Journal articles on the topic 'Thing (Motion picture)'

Sixth Sense Technology is an innovative technology that will be further developed in the future and will be used for the benefit of human kind. It depends on the ideas of augmented reality and has all around carried out the view of it. The thing that makes it special is the way all the technologies are combined together to get a beneficial output. It partners advances like hand motion acknowledgment, picture catching, preparing, and control, and so forth OCR is to achieve change or change of a book or text-containing documents, for instance, deciphered substance, printed or sifted text pictures, into an editable electronic plan for more significant and further planning. Along these lines, our Goal is to carry part of the actual world to computerized world. Hand Gesture Recognition is in great demand today and can be executed with sixth sense technology.

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!

Private sector of culture of the Republic of Belarus: formation and development (1991–2008)In the given research the author on the basis of the historical and genetic analysis, methods of typology and deduction represents the basic segments of sphere of culture of the Belarus in which private subjects of culture have arisen and developed. The analysis of achievements and lacks of the given phenomenon is carried out, the factors influencing development are marked.The private sector in sphere of culture of Belarus in 1991–2008 could not create appreciable enough competition to official bodies. In cultural aspect only some projects became really platforms for experiment. First of all it concerns theatrical creativity, motion picture arts and painting.Development of a competition was not promoted by a state policy creating unequal conditions for development (tax privileges, rent decrease, etc.). Negative influence on formation of private noncommercial sector has rendered absence of the developed legislation on sponsorship and patronage of arts.Private establishments in culture sphere were created both the commercial organizations and individual businessmen, and the private persons far from business. The aspiration to profit not always was the main thing for businessmen. Private theatre in Gomel, a museum‑drugstore in Grodno, picture galleries were created by businessmen for the purposes more likely aesthetic, for confirmation of the status. The satisfaction of personal ambitions, the aspiration to be more available to public was the main thing for noncommercial projects. Most brightly it is appreciable in museum business (A. Bely, J. Gil’s museum).The projects arisen and developing on a wave of political disagreements in the country are present at a private sector of culture of the Belarus (cinéma vérité, museums).It is necessary to ascertain full absence in the country of private cinemas and film studios of game cinema, the organizations of national crafts, circuses.

Language Skill consists of four components of speaking, writing, listening and reading. The most important thing for children is speaking, because it provides enormous benefits, one of which so that children can interact with peers and others around them and add new knowledge. Storytelling is a popular communication medium for children, training their ability to focus attention for some time on certain objects. Children are able to express themselves through a process that makes them happy and fosters a sense of satisfaction that makes them more confident. Tale or story telling is something human, that is, fairy tale or story using eye, hearing, motion, and touching heart. The benefits of storytelling activities are: 1.) Storytelling can develop children's imagination, 2.) Increasing experience, 3.) Train concentration power, 4.) Increasing the vocabulary, 5.) Creating a familiar atmosphere, 6.) comprehending, 7.) Developing social feelings, 8.) Developing children's emotions, 9.) Practicing listening, 10.) Knowing positive and negative values. 11.) Adding knowledge Keywords: language, early childhood, story, picture

The author’s task is to draw attention once again to the philosophical and historical research method invented by A.Koyré, who, according to many, revolutionized historiography. The aim is to show the dependence of major scientific discoveries on fundamental transformations in philosophy. From this perspective, the scientific revolution of the seventeenth century is considered: Galileo’s discovery of the inertial movement was determined by a change in ideas about the Universe. The closed, hierarchically ordered world of Aristotle, characteristic of Antiquity and the Middle Ages, was replaced by a picture of an infinite Universe. In it, the same laws apply to celestial bodies and the Earth, and the circular motion of bodies is replaced by the motion along an infinite straight line, i. e., inertial. In this connection, Galileo’s Dialogues are carefully and thoroughly examined, in which he appears not only as a brilliant scientist, but also as a Socratically minded philosopher. The discoveries of Galileo and Newton are correctly evaluated as the creation of new foundations of scientific theory as compared with those previous, and the reasons for the appearance of such new foundations are explained. The novelty of the article also lies in the fact that the success of Koyré’s analysis is presented in the context of a dispute — a dialogue of the greatest scientific minds — of Aristotle and Plato, Descartes and Newton. Highly appreciating the achievements of A.Koyré, the author dwells on some of the shortcomings of his method: underestimation of social transformations and lack of attention to the reverse effect of science on philosophy. It also explains the limitations of the logical-deductive movement of thought in science, which determined philosophers, in particular, Kant, to come to the idea of the need to create meaningful logic, although an unknowable thing-in-itself appeared as the content.

