Journal articles on the topic 'Origami for kids'

AbstractThe design of three-dimensional (3D) microstructures is an interesting, fascinating and highly challenging research topic. One of the very promising approaches for 3D microstructuring, inspired by the Japanese art of paper folding – origami, is based on self-folding films. Such films consist of two kinds of materials with different volume expansion properties and are able to form different structures ranging from simple tubes to highly complex 3D shapes. In this review, our recent progress in the design of polymer bilayers and understanding of their folding is summarized.

In the process of new personal consciousness formation it is very important to understand the necessity of development of new public conception of the environment as of a common sphere for society and nature, which means understanding significance of sustainable development of nature and society. Extracurricular environmental education implemented in the “Vodlozersky” National park helps to promote environmental knowledge of native region and fosters development of knowledge and skills for living and working in the environment. The content of educational programmes was divided into separate topics: “Avifauna of Vedlozero islands”, “Predators on the swamp”, “Vodlozero lichens”, “Mushroom hunting”, “Green pharmacy” and others. As an example we suggest one of the lessons devoted to “Avifauna of Velikostrov Island” from the topic “Avifauna of Vedlozero islands”. It took much time for schoolchildren to get the skills in birds’ identification. Teachers and schoolchildren analyzed everything they saw and heard, made conclusions, wrote down their observations. As a result of fieldwork the expedition participants have managed to learn to recognize different kinds of birds in the nature of the National park. Schoolchildren expressed special interest while getting to know the life of invertebrates of the water reservoir: “Microcosmos in a drop of water”. The integrative approach lied in combination of methods of Japanese paper art of Origami used to represent generalized image of a bird. With the help of natural materials such as dry grass, flowers, branches, soil, moss, stones, etc. schoolchildren constructed the models of biocenosis. They created a meadow and semi-aquatic lake world. In biocenosis models birds and plants made of paper were settled in their natural habitats. In painting the images of nature schoolchildren were offered to use natural materials: pollen from plants, flower petals, sand and stones. Students also showed interest to such lessons as “Epics of Vedlozero” and “Ethnography and Toponymy of Vedlozero”. On the territory of the National park there are special “marks” of the ancient ethnic group of population – vodlozery. These are commemorative trees – Karsikko. Students got to know about their origin and significance for vedlozery from conversation with the teacher on ecological trail. Knowledge acquired on these lessons allowed schoolchildren to express their creativity in making dolls – spirits of the wood and lake. To generalize knowledge about nature students of expedition camp made a trip along the ecological trail with the length of 1420 meters. The trail lied on the landscape consisting of different biocenosis: meadows, a sector of old forest, swamp. Walking along the trail they got acquainted with new representatives of flora and fauna – forest ants, poisonous and medical plants of swamp and forest. On one of the swamp sectors there was found carnivorous plant - (Drosera rotundifolia L). Having caught small dipterous insects students managed to feed this plant and observe the process of food capturing. Experience of ecological expedition camps organization allowed teachers and scientists for the first time to realize the work with children with special needs in the wild nature. As children had vision problems of different severity the teachers developed special educational programmes for them which included maximum use of their hearing, smell and touching. It was important to teach the children to identify the sounds of nature: voice of birds, insects, rustle of grass and reeds. But they also had the trips to the world of nature. They learnt to identify different kinds of plants – to feel them (touching the plants with their hands and face, palming), to recognize and remember the smell of spicy plants. For kids with mild form of visual pathology teachers tried to use all senses in working in nature but for a short period of time. Analysis of comments left by children by the end of expedition shows that they prefer communication with each other to communication with nature. In accordance with the goals set by the specialists of the National park it is necessary to implement practical lessons in nature involving schoolchildren into them in more active forms. Integration of scientific, artistic, aesthetic and humanitarian knowledge into coherent whole for cognition of nature will allow develop sustainable motivation for nature protection among children in the future. Primary educational experience of National park specialists in working with disabled children showed that such children may have unlimited possibilities to communicate with nature.

This paper presents a research of women clothing style, pattern design, and fabric by developing origami culture and double faced jacquard weaving. Four kinds of clothing styles are researched by folding fabric according some origami concept. Based on the developed folded garment structures, some positioned patterns are studied for modern advanced fashion design purposes. In the technology aspect, jacquard technology is used in this study. Jacquard technology uses double stitching structure which face and back patterns are not the same. The face fabric is colorful with pure silk while the back fabric is composite of twill and eight weft satin pattern with silk and cashmere yarn. The final example presents a combination creation of garment and fabric. The method and design of this type of creation requires a high integration of aesthetic and technical aspects, therefore a high added value would be achieved.

Usually, polyhedra are viewed as the underlying constructive cells of packing or tiling in many disciplines, including crystallography, protein folding, viruses structure, building architecture, etc. Here, inspired by the flexible origami polyhedra (commonly called origami flexiballs), we initially probe into their intrinsic metamaterial properties and robotized methods from fabrication to actuation. Firstly, the topology, geometries and elastic energies of shape shifting are analyzed for the three kinds of origami flexiballs with extruded outward rhombic faces. Provably, they meet the definitions of reconfigurable and transformable metamaterials with switchable stiffness and multiple degrees of freedom. Secondly, a new type of soft actuator with rhombic deformations is successfully put forward, different from soft bionic deformations like elongating, contracting, bending, twisting, spiraling, etc. Further, we redesign and fabricate the three-dimensional (3D) printable structures of origami flexiballs considering their 3D printability and foldability, and magnetically actuated them through the attachment of magnetoactive elastomer. Lastly, a fully soft in-pipe robot prototype is presented using the origami flexiball as an applicable attempt. Experimental work clearly suggests that the presented origami flexiball robot has good adaptability to various pipe sizes, and also can be easily expanded to different scales, or reconfigured into more complex metastructures by assembly. In conclusion, this research provides a newly interesting and illuminating member for the emerging families of mechanical metamaterials, soft actuators and soft robots.

Procedure text is the text that has to be mastered by senior high school. The purpose of the text is to give a clue how to do something through some steps. The students should experience the lesson in order to help them to know that activity is on their daily life and to apply the worldly education "learning to do" and to make class more lively and communicative. Experiencing the objective above, there are many kinds of media that can be used to motivate the students to learn procedure text orally. One of them is using "origami" (it's the art or process, originating in Japan, of folding paper into shapes representing objects such as flowers, animal and furniture etc.). This study is conducted using a descriptive qualitative research with non-participant researcher. The subject is the students of senior high school in Mojokerto. In doing the observation, the data are collected by observing the activity during the class, the result of observation checklist and the result of questionnaire. Using "origami" as an alternative media to teach procedure text in speaking class is expected to attract the students' interest; it can give the students' opportunities to feel a variety in teaching learning process. "Origami" helps the students increase motivation, enthusiasm, and become easy to practice their language orally. In carrying out "origami", the teacher selects "origami" for beginner because the models can be found in around their house or school. They enable the students to instruct orally. "Origami" is a good media in learning procedure text orally because it can give fun and relaxation and break up the routine class activity. Furthermore, the students experience and understand what they learn.Keywords: Origami, An alternative media, Procedure text, Speaking class

Motivated by the problem arising out of DNA origami, we give a general counting framework and enumeration formulas for various cellular embeddings of bouquets and dipoles under different kinds of symmetries. Our algebraic framework can be used constructively to generate desired symmetry classes, and we use Burnside’s lemma with various symmetry groups to derive the enumeration formulas. Our results assimilate several existing formulas into this unified framework. Furthermore, we provide new formulas for bouquets with colored edges (and thus for bouquets in nonorientable surfaces) as well as for directed embeddings of directed bouquets. We also enumerate vertex-labeled dipole embeddings. Since dipole embeddings may be represented by permutations, the formulas also apply to certain equivalence classes of permutations and permutation matrices. The resulting bouquet and dipole symmetry formulas enumerate structures relevant to a wide variety of areas in addition to DNA origami, including RNA secondary structures, Feynman diagrams, and topological graph theory. For uncolored objects, we catalog 58 distinct sequences, of which 43 have not, as far as we know, been described previously.

"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."

