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1
Berlin, L., and C. Casey. "Robert Noyce and the tunnel diode." IEEE Spectrum 42, no. 5 (May 2005): 49–53. http://dx.doi.org/10.1109/mspec.2005.1426971.
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Blaut, J. M. "ROBERT BRENNER IN THE TUNNEL OF TIME*." Antipode 26, no. 4 (October 1994): 351–74. http://dx.doi.org/10.1111/j.1467-8330.1994.tb00256.x.
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Powell, M., B. Gundersen, C. A. Miles, J. L. Humann, B. K. Schroeder, and D. A. Inglis. "First Report of Tomato Pith Necrosis (Pseudomonas corrugata) on Tomato (Solanum lycopersicum) in Washington." Plant Disease 97, no. 10 (October 2013): 1381. http://dx.doi.org/10.1094/pdis-03-13-0265-pdn.
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Tomato pith necrosis was observed on 2.7% of tomatoes grown in rows covered with black polyethylene, various biodegradable plastics, and an experimental spunbond poly(lactic) acid agricultural mulch in high tunnel and open field experimental plots, in western Washington in 2011. Symptoms developed on 3-month-old plants and progressed acropetally until night temperatures dropped to 10°C. Affected plants had chlorotic leaves, produced adventitious roots, and pith tissue was brown and either corrugated or rotted. Similar symptoms were observed again in 2012 on 2.0% of plants, but only in experimental plots with black polyethylene mulch. Diseased stem tissue was homogenized with a mortar and pestle in sterile water and the extract was streaked onto King's medium B (KMB) agar. Colonies were white and smooth initially, and after 5 days had an irregular surface and margin and produced a tan diffuse pigment. One isolate, Pc.Sl.2011, was gram-negative, grew at 37°C on nutrient broth yeast (NBY) agar, did not fluoresce on KMB (3), and was arginine dihydrolase positive. A partial 16S fragment, 1,387 bp, was obtained via PCR with universal 27f and 1492f primers. The resulting sequence exhibited 99% identity to Pseudomonas corrugata Roberts & Scarlett, and has been assigned GenBank Accession KC812729. Pathogenicity of Pc.Sl.2011 was tested in two greenhouse trials with five replications of one tomato plant per treatment. Seeds of ‘Celebrity’ were surface sterilized by soaking in 70% EtOH for 30 s and then 10% NaOCl for 30 s, then rinsed with sterile water and sown into 14 cm diameter pots filled with non-sterile Sunshine Mix #1 (SunGro Horticulture Distribution Inc., Bellevue, WA). Seedlings were inoculated at the four leaf stage using 5 ml NBY broth cultures of Pc.Sl.2011 grown at 28°C for 12 h with agitation. A sterile needle was used to inject 10 μl of either sterile water or a bacterial suspension of 1.0 × 1010 CFU/ml into the axil of the second true leaf. Inoculum concentration was confirmed by NBY dilution plate counts. The plants were incubated in clear polyethylene bags for 4 days and placed in a greenhouse at 21.1 ± 1.2°C with a 14-h photoperiod. The first and second trials were sampled at 8 and 9 weeks after inoculation, respectively. Plants inoculated with sterile water had green pith tissue. However, 60 and 40% of inoculated plants had brown pith tissue around the inoculation site in the first and second trial, respectively, but wilting and adventitious roots were not observed. Stem tissue from the inoculation site of symptomatic plants was homogenized as above, and the extract streaked onto NBY agar plates. Three isolates recovered from inoculated plants from both trials had the same characteristics as the original isolate, including similar colony morphology, ability to grow on NBY at 37°C, and lack of fluorescence on KMB. To our knowledge, this is the first documented report of tomato pith necrosis in Washington. Pith necrosis has been reported previously in high tunnel tomato production (4), where excess nitrogen fertilization occurs with cool evening temperatures (3), and when plastic mulch is utilized (2). In the cool climate of western Washington, successful tomato production requires the use of agricultural mulches and covers that trap heat. Since P. corrugata has been isolated from soil and the tomato seeds of inoculated plants (1), local growers attempting to manage pith necrosis need to select tomato seed lots carefully and avoid applying excess nitrogen, especially when using plastic mulch. References: (1) V. Catara. Mol. Plant Pathol. 8:233, 2007. (2) E. J. Sikora and W. S. Gazaway. Online. ACES.edu ANR-0797, 2009. (3) C. M. Scarlett and J. T. Fletcher. Ann. Appl. Biol. 88:105, 1978. (4) X. Xu et al. Plant Dis. 97:988, 2013.
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Cho, Hyun Woo, Hyuk Jin Yoon, and Jung Jun Park. "Experimental Investigation on Image-Based Crack Recognition Characteristics." Advanced Materials Research 1110 (June 2015): 191–94. http://dx.doi.org/10.4028/www.scientific.net/amr.1110.191.
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The desire to ensure safety of the infrastructure such as bridge, dam, and tunnel while reducing maintenance time and costs in the civil engineering applications emerged. Image processing techniques may well represent a next step in the development of smart monitoring of crack. In this paper, a method to inspect the surface crack in a concrete structure using 2D image has been proposed. The standardized crack specimen which has different crack widths was manufactured and the crack images were taken at the object distance from 5 to 60 m with 5 m step. The characteristics of the several edge operators such as Sobel, Prewitt, Robert, Canny and LoG to recognize the crack were analyzed according to the object distance.
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Conrad, Michael J. "Highway Under the Hudson: A History of the Holland Tunnel by Robert W. Jackson." New York History 95, no. 1 (2014): 112–15. http://dx.doi.org/10.1353/nyh.2014.0056.
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Volk, Thomas, and Christine Kubulus. "Leitlinien in der Praxis: Hygieneempfehlungen für die Regionalanästhesie." AINS - Anästhesiologie · Intensivmedizin · Notfallmedizin · Schmerztherapie 55, no. 07/08 (July 2020): 486–92. http://dx.doi.org/10.1055/a-1009-3515.
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ZusammenfassungDie wahre Inzidenz von Infektionskomplikationen im Zusammenhang mit Regionalanästhesie und -analgesie ist unbekannt, aber wie bei allen invasiven Verfahren besteht die Gefahr schwerer Folgeschäden. Dieser Beitrag gibt einen Überblick zu Hygienemaßnahmen basierend auf der S1-Leitlinie „Hygieneempfehlungen für die Regionalanästhesie“, aktuellen Empfehlungen des Robert Koch-Instituts und aktuellen wissenschaftlichen Erkenntnissen. Grundlegende hygienische Standards (Ablegen von Schmuck, gründliche Händedesinfektion, saubere Umgebung) sind anzuwenden. Ein Mund-Nasen-Schutz, eine Kopfhaube und sterile Handschuhe sind ein essenzieller Bestandteil jeder Regionalanästhesie. Für Katheterverfahren soll zusätzlich ein steriler langärmliger Kittel getragen werden, außerdem ist ein steriler Überzug für die Ultraschallsonde zu verwenden (beim Legen eines Katheters auch eine sterile Ummantelung des Zuleitungskabels). Hautdesinfektionsmittel sollten alkoholbasiert sein und eine Substanz mit Remanenzwirkung enthalten (z. B. Chlorhexidin oder Octenidin). Bei thorakalen Epiduralanästhesien eignet sich das Tunneln zur Infektionsprophylaxe. Unter Berücksichtigung von patientenbezogenen Faktoren (Diabetes, Adipositas, Immunsuppression) und je nach Verfahren (geplante Katheternutzung > 4 Tage, Einstichstelle des Katheters) kann eine Antibiotika-Prophylaxe in Erwägung gezogen werden.
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Popadyev, V. V. "On the advantage of normal heights." Geodesy and Cartography 939, no. 9 (October 20, 2018): 2–9. http://dx.doi.org/10.22389/0016-7126-2018-939-9-2-9.
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The author analyzes the arguments in the report by Robert Kingdon, Petr Vanicek and Marcelo Santos “The shape of the quasigeoid” (IX Hotin-Marussi Symposium on Theoretical Geodesy, Italy, Rome, June 18 June 22, 2018), which presents the criticisms for the basic concepts of Molodensky’s theory, the normal height and height anomaly of the point on the earth’s surface, plotted on the reference ellipsoid surface and forming the surface of a quasigeoid. The main advantages of the system of normal heights, closely related to the theory of determining the external gravitational field and the Earth’s surface, are presented. Despite the fact that the main advantage of Molodensky’s theory is the rigorous determining the anomalous potential on the Earth’s surface, the use of the system of normal heights can be shown and proved separately. To do this, a simple example is given, where the change of marks along the floor of a strictly horizontal tunnel in the mountain massif is a criterion for the convenience of the system. In this example, the orthometric heights show a change of 3 cm per 1.5 km, which will require corrections to the measured elevations due the transition to a system of orthometric heights. The knowledge of the inner structure of the rock mass is also necessary. It should be noted that the normal heights are constant along the tunnel and behave as dynamic ones and there is no need to introduce corrections. Neither the ellipsoid nor the quasi-geoid is a reference for normal heights, because so far the heights are referenced to initial tide gauge. The points of the earth’s surface are assigned a height value; this is similar to the ideas of prof. L. V. Ogorodova about the excessive emphasis on the concept of quasigeoid. A more general term is the height anomaly that exists both for points on the Earth’s surface and at a distance from it and decreases together with an attenuation of the anomalous field.
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Marchevsky, A. M., R. A. Read, C. Eger, and R. K. Sivacolundhu. "Achilles mechanism reconstruction in four dogs Murdoch University Veterinary Hospital, Murdoch, WA, Australia." Veterinary and Comparative Orthopaedics and Traumatology 14, no. 01 (2001): 25–31. http://dx.doi.org/10.1055/s-0038-1632669.
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SummaryChronic Achilles mechanism injuries require aggressive treatment with excision of degenerate tissue. Following excision of degenerate tendon, the defect created may be too large to allow simple apposition of tendon to bone. Use of peroneus brevis and peroneus longus tendon transpositions (passing through bone tunnels drilled in the calcaneus), +/− lengthening of the gastrocnemius tendon, and reinforcement with a free fascial strip graft allows reconstruction of the area. Postoperative support should be provided using a type II transarticular external fixator for four weeks, followed by a splint or Robert Jones bandage for three weeks. Treatment, in all four of the dogs in this report, resulted in a good to excellent outcome. Based on the favourable results in this series, resection of all grossly abnormal tendon should be considered in cases of Achilles mechanism rupture, even though reconstruction of the area is more complex.Five Achilles mechanism reconstructions were performed in four dogs with chronic injury to the tendon. Following excision of degenerate tendon the area was reconstructed, in each case using peroneus brevis and peroneus longus tendon transpositions, lengthening of the gastrocnemius tendon and reinforcement with a free fascial strip graft. Post-operative support was provided in the form of a type II trans-articular external fixator for four to five weeks, followed by a splint or Robert Jones bandage for two to three weeks. The results in all of the dogs were good to excellent. One dog returned to full working capacity. Two dogs returned to unrestricted exercise without any observable lameness. One dog (bilateral injury) is sound but the owners have decided to limit the dog’s access to unrestricted activity.
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Hughes, Jeremy, Paul Brown, and Stuart J. Shankland. "Cyclin kinase inhibitor p21CIP1/WAF1 limits interstitial cell proliferation following ureteric obstruction." American Journal of Physiology-Renal Physiology 277, no. 6 (December 1, 1999): F948—F956. http://dx.doi.org/10.1152/ajprenal.1999.277.6.f948.
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Tubulointerstitial renal injury induced by unilateral ureteric obstruction (UUO) is characterized by marked cell proliferation and apoptosis. Proliferation requires cell cycle transit that is positively regulated by cyclins and cyclin-dependent kinases (CDKs) and inhibited by the CIP/KIP family of cyclin-dependent kinase inhibitors (CKIs: p21, p27, and p57). We have shown that the absence of p27 results in markedly increased tubular epithelial cell proliferation and apoptosis following UUO (V. Ophascharoensuk, M. L. Fero, J. Hughes, J. M. Roberts, and S. J. Shankland. Nat. Med.4: 575–580, 1998). Since p21 mRNA is upregulated following UUO, we hypothesized that p21 would also serve to limit cell proliferation and apoptosis. We performed UUO in p21 +/+ and p21 −/− mice. Cell proliferation [bromodeoxyuridine (BrdU), proliferating cell nuclear antigen (PCNA)], apoptosis [terminal deoxynucleotidyl transferase-mediated dUTP-biotin nick end labeling (TUNEL) method], interstitial myofibroblast accumulation (actin), macrophage infiltration (F4/80), and collagen I expression were quantified at days 3, 7, and 14. In contrast to p27 −/− mice, there was no difference in tubular epithelial cell proliferation or apoptosis between p21 −/− and p21 +/+ mice at any time point. However, interstitial cell proliferation at day 3 was significantly increased in p21 −/− mice [BrdU, 40.7 ± 1.9 cells/high-power field (cells/hpf) vs. 28.8 ± 2, P< 0.005], although, interestingly, no difference was seen in interstitial cell apoptosis. Actin/BrdU double staining demonstrated increased interstitial myofibroblast proliferation at day 3 in p21 −/− animals (10 ± 0.12 vs. 5.8 ± 0.11 cells/hpf, P < 0.05), which was followed by increased myofibroblast accumulation at day 7 in p21 −/− mice. No differences were detected in interstitial macrophage infiltration, collagen I deposition or transforming growth factor-β1 mRNA (in situ hybridization) expression. In conclusion p21, unlike p27, is not essential for the regulation of tubular epithelial cell proliferation and apoptosis following UUO, but p21 levels do serve to limit the magnitude of the early myofibroblast proliferation. This study demonstrates a differential role for the CKI p21 and p27 in this model.
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Chaiyasarn, Krisada, Tae-Kyun Kim, Fabio Viola, Roberto Cipolla, and Kenichi Soga. "Errata for “Distortion-Free Image Mosaicing for Tunnel Inspection Based on Robust Cylindrical Surface Estimation through Structure from Motion” by Krisada Chaiyasarn, Tae-Kyun Kim, Fabio Viola, Roberto Cipolla, and Kenichi Soga." Journal of Computing in Civil Engineering 30, no. 4 (July 2016): 08216002. http://dx.doi.org/10.1061/(asce)cp.1943-5487.0000598.
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Conway, Erik M. "Robert S. Arrighi. Revolutionary Atmosphere: The Story of the Altitude Wind Tunnel and the Space Power Chambers. xviii + 392 pp., illus., bibl., index. Washington, D.C.: National Aeronautics and Space Administration, 2010. $25 (cloth)." Isis 102, no. 4 (December 2011): 797–98. http://dx.doi.org/10.1086/664888.
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Marcussi, Francisco Fernando Noronha, Leandro José Grava de Godoy, and Roberto Lyra Villas Bôas. "FERTIRRIGAÇÃO NITROGENADA E POTÁSSICA NA CULTURA DO PIMENTÃO BASEADA NO ACÚMULO DE N E K PELA PLANTA." IRRIGA 9, no. 1 (April 13, 2004): 41–51. http://dx.doi.org/10.15809/irriga.2004v9n1p41-51.
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FERTIRRIGAÇÃO NITROGENADA E POTÁSSICA NA CULTURA DO PIMENTÃO BASEADA NO ACÚMULO DE N E K PELA PLANTA Francisco Fernando Noronha Marcussi1; Leandro José Grava de Godoy2; Roberto Lyra Villas Bôas21Departamento de Engenharia Hidráulica e Saneamento, Escola de Engenharia de São Carlos , Universidade de São Paulo, São Carlos, marcussi@sc.usp.br2Departamento de Recursos Naturais/Ciência do Solo, Faculdade de Ciências Agronômicas, Universidade Estadual Paulista, Botucatu, SP 1 RESUMO O principal objetivo deste experimento foi avaliar a produção de frutos de pimentão em plantas fertirrigadas com doses de N e K baseadas na quantidade acumulada destes nutrientes pela planta. Em um túnel plástico da FCA/UNESP, Botucatu, SP, plantas de pimentão Elisa foram cultivadas em vasos de 29 dm3 contendo um Latossolo Vermelho textura média. As plantas receberam cinco tratamentos delineados inteiramente ao acaso, via fertirrigação por gotejamento: 50, 75, 100, 125 e 150% das quantidades de N e K estabelecidas em uma curva de acúmulo de nutrientes por plantas de pimentão Elisa, mais um tratamento sem adubação, em nove repetições. Além da produção e características dos frutos, foi avaliada a altura da planta e da primeira bifurcação, condutividade da solução do solo e o índice relativo de clorofila. As plantas que receberam uma quantidade de N e K 50% maior que a quantidade estabelecida na curva de acúmulo, foram as que alcançaram maior produção de frutos, aos 160 dias após o transplantio. A curva de acúmulo de nutrientes pode servir como uma base para a fertirrigação, no entanto, os valores devem ser ajustados de acordo com as condições climáticas, principalmente a temperatura. UNITERMOS: Capsicum annuum L.; nitrogênio; potássio; condutividade elétrica. MARCUSSI, F. F. N.; GODOY, L. J. G. de; VILLAS BOAS, R. L.NITROGEN AND POTASSIUM FERTIGATION IN SWEET PEPPER CULTURE BASED ON N AND K ACCUMULATION BY PLANTS 2 ABSTRACT The main purpose of this experiment was to evaluate the sweet pepper production in fertigated plants with N e K rates based on the accumulated amount of these nutrients by the plant. In a plastic tunnel at the School of Agricultural Sciences/UNESP, Botucatu, SP, Elisa sweet pepper was grown in 29 dm3 pots with a medium-texture Red Latosol (Oxisoil). The plants received five treatments entirely designed at random, by drip fertigation with 50, 75, 100, 125 and 150% more than the N and K amounts established in a curve of nutrient accumulation for Elisa sweet pepper plants; they also received a treatment without fertilization, in nine replications. Besides fruit production and characteristics, the height of the plant and the first bifurcation, electric conductivity of the soil solution and the chlorophyll relative index were evaluated. The plants that received an amount of N and K 50% bigger than the amount established in the accumulation curve were the ones that reached a greater fruit production, 160 days after the planting. The nutrient accumulation curve can serve as basis for the fertigation; however, the values must be adjusted according to the climatic conditions, mainly temperature. KEYWORDS: Capsicum annuum L.; nitrogen; potassium; electric conductivity.
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Cossigny, D. A., J. K. Findlay, and A. E. Drummond. "132. ACTIVIN A HAS A STIMULATORY EFFECT IN VITRO ON EARLY FOLLICLE DEVELOPMENT IN RAT OVARIES." Reproduction, Fertility and Development 22, no. 9 (2010): 50. http://dx.doi.org/10.1071/srb10abs132.
