Journal articles on the topic 'Pure-list technique'

With the development trend of wireless and broadband in the communication link and even the whole information industry, the demand of high-frequency microwave bandwidth has been increasing. The RoF network system solves the problem of spectrum congestion in low-frequency band by providing an effective technology for the distribution of high-frequency microwave signals over optical fiber links. However, the traditional mm-wave generation technique is limited by the bandwidth of electronic devices. It is difficult to generate high-frequency and low-phase noise mm-wave signals with pure electrical components. The mm-wave communication technology based on photon assisted can overcome the bandwidth bottleneck of electronic devices and provide the potential for developing the low-cost infrastructure demand of broadband mobile services. This paper will briefly explain the characteristics of the RoF network system and the advantages of high-frequency mm-wave. Then we, respectively, introduce the modulation schemes of RoF mm-wave generation based on photon assisted including directly modulated laser (DML), external modulation, and optical heterodyne. The review mainly focuses on a variety of different mm-wave generation technologies including multifrequency vector mm-wave. Furthermore, we list several approaches to realize the large capacity data transmission techniques and describe the digital signal processing (DSP) algorithm flow in the receiver. In the end, we summarize the RoF network system and look forward to the future.

Women roles are not only in domestic sphere, but has entered public sphere. This research aims to analyze the change of women roles in domestic and public spheres, and also to understand women roles in determination of livelihood strategies and their contribution to household income. Sample village was deliberately chosen, namely Fatmite Village in Namrole District with 30 female informants. Data collection technique involves questionnaire followed by in-depth interview with key informants. Data analysis is focused on the list of daily activities conducted by household women and the calculation of their income. This analysis is aimed to find out the contribution of women to the household income and also their spending proportion. Some results are obtained from this analysis. Women activities in pure domestic category have drained their time for 7 (seven) hours in a day. Women activities in additional domestic category have used their time for 11 (eleven) hours in a day. Total time effusion of women in domesticated activities is 18 hours a day. The contribution of woman to household income is reaching IDR (Indonesian Rupiah) 32,275,000, whereas their average income per month is IDR 2,689,583. Captured fishery, livestock, plantation farming, and crop farming are the kinds of job that provide income to household women.

This study aims to examine the effect of budgetary participation on budgetery slack with job relevant information, oppurtunistic behavior, and environmental uncertainty as moderating variables. This research is an explanatory research, which is a study that explains the relationship between variables through hypothesis testing. The data analyzed in this study were primary data collected through questionnaires containing a list of structured questions aimed at respondents who were selected purposively namely echelon IV and III officials in the tourism department, education offices, inspectorates, regional development planning agencies, cooperative and SMEs, numbering 70 people. The analysis technique used is the analysis of partial least square (PLS) based on variance. The results of this study are as follows: 1). Budgeting participation has a positive and significant effect on budgetary slack. 2). Job relevant information is not proven to moderate the influence of budgetary participation on budgetary slack. 3). Job relevant information has a positive and significant effect on budgetary slack. 4). Opportunistic behavior is not proven to moderate the effect of budgetary participation on budgetary slack and also has no significant effect on budgetary slack. 5). Environmental uncertainty is proven to moderate the influence of budgeting participation on budgetary slack and is pure moderation.

Despite the fact that the global market for medicinal plants amounts to hundreds of billions of dollars, there is almost no government control over the quality of such pharmaceuticals in most countries of the world. This is partly attributed to the complex composition of plant materials: traditional analytical methodology is based on the use of standard reference samples for each analyte. In this case, preparations based on medicinal plants may contain tens and hundreds of physiologically active components. Isolation of those compounds in a pure form in practice is carried out using preparative chromatography, which leads to their high cost. Moreover, varying of the chemical composition of the medicinal plants depending on the geographical origin of the raw materials interfere with prescribing strict ranges of permissible contents for all physiologically active components. Combination of the above factors limits the possibilities of using traditional approaches to analysis, requiring strict standardization, the list of compounds for each type of plant, levels of contents and the availability of the reference materials and standards of comparison. This led to the study of the possibility of introducing various mathematical approaches as an auxiliary methodology. Unlike traditional methodologies, machine learning approaches are based on the correct collection of the data samples. Such a sample should contain groups of the samples that correspond to the states of the object which the developed algorithm must distinguish: authentic/fake, pure/containing impurities, effective/not containing a certain level of active components, etc. This review is devoted to consideration of the application of machine learning technique to the problems of chemical analysis and production control of raw materials of medicinal plants and preparations on their base for the last 15 years.

Drinking water District Company (PDAM) as a public service company must create professional service. The availability of fresh and healthy water is an important need for the dweller of Surabaya city because the pure water pollution remains in high degree, and the source of PDAM’s water fountain is limited. PDAM as a service company that serves the society need and concerns with the basic need of human being that has not been substituted yet. For that reason, PDAM is required to give professional services continuously. PDAM as the only one public company that has the highest customer list in the matter of complaining as written in mass media. So that, it needs evaluation and innovation forward the PDAM quality service.This research is done by survey in the form of questionnaire to the PDAM customer of Surabaya. Research sampling are 488 customers that consist of three groups of customer based on their experience of getting problem They are the group of uncomplicated customer, of complicated but can be solved customer, and of complicated and can not be solved customer.Using the technique of factor analysis, regression analysis, and chi-square simultaneously the quality of service influence toward the intention which is taken (behavioral intentions) for the complicated and can not be solved customer either simultaneously or partially the service quality that has not influenced toward the behavioral intentions of the PDAM customer of Surabaya.

Drinking water District Company (PDAM) as a public service company must create professional service. The availability of fresh and healthy water is an important need for the dweller of Surabaya city because the pure water pollution remains in high degree, and the source of PDAM’s water fountain is limited. PDAM as a service company that serves the society need and concerns with the basic need of human being that has not been substituted yet. For that reason, PDAM is required to give professional services continuously. PDAM as the only one public company that has the highest customer list in the matter of complaining as written in mass media. So that, it needs evaluation and innovation forward the PDAM quality service.This research is done by survey in the form of questionnaire to the PDAM customer of Surabaya. Research sampling is to the amount of 488 customers that consist of three groups of customer based on their experience of getting problem; they are the group of uncomplicated customer, of complicated but can be solved customer, and of complicated and can not be solved customer. Using the technique of factor analysis, regression analysis, and chi-square simultaneously the quality of service influence toward the intention which is taken (behavioral intentions) for the complicated and can not be solved customer either simultaneously or partially the service quality that has not influenced toward the behavioral intentions of the PDAM customer of Surabaya.

Drinking water District Company (PDAM) as a public service company must create professional service. The availability of fresh and healthy water is an important need for the dweller of Surabaya city because the pure water pollution remains in high degree, and the source of PDAM’s water fountain is limited. PDAM as a service company that serves the society need and concerns with the basic need of human being that has not been substituted yet. For that reason, PDAM is required to give professional services continuously. PDAM as the only one public company that has the highest customer list in the matter of complaining as written in mass media. So that, it needs evaluation and innovation forward the PDAM quality service.This research is done by survey in the form of questionnaire to the PDAM customer of Surabaya. Research sampling are 488 customers that consist of three groups of customer based on their experience of getting problem They are the group of uncomplicated customer, of complicated but can be solved customer, and of complicated and can not be solved customer.Using the technique of factor analysis, regression analysis, and chi-square simultaneously the quality of service influence toward the intention which is taken (behavioral intentions) for the complicated and can not be solved customer either simultaneously or partially the service quality that has not influenced toward the behavioral intentions of the PDAM customer of Surabaya.

By using an innovative, positive pressure sample loading technique in combination with an in-line filter of finely ground sand the bottleneck of solid phase extraction (SPE) can be reduced. Recently published work by us has shown the proof of concept of the technique. In this work, emphasis is put on the SPE flow rate and method validation for 26 compounds of emerging environmental concern, mainly from the 1st and 2nd EU Watch List, with various physicochemical properties. The mean absolute recoveries in % and relative standard deviations (RSD) in % for the investigated compounds from spiked pure water samples at the three investigated flow rates of 10, 20, and 40 mL/min were 63.2% (3.2%), 66.9% (3.3%), and 69.0% (4.0%), respectively. All three flow rates produced highly repeatable results, and this allowed a flow rate increase of up to 40 mL/min for a 200 mg, 6 mL, reversed phase SPE cartridge without compromising the recoveries. This figure is more than four times the maximum flow rate recommended by manufacturers. It was indicated that some compounds, especially pronounced for the investigated macrolide molecules, might suffer when long contact times with the sample glass bottle occurs. A reduced contact time somewhat decreases this complication. A very good repeatability also held true for experiments on both spiked matrix-rich pond water (high and low concentrations) and recipient waters (river and wastewater) applying 40 mL/min. This work has shown that, for a large number of compounds of widely differing physicochemical properties, there is a generous flow rate window from 10 to 40 mL/min where sample loading can be conducted. A sample volume of 0.5 L, which at the recommended maximum flow rate speed of 10 mL/min, would previously take 50 min, can now be processed in 12 min using a flow rate of 40 mL/min. This saves 38 min per processed sample. This low-cost technology allows the sample to be transferred to the SPE-column, closer to the sample location and by the person taking the sample. This further means that only the sample cartridge would need to be sent to the laboratory, instead of the whole water sample, like today’s procedure.

Reliable preservation of microalgae cultures and creation of genetic banks of strains is one of the important tasks of modern biology. To date, 792 collections of various cultivated organisms from 76 countries are registered in the catalog of the World Federation for Culture Collections in the WDCM CCINFO database. This is the most extensive consolidated database of culture collections, which includes both well-known large collections and small repositories of research and educational institutions from all over the world. The database contains 47 algological collections and 80 collections of various microorganisms, which also include microalgae and cyanobacteria cultures. Only 30 biological collections are registered in Russia, from which only 13 contain algae strains. The most common technique of microalgae cultures storage is the method of their periodic re-sowing onto liquid media or agar. It is used in 127 collections (99 % of the total number in the catalog). Other methods used are: cryopreservation – in 33 collections (27 %), lyophilization – in 13 (11 %), L-drying – in 5 (4 %), freezing – in 19 (16 %), and immobilization in alginate beads – in 1 (0.8 %). However, when using these methods, there is a change in morphological and functional features of cells of the cultures stored, as well as their shredding. In addition, cultures maintaining in a viable state is time-consuming and requires expensive equipment. Preservation of microalgae, transferred to the state of anhydrobiosis by dehydration, is simple and cost-effective. Anhydrobiosis is a deep and long-term inhibition of metabolism, reversible under favorable conditions; it is a quite common phenomenon in nature. The only collection in the WDCM CCINFO database that applies the method of transferring cells to a resting state (for soil algae) is the collection of algae cultures of the National University of Kyiv (ACKU WDCM 994). Many years of experiments on the transfer of microalgae to the state of anhydrobiosis allowed us to develop a method of long-term preservation of microalgae without the use of nutrient media. This technique includes cells transfer to the state of anhydrobiosis, their preservation in a dehydrated state, and subsequent removal to an active culture. In order to preserve algological biodiversity, IBSS RAS created a repository of microalgae transferred to the state of anhydrobiosis, which can be converted to active cultures if necessary. The objects of the repository were marine unicellular algae, as well as freshwater and halobic species of lower phototrophs which are perspective for biotechnology and aquaculture. The cultures were obtained as an inoculum from IBSS RAS collection of live cultures of planktonic microalgae. The algae were grown in an accumulative mode under constant lighting. The biomass was collected during cultivation of algologically pure microalgae cultures at the growth retardation or at the stationary stage. Cells were separated from the culture medium by centrifugation or by filtering them on a plankton sieve. Then the algae were dehydrated and maintained in hermetic zipper bags placed in plastic containers of 100 to 500 ml, at a temperature of +18…+21 °C in the dark in a specially equipped room. The main part of the collection is represented by strains from the phyla Chlorophyta, Cyanophyta, Bacillariophyta, and Rodophyta. The list of species, the number of isolates stored, and the information on preservation forms are provided in this article. The technological regulations for maintenance and replenishment of the storage of anhydrobiotic cultures are described. The repository is at the stage of formation. Its future lies in the fund expansion to include marine, freshwater, and halobic species. Optimization of the dehydration method will allow the transfer of microalgae belonging to different systematic phyla to the state of anhydrobiosis.

We consider random bipartite quantum states obtained by tracing out one subsystem from a random, uniformly distributed, tripartite pure quantum state. We compute thresholds for the dimension of the system being traced out, so that the resulting bipartite quantum state satisfies the reduction criterion in different asymptotic regimes. We consider as well the basis-independent version of the reduction criterion (the absolute reduction criterion), computing thresholds for the corresponding eigenvalue sets. We do the same for other sets relevant in the study of absolute separability, using techniques from random matrix theory. Finally, we gather and compare the known values for the thresholds corresponding to different entanglement criteria, and conclude with a list of open questions.

