the perspective of a supercharged wheelchair. Rather than reconciling the player to the state of movement, this technique tends to draw attention to the technologies of the programming apparatus. The Crystal Key sets up a meticulous screen language similar to filmic dramatic conventions then breaks its own conventions by allowing the player to jump out of the crashed spaceship through the still intact window. The landscape in adventure games is always partial, cropped and fragmented. The player has to try and map the geographical relationship of the environment in order to understand where they are and how to proceed (or go back). Examples include selecting the number of marker switches on the island to receive Atrus's message and the orientation of Myst's tower in the library map to obtain key clues. A screenshot shows the arrival point in Myst from the dock. In comprehending the landscape, which has no centre, the player has to create a mental map of the environment by sorting significant connecting elements into chunks of spatial elements similar to a Guy Debord Situationist map. Playing the Flaneur The player in Myst can afford to saunter through the landscape, meandering at a more leisurely pace that would be possible in a competitive shoot-'em-up, behaving as a type of flaneur. The image of the flaneur as described by Baudelaire motions towards fin de siècle decadence, the image of the socially marginal, the dispossessed aristocrat wandering the urban landscape ready for adventure and unusual exploits. This develops into the idea of the artist as observer meandering through city spaces and using the power of memory in evoking what is observed for translation into paintings, writing or poetry. In Myst, the player as flaneur, rather than creating paintings or writing, is scanning the landscape for clues, witnessing objects, possible hints and pick-ups. The numbers in the keypad in the antechamber, the notes from Atrus, the handles on the island marker, the tower in the forest and the miniature ship in the fountain all form part of a mnemomic trompe l'oeil. A screenshot shows the path to the library with one of the island markers and the note from Atrus. In the world of Myst, the player has no avatar presence and wanders around a seemingly unpeopled landscape -- strolling as a tourist venturing into the unknown -- creating and storing a mental map of objects and places. In places these become items for collection -- cultural icons with an emphasised materiality. In The Crystal Key iconography they appear at the bottom of the screen pulsing with relevance when active. A screenshot shows a view to a distant forest with the "pick-ups" at the bottom of the screen. This process of accumulation and synthesis suggests a Surrealist version of Joseph Cornell's strolls around Manhattan -- collecting, shifting and organising objects into significance. In his 1982 taxonomy of game design, Chris Crawford argues that without competition these worlds are not really games at all. That was before the existence of the Myst adventure sub-genre where the pleasures of the flaneur are a particular aspect of the gameplay pleasures outside of the rules of win/loose, combat and dominance. By turning the landscape itself into a pathway of significance signs and symbols, Myst, The Crystal Key and other games in the sub-genre offer different types of pleasures from combat or sport -- the pleasures of the stroll -- the player as observer and cultural explorer. References Battersby, M. Trompe L'Oeil: The Eye Deceived. New York: St. Martin's, 1974. Crawford, C. The Art of Computer Game Design. Original publication 1982, book out of print. 15 Oct. 2000 <http://members.nbci.com/kalid/art/art.php>. Darley Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Lunenfeld, P. Digital Dialectic: New Essays on New Media. Cambridge, Mass.: MIT P 1999. Mates, A. Effective Illusory Worlds: A Comparative Analysis of Interfaces in Contemporary Interactive Fiction. 1998. 15 Oct. 2000 <http://www.wwa.com/~mathes/stuff/writings>. Mastai, M. L. d'Orange. Illusion in Art, Trompe L'Oeil: A History of Pictorial Illusion. New York: Abaris, 1975. Miller, Robyn and Rand. "The Making of Myst." Myst. Cyan and Broderbund, 1993. Milman, M. Trompe-L'Oeil: The Illusion of Reality. New York: Skira Rizzoli, 1982. Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Simon and Schuster, 1997. Wertheim, M. The Pearly Gates of Cyberspace: A History of Cyberspace from Dante to the Internet. Sydney: Doubleday, 1999. Game References 7th Guest. Trilobyte, Inc., distributed by Virgin Games, 1993. Doom. Id Software, 1992. Excalibur. Chris Crawford, 1982. Myst. Cyan and Broderbund, 1993. Tomb Raider. Core Design and Eidos Interactive, 1996. The Crystal Key. Dreamcatcher Interactive, 1999. Citation reference for this article MLA style: Bernadette Flynn. "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/navigation.php>. Chicago style: Bernadette Flynn, "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]). APA style: Bernadette Flynn. (2000) Towards an aesthetics of navigation -- spatial organisation in the cosmology of the adventure game. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]).