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Activins are dimers of inhibin β subunits and are growth and differentiation factors belonging to the transforming growth factor-β (TGF-β) superfamily (1). Both βA and βB subunits are highly expressed in rat granulosa cells, while theca cells express little or no β subunit mRNAs (2). Oocytes lack expression of either subunit (3, 4). Activin is suggested to facilitate the responsiveness of granulosa cells to FSH (5). We hypothesized that activin, with or without FSH, could enhance the transition from the primordial to later preantral stages of follicle development. In two independent experiments, day 4 rat ovaries (n = 3 from different rats per treatment) were randomly assigned and cultured (6, 7) for 10 days in DMEM/Hams F-12 media with either no additives, FSH (100 ng/mL), activin A (50 ng/mL), or both. Day 4 fresh ovaries were also used as controls. Media and treatments were refreshed every alternate day. Ovaries were fixed andsectioned, or placed into Ultraspec for RNA extraction and real-time PCR analysis. Follicle numbers were counted as described previously (7). The proportion of atretic follicles (TUNEL staining) was determined in 3 randomly selected sections per ovary. Primordial follicles in all treatment groups were approximately 20% of those in Day 4 fresh ovaries. Primary follicles increased significantly (P < 0.05) only in the combined treatment group, where preantral follicles increased significantly (P < 0.0001) only when treated with activin A alone. Activin A alone decreased the proportion of atretic follicles in the primary and preantral classes, where the combined treatment increased the proportion of atretic preantral follicles. Real-time analysis revealed that expression levels of follistatin, FSH receptor and activin βA and βB subunits were all expressed at significantly higher levels in the Activin A-only treated group (P < 0.05). In summary, there was no effect on primordial follicle activation by any treatment. Activin alone had a stimulatory effect in vitro on subsequent folliculogenesis, but in the presence of FSH its effect was counteracted shown by an increase in atresia. Reasons for an increase in atretic preantral follicles in the combined treatment group are unclear. These studies support a stimulatory role for activin A in early follicle development and confirm the in vivo effects of activin on folliculogenesis (4). NHMRC program grant # 494802 and Fellowship (# 441101) provided financial support. (1) Vale W et al. 1986. Nature 321: 776–779.(2) Meunier H et al. 1988. Proc Natl Acad Sci USA 85: 547–251.(3) Roberts V et al. 1993. Journal of Clinical Endocrinology & Metabolism 7: 1402–1410.(4) Sidis Y et al. 1998. Biology of Reproduction 59(4): 807–812.(5) Drummond A et al. 2002. Endocrinology 143 (4): 1423–1433.(6) Nilsson E et al. 2001. Molecular and Cellular Endocrinology 182 (2): 145–155.(7) Rosairo D et al. 2008. Reproduction 136: 799–809.
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Goodier, John. "Encyclopedia of Bridges and Tunnels2003261Stephen Johnson and Roberto T. Leon. Encyclopedia of Bridges and Tunnels. New York, NY: Facts on File 2002. xvi + 381 pp., ISBN: 0 8160 4482‐1 (hardback); ISBN 0 8160 4483 X (paperback) £62.95/$75 (hardback); £18.50/$21.95 (paperback) Distributed in the UK by Eurospan." Reference Reviews 17, no. 5 (May 2003): 46–47. http://dx.doi.org/10.1108/09504120310481147.
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Bhat, Rukhmi, Riten Kumar, Soyang Kwon, Karna Murthy, Leif Nelin, Paul Monagle, and Robert I. Liem. "Risk Factors for Neonatal Thrombosis in the Neonatal Intensive Care Unit -a Case Control Study." Blood 126, no. 23 (December 3, 2015): 1109. http://dx.doi.org/10.1182/blood.v126.23.1109.1109.
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Abstract Background Neonates admitted to the neonatal intensive care unit (NICU) are an age group most susceptible to thrombosis in pediatrics. Besides central access devices (CAD), maternal and neonatal factors are reported to be associated with thrombosis. This has not been well investigated because of the relatively rare incidence of thrombosis and the inherent heterogeneity of thrombotic events. An assessment of the impact of individual risk factors is an essential step, as appropriate risk stratification is fundamental to evidence based thromboprophylaxis policy. Objective To identify risk factors associated with thrombosis in sick neonates admitted to the NICU. Methods A case-control study was conducted using the Children's Hospital Neonatal Database (CHND) dataset with neonates admitted to the NICU at Ann and Robert H. Lurie Children's Hospital and Nationwide Children's hospital between Jan 2010 and June 2013. Cases were neonates diagnosed with either arterial or venous thrombosis during their NICU stay and controls were matched to the cases in the same patient pool in a 1:4 ratio on the basis of gestational age and presence or absence of CAD. Neonates with a less than 72-hour stays in the NICU or complex congenital heart defects needing surgical repair as well as re-admission data were excluded. Chi-square tests were performed to compare characteristics as well as potential risk factors between cases and controls. A conditional multivariate logistic regression analysis included potential risk factors with p-value<0.1 in chi-square tests and with clinical relevance. Local IRB approval was obtained at both sites. Results A total of 47 cases were identified in 4,122 NICU patients (11.4 per 1,000 patients). There were 32 (68%) males and 27 (57.5%) preterm neonates with thrombosis. On univariate analysis blood stream infections (BSI) and prolonged mechanical ventilation were significantly more common in cases than controls Table 1. A conditional multivariate analysis showed that prolonged mechanical ventilation was independently associated with higher risk of thrombosis (OR 3.03 [95% CI: 1.29, 7.09], p value 0.01 Table 2). Conclusions The incidence of thrombosis appears to be 5 fold higher than that previously reported in a Canadian registry. After matching for CAD and GA, prolonged mechanical ventilation represents an independent risk factor of thrombosis in neonates. This is the largest study of systematic assessment of risk factors in neonates with mechanical ventilation being reported as a risk factor independent of CAD. Larger multi-centered data should confirm the study results for developing evidence-based risk stratification protocols and thrombosis prevention strategies. Table 1. Comparison of characteristics and potential risk factors between thrombosis cases and controls Patients with thrombosis Patients without thrombosis Variable n (%) n (%) p value Total 47 188 Gender (Male) 32 (68.1) 102 (54.3) 0.09 Gestational age at birth ≤32 weeks 18 (38.3) 72 (38.3) 1.00 33-36 weeks 9 (19.2) 36 (19.2) ≥37 weeks 20 (42.5) 80 (42.6) Birth Weight (gms) 0.51 <2500 22 (46.8) 97 (52.2) ≥2500 25 (53.2) 89 (47.8) Maternal antenatal conditions Chorioamnionitis 2 (4.6) 7 (4.3) 0.95 Diabetes 6 (13.6) 27 (16.7) 0.63 Hypertension 14 (31.8) 39 (24.1) 0.30 Antenatal steroids use 13 (27.7) 65 (35.5) 0.31 CAD type 0.35 No 14 (29.8) 56 (29.8) UAC/UVC 3 (6.4) 24 (12.8) PICC 11 (23.4) 53 (28.2) CC/cutdown/tunnel catheter 0 (0) 3 (1.6) Multiple types 19 (40.4) 52 (27.7) Mechanical ventilation (MV)˃48 hrs 27 (57.4) 68 (36.2) 0.008 Respiratory distress syndrome (RDS) 27 (57.4) 101 (53.7) 0.65 Necrotizing enterocolitis (NEC) 4 (8.5) 19 (10.1) 0.74 Hypoxic ischemic encephalopathy (HIE) 3 (6.4) 5 (2.7) 0.21 Meconium aspiration syndrome (MAS) 1 (2.1) 8 (4.3) 0.50 Blood stream infections (BSI) 9 (19.2) 17 (9.0) 0.048 Central line associated BSI (CLABSI) 2 (22.2) 1 (5.9) 0.27 Abdominal and GI surgery 16 (38.1) 50 (31.1) 0.39 Table 2. Odds ratio of thrombosis cases from a conditional multivariate logistic regression model Predictor Odds ratio 95% confidence interval p value Male gender 1.74 0.88-3.72 0.11 Prolonged mechanical ventilation 3.03 1.29-7.09 0.01 BSI 2.19 0.80-6.01 0.12 Disclosures Liem: Global Blood Therapeutics: Consultancy; Fresenius Kabi: Other: DSMB; NHLBI: Research Funding.
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"54. Robert Clapham (Richard Broughton) to George West (Thomas More) (1 February 1614) (AAW A XIII, no. 17, pp. 39–40.)." Camden Fifth Series 12 (July 1998): 267–71. http://dx.doi.org/10.1017/s0960116300003468.
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My very deare & true frend.It doth much trouble me that since St Barnabas day wherof my letter was dated which you last receyved you have not receyved any more, so many moneth now expired; in August I wrot as I take it, wherin somethinge did particularly concerne a frend of myne, sendinge you therwith a bill of Atturney for the recovery of a certayne debt, wherof I stood in hope neare this time to have receaved an answere, since which time I have together with this writen five times, as you may gather by some of my former lettres, accordinge to my true account, though of the dates I do but make coniecture, reservinge no notes therof; I should be sorie that any of them should miscarrye for I did my endevour to satisfie your expectation,: [sic] in a whole yeare I have not written more oftener then within this halfe: and now I cannot tunne my pipes unto a more ioyfull note, then heertofore, but day by day more lamentable.
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Deckha, Nityanand. "Britspace™?" M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1957.
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With the emergence and expansion of post-manufacturing knowledge economies, formerly industrial inner cities in the West have become intensified staging grounds for a range of spatial claims. Among these are processes of residential gentrification, the cultural politics of heritage preservation, the struggles for community development, and the growth of creative industries, such as art, design, architecture, publishing and film, which I focus on here.1 Throughout the last two decades in the UK, inner cities and central city fringe districts have been subject to an assortment of strategies that have endeavored to revitalize them economically and socially. Prominent among these attempts has been the encouragement of new, and the incubation of existing, small-scale creative enterprises. Regeneration executives choose these enterprises for a range of reasons. Creative activities are associated with popular culture that disaffected, unemployed youth find appealing; they are able to occupy and rehabilitate underused existing building stock and to sensitively recycle historic buildings, thereby preserving urban scales; and, as a number of scholars have pointed out, they exhibit transaction-rich, network-intensive organization (Castells 1992; Lash and Urry 1994; Scott 2000). As a result, concerted efforts to design creative industry quarters have sprung up across the UK, including Sheffield, Manchester, Glasgow, and Birmingham. In London, a whole band of formerly industrial, inner-city districts from King's Cross, down through Clerkenwell, Hoxton, Shoreditch and Spitalfields, and along the wharves of the Thames's South Bank, are being or have been revitalized in part through the strategic deployment of creative industries. Certainly, how creative industries and economies develop varies. At King's Cross, nonprofit and commercial creative companies have emerged quietly in a context of protracted struggle over the future of the Railway Lands, which will be reshaped by the coming terminus of the Channel Tunnel Rail Link. At Spitalfields, high-profile conversions of Truman Brewery and the Spitalfields Market site into artisanal stalls, creative businesses, and leisure (café, restaurant, and sport) facilities are generating a new local creative economy, bringing in visitors and creating new customer bases for Spitalfields' Bangladeshi restaurant keepers and garment entrepreneurs.2 Whatever the conditions for growth, creative industries have been aided by the rhetoric of Cool Britannia and New Labour's cultural -- or more accurately --creative industrial policy. I would even put forth that, in the form of the creative quarter, the creative industries represent the urbanist logic of Cool Britannia, threatening to elaborate, following the other logics of BritArt and BritPop, a BritSpace. Now, according to some of Britain's foremost cultural critics, Cool Britannia was born sometime in 1996 in the Sunday Times, and died two years later, soon after a piece in the New Musical Express that showcased young musician discontent with New Labour creative industrial policy (Hewison 1996; McRobbie 1999, 4). Yet, before we close the casket, I want to suggest that Cool Britannia be understood as a symptom of a range of 'causes' that have been transforming the idioms of politics, governance, culture, citizenship, social organization; and, as the creative quarter evokes, the city. An itinerary of these causes would include: the expansion of a consumer-driven service/knowledge economy; the growth and globalization of communication and information technologies; the 'flexibilization' of regimes of production; the mutation of the function of the welfare state and corresponding meaning of citizenship; and, the dominance of intellectual property notions of culture. While these shifts are transforming societies around the world, in the UK, they became closely identified with New Labour and its attempts to institutionalize the rhetoric of the Third Way during the late 1990s (e.g., Blair 1998; Giddens 1998). In imagining itself as a force of change, New Labour capitalized on two events that gave birth to Cool Britannia: (1) the glamorization of British art and young British artists in the mid-1990s; and (2) the emergence of a discourse of 'rebranding' Britain, disseminating from reports from brand specialists Wolff Olins and think tank Demos (Bobby 1999).3 The first, producing the nBA (new British Art) and the yBAs (young British Artists) are media events with their own genealogies that have received copious critical attention (e.g., Ford 1996; McRobbie 1999; Roberts 1996, 1998; Stallabrass 1999; Suchin 1998). This glamorization involved the discovery of the artists by the mainstream media and a focus on artistic entrepreneurship in creating, shaping and responding to an enlarged market for cultural products. In the process, some of these artists effectively became brands, authoring, legitimating and licensing a certain kind of ironic, post-political art that was palatable to the international art market.4 The second cause stems from responses to anxiety over post-imperial Britain's future in a post-manufacturing, globalized, knowledge economy. For both the Demos thinkers and Wolff Olins consultants, these were centered on the need to re-imagine British national subjectivity as if it were a commercial brand. The discourse of branding is tangential to that of intellectual property, in which brands are value codings managed through networks of trademarks, patents, copyrights and royalties. Rosemary Coombe (1998) has written, albeit in a different political context, on the increasing dominance of notions of culture defined through intellectual property, and adjudicated by international trade experts. Indeed, New Labour creative industrial policies, as demonstrated in former Culture Secretary, Chris Smith's, essays that linked creativity, entrepreneurship and economic growth (Smith 1998) and initiatives under the Creative Industries Mapping Document (DCMS 2001) reveal how the relationship between the state and national culture is being renegotiated. Less meaningful is the state that served as sponsor or patron of cultural activities for its citizens. Rather, under New Labour, as Nikolas Rose argues (1999), and critics of New Labour cultural policy interrogate (Greenhalgh 1998; Littler 2000), the state is an enabler, partnering with entrepreneurs, small-scale firms, and multinational enterprises to promote the traffic in cultural property. How such a shift affects the production of urban space, and the future meanings attached to the British city remain to be explored. In the context of the American city, M. Christine Boyer (1995), elaborates how an iterative regime of architectural styles and planning ethics functions as a late capitalist cultural logic of urbanism that discards elements, often in decaying and abandoned sections, that cannot be easily incorporated. Borrowing on Kevin Lynch's (1960) notion of the imageable city, she writes: physically, these spaces are linked imaginatively to each other, to other cities, and to a common history of cultural interpretations (82). Within this scenario, the elements of the creative quarter copy, print, art supply and film developing stores, hip cafes and restaurants, galleries, studios, loft conversions and street furniture are gradually linked together to form a recognizable and potentially iterative matrix, overlaid on the disused former industrial district. Moreover, as a prominent, coordinated technique in the revitalization strategies of British cities, and given the aftermath of Cool Britannia, the creative quarter must be seen also as a symptom of a symptom. For, if Cool Britannia is itself produced through the application of branding discourse to the level of national subjectivity, and to the glamorization of the artist, then it is only a short step to contemplate the urbanist logic of the creative quarter as BritSpaceâ„¢. Notes 1. A creative industry is one that has its origin in individual creativity, skill and talent and which [has] a potential for wealth and job creation through the generation and exploitation of intellectual property. I am following the definition of creative industries used by the UK Department of Culture, Media and Sport. It was first used in the Creative Industries Mapping Document, released in November 1998 and was maintained in the second, more extensive mapping exercise in February 2001. The list of activities designated as creative are: advertising, architecture, art and antiques, crafts, design, designer fashion, film and video, interactive leisure software, music, the performing arts, publishing, software and computer services, television and radio. 2. I discuss the emergence of creative enterprises at King's Cross and Spitalfields at length in my doctoral dissertation (Deckha 2000). 3. As Bobby (1999) reports, the Wolff Olins consultants commented that looking at business attitudes towards national identity and UK industry found that 72% of the world's leading companies believe a national image is important when making purchase decisions. In light of this, and worryingly for British business, only 36% of our respondents felt that a 'made in the UK' label would influence their decision positively. 4. Lash and Urry describe this process of branding in the creative or cultural industries: What (all) the culture industries produce becomes increasingly, not like commodities but advertisements. As with advertising firms, the culture industries sell not themselves but something else and they achieve this through 'packaging'. Also like advertising firms, they sell 'brands' of something else. And they do this through the transfer of value through images (1994, 138). References Blair T. (1998) The Third Way: New Politics for a New Century. The Fabian Society, London. Bobby D. (1999) Original Britain' could succeed where 'Cool Britannia' failed Brand Strategy November 22: 6. Boyer M C. (1995) The Great Frame-Up: Fantastic appearances in contemporary spatial politics, Liggett H., Perry D. C., eds. Spatial Practices. Sage, New York. 81-109. Castells M. (1992) The Rise of the Network Society. Blackwell, Oxford. Coombe R. (1998) The Cultural Life of Intellectual Properties. Duke University Press, Durham, NC. Deckha N. (2000) Repackaging the Inner City: Historic Preservation, Community Development, and the Emergent Cultural Quarter in London. Unpublished MS, Rice University. Department of Culture, Media and Sport [DCMS]. (2001) Creative industries mapping document [http://www.culture.gov.uk/creative/pdf/p...] Ford S. (1996) Myth Making Art Monthly March: 194. Giddens A. (1998) The Third Way. Polity, Cambridge. Greenhalgh L. (1998) From Arts Policy to Creative Economy Media International Australia Incorporating Culture and Policy, 87, May: 84-94. Hewison R. (1996) Cool Britannia Sunday Times, 19 May. Lash S. and Urry J. (1994) Economies of Signs and Space. Sage, London. Littler J. (2000) Creative Accounting: Consumer Culture, The 'Creative Economy' and the Cultural Policies of New Labour in Bewes T. and Gilbert J. eds. Cultural Capitalism. Lawrence & Wishart, London. 203-222. Lynch K. (1960) The Image of the City. MIT Press, Cambridge, Mass. McRobbie A. (1999) In the Culture Society. Routledge, London. Roberts J. (1996) Mad for it!: Philistinism, the everyday and new British art Third Text, 35 (Summer): 29-42. Roberts J. (1998) Pop Art, the Popular and British Art of the 1990s in McCorquodale D. et al, eds. Occupational Hazard. Black Dog, London. 53-78. Rose N. (1999) Inventiveness in politics: review of Anthony Giddens, The Third Way Economy and Society, 28.3: 467-493. Scott A.J. (2000) The Cultural Economy of Cities. University of California Press, Berkeley, CA. Smith C. (1998) Creative Britain. Faber and Faber, London. Stallabrass J. (1999) High Art Lite. Verso, London. Suchin P. (1998) After a Fashion: Regress as Progress in Contemporary British Art in McCorquodale D. et al, eds. Occupational Hazard. Black Dog, London. 95-110. Links http://www.culture.gov.uk/creative/pdf/part1.pdf Citation reference for this article MLA Style Deckha, Nityanand. "Britspaceâ„¢?" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/britspace.php>. Chicago Style Deckha, Nityanand, "Britspaceâ„¢?" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/britspace.php> ([your date of access]). APA Style Deckha, Nityanand. (2002) Britspaceâ„¢?. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/britspace.php> ([your date of access]).
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"153. The Use of Palmar Stimulation in the Diagnosis of Carpal Tunnel Syndrome Stephen Kishner, MD, Robert Irwin, MD, Lori Rosenthal, MD, and Chnstopher Nichols, MD (all from New Orleans, Louisiana." Neurorehabilitation and Neural Repair 13, no. 1 (March 1999): 65. http://dx.doi.org/10.1177/1545968399013001130.
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Rice, Kate. "Casualties on the Road to Ethical Authenticity." M/C Journal 16, no. 1 (January 17, 2013). http://dx.doi.org/10.5204/mcj.592.