Phenolic acids and phenylpropanoids have an important biological activity and are therapeutic agents of crude drugs. Development of validated analysis techniques of these phytotherapeutic agents (fingerprinting and assay procedures) is an important practice for efficacy, safety, and quality control of herbal drug preparations. The aim of the present work was to study analytical capabilities of the evaluation of selected phenolic acids and phenylpropanoids: caffeic acid, chlorogenic acid, cinnamic acid, coumaric acid, ferulic acid, gallic acid, protocatechuic (3,4-dihydroxybenzoic) acid, rosmarinic acid, vanillic acid, and vanillin. Optimization and validation procedures of rapid and simple method of reversed-phase high-performance liquid chromatography were carried out. The mobile phase of the optimized chromatographic method consisted of methanol and 0.5% acetic acid solvent in water. For the application of method, two kinds of raw materials were chosen: propolis and the Herba Origani. Coumaric acid is the dominating phenolic acid of propolis (2785 mg/g). Results of analysis of Herba Origani demonstrated high quantities (6376 mg/g) of rosmarinic and protocatechuic (1485 mg/g) acids in the samples.

The paper wrapping is one of traditional cultures in Japan, like the paper folding Origami. The technical interest is related to how to decorate goods beautifully along the shapes, and also the requests from daily-life usage are to resolve how to protect goods from external shocks, to carry out materials/goods safely, and so on. Thus, the paper wrapping is intelligent and creative work. This paper addresses a method which can design the target-oriented wrapping procedure successfully and support users’ wrapping works effectively. In order to attain this objective, the authors introduce the knowledge usable in the paper wrapping process and then construct a stage tree to represent various kinds of wrapping means systematically under this knowledge. The authors propose a framework which makes up the paper wrapping process so as to be appropriate to individual target-objects and describe an approach to support the wrapping process visually.

RESUMO
 No presente artigo, expomos, brevemente, o desenvolvimento e resultado de uma pesquisa que relacionou o preconceito linguístico à educação. Postulamos que o preconceito linguístico é social, mas que somente por meio da escola é possível realizar algo efetivo que o combata. Trabalhamos com a Teoria Sociolinguística e com a pedagogia freireana (FREIRE, 1980) realizando discussões com professores e alunos da educação básica sobre conceitos da variação e preconceito linguístico. Como resultado, pudemos perceber uma mudança na postura e reconhecimento dos professores e alunos com relação à existência e malefícios do preconceito linguístico e a relevância do desenvolvimento de atividades que proponham a conscientização a respeito do tema.
 
 PALAVRAS-CHAVE: preconceito linguístico; sociedade; escola.
 ABSTRACT
 In this article, we briefly explain the development and the results of a study interrelating linguistic prejudice with education. We assume that linguistic prejudice is a social phenomena, which can only be effectively confronted in school. This work is grounded in Sociolinguistics theory and Freire's pedagogy (Freire, 1980) by holding discussions about the concepts of variation and linguistic prejudice among teachers and students of basic education. As a result, we could see a change in teachers’ and students’ attitudes as well as their understanding regarding the existence and dangers of linguistic prejudice. Also, the relevance of the development of these kinds of activities which foster awareness on this issue proved to be of utmost importance.
 
 KEYWORDS: linguistic prejudice; society; school.
 
 
 RESUMEN
 En el presente artículo, exponemos, brevemente, el desarrollo y resultado de una investigación que relacionó la discriminación lingüística a la educación. Postulamos que la discriminación lingüística es social, pero que solamente a través de la escuela es posible realizar algo efectivo que lo combata. Trabajamos con la Teoría Sociolingüística y con la pedagogía freireana (FREIRE, 1980) realizando discusiones con los maestros y alumnos de la educación básica sobre conceptos da variación y la discriminación lingüística. Como resultado, notamos un cambio en la na postura y reconocimiento de los maestros y alumnos con relación a la existencia y maleficios de la discriminación lingüística y la relevancia del desenvolvimiento de actividades que propongan la concientización a respecto del tema.
 
 PALABRAS CLAVES: discriminación lingüistica; sociedad; escuela.

Inspired by the existing closed-loop deployable mechanisms and parallel mechanisms, a new kind of mechanisms, named deployable parallel mechanisms, is introduced in this paper, and the kinematic analysis is presented. As the combination of deployable mechanisms and parallel mechanisms, deployable parallel mechanisms have advantages of both the two kinds of mechanisms. They can be easily constructed by origami and folded from spatial structures into paper slices. Due to the parallel structures, they can be designed to have higher stiffness and larger volume compressibility than the existing deployable mechanisms. Thus, deployable parallel mechanisms have tremendous potential to be applied in the design of spatial solar panels, elastic reconfigurable robotic modules, etc. With reference to the kinematic analysis of parallel mechanisms, a finite and instantaneous screw method for kinematics of deployable parallel mechanisms is proposed, which is a generic method that is suitable for displacement and velocity modeling and analysis of any deployable parallel mechanism. A typical mechanism with symmetrical structure is taken as an example to show the validity of the proposed method, and simulation and experiment are carried out to verify the obtained results of kinematics. This paper puts forth the basic concepts of deployable parallel mechanisms and lays a theoretical foundation for their kinematic modeling and analysis.

O artigo, de caráter francamente ensaístico, articula, a partir de diversos autores, uma aproximação entre escrita, prensa tipográfica e racionalidade, levantando a hipótese de que a temática do sujeito, que se encontra no cerne da filosofia moderna, tem em sua origem, além de uma questão epistemológica relativa à fundamentação da verdade, uma nova forma de vivência psicológica, ligada a novos modos de experiência mental tornados possíveis pela impressão, que remetem especificamente para o individualismo, o ponto de vista fixo, a perspectiva e a noção do ato cognitivo como representação. **************************************************** ABSTRACT This mostly essayistic article relates, based on several authors, writing, printing press and rationality. The central hypothesis is that the subject, which is in the core of modern philosophy, has his origins, aside from epistemological matters, also in a new form of psychological life, linked to new kinds of mental experience made possible by printing press and that in this new psychological life are specially important individualism, a fixed point of view, perspective and the understanding of cognition as representation.

There has been a long tradition in making ice structures, but the development of technical improvements for making ice buildings is a new field with just a handful of researchers. Most of the projects were realized by professors in cooperation with their students as part of their education in architecture and civil engineering. The following professors have realized ice projects in this setting: Heinz Isler realized some experiments since the 1950s; Tsutomu Kokawa created in the past three decades several ice domes in the north of Japan with a span up to 25 m; Lancelot Coar realized a number of fabric formed ice shell structures including fiberglass bars and hanging fabric as a mold for an ice shell in 2011 and in 2015 he produced an fabric-formed ice origami structure in cooperation with MIT (Caitlin Mueller) and VUB (Lars de Laet). Arno Pronk realized several ice projects such as the 2004 artificially cooled igloo, in 2014 and 2015 dome structures with an inflatable mold in Finland and in 2016–2019, an ice dome, several ice towers and a 3D printed gridshell of ice in Harbin (China) as a cooperation between the Universities of Eindhoven & Leuven (Pronk) and Harbin (Wu and Luo). In cooperation between the University of Alberta and Eindhoven two ice beams were realized during a workshop in 2020. In this paper we will present the motivation and learning experiences of students involved in learning-by-doing by realizing one large project in ice. The 2014–2016 projects were evaluated by Sanders and Overtoom; using questionnaires among the participants by mixed cultural teams under extreme conditions. By comparing the results in different situations and cultures we have found common rules for the success of those kinds of educational projects. In this paper we suggest that the synergy among students participating in one main project without a clear individual goal can be very large. The paper will present the success factors for projects to be perceived as a good learning experience.