Nowadays, as the system of scientific knowledge itself is radically implemented, the clear boundaries between practical and cognitive activity are eroded. In the system of scientific knowledge there are intensive processes of differentiation and integration of knowledge, complex researches, new ways and methods of cognition, methodological installations, new elements of the world picture are developed, the earlier unknown, more complex types of objects of cognition characterized by historicism, universality, the complexity of organizations that had not previously been subjected to theoretical modeling. One of such new directions in modern natural sciences and social development is presented in synergy. Synergetics is a direction and a general scientific program of interdisciplinary research that studies the process of self-organization and the formation of new orderly structures in open physical, biological, social, cognitive, informational, environmental and other systems. Synergetics gives a new image of the world. At the heart of the synergetic paradigm is a special relation to the problems of determinism and the emphasis on the processes occurring in the “exacerbation mode”. Determinism captures the activity of being and states that any thing is the result of changing other things, they are rooted in them. The synergetic paradigm rests on a certain conceptual-categorical apparatus, an entropy-categorical apparatus: an entropy approach, chaos, bifurcation, dissipative system, disaster, self-motion, and others. No less important in synergy is the category of self-organization. Self-organization – an active process of formation, reproduction, preservation or improvement of the organization of a complex dynamic system, ensuring its normal existence and functioning as a holistic entity The urgency of researching the processes of self-organization is explained primarily by the need to solve the problem of creating on completely new principles of cybernetic systems capable of performing functions that have traditionally been considered the exclusive prerogative of the human brain. The synergistic experimental paradigm involves a rethinking of the phenomenon of fluctuations (from lat fluctuation - fluctuations) – (mathematics) fluctuations or some kind of periodic change, a random deviation from the mean value physics) accidental deviation of the value of the physical quantity from the average in a certain area of space or at a certain point in time; (finance) exchange rate fluctuations; (medicine) a symptom of the presence of fluid in the closed cavity of the body, which is available palpation. The more complex the system, the more there are various types of fluctuations that can threaten its stability. The system passing through the stability threshold falls into the critical state of the bifurcation (the branch point). It is at such a point that the system becomes unstable in relation to fluctuations and can move to a new sphere of stability, that is, to the formation of a new state. Thus, synergy with its interdisciplinary arsenal of methods can become an adequate tool for analyzing the complex dynamic processes occurring in nature and in modern society.

Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.

At this time, security becomes an important thing that must be fulfilled. Especially a room that has valuables. Currently, the average room security only uses conventional methods, which are very easy to break. Therefore, An Intelligent security system is needed to maintain security in a room. An Intelligent security system is a system that can detect everything automatically and can be monitored remotely using the internet or better known as IoT (Internet of Things). This system uses a microcontroller as the primary part of running the system and is supported by several modules such as the PIR infrared motion sensor module, door window magnetic sensor module, camera module, and buzzer alarm module. The door & window magnetic sensor module serves as the first security, which, when the door/window is open, will give a warning via the buzzer alarm module. While the PIR infrared motion sensor module functions as second security which if motion is detected in a room, it will trigger the camera module to take pictures in the room. The results of this system will be sent directly to Android via the Telegram application using a bot. This Telegram bot will send data in text and images from the system to Android directly.

At this time, security becomes an important thing that must be fulfilled. Especially a room that has valuables. Currently, the average room security only uses conventional methods, which are very easy to break. Therefore, An Intelligent security system is needed to maintain security in a room. An Intelligent security system is a system that can detect everything automatically and can be monitored remotely using the internet or better known as IoT (Internet of Things). This system uses a microcontroller as the primary part of running the system and is supported by several modules such as the PIR infrared motion sensor module, door window magnetic sensor module, camera module, and buzzer alarm module. The door & window magnetic sensor module serves as the first security, which, when the door/window is open, will give a warning via the buzzer alarm module. While the PIR infrared motion sensor module functions as second security which if motion is detected in a room, it will trigger the camera module to take pictures in the room. The results of this system will be sent directly to Android via the Telegram application using a bot. This Telegram bot will send data in text and images from the system to Android directly.