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On 26 April 2002, in the German city of Erfurt, 19-year-old Robert Steinhäuser entered his former high school with two semi-automatic weapons. He killed the secretary, twelve teachers, two students, and a policeman before a staff member locked him in an empty classroom and he turned his gun on himself (Lemonick). Ten years later, I visited the city with the intention of writing a play about it. This was to be my fifth play based on primary research of an actual event. In previous projects, I had written about personal catastrophes of failed relationships, and reversals of fortune within private community groups. As my experience progressed, I was drawn to events of increasing complexity and seriousness. Now I was dealing with the social catastrophe of violent, deliberate loss of life that had affected the community on a national scale. I had developed a practice of making contact with potential participants, gaining their trust, and conducting interviews. I was interested in truth and authenticity and the ethics of writing about real experiences. My process was informed by the work of theorists Donna Haraway, Zygmunt Bauman and Roy Bhaskar. While embracing postmodern reflexivity, these thinkers nevertheless maintain the existence of a reality that operates independently of social construction (Davies 19). This involves a rejection of a postmodern relativism, in which “unadulterated individualism” (Bauman 2) leaves us free to construct our own worlds with impunity. Instead, we are invited to acknowledge that “we are not in charge of the world” (Haraway 39), and that we are answerable for our relationships within it. I intended to challenge postmodern notions of truth with work that was real rather than relative, authentic rather than constructed. I believed that a personal relationship between me and those who inspired my work was crucial. This relationship would be the ethical foundation from which I could monitor the value of my work and the risk of harm to those involved in the stories I chose to tell. I launched into the Erfurt project intending to follow my established process. But that didn’t happen. I went to Erfurt on the tenth anniversary of the event. I attended an official memorial ceremony at the school, and another service at the church which had been heavily involved in counselling the bereaved. In the evening I saw a theatre production at the Erfurt Theatre entitled Die Würde der deutschen Waffenschränke ist unantastbar (The Dignity of German Weapons Cupboards is Inviolable). The piece, by writer and journalist Roman Grafe, is based on interviews and contemporary reports about this and similar incidents around Germany. My intention had been to make initial contact with people and lay the ground-work for subsequent communication and interviews for my project. However, the whole time I was in Erfurt, I spoke to no one, apart from waiters, shopkeepers and a lonely sight-seeing chimneysweep who cornered me for a conversation in the cathedral. It’s highly likely I couldn’t have done the interviews the way I had planned them anyway. But the point is that, in Erfurt, I decided I wasn’t going to try. The work I had done in the past was always about uncovering an untold story. My drive to investigate and illuminate a story was directly related to how hidden, surprising, and unreachable it was. This was a big part of how I judged the value of what I was doing, despite the inherent inequitable power of the colonizing voice (hooks 343). My previous experience had been that the people I found wanted to speak to me because no one had ever asked them for their story before. I also believed in the value of unearthing a story for an audience who either didn't know about it, or wanted to know more. Neither of these applied in Erfurt. This event attracted enormous media attention. There are dedicated books, documentaries, YouTube shorts, essays, Masters theses, parliamentary reports, inquiries, debates, magazine articles, and newspaper reports. Many people, including survivors, the bereaved, professionals, and Robert Steinhäuser’s parents and friends, had already spoken. Inquiries for more information keep coming. The principal of the school has ring binders full of them and, even after ten years, they continue to stream onto her desk every week (Müller 165). When I was at the official memorial service at the school, I saw reporters and photographers hovering in the crowd, sneaking around to catch moments of grief. I was ashamed to feel that I was one of them. For all my noble aspirations, academic justification and approval by an ethics committee, the sheer volume of interest in this event combined with the ongoing pain of those involved made what I was doing seem grubby. The closest I came to a personal interaction was a pencilled note in the margins of a copy of Für heute reichts (Geipel), a hybrid narrative-style investigation of the event which I borrowed from the library. The copy had been underlined throughout. On page 230, the investigator of the story is warned away by a bereaved lawyer: Ich kann Ihnen im Moment niemanden von den Angehörigen sagen, der bereit wäre, mit Ihnen zu sprechen. (I can’t tell you any of the next of kin at the moment who would be prepared to speak with you.) Written underneath in pencil: Ich hab’s nie ausgesprochen und doch denke ich, ich redete ununterbrochen davon. (I’ve never said it aloud and yet I think I’ve talked about it continuously.) I took this as a warning: those who wanted to speak already had; those who didn’t, wouldn’t. And more importantly, it was painful either way. To comb over this well-mined ground yet again, causing even more pain in the process, seemed unethical to me. The risk of further harm was obvious. The stories that people had told were horrifying. At the centre of each of them: raw, hopeless pain. The testimonials all spiralled into a tunnel of loss, silence, death, and blame. They bristled with the need for community, to have been there, the indignity and pain of not being with their loved ones when they needed them. The painful, horrible, awful truth: there is nothing they could have done. As I sat in the memorial church service in Erfurt, I felt the depth of my own losses yawning inside me and I was almost engulfed with sadness. The vulnerability of my loved ones and my own mortality loomed so large that I had to consciously control myself and pull myself back from the brink. It’s that silent place of grief that Cixous identifies as both aesthetically compelling and ethically fraught (McEvoy 214). It’s the silence where death exists. This is where the people around me had been for ten years. I’ve been taken to that place so many times in the course of researching this event, and it was in the theatre that it was most intense. I sat in the theatre and experienced a verbatim monologue from a bereaved mother, performed by an actress sitting on the edge of the stage, reading aloud from printed sheets of paper. A fifteen minute monologue of how she found out about the shooting, the wait for more news, how her daughter's mobile phone didn't answer, how she found out her daughter had been killed when someone called her to offer condolences, what the days, weeks and months afterwards were like, the celebration of her birthday beside her grave. It was authentic, in that it came directly from the person who had experienced it. The ethical values of the theatre maker were evident in the unedited rawness of the piece and the respect it was given within the production. This theatre piece did exactly what I had thought I wanted do: it opened a real window into what happened. But it wasn’t satisfying to experience. It was just plain awful. What I have come to believe, as an artist wanting to interpret this event with integrity, is that opening this window into grief is not enough. The tunnelling spiral of pain, loss and blame goes nowhere but down. It’s harder to bear because the victims were young, and they were killed in an explosion of violence, at the imposition of a stranger’s will, in a place that was supposed to be safe. But when you strip away the circumstances, the essence of loss is the same, whether your loved one dies of cancer, in a car accident, or a natural disaster. It’s terrible, and it’s real, but it’s not unique to this event. If I was going to be part of a crowd picking over the corpses, then I felt I had to be very clear within myself why I had chosen these ones. I was staying in a monastery where two hundred and sixty-seven people were killed by a bomb while sheltering in the library during World War II. Stories of violent death and loss are everywhere. Feeling the intensity of that loss as though it’s your own isn’t necessarily productive. A few weeks before, I had passed the scene of an accident on the way to school with my daughter. A girl had been hit by a car and seriously injured. The ambulance officers were already there and they had put a cushion under the girl's head, and they were at the ambulance preparing the stretcher. The girl was lying in the middle of the road, alone and crying. As we passed and walked towards the school, girls were running from the front gates to join the expanding fan of onlookers standing there, looking, shaking their heads, agreeing with each other how terrible it was. I wanted to tell them to go away. It highlighted for me the deeply held response to trauma that my parents instilled in me: if there’s nothing you can do to help, then you have no business being there. Standing around watching turned the girl’s pain turned her into a spectacle. It created a bright line between the spectators and the girl, while simultaneously making the spectators feel as though they were part of her story and that they were special for witnessing it. They could go back to class and say: I was there, it was terrible. The comfort seems to be in processing sympathy into a feeling of self-importance at having felt pain that isn’t yours. I have felt the pain of the bereaved. I have cried for those who were killed. But my tears have not brought me closer to understanding what happened here. I had the same feeling of wrongness when I left the theatre as when I was escaping the crowd staring at the girl from the side of the road. Sharing the feeling of loss gave an illusion of understanding, solidarity, community and helpfulness that the spectators could then just walk away from and take superficial comfort from, without ever dealing with what I think is the actual reality of the event. In my opinion, the essence of this event does not lie in the nature of the violence and its attendant loss. What happened in Erfurt wasn’t an accident. These were targeted murders. The heart of this event is not the loss: it’s the desire to kill. This is what distinguishes this particular kind of event from any other catastrophe in which lives are lost. At its centre: someone did this on purpose. Robert Steinhäuser was expelled from school without any qualifications, so he was unemployable and ineligible for further education. He didn’t tell his family or his friends about the expulsion, so for months afterwards he lived a charade of attending school. When he attacked, he specifically targeted teachers and actively tried to avoid hurting students. (The two students who died that day were killed as he shot through a locked door.) According to the state government commission into the incident, Robert Steinhäuser’s transgression was an attempt to achieve recognition and public importance (Müller 193). It appears that he was at a point where he decided that the best thing or the only thing he could do was enact a theatrical mass murder of the people he thought were responsible for his misery. For me, focusing on the repercussions and the victims and the loss actually reinforces the structures that led Robert to make this decision: Robert is isolated, singular, and everyone else is against him. For many, this is seen as the appropriate way to deal with him. Angela Merkel, the conservative party leader at the time, said: Wer das Unverständliche verstehbar und das Unerklärbare erklärbar machen möchte, der muss aufpassen, das er sich nicht – zumindest unterschwellig – auf die Seite des Täters stellt und versucht, das Unentschuldbar mit irgendwelchen Umständen zu erklären. (Slotosch 1) (Whoever wants to make something that’s beyond understanding understandable and the inexplicable explicable has to be careful that he doesn’t—even unconsciously—stand on the side of the perpetrator and try to explain the inexcusable with circumstances of some kind.) According to Merkel, even to attempt to understand Robert is to betray his victims, and places you on the wrong side of the line that defines our humanity. Many of those who were directly affected by the event believe this as well. A recurring issue for many of the survivors and bereaved is the need to suppress the memory of Robert Steinhäuser. The school principal, Christiane Alt, said: Ich kann es nicht ertragen, dass er so postmortalen Ruhm auf sich zieht – das passiert immer wieder, nicht nur im Internet – und dass die Namen der Opfer ins Vergessen sinken. (Müller 160) (I can’t bear that he attracts such posthumous celebrity—it keeps happening, not just on the internet—and that the names of the victims sink into obscurity.) There is ongoing debate about the appropriateness of a seventeenth tribute: seventeen people died that day, only sixteen are officially mourned. There were sixteen names on the plaque at the school, sixteen candles on the memorial on the steps, and sixteen people were honoured and remembered in speeches. The voices of the perpetrators were unheard in the theatre piece. They were given no words and no story. It was only in the church that there was a seventeenth candle, on its own, to the side, in the dark. I have circled around this story for over a year and I keep coming back to Robert, however unwillingly. I am a dramatic writer. I write characters who take action. The German word for “perpetrator” is Täter. From the verb tun, to do. It means “do-er.” Someone who does something. It’s closer to our word “actor”, which for me reinforces the theatricality of the event as a whole. Robert staged this event. He wanted witnesses, as the impact of what he did depends on it. He even performed in costume. I am concerned that looking at Robert may actively reinforce the dramaturgical structure that he orchestrated, and thereby empower him and those like him. He wanted people to see him and know his story, and this is the only way he felt he could take control over it and face its indignity. I don’t want him to be right. All of this has left me in a very strange position. My own ethical process has actually collapsed beneath my feet. I had relied on giving a voice to those who wanted to speak—those people have already spoken. I saw value in uncovering a story that was previously unknown. This one has been examined many times over. I relied on personal, situated relationships between myself and those involved in the event. I have no such relationship. And if I did, what I see as an ethical response to this event—that is to try to understand Robert’s story—would actually be contrary to what many of those involved in the event want. I would run the risk of hurting those I most want to champion. It’s a risk I’ve had to run before. My last play was about a fifteen-year-old girl who had a sexual relationship with a teacher. I interviewed her and her friends, family, court officials, and also spoke to the teacher himself. The girl is highly intelligent and she had suffered terribly, but she could also be conceited and manipulative, and for me that truth was a crucial part of her story. I believed I got it right, but I also knew I ran the risk of hurting her, which of course I didn’t want to do. The girl came to see the play on opening night and I was absolutely terrified. We couldn’t speak, because she has to remain anonymous, but she thanked me via e-mail afterwards and told me that she felt privileged. She said that the play gave her experience a level of dignity that she would never have found otherwise. I was relieved, humbled, honoured, and vindicated. This is what I hoped for: a creative work about real events that was truthful and authentic, without being exploitative or hurtful. I had thought that the process relied on this ethical and responsible relationship. But the girl told me what she appreciated most was the energy and integrity with which I had dedicated myself to her story. This response has helped me to continue with my project. I am no longer sure of how to achieve an ethical, authentic artistic outcome, or even what that may be. But I still believe in my own capacity to ask questions with energy and integrity, and I hope that this will be enough. Because it’s all I have left. References Bauman, Zygmunt. Postmodern Ethics. Blackwell: Oxford, 1993. Davies, Charlotte Aull. Reflexive Ethnography: A Guide to Researching Selves and Others. Routledge: London, 2008. Die Würde der deutschen Waffenschränke ist unantastbar (The Dignity of German Weapons Cupboards Is Inviolable). Dir. Roman Grafe. Erfurt Theatre, 2012. Geipel, Ines. Für heute reichts (Amok in Erfurt). Berlin: Rohwohlt, 2004. Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Turning Points in Qualitative Research: Tying Knots in a Handkerchief. Eds. Norman K. Denzin, and Yvonna S. Lincoln. Walnut Creek, CA: AltaMira P, 2003. 21–46. hooks, b. “Marginality as a Site of Resistance.” Out There: Marginalization and Contemporary Cultures. Eds. Russell Ferguson et al. Cambridge, MA: MIT P, 1990. 341–343. Lemonick, Michael. D. “Germany’s Columbine.” Time 159.18 (6 May 2002): 36. Mcevoy, W. “Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail.” New Theatre Quarterly 22.3 (2003): 211–26. Müller, Hanno, and Paul-Josef Raue. Der Amoklauf: 10 Jahre danach—Erinnern und Gedenken. Essen: Klartext-Verlag, 2012. Slotosch, Sven. “Das alte Lied, das alte Leid.” Telepolis 30 Nov. 2006. 7 Jun. 2012 < http://www.heise.de/tp/artikel/24/24101/1.html >.
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"Poster 69 prospective study of the change in carpal tunnel pressures, median nerve cross-sectional area, and nerve function with conservative treatment. Robert A. Werner, MD, MS (Univ Michigan/Ann Arbor VAMC, Ann Arbor, MI); Jon A. Jacobson, MD; David A. Jamadar, MB, BS; Susan Kessler, OTR, e-mail: rawerner@umich.edu." Archives of Physical Medicine and Rehabilitation 85, no. 9 (September 2004): e23. http://dx.doi.org/10.1016/j.apmr.2004.07.136.
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Cheong, Felix. "A Poets Sense of the City." M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1955.
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If you cannot learn to love (yes love) this city you have no other. Simon Tay, 'Singapore Night Song' (137). Having lived in Australia for more than a year now, it is easier to view my own country through a telescope and learn to love what I used to loathe. It is easier to hold and weigh the ball of its contradictions in my palm and learn how each strand I unknot tells on myself, on my writing, to realise with a shudder that I am a moving microcosm of the city I was born in. Indeed, the more removed I am, the easier it is to be an apologist as it is to be a patriot. Robert Drewe makes the claim that Australia is the most urbanised country in the world (7). Obviously, he has yet to walk the length and breadth of Singapore. To talk about Singapore is to talk about the city. As the joke goes, the capital of Singapore is Singapore, and there is no other city quite like Singapore. It cheerfully admits to being an artificial creation, a test tube mixing West and East and bubbling with possibilities. It resents the reach and rinse of Western influences, yet it cannot afford to close itself from international trade and commerce. It is an Asian metropolis with a noveau-riche arrogance about its place in the world, yet is a mere blip on the map. Call it what you will - a glass-dome city, a Disneyland postcard, an autocratic, authoritarian state with a muzzle and cane ready to keep its citizens in line the name-calling is probably valid, at some point, to some extent. Yet Surprising Singapore, as the tourist brochures coin it, is a lot more elusive than the rumours. Everything about it - its size and vulnerability, the quirk of its history, the fabric of its immigrant cultures that sometimes threatens to fray along the fringes - demands its failure. But in just one full leap of a generation, Singapore has sprung the trap of Third World poverty, rising to become one of the richest nations in the world. Something has to give, and it is in the Singaporean writer's sensibility that we read and understand the human cost. Sometimes it is hard to believe that creatures of flesh and bone may tear up the roads like paper, peeling the rind of earth as carelessly as eating an orange. Aaron Lee, 'Road-Works' (65). Dennis Haskell rightly points out that it would be impossible to be a Romantic in Singapore (27). Not only impossible, but also false. For the reality is this: whatever nature there is, is there by design, not by default, nor by coincidence. Nostalgia is cheap when land is scarce. The country has no hinterland to call its own, no natural resources to draw on but the will of its population of just over three million people. Because of the sheer limitation of size poet Edwin Thumboo once quipped that Singapore is physically an island 224 square miles - 226 square miles at low tide (159) the city has to keep changing, evolving, re-sculpting its coastlines, taking over the sky, laying mazes of walkways and tunnels beneath the ground. Flux becomes a necessity by virtue of circumstance, a virtue of necessity. We are a country of dust where nothing is saved but face. Felix Cheong, 'Work in Progress' (45). The consequence is that Singapore is and will always be - a work in progress, constantly re-modelling its fa瀥volvAade, its face, its planners drafting and grafting the way a poet must rework his manuscript to the fullness of his gift. It is a post-modernist fable turning upon itself, over and over, deconstructing its own meaning, answering only to its own vision. The moment it has finished, arms outstretched and ill at ease, it is finished. In his essay Chaos in Poetry, D.H. Lawrence avers that the task of poets is to reveal the inward desire of mankind… The desire for chaos is the breath of their poetry. The fear of chaos is in their parade of forms and technique (92). Stretch the analogy a little and the same holds true for Singapore. Examine its skyline on a clear blue day and you cannot help but marvel at how well this city-state parades its forms and technique. How well it conceals its fear of chaos beneath skyscraper chrome and glass. How, at its heart, it is still a frightened child of a city learning to cope with the means and meanings of change, pitched at once between promise and compromise, between a desire for chaos and the craftsmanship to contain it. Perhaps this fluidity is a measure of redemption, like a writer with the wit and strength to scratch out the eyes of an unclear poem and begin on a clean sheet, all resources and lines shaped and sharpened by impatient fingers. Everything else about Singapore its politics, policies, polemics follows from this, originates from this fundamental insecurity. When I love you for my fallen love, O City of Endless Energies, your eyes burn out along the street. Gwee Li Sui, 'Kenosis' (34). Having grown up in the relative ease and affluence of Singapore after independence, all I know is the city. I am a child of my times, a child of the city, and its energy has now become my own. It is in my fingertips, in the grip of pen poised steady above paper. The restlessness owns me, steers eloquence towards a mouth, towards poetry. I have even conditioned myself to write on the move in a crowded train or a bus letting the jolt and shuffle set a rhythm in my head. The whirl of a world as I stand on the still ledge of words, recording, rendering, remembering. There is poetry in the silence of a man contemplating his feet on a train, unable - or unwilling - to connect with another through the corner of his eye. There is poetry in the knowing snatches of conversation eavesdropped. There is poetry in the smile of flowers as the boy opens his heart, for the first time, to his first love. For a moment, just a moment the lyrical in the transient. The City is what we make it, You and I. We are the City. For better or for worse. Edwin Thumboo, 'The Way Ahead' (39). Excerpts of poems taken from No Other City: The Ethos Anthology of Urban Poetry. References Drewe, Robert. Introduction. The Penguin Book of the City. Victoria, Australia: Penguin Books, 1997. 1-7. Haskell, Dennis. Foreword. No Other City: The Ethos Anthology of Urban Poetry. Ed. Alvin Pang and Aaron Lee. Singapore: Ethos Books, 2000. 26-31. Lawrence, D.H. Selected Literary Criticism. London: Heinemann, 1967. Thumboo, Edwin. Edwin Thumboo Interviewed by Peter Nazareth. World Literature Written in English. 18.1(1979): 151-171. Citation reference for this article MLA Style Cheong, Felix. "A Poets Sense of the City" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/poets.php>. Chicago Style Cheong, Felix, "A Poets Sense of the City" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/poets.php> ([your date of access]). APA Style Cheong, Felix. (2002) A Poets Sense of the City. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/poets.php> ([your date of access]).