Os brancos são peixes, dizem os Karitiana a respeito dos opok, os não índios – porque saíram de dentro de um rio –, estabelecendo uma conexão entre humanos, animais e espíritos (uma vez que estes, com seus corpos muito brancos, também são associados às águas). Estas são conexões históricas – os brancos, canibais na origem, emergem do rio, atraídos por carne humana assada; nesta apreciação bizarra pela devoração de outros humanos eles se encontram com os psam’em, os perigosos espíritos dos mortos. Mas são também conexões cosmológicas – brancos, espíritos e peixes são seres aquáticos por definição, além de partilharem de uma natureza predatória e deletéria: no caso dos peixes, em função de sua hipóstase, Ora, o trickster traiçoeiro e agressivo que é irmão do criador Botyj. Ora é uma enorme serpente que vive no fundo dos rios e é dona de todas as criaturas que vivem nos corpos d’água. Todos, não índios, espíritos, certos animais aquáticos e Ora, são, a seu modo, ‘bichos’ (kida), criaturas com que o estabelecimento de relações é difícil e que merecem ser aproximadas com cautela. O que acontece, então, quando os brancos sugerem aos Karitiana projetos para a instalação da piscicultura em suas aldeias, ausentes de toda criação doméstica de animais? Este trabalho investiga os múltiplos potenciais descompassos e equívocos – ou diferentes facetas ou atravessamentos de um único e complexo equívoco – colocados em jogo com os projetos para a introdução da criação de peixes nas aldeias indígenas Karitiana no sudoeste da Amazônia brasileira, tendo como ponto privilegiado as visões Karitiana a respeito desses outros ao mesmo tempo engenhosos e temíveis que são os brancos.

Nosso trabalho tem como proposta problematizar o pensamento dos intelectuais que pensaram as religiões afro-brasileiras em Pernambuco na primeira metade do século XX. Dessa forma analisaremos o que fez as religiões de origem africana serem alvo de diferentes formas de relações, com os intelectuais, e que tipos de práticas e de saberes instituídos foram apropriados e reinterpretados por esses grupos religiosos no sentido de vencer resistências e fazer circular suas “práticas”. Os intelectuais são analisados através de duas vertentes: a primeira, formada por médicos psiquiatras que concebiam a questão do negro utilizando-se do aporte teórico eugenista; e a segunda, constituída por sociólogos, jornalistas, romancistas, antropólogos, entre outros, que pensaram essa problemática, numa perspectiva que tentava romper com a construção teórica, trocando o conceito de “raça” pelo de “cultura”.Palavras chave: intelectuais, religiões afro-brasileiras, teorias, história da psiquiatriaAbstractOur work has as proposal to problematize the thoughts of the intellectuals that scrutinized Afro-Brazilian religions in Pernambuco on the first half of the twentieth century. Henceforth we will analyze what made religions of African origin the target of different forms of relations with the intellectuals and what kinds of practices and knowledges were appropriated and reinterpreted by these religious groups in order to overcome resistance and circulate their " Practices. " The intellectuals are analyzed through two aspects: the first, formed by psychiatrists who conceived the question of black people using the eugenist theoretical contribution; and the second, made up of sociologists, journalists, novelists, anthropologists, among others, who thought of this problem, in a perspective that tried to break with the theoretical construction, changing the concept of "race" to "culture".Keywords: Intellectuals, Afro-Brazilian religions, theories, history of psychiatry

A Biblioteca de Alexandria, durante seis séculos, foi o centro cultural do mundo. Reuniu sábios, das mais diferentes procedências, que nela desenvolveram trabalhos e pesquisas de importância fundamental para o conhecimento. Bibliotecários eruditos tornaram acessível ao mundo ocidental obras de toda origem. Calímaco criou uma forma de organização do conhecimento registrado, cuja influência perpassou outras bibliotecas antigas e bibliotecas medievais, chegando até nossos dias. A etimologia de palavras utilizadas na Antigüidade explica seu uso contemporâneo na representação bibliográfica. A destruição da antiga Biblioteca se reveste de lendas, de origens diversas, inclusive aquelas historicamente preconceituosas. Conclui-se com um relato sumário sobre a revivescência e as principais características da nova Bibliotheca Alexandrina, estabelecendo um paralelo entre a antiga Biblioteca e a nova, como símbolos de conhecimento e coexistência entre diferentes seres humanos e suas perspectivas. Abstract The Alexandrian Library has been the cultural center of the world for six centuries. It congregated scholars, from different origins, that developed works and researches of fundamental importance for knowledge. The learned librarians made accessible the works from many sources to the western world. Callimachus created a kind of organization for registered knowledge, which influenced ancient and medieval libraries, until our days. The etymology of words used in Antiquity explains their contemporary use in bibliographic representation. The destruction of the ancient Library is involved by legends of all kinds, including ones of preconceived historical statements. A brief report about the revival and the main characteristics of the new Bibliotheca Alexandrina establishes a parallel between the ancient and the new one, as symbols of knowledge and coexistence between different human beings and their views.

O trabalho relata a vida de famílias migrantes do povo Manchineri, com destaque, principalmente às redes de migrações, às fronteiras e os territórios. Intencionalmente mostramos como famílias de indígenas que migraram foram obrigadas a constituir e construir novas características de sobrevivência no mundo ocidental, bem como novas territorialidades em distintos territórios em novas zonas e categorias, e se “distribuírem” em recintos desconhecidos e invisíveis. Desta maneira o objetivo foi compreender como tem se perpetuado os circuitos migratórios, suas diversas territorialidades em área de tríplice fronteira, como também seu retorno para as aldeias, ou seja, suas terras de origem. Assim, as migrações indígenas são mostradas de duas maneiras, as circulares e as lineares. As circulares ocorrem quando a família se retira de sua terra de origem e retorna; já as lineares quando a família afasta de sua terra de origem e não retorna, porém continua com a redes de parentesco e amizade com o local de origem. Esses dois tipos de migrações são as mais básicas para a compreensão do que é a mobilidade indígena, seja ela “forçada” ou livre. O que devemos levar em consideração é a hora de migrar, o fato e o histórico da família. A pretensão nesta ocasião é garantir as vozes dos entrevistados durante todo o processo de escrita e compreensão do artigo. O povo Manchineri vive no Departamento de Pando (BOL), Departamento de Madre Dios (PE) e em território brasileiro na cidade de Assis Brasil, Estado do Acre, na TI Mamoadate, TI Cabeceira do Acre e Seringal Guanabara, e outros localizados em centros urbanos nos três países. Como caminho metodológico utilizamos a história oral, as entrevistas e a experiência de vida de cada entrevistado, porque assim participamos de sua vida diária e realidades de sua vivência. O intuito assim é inserir estudo das migrações indígenas, fronteiras indígenas e territórios indígenas nas discussões da Geografia contemporânea com um meio de contribuir com novas discussões na academia e fora da academia, somente assim trabalhamos uma discussão intercultural em âmbito acadêmico e para toda a compreensão da sociedade civil. Neste sentido, levamos em consideração que os estudos sobre questões indígenas precisam com urgência ganhar destaque na atual conjuntura da Geografia Política, já que suas terras indígenas estão sempre em disputa no âmbito por exploração de seus recursos naturais. Essa cena nos mostra o quão esses povos vivem sempre em luta para garantir seu modo de vida e sua terra tradicional, já que hoje foi garantido um enorme retrocesso nas conquistas e direitos dos povos Indígenas. Faz-se necessário fazer esse estudo sobre migrações indígenas dentro da geografia para aproximar essa ciência ocidental em questões nativas e visões de mundo, assim contribuímos com um diálogo de uma Geografia mais equitativa.Palavras-chave: Famílias Manchineri, Migrações, Fronteiras, Territórios.AbstractThis work describes the lives of the migrants' families of Machineri people, highlighting specifically the migrations’ network, the borders and the territories. We intentionally show how the migrated indigenous families were obligated to constitute and build new characteristics of survival in the occidental world, as well as new territorialities in different territories in new zones and categories and divide themselves into unknown and invisible places. Therefore, the main goal has been the comprehension of how the migration circle has been perpetuated, their many territorialities in triple border, as well as their regress to their villages, their hometown. This way, the indigenous migrations are showed in two manners, the circle ones and the linear ones. The circle ones happen when the families leave their village and return later; the linear ones happen when the families leave their village, and they do not return, but they still have parents and relationship in their hometown. These two kinds of migration are the most basics to the comprehension of what is indigenous mobility, obligated or free. What we should take in consideration it is the time of migration, the fact and the family history. The intention in this occasion is to guarantee the voices of the interviewed ones during the whole process of writing and comprehension of the article. Machineri people live in the Department of Pando (BOL), Department of Madre Dios (PE) and in the Brazilian city of Assis Brasil, State of Acre, in Mamoadate’s Land, Cabeceira do Acre’s land and Seringal Guanabara, and other locations in the urban zone in the three countries. As a methodological practice, we took the oral history, the interviews and the life experience of each interviewee; this way, we participated in their daily lives and the realities of their survival. This work aims to write in about the indigenous migration, indigenous borders and indigenous territories in the discussions of contemporary Geography as a way of contributing to new discussions inside and outside the academy, only this way we can have an intercultural discussion in the academy and to all society. Thereby, we take in consideration that the studies of indigenous questions need with urgency gain spotlight in the actual conjecture of political geography, as so that their indigenous lands are always fighting when it is related to the exploration of natural resources. This scene shows us how much these people are always fighting to guarantee their way of living and their traditional land, as so that today they suffer from a regression of the accomplishment and rights of indigenous people. It is necessary to study the migration of indigenous people inside the geography as a way of approaching this occidental science in fundamental questions and world views; thereby we contribute with a dialogue to equitable geography.Keywords: Manchineri people, migrations, borders, territories.