Song dedications are among commercial radio’s most enduring formats. Yet those very few studies which address music radio rarely consider its role within a consumer economy. As John Patrick noted when analysing ABC broadcaster Christopher Lawrence’s popular (and commercially exploited) Swoon genre as a form of nostalgic Utopianism, many music analysts view music listening as constructing a cultural space of other times and places, when romantic love held sway, when the certainties of religion vanquished doubt, and when authentic folk culture gave a sense of belonging to traditional ways of thinking and feeling (133). This “emotional, largely imaginary” space is explicity constructed outside the pragmatic focus and urgent stylings of commercial sponsorship. Patrick cites Flinn on the capacity of music to seemingly transcend social institutions and discourses. But here I will argue that commercial music-radio practice clearly operates within them. More significantly, it does so by very virtue of this capacity for offering transcendence: Music ... has the peculiar ability to ameliorate the social existence it allegedly overrides, and offers in one form or another the sense of something better. Music extends an impression of perfection and integrity in an otherwise imperfect, unintegrated world (Flinn). This study suggests that it is precisely this lack of any perceived connectedness into the social discourses of the day which marks music as available for the occupancy of individual desires, and which targets its various genres for integration into selected sets of social practice. What we do while listening to the radio… Willis (1990), investigating music as a key element of the “symbolic cultural creativity and informal artistry in people’s lives”, discovered multiple appropriations, creolisings and re-accentuations within social use of broadcast music (85). His empirical work provides accounts of the various uses made of broadcast music, including the audio-taping of new music tracks; planned social listening to particular shows or DJs, often combined with extended phone-call discussions with friends; the use of broadcast music as company in periods of social isolation, or its use in structuring daily living or working routines; the preparation of personal master-mixes and exchange of taped compilations or transcribed song lyrics. To these should be added more contemporary updates: digital sound-bite downloading and re-editing via Internet broadcasts; the burning of personally tailored CDs; MP3 collection-building through web-exchange, and the construction of a personalised virtual sensorium for asserting private space in public through the use of the Sony Walkman or Discplayer (Hosokawa, Chambers, Bull). The capacity music broadcast gives for personal engagement within various music sub-cultures needs further work at exactly this active-reception level. Nor has the activity of broadcasters in constructing technologies of reciprocity around mediated intimacy been fully explored. The social formational power, over 75 years, of the song-dedication formula, in compensating what Thompson described as the “non-reciprocal intimacy” of electronic media, is incalculable. Instead of opening spaces for “free association” working pre-discursively on the “physicality of the listening experience”, music-radio talk has been operating to structure those exact spaces: to create regulated activity, and interactivity, where none has been thought to exist. Fixing a self to a favourite track: music and memory From the 1930s to the 1960s, vastly popular “music request programs” encouraged radio listeners to write in to presenters, not only selecting a favourite music play, but describing in detail the social relation mediated for them by the music and lyrics, and the uniquely individualised expressive weight it was claimed was carried – ironically yet significantly, a reference often immediately generalised by the attachment of several other requestors to the particular track. More recently, Richard Mercer’s evening program of Lovesong dedications on Sydney’s MIX 106.5 connected this drive towards social identity work with the escalating sexual-emotional confessionalism of Australian radio talk. Mercer’s format: extended play of the staple love ballads of the “easy listening” mode – carefully selected to highlight the sexual arousal elements of the breathy female performer or the husky-voiced male balladeer – operated from the centre of the newly reciprocal expression of intimacy, made possible by the live call-in capacity of contemporary radio. Listener-callers can now model their identification techniques directly – or so it is made to appear. In fact, the emotional expressiveness and the centrality of the equation between direct listener-caller comment and emotional-interpretive link into music tracks remains problematic, for a number of reasons. How to construct loving sincerity – through the precision of digital editing Firstly, the apparent spontaneity and direct interface which underlie radio’s “live call-in” relations as a discourse of authenticity, are today heavily, if not