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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (October 25, 2014). http://dx.doi.org/10.5204/mcj.882.
Full textAbstract:
IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists presented as characters in a fictional world, cutting-edge lighting and visuals, extraordinary innovative staging, and the uptake of new technology for special effects can all be linked back to an early form of circus which is sometimes termed illegitimate circus. In the late 18th century and early 19th century, in the age of Romanticism, only two theatres in London, Covent Garden and Drury Lane, plus the summer theatre in the Haymarket, had royal patents allowing them to produce plays or text-based productions, and these were considered legitimate theatres. (These theatres retained this monopoly until the Theatre Regulation Act of 1843; Saxon 301.) Other circuses and theatres such as Astley’s Amphitheatre, which were precluded from performing text-based works by the terms of their licenses, have been termed illegitimate (Moody 1). Perversely, the effect of licensing venues in this way, instead of having the desired effect of enshrining some particular forms of expression and “casting all others beyond the cultural pale,” served instead to help to cultivate a different kind of theatrical landscape, “a theatrical terrain with a new, rich and varied dramatic ecology” (Reed 255). A fundamental change to the theatrical culture of London took place, and pivotal to “that transformation was the emergence of an illegitimate theatrical culture” (Moody 1) with circus at its heart. An innovative and different form of performance, a theatre of the body, featuring spectacle and athleticism emerged, with “a sensuous, spectacular aesthetic largely wordless except for the lyrics of songs” (Bratton 117).This writing sets out to explore some of the strong parallels between the aesthetic that emerged in this early illegitimate circus and the aesthetic of the Montreal-based, multi-billion dollar entertainment empire of Cirque du Soleil. Although it is not fighting against legal restrictions and can in no way be considered illegitimate, the circus of Cirque du Soleil can be seen to be the descendant of the early circus entrepreneurs and their illegitimate aesthetic which arose out of the desire to find ways to continue to attract audiences to their shows in spite of the restrictions of the licenses granted to them. BackgroundCircus has served as an inspiration for many innovatory theatre productions including Peter Brook’s Midsummer Night’s Dream (1970) and Tom Stoppard’s Jumpers (1972) as well as the earlier experiments of Meyerhold, Eisenstein, Mayakovsky and other Soviet directors of the 1920’s (Saxon 299). A. H. Saxon points out, however, that the relationship between circus and theatre is a long-standing one that begins in the late 18th century and the early 19th century, when circus itself was theatre (Saxon 299).Modern circus was founded in London in 1768 by an ex-cavalryman and his wife, Philip and Patty Astley, and consisted of spectacular stunt horse riding taking place in a ring, with acts from traditional fairs such as juggling, acrobatics, clowning and wire-walking inserted to cover the changeovers between riding acts. From the very first shows entry was by paid ticket only and the early history of circus was driven by innovative, risk-taking entrepreneurs such as Philip Astley, who indeed built so many new amphitheatres for his productions that he became known as Amphi-Philip (Jando). After years of legal tussles with the authorities concerning the legal status of this new entertainment, a limited license was finally granted in 1783 for Astley’s Amphitheatre. This license precluded the performing of plays, anything text-based, or anything which had a script that resembled a play. Instead the annual license granted allowed only for “public dancing and music” and “other public entertainments of like kind” (St. Leon 9).Corporeal Dramaturgy and TextIn the face of the ban on scripted text, illegitimate circus turned to the human body and privileged it as a means of dramatic expression. A resultant dramaturgy focusing on the expressive capabilities of the performers’ bodies emerged. “The primacy of rhetoric and the spoken word in legitimate drama gave way […] to a corporeal dramaturgy which privileged the galvanic, affective capacity of the human body as a vehicle of dramatic expression” (Moody 83). Moody proposes that the “iconography of illegitimacy participated in a broader cultural and scientific transformation in which the human body began to be understood as an eloquent compendium of visible signs” (83). Even though the company has the use of text and dramatic dialogue freely available to it, Cirque du Soleil, shares this investment in the bodies of the performers and their “galvanic, affective capacity” (83) to communicate with the audience directly without the use of a scripted text, and this remains a constant between the two forms of circus. Robert Lepage, the director of two Cirque du Soleil shows, KÀ (2004) and more recently Totem (2010), speaking about KÀ in 2004, said, “We wanted it to be an epic story told not with the use of words, but with the universal language of body movement” (Lepage cited in Fink).In accordance with David Graver’s system of classifying performers’ bodies, Cirque du Soleil’s productions most usually present performers’ ‘character bodies’ in which the performers are understood by spectators to be playing fictional roles or characters (Hurley n/p) and this was also the case with illegitimate circus which right from its very beginnings presented its performers within narratives in which the performers are understood to be playing characters. In Cirque du Soleil’s shows, as with illegitimate circus, this presentation of the performers’ character bodies is interspersed with acts “that emphasize the extraordinary training and physical skill of the performers, that is which draw attention to the ‘performer body’ but always within the context of an overall narrative” (Fricker n.p.).Insertion of Vital TextAfter audience feedback, text was eventually added into KÀ (2004) in the form of a pre-recorded prologue inserted to enable people to follow the narrative arc, and in the show Wintuk (2007) there are tales that are sung by Jim Comcoran (Leroux 126). Interestingly early illegitimate circus creators, in their efforts to circumvent the ban on using dramatic dialogue, often inserted text into their performances in similar ways to the methods Cirque du Soleil chose for KÀ and Wintuk. Illegitimate circus included dramatic recitatives accompanied by music to facilitate the following of the storyline (Moody 28) in the same way that Cirque du Soleil inserted a pre-recorded prologue to KÀ to enable audience members to understand the narrative. Performers in illegitimate circus often conveyed essential information to the audience as lyrics of songs (Bratton 117) in the same way that Jim Comcoran does in Wintuk. Dramaturgical StructuresAstley from his very first circus show in 1768 began to set his equestrian stunts within a narrative. Billy Button’s Ride to Brentford (1768), showed a tailor, a novice rider, mounting backwards, losing his belongings and being thrown off the horse when it bucks. The act ends with the tailor being chased around the ring by his horse (Schlicke 161). Early circus innovators, searching for dramaturgy for their shows drew on contemporary warfare, creating vivid physical enactments of contemporary battles. They also created a new dramatic form known as Hippodramas (literally ‘horse dramas’ from hippos the Attic Greek for Horse), a hybridization of melodrama and circus featuring the trick riding skills of the early circus pioneers. The narrative arcs chosen were often archetypal or sourced from well-known contemporary books or poems. As Moody writes, at the heart of many of these shows “lay an archetypal narrative of the villainous usurper finally defeated” (Moody 30).One of the first hippodramas, The Blood Red Knight, opened at Astley’s Amphitheatre in 1810.Presented in dumbshow, and interspersed with grand chivalric processions, the show featured Alphonso’s rescue of his wife Isabella from her imprisonment and forced marriage to the evil knight Sir Rowland and concluded with the spectacular, fiery destruction of the castle and Sir Rowland’s death. (Moody 69)Another later hippodrama, The Spectre Monarch and his Phantom Steed, or the Genii Horseman of the Air (1830) was set in China where the rightful prince was ousted by a Tartar usurper who entered into a pact with the Spectre Monarch and received,a magic ring, by aid of which his unlawful desires were instantly gratified. Virtue, predictably won out in the end, and the discomforted villain, in a final settling of accounts with his dread master was borne off through the air in a car of fire pursued by Daemon Horsemen above THE GREAT WALL OF CHINA. (Saxon 303)Karen Fricker writes of early Cirque du Soleil shows that “while plot is doubtless too strong a word, each of Cirque’s recent shows has a distinct concept or theme, that is urbanity for Saltimbanco; nomadism in Varekai (2002) and humanity’s clownish spirit for Corteo (2005), and tend to follow the same very basic storyline, which is not narrated in words but suggested by the staging that connects the individual acts” (Fricker n/p). Leroux describes the early Cirque du Soleil shows as following a “proverbial and well-worn ‘collective transformation trope’” (Leroux 122) whilst Peta Tait points out that the narrative arc of Cirque du Soleil “ might be summarized as an innocent protagonist, often female, helped by an older identity, seemingly male, to face a challenging journey or search for identity; more generally, old versus young” (Tait 128). However Leroux discerns an increasing interest in narrative devices such as action and plot in Cirque du Soleil’s Las Vegas productions (Leroux 122). Fricker points out that “with KÀ, what Cirque sought – and indeed found in Lepage’s staging – was to push this storytelling tendency further into full-fledged plot and character” (Fricker n/p). Telling a story without words, apart from the inserted prologue, means that the narrative arc of Kà is, however, very simple. A young prince and princess, twins in a mythical Far Eastern kingdom, are separated when a ceremonial occasion is interrupted by an attack by a tribe of enemy warriors. A variety of adventures follow, most involving perilous escapes from bad guys with flaming arrows and fierce-looking body tattoos. After many trials, a happy reunion arrives. (Isherwood)This increasing emphasis on developing a plot and a narrative arc positions Cirque as moving closer in dramaturgical aesthetic to illegitimate circus.Visual TechnologiesTo increase the visual excitement of its shows and compensate for the absence of spoken dialogue, illegitimate circus in the late 18th and early 19th century drew on contemporaneous and emerging visual technologies. Some of the new visual technologies that Astley’s used have been termed pre-cinematic, including the panorama (or diorama as it is sometimes called) and “the phantasmagoria and other visual machines… [which] expanded the means through which an audience could be addressed” (O’Quinn, Governance 312). The panorama or diorama ran in the same way that a film runs in an analogue camera, rolling between vertical rollers on either side of the stage. In Astley’s production The Siege and Storming of Seringapatam (1800) he used another effect almost equivalent to a modern day camera zoom-in by showing scenic back drops which, as they moved through time, progressively moved geographically closer to the battle. This meant that “the increasing enlargement of scale-each successive scene has a smaller geographic space-has a telescopic event. Although the size of the performance space remains constant, the spatial parameters of the spectacle become increasingly magnified” (O’Quinn, Governance 345). In KÀ, Robert Lepage experiments with “cinematographic stage storytelling on a very grand scale” (Fricker n.p.). A KÀ press release (2005) from Cirque du Soleil describes the show “as a cinematic journey of aerial adventure” (Cirque du Soleil). Cirque du Soleil worked with ground-breaking visual technologies in KÀ, developing an interactive projected set. This involves the performers controlling what happens to the projected environment in real time, with the projected scenery responding to their movements. The performers’ movements are tracked by an infra-red sensitive camera above the stage, and by computer software written by Interactive Production Designer Olger Förterer. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer” (Cirque du Soleil).Contemporary Technology Cutting edge technologies, many of which came directly from contemporaneous warfare, were introduced into the illegitimate circus performance space by Astley and his competitors. These included explosions using redfire, a new military explosive that combined “strontia, shellac and chlorate of potash, [which] produced […] spectacular flame effects” (Moody 28). Redfire was used for ‘blow-ups,’ the spectacular explosions often occurring at the end of the performance when the villain’s castle or hideout was destroyed. Cirque du Soleil is also drawing on contemporary military technology for performance projects. Sparked: A Live interaction between Humans and Quadcopters (2014) is a recent short film released by Cirque du Soleil, which features the theatrical use of drones. The new collaboration between Cirque du Soleil, ETH Zurich and Verity Studios uses 10 quadcopters disguised as animated lampshades which take to the air, “carrying out the kinds of complex synchronized dance manoeuvres we usually see from the circus' famed acrobats” (Huffington Post). This shows, as with early illegitimate circus, the quick theatrical uptake of contemporary technology originally developed for use in warfare.Innovative StagingArrighi writes that the performance space that Astley developed was a “completely new theatrical configuration that had not been seen in Western culture before… [and] included a circular ring (primarily for equestrian performance) and a raised theatre stage (for pantomime and burletta)” (177) joined together by ramps that were large enough and strong enough to allow horses to be ridden over them during performances. The stage at Astley’s Amphitheatre was said to be the largest in Europe measuring over 130 feet across. A proscenium arch was installed in 1818 which could be adjusted in full view of the audience with the stage opening changing anywhere in size from forty to sixty feet (Saxon 300). The staging evolved so that it had the capacity to be multi-level, involving “immense [moveable] platforms or floors, rising above each other, and extending the whole width of the stage” (Meisel 214). The ability to transform the stage by the use of draped and masked platforms which could be moved mechanically, proved central to the creation of the “new hybrid genre of swashbuckling melodramas on horseback, or ‘hippodramas’” (Kwint, Leisure 46). Foot soldiers and mounted cavalry would fight their way across the elaborate sets and the production would culminate with a big finale that usually featured a burning castle (Kwint, Legitimization 95). Cirque du Soleil’s investment in high-tech staging can be clearly seen in KÀ. Mark Swed writes that KÀ is, “the most lavish production in the history of Western theatre. It is surely the most technologically advanced” (Swed). With a production budget of $165 million (Swed), theatre designer Michael Fisher has replaced the conventional stage floor with two huge moveable performance platforms and five smaller platforms that appear to float above a gigantic pit descending 51 feet below floor level. One of the larger platforms is a tatami floor that moves backwards and forwards, the other platform is described by the New York Times as being the most thrilling performer in the show.The most consistently thrilling performer, perhaps appropriately, isn't even human: It's the giant slab of machinery that serves as one of the two stages designed by Mark Fisher. Here Mr. Lepage's ability to use a single emblem or image for a variety of dramatic purposes is magnified to epic proportions. Rising and falling with amazing speed and ease, spinning and tilting to a full vertical position, this huge, hydraulically powered game board is a sandy beach in one segment, a sheer cliff wall in another and a battleground, viewed from above, for the evening's exuberantly cinematic climax. (Isherwood)In the climax a vertical battle is fought by aerialists fighting up and down the surface of the sand stone cliff with defeated fighters portrayed as tumbling down the surface of the cliff into the depths of the pit below. Cirque du Soleil’s production entitled O, which phonetically is the French word eau meaning water, is a collaboration with director Franco Dragone that has been running at Las Vegas’ Bellagio Hotel since 1998. O has grossed over a billion dollars since it opened in 1998 (Sylt and Reid). It is an aquatic circus or an aquadrama. In 1804, Charles Dibdin, one of Astley’s rivals, taking advantage of the nearby New River, “added to the accoutrements of the Sadler’s Wells Theatre a tank three feet deep, ninety feet long and as wide as twenty-four feet which could be filled with water from the New River” (Hays and Nickolopoulou 171) Sadler’s Wells presented aquadramas depicting many reconstructions of famous naval battles. One of the first of these was The Siege of Gibraltar (1804) that used “117 ships designed by the Woolwich Dockyard shipwrights and capable of firing their guns” (Hays and Nickolopoulou 5). To represent the drowning Spanish sailors saved by the British, “Dibdin used children, ‘who were seen swimming and affecting to struggle with the waves’”(5).O (1998) is the first Cirque production to be performed in a proscenium arch theatre, with the pool installed behind the proscenium arch. “To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4" thick Plexiglas windows that open along the downstage perimeter of the pool” (Lampert-Greaux). Accompanied by a live orchestra, performers dive into the 53 x 90 foot pool from on high, they swim underwater lit by lights installed in the subterranean light tunnel and they also perform on perforated platforms that rise up out of the water and turn the pool into a solid stage floor. In many respects, Cirque du Soleil can be seen to be the inheritors of the spectacular illegitimate circus of the 18th and 19th Century. The inheritance can be seen in Cirque du Soleil’s entrepreneurial daring, the corporeal dramaturgy privileging the affective power of the body over the use of words, in the performers presented primarily as character bodies, and in the delivering of essential text either as a prologue or as lyrics to songs. It can also be seen in Cirque du Soleil’s innovative staging design, the uptake of military based technology and the experimentation with cutting edge visual effects. Although re-invigorating the tradition and creating spectacular shows that in many respects are entirely of the moment, Cirque du Soleil’s aesthetic roots can be clearly seen to draw deeply on the inheritance of illegitimate circus.ReferencesBratton, Jacky. “Romantic Melodrama.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University, 2007. 115-27. Bratton, Jacky. “What Is a Play? Drama and the Victorian Circus in the Performing Century.” Nineteenth-Century Theatre’s History. Eds. Tracey C. Davis and Peter Holland. Hampshire, UK: Palgrave Macmillan, 2007. 250-62.Cavendish, Richard. “Death of Madame Tussaud.” History Today 50.4 (2000). 15 Aug. 2014 ‹http://www.historytoday.com/richard-cavendish/death-madame-tussaud›.Cirque du Soleil. 2014. 10 Sep. 2014 ‹http://www.cirquedusoleil.com/en/home/about-us/at-a-glance.aspx›.Davis, Janet M. The Circus Age: Culture and Society under the American Big Top. Chapel Hill and London: University of North Carolina Press, 2002. Hays, Michael, and Anastasia Nikolopoulou. Melodrama: The Cultural Emergence of a Genre. New York: Palgrave Macmillan, 1999.House of Dancing Water. 2014. 17 Aug. 2014 ‹http://thehouseofdancingwater.com/en/›.Isherwood, Charles. “Fire, Acrobatics and Most of All Hydraulics.” New York Times 5 Feb. 2005. 12 Sep. 2014 ‹http://www.nytimes.com/2005/02/05/theater/reviews/05cirq.html?_r=0›.Fink, Jerry. “Cirque du Soleil Spares No Cost with Kà.” Las Vegas Sun 2004. 17 Sep. 2014 ‹http://www.lasvegassun.com/news/2004/sep/16/cirque-du-soleil-spares-no-cost-with-ka/›.Fricker, Karen. “Le Goût du Risque: Kà de Robert Lepage et du Cirque du Soleil.” (“Risky Business: Robert Lepage and the Cirque du Soleil’s Kà.”) L’Annuaire théâtral 45 (2010) 45-68. Trans. Isabelle Savoie. (Original English Version not paginated.)Hurley, Erin. "Les Corps Multiples du Cirque du Soleil." Globe: Revue Internationale d’Études Quebecoise. Les Arts de la Scene au Quebec, 11.2 (2008). (Original English n.p.)Jacob, Pascal. The Circus Artist Today: Analysis of the Key Competences. Brussels: FEDEC: European Federation of Professional Circus Schools, 2008. 5 June 2010 ‹http://sideshow-circusmagazine.com/research/downloads/circus-artist-today-analysis-key-competencies›.Jando, Dominique. “Philip Astley, Circus Owner, Equestrian.” Circopedia. 15 Sep. 2014 ‹http://www.circopedia.org/Philip_Astley›.Kwint, Marius. “The Legitimization of Circus in Late Georgian England.” Past and Present 174 (2002): 72-115.---. “The Circus and Nature in Late Georgian England.” Histories of Leisure. Ed. Rudy Koshar. Oxford: Berg Publishers, 2002. 45-60. ---. “The Theatre of War.” History Today 53.6 (2003). 28 Mar. 2012 ‹http://www.historytoday.com/marius-kwint/theatre-war›.Lampert-Greaux, Ellen. “The Wizardry of O: Cirque du Soleil Takes the Plunge into an Underwater World.” livedesignonline 1999. 17 Aug. 2014 ‹http://livedesignonline.com/mag/wizardry-o-cirque-du-soleil-takes-plunge-underwater-world›.Lavers, Katie. “Sighting Circus: Perceptions of Circus Phenomena Investigated through Diverse Bodies.” Doctoral Thesis. Perth, WA: Edith Cowan University, 2014. Leroux, Patrick Louis. “The Cirque du Soleil in Las Vegas: An American Striptease.” Revista Mexicana de Estudio Canadiens (Nueva Época) 16 (2008): 121-126.Mazza, Ed. “Cirque du Soleil’s Drone Video ‘Sparked’ is Pure Magic.” Huffington Post 22 Sep. 2014. 23 Sep. 2014 ‹http://www.huffingtonpost.com/2014/09/22/cirque-du-soleil-sparked-drone-video_n_5865668.html›.Meisel, Martin. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England. Princeton, New Jersey: Princeton University Press, 1983.Moody, Jane. Illegitimate Theatre in London, 1770-1840. Cambridge: Cambridge University Press, 2000. O'Quinn, Daniel. Staging Governance: Teatrical Imperialism in London 1770-1800. Baltimore, Maryland, USA: Johns Hopkins University Press, 2005. O'Quinn, Daniel. “Theatre and Empire.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University Press, 2007. 233-46. Reed, Peter P. “Interrogating Legitimacy in Britain and America.” The Oxford Handbook of Georgian Theatre. Eds. Julia Swindells and Francis David. Oxford: Oxford University Press, 2014. 247-264.Saxon, A.H. “The Circus as Theatre: Astley’s and Its Actors in the Age of Romanticism.” Educational Theatre Journal 27.3 (1975): 299-312.Schlicke, P. Dickens and Popular Entertainment. London: Unwin Hyman, 1985.St. Leon, Mark. Circus: The Australian Story. Melbourne: Melbourne Books, 2011. Stoddart, Helen. Rings of Desire: Circus History and Representation. Manchester: Manchester University Press, 2000. Swed, Mark. “Epic, Extravagant: In Ka the Acrobatics and Dazzling Special Effects Are Stunning and Enchanting.” Los Angeles Times 5 Feb. 2005. 22 Aug. 2014 ‹http://articles.latimes.com/2005/feb/05/entertainment/et-ka5›.Sylt, Cristian, and Caroline Reid. “Cirque du Soleil Swings to $1bn Revenue as It Mulls Shows at O2.” The Independent Oct. 2011. 14 Sep. 2014 ‹http://www.independent.co.uk/news/business/news/cirque-du-soleil-swings-to-1bn-revenue-as-it-mulls-shows-at-o2-2191850.html›.Tait, Peta. Circus Bodies: Cultural Identity in Aerial Performance. London: Routledge, 2005.Terdiman, Daniel. “Flying Lampshades: Cirque du Soleil Plays with Drones.” CNet 2014. 22 Sept 2014 ‹http://www.cnet.com/news/flying-lampshades-the-cirque-du-soleil-plays-with-drones/›.Venables, Michael. “The Technology Behind the Las Vegas Magic of Cirque du Soleil.” Forbes Magazine 30 Aug. 2013. 16 Aug. 2014 ‹http://www.forbes.com/sites/michaelvenables/2013/08/30/technology-behind-the-magical-universe-of-cirque-du-soleil-part-one/›.