AbstractEnergy balance and efficiency for densified sawdust production. The industrial wood briquette making process is an alternative to add value to forestry waste and involves the compaction of sawdust at high pressure and temperature. The present study was performed in an industry in the state of Goiás, Brazil. All kinds of energy involved in the wood briquette manufacturing process were qualified and quantified, in all stages of the process. The methodology used was based on Cotrim (1992), Silva (2001), (BEN, 2007), Inconprera (2008) and NBR 8633. The total energy demand to produce one ton of Pinus wood briquettes using sawdust at 43.8% moisture was 435 kWh. When producing the same amount of briquettes at 11% humidity, this value fell to 101.66 kWh per ton. Thus, drying process of sawdust consumes 76.63% of all the energy used for manufacturing. The amount of energy required for the production of 1 ton of briquettes corresponds to 10.8% (wet sawdust) and 4.37% (dry sawdust) of the energy contained in this one ton of briquettes.Keywords: Wood densification; industry of briquette; energy. ResumoEficiência e balanço energético na fabricação de briquetes de madeira. A briquetagem é uma alternativa para agregar valor a resíduos de origem agro florestal e consiste na compactação da serragem a elevadas pressões e temperatura. Este trabalho foi desenvolvido em uma indústria no estado de Goiás, onde foram quantificadas e caracterizadas todas as energias envolvidas no processo de fabricação de briquete em todas as etapas do processo industrial. A metodologia utilizada baseou-se em Cotrim (2003), Silva (2001), Brasil (2007), Inconprera (2008), ABNT (1984). A unidade utilizada foi kWh/t de briquete fabricado. A demanda total de energia para fabricar uma tonelada de briquete a partir de serragem de Pinus com 43,8% de umidade foi de 435 kWh/t. Quando se fabrica a mesma a quantidade de briquetes agora com umidade de 11%, este valor cai para 101,66 kWh/t. Assim, a secagem da serragem consome 76,63% de toda energia de fabricação. Entretanto com a serragem a 11% de umidade a maior demanda de energia eletricidade, com 64,06%. A energia necessária para produzir uma tonelada de briquete com serragem úmida (43,8%) corresponde a 10,8% da energia contida nesta 1 tonelada de briquete e com serragem seca a 4,37%.Palavras-chave: Briquetagem de madeira; indústria de briquete; energia.

Bottom sediment is a natural trap for organic matter and different kinds of pollutants. The accumulation of large amount of organic matter gives rise to the eutrophication of the aquatic ecosystems. The analyses of the quantity and quality of the organic matter (biopolymers) help to determine the trophic status of coastal ecosystems. The Maricá-Guarapina Lagoon System (MGLS) is located in Rio de Janeiro and is composed by four connected lagoons: Maricá, Barra, Padre and Guarapina. It has been suffering impacts due to the intense and uncontrolled property speculation. Based on this problem, this study aimed to characterize the organic matter (OM) amount and quality in sediments and the relation with the impacted areas in this lagoon system. The collected sediment samples were analyzed for geochemical data combined with grain size and physical-chemical environmental parameters of the bottom water. Statistical results evidenced that the sedimentary environment of the MGLS is heterogenous. The organic matter supplied to the MGLS is provided from different sources but the autochthonous contribution (phytoplanktonic productivity and vegetal detritus from the mangrove fringe) prevails. The anthropogenic contribution was more evident in Padre Lagoon, where the sediments had relatively low TOC contents (0.1-0.8%). The MGLS is accumulating mainly aged organic matter. The most impacted zones were found in Guarapina, Barra and Maricá lagoons, in bottoms of fine-grained sediments, with relatively high TOC and labile biopolymeric compounds (proteins, carbohydrates and lipids) contents, which should evolve into an ever-increasing stage of eutrophication. COMPOSTOS ORGÂNICOS USADOS COMO INDICADORES DA QUALIDADE AMBIENTAL SEDIMENTAR DO SISTEMA LAGUNAR MARICÁ-GUARAPINA (SE DO BRASIL)ResumoO sedimento de fundo constitui uma armadilha natural para a matéria orgânica e diferentes tipos de poluentes. O acúmulo de grande quantidade de matéria orgânica dá origem à eutrofização dos ecossistemas aquáticos. Estimativas de quantidade e qualidade da matéria orgânica (biopolímeros) podem ajudar a determinar o estado trófico dos ecossistemas costeiros. O Sistema Lagunar de Maricá-Guarapina (MGLS), localizado no Estado do Rio de Janeiro (SE do Brasil), é composto por quatro lagunas interconectadas: Maricá, Barra, Padre e Guarapina. Este sistema tem sofrido impactos devido à intensa e descontrolada especulação imobiliária. Neste contexto, este estudo teve como objetivo caracterizar a quantidade e qualidade de matéria orgânica (MO) dos sedimentos do MGLS. Foram obtidos dados geoquímicos e confrontados com resultados granulométricos em amostras de sedimentos coletados em 22 estações de amostragem e analisados parâmetros físico-químicos da água. Os resultados estatísticos evidenciaram que o ambiente sedimentar do MGLS é heterogêneo. Este sistema recebe matéria orgânica de diferentes fontes, sendo, porém, prevalecente a contribuição autóctone (produtividade fitoplanctônica e detritos vegetais dos manguezais existentes na região). A contribuição antropogênica de matéria orgânica foi mais evidente na Lagoa do Padre, onde os sedimentos apresentaram teores de COT relativamente baixos (0,1-0,8%). As zonas mais impactadas foram encontradas em fundos de sedimentos finos, com teores relativamente elevados de COT e de compostos biopoliméricos lábeis (proteínas, carboidratos e lipídios), nas lagunas de Guarapina, Barra e Maricá. Os resultados obtidos revelam também que o MGLS está acumulando principalmente matéria orgânica envelhecida e permitem prever que as referidas áreas podem evoluir para um estágio de cada vez maior grau de eutrofização.Palavras-chave: Lagunas Costeiras Tropicais. Biopolímeros. Eutrofização. Dinâmica Sedimentar.

Abstract Bifurcation behavior analysis is the key part of mobility in the application of origami-inspired deployable structure because it opens up more allosteric possibilities but leads to control difficulties. A novel tracking method for bifurcation paths is proposed based on the Jacobian matrix equations of the constraint system and its Taylor expansion equations. A Jacobian matrix equation is built based on the length, boundary, rigid plate conditions, and rotational symmetry conditions of the origami plate structures to determine the degrees of freedom and bifurcation points of structural motion. The high-order expansion form of the length constraint conditions is introduced to calculate the bifurcation directions. The two kinds of single vertex four crease patterns are adopted to verify the method first. And then, the motion bifurcations of three wrapping folds are investigated and compared. The results demonstrate the rich kinematic properties of the wrap folding pattern, corresponding to different assignments of mountain and valley creases. The findings provide a numerical discrimination approach for the singularity of rigid origami structure motion trajectories, which may be used for a wide range of complicated origami plate structures.