obviously, compromised, by the production techniques used to guarantee the focus on caller concerns. This is phone-in but not talkback radio – a distinction not made often enough, in either professional production literature or academic analysis of radio practice. While talkback is relatively raw radio, centring on live-to-air talk-relations between callers and hosts (and thus fostering the highly confrontational hosting persona of the “shock-jock”), phone-in radio seeks briefer, more focused comment on topics pre-selected, constantly monitored and re-themed by both host and call-screening staff, who choose which caller comments get to air, and in which order. Lovesong dedications not only follows this more restrictive practice, but intensifies its commodification of the resultant calls, by a consistent top-and-tail editing of caller contributions before broadcast. This acts to heighten the expressiveness of each segment, and to insert the program ident. into the pivotal “bridge” position between caller-voice and music play. The host is thus able to present to listeners a tautly emotional sequence of seemingly spontaneous sentimental expression; but to his sponsors, a talk-flow which interpolates the show’s name fluently into the core of the fused private/public moment. With all the hesitations, over-explanations, initial embarrassment and on-air inexperience of the average caller cut away, what remains looks like this: Host: Hello Carly - I believe you want to dedicate a lovesong to Damien? Caller: Yes that’s right ... it’s our anniversary? Host: How many years ... Caller: Well actually it’s just our first! Host: And you’ve had a great first year together? Caller: Sure have: I love you more than ever Damien ... Host: And Damien: here’s Carly’s Lovesong dedication to you. The perversity of the practice lies in the way the host’s “prompt” cues, with their invitational suspensions, actually direct the caller contributions, not only to their moment of “personalised” emotion, but to the powerful agency of the program itself, always positioned between caller and dedicatee. Further: the fluency of the talk exchange, and especially its expert segue into the music track, conceal the fact that calls are very often being held before broadcast. Between the average call and its broadcast, a listener-caller’s phoned-in experiences and expressed feelings – even their peak-moment of address to their loved one – may be digitally edited, to remove awkward hesitations and intensify the emotionality. A 24-hour call line operates, highly promoted in other programming, allowing selection and sequencing of requests around music availability – including station play-rotation regimes. Even calls received during broadcast can be delayed, edited, and clustered around the – actually quite limited – availability of music tracks (some callers have reported being offered a playlist of only three tracks through which to “personally address” their loved one). Sincerity is fabricated, at the very moment of promoting its authenticity, and absorbed into the “seamless” flow of MIX106.5’s “easy listening” format. “Schmalzy like Oprah: almost Sleepless in Seattle” The Lovesong dedications host – busy elsewhere – plays a very restrained on-air role: often only three dedications per half-hour of programming. While back-to-back music play dominates, Mercer’s vocal performance marks the show with notably atypical radio qualities. The tone is low and subdued, without ranging into the close-in microphone huskiness of the “late-night listening” mode, which usually performs intimacy. Mercer is closer to the “serious music” style of ABC Classic FM announcers, with the male voice remaining in a medium-to-light vocal range. This is tenor rather baritone, with a clear suppression of its stressing, to produce a restrained authority, rather than a DJ exuberant enthusiasm (Montgomery) or an unassailable certainty (Goffman). Mercer and his interstate colleagues use a normal conversational level, with no electronic enhancement into “fullness of tone” as employed by both DJs and talk hosts to amplify their authority. In contrast, the Lovesong dedications voice is carefully, if naturally, dampened in tone – by which I mean as a result of physical voice-production control, rather than by sound-mixing in the broadcast console. Not only is the pitch slightly subdued and intonations compressed rather than stretched, as in the familiar DJ hype, but the dominant intonation is a very unusual terminal rise/slow fall. This provides a male host’s speech with an interestingly tentative note, which deflects or at least suspends power. Under-toned rather than over-toned, it invites sympathetic listening and increased attentiveness, while its suppression of the sorts of powerful masculine authoritativeness more common in male broadcasting (see Hutchby) cues listeners for conversational participation on their own terms, rather than on those dictated by the host. This structured tonal diffidence in the Lovesong hosts’ self-effacing vocality acts as an invitation to self-direction: a pathway to participation. No surprise then that its careful constructedness has been