Summary In this Mizar article, we complete the formalization of one of the items from Abad and Abad’s challenge list of “Top 100 Theorems” about Liouville numbers and the existence of transcendental numbers. It is item #18 from the “Formalizing 100 Theorems” list maintained by Freek Wiedijk at http://www.cs.ru.nl/F.Wiedijk/100/. Liouville numbers were introduced by Joseph Liouville in 1844 [15] as an example of an object which can be approximated “quite closely” by a sequence of rational numbers. A real number x is a Liouville number iff for every positive integer n, there exist integers p and q such that q > 1 and It is easy to show that all Liouville numbers are irrational. The definition and basic notions are contained in [10], [1], and [12]. Liouvile constant, which is defined formally in [12], is the first explicit transcendental (not algebraic) number, another notable examples are e and π [5], [11], and [4]. Algebraic numbers were formalized with the help of the Mizar system [13] very recently, by Yasushige Watase in [23] and now we expand these techniques into the area of not only pure algebraic domains (as fields, rings and formal polynomials), but also for more settheoretic fields. Finally we show that all Liouville numbers are transcendental, based on Liouville’s theorem on Diophantine approximation.

ABSTRAKKeselamatan pasien merupakan variabel untuk mengukur dan mengevaluasi kualitas pelayanan keperawatan. Salah satu upaya yang dilakukan adalah mencegah infeksi rumah sakit dengan menjaga kebersihan tangan dengan teknik enam langkah dan lima momen di rawat inap. Penelitian ini bertujuan untuk mengetahui gambaran pelaksanaan kebersihan tangan oleh petugas kesehatan di Ruang Rawat Inap Penyakit Dalam Pria Rumah Sakit Dustira Cimahi. Jenis penelitian ini adalah deskriptif eksploratif dengan metode observasional. Sampel penelitian ini berjumlah 288 kali pengamatan kegiatan oleh petugas kesehatan (dokter, perawat dan mahasiswa praktek) yang terbagi pada shift pagi dan shift sore dengan 84 pengamatan, dan shift malam berjumlah 120 kali pengamatan. Instrumen penelitian menggunakan lembar observasi dengan menggunakan work sampling. Hasil menggambarkan bahwa : 1) sebelum kontak dengan pasien sebagian besar hand hygiene tidak dilakukan oleh mahasiswa yaitu sebesar 89,8 % pada shift malam, 2) sebelum tindakan terhadap pasien sebagian besar hand hygiene tidak dilakukan oleh mahasiswa sebanyak 89,8% pada shift malam, 3) sesudah kontak dengan pasien sebagian besar kegiatan hand hygiene dilakukan tidak sempurna oleh dokter sebanyak 75% pada shift sore, 4) sesudah kontak dengan cairan tubuh pasien sebagian besar hand hygiene dilakukan tidak sempurna oleh mahasiswa sebanyak 82,4% pada shift pagi, dan 5) sesudah kontak dengan lingkungan pasien sebagian besar hand hygiene dilakukan tidak sempurna oleh dokter sebanyak 75% pada shift sore. Berdasarkan hasil observasi, ketidak patuhan pelaksanaan kegiatan kebersihan tangan disebabkan karena media yang digunakan kurang memadai seperti campuran air pada sabun yang terlalu banyak, tisu yang jarang tersedia, antiseptik berbasis alkohol murni sehingga menimbulkan bau yang menyengat dan terasa panas ditangan serta lengket. Disarankan bagi pihak rumah sakit untuk memperhatikan kembali sarana dan prasarana untuk menunjang kebersihan tangan dan bagi petugas kesehatan disarankan untuk membaca kembali standar operasional prosedur (SOP) dari setiap tindakan yang akan dilakukan, karena setiap tindakan yang dilakukan ada SOP untuk mencuci tangan. ABSTRACTPatient safety is a variable for measuring and evaluating the quality of nursing services. One of the effort that should be done is to prevent hospital infections with hand hygiene using six-step hand hygiene technique and five moments at the hospitalization rooms. This study aims to describe the implementation of hand hygiene practice by healthcare provider in patient safety activities atmale medical ward on Dustira Cimahi Hospital. The study was a descriptive exploratory with the observational method. The research sample numbering 288 times observation activities from health workers (doctors, nurses, and students college) that divided on the morning shift totaling 84 observation activities, totaling 84 observations afternoon shift and night shift activities amounted to 120 times the observation activities. The instrument of this study using observation tool which contains a table check list on the implementation of hand hygiene by using work sampling.The overall results describe that: 1) not doing hand hygiene activities before making contact with the patient, were 89,8% for college students at the night shift, 2) before taking action at the patient most of the hand hygiene activities were not done 89,8% for college students in night shift, 3) after making contact with the patient, most of the hand hygiene activities were not perfect carried out, 75% for doctors in the afternoon shift, 4) after making contact with patients body fluids most of the hand hygiene activities were not done 82,4% for the college students in the morning shift, and 5) after making contact with the patient's environment most of the hand hygiene activities were not perfect carried out, 75% for doctors in the afternoon shift. Based on the observation, disobedience on implementation of hand hygiene due to insufficient media used liketoo much water in the mixture of water and soap, tissue is rarely available, pure alcohol-based hand rub is causing bad smell, hot at the skin and sticky hands. It is advised for the hospital to pay attention at infrastructure that support hand hygiene, and for health workers is advised to re-read the standard operating procedures (SOP) on any action to be performed, for every action there is SOP towash the hand.

AbstractDatatype-generic programming (DGP) involves parametrization of programs by the shape of data, in the form of type constructors such as ‘list of’. Most approaches to DGP are developed in pure functional programming languages such as Haskell. We argue that the functional object-oriented language Scala is in many ways a better choice. Not only does Scala provide equivalents of all the necessary functional programming features (such as parametric polymorphism, higher-order functions, higher-kinded type operations, and type- and constructor-classes), but it also provides the most useful features of object-oriented languages (such as subtyping, overriding, traditional single inheritance, and multiple inheritance in the form of traits). Common Haskell techniques for DGP can be conveniently replicated in Scala, whereas the extra expressivity provides some important additional benefits in terms of extensibility and reuse. We illustrate this by comparing two simple approaches in Haskell, pointing out their limitations and showing how equivalent approaches in Scala address some of these limitations. Finally, we present three case studies on how to implement in Scala real DGP approaches from the literature: Hinze's ‘Generics for the Masses’, Lämmel and Peyton Jones's ‘Scrap your Boilerplate with Class’, and Gibbons's ‘Origami Programming’.

Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
 One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.

The Canadian Environmental Protection Act, 1999 (CEPA, 1999) requires the Canadian government to categorize all substances on the Domestic Substances List (DSL). Under the Chemicals Management Plan, the Government of Canada addresses chemicals that had not previously undergone rigorous scientific assessment. One such compound, [[4-[[2-(4-cyclohexylphenoxy)ethyl]ethylamino]-2-methylphenyl]methylene]-, propanedinitrile, commonly known as CHPD (cyclohexylphenoxydinitrile), recently underwent a screening assessment and was declared to be “toxic” to the environment. As a result, the Government of Canada ordered the “virtual elimination” of CHPD from the environment. Thus, CHPD may not be present above the lowest concentration that can be accurately measured using sensitive, but routine, analytical methods. We present a solid-phase extraction (SPE) method to determine CHPD in water and wastewater effluent to establish the maximum environmental release limit for this toxic compound. Optimal extraction was attained using an ENVI-18 cartridge. Extracts were analyzed by HPLC–PDA and HPLC–MS/MS techniques; in both matrices, the PDA method had greater sensitivity, less susceptibility to matrix effects, lower limit of quantitation (LOQ) values, and could be successfully validated at multiple spike levels. The lowest concentration of CHPD that could accurately be measured was found to be 108 ng/L in extracts of pure water, using the HPLC–PDA system. Therefore, this value (108 ng/L) will inform regulations on the maximum environmental release limit for CHPD.

Behavioural research in zoos is commonplace and is used in the diagnosis and treatment of potential husbandry and management challenges. Robust methods that allow valid data collection and analysis constitute an evidence-based approach to animal care. Understanding behaviour is essential to improving animal management, and behavioural research is therefore popular, with a wide choice of behavioural methodologies and theories available. This review outlines ten methodological approaches, concepts or theories essential to zoo science that are based around behavioural observation. This list is not exhaustive but aims to define and describe key areas of consideration when planning and implementing a zoo-based behavioural project. We discuss the application of well-established methods (the construction of ethograms, use of time–activity patterns and measurement of space/enclosure use) as well as evaluating newer or less-widely applied analytical techniques, such as behavioural diversity indices, social networks analysis and Qualitative Behavioural Assessment. We also consider the importance of fundamental research methods, the application of pure science to understand and interpret zoo animal behaviour (with a review of a Tinbergian approach) and consideration of meta-analyses. The integration of observational techniques into experiments that aim to identify the cause and effect of behavioural performance is then explored, and we examine the assimilation of behavioural methods used in studies of environmental enrichment. By systematically studying animal behaviour, we can attempt to understand the welfare of individual animals in captivity, and here we present an example of our reviewed approaches to this area of zoo science. Combining multiple methodologies can lead to a greater understanding of behaviour and welfare, creating robust research, progressing husbandry and advancing conservation strategies. Collaborations between zoological collections and academic researchers (e.g., in Higher Education Institutions) can further refine and enhance the validity of research and husbandry practice alike.

Abstract As a class of plant polyphenolic compounds contained in some forages [i.e., sainfoin (Onobrychis viciifolia Scop.), big trefoil (Lotus pedunculatus Cav.), birdsfoot trefoil (Lotus corniculatus L.)], condensed tannins (CTs) exhibit a variety of biological effects on ruminants. The potential positive impact of CTs on the agricultural industry stems from their ability to modulate proteolysis during forage conservation and ruminal digestion, to prevent bloat, to reduce intestinal parasite burdens, and to abate methane and ammonia emissions from ruminants. How CTs exert these effects on ruminants focuses on the interaction of CTs with proteins. The structure-activity relationship in CT–protein interaction is not well understood but is known to be dependent on the structure and properties of both the CT and the protein. The objectives of this presentation are fivefold. First, examples of the structural diversity of CTs will be provided to enable the audience members to appreciate that not all CTs are the same. Second, examples of how CTs structural diversity affects their interaction with the protein, which in turn, dictates the biological response from the animal will be discussed. Third, the presentation will outline hurdles in obtaining highly pure and well-characterized CTs from natural sources for use in CT structural analysis and in vitro experiments. This will be followed by brief descriptions of improved and emerging techniques for CT analysis and, finally, the presentation concludes with questions to address in future investigations and a list of recommendations for CT researchers to follow.

Latest in a long series of successful conferences, the XXIIIrd IUPAC Symposium on Photochemistry was held in Ferrara, Italy on 11-16 July 2010. The conference venues were the Opera Theatre and the Estense Castle, in the historic center of the city. The contrasting mix of modern science and ancient environment was a special trait of the Ferrara symposium.The symposium was attended by over 500 delegates (including some 130 Ph.D. students) from 40 different countries. The scientific program consisted of 8 plenary lectures, 23 invited lectures, 97 selected oral presentations, as well as 354 posters. A highlight of the symposium was the presentation of the Porter Medal to Prof. David Phillips of Imperial College London, UK, in recognition of his outstanding contributions to several fields of photochemistry. The title of his lecture was “Targeted sensitizers for photodynamic therapy”.The wide variety of fields encompassed by modern photochemistry is reflected by the list of sessions held within the symposium: Electron and Energy Transfer, Molecular Switches and Machines, Organic Photochemistry, Inorganic Photochemistry, Photochromic Systems, Solar Energy, Supramolecular Photochemistry, Nanoparticles, Photocatalysis, Ultrafast Spectroscopy, Theoretical Photochemistry, Exciton and Charge Dynamics, Microscopy, Nanoscopic Systems, Singlet Oxygen and Phototherapy, Photobiology, Fluorescent Labels, Photoactive Materials, Applied Photochemistry, and Organized Media. Most of the topics discussed were characterized by a fertile combination of fundamental insight, advanced techniques, and practical application.This issue of Pure and Applied Chemistry collects a number of papers based on plenary and invited lectures delivered at the symposium. I hope that this collection will help illustrate modern photochemistry not only as a lively and exciting research field but also as a powerful resource toward the solution of important practical problems.Franco ScandolaConference Editor