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Allen, Rob. "Lost and Now Found: The Search for the Hidden and Forgotten." M/C Journal 20, no. 5 (October 13, 2017). http://dx.doi.org/10.5204/mcj.1290.
Full textAbstract:
The Digital TurnMuch of the 19th century disappeared from public view during the 20th century. Historians recovered what they could from archives and libraries, with the easy pickings-the famous and the fortunate-coming first. Latterly, social and political historians of different hues determinedly sought out the more hidden, forgotten, and marginalised. However, there were always limitations to resources-time, money, location, as well as purpose, opportunity, and permission. 'History' was principally a professionalised and privileged activity dominated by academics who had preferential access to, and significant control over, the resources, technologies and skills required, as well as the social, economic and cultural framework within which history was recovered, interpreted, approved and disseminated.Digitisation and the broader development of new communication technologies has, however, transformed historical research processes and practice dramatically, removing many constraints, opening up many opportunities, and allowing many others than the professional historian to trace and track what would have remained hidden, forgotten, or difficult to find, as well as verify (or otherwise), what has already been claimed and concluded. In the 21st century, the SEARCH button has become a dominant tool of research. This, along with other technological and media developments, has altered the practice of historians-professional or 'public'-who can now range deep and wide in the collection, portrayal and dissemination of historical information, in and out of the confines of the traditional institutional walls of retained information, academia, location, and national boundaries.This incorporation of digital technologies into academic historical practice generally, has raised, as Cohen and Rosenzweig, in their book Digital History, identified a decade ago, not just promises, but perils. For the historian, there has been the move, through digitisation, from the relative scarcity and inaccessibility of historical material to its (over) abundance, but also the emerging acceptance that, out of both necessity and preference, a hybridity of sources will be the foreseeable way forward. There has also been a significant shift, as De Groot notes in his book Consuming History, in the often conflicted relationship between popular/public history and academic history, and the professional and the 'amateur' historian. This has brought a potentially beneficial democratization of historical practice but also an associated set of concerns around the loss of control of both practice and product of the professional historian. Additionally, the development of digital tools for the collection and dissemination of 'history' has raised fears around the commercialised development of the subject's brand, products and commodities. This article considers the significance and implications of some of these changes through one protracted act of recovery and reclamation in which the digital made the difference: the life of a notorious 19th century professional agitator on both sides of the Atlantic, John De Morgan. A man thought lost, but now found."Who Is John De Morgan?" The search began in 1981, linked to the study of contemporary "race riots" in South East London. The initial purpose was to determine whether there was a history of rioting in the area. In the Local History Library, a calm and dusty backwater, an early find was a fading, but evocative and puzzling, photograph of "The Plumstead Common Riots" of 1876. It showed a group of men and women, posing for the photographer on a hillside-the technology required stillness, even in the middle of a riot-spades in hand, filling in a Mr. Jacob's sandpits, illegally dug from what was supposed to be common land. The leader of this, and other similar riots around England, was John De Morgan. A local journalist who covered the riots commented: "Of Mr. De Morgan little is known before or since the period in which he flashed meteorlike through our section of the atmosphere, but he was indisputably a remarkable man" (Vincent 588). Thus began a trek, much interrupted, sometimes unmapped and haphazard, to discover more about this 'remarkable man'. "Who is John De Morgan" was a question frequently asked by his many contemporary antagonists, and by subsequent historians, and one to which De Morgan deliberately gave few answers. The obvious place to start the search was the British Museum Reading Room, resplendent in its Victorian grandeur, the huge card catalogue still in the 1980s the dominating technology. Together with the Library's newspaper branch at Colindale, this was likely to be the repository of all that might then easily be known about De Morgan.From 1869, at the age of 21, it appeared that De Morgan had embarked on a life of radical politics that took him through the UK, made him notorious, lead to accusations of treasonable activities, sent him to jail twice, before he departed unexpectedly to the USA in 1880. During that period, he was involved with virtually every imaginable radical cause, at various times a temperance advocate, a spiritualist, a First Internationalist, a Republican, a Tichbornite, a Commoner, an anti-vaccinator, an advanced Liberal, a parliamentary candidate, a Home Ruler. As a radical, he, like many radicals of the period, "zigzagged nomadically through the mayhem of nineteenth century politics fighting various foes in the press, the clubs, the halls, the pulpit and on the street" (Kazin 202). He promoted himself as the "People's Advocate, Champion and Friend" (Allen). Never a joiner or follower, he established a variety of organizations, became a professional agitator and orator, and supported himself and his politics through lecturing and journalism. Able to attract huge crowds to "monster meetings", he achieved fame, or more correctly notoriety. And then, in 1880, broke and in despair, he disappeared from public view by emigrating to the USA.LostThe view of De Morgan as a "flashing meteor" was held by many in the 1870s. Historians of the 20th century took a similar position and, while considering him intriguing and culturally interesting, normally dispatched him to the footnotes. By the latter part of the 20th century, he was described as "one of the most notorious radicals of the 1870s yet remains a shadowy figure" and was generally dismissed as "a swashbuckling demagogue," a "democratic messiah," and" if not a bandit … at least an adventurer" (Allen 684). His politics were deemed to be reactionary, peripheral, and, worst of all, populist. He was certainly not of sufficient interest to pursue across the Atlantic. In this dismissal, he fell foul of the highly politicised professional culture of mid-to-late 20th-century academic historians. In particular, the lack of any significant direct linkage to the story of the rise of a working class, and specifically the British Labour party, left individuals like De Morgan in the margins and footnotes. However, in terms of historical practice, it was also the case that his mysterious entry into public life, his rapid rise to brief notability and notoriety, and his sudden disappearance, made the investigation of his career too technically difficult to be worthwhile.The footprints of the forgotten may occasionally turn up in the archived papers of the important, or in distant public archives and records, but the primary sources are the newspapers of the time. De Morgan was a regular, almost daily, visitor to the pages of the multitude of newspapers, local and national, that were published in Victorian Britain and Gilded Age USA. He also published his own, usually short-lived and sometimes eponymous, newspapers: De Morgan's Monthly and De Morgan's Weekly as well as the splendidly titled People's Advocate and National Vindicator of Right versus Wrong and the deceptively titled, highly radical, House and Home. He was highly mobile: he noted, without too much hyperbole, that in the 404 days between his English prison sentences in the mid-1870s, he had 465 meetings, travelled 32,000 miles, and addressed 500,000 people. Thus the newspapers of the time are littered with often detailed and vibrant accounts of his speeches, demonstrations, and riots.Nonetheless, the 20th-century technologies of access and retrieval continued to limit discovery. The white gloves, cradles, pencils and paper of the library or archive, sometimes supplemented by the century-old 'new' technology of the microfilm, all enveloped in a culture of hallowed (and pleasurable) silence, restricted the researcher looking to move into the lesser known and certainly the unknown. The fact that most of De Morgan's life was spent, it was thought, outside of England, and outside the purview of the British Library, only exacerbated the problem. At a time when a historian had to travel to the sources and then work directly on them, pencil in hand, it needed more than curiosity to keep searching. Even as many historians in the late part of the century shifted their centre of gravity from the known to the unknown and from the great to the ordinary, in any form of intellectual or resource cost-benefit analysis, De Morgan was a non-starter.UnknownOn the subject of his early life, De Morgan was tantalisingly and deliberately vague. In his speeches and newspapers, he often leaked his personal and emotional struggles as well as his political battles. However, when it came to his biographical story, he veered between the untruthful, the denial, and the obscure. To the twentieth century observer, his life began in 1869 at the age of 21 and ended at the age of 32. His various political campaign "biographies" gave some hints, but what little he did give away was often vague, coy and/or unlikely. His name was actually John Francis Morgan, but he never formally acknowledged it. He claimed, and was very proud, to be Irish and to have been educated in London and at Cambridge University (possible but untrue), and also to have been "for the first twenty years of his life directly or indirectly a railway servant," and to have been a "boy orator" from the age of ten (unlikely but true). He promised that "Some day-nay any day-that the public desire it, I am ready to tell the story of my strange life from earliest recollection to the present time" (St. Clair 4). He never did and the 20th century could unearth little evidence in relation to any of his claims.The blend of the vague, the unlikely and the unverifiable-combined with an inclination to self-glorification and hyperbole-surrounded De Morgan with an aura, for historians as well as contemporaries, of the self-seeking, untrustworthy charlatan with something to hide and little to say. Therefore, as the 20th century moved to closure, the search for John De Morgan did so as well. Though interesting, he gave most value in contextualising the lives of Victorian radicals more generally. He headed back to the footnotes.Now FoundMeanwhile, the technologies underpinning academic practice generally, and history specifically, had changed. The photocopier, personal computer, Internet, and mobile device, had arrived. They formed the basis for both resistance and revolution in academic practices. For a while, the analytical skills of the academic community were concentrated on the perils as much as the promises of a "digital history" (Cohen and Rosenzweig Digital).But as the Millennium turned, and the academic community itself spawned, inter alia, Google, the practical advantages of digitisation for history forced themselves on people. Google enabled the confident searching from a neutral place for things known and unknown; information moved to the user more easily in both time and space. The culture and technologies of gathering, retrieval, analysis, presentation and preservation altered dramatically and, as a result, the traditional powers of gatekeepers, institutions and professional historians was redistributed (De Groot). Access and abundance, arguably over-abundance, became the platform for the management of historical information. For the search for De Morgan, the door reopened. The increased global electronic access to extensive databases, catalogues, archives, and public records, as well as people who knew, or wanted to know, something, opened up opportunities that have been rapidly utilised and expanded over the last decade. Both professional and "amateur" historians moved into a space that made the previously difficult to know or unknowable now accessible.Inevitably, the development of digital newspaper archives was particularly crucial to seeking and finding John De Morgan. After some faulty starts in the early 2000s, characterised as a "wild west" and a "gold rush" (Fyfe 566), comprehensive digitised newspaper archives became available. While still not perfect, in terms of coverage and quality, it is a transforming technology. In the UK, the British Newspaper Archive (BNA)-in pursuit of the goal of the digitising of all UK newspapers-now has over 20 million pages. Each month presents some more of De Morgan. Similarly, in the US, Fulton History, a free newspaper archive run by retired computer engineer Tom Tryniski, now has nearly 40 million pages of New York newspapers. The almost daily footprints of De Morgan's radical life can now be seen, and the lives of the social networks within which he worked on both sides of the Atlantic, come easily into view even from a desk in New Zealand.The Internet also allows connections between researchers, both academic and 'public', bringing into reach resources not otherwise knowable: a Scottish genealogist with a mass of data on De Morgan's family; a Californian with the historian's pot of gold, a collection of over 200 letters received by De Morgan over a 50 year period; a Leeds Public Library blogger uncovering spectacular, but rarely seen, Victorian electoral cartoons which explain De Morgan's precipitate departure to the USA. These discoveries would not have happened without the infrastructure of the Internet, web site, blog, and e-mail. Just how different searching is can be seen in the following recent scenario, one of many now occurring. An addition in 2017 to the BNA shows a Master J.F. Morgan, aged 13, giving lectures on temperance in Ledbury in 1861, luckily a census year. A check of the census through Ancestry shows that Master Morgan was born in Lincolnshire in England, and a quick look at the 1851 census shows him living on an isolated blustery hill in Yorkshire in a railway encampment, along with 250 navvies, as his father, James, works on the construction of a tunnel. Suddenly, literally within the hour, the 20-year search for the childhood of John De Morgan, the supposedly Irish-born "gentleman who repudiated his class," has taken a significant turn.At the end of the 20th century, despite many efforts, John De Morgan was therefore a partial character bounded by what he said and didn't say, what others believed, and the intellectual and historiographical priorities, technologies, tools and processes of that century. In effect, he "lived" historically for a less than a quarter of his life. Without digitisation, much would have remained hidden; with it there has been, and will still be, much to find. De Morgan hid himself and the 20th century forgot him. But as the technologies have changed, and with it the structures of historical practice, the question that even De Morgan himself posed – "Who is John De Morgan?" – can now be addressed.SearchingDigitisation brings undoubted benefits, but its impact goes a long way beyond the improved search and detection capabilities, into a range of technological developments of communication and media that impact on practice, practitioners, institutions, and 'history' itself. A dominant issue for the academic community is the control of "history." De Groot, in his book Consuming History, considers how history now works in contemporary popular culture and, in particular, examines the development of the sometimes conflicted relationship between popular/public history and academic history, and the professional and the 'amateur' historian.The traditional legitimacy of professional historians has, many argue, been eroded by shifts in technology and access with the power of traditional cultural gatekeepers being undermined, bypassing the established control of institutions and professional historian. While most academics now embrace the primary tools of so-called "digital history," they remain, De Groot argues, worried that "history" is in danger of becoming part of a discourse of leisure, not a professionalized arena (18). An additional concern is the role of the global capitalist market, which is developing, or even taking over, 'history' as a brand, product and commodity with overt fiscal value. Here the huge impact of newspaper archives and genealogical software (sometimes owned in tandem) is of particular concern.There is also the new challenge of "navigating the chaos of abundance in online resources" (De Groot 68). By 2005, it had become clear that:the digital era seems likely to confront historians-who were more likely in the past to worry about the scarcity of surviving evidence from the past-with a new 'problem' of abundance. A much deeper and denser historical record, especially one in digital form seems like an incredible opportunity and a gift. But its overwhelming size means that we will have to spend a lot of time looking at this particular gift horse in mouth. (Cohen and Rosenzweig, Web).This easily accessible abundance imposes much higher standards of evidence on the historian. The acceptance within the traditional model that much could simply not be done or known with the resources available meant that there was a greater allowance for not knowing. But with a search button and public access, democratizing the process, the consumer as well as the producer can see, and find, for themselves.Taking on some of these challenges, Zaagsma, having reminded us that the history of digital humanities goes back at least 60 years, notes the need to get rid of the "myth that historical practice can be uncoupled from technological, and thus methodological developments, and that going digital is a choice, which, I cannot emphasis strongly enough, it is not" (14). There is no longer a digital history which is separate from history, and with digital technologies that are now ubiquitous and pervasive, historians have accepted or must quickly face a fundamental break with past practices. However, also noting that the great majority of archival material is not digitised and is unlikely to be so, Zaagsma concludes that hybridity will be the "new normal," combining "traditional/analogue and new/digital practices at least in information gathering" (17).ConclusionA decade on from Cohen and Rozenzweig's "Perils and Promises," the digital is a given. Both historical practice and historians have changed, though it is a work in progress. An early pioneer of the use of computers in the humanities, Robert Busa wrote in 1980 that "the principal aim is the enhancement of the quality, depth and extension of research and not merely the lessening of human effort and time" (89). Twenty years later, as Google was launched, Jordanov, taking on those who would dismiss public history as "mere" popularization, entertainment or propaganda, argued for the "need to develop coherent positions on the relationships between academic history, the media, institutions…and popular culture" (149). As the digital turn continues, and the SEARCH button is just one part of that, all historians-professional or "amateur"-will take advantage of opportunities that technologies have opened up. Looking across the whole range of transformations in recent decades, De Groot concludes: "Increasingly users of history are accessing the past through complex and innovative media and this is reconfiguring their sense of themselves, the world they live in and what history itself might be about" (310). ReferencesAllen, Rob. "'The People's Advocate, Champion and Friend': The Transatlantic Career of Citizen John De Morgan (1848-1926)." Historical Research 86.234 (2013): 684-711.Busa, Roberto. "The Annals of Humanities Computing: The Index Thomisticus." Computers and the Humanities 14.2 (1980): 83-90.Cohen, Daniel J., and Roy Rosenzweig. Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web. Philadelphia, PA: U Pennsylvania P, 2005.———. "Web of Lies? Historical Knowledge on the Internet." First Monday 10.12 (2005).De Groot, Jerome. Consuming History: Historians and Heritage in Contemporary Popular Culture. 2nd ed. Abingdon: Routledge, 2016.De Morgan, John. Who Is John De Morgan? A Few Words of Explanation, with Portrait. By a Free and Independent Elector of Leicester. London, 1877.Fyfe, Paul. "An Archaeology of Victorian Newspapers." Victorian Periodicals Review 49.4 (2016): 546-77."Interchange: The Promise of Digital History." Journal of American History 95.2 (2008): 452-91.Johnston, Leslie. "Before You Were Born, We Were Digitizing Texts." The Signal 9 Dec. 2012, Library of Congress. <https://blogs.loc.gov/thesignal/292/12/before-you-were-born-we-were-digitizing-texts>.Jordanova, Ludmilla. History in Practice. 2nd ed. London: Arnold, 2000.Kazin, Michael. A Godly Hero: The Life of William Jennings Bryan. New York: Anchor Books, 2006.Saint-Clair, Sylvester. Sketch of the Life and Labours of J. De Morgan, Elocutionist, and Tribune of the People. Leeds: De Morgan & Co., 1880.Vincent, William T. The Records of the Woolwich District, Vol. II. Woolwich: J.P. Jackson, 1890.Zaagsma, Gerban. "On Digital History." BMGN-Low Countries Historical Review 128.4 (2013): 3-29.