read as the exact opposite: sincerity. What is more surprising is that it has been read as sexually alluring – given its quite marked deviation from norms of high masculinity in relation to vocalisation. Other attempts to render a desirable masculinity at the level of voice have tended to the over-produced baritones of the traditional matinee idol: the “swoon” voice of lush-toned actorly excess, with deep pitch, slow pace, fruity vowels, and long glides – the vocal equivalent of TV comedy’s “Fabio” as kitsch or camped hyper-masculinity. This vocal problem in radio hosting is also endemic to operatic performance, where male vocal range is read as age. Patriarchy reserves deep voices for authority, therefore also reserving the most powerful roles for “older” characters, performed as baritone and base. Lovesong dedications are far more suitably presented by a male host whose vocality matches the sexually-active age profile suited to romantic seduction – and this calls for the tenor voice of a Richard Mercer. The Daily Telegraph’s Sandra Lee (1998) was among many who succumbed to that “mellifluous voice which drips with genuine sincerity, yes genuine, not that contrived radio fakeness, and is soothing enough to make you believe he really care”. Even when Mercer actually shifted in a phone conversation with Lee from his ordinary voice to “The Loooooovvvvve God with a voice so smooth it could be butter”, she remained a believer. No surprise, then, that as the format is franchised from state to state on the commercial networks, much the same vocalisations are reproduced. The host’s performance formula and the callers’ sentimental witness are both safely encoded as “sincere sentimental expressiveness” – while actually audio-processed and digitally edited to produce those qualities. Here, as elsewhere, Lee’s loathed “contrived radio fakeness” continues to work unseen and unexamined, producing in the service of its own commercial imperatives a surprising yet vastly popular reputation for sentimental expressiveness among “ordinary” Australians. Where music-radio analyst Barnard (2002) considers music-request shows as a cynical commercial device for “establishing a link with the audience” (124) – a key requirement of the sponsorship system of commercial broadcasting from its origins to the current day – Lee’s tabloid populism endorses every detail of Lovesong dedications’ techniques for acting upon and reproducing the lush romanticism it sets out to evoke. Between the two views the cultural work of this programming: the mediation and commodification of interpersonal emotional expressiveness in the homes, workplaces, bedrooms and parked cars of listener-callers around the nation, goes unnoticed. Works Cited Barnard, Stephen. Studying radio. London: Arnold, 2002. Barnard, Stephen. On the radio: Music radio in Britain. Milton Keynes: Open University Press, 1989. Bull, M. “The dialectics of walking: Walkman use and the reconstruction of the site of experience.” Consuming culture: power and resistance. Eds. J. Hearn and S. Roseneil, Basingstoke: Macmillan Press, 1999. 199-220. Chambers, I. “A miniature history of the Walkman.” New formations, 11 (1990): 1-4. Flinn, C. Strains of Utopia. New Jersey: Princeton University Press, 1992. Goffman, Erving. Forms of talk. Oxford: Basil Blackwell, 1981. Hosokawa, S. “The Walkman effect.” Popular music, 4 (1984):165-180. Hutchby, Ian. Confrontation talk: Arguments, asymmetries and power on talk radio. New Jersey: Lawrence Erlbaum, 1996. Lee, Sandra. “When Love God comes to town.” The Daily Telegraph, 30 November 1998: 10. Montgomery, M. “DJ talk.” Media, culture and society, 8.4 (1986): 421-440. Patrick, John. “Swooning on ABC Classic FM.” Australian Journal of Communication (1998) 25.1: 127-138. Thompson, John B. The media and modernity: A social theory of the media. Cambridge: Polity Press, 1995. Willis, Paul. Common culture. Milton Keynes: Open University Press, 1990. Willis, Paul. Moving culture – an inquiry into the cultural activities of young people. London: Calouste Gulbenkian Foundation, 1990. Links http://acnielsen.com/ For information on commercial radio ratings Useful site for watching music radio trends http://www.radioandrecords.com/ Ever wondered where radio presenters get that never-ending supply of historical trivia? Now their secrets can be Yours. http://www.jocksjournal.com/ APRA The Australian Performing Rights Association monitors Australian music content on radio – here’s how they do it. http://www.apra.com.au/Dist/DisRad.htm Two Internet broadcast sites offering online music streaming with an Australian bias. http://www.ozchannel.com.au/village-cgi-... http://www.thebasement.com.au/ FARB: The Federation of Australian Radio Broadcasters – a useful site for the organisation of commercial radio within Australia. http://www.commercialradio.com.au/index.cfm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Cook, Jackie. "Lovesong Dedications" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/lovesongdedications.php>. APA Style Cook, J., (2002, Nov 20). Lovesong Dedications. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/lovesongdedications.html