Hirofumi Uzawa is one of the giants of modern economic theory. Hiro is probably best known to the readers of Macroeconomic Dynamics (MD) for his seminal articles on two-sector economic growth. The two-sector technology is more general than the one-sector technology: it allows a production possibility frontier that is strictly concave to the origin as opposed to being necessarily flat. This generality allows richer and more complex dynamics. This makes it especially useful for the analysis of economic fluctuations. The two-sector model is perfect for dynamic international trade.Hiro is also well known to macroeconomists for his seminal contribution to endogenous growth. In his article in the 1965 IER, productivity permanently increases as the result of permanent accumulation of human capital. Uzawa was thus a first mover in the new growth theory. The symbol H (for Human Capital, or for Hiro?) is today everywhere in models of economic dynamics.On his own and through his many students and mentees, Hiro has been the major inspiration for the modern theory of optimal economic growth. He taught a generation of pure and applied economists how to apply Pontryagin's maximum principle in economic dynamics. It seems that Uzawa introduced—or at least pushed the use of—phase diagrams in economic dynamics. Where would we be without this essential tool?Most readers of MD are likely to think first of Uzawa's contributions to macro, but Hiro is equally well known for his superb works on mathematical economics, general equilibrium, and demand theory. Hiro's mathematics is elegant and often very deep. Like the quality mathematician that he is, he does not apply technique for technique's sake.Hiro has made fundamental contributions to nonlinear programming. For the convex (but not necessarily smooth) case, he employed Slater's condition to obtain Kuhn–Tucker multipliers that satisfy the saddlepoint property necessary for an optimum. For the smooth (but not necessarily convex) case, Arrow, Hurwicz, and Uzawa introduced the current version of the constraint qualification, which ensures that optimality implies the existence of Kuhn–Tucker multipliers satisfying the saddlepoint property.Hiro's paper “Walras's Existence Theorem and Brouwer's Fixed Point Theorem” in the Economic Studies Quarterly (1962) is a hidden gem on general equilibrium. This paper can be seen as foreshadowing Sonnenschein's result on excess demand functions. Hiro clarified old, important questions about recovering preference maps from demand functions. Hiro was probably the first to convincingly show—in the context of tatonnement adjustment—the important distinction between local stability and global stability in economic dynamics.We have given here only a glimpse into the very large body of beautiful, influential Uzawa papers. Hiro's splendid bibliography is given at the end of the interview. Some of the work that Hiro has pursued energetically has yet to be widely recognized. One thinks, for example, of the Penrose Effect, Hiro's modeling of the organizational costs incurred in adding capital or making other changes in the way a firm does business.Hiro has had many successful students and mentees. Your MD interviewers are lucky to have been among those whom Hiro has influenced profoundly. A very incomplete list of the others would also include Dave Cass, Steve Goldman, Harl Ryder, Hajime Oniki, Bob Lucas, George Akerlof, Joe Stiglitz, Miguel Sidrauski, Morris Teubal, Assaf Razin, Guillermo Calvo, Bill Ethier, and Lenny Mirman.Hiro is widely recognized and even revered in Japan. He was elected to the very selective Japan Academy in 1989 at a remarkably young age. He was named “A Person of Cultural Merit” in 1983 and elected to the Order of Culture in 1997. Hiro has received significant international recognition. He was President of the Econometric Society. He is a Fellow of the Econometric Society, Member of the American Academy of Arts and Sciences, Foreign Honorary Member of the American Economic Association, and Foreign Associate of the U.S. National Academy of Sciences.This interview took place nearly 10 years ago. We apologize to the readers and to Professor Uzawa for the delay in getting the transcript to the editor. The interview was held at the Research Center on Global Warming of the Development Bank of Japan, at which Hiro plays an important role. Four of us—Uzawa, the two interviewers, and Yumiko Baba, who was then a post-doc in economics at the University of Tokyo, there to operate the tape recorder—were collected at the Meiji Gakuin University in central Tokyo and whisked away in a large black automobile to Hiro's home court at the Bank. Hiro is an imposing figure: tall and erect with a very long, pointed white beard. His eyes are very active. He strokes his beard in a soothing manner. It is not difficult to be in awe of him. The interview took an even more formal tack because there were two in the room with the nickname “Hiro.” It was hence efficient to use last names at times.The interviewers had agreed to try to steer Uzawa toward a discussion of his well-known basic technical contributions and away from his less well-known and more political contributions. In the end, we failed to steer Hiro onto any course other than his own. This is mostly as it should be. In this interview, you will hear about some of the technical contributions for which Hiro is widely known. You will also hear about what motivated him to enter economics, his strong social concerns and strong political views, the turbulence of the war years and the postwar years, and his recent work and interests. A few of the paragraphs at the end of the interview were added to bring the record up to date. What comes through is a picture of Hirofumi Uzawa, a truly distinguished scholar and a person dedicated to human betterment.Hiro talked in his usual warm, friendly voice. He peppered the interview with his strong opinions about other major economists, often with lively anecdotes. Of course, Hiro's opinions are his own, not those of the interviewers or the editors. We hope that the readers will get as much out of this conversation with Hiro as we did.

This issue of Pure Appl. Chem. is devoted to papers based upon invited lectures delivered at the first IUPAC-sponsored Workshop on Advanced Material, "WAM1: Nanostructured Systems", held at the Hong Kong University for Science and Technology (HKUST) on July 14-18, 1999.The Topic Why nanostructured material? Chemists contribute to the well-being of society by exploiting the properties of the elements of the periodic table, or various forms of combination of elements, to make materials that are useful for "better living through chemistry." What happens if we use all the possible combinations that can be made? There remain great demands for developing new materials to improve our lives in fields such as medicine, energy, improving the environment, communication and transportation. Thus, we have to think of new ways to make materials that can be expected to display properties appropriate to the technologies of the new Millennium! The difference in properties of different elements and their derived compounds is a result of differences in the type of motion that their electrons can execute. This, in turn, depends on the space available for the electronic motion and the degree of its confinement. Thus, the difference between a metal, a semiconductor and an insulator is attributable to the electrons being delocalized in the first, more confined in the second and highly confined in the last. Can we physically cut material size sufficiently to change its electronic degree of confinement and thus its properties? We do know that while copper metal is a conductor, the copper atom and small molecular clusters of copper atoms are insulators. What is the size of an elemental assembly of a metal (i.e. the number of atoms in it) at which the metal-semiconductor or the metal-insulator transition occurs? Of course it depends on the length scale of the property measured. For semiconductors and metals, a large change in properties, e.g. absorption, emission, and conductivity, occurs on the nanometer length scale. Equally important, the property becomes very sensitive to the size of the nanoparticle. It can thus be expected that many variations in these properties should be observed for the same material by simply changing its size. The potential for harnessing these changes of properties in new technological applications is largely responsible for the current appeal of this exciting field. These considerations, along with our personal research interests, convinced me and Professor Joshua Jortner that it would be opportune to adopt this theme for the first IUPAC Workshop on Advanced Material. The publication of the talks given at the Workshop is timely, given the extraordinary rapidity with which new developments are taking place in the field. This collection of papers complements other recent publications of reviews on the topic of nanostructures, since it is more in the nature of a symposium-in-print and offers an assembly of short overviews and research papers which capture the dynamic associated with research at interdisciplinary interfaces, and with the development of attendant synthetic and analytical techniques. The promise of unimagined properties of nanostructured materials and of new-generation applications is an ongoing stimulus for further research, and it is hoped that this publication will contribute to the process, and furnish practitioners with new insights and inspiration. This is truly a multidisciplinary and future-targeted area of scientific research, and one which fully meets the IUPAC vision of 'new directions in chemistry', with its promise of hitherto undefined vistas of opportunity for discovery and exploitation. The WorkshopThe quality of the scientific presentations at this meeting was very high indeed. The strong international representation is in keeping with the spirit of IUPAC as well as the global nature of scientific research. The idea of the meeting was to get scientists active in advanced material from the West to interact strongly with those from the Orient. In this regard, we have succeeded as we achieved representation from seven countries from each side [China (Mainland and Hong Kong), Japan, Korea, Philippines, Singapore, and Taiwan from the Orient, and Canada, France, Germany, Israel, Spain, United Kingdom, and USA from the West]. This great accomplishment of getting us all together in such a delightful atmosphere was the result of the wise sponsorship of IUPAC and the great efforts of many people, whom I would like to acknowledge below.Acknowledgements IUPAC: for its wisdom to sponsor workshops in frontier areas of chemical research. We thank the then-IUPAC President, Prof. Joshua Jortner for cochairing the Workshop. We also thank the IUPAC Secretariat, in particular its Executive Director, Dr. John Jost, for his continuous and prompt support and Dr. Fabienne Meyers for creating and editing our web page for the Workshop and for her essential assistance in the production of this special volume. HKUST: for hosting us. We thank Dr. Nai-Teng Yu of the Chemistry Department, whose willingness to help us by accommodating the Workshop in his Department was essential; Dr. Shihe Yang whose continuous hard work and efforts made it possible to follow up the registration process; the local organizers, in particular, Prof. Leroy Chang and Ping Sheng, who supplied us with the list of participants, the names of some invited speakers and the program of a similar meeting held there recently and the Departmental staff, for their help in getting the arrangements of this workshop finalized. Georgia Tech: Dr. Clemens Burda helped in getting the workshop abstracts and putting the workshop material together, Ms. Michele Papsidero, my own secretary, spent many hours of hard work in following the process, from completing the registration list, to reminding contributors to meet different deadlines including sending the abstracts, and finally in typing and collating the whole program for the Workshop. The assistance of the USA Organizing Committee and in particular, Profs. John Zhang and Rob Whetten at Georgia Tech, was extremely useful in finalizing the scientific program. The speakers: I thank both the plenary and invited speakers who accepted our invitation, most without asking for financial support. Without them, we would not have had such an excellent scientific meeting or this valuable volume of Pure Appl. Chem.I wish to thank Professor James Bull, the editor of this special issue, for his hard work in making sure he received the manuscripts in time, for the review process of these manuscripts and for putting the whole volume together. Mostafa A. El-SayedChairman, Organizing CommitteeJulius Brown Professor School of Chemistry and Biochemistry Georgia Institute of Technology

AbstractThe study of programming with and reasoning about inductive datatypes such as lists and trees has benefited from the simple categorical principle of initial algebras. In initial algebra semantics, each inductive datatype is represented by an initial f-algebra for an appropriate functor f. The initial algebra principle then supports the straightforward derivation of definitional principles and proof principles for these datatypes. This technique has been expanded to a whole methodology of structured functional programming, often called origami programming.In this article we show how to extend initial algebra semantics from pure inductive datatypes to inductive datatypes interleaved with computational effects. Inductive datatypes interleaved with effects arise naturally in many computational settings. For example, incrementally reading characters from a file generates a list of characters interleaved with input/output actions, and lazily constructed infinite values can be represented by pure data interleaved with the possibility of non-terminating computation. Straightforward application of initial algebra techniques to effectful datatypes leads either to unsound conclusions if we ignore the possibility of effects, or to unnecessarily complicated reasoning because the pure and effectful concerns must be considered simultaneously. We show how pure and effectful concerns can be separated using the abstraction of initial f-and-m-algebras, where the functor f describes the pure part of a datatype and the monad m describes the interleaved effects. Because initial f-and-m-algebras are the analogue for the effectful setting of initial f-algebras, they support the extension of the standard definitional and proof principles to the effectful setting.Initial f-and-m-algebras are originally due to Filinski and Støvring, who studied them in the category Cpo. They were subsequently generalised to arbitrary categories by Atkey, Ghani, Jacobs, and Johann in a FoSSaCS 2012 paper. In this article we aim to introduce the general concept of initial f-and-m-algebras to a general functional programming audience.

Aim: Current work focuses on the improvement of solubility and dissolution of ACF by the cocrystal approach. Background: Aceclofenac (ACF) is one of the commonly used nonsteroidal anti-inflammatory drug (NSAID) representing the variety of therapeutic applications including management of pain, inflammation, rheumatoid arthritis, and osteoarthritis, etc. But very low solubility and dissolution rate of ACF compromise its therapeutic utility. Now a day's cocrystallization technique has emerged as a novel technique for modulation of said problems. Objective: The Specific objectives of this research work were mechanochemical synthesis, characterization, and performance evaluation of aceclofenac cocrystal. Method: ACF was screened with various pharmaceutically acceptable coformers (Selected from GRAS and EAFUS list) using MOPAC software and physical screening method to find out novel cocrystals of ACF with enhanced solubility and dissolution rate. Novel cocrystals (multi-component crystalline solid) of ACF with l-cystine were prepared by neat grinding method and by liquid assisted grinding method. The synthesized cocrystals (ACF-l-CYS NG and ACF-l-CYS LAG) were characterized carefully by differential scanning calorimetry (DSC), infrared spectroscopy (IR), and powder X-ray diffraction (PXRD) to verify the formation of the cocrystals. Pharmaceutically significant properties such as powder dissolution rate, solubility, and stability of the prepared cocrystals were evaluated. Results: Compared to pure ACF, the prepared cocrystals showed superior solubility and dissolution rate. The prepared cocrystals were found to be stable and non-hygroscopic under study conditions. Conclusion: The cocrystallization technique was successfully utilized to increase the solubility and dissolution rate of aceclofenac.