Far from being merely a medium of simplification and conveyance of scientific facts, motion pictures exhibit an important epistemic function. On the one hand, the medium film is itself a product of research in various fields, on the other hand, it retroacts on perception and problem-solving in science, thereby influencing and changing research practices. The paper aims at describing these reciprocal effects and synergies by discussing two examples: first by the film “The principles of Einstein’s theory of relativity”, first released in Germany in 1922, second by the film “Mathematical image of the struggle for life”, produced in 1937 for the inauguration of the “Palace of discoveries” in Paris, demonstrating the latest developments in evolutionary theory. It becomes evident that picture media have the capacity to transform the symbolic dimension of things and bodies, thereby offering new access to reality, which not only fascinated the spectators, but also inspired scientific research.

This article illustrates the use of quantiles as a means of describing and comparing motion picture shot length distributions. This approach is conceptually and computationally simple and leads us to think distributionally about shot lengths rather than focusing on individual values. The result is a better understanding of how this element of film style of two (or more) films differs.

Is the involvement of stars critical to the success of motion pictures? Film studios, which regularly pay multimillion-dollar fees to stars, seem to be driven by that belief. This article sheds light on the returns on this investment using an event study that considers the impact of more than 1200 casting announcements on trading behavior in a simulated and real stock market setting. The author finds evidence that the involvement of stars affects movies' expected theatrical revenues and provides insight into the magnitude of this effect. For example, the estimates suggest that, on average, stars are worth approximately $3 million in theatrical revenues. In a cross-sectional analysis grounded in the literature on group dynamics, the author also examines the determinants of the magnitude of stars' impact on expected revenues. Among other things, the author shows that the stronger a cast already is, the greater is the impact of a newly recruited star with a track record of box office successes or with a strong artistic reputation. Finally, in an extension to the study, the author does not find that the involvement of stars in movies increases the valuation of film companies that release the movies, thus providing insufficient grounds to conclude that stars add more value than they capture. The author discusses implications for managers in the motion picture industry.

This paper deals with three different perspectives appeared in foreign visitors’ records on Korea in 1900s. Jack London was a writer who wrote novels highly critical of American society based on progressivism. However, when his progressive perspective was adopted to report the political situation of Korea in 1904, he revealed a typical perspective of orientalism. He regarded Korea and ways of living in Korea as disgusting and ‘uncivilized.’Compared with Jack London’s perspective, French poet Georges Ducrocq’s book was rather favorable. He visited Korea in 1901 and he showed affectionate attitude toward Korea and its people. However, his travel report, Pauvre et Douce Coree, can be defined as representing aesthetic orientalism. He tried to make all the ‘Korean things’ seem beautiful and nice, but it is true that this kind of view can also conceal something concrete and specific. This perspective at once beautifies Korea and also conceals the reality about Korea.E. Burton Holmes was a traveler and he often used his ‘motion-picture’ machine to record things he witnessed while travelling around worldwide countries. So, his report (travelogue) and motion picture film on Korea written and made in 1901 was based on close observation and rather objective point of view. Nonetheless, he couldn’t avoid the perspective of the colonizer’s model of the world, in other words, geographical diffusionism of western culture.

Masalah perkembangan kognitif anak merupakan hal yang harus diperhatikan sehingga anak memiliki kemampuan yang lebih kompleks baik kemampuan gerak kasar, gerak halus, bicara dan bahasa serta sosialisasi dan kemandirian. Dimana perkembangan kognitif merupakan kemampuan berfikir untuk menghubungkan, menilai maupun mempertimbangkan suatu kejadian atau peristiwa. Penerapan terapi kognitif melalui terapi bermain pada anak usia 3-5 tahun merupakan solusi dalam meningkatkan kognitif anak. Dengan dilakukannya terapi bermain bertujuan untuk meningkatkan kognitif dan perkembangan anak. Setelah pelaksanaan terapi bermain menghasilkan kemampuan anak dalam berfikir secara kognitif melalui mencuci tangan, tebak gambar dan mewarnai gambar. Kata Kunci : Terapi, Kognitif, Bermain Usia 3-5 Tahun ABSTRACT The problem of children's cognitive development is something that must be considered so that children have more complex abilities, both the ability of gross motion, fine motion, speech and language as well as socialization and independence. Where cognitive development is the ability to think to connect, assess or consider an event or events. The application of cognitive therapy through play therapy for children aged 3-5 years is a solution in improving children's cognitive. By doing play therapy aims to improve the cognitive and development of children. After the implementation of play therapy results in children's ability to think cognitively through washing hands, guessing pictures and coloring pictures. Keywords: Therapy, Cognitive, Play 3-5 Years Old

In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.