Este projeto integra a linha de pesquisa do Programa d e Pós Graduação da PUCPR – na linha de pesquisa Teoria e Prática. Desde sua criação envolveu alunos PIBIC, PIBICJR, alunos de graduação, mestrandos, professores do programa de mestrado em educação, , professores de graduação, escolares hospitalizados, profissionais da realidade hospitalar, como também, professores da rede municipal da educação. Oportuniza a investigação de situações de pesquisa do tipo qualitativa, vinculadas às necessidades reais da educação e tecnologias em contexto diferenciado e emergente na sociedade. Visa, sem renunciar aos conteúdos específicos da aprendizagem normatizada, ir além, flexibilizando e agilizando os conteúdos do currículo escolar de modo que, por meio de um ambiente virtual de aprendizagem possa favorecer a continuidade da escolarização para crianças e adolescentes hospitalizados. Para atender as particularidades da realidade do aluno hospitalizado, precisa-se não só desenvolver metodologia própria para satisfazer tais necessidades, como também, integrar por meio de ambiente virtual de aprendizagem uma proposta que dê condições para preparar e formar profissionais professores para essa nova ação educativa. Com isso, a produção da interface deste ambiente integra profissionais da área de educação, design e programação. Estuda e propõe contribuições para ampliar significativamente os trabalhos que vem sendo desenvolvidos em hospitais, incorporando o uso das Tecnologias Educacionais para dar suporte as atividades desenvolvidas ao atendimento da criança/adolescente em contexto hospitalar em idade de escolarização mediando o processo ensino-aprendizagem com as escolas de origem em que estão inseridas. Visa, portanto, integrar escola e hospital com o auxilio das tecnologias da informação e comunicação, apontando novas possibilidades ao educando quando por circunstâncias diversas, encontre-se este, por um tempo mais prolongado em contexto hospitalar.

AbstractIon transport and hydrodynamic flow through nanometer-sized channels (nanopores) have been increasingly studied owing to not only the fundamental interest in the abundance of novel phenomena that has been observed but also their promising application in innovative nanodevices, including next-generation sequencers, nanopower generators, and memristive synapses. We first review various kinds of materials and the associated state-of-the-art processes developed for fabricating nanoscale pores, including the emerging structures of DNA origami and 2-dimensional nanopores. Then, the unique transport phenomena are examined wherein the surface properties of wall materials play predominant roles in inducing intriguing characteristics, such as ion selectivity and reverse electrodialysis. Finally, we highlight recent progress in the potential application of nanopores, ranging from their use in biosensors to nanopore-based artificial synapses.

Introdução: Desnutrição é uma doença nutricional, prevalente em países em desenvolvimento, que acarreta prejuízos ao crescimento e desenvolvimento, além de ter relação direta com taxa de mortalidade infantil. Tem origem multifatorial, associada à limitação de nutrientes ou a má utilização destes pelo organismo. Durante hospitalização é de extrema importância avaliar esse risco nutricional, através de triagem. A partir desta é possível realizar adequação do tratamento e intervenção nutricional precoce, possibilitando melhor evolução do paciente, diminuição do risco de morbimortalidade, permanência e custos de internação hospitalar, além de aumentar a rotatividade de leitos. Objetivo: O trabalho teve como objetivo avaliar o estado nutricional de crianças de um hospital particular na cidade de Cascavel, Pr. Métodos: Foi utilizada a ferramenta de triagem nutricional Strong Kids, que avalia o estado nutricional através da presença de doença de alto risco ou cirurgia de grande porte, perda de massa muscular ou adiposa (por meio de avaliação clinica subjetiva), características da ingestão alimentar e possíveis perdas (vômitos e diarreia) e perda de peso ou ausência de ganho em crianças menores de 1 ano. Cada item citado tem uma pontuação que no final da avaliação gera um score, de 0 a 5, identificando o risco nutricional. A ferramenta foi aplicada a indivíduos entre 1 mês e 18 anos, totalizando uma amostra de 116 pessoas. Resultados: Como resultados foram obtidos os seguintes dados: score 0 (baixo risco): 18,1%; score 1 (médio risco): 59,41%; score 2 (médio risco): 8,62%; score 3 (médio risco): 6,9%; score 4 (alto risco): 5,17%; score 5 (alto risco): 1,72%. Conclusão: Os resultados com score 0, considerado de baixo risco e sem necessidade de intervenção nutricional, ocupa apenas uma pequena parte da amostra total. Dessa forma, todo o restante da amostra necessita de maior atenção nutricional e possível intervenção.
 
 
 Palavras-chave: avaliação nutricional, triagem, desnutrição.

A hipótese discutida na pesquisa (ainda inconclusa) que dá origem a este texto é a de que as formalizações matemáticas da Teoria Geral do Emprego, dos Juros e da Moeda, elaboradas por Roy HARROD, John HICKS e James MEADE, além das de David CHAMPERNOWNE e de Brian REDDAWAY, ainda que semelhantes na forma final, foram alcançadas mediante diferentes raciocínios, justificativas e argumentos teóricos, e que a aceitação e o sucesso da versão matematizada se deu pelo fato dela permitir a incorporação – de modo implícito – das variadas relações de causalidade definidas por cada um destes autores. Por razões de tempo e de espaço, o texto explora esta hipótese de forma ainda preliminar e cinge-se apenas à contribuição de HARROD. Abstract The hypothesis behind the ongoing research that motivates this paper suggests that the mathematical formalizations of the General Theory of Employment, Interest and Money advanced by Roy HARROD, John HICKS and James MEADE, as well as the ones by David CHAMPERNOWNE and Brian REDDAWAY, although similar in their form, were constructed using different kinds of reasonings, justifications and theoretical arguments. Consequently, the acceptance and success of the mathematized version occurred because it allowed the – implicit – incorporation of the diverse causal relations proposed by each of these authors. Lack of space and time prevent a complete development of this hypothesis here, so this text focuses only on HARROD’s contribution.

The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about pornography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, pornography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (homo-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of pornography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/homo-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) References ABS. 8147.0 Use of the Internet by Householders, Australia. http://www.abs.gov.au/ausstats/abs@.nsf/ e8ae5488b598839cca25682000131612/ ae8e67619446db22ca2568a9001393f8!OpenDocument, 2001, 2001>. Baym, Nancy. “The Emergence of Community in Computer-Mediated Communication.” CyberSociety: Computer-Mediated Communication and Community. Ed. S. Jones. Thousand Oaks, CA: Sage, 1995. 138-63. Blue, Midnight. “The Mirror of Maybe.” http://www.greyblue.net/MidnightBlue/Mirror/default.htm>. Coates, Laura. “Muggle Kids Battle for Domain Name Rights. Irish Computer. http://www.irishcomputer.com/domaingame2.html>. Fanfiction.net. “Category: Books” http://www.fanfiction.net/cat/202/>. Green, Lelia. Technoculture: From Alphabet to Cybersex. Sydney: Allen & Unwin. Hearn, Greg, Tom Mandeville and David Anthony. The Communication Superhighway: Social and Economic Change in the Digital Age. Sydney: Allen & Unwin, 1997. Hills, Matt. Fan Cultures. London: Routledge, 2002. Houghton Mifflin. “Potlatch.” Encyclopedia of North American Indians. http://college.hmco.com/history/readerscomp/naind/html/ na_030900_potlatch.htm>. Kirby, Justin. “Brand Papers: Getting the Bug.” Brand Strategy July-August 2004. http://www.dmc.co.uk/pdf/BrandStrategy07-0804.pdf>. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (Nov. 1997): 70-8. Murray, Simone. “Celebrating the Story the Way It Is: Cultural Studies, Corporate Media and the Contested Utility of Fandom.” Continuum 18.1 (2004): 7-25. Raymond, Eric S. The Cathedral and the Bazaar. 2000. http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ar01s11.html>. Streeter, Thomas. The Romantic Self and the Politics of Internet Commercialization. Cultural Studies 17.5 (2003): 648-68. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Melbourne: Cambridge UP. Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