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Contributors. "ACKNOWLEDGMENTS." Acta Medica Philippina 54, no. 6 (December 26, 2020). http://dx.doi.org/10.47895/amp.v54i6.2626.
Full textAbstract:
The UP Manila Health Policy Development Hub recognizes the invaluable contribution of the participants in theseries of roundtable discussions listed below:
RTD: Beyond Hospital Beds: Equity,quality, and service1. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, UP Manila2. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, UP Manila3. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, UP Manila4. Hilton Y. Lam, MHA, PhD, Chair, UP Manila HealthPolicy Development Hub; Director, Institute of HealthPolicy and Development Studies, University of thePhilippines Manila5. Irma L. Asuncion, MHA, CESO III, Director IV,Bureau of Local Health Systems Development,Department of Health6. Renely Pangilinan-Tungol, MD, CFP, MPM-HSD,Municipal Health Officer, San Fernando, Pampanga7. Salome F. Arinduque, MD, Galing-Pook AwardeeRepresentative, Municipal Health Officer, San Felipe,Zambales8. Carmelita C. Canila, MD, MPH, Faculty, College ofPublic Health, University of the Philippines Manila9. Lester M. Tan, MD, MPH, Division Chief, Bureau ofLocal Health System Development, Department ofHealth10. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation (ZFF)11. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization12. Jesus Randy O. Cañal, MD, FPSO-HNS, AssociateDirector, Medical and Regulatory Affairs, AsianHospital and Medical Center13. Christian Edward L. Nuevo, Health Policy and SystemsResearch Fellow, Health Policy Development andPlanning Bureau, Department of Health14. Paolo Victor N. Medina, MD, Assistant Professor 4,College of Medicine, University of the PhilippinesManila15. Jose Rafael A. Marfori, MD, Special Assistant to theDirector, Philippine General Hospital16. Maria Teresa U. Bagaman, Committee Chair, PhilippineSociety for Quality, Inc.17. Maria Theresa G. Vera, MSc, MHA, CESO III, DirectorIV, Health Facility Development Bureau, Departmentof Health18. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, Collegeof Medicine, University of the Philippines Manila19. Fevi Rose C. Paro, Faculty, Department of Communityand Environmental Resource Planning, University ofthe Philippines Los Baños20. Maria Rosa C. Abad, MD, Medical Specialist III,Standard Development Division, Health Facilities andServices Regulation21. Yolanda R. Robles, RPh, PhD, Faculty, College ofPharmacy, University of the Philippines Manila22. Jaya P. Ebuen, RN, Development Manager Officer,CHDMM, Department of Health23. Josephine E. Cariaso, MA, RN, Assistant Professor,College of Nursing, University of the Philippines Manila24. Diana Van Daele, Programme Manager, CooperationSection, European Union25. Maria Paz de Sagun, Project Management Specialist,USAID26. Christopher Muñoz, Member, Yellow Warriors SocietyPhilippinesRTD: Health services and financingroles: Population based- andindividual-based1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Mario C. Villaverde, Undersecretary, Health Policyand Development Systems and Development Team,Department of Health6. Jaime Z. Galvez Tan, MD, Former Secretary, Department of Health7. Marvin C. Galvez, MD, OIC Division Chief, BenefitsDevelopment and Research Department, PhilippineHealth Insurance Corporation8. Alvin B. Caballes, MD, MPE, MPP, Faculty, Collegeof Medicine, University of the Philippines Manila9. Carlos D. Da Silva, Executive Director, Association ofMunicipal Health Maintenance Organization of thePhilippines, Inc.10. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation (ZFF)
11. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization12. Salome F. Arinduque, MD, Galing-Pook AwardeeRepresentative, Municipal Health Officer, San Felipe,Zambales13. Michael Ralph M. Abrigo, PhD, Research Fellow,Philippine Institute for Developmental Studies14. Oscar D. Tinio, MD, Committee Chair, Legislation,Philippine Medical Association15. Rogelio V. Dazo, Jr., MD, FPCOM, Legislation,Philippine Medical Association16. Ligaya V. Catadman, MM, Officer-in-charge, HealthPolicy Development and Planning Bureau, Department of Health17. Maria Fatima Garcia-Lorenzo, President, PhilippineAlliance of Patients Organization18. Tomasito P. Javate, Jr, Supervising Economic DevelopmentSpecialist, Health Nutrition and Population Division,National Economic and Development Authority19. Josefina Isidro-Lapena, MD, National Board ofDirector, Philippine Academy of Family Physicians20. Maria Eliza Ruiz-Aguila, MPhty, PhD, Dean, Collegeof Allied Medical Professions, University of thePhilippines Manila21. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, College ofMedicine, University of the Philippines Manila22. Maria Paz P. Corrales, MD, MHA, MPA, Director III,Department of Health-National Capital Region23. Karin Estepa Garcia, MD, Executive Secretary, PhilippineAcademy of Family Physicians24. Adeline A. Mesina, MD, Medical Specialist III,Philippine Health Insurance Corporation25. Glorey Ann P. Alde, RN, MPH, Research Fellow,Department of HealthRTD: Moving towards provincelevel integration throughUniversal Health Care Act1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Mario C. Villaverde, Undersecretary of Health, HealthPolicy and Development Systems and DevelopmentTeam, Department of Health6. Ferdinand A. Pecson, Undersecretary and ExecutiveDirector, Public Private Partnership Center7. Rosanna M. Buccahan, MD, Provincial Health Officer,Bataan Provincial Office8. Lester M. Tan, MD, Division Chief, Bureau of LocalHealth System Development, Department of Health9. Ernesto O. Domingo, MD, FPCP, FPSF, FormerChancellor, University of the Philippines Manila10. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization11. Leslie Ann L. Luces, MD, Provincial Health Officer,Aklan12. Rene C. Catan, MD, Provincial Health Officer, Cebu13. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation14. Jose Rafael A. Marfori, MD, Special Assistant to theDirector, Philippine General Hospital15. Jesus Randy O. Cañal, MD, FPSO-HNS, Consultant,Asian Hospital and Medical Center16. Ramon Paterno, MD, Member, Universal Health CareStudy Group, University of the Philippines Manila17. Mayor Eunice U. Babalcon, Mayor, Paranas, Samar18. Zorayda E. Leopando, MD, Former President,Philippine Academy of Family Physicians19. Madeleine de Rosas-Valera, MD, MScIH, SeniorTechnical Consultant, World Bank20. Arlene C. Sebastian, MD, Municipal Health Officer,Sta. Monica, Siargao Island, Mindanao21. Rizza Majella L. Herrera, MD, Acting Senior Manager,Accreditation Department, Philippine Health InsuranceCorporation22. Alvin B. Caballes, MD, MPE, MPP, Faculty, Collegeof Medicine, University of the Philippines Manila23. Pres. Policarpio B. Joves, MD, MPH, MOH, FPAFP,President, Philippine Academy of Family Physicians24. Leilanie A. Nicodemus, MD, Board of Director,Philippine Academy of Family Physicians25. Maria Paz P. Corrales, MD, MHA, MPA, Director III,National Capital Region Office, Department of Health26. Dir. Irma L. Asuncion, MD, MHA, CESO III, DirectorIV, Bureau of Local Health Systems Development,Department of Health27. Bernard B. Argamosa, MD, Mental Health Representative, National Center for Mental Health28. Flerida Chan, Chief, Poverty Reduction Section, JapanInternational Cooperation Agency29. Raul R. Alamis, Chief Health Program Officer, ServiceDelivery Network, Department of Health30. Mary Anne Milliscent B. Castro, Supervising HealthProgram Officer, Department of Health
31. Marikris Florenz N. Garcia, Project Manager, PublicPrivate Partnership Center32. Mary Grace G. Darunday, Supervising Budget andManagement Specialist, Budget and Management Bureaufor the Human Development Sector, Department ofBudget and Management33. Belinda Cater, Senior Budget and Management Specialist,Department of Budget and Management34. Sheryl N. Macalipay, LGU Officer IV, Bureau of LocalGovernment and Development, Department of Interiorand Local Government35. Kristel Faye M. Roderos, OTRP, Representative,College of Allied Medical Professions, University ofthe Philippines Manila36. Jeffrey I. Manalo, Director III, Policy Formulation,Project Evaluation and Monitoring Service, PublicPrivate Partnership Center37. Atty. Phebean Belle A. Ramos-Lacuna, Division Chief,Policy Formulation Division, Public Private PartnershipCenter38. Ricardo Benjamin D. Osorio, Planning Officer, PolicyFormulation, Project Evaluation and MonitoringService, Public Private Partnership Center39. Gladys Rabacal, Program Officer, Japan InternationalCooperation Agency40. Michael Angelo Baluyot, Nurse, Bataan Provincial Office41. Jonna Jane Javier Austria, Nurse, Bataan Provincial Office42. Heidee Buenaventura, MD, Associate Director, ZuelligFamily Foundation43. Dominique L. Monido, Policy Associate, Zuellig FamilyFoundation44. Rosa Nene De Lima-Estellana, RN, MD, Medical OfficerIII, Department of Interior and Local Government45. Ma Lourdes Sangalang-Yap, MD, FPCR, Medical OfficerIV, Department of Interior and Local Government46. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, College ofMedicine, University of the Philippines Manila47. Colleen T. Francisco, Representative, Department ofBudget and Management48. Kristine Galamgam, Representative, Department ofHealth49. Fides S. Basco, Officer-in-charge, Chief Budget andManagement Specialist, Development of Budget andManagementRTD: Health financing: Co-paymentsand Personnel1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the Philippines Manila5. Ernesto O. Domingo, MD, Professor Emeritus,University of the Philippines Manila6. Irma L. Asuncion, MHA, CESO III, Director IV,Bureau of Local Health Systems Development,Department of Health7. Lester M. Tan, MD, MPH, Division Chief, Bureau ofLocal Health System Development, Department ofHealth8. Marvin C. Galvez, MD, OIC Division Chief, BenefitsDevelopment and Research Department, PhilippineHealth Insurance Corporation9. Adeline A. Mesina, MD, Medical Specialist III, BenefitsDepartment and Research Department, PhilippineHealth Insurance Corporation10. Carlos D. Da Silva, Executive Director, Association ofHealth Maintenance Organization of the Philippines,Inc.11. Ma. Margarita Lat-Luna, MD, Deputy Director, FiscalServices, Philippine General Hospital12. Waldemar V. Galindo, MD, Chief of Clinics, Ospital ngMaynila13. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization14. Rogelio V. Dazo, Jr., MD, Member, Commission onLegislation, Philippine Medical Association15. Aileen R. Espina, MD, Board Member, PhilippineAcademy of Family Physicians16. Anthony R. Faraon, MD, Vice President, Zuellig FamilyFoundation17. Jesus Randy O. Cañal, Associate Director, Medical andRegulatory Affairs, Asian Hospital and Medical Center18. Jared Martin Clarianes, Technical Officer, Union of LocalAuthorities of the Philippines19. Leslie Ann L. Luces, MD, Provincial Health Officer,Aklan20. Rosa Nene De Lima-Estellana, MD, Medical OfficerIII, Department of the Interior and Local Government21. Ma. Lourdes Sangalang-Yap, MD, Medical Officer V,Department of the Interior and Local Government
22. Dominique L. Monido, Policy Associate, Zuellig FamilyFoundation23. Krisch Trine D. Ramos, MD, Medical Officer, PhilippineCharity Sweepstakes Office24. Larry R. Cedro, MD, Assistant General Manager, CharitySector, Philippine Charity Sweepstakes Office25. Margarita V. Hing, Officer in Charge, ManagementDivision, Financial Management Service Sector,Department of Health26. Dr. Carlo Irwin Panelo, Associate Professor, College ofMedicine, University of the Philippines Manila27. Dr. Angelita V. Larin, Faculty, College of Public Health,University of the Philippines Manila28. Dr. Abdel Jeffri A. Abdulla, Chair, RegionalizationProgram, University of the Philippines Manila29. Christopher S. Muñoz, Member, Philippine Alliance ofPatients Organization30. Gemma R. Macatangay, LGOO V, Department ofInterior and Local Government – Bureau of LocalGovernment Development31. Dr. Narisa Portia J. Sugay, Acting Vice President, QualityAssurance Group, Philippine Health InsuranceCorporation32. Maria Eliza R. Aguila, Dean, College of Allied MedicalProfessions, University of the Philippines Manila33. Angeli A. Comia, Manager, Zuellig Family Foundation34. Leo Alcantara, Union of Local Authorities of thePhilippines35. Dr. Zorayda E. Leopando, Former President, PhilippineAcademy of Family Physicians36. Dr. Emerito Jose Faraon, Faculty, College of PublicHealth, University of the Philippines Manila37. Dr. Carmelita C. Canila, Faculty, College of PublicHealth, University of the Philippines ManilaRTD: Moving towards third partyaccreditation for health facilities1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Rizza Majella L. Herrera, MD, Acting SeniorManager, Accreditation Department, Philippine HealthInsurance Corporation6. Bernadette C. Hogar-Manlapat, MD, FPBA, FPSA,FPSQua, MMPA, President and Board of Trustee,Philippine Society for Quality in Healthcare, Inc.7. Waldemar V. Galindo, MD, Chief of Clinics, Ospital ngMaynila8. Amor. F. Lahoz, Division Chief, Promotion andDocumentation Division, Department of Trade andIndustry – Philippine Accreditation Bureau9. Jenebert P. Opinion, Development Specialist, Department of Trade and Industry – Philippine AccreditationBureau10. Maria Linda G. Buhat, President, Association ofNursing Service Administrators of the Philippines, Inc.11. Bernardino A. Vicente, MD, FPPA, MHA, CESOIV, President, Philippine Tripartite Accreditation forHealth Facilities, Inc.12. Atty. Bu C. Castro, MD, Board Member, PhilippineHospital Association13. Cristina Lagao-Caalim, RN, MAN, MHA, ImmediatePast President and Board of Trustee, Philippine Societyfor Quality in Healthcare, Inc.14. Manuel E. Villegas Jr., MD, Vice Treasurer and Board ofTrustee, Philippine Society for Quality in Healthcare,Inc.15. Michelle A. Arban, Treasurer and Board of Trustee,Philippine Society for Quality in Healthcare, Inc.16. Joselito R. Chavez, MD, FPCP, FPCCP, FACCP,CESE, Deputy Executive Director, Medical Services,National Kidney and Transplant Institute17. Blesilda A. Gutierrez, CPA, MBA, Deputy ExecutiveDirector, Administrative Services, National Kidney andTransplant Institute18. Eulalia C. Magpusao, MD, Associate Director, Qualityand Patient Safety, St. Luke’s Medical Centre GlobalCity19. Clemencia D. Bondoc, MD, Auditor, Association ofMunicipal Health Officers of the Philippines20. Jesus Randy O. Cañal, MD, FPSO-HNS, AssociateDirector, Medical and Regulatory Affairs, Asian Hospitaland Medical Center21. Maria Fatima Garcia-Lorenzo, President, PhilippineAlliance of Patient Organizations22. Leilanie A. Nicodemus, MD, Board of Directors,Philippine Academy of Family Physicians23. Policarpio B. Joves Jr., MD, President, PhilippineAcademy of Family Physicians24. Kristel Faye Roderos, Faculty, College of Allied MedicalProfessions, University of the Philippines Manila25. Ana Melissa Hilvano-Cabungcal, MD, AssistantAssociate Dean, College of Medicine, University of thePhilippines Manila26. Christopher Malorre Calaquian, MD, Faculty, Collegeof Medicine, University of the Philippines Manila27. Emerito Jose C. Faraon, MD, Faculty, College ofPublic Health, University of the Philippines Manila
28. Carmelita Canila, Faculty, College of Public Health,University of the Philippines Manila29. Oscar D. Tinio, MD, Representative, Philippine MedicalAssociation30. Farrah Rocamora, Member, Philippine Society forQuality in Healthcare, IncRTD: RA 11036 (Mental Health Act):Addressing Mental Health Needs ofOverseas Filipino Workers1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Leonardo R. Estacio, Jr., MCD, MPH, PhD, UPManila Health Policy Development Hub; College ofArts and Sciences, UP Manila3. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD, UPManila Health Policy Development Hub; College ofPublic Health, UP Manila4. Michael Antonio F. Mendoza, DDM, UP ManilaHealth Policy Development Hub; College of Dentistry,UP Manila5. Frances Prescilla L. Cuevas, RN, MAN, Director,Essential Non-Communicable Diseases Division,Department of Health6. Maria Teresa D. De los Santos, Workers Education andMonitoring Division, Philippine Overseas EmploymentAdministration7. Andrelyn R. Gregorio, Policy Program and Development Office,Overseas Workers Welfare Administration8. Sally D. Bongalonta, MA, Institute of Family Life &Children Studies, Philippine Women’s University9. Consul Ferdinand P. Flores, Department of ForeignAffairs10. Jerome Alcantara, BLAS OPLE Policy Center andTraining Institute11. Andrea Luisa C. Anolin, Commission on FilipinoOverseas12. Bernard B. Argamosa, MD, DSBPP, National Centerfor Mental Health13. Agnes Joy L. Casino, MD, DSBPP, National Centerfor Mental Health14. Ryan Roberto E. Delos Reyes, Employment Promotionand Workers Welfare Division, Department of Laborand Employment15. Sheralee Bondad, Legal and International AffairsCluster, Department of Labor and Employment16. Rhodora A. Abano, Center for Migrant Advocacy17. Nina Evita Q. Guzman, Ugnayan at Tulong para saMaralitang Pamilya (UGAT) Foundation, Inc.18. Katrina S. Ching, Ugnayan at Tulong para sa MaralitangPamilya (UGAT) Foundation, Inc.RTD: (Bitter) Sweet Smile of Filipinos1. Dr. Hilton Y. Lam, Institute of Health Policy andDevelopment Studies, NIH2. Dr. Leonardo R. Estacio, Jr., College of Arts andSciences, UP Manila3. Dr. Ma. Esmeralda C. Silva, College of Public Health,UP Manila4. Dr. Michael Antonio F. Mendoza, College of Dentistry,UP Manila5. Dr. Ma. Susan T. Yanga-Mabunga, Department ofHealth Policy & Administration, UP Manila6. Dr. Danilo L. Magtanong, College of Dentistry, UPManila7. Dr. Alvin Munoz Laxamana, Philippine DentalAssociation8. Dr. Fina Lopez, Philippine Pediatric Dental Society, Inc9. Dr. Artemio Licos, Jr.,Department of Health NationalAssociation of Dentists10. Dr. Maria Jona D. Godoy, Professional RegulationCommission11. Ms. Anna Liza De Leon, Philippine Health InsuranceCorporation12. Ms. Nicole Sigmuend, GIZ Fit for School13. Ms. Lita Orbillo, Disease Prevention and Control Bureau14. Mr. Raymond Oxcena Akap sa Bata Philippines15. Dr. Jessica Rebueno-Santos, Department of CommunityDentistry, UP Manila16. Ms. Maria Olivine M. Contreras, Bureau of LocalGovernment Supervision, DILG17. Ms. Janel Christine Mendoza, Philippine DentalStudents Association18. Mr. Eric Raymund Yu, UP College of DentistryStudent Council19. Dr. Joy Memorando, Philippine Pediatric Society20. Dr. Sharon Alvarez, Philippine Association of DentalColleges
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Harley, Ross. "Light-Air-Portals: Visual Notes on Differential Mobility." M/C Journal 12, no. 1 (February 27, 2009). http://dx.doi.org/10.5204/mcj.132.