The original location of the Danish rune stones The rune stones have always constituted an important source concerning the Viking Age. However, from the establishment of the humanities and the empirical specialisation in the 19th century until c. 1980, the inscriptions have been the main focus. Recently, a more overall, interdisciplinary approach has been adapted in the study of the rune stones. And whereas the inscriptions are the main source for the philologists, landscape archaeology is most suited for the study of the original location of the rune stones.This article presents aspects concerning the original location of the Danish rune stones. The material is presented using two key words, which the author finds central to the attempt to pin down what was important to that age, namely monumentality, and visibility. After that she discusses the possible relation between Danish rune stones and special sites, primarily thing sites, burial sites, and large farms. The choice of these particular categories are based on a comparison with Swedish conditions. The treatment of the question about the association with special sites may be seen as a movement from the actual source material to the mental landscape of the time.Rather more than 200 rune and picture stones are known from Viking Age Denmark, i.e. the present Denmark and Southern Schleswig, Scania, and Halland, but exclusive Bornholm (Fig. 1). Only twelve of these are still in their assumed original location: The Ø. Løgum-stone in South Jutland (DR 15), and the Färlöv-stone in Scania, both erected during the Early Viking Age; the Glavendrup-stone (DR 209) erected on Northwest Funen during the first part of the 10th century; and the following from the time between c.950 and 1050 – the time span in which most rune stones were erected in Denmark. In Jutland, these are Bække 2 (DR 30), Randbøl (DR 40), Jelling 2 (DR 42), and Sjellebro; and in Scania: Fuglie 1 (DR 259), V. Karaby (DR 321), V. Strö 1 and 2 (DR 334 and 335), and Ö. Vemmenhög (DR 268). Add to these the Malt-stone, originally located by the Kongeå River; and the Snoldelevstone (DR 248) on East Sealand, the original locations of which are known, albeit they are now in the Sønderskov Museum and the National Museum, respectively. In the case of another 64 rune stones, the original location may be pointed out with more or less certainty and precision. These 78 rune stones, about which we have some – more or less precise - information (as opposed to a guessed location), thus make up our her source material.To summarize, the material unambiguously points towards monumentality, visibility, and exposure having been the decisive factors to the rune stone erectors when choosing a location for their monument. The connection with large mounds, stone settings, bridges, and – as is the case with a couple of later stones – stone churches (Lund 2, DR 315 and Nr. Åsum, DR 347) is marked, as is the proximity to what is supposed to be long road stretches and communication points. Also, older monuments such as burial mounds and rock carvings seem to have constituted important links to the past, to the ancestors, and to the tradition. Both the Glavendrup- monument, Klebæk Høje with the Bække-stone 2, and the ship setting in Jelling involved older mounds within the newly established monument, just as the new Christian monument of Harald Bluetooth combined tradition and renewal in a sophisticated manner.At the same time, it is characteristic that the rune stones – and monuments altogether – carried a message meant for the posterity, which was the whole idea behind making them. The material used for the rune stones – granite – symbolises constancy, if anything; the use of inscriptions is another way of securing against oblivion, and as a third and further emphasis of the historical character, the memory inscriptions were often followed by a memory formula (for instance Randbøl DR 40: May these runes for Thorgun live long) or a curse protecting the monument. This very preserving quality of the rune stones – and the motion towards a society with a written language – may have been the seed of the rune stones being increasingly used as a form of legal documents in connection with inheritance, boundaries, etc. Both aspects are known to a limited extent from Danish rune stones (such as the mentioned Gunderup 1), and to a larger degree within the late Norwegian and Swedish rune stone material. This function may also have been attached to the thing sites, where public and binding declarations were made.Not surprisingly, when encircling the message of the rune stones, the preservation of the memorial for the posterity is central. That is its explicit message. Apart from this, the very act of erecting a stone and the person or persons behind this, were essential to the custom. The social act of erecting a stone in memory of a deceased reflects pride, honour, and duty. The location of the stone stresses the fact that visibility and publicity and the coupling of the past and the future were decisive factors to the or Viking Age humans who were looking for a suitable location for their rune stone.Gunhild Øeby NielsenInstitut for Antropologi, Arkæologi ogLingvistik, Aarhus UniversitetTranslated by Annette Lerche Trolle