Abstract Gireesh and Mahadeva Naika [‘On 3-regular partitions in 3-colors’, Indian J. Pure Appl. Math.50 (2019), 137–148] proved an infinite family of congruences modulo powers of 3 for the function $p_{\{3,3\}}(n)$ , the number of 3-regular partitions in three colours. In this paper, using elementary generating function manipulations and classical techniques, we significantly extend the list of proven arithmetic properties satisfied by $p_{\{3,3\}}(n).$

Background: Malassezia species are commensal skin organisms of warm-blooded vertebrates that can act as opportunistic pathogens. Malassezia pachydermatis is of importance in both veterinary and human medicine. Recognised initially as causes of infection of the skin, they are now known to be superficial commensals as well as potential causes of infections in domestic animals and more serious human conditions such as fungemia. They have also been implicated in the pathogenesis of allergic and other inflammatory diseases. Onychomycosis is defined as fungal infection of the claw (nail disease) caused by dermatophytes (Microsporum and Trichophyton genus), non-dermatophyte molds (hyaline and dematiaceous) and/or yeasts. The objective of this work was to report a case of canine onychomycosis by Malassezia pachydermatis based on reference standard diagnostics of this pathology.Case: A 9-year-old male West Highland White Terrier presented history of claw abnormality: brown staining and partly brittle. The dog has no apparent history of trauma on the affected claw and no skin disease was reported. Direct examination of claw was performed using the tape strip technique revealed Malassezia organisms. Nail fragments were cultured onto Sabouraud Dextrose Agar with Chloramphenicol and Cycloheximide. After 10 days of incubation (32ºC) nail fragments allowed the isolation of pure colonies of Malassezia pachydermatis. The histopathological evaluation was performed by Sector of Veterinary Clinical Pathology, Faculdade de Veterinária (FAVET/UFRGS) and fungal infection due to Malassezia pachydermatis was confirmed by histopathologic examination (Hematoxylin and eosin and Grocott’s methenamine silver stain) of the nail, that revealed abundant yeasts (blastoconidia).Discussion: Fungal infection of the skin, hair and nails are common and are primary caused by the dermatophyte molds. Non-dermatophyte molds isolated from nails constitute a long list, but only a few species cause onychomycoses. These include Scopulariopsis brevicaulis, Fusarium sp., Acremonium spp., Aspergillus spp., Penicillium spp. Yeasts like Malassezia and Candida spp. are saprophytes and usually represent incidental contaminants associated with a non-sterile specimen at mycological culture, however in some cases they may parasite the nails and become an etiological agent of the disease. M. pachydermatis, normally present on the skin and in the ear canal of dogs and cats, can act as opportunistic pathogenic microbe and frequently causes dermatitis and otitis in mammals. In the case of onychomycosis, there is little evidence that Malassezia yeasts are implicated in nail plate invasion, although this may be a rare occurrence. All species of the genus are obligatory lipid-dependent forms, with the exception of M. pachydermatis, as well as absence of keratinolytic ability. Malassezia organisms were commonly retrieved from the subungual claw fold region of normal healthy dogs (should be considered resident microflora of the normal canine claw fold). Some authors suggests that high numbers of yeast can be detected on cytological evaluation of the skin surface of the canine claw fold from allergic dogs in both the absence and presence of concurrent signs of pruritus and paronychia.

Background: In developing country like India it is very difficult for people of low socio-economic status to get access to healthcare and in case they seek healthcare, cost of medicines becomes major reason for out of pocket expenditure, as all the medicines are not available in PHC. Objective: To collate Ayurvedic medicine with Allopathic medicine to provide choice of treatment to patient in view of UHC. Methods: A literature review on Ayurvedic drugs (single drug and formulations) was done after prioritizing the diseases for our study based on National programs and other frequently seen diseases in Primary healthcare (PHC). Evidence was collected in two ways, first by pure Ayurvedic evidence based on Samhitas and second was based on modern techniques and then tabulated. Results: Ayurvedic drug list for Primary Health Care was formulated based on available modern as well as Classical evidence and tabulated in the form of a table. Conclusion: Ayurvedic drugs can be integrated in PHC to provide universal health care at primary level.

Just as it has been continually happening in the world of mathematical sciences, the group of mathematical scientists led by (for example) Professor Eyup Cetin and his colleagues (who are responsible for the remarkably successful journal, The European Journal of Pure and Applied Mathematics ) have apparently broken the boundaries between pure and applied mathematics by establishing a new journal, the Journal of Algebraic Statistics . I am sure that both the mathematical as well as statistical communities at large will heartily welcome such an interesting and potentially useful addition to the list of broad-based journals in the mathematical sciences.I do sincerely wish the Journal of Algebraic Statistics every success in its endeavor to attract and publish high-quality papers which are aimed essentially and substantially at significantly bridging the gaps between the various areas within the disciplines of the mathematical and statistical sciences.Hari M. Srivastava, University of Victoria , Canada* * *The present moment seems a very appropriate one to launch a new journal on algebraic statistics. In fact many fields of mathematics are considering with interest concrete applications of well developed theories towards the solution of problems coming from everyday science and technology. This applies in particular to certain branches of algebraic geometry.I wish to the new journal a good success.Fabrizio Catanese, University of Bayreuth, Germany* * *Algebraic Statistics is a rapidly growing discipline, and presents many opportunities for research and applications. The newly launched Journal of Algebraic Statistics will bring together researchers working on problems in this area and as such is highly welcome.I congratulate the Editors for bringing it out and wish them and the journal success.Arjun K. Gupta, Bowling Green State University, USA* * *Many people think that Algebra and Statistics have really nothing in common, except some applications of Linear Algebra to Statistics. This is far away from the truth. A main purpose of this new journal is to uncover the numerous connections between these fields, and hence to advance both Statistics and Algebra.Many of these connections were not intended in the beginning and came as pleasant surprises. The applications go in both directions and bring new ideas and method from one area to the other.I want to congratulate the founders and Editors-in-Chief of this new journal for establishing it and for promoting the study of this fascinating interplay.Günter Pilz, Johannes Kepler University, Austria* * *Modern Algebra is central to all fields of mathematics, and impacts engineering fields such as coding theory and cryptography. Likewise, Statistics touches on all aspects of modern science. The intersection of these two fields, Algebraic Statistics, is becoming important in a number of application areas in the form of random walks on groups, random matrix theory, multivariate statistical analysis, geometric probability, and topological analysis of large data sets.Though efforts in these different areas have been published over the past half century in a variety of venues, having one place to go where readers interested in the theory and application of both Algebra and Statistics will enable significant advances by providing a hub from which connections to the broader literature can be more easily made. The Journal of Algebraic Statistics has the potential to be such a forum, and I look forward to the success of this new journal.Gregory S. Chirikjian, Johns Hopkins University, USA* * *I would like to congratulate the editorial team for the inaugural issue of the Journal of Algebraic Statistics .Algebraic Statistics is the emerging new field focused on the applications of algebraic geometry and its computational tools in the study of statistical models. Algebraic Statistics is built around the observation that many statistical models are (semi)-algebraic sets. The study of the geometry and equations of these algebraic sets can be useful for making statistical inferences, thus the areas of interest include categorical data analysis, experimental design, graphical models, maximum likelihood estimation, and Bayesian methods.Also some work shows applications of Algebraic Statistics to problems in computational biology. Nearly all statistical models for discrete random variables fall into the category above, and many models for continuous random variables can be treated this way as well. Thus, it is likely that these algebraic statistical techniques will be useful in many more areas of computational and mathematical biology such as systems biology, evolutionary biology, functional genomics, bioinformatics, and epidemiology.Algebraic Statistics is an exciting field and attracts many younger researchers. Thus I wish for theJournal of Algebraic Statistics to be very successful.Ruriko Yoshida, University of Kentucky, USA

Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exclusion. Naremore, for example, does not include the urban environment in a list of the central tenets of film noir that he calls into question: “nothing links together all the things described as noir—not the theme of crime, not a cinematographic technique, not even a resistance to Aristotelian narratives or happy endings” (10). Elizabeth Cowie identifies film noir a “fantasy,” whose “tenuous critical status” has been compensated for “by a tenacity of critical use” (121). As part of Cowie’s project, to revise the assumption that noirs are almost exclusively male-centered, she cites character types, visual style, and narrative tendencies, but never urban spaces, as familiar elements of noir that ought to be reconsidered. If the city is rarely tackled as an unnecessary or part-time element of film noir in discursive studies, it is often the first trait identified by critics in the kind of formative, characteristic-compiling studies that Cowie and Naremore work against.Andrew Dickos opens Street with No Name: A History of the Classic American Film Noir with a list of noir’s key attributes. The first item is “an urban setting or at least an urban influence” (6). Nicholas Christopher maintains that “the city is the seedbed of film noir. […] However one tries to define or explain noir, the common denominator must always be the city. The two are inseparable” (37). Though the tendencies of noir scholars— both constructive and deconstructive— might lead readers to believe otherwise, rural locations figure prominently in a number of noir films. I will show that the noir genre is, indeed, flexible enough to encompass many films set predominantly or partly in rural locations. Steve Neale, who encourages scholars to work with genre terms familiar to original audiences, would point out that the rural noir is an academic discovery not an industry term, or one with much popular currency (166). Still, this does not lessen the critical usefulness of this subgenre, or its implications for noir scholarship.While structuralist and post-structuralist modes of criticism dominated film genre criticism in the 1970s and 80s, as Thomas Schatz has pointed out, these approaches often sacrifice close attention to film texts, for more abstract, high-stakes observations: “while there is certainly a degree to which virtually every mass-mediated cultural artifact can be examined from [a mythical or ideological] perspective, there appears to be a point at which we tend to lose sight of the initial object of inquiry” (100). Though my reading of these films sidesteps attention to social and political concerns, this article performs the no-less-important task of clarifying the textual features of this sub-genre. To this end, I will survey the tendencies of the rural noir more generally, mentioning more than ten films that fit this subgenre, before narrowing my analysis to a reading of Moonrise (Frank Borzage, 1948), Thieves’ Highway (Jules Dassin, 1949), They Live By Night (Nicholas Ray, 1949) and On Dangerous Ground (Nicholas Ray, 1952). Robert Mitchum tries to escape his criminal life by settling in a small, mountain-side town in Out of the Past (Jacques Tourneur, 1947). A foggy marsh provides a dramatic setting for the Bonnie and Clyde-like demise of lovers on the run in Gun Crazy (Joseph Lewis, 1950). In The Asphalt Jungle (John Huston, 1950), Sterling Hayden longs to return home after he is forced to abandon his childhood horse farm for a life of organised crime in the city. Rob Ryan plays a cop unable to control his violent impulses in On Dangerous Ground (Nicholas Ray, 1952). He is re-assigned from New York City to a rural community up-state in hopes that a less chaotic environment will have a curative effect. The apple orchards of Thieves’ Highway are no refuge from networks of criminal corruption. In They Live By Night, a pair of young lovers, try to leave their criminal lives behind, hiding out in farmhouses, cabins, and other pastoral locations in the American South. Finally, the location of prisons explains a number of sequences set in spare, road-side locations such as those in The Killer is Loose (Budd Boetticher, 1956), The Hitch-Hiker (Ida Lupino, 1953), and Raw Deal (Anthony Mann, 1948). What are some common tendencies of the rural noir? First, they usually feature both rural and urban settings, which allows the portrayal of one to be measured against the other. What we see of the city structures the definition of the country, and vice versa. Second, the lead character moves between these two locations by driving. For criminals, the car is more essential for survival in the country than in the city, so nearly all rural noirs are also road movies. Third, nature often figures as a redemptive force for urbanites steeped in lives of crime. Fourth, the curative quality of the country is usually tied to a love interest in this location: the “nurturing woman” as defined by Janey Place, who encourages the protagonist to forsake his criminal life (60). Fifth, the country is never fully crime-free. In The Killer is Loose, for example, an escaped convict’s first victim is a farmer, whom he clubs before stealing his truck. The convict (Wendell Corey), then, easily slips through a motorcade with the farmer’s identification. Here, the sprawling countryside provides an effective cover for the killer. This farmland is not an innocent locale, but the criminal’s safety-net. In films where a well-intentioned lead attempts to put his criminal life behind him by moving to a remote location, urban associates have little trouble tracking him down. While the country often appears, to protagonists like Jeff in Out of the Past or Bowie in They Live By Night, as an ideal place to escape from crime, as these films unfold, violence reaches the countryside. If these are similar points, what are some differences among rural noirs? First, there are many differences by degree among the common elements listed above. For instance, some rural noirs present their location with unabashed romanticism, while others critique the idealisation of these locations; some “nurturing women” are complicit with criminal activity, while others are entirely innocent. Second, while noir films are commonly known for treating similar urban locations, Los Angeles in particular, these films feature a wide variety of locations: Out of the Past and Thieves’ Highway take place in California, the most common setting for rural noirs, but On Dangerous Ground is set in northern New England, They Live by Night takes place in the Depression-era South, Moonrise in Southern swampland, and the most dynamic scene of The Asphalt Jungle is in rural Kentucky. Third, these films also vary considerably in the balance of settings. If the three typical locations of the rural noir are the country, the city, and the road, the distribution of these three locations varies widely across these films. The location of The Asphalt Jungle matches the title until its dramatic conclusion. The Hitch-hiker, arguably a rural noir, is set in travelling cars, with just brief stops in the barren landscape outside. Two of the films I analyse, They Live By Night and Moonrise are set entirely in the country; a remarkable exception to the majority of films in this subgenre. There are only two other critical essays on the rural noir. In “Shadows in the Hinterland: Rural Noir,” Jonathan F. Bell contextualises the rural noir in terms of post-war transformations of the American landscape. He argues that these films express a forlorn faith in the agrarian myth while the U.S. was becoming increasingly developed and suburbanised. That is to say, the rural noir simultaneously reflects anxiety over the loss of rural land, but also the stubborn belief that the countryside will always exist, if the urbanite needs it as a refuge. Garry Morris suggests the following equation as the shortest way to state the thematic interest of this genre: “Noir = industrialisation + (thwarted) spirituality.” He attributes much of the malaise of noir protagonists to the inhospitable urban environment, “far from [society’s] pastoral and romantic and spiritual origins.” Where Bell focuses on nine films— Detour (1945), The Postman Always Rings Twice (1946), Out of the Past (1947), Key Largo (1948), Gun Crazy (1949), On Dangerous Ground (1952), The Hitch-Hiker (1953), Split Second (1953), and Killer’s Kiss (1955)— Morris’s much shorter article includes just The Asphalt Jungle (1950) and Gun Crazy. Of the four films I discuss, only On Dangerous Ground has previously been treated as part of this subgenre, though it has never been discussed alongside Nicholas Ray’s other rural noir. To further the development of the project that these authors have started— the formation of a rural noir corpus— I propose the inclusion of three additional films in this subgenre: Moonrise (1948), They Live by Night (1949), and Thieves’ Highway (1949). With both On Dangerous Ground and They Live by Night to his credit, Nicholas Ray has the distinction of being the most prolific director of rural noirs. In They Live by Night, two young lovers, Bowie (Farley Granger) and Keechie (Cathy O’Donnell), attempt to escape from their established criminal lives. Twenty-three year old Bowie has just been released from juvenile prison and finds rural Texas refreshing: “Out here, the air smells different,” he says. He meets Keechie through her father, a small time criminal organiser who would be happy to keep her secluded for life. When one of Bowie’s accomplices, Chicamaw (Howard DaSilva), shoots a policeman after a robbing a bank with Bowie, the young couple is forced to run. Foster Hirsch calls They Live by Night “a genre rarity, a sentimental noir” (34). The naïve blissfulness of their affection is associated with the primitive settings they navigate. Though Bowie and Keechie are the most sympathetic protagonists of any rural noir, this is no safeguard against an inevitable, characteristically noir demise. Janey Place writes, “the young lovers are doomed, but the possibility of their love transcends and redeems them both, and its failure criticises the urbanised world that will not let them live” (63). As indicated here, the country offers the young lovers refuge for some time, and their bond is depicted as wonderfully strong, but it is doomed by the stronger force of the law.Raymond Williams discusses how different characteristics are associated with urban and rural spaces:On the country has gathered the idea of a natural way of life: of peace, innocence, and simple virtue. On the city has gathered the idea of an achieved center: of learning, communication, light. Powerful hostile associations have also developed: on the city as a place of noise, worldliness and ambition; on the country as a place of backwardness, ignorance, limitation. (1) They Live By Night breaks down these dichotomies, showing the persistence of crime rooted in rural areas.Bowie desires to “get squared around” and live a more natural life with Keechie. Williams’ country adjectives— “peace, innocence, and simple virtue”— describe the nature of this relationship perfectly. Yet, criminal activity, usually associated with the city, has an overwhelmingly strong presence in this region and their lives. Bowie, following the doomed logic of many a crime film character, plans to launch a new, more honest life with cash raised in a heist. Keechie recognises the contradictions in this plan: “Fine way to get squared around, teaming with them. Stealing money and robbing banks. You’ll get in so deep trying to get squared, they’ll have enough to keep you in for two life times.” For Bowie, crime and the pursuit of love are inseparably bound, refuting the illusion of the pure and innocent countryside personified by characters like Mary Malden in On Dangerous Ground and Ann Miller in Out of the Past.In Ray’s other rural noir, On Dangerous Ground, a lonely, angry, and otherwise burned out cop, Wilson (Rob Ryan), finds both love and peace in his time away from the city. While on his up-state assignment, Wilson meets Mary Walden (Ida Lupino), a blind woman who lives a secluded life miles away from this already desolate, rural community. Mary has a calming influence on Wilson, and fits well within Janey Place’s notion of the archetypal nurturing woman in film noir: “The redemptive woman often represents or is part of a primal connection with nature and/or with the past, which are safe, static states rather than active, exciting ones, but she can sometimes offer the only transcendence possible in film noir” (63).If, as Colin McArthur observes, Ray’s characters frequently seek redemption in rural locales— “[protagonists] may reject progress and modernity; they may choose to go or are sent into primitive areas. […] The journeys which bring them closer to nature may also offer them hope of salvation” (124) — the conclusions of On Dangerous Ground versus They Live By Night offer two markedly different resolutions to this narrative. Where Bowie and Keechie’s life on the lam cannot be sustained, On Dangerous Ground, against the wishes of its director, portrays a much more romanticised version of pastoral life. According to Andrew Dickos, “Ray wanted to end the film on the ambivalent image of Jim Wilson returning to the bleak city,” after he had restored order up-state (132). The actual ending is more sentimental. Jim rushes back north to be with Mary. They passionately kiss in close-up, cueing an exuberant orchestral score as The End appears over a slow tracking shot of the majestic, snow covered landscape. In this way, On Dangerous Ground overturns the usual temporal associations of rural versus urban spaces. As Raymond Williams identifies, “The common image of the country is now an image of the past, and the common image of the city an image of the future” (297). For Wilson, by contrast, city life was no longer sustainable and rurality offers his best means for a future. Leo Marx noted in a variety of American pop culture, from Mark Twain to TV westerns and magazine advertising, a “yearning for a simpler, more harmonious style of life, and existence ‘closer to nature,’ that is the psychic root of all pastoralism— genuine and spurious” (Marx 6). Where