Full textAbstract:
0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidity of mobilized publics in the go-go world of commercial aviation.In this photo essay I'd like to pull a different thread and ask whether it's possible to think of aeromobility in terms of “uneven, differential mobility” (Bissell 280). What would it mean to consider waiting and stillness as forms of bodily engagement operating over a number of different scales and temporalities of movement and anticipation, without privileging speed over stillness? Instead of thinking mobility and stillness as diametrically opposed, can we instead conceive of them as occupying a number of different spatio-temporal registers in a dynamic range of mobility? The following is a provisional "visual ethnography" constructed from photographs of air terminal light boxes I have taken over the last five years (in Amsterdam, London, Chicago, Frankfurt, and Miami). Arranged into a "taxonomy of differentiality", each of these images comes from a slightly different angle, mode or directionality. Each view of these still images displayed in billboard-scale light-emitting devices suggests that there are multiple dimensions of visuality and bodily experience at play in these image-objects. The airport is characterized by an abundance of what appears to be empty space. This may be due to the sheer scale of mass transport, but it also arises from a system of active and non-active zones located throughout contemporary terminals. This photo series emphasises the "emptiness" of these overlooked left-over spaces that result from demands of circulation and construction.1. We Move the WorldTo many travellers, airport gate lounges and their surrounding facilities are loaded with a variety of contradictory associations and affects. Their open warehouse banality and hard industrial sterility tune our bodies to the vast technical and commercial systems that are imbricated through almost every aspect of contemporary everyday life.Here at the departure gate the traveller's body comes to a moment's rest. They are granted a short respite from the anxious routines of check in, body scans, security, information processing, passport scanning, itineraries, boarding procedures and wayfaring the terminal. The landside processing system deposits them at this penultimate point before final propulsion into the invisible airways that pipe them into their destination. We hear the broadcasting of boarding times, check-in times, name's of people that break them away from stillness, forcing people to move, to re-arrange themselves, or to hurry up. Along the way the passenger encounters a variety of techno-spatial experiences that sit at odds with the overriding discourse of velocity, speed and efficiency that lie at the centre of our social understanding of air travel. The airline's phantasmagorical projections of itself as guarantor and enabler of mass mobilities coincides uncomfortably with the passenger's own wish-fulfilment of escape and freedom.In this we can agree with the designer Bruce Mau when he suggests that these projection systems, comprised of "openings of every sort — in schedules, in urban space, on clothes, in events, on objects, in sightlines — are all inscribed with the logic of the market” (Mau 7). The advertising slogans and images everywhere communicate the dual concept that the aviation industry can deliver the world to us on time while simultaneously porting us to any part of the world still willing to accept Diners, VISA or American Express. At each point along the way these openings exhort us to stop, to wait in line, to sit still or to be patient. The weird geographies depicted by the light boxes appear like interpenetrating holes in space and time. These travel portals are strangely still, and only activated by the impending promise of movement.Be still and relax. Your destination is on its way. 2. Attentive AttentionAlongside the panoramic widescreen windows that frame the choreography of the tarmac and flight paths outside, appear luminous advertising light boxes. Snapped tightly to grid and locked into strategic sightlines and thoroughfares, these wall pieces are filled with a rotating menu of contemporary airport haiku and ersatz Swiss graphic design.Mechanically conditioned air pumped out of massive tubes creates the atmosphere for a very particular amalgam of daylight, tungsten, and fluorescent light waves. Low-oxygen-emitting indoor plants are no match for the diesel-powered plant rooms that maintain the constant flow of air to every nook and cranny of this massive processing machine. As Rem Koolhaas puts it, "air conditioning has launched the endless building. If architecture separates buildings, air conditioning unites them" (Koolhaas). In Koolhaas's lingo, these are complex "junkspaces" unifying, colliding and coalescing a number of different circulatory systems, temporalities and mobilities.Gillian Fuller reminds us there is a lot of stopping and going and stopping in the global circulatory system typified by air-terminal-space.From the packing of clothes in fixed containers to strapping your belt – tight and low – stillness and all its requisite activities, technologies and behaviours are fundamental to the ‘flow’ architectures that organize the motion of the globalizing multitudes of today (Fuller, "Store" 63). It is precisely this functional stillness organised around the protocols of store and forward that typifies digital systems, the packet switching of network cultures and the junkspace of airports alike.In these zones of transparency where everything is on view, the illuminated windows so proudly brought to us by J C Decaux flash forward to some idealized moment in the future. In this anticipatory moment, the passenger's every fantasy of in-flight service is attended to. The ultimate in attentiveness (think dimmed lights, soft pillows and comfy blankets), this still image is captured from an improbable future suspended behind the plywood and steel seating available in the moment —more reminiscent of park benches in public parks than the silver-service imagined for the discerning traveller.3. We Know ChicagoSelf-motion is itself a demonstration against the earth-binding weight of gravity. If we climb or fly, our defiance is greater (Appleyard 180).The commercial universe of phones, cameras, computer network software, financial instruments, and an array of fancy new gadgets floating in the middle of semi-forgotten transit spaces constitutes a singular interconnected commercial organism. The immense singularity of these claims to knowledge and power loom solemnly before us asserting their rights in the Esperanto of "exclusive rollover minutes", "nationwide long distance", "no roaming charges" and insider local knowledge. The connective tissue that joins one part of the terminal to a commercial centre in downtown Chicago is peeled away, revealing techno-veins and tendrils reaching to the sky. It's a graphic view that offers none of the spectacular openness and flights of fancy associated with the transit lounges located on the departure piers and satellites. Along these circulatory ribbons we experience the still photography and the designer's arrangement of type to attract the eye and lure the body. The blobby diagonals of the telco's logo blend seamlessly with the skyscraper's ribbons of steel, structural exoskeleton and wireless telecommunication cloud.In this plastinated anatomy, the various layers of commercially available techno-space stretch out before the traveller. Here we have no access to the two-way vistas made possible by the gigantic transparent tube structures of the contemporary air terminal. Waiting within the less travelled zones of the circulatory system we find ourselves suspended within the animating system itself. In these arteries and capillaries the flow is spread out and comes close to a halt in the figure of the graphic logo. We know Chicago is connected to us.In the digital logic of packet switching and network effects, there is no reason to privilege the go over the stop, the moving over the waiting. These light box portals do not mirror our bodies, almost at a complete standstill now. Instead they echo the commercial product world that they seek to transfuse us into. What emerges is a new kind of relational aesthetics that speaks to the complex corporeal, temporal, and architectural dimensions of stillness and movement in transit zones: like "a game, whose forms, patterns and functions develop and evolve according to periods and social contexts” (Bourriaud 11). 4. Machine in the CaféIs there a possible line of investigation suggested by the fact that sound waves become visible on the fuselage of jet planes just before they break the sound barrier? Does this suggest that the various human senses are translatable one into the other at various intensities (McLuhan 180)?Here, the technological imaginary contrasts itself with the techno alfresco dining area enclosed safely behind plate glass. Inside the cafes and bars, the best businesses in the world roll out their biggest guns to demonstrate the power, speed and scale of their network coverage (Remmele). The glass windows and light boxes "have the power to arrest a crowd around a commodity, corralling them in chic bars overlooking the runway as they wait for their call, but also guiding them where to go next" (Fuller, "Welcome" 164). The big bulbous plane sits plump in its hangar — no sound barriers broken here. It reassures us that our vehicle is somewhere there in the network, resting at its STOP before its GO. Peeking through the glass wall and sharing a meal with us, this interpenetrative transparency simultaneously joins and separates two planar dimensions — machinic perfection on one hand, organic growth and death on the other (Rowe and Slutsky; Fuller, "Welcome").Bruce Mau is typical in suggesting that the commanding problem of the twentieth century was speed, represented by the infamous image of a US Navy Hornet fighter breaking the sound barrier in a puff of smoke and cloud. It has worked its way into every aspect of the design experience, manufacturing, computation and transport.But speed masks more than it reveals. The most pressing problem facing designers and citizens alike is growth — from the unsustainable logic of infinite growth in GDP to the relentless application of Moore's Law to the digital networks and devices that define contemporary society in the first world. The shift of emphasis from speed to growth as a time-based event with breaking points and moments of rupture has generated new possibilities. "Growth is nonlinear and unpredictable ... Few of us are ready to admit that growth is constantly shadowed by its constitutive opposite, that is equal partners with death” (Mau 497).If speed in part represents a flight from death (Virilio), growth invokes its biological necessity. In his classic study of the persistence of the pastoral imagination in technological America, The Machine in the Garden, Leo Marx charted the urge to idealize rural environments at the advent of an urban industrialised America. The very idea of "the flight from the city" can be understood as a response to the onslaught of technological society and it's deathly shadow. Against the murderous capacity of technological society stood the pastoral ideal, "incorporated in a powerful metaphor of contradiction — a way of ordering meaning and value that clarifies our situation today" (Marx 4). 5. Windows at 35,000 FeetIf waiting and stillness are active forms of bodily engagement, we need to consider the different layers of motion and anticipation embedded in the apprehension of these luminous black-box windows. In The Virtual Window, Anne Friedberg notes that the Old Norse derivation of the word window “emphasizes the etymological root of the eye, open to the wind. The window aperture provides ventilation for the eye” (103).The virtual windows we are considering here evoke notions of view and shelter, open air and sealed protection, both separation from and connection to the outside. These windows to nowhere allow two distinct visual/spatial dimensions to interface, immediately making the visual field more complex and fragmented. Always simultaneously operating on at least two distinct fields, windows-within-windows provide a specialized mode of spatial and temporal navigation. As Gyorgy Kepes suggested in the 1940s, the transparency of windows "implies more than an optical characteristic; it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations" (Kepes 77).The first windows in the world were openings in walls, without glass and designed to allow air and light to fill the architectural structure. Shutters were fitted to control air flow, moderate light and to enclose the space completely. It was not until the emergence of glass technologies (especially in Holland, home of plate glass for the display of commercial products) that shielding and protection also allowed for unhindered views (by way of transparent glass). This gives rise to the thesis that windows are part of a longstanding architectural/technological system that moderates the dual functions of transparency and separation. With windows, multi-dimensional planes and temporalities can exist in the same time and space — hence a singular point of experience is layered with many other dimensions. Transparency and luminosity "ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous" (Rowe and Slutsky 45). The light box air-portals necessitate a constant fluctuation and remediation that is at once multi-planar, transparent and "hard to read". They are informatic.From holes in the wall to power lunch at 35,000 feet, windows shape the manner in which light, information, sights, smells, temperature and so on are modulated in society. "By allowing the outside in and the inside out, [they] enable cosmos and construction to innocently, transparently, converge" (Fuller, "Welcome" 163). Laptop, phone, PDA and light box point to the differential mobilities within a matrix that traverses multiple modes of transparency and separation, rest and flight, stillness and speed.6. Can You Feel It?Increasingly the whole world has come to smell alike: gasoline, detergents, plumbing, and junk foods coalesce into the catholic smog of our age (Illich 47).In these forlorn corners of mobile consumption, the dynamic of circulation simultaneously slows and opens out. The surfaces of inscription implore us to see them at precisely the moment we feel unseen, unguided and off-camera. Can you see it, can you feel it, can you imagine the unimaginable, all available to us on demand? Expectation and anticipation give us something to look forward to, but we're not sure we want what's on offer.Air travel radicalizes the separation of the air traveller from ground at one instance and from the atmosphere at another. Air, light, temperature and smell are all screened out or technologically created by the terminal plant and infrastructure. The closer the traveller moves towards stillness, the greater the engagement with senses that may have been ignored by the primacy of the visual in so much of this circulatory space. Smell, hunger, tiredness, cold and hardness cannot be screened out.In this sense, the airplanes we board are terminal extensions, flying air-conditioned towers or groundscrapers jet-propelled into highways of the air. Floating above the horizon, immersed in a set of logistically ordained trajectories and pressurized bubbles, we look out the window and don't see much at all. Whatever we do see, it's probably on the screen in front of us which disconnects us from one space-time-velocity at the same time that it plugs us into another set of relations. As Koolhaas says, junkspace is "held together not by structure, but by skin, like a bubble" (Koolhaas). In these distended bubbles, the traveler momentarily occupies an uncommon transit space where stillness is privileged and velocity is minimized. The traveler's body itself is "engaged in and enacting a whole kaleidoscope of different everyday practices and forms" during the course of this less-harried navigation (Bissell 282).7. Elevator MusicsThe imaginary wheel of the kaleidoscope spins to reveal a waiting body-double occupying the projected territory of what appears to be a fashionable Miami. She's just beyond our reach, but beside her lies a portal to another dimension of the terminal's vascular system.Elevators and the networks of shafts and vents that house them, are to our buildings like veins and arteries to the body — conduits that permeate and structure the spaces of our lives while still remaining separate from the fixity of the happenings around them (Garfinkel 175). The terminal space contains a number of apparent cul-de-sacs and escape routes. Though there's no background music piped in here, another soundtrack can be heard. The Muzak corporation may douse the interior of the elevator with its own proprietary aural cologne, but at this juncture the soundscape is more "open". This functional shifting of sound from figure to ground encourages peripheral hearing, providing "an illusion of distended time", sonically separated from the continuous hum of "generators, ventilation systems and low-frequency electrical lighting" (Lanza 43).There is another dimension to this acoustic realm: “The mobile ecouteur contracts the flows of information that are supposed to keep bodies usefully and efficiently moving around ... and that turn them into functions of information flows — the speedy courier, the networking executive on a mobile phone, the scanning eyes of the consumer” (Munster 18).An elevator is a grave says an old inspector's maxim, and according to others, a mechanism to cross from one world to another. Even the quintessential near death experience with its movement down a long illuminated tunnel, Garfinkel reminds us, “is not unlike the sensation of movement we experience, or imagine, in a long swift elevator ride” (Garfinkel 191).8. States of SuspensionThe suspended figure on the screen occupies an impossible pose in an impossible space: half falling, half resting, an anti-angel for today's weary air traveller. But it's the same impossible space revealed by the airport and bundled up in the experience of flight. After all, the dimension this figures exists in — witness the amount of activity in his suspension — is almost like a black hole with the surrounding universe collapsing into it. The figure is crammed into the light box uncomfortably like passengers in the plane, and yet occupies a position that does not exist in the Cartesian universe.We return to the glossy language of advertising, its promise of the external world of places and products delivered to us by the image and the network of travel. (Remmele) Here we can go beyond Virilio's vanishing point, that radical reversibility where inside and outside coincide. Since everybody has already reached their destination, for Virilio it has become completely pointless to leave: "the inertia that undermines your corporeity also undermines the GLOBAL and the LOCAL; but also, just as much, the MOBILE and the IMMOBILE” (Virilio 123; emphasis in original).In this clinical corner of stainless steel, glass bricks and exit signs hangs an animated suspension that articulates the convergence of a multitude of differentials in one image. Fallen into the weirdest geometry in the world, it's as if the passenger exists in a non-place free of all traces. Flows and conglomerates follow one another, accumulating in the edges, awaiting their moment to be sent off on another trajectory, occupying so many spatio-temporal registers in a dynamic range of mobility.ReferencesAppleyard, Donald. "Motion, Sequence and the City." The Nature and Art of Motion. Ed. Gyorgy Kepes. New York: George Braziller, 1965. Adey, Peter. "If Mobility Is Everything Then It Is Nothing: Towards a Relational Politics of (Im)mobilities." Mobilities 1.1 (2006): 75–95. Bissell, David. “Animating Suspension: Waiting for Mobilities.” Mobilities 2.2 (2007): 277-298.Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Paris: Les Presses du Reel, 2002. Classen, Constance. “The Deodorized City: Battling Urban Stench in the Nineteenth Century.” Sense of the City: An Alternate Approach to Urbanism. Ed. Mirko Zardini. 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H2O and the Waters of Forgetfulness: Reflections on the Historicity of Stuff. Dallas: Dallas Institute of Humanities and Culture, 1985. Kepes, Gyorgy. Language of Vision. New York: Dover Publications, 1995 (1944). Koolhass, Rem. "Junkspace." Content. 6 Mar. 2009 ‹http://www.btgjapan.org/catalysts/rem.html›.Lanza, Joseph. "The Sound of Cottage Cheese (Why Background Music Is the Real World Beat!)." Performing Arts Journal 13.3 (Sep. 1991): 42-53. McLuhan, Marshall. “Is It Natural That One Medium Should Appropriate and Exploit Another.” McLuhan: Hot and Cool. Ed. Gerald Emanuel Stearn. Middlesex: Penguin, 1967. 172-182. Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. London: Oxford U P, 1964. Mau, Bruce. Life Style. Ed. Kyo Maclear with Bart Testa. London: Phaidon, 2000. Munster, Anna. Materializing New Media: Embodiment in Information Aesthetics. New England: Dartmouth, 2006. Pascoe, David. Airspaces. London: Reaktion, 2001. Pearman, Hugh. Airports: A Century of Architecture. New York: Abrams, 2004. Remmele, Mathias. “An Invitation to Fly: Poster Art in the Service of Civilian Air Travel.” Airworld: Design and Architecture for Air Travel. Ed. Alexander von Vegesack and Jochen Eisenbrand. Weil am Rhein: Vitra Design Museum, 2004. 230-262. Rowe, Colin, and Robert Slutsky. Transparency: Literal and Phenomenal. Perspecta 8 (1963): 45-54. Virilio, Paul. City of Panic. Trans. Julie Rose. Oxford: Berg, 2005.