Introdução: As instituições de ensino têm o compromisso com a formação profissional qualificada, bem como, o de atender as demandas dos usuários que as procuram, devendo estar preparadas para resolução dos seus problemas. Objetivo: Caracterizar o perfil de crianças atendidas na Clínica-escola do Curso de Odontologia da Universidade Federal de Campina Grande, Patos/Paraíba. Material e Método: O estudo do tipo transversal descritivo e analítico foi aprovado pelo CEP/HU/UFCG sob parecer n° 2290441. Foram analisados 195 prontuários de pacientes de 2 a 12 anos atendidos no período de novembro de 2012 a maio de 2018. Variáveis demográficas, comportamentais, clínicas e terapêuticas foram coletadas e organizadas em um banco de dados para análise estatística descritiva, por meio do programa SPSS versão 21.0. Resultados: Observou-se um perfil de crianças em sua maioria do gênero feminino, com idade média 8,16 anos, estudantes de instituições públicas, morando com até 6 pessoas e procedentes de Patos/PB. Apresentam um comportamento positivo no ambiente odontológico, sendo consideradas calmas pelos pais. Quanto à procura pelo serviço, a busca por tratamento odontológico, foi relatada, com queixa de má-oclusão e dor de origem dentária, em sua maioria. O índice ceo-d e CPO-D variaram de 0 a 15, com prevalência de cárie de 84,1%. Observou-se ainda que os cuidados em saúde bucal e os hábitos alimentares das crianças eram inadequados. Conclusão: A identificação destas necessidades e a recuperação da saúde bucal, com ênfase na promoção e prevenção, são ações primordiais para o grupo em estudo, permitindo não só a melhoria, como também o controle das doenças bucaisDescritores: Saúde Bucal; Odontologia Comunitária; Odontopediatria.ReferênciasMaske TT, Van de Sande FH, Arthur RA, Huysmans MCDNJM, Cenci MS. In vitro biofilm models to study dental caries: a systematic review. Biofouling. 2017;33(8):661-75.Brasil, Ministério da Saúde. Projeto SB Brasil 2010: Pesquisa Nacional de Saúde Bucal 2010. Resultados principais. Brasília: Ministério da Saúde; 2011.Fejerskov O, Kidd E. Cárie dentária: a doença e seu tratamento clínico. São Paulo: Santos, 2011.Borges RC, Otoni TAC, Pires RCCP. Avaliação da qualidade do serviço odontológico prestado pela Faculdade de Odontologia da Universidade de Itaúna, MG, Brasil: visão do usuário, 2014. RFO. Passo Fundo. 2015;20(3):308-12.Uchôa EM, Andrade LHR, Valente AGLR, Tannure PN. Necessidade de tratamento odontológico e perfil de crianças atendidas na clínica de odontopediatria de uma instituição de ensino superior do Rio de Janeiro. Rev Odontol. 2014;26(2):127-32.Domingos PAS, Rossato EM, Bellini A. Levantamento do perfil social, demográfico e econômico de pacientes atendidos na Clínica de Odontologia do Centro Universitário de Araraquara – Uniara. REBRAM. 2014;17(1):37-50.Costa CHM, Forte FDS, Sampaio FC. Motivos para consulta e perfil socioeconômico de usuários de uma clínica infantil. Rev Odontol UNESP. 2010; 39(5):285-89.Emmi DP, Gomes JT, Barroso RFF, Araújo MVA. Humanização no acolhimento aos usuários das clínicas de ensino da Faculdade de Odontologia da Universidade Federal do Pará: cinco anos de experiência de um projeto de extensão. Conexão. 2016;12(3):476-86.World Health Organization. Oral health surveys. 4 th. Geneva: Basic Methods. 1997.Greene JC, Vermillion JR. The simplified oral hygiene index. J Amer Dent Ass. 1964;68:7-13.Maia FBM, Sousa ET, Alves VF, Sampaio FC, Forte FDS. Perfil Socioeconômico dos usuários e Motivo de Procura de uma Clínica de Ensino. Rev Cubana Estomatol. 2016;53(2):17-23.Figueiredo PBA, Silva ARQ, Silva AI, Silva BQ. Perfil do atendimento odontopediátrico no setor de urgência e emergência da clínica odontológica do Centro Universitário do Pará – CESUPA. Arq Odontol. 2013;49(2):88-95.Paschoal MAB, Gurgel CV, Lourenço Neto N, Kobayashi TY, Silva SMB, Abdo RCC et al. Perfil de tratamento de urgência de crianças de 0 a 12 anos de idade, atendidas no Serviço de Urgência Odontológica da Faculdade de Odontologia de Bauru da Universidade de São Paulo. Odontol Clín-Cient. 2010;9(3):243-47.Amorim NA, Silva TRC, Santos LM, Tenório MDH, Reis JIL. Urgência em Odontopediatria: Perfil de Atendimento da Clínica Integrada Infantil da FOUFAL. Pesqui Bras Odontopediatria Clín Integr. 2007;7(3):223-27.Naidu RS, Boodoo D, Percival T, Newton JT. Dental emergencies presenting to a university based paediatric clinic in the West Indies. Int J Paediatr Dent. 2005;15(3):177-84.Sakai VT, Magalhães AC, Pessan JP, Silva SMB, Machado MAAM. Perfil de tratamento de urgência de crianças de 0 a 15 anos atendidas no serviço de urgência odontológica da Faculdade de Odontologia de Bauru – USP. J Appl Oral Sci. 2005;13(4):340-44.Pires DM, Azevedo EFS, Alves AC, Neto AAA, Pastor IMO, Rocha MCS et al. Perfil do atendimento de urgência na clínica de odontopediatria da FOUFBA. Rev Fac Odontol Univ Fed Bahia. 1999;18:6-10.Aquilante AG. A importância da educação em saúde bucal para pré-escolares. Rev Odontol UNESP. 2003;32 (1):39-45.Leite DFBM, Muniz IAF, Muniz IAF, Farias IAP. Condução psicológica do paciente infantil em Saúde Pública. Odontol Clín-Cient. 2013;12(4):251-54.Camargo LB, Borba KG, Bonaldo C, Alencar CJF, Raggio DP, Moura ACVM. Reflexão sobre o comportamento dos bebês durante o atendimento odontológico: relato de caso clínico. Rev Assoc Paul Cir Dent. 2013;67(3):209-13.Slabsinskiene E, Milciuviene S, Narbutaite J, Vasiliauskiene I, Andruskeviciene V, Bendoraitiene EA et al. Severe early childhood caries and behavioral risk factors among 3-year-old children in Lithuania. Medicina (Kaunas). 2010;46(2):135-41.Brandt BC. Perfil dos cuidadores de crianças atendidas nas Clínicas Odontológicas do Departamento de Odontologia da Universidade Federal de Santa Catarina quanto aos conhecimentos sobre hábitos relacionados à cárie dentária [monografia]. Florianópolis: Centro de Ciências da Saúde, UFSC; 2014.Moynihan P, Kelly S. Effect on caries restricting sugars intake : systematic review to update. WHO guideslines. J Dent Res. 2014;93(1):8-18.Sheiham A, James WP. Dieta e Cárie Dentária: O Papel Principal dos Açúcares Livres Reenfatizado. J Dent Res. 2015; 94(10):1341-47Castilho ARF, Mialhe FL, Barbosa TS, Puppin-Rontani RM. Influence of family environment on children's oral health: a systematic review. 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Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engaging and coherent storyworlds.Producers of American TV shows, showrunners, and networks are more and more eager to develop narrative universes on other media platforms in order to target new audiences and to give food for thought to fans, as well as reward them for their intellectual and emotional investment. Ancillary content and tie-ins sometimes take the form of novelisations or comic books, highlighting the fact that strategies of transmedia storytelling can be deployed on non-digital platforms and still enhance the narrative aspects of the show. For example, Twin Peaks (1990) developed The Diary of Laura Palmer (1990), a journal written by the character Laura Palmer who gave insights on her life and details about her relationships with other characters before she was murdered at the beginning of the series. How I Met Your Mother (2005-2014) published The BroCode (2008), first seen on episode “The Goat” (season 3 episode 17), and The Playbook (2012), first seen in an episode entitled “The Playbook” (season 5 episode 8). They are bibles written by character Barney Stinson that contain rules or advice for picking up women. For instance, The BroCode contains 150 articles, a glossary of terms, a definition of “a bro,” history of the code, amendments, violations, and approved punishments, all invented by Barney; some of these components were talked about on the show, while others were original additions for the book.Another way to create transmedia storytelling around TV shows is by developing comic books. This article will explore this specific media form in relation to transmedia strategies and will try to underline how comic books can make a narrative richer by focusing on parts of the plot, characters, times, or locations. First, I will focus on the importance of seriality from a historical perspective, because seriality appears to be one of the main principles of transmedia storytelling. Yet, is this narrative continuity always coherent and always canon when it comes to the publication of comic books? I will then propose a typology of the narratives comic books exploit to augment the storytelling of a show. I will give examples to illustrate how comic books can enrich the narrative universe of a given show and how characters can smoothly move from one platform to the other.A Transmedia World: Television and Comic Books Hand in HandSeriality is one of the main pillars of transmedia storytelling, and, according to Jenkins, “it is about breaking things down into chapters which are satisfying on their own terms, but which motivate us to come back for more” (“Transmedia”). These characteristics are already present in the way TV series are written, produced, and broadcast, and in the way comic books are created. They rely on episodes for TV shows and on issues for comic books that usually end with suspense and a suspension in the narrative continuity, commonly known as a cliff-hanger. For comic books, this narrative continuity took root in the early comic strips of the 18th and 19th century (Maigret and Stefanelli), which played a huge part in what we now know as comic books. As Pagello explains:The extensive practice of narrative serialisation played a major role in this context: the creative process, the industrial production and distribution, the