most rural noirs expose the agrarian myth as a fantasy and a sham, On Dangerous Ground, exceptionally, perpetuates it as actual and effectual. Here, a bad cop is made good with a few days spent in a sparsely populated area and with a woman shaped by her rural upbringing.As opposed to On Dangerous Ground, where the protagonist’s movement from city to country matches his split identity as a formerly corrupt man wishing to be pure, Frank Borzage’s B-film Moonrise (1948) is located entirely in rural or small-town locations. Set in the fictional Southern town of Woodville, which spans swamps, lushly wooded streets and aging Antebellum mansions, the lead character finds good and bad within the same rural location and himself. Dan (Dane Clark) struggles to escape his legacy as the son of a murderer. This conflict is irreparably heightened when Dan kills a man (who had repeatedly teased and bullied him) in self-defence. The instability of Dan’s moral compass is expressed in the way he treats innocent elements of the natural world: flies, dogs, and, recalling Out of the Past, a local deaf boy. He is alternately cruel and kind. Dan is finally redeemed after seeking the advice of a black hermit, Mose (Rex Ingram), who lives in a ramshackle cabin by the swamp. He counsels Dan with the advice that men turn evil from “being lonesome,” not for having “bad blood.” When Dan, eventually, decides to confess to his crime, the sheriff finds him tenderly holding a search hound against a bucolic, rural backdrop. His complete comfortability with the landscape and its creatures finally allows Dan to reconcile the film’s opening opposition. He is no longer torturously in between good and evil, but openly recognises his wrongs and commits to do good in the future. If I had to select just a single shot to illustrate that noirs are set in rural locations more often than most scholarship would have us believe, it would be the opening sequence of Moonrise. From the first shot, this film associates rural locations with criminal elements. The credit sequence juxtaposes pooling water with an ominous brass score. In this disorienting opening, the camera travels from an image of water, to a group of men framed from the knees down. The camera dollies out and pans left, showing that these men, trudging solemnly, are another’s legal executioners. The frame tilts upward and we see a man hung in silhouette. This dense shot is followed by an image of a baby in a crib, also shadowed, the water again, and finally the execution scene. If this sequence is a thematic montage, it can also be discussed, more simply, as a series of establishing shots: a series of images that, seemingly, could not be more opposed— a baby, a universal symbol of innocence, set against the ominous execution, cruel experience— are paired together by virtue of their common location. The montage continues, showing that the baby is the son of the condemned man. As Dan struggles with the legacy of his father throughout the film, this opening shot continues to inform our reading of this character, split between the potential for good or evil.What a baby is to Moonrise, or, to cite a more familiar reference, what the insurance business is to many a James M. Cain roman noir, produce distribution is to Jules Dassin’s Thieves’ Highway (1949). The apple, often a part of wholesome American myths, is at the centre of this story about corruption. Here, a distribution network that brings Americans this hearty, simple product is connected with criminal activity and violent abuses of power more commonly portrayed in connection with cinematic staples of organised crime such as bootlegging or robbery. This film portrays bad apples in the apple business, showing that no profit driven enterprise— no matter how traditional or rural— is beyond the reach of corruption.Fitting the nature of this subject, numerous scenes in the Dassin film take place in the daylight (in addition to darkness), and in the countryside (in addition to the city) as we move between wine and apple country to the market districts of San Francisco. But if the subject and setting of Thieves’ Highway are unusual for a noir, the behaviour of its characters is not. Spare, bright country landscapes form the backdrop for prototypical noir behaviour: predatory competition for money and power.As one would expect of a film noir, the subject of apple distribution is portrayed with dynamic violence. In the most exciting scene of the film, a truck careens off the road after a long pursuit from rival sellers. Apples scatter across a hillside as the truck bursts into flames. This scene is held in a long-shot, as unscrupulous thugs gather the produce for sale while the unfortunate driver burns to death. Here, the reputedly innocent American apple is subject to cold-blooded, profit-maximizing calculations as much as the more typical topics of noir such as blackmail, fraud, or murder. Passages on desolate roads and at apple orchards qualify Thieves’ Highway as a rural noir; the dark, cynical manner in which capitalist enterprise is treated is resonant with nearly all film noirs. Thieves’ Highway follows a common narrative pattern amongst rural noirs to gradually reveal rural spaces as connected to criminality in urban locations. Typically, this disillusioning fact is narrated from the perspective of a lead character who first has a greater sense of safety in rural settings but learns, over the course of the story, to be more wary in all locations. In Thieves’, Nick’s hope that apple-delivery might earn an honest dollar (he is the only driver to treat the orchard owners fairly) gradually gives way to an awareness of the inevitable corruption that has taken over this enterprise at all levels of production, from farmer, to trucker, to wholesaler, and thus, at all locations, the country, the road, and the city.Between this essay, and the previous work of Morris and Bell on the subject, we are developing a more complete survey of the rural noir. Where Bell’s and Morris’s essays focus more resolutely on rural noirs that relied on the contrast of the city versus the country— which, significantly, was the first tendency of this subgenre that I observed— Moonrise and They Live By Night demonstrate that this genre can work entirely apart from the city. From start to finish, these films take place in small towns and rural locations. As opposed to Out of the Past, On Dangerous Ground, or The Asphalt Jungle, characters are never pulled back to, nor flee from, an urban life of crime. Instead, vices that are commonly associated with the city have a free-standing life in the rural locations that are often thought of as a refuge from these harsh elements. If both Bell and Morris study the way that rural noirs draw differences between the city and country, two of the three films I add to the subgenre constitute more complete rural noirs, films that work wholly outside urban locations, not just in contrast with it. Bell, like me, notes considerable variety in rural noirs locations, “desert landscapes, farms, mountains, and forests all qualify as settings for consideration,” but he also notes that “Diverse as these landscapes are, this set of films uses them in surprisingly like-minded fashion to achieve a counterpoint to the ubiquitous noir city” (219). In Bell’s analysis, all nine films he studies, feature significant urban segments. He is, in fact, so inclusive as to discuss Stanley Kubrick’s Killer’s Kiss as a rural noir even though it does not contain a single frame shot or set outside of New York City. Rurality is evoked only as a possibility, as alienated urbanite Davy (Jamie Smith) receives letters from his horse-farm-running relatives. Reading these letters offers Davy brief moments of respite from drudgerous city spaces such as the subway and his cramped apartment. In its emphasis on the centrality of rural locations, my project is more similar to David Bell’s work on the rural in horror films than to Jonathan F. Bell’s work on the rural noir. David Bell analyses the way that contemporary horror films work against a “long tradition” of the “idyllic rural” in many Western texts (95). As opposed to works “from Henry David Thoreau and Walt Whitman to contemporary television shows like Northern Exposure and films such as A River Runs Through It or Grand Canyon” in which the rural is positioned as “a restorative to urban anomie,” David Bell analyses films such as Deliverance and The Texas Chainsaw Massacre that depict “a series of anti-idyllic visions of the rural” (95). Moonrise and They Live By Night, like these horror films, portray the crime and the country as coexistent spheres at the same time that the majority of other popular culture, including noirs like Killer’s Kiss or On Dangerous Ground, portray them as mutually exclusive.To use a mode of generic analysis developed by Rick Altman, the rural noir, while preserving the dominant syntax of other noirs, presents a remarkably different semantic element (31). Consider the following description of the genre, from the introduction to Film Noir: An Encyclopedic Reference Guide: “The darkness that fills the mirror of the past, which lurks in a dark corner or obscures a dark passage out of the oppressively dark city, is not merely the key adjective of so many film noir titles but the obvious metaphor for the condition of the protagonist’s mind” (Silver and Ward, 4). In this instance, the narrative elements, or syntax, of film noir outlined by Silver and Ward do not require revision, but the urban location, a semantic element, does. Moonrise and They Live By Night demonstrate the sustainability of the aforementioned syntactic elements— the dark, psychological experience of the leads and their inescapable criminal past— apart from the familiar semantic element of the city.The rural noir must also cause us to reconsider— beyond rural representations or film noir— more generally pitched genre theories. Consider the importance of place to film genre, the majority of which are defined by a typical setting: for melodramas, it is the family home, for Westerns, the American west, and for musicals, the stage. Thomas Schatz separates American genres according to their setting, between genres which deal with “determinate” versus “indeterminate” space:There is a vital distinction between kinds of generic settings and conflicts. Certain genres […] have conflicts that, indigenous to the environment, reflect the physical and ideological struggle for its control. […] Other genres have conflicts that are not indigenous to the locale but are the results of the conflict between the values, attitudes, and actions of its principal characters and the ‘civilised’ setting they inhabit. (26) Schatz discusses noirs, along with detective films, as films which trade in “determinate” settings, limited to the space of the city. The rural noir slips between Schatz’s dichotomy, moving past the space of the city, but not into the civilised, tame settings of the genres of “indeterminate spaces.” It is only fitting that a genre whose very definition lies in its disruption of Hollywood norms— trading high- for low-key lighting, effectual male protagonists for helpless ones, and a confident, coherent worldview for a more paranoid, unstable one would, finally, be able to accommodate a variation— the rural noir— that would seem to upset one of its central tenets, an urban locale. Considering the long list of Hollywood standards that film noirs violated, according to two of its original explicators, Raymond Borde and Etienne Chaumeton— “a logical action, an evident distinction between good and evil, well-defined characters with clear motives, scenes that are more spectacular than brutal, a heroine who is exquisitely feminine and a hero who is honest”— it should, perhaps, not be so surprising that the genre is flexible enough to accommodate the existence of the rural noir after all (14). AcknowledgmentsIn addition to M/C Journal's anonymous readers, the author would like to thank Corey Creekmur, Mike Slowik, Barbara Steinson, and Andrew Gorman-Murray for their helpful suggestions. ReferencesAltman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 27-41.The Asphalt Jungle. Dir. John Huston. MGM/UA, 1950.Bell, David. “Anti-Idyll: Rural Horror.” Contested Countryside Cultures. Eds. Paul Cloke and Jo Little. London, Routledge, 1997. 94-108.Bell, Jonathan F. “Shadows in the Hinterland: Rural Noir.” Architecture and Film. Ed. Mark Lamster. New York: Princeton Architectural P, 2000. 217-230.Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir. San Francisco: City Lights Books, 2002.Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Simon and Schuster, 1997.Cowie, Elizabeth. “Film Noir and Women.” Shades of Noir. Ed. Joan Copjec. New York: Verso, 1993. 121-166.Dickos, Andrew. Street with No Name: A History of the Classic American Film Noir. Lexington: UP of Kentucky, 2002.Hirsch, Foster. Detours and Lost Highways: A Map of Neo-Noir. New York: Limelight Editions, 1999.Marx, Leo. The Machine in the Garden. New York: Oxford UP, 1964.McArthur, Colin. Underworld U.S.A. London: BFI, 1972.Moonrise. Dir. Frank Borzage. Republic, 1948.Morris, Gary. “Noir Country: Alien Nation.” Bright Lights Film Journal Nov. 2006. 13. Jun. 2008 http://www.brightlightsfilm.com/54/noircountry.htm Muller, Eddie. Dark City: The Lost World of Film Noir. New York: St. Martin’s P, 1998.Naremore, James. More Than Night: Film Noir in its Contexts. Berkeley, C.A.: U of California P, 2008.Neale, Steve. “Questions of Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 160-184.On Dangerous Ground. Dir. Nicholas Ray. RKO, 1951.Out of the Past. Dir. Jacques Tourneur. RKO, 1947.Place, Janey. “Women in Film Noir.” Women in Film Noir. Ed. E. Ann Kaplan. London: BFI, 1999. 47-68.Schatz, Thomas. Hollywood Genres. New York: Random House, 1981.Schatz, Thomas. “The Structural Influence: New Directions in Film Genre Study.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 92-102.Silver, Alain and Elizabeth Ward. Film Noir: An Encyclopedic Reference Guide. London: Bloomsbury, 1980.They Live by Night. Dir. Nicholas Ray. RKO, 1949.Thieves’ Highway. Dir. Jules Dassin. Fox, 1949.Williams, Raymond. The Country and the City. New York: Oxford UP, 1973.