The use of film and video in sociological research, or social sciences in general, has a long and well-established tradition. Motion pictures have, on the one hand, been the object of analysis, as in the case of sociology of film, and, on the other, they have been used as a research tool. Moreover, films can be scientific statements in their own right, as is the case with sociological film. The use of visual methods based on both still and moving pictures works very well for exploring the physical and social space of the city. The article looks at ways of using films and the actual process of obtaining film data in sociological research. Works featuring urban themes will be considered as special cases to illustrate the author’s reflections. It is noteworthy that early cinema already showed urban space, as exemplified in the films by the Lumière brothers who, incidentally, treated their motion pictures primarily as a scientific tool. City-related topics appear in research by film sociologists who analysed films featuring urban themes, among other things. Later, sociologists themselves began to use cameras in their studies and teaching. One way of using a camera for these purposes is simply to record observations of certain places and people’s behaviour. These video recordings are subsequently analysed, applying various methods developed in the field of sociology and other sciences. Another technique, well-suited for exploring urban space, is a mobile camera, used for example for video tours, as introduced by Sarah Pink. And, finally, sociological film focusing on the city plays a vital role in social research.

In the United States many children are malnourished. We very rarely think of over-nutrition as malnutrition, but it is. Furthermore, our children are suffering because of it. No one would tell their child to go play in the street, because imminent harm and perhaps death would ensue. Yet we fail to recognize the threats posed by overweight and obesity. Not only is one’s quality of life greatly diminished, but morbidity and premature mortality from Type II diabetes, hypertension, and cardiovascular disease are the consequences. Obese persons are the subject of ridicule in television programming and the motion picture industry. This negative attention contributes to the stigma and resulting psychological pain endured by adults and children alike. Health educators must actively pursue resolution of the obesity crisis, not only through education, but through policy advocacy for PE standards, recess, school vending machine policies, nutrition education, and improved nutrition within our schools. Individual intervention has not proven effective, and it is time to address the environmental forces at work.

Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.

Many ways used by the government preventing the cervical cancer, especially to reduce victim from teenager. For instance, by using The Public Service Announcement – PSA. Sometimes, that existing media does not provide pictures or videos precisely. Then, it cause disconnected information. The government cannot deliver the message of Cervical Cancer to the people properly. It reflected the fact that lot of teenagers still doesn’t aware about reproductive health. Authors analyze this phenomena, then think that we need more interesting alternative media solutions for the youth. That alternative media should be different, better, faster and more interesting to attract the youth to know more about The Cervical Cancer. One of those alternative media solutions is using Motion Graphic. Motion Graphic will change the complicated datas become simple pictures and effective animations that easy to comprehend. The research held in SMKN 1 Denpasar. The final animation showed, watched by 35 female students, then the students wrote answers from questionnaire distributed. From the evaluation result shows that 97,14% of teenagers could answer the question about causes of cervical cancer correctly. In addition, 100% of the schoolgirls in that school state that keeping their reproduction health is is very important. They were also state that they want to take care of their reproduction health after watching the advertisement video Banyak media yang digunakan pemerintah untuk melakukan sosialisasi pencegahan kanker serviks ke masyarakat, khususnya remaja, seperti iklan layanan masyarakat. Kelemahan dari media yang sudah ada tersebut terletak pada cara penyampaian yang kurang menampilkan visualisasi dengan baik sehingga dianggap tidak menarik. Hal ini dibuktikan dari masih kurangnya pengetahuan remaja tentang ilmu kesehatan reproduksi. Penulis melihat perlu dikembangkan media informasi alternatif untuk remaja yang mampu menyampaikan informasi dengan lebih baik. Cara yang digunakan dalam penelitian ini untuk membuat sebuah iklan layanan masyarakat lebih menarik adalah dengan membuat tampilan dari iklan tersebut berbeda dengan yang lainya. Salah satu caranya adalah denganmenggunakan teknik dan gaya motion graphic. Motion graphic ini mampu menyampaikan hal rumit dengan gambar dan animasi yang sederhana sehingga mudah dipahami. Pengujian efektivitas penyampaian pesan dilakukan dengan pembagian kuisioner uji soal mengenai Kanker Serviks. Pembagian kuisioner dilakukan setelah iklan ditayangkan kepada 35 orang siswa putri di SMKN 1 Denpasar. Hasil pengujian menunjukkan hasil bahwa 97,14% remaja menjawab dengan benar virus yang menyebabkan kanker serviks. Hal ini ditunjukkan dengan setelah diberikan pertanyaan tentang virus penyebabnya, sebagaian besar siswa menjawab dengan benar. Disamping itu, 100% siswa putri menyatakan bahwa menjaga kesehatan reproduksi itu sangat penting dan mereka juga mau menjaga kesehatan reproduksi sejak dini setelah menonton video iklan tersebut.