editorial practices and, finally, the experience of comics readers all underwent dramatic changes when comics started to develop an identity distinguished from satirical cartoons, illustrated books and the various forms of children’s picture stories.According to Derek Johnson, these evolutions, in terms of production and reception, are closely linked to the widespread use of the franchise model in media industries. Johnson explains thatcomic books, video games, and other markets once considered ancillary now play increasingly significant and recentered roles in the production and consumption of everyday film and television properties such as Heroes, Transformers, and the re-envisioned Star Trek in ways that only very few innovators (such as George Lucas and his carefully elaborated and expanded Star Wars empire) had previously conceived in the twentieth century.The creation of transmedia strategies that capitalize on narrative continuity and seriality call for some synergies between media and for a “gatekeeper” of the stories who will ensure that all is coherent in the storyworld. Thus, “in 2006, the management of Heroes, for example, became a job for a professional ‘Transmedia Team’ charged with implementing creative coordination across television, comics, and the Internet” (Johnson).Another principle of transmedia storytelling, closely linked to seriality and the essence of the definition, is the creation of a narrative universe, that is “world-building,” in which plots and characters develop, and which will lay the foundations for the story. These foundations will be written in what is called a Bible, a document containing all the narrative elements in order to ensure coherence. In the notion of world-building, a matrix of possibilities is deployed, since stories can potentially become threads to weave, and re-weave. This rhizomatic world can be extended to infinity in a canonical way (by the official production) and in a non-canonical one (by the creations of fans). For Mark Wolf, these narrative worlds work like dynamic entities, and are transformative, transmedial, and transauthorial, which are similar to the notions and possibilities of transmedia storytelling, and media and cultural convergence. Stories that cannot be contained within the “real” of a single medium will be expended and developed on another or several other ones, creating a rich storyworlds. Comic books can be one of these tie-in media.New Term, Old Creations: An Historical OverviewMatthew Freeman wrote in his latest book Historicising Transmedia Storytelling that these transmedia practices do have a past and existed long before the introduction of the term due to new technologies, production strategies, and reception tactics. Comic books were often an option to enrich storylines and further develop the characters. For example, L. Frank Baum created a storyworld around The Wizard of Oz made of mock newspapers, conferences, billboards, novels, musicals, and comic strips in order to “appeal to a migratory audience” (Jenkins, “I Have”) and to deepen the characters, introduce new ones, and discover the land of Oz as if it were a real location. The author used techniques of advertising to promote and above all to expand his storyworld. As newspaper comic strips were quite popular at the time, Baum created several tie-in extensions in the newspapers and in a novel format. As Jason Scott underlines, “serial narratology enhances the possibilities of advertising and exploitation through the established market for the second and subsequent instalment” (14). The series of comic strips entitled Queer Visitor from the Marvellous Land of Oz (1904-1905) picked up, in terms of narration, just after the end of the book, offering a new temporality and life for the characters. As Freeman notes, this choice follows an economic logic:The era’s newspaper comic strips and their institutional tendency to prioritize recurring characters as successful advertising mechanisms (as witnessed in the cross-media dispersion of Buster Brown) had in fact influenced Baum to return to the series’ more familiar faces of Dorothy, the Scarecrow, and the Tin Woodman (2371).Here, the beloved characters are moving from one medium to the next, giving new insights on their life after the end of the book, and enhancing their stories beyond its pages.A Typology of Comic Books and Tie-in Extensions of TV SeriesBefore diving into a tentative typology, I want to look at the definition of canon in a transmedia storyworld. There is a strong debate in academic discussions around the issues of canonicity, and here I understand canonicity as the production of official texts around a given cultural content. That is because of precisely what is qualified as an official text or an official extension, and what is not. In the book I co-edited with Benjamin W.L. Derhy Kurtz (Derhy Kurtz and Bourdaa), we respond by coining the term “transtexts,” which includes officially produced texts and fantexts in the same narrative universe. The dichotomy between both kinds of texts is thus diminished. Nonetheless, in production and transmedia strategies, canonicity is hard to evaluate because “few television series have attempted to create transmedia extensions that offer such a (high level of) canonic integration, with interwoven story events that must be consumed across media for full comprehension” (Mittell 298). He follows by proposing a typology of two possible transmedia extensions based on a canon perspective versus a non-canon one: “what is extensions” extend the storyworld canonically and in a coherent way, whereas “what if extensions” “pose(s) hypothetical possibilities rather than canonical certainties, inviting viewers to imagine alternate stories and approaches to storytelling that are distinctly not to be treated as potential canon” (Mittell 298). Mark Wolf refers to the term growth to qualify canonical materials which are going to expand a given storyworld and which nourish the stories. As argued by Gabriel et al., “Wolf’s definition of ‘growth’ makes it clear that, for him, a transmedial product can only be considered to contribute to a world’s growth if it adds new ‘canonical’ material, i.e. material that presents new pieces of information that are “true” for the fictional world” (Gabriel et al. 169). This notion of “truth” to the diegesis can be opposed in this context to the notion of alternate stories and alternate versions of the characters.My attempted typology lays its foundation upon this opposition between what is seen as an official extension and what is seen as an unofficial extension, but offers alternate perspectives to expand the storyworld using new characters, locations, or universes. The first category will look at canonical extensions and how they can deepen characters’ development and temporalities. The second category will deal with “canon divergent” (to use fans’ language) extensions and how they can offer new entries into the stories by creating new characters or presenting new locations.Canonical Extensions: CharactersTie-in extensions in the form of comic books help to deepen the characters, especially supporting characters, by delving into their motivations and psychology, or by giving them backstories and origin stories. According to Paolo Bertetti, “the transmedia character is a fictional hero whose adventures are told on several media platforms, each providing details about the character's life” (2344). Actually, motivated characters are the quintessential element of the narration of the classic Hollywood era, which was then reused in the narration of TV series, which were then penned into comic books. In her definition of transmedia superstructures, Marsha Kinder based her analysis on how characters moved from one medium to the next, making them the centre of the narrative universe and the element audiences would follow.For example, Fringe (2008), in a deal with DC comics, extended its stories and its characters in comic books, which were an integral part of the storyworld, and which included canon materials by offering Easter Eggs to fans and rewarding them for their investment in the narrative universe. Each issue of the second series dealt with a major or recurring character from the show, deepening them by giving them backgrounds. That way, audiences can discover the backstories of Agent Broyles, Nina Sharp, the CEO of Massive Dynamic, or even Gene, Walter’s cow, all of which are featured in the series but not well developed.Written by actor Tim Rozon (who plays Doc Holliday on the show) and author Beau Smith, Wynonna Earp Season Zero (2017) focuses on the past of main character Wynonna Earp when she was an outlaw and before she comes back to her hometown, Purgatory. The past comes to life on the pages, while it was only hinted at in the show. It is a good introduction to the main character before the show, since Wynonna comes back to Purgatory by bus at the beginning of the very first episode and there are no flashback episode relating her story earlier. Because the two authors of this comic book are part of the creative crew of the show, an actor and a writer, they ensure a sense of coherence in the extensions they write.In collaboration with Dynamite Entertainment, an American comic book company, NBC Universal launched a series of comic book issues entitled Origins (2008) as an ancillary text to Battlestar Galactica (2004). “Origin stories” are a specific genre related to superhero franchises. M.J. Clarke underlines that,the use of Origins Stories is influenced by the economic structure of the comic book industry, which continues to produce stories over years and decades. ... By remaining