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Sk, Farooq. "Journal Vol – 15 No -7, July 2020 Journal > Journal > Journal Vol – 15 No -7, July 2020 > Page 6 PERFORMANCE AND EMISSION CHARACTERISTICS OF GASOLINE-ETHANOL BLENDS ON PFI-SI ENGINE Authors: D.Vinay Kumar ,G.Samhita Priyadarsini,V.Jagadeesh Babu,Y.Sai Varun Teja, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00051 admin July 26, 2020 Abstract: Alcohol based fuels can be produced from renewable energy sources and has the potential to reduce pollutant emissions due to their oxygenated nature. Lighter alcohols like ethanol and methanol are easily miscible with gasoline and by blending alcohols with gasoline; a part of conventional fuel can be replaced while contributing to fuel economy. Several researchers tested various ethanol blends on different engine test rigs and identified ethanol as one of the most promising ecofriendly fuels for spark ignition engine. Its properties high octane number, high latent heat of vaporization give better performance characteristics and reduces exhaust emissions compared to gasoline. This paper focuses on studying the effects of blending 50 of ethanol by volume with gasoline as it hardly needs engine modifications. Gasoline (E0) and E50 fuels were investigated experimentally on single-cylinder, four-stroke port fuel injection spark ignition engine by varying engine speed from 1500 rpm to 3500 rpm. Performance Characteristics like torque, brake power, specific fuel consumption, and volumetric efficiency and exhaust emissions such as HC, CO, CO2, NOx were studied.. Keywords: Ethanol,Emissions,Gasoline,Port fuel Injection, Refference: I Badrawada, I. G. G., and A. A. P. Susastriawan. “Influence of ethanol–gasoline blend on performance and emission of four-stroke spark ignition motorcycle.” Clean Technologies and Environmental Policy (2019): 1-6. II Doğan, Battal, et al. “The effect of ethanol-gasoline blends on performance and exhaust emissions of a spark ignition engine through exergy analysis.” Applied Thermal Engineering 120 (2017): 433-443. III Efemwenkiekie, U. Ka, et al. “Comparative Analysis of a Four Stroke Spark Ignition Engine Performance Using Local Ethanol and Gasoline Blends.” Procedia Manufacturing 35 (2019): 1079-1086. IV Galloni, E., F. Scala, and G. Fontana. “Influence of fuel bio-alcohol content on the performance of a turbo-charged, PFI, spark-ignition engine.” Energy 170 (2019): 85-92. V Hasan, Ahmad O., et al. “Impact of changing combustion chamber geometry on emissions, and combustion characteristics of a single cylinder SI (spark ignition) engine fueled with ethanol/gasoline blends.” Fuel 231 (2018): 197-203. VI Mourad, M., and K. Mahmoud. “Investigation into SI engine performance characteristics and emissions fuelled with ethanol/butanol-gasoline blends.” Renewable Energy 143 (2019): 762-771. VII Singh, Ripudaman, et al. “Influence of fuel injection strategies on efficiency and particulate emissions of gasoline and ethanol blends in a turbocharged multi-cylinder direct injection engine.” International Journal of Engine Research (2019): 1468087419838393. VIII Thakur, Amit Kumar, et al. “Progress in performance analysis of ethanol-gasoline blends on SI engine.” Renewable and Sustainable Energy Reviews 69 (2017): 324-340. View Download Journal Vol – 15 No -7, July 2020 CHARACTERIZATION OF MATERIALS FOR CUSTOMIZED AFO USING ADDITIVE MANUFACTURING Authors: Gamini Suresh,Nagarjuna Maguluri,Kunchala Balakrishna, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00052 admin July 26, 2020 Abstract: Neurodegenerative conditions and compressed nerves often cause an abnormal foot drop that affects an individual gait and make it difficult to walk normally. Ankle Foot Orthosis (AFO) is the medical device which is recommended for the patients to improve the walking ability and decrease the risk of falls. Custom AFOs provide better fit, comfort and performance than pre-manufactured ones. The technique of 3D-printing is suitable for making custom AFOs. Fused deposition modelling (FDM) is a 3D-printing method for custom AFO applications with the desired resistance and material deposition rate. Generally, FDM is a thermal process; therefore materials thermal behaviour plays an important role in optimizing the performance of the printed parts. The objective of this study is to evaluate the thermal behaviour of PLA, ABS, nylon and WF-PLA filaments before manufacturing the AFO components using the FDM method. In the study, the sequence of testing materials provides a basic measuring method to investigate AFO device parts thermal stability. Thermal analysis (TG/DTG and DSC) was carried out before 3D printing is to characterize the thermal stability of each material. Keywords: Additive Manufacturing,Ankle Foot Orthosis (AFO),FusedDeposition Modelling,ThermalAnalysis, Refference: I. J. Pritchett, “Foot drop: Background, Anatomy, Pathophysiology,” Medscape Drugs, Dis. Proced., vol. 350, no. apr27_6, p. h1736, 2014. II. J. Graham, “Foot drop: Explaining the causes, characteristics and treatment,” Br. J. Neurosci. Nurs., vol. 6, no. 4, pp. 168–172, 2010. III. Y. Feng and Y. Song, “The Categories of AFO and Its Effect on Patients With Foot Impair: A Systemic Review,” Phys. Act. Heal., vol. 1, no. 1, pp. 8–16, 2017. IV. J. H. P. Pallari, K. W. Dalgarno, J. Munguia, L. Muraru, L. Peeraer, S. Telfer, and J. Woodburn” Design and additive fabrication of foot and ankle-foot orthoses”21st Annual International Solid Freeform Fabrication Symposium – An Additive Manufacturing Conference, SFF 2010 (2010) 834-845 V. Y. Jin, Y. He, and A. Shih, “Process Planning for the Fuse Deposition Modeling of Ankle-Foot-Othoses,” Procedia CIRP, vol. 42, no. Isem Xviii, pp. 760–765, 2016. VI. R. K. Chen, Y. an Jin, J. Wensman, and A. Shih, “Additive manufacturing of custom orthoses and prostheses-A review,” Addit. Manuf., vol. 12, pp. 77–89, 2016. VII. A. D. Maso and F. Cosmi, “ScienceDirect 3D-printed ankle-foot orthosis : a design method,” Mater. Today Proc., vol. 12, pp. 252–261, 2019. VIII. B. Yuan et al., “Designing of a passive knee-assisting exoskeleton for weight-bearing,” in Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 2017, vol. 10463 LNAI, pp. 273–285. IX. R. Spina, B. Cavalcante, and F. Lavecchia, “Diment LE, Thompson MS, Bergmann JHM. Clinical efficacy and effectiveness of 3D printing: a systematic review.,” AIP Conf. Proc., vol. 1960, 2018. X. M. Srivastava, S. Maheshwari, T. K. Kundra, and S. Rathee, “ScienceDirect Multi-Response Optimization of Fused Deposition Modelling Process Parameters of ABS Using Response Surface Methodology ( RSM ) -Based Desirability Analysis,” Mater. Today Proc., vol. 4, no. 2, pp. 1972–1977, 2017. XI. E. Malekipour, S. Attoye, and H. El-Mounayri, “Investigation of Layer Based Thermal Behavior in Fused Deposition Modeling Process by Infrared Thermography,” Procedia Manuf., vol. 26, pp. 1014–1022, 2018. XII. A. Patar, N. Jamlus, K. Makhtar, J. Mahmud, and T. Komeda, “Development of dynamic ankle foot orthosis for therapeutic application,” Procedia Eng., vol. 41, no. Iris, pp. 1432–1440, 2012. XIII. Y. A. Jin, H. Li, Y. He, and J. Z. Fu, “Quantitative analysis of surface profile in fused deposition modelling,” Addit. Manuf., vol. 8, pp. 142–148, 2015. XIV. M. Walbran, K. Turner, and A. J. McDaid, “Customized 3D printed ankle-foot orthosis with adaptable carbon fibre composite spring joint,” Cogent Eng., vol. 3, no. 1, pp. 1–11, 2016. XV. N. Wierzbicka, F. Górski, R. Wichniarek, and W. Kuczko, “The effect of process parameters in fused deposition modelling on bonding degree and mechanical properties,” Adv. Sci. Technol. Res. J., vol. 11, no. 3, pp. 283–288, 2017. XVI. S. Farah, D. G. Anderson, and R. Langer, “Physical and mechanical properties of PLA, and their functions in widespread applications — A comprehensive review,” Adv. Drug Deliv. Rev., vol. 107, pp. 367–392, 2016. XVII. S. Wojtyła, P. Klama, and T. Baran, “Is 3D printing safe ? Analysis of the thermal treatment of thermoplastics : ABS , PLA , PET , and,” vol. 9624, no. April, 2017. XVIII. G. Cicala et al., “Polylactide / lignin blends,” J. Therm. Anal. Calorim., 2017. XIX. S. Y. Lee, I. A. Kang, G. H. Doh, H. G. Yoon, B. D. Park, and Q. Wu, “Thermal and mechanical properties of wood flour/talc-filled polylactic acid composites: Effect of filler content and coupling treatment,” J. Thermoplast. Compos. Mater., vol. 21, no. 3, pp. 209–223, 2008. XX. Y. Tao, H. Wang, Z. Li, P. Li, and S. Q. Shi, “Development and application ofwood flour-filled polylactic acid composite filament for 3d printing,” Materials (Basel)., vol. 10, no. 4, pp. 1–6, 2017. XXI. D. Lewitus, S. McCarthy, A. Ophir, and S. Kenig, “The effect of nanoclays on the properties of PLLA-modified polymers Part 1: Mechanical and thermal properties,” J. Polym. Environ., vol. 14, no. 2, pp. 171–177, 2006. XXII. H. J. Chung, E. J. Lee, and S. T. Lim, “Comparison in glass transition and enthalpy relaxation between native and gelatinized rice starches,” Carbohydr. Polym., vol. 48, no. 3, pp. 287–298, 2002. View Download Journal Vol – 15 No -7, July 2020 CFD STUDIES OF MIXING BEHAVIOR OF INERT SAND WITH BIOMASS IN FLUIDIZED BED Authors: B.J.M.Rao,K.V.N.S.Rao, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00053 admin July 26, 2020 Abstract: Agriculture deposits, which remains unused and often causes ecological problems, could play an important role as an energy source to meet energy needs in developing countries ‘ rural areas. Moreover, energy levels in these deposits are low and need to be elevated by introducing efficient operative conversion technologies to utilize these residues as fuels. In this context, the utilization of a fluidized bed innovation enables a wide range of non-uniform-sized low-grade fuels to be effectively converted into other forms of energy.This study was undertaken to evaluate the effectiveness of fluidized conversion method for transformation of agricultural by-products such as rice husk, sawdust, and groundnut shells into useful energy. The present investigation was conducted to know the mixing characteristics of sand and fuel have been found by conducting experiments with mixing ratio of rice husk (1:13), saw dust(1:5) and groundnut shells (1:12), the variation of particle movement in the bed and mixing characteristics are analyzed. The impact of sand molecule size on the fluidization speed of two biofuel and sand components is studied and recommended for groundnut shells using a sand molecule of 0.6 mm size and for rice husk, sawdust 0.4 mm sand particle size. Also, establish that the particle size of sand has a significant effect on mingling features in case of sawdust. In the next part of the investigation, the CFD simulations of the fluidized bed are done to investigate the mixing behavior of sand and biomass particles. A set of simulations are conducted by ANSYS FLUENT16; the state of the bed is the same as that of the test. The findings were presented with the volume fraction of sand and biomass particles in the form of contour plots. Keywords: Biomass,sand,mixing behavior,Volume Fraction,CFD model, Refference: I Anil Tekale, Swapna God, Balaji Bedre, Pankaj Vaghela, Ganesh Madake, Suvarna Labade (2017), Energy Production from Biomass: Review, International Journal of Innovative Science and Research Technology, Volume 2, Issue 10, ISSN No: – 2456 – 2165. II Anil Kumar, Nitin Kumar , Prashant Baredar , Ashish Shukla (2015), A review on biomass energy resources, potential, conversion and policy in India, Renewable and Sustainable Energy, Reviews 45-530-539. III Zhenglan Li, ZhenhuaXue (2015), Review of Biomass Energy utilization technology, 3rd International Conference on Material, Mechanical and Manufacturing Engineering. IV Abdeen Mustafa Omer (2011), Biomass energy resources utilisation and waste management, Journal of Agricultural Biotechnology and Sustainable Development Vol. 3(8), pp. 149 -170 V Rijul Dhingra, Abhinav Jain, Abhishek Pandey, and Srishti Mahajan (2014), Assessment of Renewable Energy in India, International Journal of Environmental Science and Development, Vol. 5, No. 5. VI Paulina Drożyner, Wojciech Rejmer, Piotr Starowicz,AndrzejKlasa, Krystyna A. Skibniewska (2013), Biomass as a Renewable Source of Energy, Technical Sciences 16(3), 211–220. VII Souvik Das, Swati Sikdar (2016), A Review on the Non-conventional Energy Sources in Indian Perspective, International Research Journal of Engineering and Technology (IRJET), Volume: 03 Issue: 02. VIII Maninder, Rupinderjit Singh Kathuria, Sonia Grover, Using Agricultural Residues as a Biomass Briquetting: An Alternative Source of Energy, IOSR Journal of Electrical and Electronics Engineering (IOSRJEEE), ISSN: 2278-1676 Volume 1, Issue 5 (July-Aug. 2012), PP 11-15. IX H.B.Goyal, DiptenduldDeal, R.C.Saxena (2006) Bio-fuels from thermochemical conversion of renewable resources: A review, Renewable and Sustainable Energy Reviews, Volume 12, Issue 2Pages 504-517. X Digambar H. Patil, J. K. Shinde(2017) A Review Paper on Study of Bubbling Fluidized Bed Gasifier, International Journal for Innovative Research in Science & Technology, Volume 4, Issue 4 XI Neil T.M. Duffy, John A. Eaton (2013) Investigation of factors affecting channelling in fixed-bed solid fuel combustion using CFD, Combustion and Flame 160, 2204–2220. XII Xing Wu, Kai Li, Feiyue and Xifeng Zhu (2017), Fluidization Behavior of Biomass Particles and its Improvement in a Cold Visualized Fluidized, Bio Resources 12(2), 3546-3559. XIII N.G. Deen, M. Van Sint Annaland, M.A. Van der Hoef, J.A.M. Kuipers (2007), Reviewof discrete particle modeling of fluidized beds, Chemical Engineering Science 62, 28 – 44. XIV BaskaraSethupathySubbaiah, Deepak Kumar Murugan, Dinesh Babu Deenadayalan, Dhamodharan.M.I (2014), Gasification of Biomass Using Fluidized Bed, International Journal of Innovative Research in Science, Engineering and Technology, Vol. 3, Issue 2. XV Priyanka Kaushal, Tobias Pröll and Hermann Hofbauer, Modelling and simulation of the biomass fired dual fluidized bed gasifier at Guessing/Austria. XVI Dawit DiribaGuta (2012), Assessment of Biomass Fuel Resource Potential and Utilization in Ethiopia: Sourcing Strategies for Renewable Energies, International Journal of Renewable Energy Research, Vol.2, and No.1. View Download Journal Vol – 15 No -7, July 2020 AN APPROACH FOR OPTIMISING THE FLOW RATE CONDITIONS OF A DIVERGENT NOZZLE UNDER DIFFERENT ANGULAR CONDITIONS Authors: Lam Ratna Raju ,Ch. Pavan Satyanarayana,Neelamsetty Vijaya Kavya, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00054 admin July 26, 2020 Abstract: A spout is a device which is used to offer the guidance to the gases leaving the burning chamber. Spout is a chamber which has a capability to change over the thermo-compound essentials created within the ignition chamber into lively vitality. The spout adjustments over the low speed, excessive weight, excessive temperature fuel in the consuming chamber into rapid gasoline of decrease weight and low temperature. An exciting spout is used if the spout weight volume is superior vehicles in supersonic airplane machines commonly combine a few sort of a distinctive spout. Our exam is surpassed on the use of programming like Ansys Workbench for arranging of the spout and Fluent 15.0 for separating the streams inside the spout. The events of staggers for the pipe formed spouts have been seen close by trade parameters for numerous considered one of a kind edges. The parameters underneath recognition are differentiated and that of shape spout for singular terrific edges by using keeping up the gulf, outlet and throat width and lengths of joined together and diverse quantities as same. The simultaneous component and throat expansiveness are kept regular over the cases.The surprise of stun became envisioned and the effects exhibited near closeness in direction of motion of Mach circle and its appearance plans as exposed in numerous preliminary considers on advancement in pipe molded particular spouts with assorted edges four°,7°, 10°, Occurrence of stun is seen with higher special factors Keywords: Nozzle,Supersonic Rocket Engine,Divergent edges, Refference: I. Varun, R.; Sundararajan,T.; Usha,R.; Srinivasan,ok.; Interaction among particle-laden under increased twin supersonic jets, Proceedings of the Institution of Mechanical Engineers, Part G: Journal of Aerospace Engineering 2010 224: 1005. II. Pandey,K.M.; Singh, A.P.; CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software, International Journal of Chemical Engineering and Applications, Vol. 1, No. 2, August 2010, ISSN: 2010-0221. III. Natta, Pardhasaradhi.; Kumar, V.Ranjith.; Rao, Dr. Y.V. Hanumantha.; Flow Analysis of Rocket Nozzle Using Computational Fluid Dynamics (Cfd), International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622,Vol. 2, Issue five, September- October 2012, pp.1226-1235. IV. K.M. Pandey, Member IACSIT and A.P. Singh. K.M.Pandey, Member, IACSIT and S.K.YadavK.M.Pandey and S.K.Yadav, ―CFD Analysis of a Rocket Nozzle with Two Inlets at Mach2.1, Journal of Environmental Research and Development, Vol 5, No 2, 2010, pp- 308-321. V. Shigeru Aso, ArifNur Hakim, Shingo Miyamoto, Kei Inoue and Yasuhiro Tani “ Fundamental examine of supersonic combustion in natural air waft with use of surprise tunnel” Department of Aeronautics and Astronautics, Kyushu University, Japan , Acta Astronautica 57 (2005) 384 – 389. VI. P. Padmanathan, Dr. S. Vaidyanathan, Computational Analysis of Shockwave in Convergent Divergent Nozzle, International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622 , Vol. 2, Issue 2,Mar-Apr 2012, pp.1597-1605. VII. Adamson, T.C., Jr., and Nicholls., J.A., “On the shape of jets from Highly below improved Nozzles into Still Air,” Journal of the Aerospace Sciences, Vol.26, No.1, Jan 1959, pp. Sixteen-24. VIII. Lewis, C. H., Jr., and Carlson, D. J., “Normal Shock Location in underneath increased Gas and Gas particle Jets,” AIAA Journal, Vol 2, No.4, April 1964, pp. 776-777. Books IX. Anderson, John D.Jr.; Modern Compressible Flow with Historical Perspective, Third edition, 2012 X. Versteeg. H.; Malalasekra.W.; An Introduction to Computational Fluid Dynamics The Finite Volume Method, Second Edition,2009. XI. H.K.Versteeg and W.Malala Sekhara, “An introduction to Computational fluid Dynamics”, British Library cataloguing pub, 4th version, 1996. XII. Lars Davidson, “An introduction to turbulenceModels”, Department of thermo and fluid dynamics, Chalmers college of era, Goteborg, Sweden, November, 2003. XIII. Karna s. Patel, “CFD analysis of an aerofoil”, International Journal of engineering studies,2009. XIV. K.M. Pandey, Member IACSIT and A.P. Singh “CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software,2017. XV. P. Parthiban, M. Robert Sagayadoss, T. Ambikapathi, Design And Analysis Of Rocket Engine Nozzle by way of the usage of CFD and Optimization of Nozzle parameters, International Journal of Engineering Research, Vol.Three., Issue.5., 2015 (Sept.-Oct.). View Download Journal Vol – 15 No -7, July 2020 DESIGN OPTIMIZATION OF DRIVE SHAFT FOR AN AUTOMOBILE APPLICATIONS Authors: Govindarajulu Eedara,P. N. Manthru Naik, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00055 admin July 26, 2020 Abstract: The driveshaft is a mechanical instrument that is used in automobiles. The other name of the drive shaft is driveshaft is prop shaft. It has one long cylindrical structure consist of two universal joints. By using the driveshaft it transfers the rotary motion to the differential by using the helical gearbox. By using this rotary motion the rare wheels will run. The 3dimensional Model of automobile drive Shaft is designed using CATIA parametric which enables product development processes and thereby brings about an optimum design. Now a day’s steel is using the best material for the driveshaft.In this paper replacing the composite materials (Kevlar, e-glass epoxy) instead of steel material and itreduces a considerable amount of weight when compared to the conventional steel shaft. The composite driveshaft have high modulus is designed by using CATIA software and tested in ANSYS for optimization of design or material check and providing the best datebook Keywords: The driveshaft ,CATIA,automobile,steel,composite materials,ANSYS,Kevla,e-glass epoxy, Refference: I A.R. Abu Talib, Aidy Ali, Mohamed A. Badie, Nur Azienda Che Lah, A.F. Golestaneh Developing a hybrid, carbon/glass-fiber-reinforced, epoxy composite automotive driveshaft, Material and Design, volume31, 2010, pp 514 – 521 II ErcanSevkat, Hikmet Tumer, Residual torsional properties of composite shafts subjected to impact Loadings, Materials, and design, volume – 51, 2013, pp -956-967. III H. Bayrakceken, S. Tasgetiren, I. Yavuz two cases of failure in the power transmission system on vehicles: A Universal joint yoke and a drive shaft, volume-14,2007,pp71. IV H.B.H. Gubran, Dynamics of hybrid shafts, Mechanics Research communication, volume – 32, 2005, pp – 368-374. V Shaw D, Simitses DJ, SheinmanI. Imperfection sensitivity of laminated cylindrical shells in torsion and axial compression. ComposStruct 1985; 4(3) pp:35–60. View Download Journal Vol – 15 No -7, July 2020 EXPERIMENTAL EVALUATION OF AN SI ENGINE USING E10 EQUIVALENT TERNARY GASOLINE- ALCOHOL BLENDS." JOURNAL OF MECHANICS OF CONTINUA AND MATHEMATICAL SCIENCES 15, no. 7 (July 26, 2020). http://dx.doi.org/10.26782/jmcms.2020.07.00056.
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