Things would never be the same again. As sales went through the roof, with some breathless estimates in the region of a 200% increase overnight, marketers practically wet their pants at the phenomenal success of the chocolate bar seen by millions in ET: the Extraterrestrial. That was back in 1982. Though not the first instance of product placement ‘at the movies’, the strategic placement of Reese’s Pieces in ET is often hailed as the triumphant marketing moment heralding the onset of the era of embedded advertising in popular media. Today, much media consumption is characterised by aggressive branding strategies. We’ve all seen ostentatious product wrangling – the unnatural handling of items (especially chocolate bars and bottled drinks) to best display their logo (regardless of considerations of verisimilitude, or even common sense), and ungainly product mentions in dialogue (who can forget the early Jude Law shocker Shopping?) that have passed into the realm of satire. In television and feature filmmaking, props bearing corporate trademarks not only supplement, but often sustain production budgets. Some programs appear to be entirely contrived around such sponsors. Australian commercial television makes no secret of the increasingly non-existent line between ‘entertainment’ and ‘advertising’, though it still purports to describe ‘lifestyle’ shows as ‘reality’ television. With the introduction of technologies like TiVO which enable consumers to skip over ads, the move is from ‘interruptive’ style advertising between programs or segments, to products insinuated in the décor – and increasingly scripts – of programs themselves, with correspondent online shopping opportunities for digital consumers. An entire industry of middle-people – sometimes euphemistically self-described as ‘prop houses’ – has sprung up to service the lucrative product placement industry, orchestrating the insertion of branded products into television and films. The industry has grown to such an extent that it holds an annual backpatting event, the Product Placement Awards, “to commemorate and celebrate product placement” in movies, television shows, music etc. But ‘advertising by stealth’ is not necessarily passively accepted by media consumers – nor media makers. The shoe-horning of brands and their logos into the products of popular culture not only defines the culture industry today, but also characterises much of the resistance to it. ‘Logo-backlash’ is seen as an inevitable response to the incursion of brands into public life, an explicit rejection of the practice of securing consumer mindshare, and subvertisements and billboard liberation activities have been mainstays of culture jamming for decades now. However, criticism of product placement remains highly problematic: when the Center for the Study of Commercialism argued that movies have become “dangerously” saturated with products and suggested that full disclosure in the form of a list, in a film’s credits, of paid product appearances, many noted the counterproductivity of such an approach, arguing that it would only result in further registration – and hence promotion – of the brand. Not everyone subscribes to advertising’s ‘any news is good news’ thesis, however. Peter Conheim and Steve Seidler decided to respond to the behemoth of product placement with a ‘catalogue of sins’. Their new documentary Value Added Cinema meticulously chronicles the appearance of placed products in Hollywood cinema. Here they discuss the film, which is continuing to receive rave reviews in the US and Europe. Danni Zuvela: Can you tell me a little about yourselves? Peter: I’m a musician and filmmaker living in the San Francisco Bay Area who wears too many hats. I play in three performing and recording groups (Mono Pause, Wet Gate, Negativland) and somehow found the time to sit in front of a Mac for six weeks to edit and mix VALUE-ADDED CINEMA. Because Steve is a persuasive salesperson. Steve: I’ve been a curator for the past decade and a half, showing experimental works week after week, month after month, year after year, at the Pacific Film Archive. It was about time to make a tape of my own and Peter was crazy enough to indulge me. DZ: Why product placement? Why do you think it’s important? Where did this documentary come from? S: Steven Spielberg released Minority Report last year and it just raised my hackles. The film actually encourages the world it seems to critique by stressing the inter-relationship of his alleged art with consumerism in the present day and then extending that into a vision of the future within the film itself. In other words, he has already realized the by-product of an alarming dystopia of surveillance, monolithic policing, and capital. That by-product is his film. The rumor mill says that he was reimbursed to the tune of $25 million for the placements. So not only can he not see a constructive path out of dystopia, a path leading toward a more liberating future, he makes millions from his exhausted imagination. What could be more cynical? But Spielberg isn’t alone within the accelerating subsumption of mainstream cinema into the spectacle of pure consumption. He’s just more visible than most. But to consider product placements more directly for a moment: during the past few years, mainstream cinema has been little more than an empty exercise in consumerist viewership. The market-driven incentives that shape films, determining story-lines, exaggerating cultural norms, striving toward particular demographics, whatever, have nothing to do with art or social change and everything to do with profit, pandering, and promulgation. Movies are product placements, the product is a world view of limitless consumption. Value-Added Cinema is about the product-that-announces-itself, the one we recognize as a crystallization of the more encompassing worldview, the sole commodity, spot-lit, adored, assimilated. So why Value-Added Cinema? You’ve got to start somewhere. DZ: Can you tell me a bit about the production process – how did you go about getting the examples you use in the film? Were there any copyright hassles? P: Steve did nearly all of the legwork in that he spent weeks and weeks researching the subject, both on-line and in speaking to people about their recollections of product placement sequences in films they’d seen. He then suffered through close to a hundred films on VHS and DVD, using the fast-forward and cue controls as often as possible, to locate said sequences. We then sat down and started cutting, based at first on groupings Steve had made (a bunch of fast food references, etc.). Using these as a springboard, we quickly realized the narrative potential inherent in all these “narrative film” clips , and before long we were linking sequences and making them refer to one another, sort of allowing a “plot” to evolve. And copyright hassles? Not yet! I say... bring ‘em on! I would be more than happy to fight for the existence of this project, and one of the groups I am in, Negativland, has a rather colourful history of “fair use” battles in the music arena (the most nefarious case, where the band was sued by U2 and their big-label music lawyers over a parody we made happened before I came on board, but there’s been some skirmishes since). We have folks who would be happy to help defend this sort of work in a court of law should the occasion arise. DZ: Can you talk to me about the cultural shift that’s occurred, where the old ‘Acme’ propmaster has been replaced by ‘product peddler’? What is this symptomatic of, and what’s its significance now? S: In the past, privacy existed because there were areas of experience and information that were considered off limits to exploitation. A kind of tacit social contract assumed certain boundaries were in place to keep corporate (and State) meddling at bay and to allow an uncontaminated space for disengaging from culture. Nowadays the violation of boundaries is so egregious it’s hard to be sure that those boundaries in fact exist. Part of that violation has been the encroachment, at every conceivable level, of daily experience by all manner of corporate messages—urinal strainers with logos, coffee jackets with adverts, decals on supermarket floors, temporary tattoos on random pedestrians. Engagement with corporate predation is now foisted on us 24 hours a day. It’s the GPS generation. The corporations want to know where we “are” at all times. Again: in the past there was a certain level of decorum about the sales pitch. That decorum has vanished and in its place is the inter-penetration of all our waking moments by the foghorn of capital. If that foghorn gets loud enough, we’ll never get any sleep. DZ: How do you think product placement affects the integrity of the film? P: Well, that’s definitely a question of the moment, as far as audience reactions to our screenings have been thus far. It really depends on the work itself, doesn’t it? I think we would be highly judgmental, and perhaps quite out of line, if we dismissed out of hand the idea of using actual products in films as some sort of rule. The value of using an actual product to the narrative of a film can’t be discounted automatically because we all know that there are stories to be told in actual, marketed products. Characterizations can develop. If a flustered James Cagney had held up a bottle of Fred’s Cola instead of Pepsi in the climactic shot of One, Two, Three (Billy Wilder’s 1963 Coke-executive comedy), it wouldn’t have resonated very well. And it’s an incredibly memorable moment (and, some might say, a little dig at both cola companies). But when you get into something like i am sam, where Sean Penn’s character not only works inside a Starbucks, and is shown on the job, in uniform and reading their various actual coffee product names aloud, over and over again, but also rides a bus with a huge Nike ad on the side (and the camera tracks along on the ad instead of the bus itself), plus the fact that he got onto that bus underneath an enormous Apple billboard (not shown in our work, actually), or that his lawyer has a can of Tab sitting on an entirely austere, empty table in front of a blank wall and the camera tracks downward for no other discernable purpose than to highlight the Tab can… you can see where I’m going with this. The battle lines are drawn in my mind. PROVE to me the value of any of those product plugs on Penn’s character, or Michelle Pfeiffer’s (his lawyer). DZ: What do you make of the arguments for product placement as necessary to, even enhancing, the verisimilitude of films? Is there a case to be made for brands appearing in a production design because they’re what a character would choose? S: It’s who makes the argument for product placements that’s troublesome. Art that I value is a sort of problem solving machine. It assumes that the culture we currently find ourselves strapped with is flawed and should be altered. Within that context, the “verisimilitude” you speak of would be erected only as a means for critique--not to endorse, venerate, or fortify the status quo. Most Hollywood features are little more than moving catalogs. P: And in the case of Jurassic Park that couldn’t be more explicit – the “fake” products shown in the amusement park gift shop in the film are the actual tie-in products available in stores and in Burger King at that time! Another film I could mention for a totally different reason is The Dark Backward (1991). Apparently due to a particular obsession of the director, the film is riddled with placements, but of totally fake and hilarious products (i.e. Blump’s Squeezable Bacon). Everyone who has seen the film remembers the absurdist products… couldn’t Josie and the Pussycats have followed this format, instead of loading the film with “funny” references to literally every megacorporation imaginable, and have been memorable for it? DZ: What do you think of the retroactive insertion of products into syndicated reruns of programs and films (using digital editing techniques)? Is this a troubling precedent? P: Again, to me the line is totally crossed. There’s no longer any justification to be made because the time and space of the original television show is lost at that point, so any possibility of “commentary” on the times, or development of the character, goes right out the window. Of course I find it a troubling precedent. It’s perhaps somewhat less troubling, but still distressing, to know that billboards on the walls of sports stadiums are being digitally altered, live, during broadcast, so that the products can be subtly switched around. And perhaps most disturbingly, at least here in the states, certain networks and programs have begun cross-dissolving to advertisements from program content, and vice-versa. In other words, since the advertisers are aware that the long-established “blackout” which precedes the start of advertising breaks on TV causes people to tune out, or turn the volume off, or have their newfangled sensing devices “zap” the commercial… so they’re literally integrating the start of the ad with the final frames of the program instead of going black, literally becoming part of the program. And we have heard about more reliance of products WITHIN the programs, but this just takes us right back to TV’s past, where game show contestants sat behind enormous “Pepsodent” adverts pasted right there on the set. History will eat itself… DZ: Could you imagine a way advertisers could work product placement into films where modern products just don’t fit, like set in the past or in alternate universes (Star Wars, LOTR etc)? P: Can’t you? In fact, it’s already happening. Someone told us about the use of products in a recent set-in-the-past epic… but the name of the film is escaping me. S: And if you can’t find a way to insert a product placement in a film than maybe the film won’t get made. The problem is completely solved with films like Star Wars and Lord of the Rings—most of the characters are available in the store as action figures making them de facto placements. In Small Soldiers just about every toy-sized character was, in fact, nicely packaged by Hasbro. DZ: What is the role of the logo in product placement? S: There are the stars, and there are the many supporting roles—the logo is just one of them. We’re hoping to see this category at the next Oscars. P: And categories like “Best Song” are essentially product placement categories already… DZ: I’ve heard about the future of product placement being branding in computer games, interactive shop-at-home television – what other visions of the (branded) future can you imagine? P: The future is now. If you can’t watch a documentary on so-called public television in this country without having text boxes pop up on screen to suggest “related” web sites which “might be of interest” to the viewer, you’re already well on the way to being part of a branded environment. Computer games already have ads built-in, and shop-at-home already seems plenty interactive (and isn’t internet shopping, also?). I think if the various mega-corporations can not only convince people to wear clothing emblazoned with their logo and product name, but so successfully convince us to pay for the privilege of advertising them, then we are already living in a totally branded future. Where else can it go? It may seem a trite statement but, to my mind, wearing an entire Nike outfit is the ultimate. At least the British ad company called Cunning Stunts actually PAYS their human billboards… but those folks have to agree to have the company logo temporarily tattooed onto their foreheads for three hours as they mingle in public. I’m not joking about this. DZ: Is there any response to product placement? How can audiences manage their interactions with these texts? S: Films have been boycotted for culturally heinous content, such as racist and homophobic characters. Why not boycott films because of their commodity content? Or better yet boycott the product for colluding with the filmmakers to invade your peace of mind? What I hope Value-Added Cinema does is sensitize us to the insinuation of the products, so that we critically detect them, rather than passively allow them to pass before us. When that happens, when we’re just insensate recipients of those advertising ploys, we’re lost. DZ: Do you have anything to add to contemporary debates on culture jamming, especially the charge that culture jamming’s political power is limited by its use of logos and signs? Anne Moore has written that detourning ads ends up just re-iterating the logo - “because corporate lifeblood is profit, and profit comes from name recognition”, culture jammers are “trafficking in the same currency as the corporations” – what do you think of this? P: It’s an interesting assertion. But the best culture jams I’ve seen make total mincemeat of the product being parodied; just as you can’t simply discount the use of actual products in films in the context of a narrative, you can’t NOT try to reclaim the use of a brand-name. Maybe it’s a dangerous comparison because “reclaiming” use of the word Coke is not like reclaiming the use of the word “queer”, but there’s something to it, I think. Also, I wear t-shirts with the names of bands I like sometimes (almost always my friends’ bands, but I suppose that’s beside the point). Am I buying into the advertising concept? Yes, to a certain extent, I am. I guess to me it’s about just what you choose to advertise. Or what you choose to parody. DZ: Do you have any other points you’d like to make about product placement, advertising by stealth, branding, mindshare or logos? P: I think what Steve said, that above all we hope with our video to help make people aware of how much they are advertised to, beyond accepting it as a mere annoyance, sums it up. So far, we’ve had some comments at screenings which indicate a willingness of people to want to combat this in their lives, to want to “do something” about the onslaught of product placement surrounding them, in films and elsewhere. Works Cited ET: The Extraterrestrial. Dir. Steven Spielberg. Prod. Kathleen Kennedy & Steven Spielberg, M. Universal Pictures 1982. Shopping. Dir. Paul Anderson. Prod. Jeremy Bolt , M. Concorde Pictures,1993. http://www.cspinet.org/ http://www.productplacementawards.com/ Links http://www.cspinet.org/ http://www.productplacementawards.com/ Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Zuvela, Danni. "An Interview with the Makers of Value-Added Cinema" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/03-valueadded.php>. APA Style Zuvela, D. (2003, Jun 19). An Interview with the Makers of Value-Added Cinema. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/03-valueadded.php>

Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Architecture were contested on pragmatic grounds, such as cost, brief and particularly concerning issues of suitability and effectiveness in relation to climate and weather. A number of famed cases resulted in legal action between clients and architects, and in many more examples historians have critically framed these accounts to highlight alternate issues and agendas. “Complaints about the weather,” in relation to architecture, inevitably raise issues regarding a work’s “success,” particularly in view of the tensions between artistry and functionality inherent in the discipline of architecture. While in more recent decades these ideas have been framed around ideas of sustainability—particularly in relation to contemporary buildings—more traditionally they have been engaged through discussions of an architect’s ethical responsibility to deliver a habitable building that meets the client’s needs. This paper suggests these complaints often raise a broader range of issues and are used to highlight tensions inherent in the discipline. In the history of Modern Architecture, these complaints are often framed through gender studies, ethics and, more recently, artistic asceticism. Accounts of complaints and disputes are often invoked in the social construction (or deconstruction) of artistic genius – whether in a positive or negative light. Through its discussion of a number of famed examples, this paper will discuss the framing of climate in relation to the figure of the Modern Architect and the reception of the architectural “masterpiece.” Dear Monsieur Le Corbusier … In June 1930 Mme Savoye, the patron of the famed Villa Savoye on the outskirts of Paris, wrote to her architect, Le Corbusier, stating: “it is still raining in our garage” (Sbriglio 144)—a persistent theme in their correspondence. This letter followed another sent in March after discovering leaks in the garage and several bedrooms following a visit during inclement weather. While sent prior to the building’s completion, she also noted that rainfall on the bathroom skylight “makes a terrible noise […] which prevents us from sleeping in bad weather” (Sbriglio 142). Claiming to have warned Le Corbusier about the concern, the contractor refused to accept responsibility, prompting some rather fiery correspondence between the two. This problem, compounded by issues with the heating system, resulted in the house feeling, as Sbriglio notes, “cold and damp” and subject to “substantial heat loss due to the large glazing”—a cause for particular concern given the health problems of the clients’ only child, Roger Savoye, that saw him spend time in a French Sanatorium (Sbriglio 145). While the cause of Roger’s illness is not clear, at least one writer (albeit with a noticeable lack of footnotes or supporting evidence) has linked this directly to the villa (de Botton 65). Mme Savoye’s complaints about dampness, humidity, condensation and leaking in her home persisted in subsequent years, prompting Benton to summarise in 1987, “every autumn […] there were cries of distress from the Savoye family with the first rains” (Villas 204). These also extended to discussion of the heating system, which while proving insufficient was also causing flooding (Benton, "Villa" 93). In 1935 Savoye again wrote to Le Corbusier, wearily stating: It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked [….] it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through. (Sbriglio 146-7) Savoye’s understandable vexation with waterproofing problems in her home continued to escalate. With a mixture of gratitude and frustration, a letter sent two years later stated: “After innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…. Please render it inhabitable immediately. I sincerely hope that I will not have to take recourse to legal action” (Sbriglio 147). Paradoxically, Le Corbusier was interested in the potential of architecture and urban planning to facilitate health and well-being, as well as the effects that climate may play in this. Early twentieth century medical thought advocated heliotherary (therapeutic exposure to sunlight) for a diverse range of medical conditions, ranging from rickets to tuberculosis. Similarly the health benefits of climate, such as the dryness of mountain air, had been recognised for much longer, and had led to burgeoning industries associated with health, travel and climate. The dangers of damp environments had also long been medically recognised. Le Corbusier’s awareness of the health benefits of sunshine led to the inclusion of a solarium in the villa that afforded both framed and unframed views of the surrounding countryside, such as those that were advocated in the seventeenth century as an antidote to melancholy (Burton 65-66). Both Benton and Sbriglio present Mme Savoye’s complaints as part of their comprehensive histories of an important and influential work of Modern Architecture. Each reproduce excerpts from archival letters that are not widely translated or accessible, and Benton’s 1984 essay is the source other authors generally cite in discussing these matters. In contrast, for example, Murphy’s 2002 account of the villa’s conversion from “house” to “historical monument” cites the same letters (via Benton) as part of a broader argument that highlights the “undomestic” or “unhomely” nature of the work by cataloguing such accounts of the client’s experience of discomfort while residing in the space – thus revisiting a number of common criticisms of Modern Architecture. Le Corbusier’s reputation for designing buildings that responded poorly to climate is often referenced in popular accounts of his work. For example, a 1935 article published in Time states: Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in.” Reference to these issues are usually made rather minimally in academic accounts of his work, and few would agree with this article’s assertion that Le Corbusier’s influence as a phrasemaker would rival the impact of his architecture. In contrast, such issues, in relation to other architects, are often invoked more rhetorically as part of a variety of historical agendas, particularly in constructing feminist histories of architecture. While Corbusier and his work have often been the source of intellectual contention from feminist scholars—for example in regard to authorial disputes and fractious relationships with the likes of Eileen Gray or Charlotte Perriand – discussion of the functional failures in the Villa Savoye are rarely addressed from this perspective. Rather, feminist scholars have focussed their attention on a number of other projects, most notably the case of the Farnsworth House, another canonical work of Modernism. Dear Herr Mies van der Rohe … Mies van der Rohe’s Farnsworth House, completed in 1951 in Plano Illinois, was commissioned as a country weekend residence by an unmarried female doctor, a brief credited with freeing the architect from many of the usual pragmatic requirements of a permanent city residence. In response Mies designed a rectilinear steel and glass pavilion, which hovered (to avoid the flood levels) above the landscape, sheltered by maple trees, in close proximity to the Fox River. The refined architectural detail, elegant formal properties, and poetic relationship with the surrounding landscape – whether in its autumnal splendour or covered in a thick blanket of snow – captivated architects seeing it become, like the Villa Savoye, one of the most revered architectural works of the twentieth century. Prior to construction a model was exhibited in the Museum of Modern Art in New York and, upon completion the building became a pilgrimage site for architects and admirers. The exhibition of the design later fuelled debate about whether Dr Farnsworth constituted a patron or a client (Friedman 134); a distinction generating very different expectations for the responsibilities of the architect, particularly regarding the production of a habitable home that met the client’s brief versus producing a design of architectural merit. The house was intended as a frame for viewing and contemplating nature, thus seeing nature and climate aligned with the transcendental qualities of the design. Following a visit during construction, Farnsworth described the building’s relationship to the elements, writing: “the two horizontal planes of the unfinished building, floating over the meadows, were unearthly beautiful under a sun which glowed like a wild rose” (5). Similarly, in 1951, Arthur Drexler described the building as “a quantity of air caught between a floor and a roof” (Vandenberg 6). Seven years later the architect himself asserted that nature “gained a more profound significance” when viewed from within the house (Friedman 139). While the transparency of the house was “forgiven” by its isolated location and the lack of visibility from neighbouring properties, the issues a glass and steel box might pose for the thermal comfort of its occupant are not difficult to imagine. Following the house’s completion, Farnsworth fitted windows with insect screens and blinds (although Mies intended for curtains to be installed) that clumsily undermined the refined and minimalistic architectural details. Controversy surrounding the house was, in part, the result of its bold new architectural language. However, it was also due to the architect-client relationship, which turned acrimonious in a very public manner. A dispute between Mies and Farnsworth regarding unpaid fees was fought both in the courtroom and the media, becoming a forum for broader debate as various journals (for example, House Beautiful), publicly took sides. The professional female client versus the male architect and the framing of their dispute by historians and the media has seen this project become a seminal case-study in feminist architectural histories, such as Friedman’s Women and the Making of the Modern House of 1998. Beyond the conflict and speculation about the individuals involved, at the core of these discussions were the inadequacies of the project in relation to comfort and climate. For example, Farnsworth describes in her journal finding the house awash with several inches of water, leading to a court session being convened on the rooftop in order to properly ascertain the defects (14). Written retrospectively, after their relationship soured, Farnsworth’s journal delights in recounting any errors or misjudgements made by Mies during construction. For example, she described testing the fireplace to find “the house was sealed so hermetically that the attempt of a flame to go up the chimney caused an interior negative pressure” (2). Further, her growing disenchantment was reflected in bleak descriptions aligning the building with the weather. Describing her first night camping in her home, she wrote: “the expanses of the glass walls and the sills were covered with ice. The silent meadows outside white with old and hardened snow reflected the bleak [light] bulb within, as if the glass house itself were an unshaded bulb of uncalculated watts lighting the winter plains” (9). In an April 1953 article in House Beautiful, Elizabeth Gordon publicly sided with Farnsworth as part of a broader campaign against the International Style. She condemned the home, and its ‘type’ as “unlivable”, writing: “You burn up in the summer and freeze in the winter, because nothing must interfere with the ‘pure’ form of their rectangles” (250). Gordon included the lack of “overhanging roofs to shade you from the sun” among a catalogue of “human qualities” she believed architects sacrificed for the expression of composition—a list that also included possessions, children, pets and adequate kitchen facilities (250). In 1998 excerpts from this article were reproduced by Friedman, in her seminal work of feminist architectural history, and were central in her discussion of the way that debates surrounding this house were framed through notions of gender. Responding to this conflict, and its media coverage, in 1960 Peter Blake wrote: All great houses by great architects tend to be somewhat impractical; many of Corbu’s and Wright’s house clients find that they are living in too expensive and too inefficient buildings. Yet many of these clients would never exchange their houses for the most workable piece of mediocrity. (88) Far from complaining about the weather, the writings of its second owner, Peter Palumbo, poetically meditate the building’s relationship to the seasons and the elements. In his foreword to a 2003 monograph, he wrote: life inside the house is very much a balance with nature, and an extension of nature. A change in the season or an alteration of the landscape creates a marked change in the mood inside the house. With an electric storm of Wagnerian proportions illuminating the night sky and shaking the foundations of the house to their very core, it is possible to remain quite dry! When, with the melting snows of spring, the Fox River becomes a roaring torrent that bursts its banks, the house assumes a character of a house-boat, the water level sometimes rising perilously close to the front door. On such occasions, the approach to the house is by canoe, which is tied to the steps of the upper terrace. (Vandenberg 5) Palumbo purchased the house from Farnsworth and commissioned Mies’s grandson to restore it to its original condition, removing the blinds and insect screens, and installing an air-conditioning system. The critical positioning of Palumbo has been quite different from that of Farnsworth. His restoration and writings on the project have in some ways seen him positioned as the “real” architectural patron. Furthermore, his willingness to tolerate some discomfort in his inhabitation has seen him in some ways prefigure the type of resident that will be next be discussed in reference to recent owners of Wright properties. Dear Mr Wright … Accounts of weatherproofing problems in buildings designed by Frank Lloyd Wright have become the basis of mythology in the architectural discipline. For example, in 1936 Herbert Johnson and J. Vernon Steinle visited Wright’s Richard Lloyd Jones house in Oklahoma. As Jonathan Lipman wrote, “Steinle’s most prominent recollection of the house was that there were scores of tubs and canning jars in the house catching water leaking through the roof” (45). While Lipman notes the irony that both the house and office Wright designed for Johnson would suffer the same problem, it is the anecdotal accounts of the former that have perhaps attracted the most interest. An oft-recounted story tells of Johnson telephoning Wright, during a dinner party, with regard to water dripping from the ceiling into his guest-of-honour’s soup; the complaint was reportedly rebuffed unsympathetically by Wright who suggested the lady should move her chair (Farr 272). Wright himself addressed his reputation for designing buildings that leaked in his Autobiography. In reference to La Miniatura in Pasadena, of 1923, he contextualised difficulties with the local climate, which he suggested was prone to causing leaks, writing: “The sun bakes the roof for eleven months, two weeks and five days, shrinking it to a shrivel. Then giving the roof no warning whatever to get back to normal if it could, the clouds burst. Unsuspecting roof surfaces are deluged by a three inch downpour.” He continued, stating: I knew all this. And I know there are more leaking roofs in Southern California than in all the rest of the world put together. I knew that the citizens come to look upon water thus in a singularly ungrateful mood. I knew that water is all that enables them to have their being there, but let any of it through on them from above, unexpectedly, in their houses and they go mad. It is a kind of phobia. I knew all this and I have taken seriously precautions in the details of this little house to avoid such scenes as a result of negligible roofs. This is the truth. (250) Wright was quick to attribute blame—directed squarely at the builder. Never one for quiet diplomacy, he complained that the “builder had lied to [him] about the flashing under and within the coping walls” (250) and he was ignorant of the incident because the client had not informed him of the leak. He suggested the client’s silence was undoubtedly due to her “not wishing to hurt [his] feelings”. Although given earlier statements it might be speculated that she did not wish to be accused of pandering to a phobia of leaks. Wright was dismissive of the client’s inconvenience, suggesting she would be able to continue as normal until the next rains the following year and claiming he “fixed the house” once he “found out about it” (250). Implicit in this justification was the idea that it was not unreasonable to expect the client to bear a few days of “discomfort” each year in tolerance of the local climate. In true Wright style, discussions of these problems in his autobiography were self-constructive concessions. While Wright refused to take responsibility for climate-related issues in La Minatura, he was more forthcoming in appreciating the triumphs of his Imperial Hotel in Japan—one of the only buildings in the vicinity to survive the 1923 earthquake. In a chapter of his autobiography titled “Building against Doomsday (Why the Great Earthquake did not destroy the Imperial Hotel),” Wright reproduced a telegram sent by Okura Impeho stating: “Hotel stands undamaged as monument of your genius hundreds of homeless provided perfectly maintained service. Congratulations” (222). Far from unconcerned by nature or climate, Wright’s works celebrated and often went to great effort to accommodate the poetic qualities of these. In reference to his own home, Taliesin, Wright wrote: I wanted a home where icicles by invitation might beautify the eaves. So there were no gutters. And when the snow piled deep on the roofs […] icicles came to hang staccato from the eaves. Prismatic crystal pendants sometimes six feet long, glittered between the landscape and the eyes inside. Taliesin in winter was a frosted palace roofed and walled with snow, hung with iridescent fringes. (173) This description was, in part, included as a demonstration of his “superior” understanding and appreciation of nature and its poetic possibilities; an understanding not always mirrored by his clients. Discussing the Lloyd Lewis House in Libertyville, Illinois of 1939, Wright described his endeavours to keep the house comfortable (and avoid flooding) in Spring, Autumn and Summer months which, he conceded, left the house more vulnerable to winter conditions. Utilising an underfloor heating system, which he argued created a more healthful natural climate rather than an “artificial condition,” he conceded this may feel inadequate upon first entering the space (495). Following the client’s complaints that this system and the fireplace were insufficient, particularly in comparison with the temperature levels he was accustomed to in his workplace (at The Daily News), Wright playfully wrote: I thought of various ways of keeping the writer warm, I thought of wiring him to an electric pad inside his vest, allowing lots of lead wire so he could get around. But he waved the idea aside with contempt. […] Then I suggested we appeal to Secretary Knox to turn down the heat at the daily news […] so he could become acclimated. (497) Due to the client’s disinclination to bear this discomfort or use any such alternate schemes, Wright reluctantly refit the house with double-glazing (at the clients expense). In such cases, discussion of leaks or thermal discomfort were not always negative, but were cited rhetorically implying that perfunctory building techniques were not yet advanced enough to meet the architect’s expectations, or that their creative abilities were suppressed by conservative or difficult clients. Thus discussions of building failures have often been invoked in the social construction of the “architect-genius.” Interestingly accounts of the permeability of Wright’s buildings are more often included in biographical rather that architectural writings. In recent years, these accounts of weatherproofing problems have transformed from accusing letters or statements implying failure to a “badge of honour” among occupants who endure discomfort for the sake of art. This changing perspective is usually more pronounced in second generation owners, like Peter Palumbo (who has also owned Corbusier and Wright designed homes), who are either more aware of the potential problems in owning such a house or are more tolerant given an understanding of the historical worth of these projects. This is nowhere more evident than in a profile published in the real estate section of the New York Times. Rather than concealing these issues to preserve the resale value of the property, weatherproofing problems are presented as an endearing quirk. The new owners of Wright’s Prefab No. 1 of 1959, on Staten Island declared they initially did not have enough pots to place under the fifty separate leaks in their home, but in December 2005 proudly boasted they were ‘down to only one leak’ (Bernstein, "Living"). Similarly, in 2003 the resident of a Long Island Wright-designed property, optimistically claimed that while his children often complained their bedrooms were uncomfortably cold, this encouraged the family to spend more time in the warmer communal spaces (Bernstein, "In a House"). This client, more than simply optimistic, (perhaps unwittingly) implies an awareness of the importance of “the hearth” in Wright’s architecture. In such cases complaints about the weather are re-framed. The leaking roof is no longer representative of gender or power relationships between the client and the uncompromising artistic genius. Rather, it actually empowers the inhabitant who rises above their circumstances for the sake of art, invoking a kind of artistic asceticism. While “enlightened” clients of famed architects may be willing to suffer the effects of climate in the interiors of their homes, their neighbours are less tolerant as suggested in a more recent example. Complaints about the alteration of the micro-climate surrounding Frank Gehry’s Walt Disney Concert Hall in Los Angeles prompted the sandblasting of part of the exterior cladding to reduce glare. In 2004, USA Today reported that reflections from the stainless steel cladding were responsible for raising the temperature in neighbouring buildings by more than 9° Celsius, forcing neighbours to close their blinds and operate their air-conditioners. There were also fears that the glare might inadvertently cause traffic problems. Further, one report found that average ground temperatures adjacent to the building peaked at approximately 58° Celsius (Schiler and Valmont). Unlike the Modernist examples, this more recent project has not yet been framed in aid of a critical agenda, and has seemingly been reported simply for being “newsworthy.” Benign Conversation Discussion of the suitability of Modern Architecture in relation to climate has proven a perennial topic of conversation, invoked in the course of recurring debates and criticisms. The fascination with accounts of climate-related problems—particularly in discussing the work of the great Modernist Architects like Le Corbusier, Mies van der Rohe and Frank Lloyd Wright—is in part due to a certain Schadenfreude in debunking the esteem and authority of a canonical figure. This is particularly the case with one, such as Wright, who was characterised by significant self-confidence and an acerbic wit often applied at the expense of others. Yet these accounts have been invoked as much in the construction of the figure of the architect as a creative genius as they have been in the deconstruction of this figure—as well as the historical construction of the client and the historians involved. In view of the growing awareness of the threats and realities of climate change, complaints about the weather are destined to adopt a new significance and be invoked in support of a different range of agendas. While it may be somewhat anachronistic to interpret the designs of Frank Lloyd Wright or Mies van der Rohe in terms of current discussions about sustainability in architecture, these topics are often broached when restoring, renovating or adapting the designs of such architects for new or contemporary usage. In contrast, the climatic problems caused by Gehry’s concert hall are destined to be framed according to a different set of values—such as the relationship of his work to the time, or perhaps in relation to contemporary technology. While discussion of the weather is, in the conversational arts, credited as benign topic, this is rarely the case in architectural history. References Benton, Tim. The Villas of Le Corbusier 1920-1930. New Haven: Yale UP, 1987. ———. “Villa Savoye and the Architects’ Practice (1984).” Le Corbusier: The Garland Essays. Ed. H. Allen Brooks. New York: Garland, 1987. 83-105. Bernstein, Fred A. “In a House That Wright Built.” New York Times 21 Sept. 2003. 3 Aug. 2009 < http://www.nytimes.com/2003/09/21/nyregion/in-a-house-that-wright-built.html >. ———. “Living with Frank Lloyd Wright.” New York Times 18 Dec. 2005. 30 July 2009 < http://www.nytimes.com/2005/12/18/realestate/18habi.html >. Blake, Peter. Mies van der Rohe: Architecture and Structure. 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