faithful to the Origins (which are frequently modified in their consistency), readers can discover a story without having to navigate in more than 400 numbers of commix. (54)The goal of these comic books is to create a "past" for the human characters that appeared in the series. The collection of comic books thus focuses on five main characters in 11 issues, spread out over a year: William Adama, Zarek, Gaius Baltar, Kara "Starbuck” Thrace, and Karl "Helo" Agathon. These issues are collected in an eponymous Omnibus. Likewise, Orphan Black (2011) also offered backstories for its “clone club” without disrupting the pace of the show. The stories, tied to the events of the series, focus on the opportunity to better understand the emotions, thoughts, and feelings that exemplify the characters of the show.It is interesting to note that the authors of these comic book extensions were in close contact with Ronald D. Moore and David Eick, showrunners of the Battlestar Galactica series, which guaranteed coherence and canonicity to the newly created material. In a personal interview, Robert Napton, writer of Origins, explained the creative process:so every week we would watch episodes and make sure our stories matched as closely as possible to what the television series was doing …we tried to make it feel like it was very much part of the series, so they were untold adventures and we tried to fit it into the continuity of the series as much as possible.Brandon Jerwa, writer for Battlestar Galactica comic book series Season Zero and Ghosts (2009), confirmed that, “It is my understanding that the comics were passed through Mr. Moore’s office, and they were certainly vetted by Syfy and Universal.” Jerwa also added an interesting input on perception of canonicity versus non-canonicity by fans who can be picky about the ancillary contents and added materials that extend a storyworld:Most comic tie-ins have a hard time being considered a legitimate part of the canon, and that is simply beyond the control of the creative team. I worked very hard to make sure that I was writing material that adhered to the continuity of the show as closely as humanly possible. I don’t believe in writing a licensed property in such a way as to put forward ‘my vision’ of the universe; I believe very firmly that it is my responsibility to serve the source material above all else.Canonical Extensions: TemporalitiesComic books as a licensed product can expand the temporalities of the show and tell stories before the beginning of the series and after it ended, as well as fill time voids and ellipses. For example, now in its 11th season in comic books, Joss Whedon managed to keep Buffy the Vampire Slayer (1997-2003) alive and to attract new fans without alienating its original fanbase. Blogger and web entrepreneur Keith McDuffee felt that reading Buffy as a comic book after seeing it on television for seven years was strange, but the new format was a good sign because: “the medium lets creativity go completely wild without budget worries.” The comic books focus on the famous characters and created a life for them after the end of the show, making them jump from the screen onto the pages. Sometimes, the comic books told original stories that might seem out-of-character, like the issue in which Buffy sleeps with a woman. That kind of storyline wasn’t explored in the TV show, and comics offer one way to go deeper into the characters’ backgrounds and psychology. Sometimes, the tie-ins do not strictly follow the continuity and become non-canon regarding the stories of the TV shows. For example, DC/Wildstorm presented comic book issues around The X-Files (1993-) that were set in continuity of the show but failed to refer to main plot events (for example, Scully’s pregnancy). “Rather than offering ‘additive comprehension’ to a pre-existing television and film narrative, Spotnitz chose to write licensed comics on their own terms” (Pillai 112).DC is familiar with offering new adventures for its superhero characters in the form of comic books (which are first published online), going back to the basics. Of course, in this case, the relationship between the comic book medium and the television medium is more intricate, as the TV series are based on comic book characters whose stories are then extended again in comic books, which are created specifically to extend the TV shows’ storyworlds. The creation of the comic book series The Flash Season Zero (2015) set the stories between the episodes of the first season of The Flash and focus on the struggles of Barry Allen as he juggles between his job as a CSI, his love for Iris West, his childhood sweetheart, and his new identity as a vigilante with superpowers. This allows viewers to better understand a part of Barry Allen’s life that was not well developed in the show, adding temporal layers to the stories. The Adventures of Supergirl vol. 1 (2016) also depict the battles of the girl of steel between episodes, as well as her life with her sister, Alex (who is also a new addition in the comic book), and her co-workers at the DEO. For Arrow,the digital tie-ins offer producers [opportunities] to explore side stories they are unable to cover on screen. In the case of Season 2.5, the 22-chapter comic enabled the producers to fill in the blanks in between the seasons, thus offering more opportunities to explore the dynamics of fan-favorite characters such as Felicity and Diggle. (Bourdaa and Chin 183)These DC comic books are examples of giving life to a TV show beyond the TV screen, enhancing the timeframe of the stories and providing new content. The characters pass through the screen to live new adventures in comic books. In some cases, the involvement of the series' actor and writer in comic book scripting confirms the desire for consistency in the extensions of the series, whatever the medium used and whatever the objectives.Canon Divergent Extensions or the Real PossibilitiesFinally, comic books can deploy stories that will display a new point of view on the canon: a “multiplicity” (Jenkins, “La Licorne”) or a “what-if story” (Mittell), which will explore new possibilities and new characters.The second series of Orphan Black comic book tie-ins entitled Helsinki (2016) dealt with clones in the capital of Finland. The readers discover the lives of other clones, how they deal with the discovery of their “condition,” and that they have a caretaker. The comics are written by John Fawcett, who is also a showrunner for the series. The narrative universe is stretched into new possibilities, seen with new eyes, and shown from the perspective of new clones. The introduction of new characters gives opportunities to tell new stories and diverge from the canonical content, especially in terms of the characters’ development and depth.Battlestar Galactica, after the show ended, partnered once again with Dynamite Entertainment, to publish a new set of comic books entitled BSG: Ghosts (2009), which tells the story of new characters surviving the Cylon genocide. Writer Brandon Jerwa asks in BSG: Ghosts: "And if a squadron of secret agents had also survived Cylon Attack?" For him, comic books are a good opportunity to relaunch the narrative universe by introducing new characters in a well-known storyworld.The comic books will definitely have to evolve in order to survive because at some point we will end up exhausting the interest of the readers on the narrative continuity. Projects like Ghosts are definitely a good way to test public reaction to new ideas in a familiar environment. (Jerwa)Conclusion: From One Medium to the Next, From Narrative Extensions to MarketingThis article offers an overview of how comic books are used as tie-in products to extend TV series’ narrative universe. The ambition was not to give an exhaustive panorama but to propose a typology with some examples. I showed that characters’ development, temporalities, and new points of view are narrative angles exploited in comic books to give depth to a storyworld. Of course, this raises issues of labour, authorship, and canon content, which are already discussed elsewhere (see, for example: Clarke, Pillai, Scott). Yet, comic books are an integral part of transmedia storytelling and capitalise on notions of seriality, offering readers new stories, continuity, depth, and character motivations in order to enrich storylines and make them live beyond the screen. However, Robert Napton, in our interview, underlines an interesting opposition between licensing and marketing: “Frankly, comic books are considered licensing and marketing, not official canon. The only TV comic that is canon is Buffy Season 8 and 9 because Joss Whedon says they are, but that is not the normal situation.” He clearly draws a line between what he considers to be a licensed product, in this article what I describe as canonical content, and a marketing product, which could be understood in this article as a canon divergent tie-in. The debate here is clearly on, since understandings of transmedia vary between the perspectives of production companies, which are trying to gain profit by providing new content, the perspectives of fans, who know the storyworlds and the characters extensively and could be very possessive of them, and the perspectives of extension authors, who “have very strict story guidelines” (Jerwa) and have to make their stories fit within the narrative universe as it is told onscreen.ReferencesBertetti, Paolo. “Towards a Typology of Transmedia Characters.” International Journal of Communication 8 (2014): 2344-2361.Boni, Marta. World Building: Transmedia, Fans, Industries. 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