From the 1910s through the 1930s, the American naturalist and photographer Arthur C. Pillsbury made time-lapse and microscopic films documenting what he, in common parlance, called the “miracles of plant life”. While these films are now mostly lost, they were part of Pillsbury’s prolific work as a conservationist and traveling film lecturer who used his cameras everywhere from Yosemite National Park to Samoa to promote both public understanding of plants and a desire to protect the natural world. Guiding this work was Pillsbury’s belief that the nonhuman optics of the film camera, which revealed the animacy of plants, could also incite viewers to sympathize with them. In the context of the early American conservation movement, that sympathy stemmed in complicated ways from longstanding transcendental and pastoral ideas of nature that were entangled with imperialist visions of controlling nature. With an eye to that context, I show that Pillsbury’s filmmaking was not simply about using motion picture technologies to shape attitudes toward plants and nature more broadly; it was also about using nature to think through the techno-scientific possibilities of the cinema in the early part of the twentieth century.

This article is the result of a book review of a work by Stefano Gattei. The starting point of Popper's view is that "almost every phase of our scientific development is under metaphysical rule, that is, ideas that are tested, ideas which determine not only what problems we need to explain, but also what kinds of answers we will consider to be one that is important or satisfactory or accepted, and as a remedy, or guarantee, of a previous answer". Popper's indeterminism is important because Popper's custom begins by considering an intuitive Laplacian view of determinism: "the world is like a motion picture film: or a projected image. Parts of the film have proved to be the past. And unproven people are the past. front". Popper has always been claimed to be a metaphysical realist: to him, to be a realist means to think, in covenant with common sense, that the world of his existence is independent of human beings. It means, "my existence will end without the world coming to an end too". As well as other metaphysical positions, realism is a non-testable conjecture: "realism is neither proven nor disproved".

Abstract The objective of this research is to describe types of images and their functions in the Glonggong trilogy. The trilogy consists of Glonggong, Arumdalu, and Dasamuka novels. Using a descriptive qualitative method, the data source is the Glonggong trilogy (Glonggong, Arumdalu, and Dasamuka). The research data were obtained from the phrases, clauses, sentences, or utterances in the trilogy. The data collection techniques used the observation and note-taking technique. The data analysis used an equivalent method and its basic technique is the determining element sorting technique (PUP). The sorting power in this method used a referential sorting power. Language references are designated by objects, goods, objects, actions, events, actions occurring in nature, quality, state, degree, number, and so on beyond the language, or independent things beyond the language. The results indicate that the images in the trilogy include (i) visual images, (ii) olfactory images, (iii) motion images, (iv) eroticism images, and (v) tactile images. The given functions of each image are (i) to provide a clear picture, (ii) to create a special atmosphere, (iii) to make (more) vivid images in the mind and senses, and (iv) to attract attention. Keywords: Figurative Language; Images; Stylistics; Novel

The Animadversiones in Elementorum Philosophiae by a little known Flemish scholar G. Moranus, published in Brussels in 1655 was an early European response to Hobbes’s De Corpore. Although it is has been referred to by various Hobbes scholars, such as Noel Malcolm, Doug Jesseph, and Alexander Bird it has been little studied. Previous scholarship has tended to focus on the mathematical criticisms of André Tacquet which Moranus included in the form of a letter in his volume. Moranus’s philosophical objections to Hobbes’s natural philosophy offer a fascinating picture of the critical reception of Hobbes’s work by a religious writer trained in the late Scholastic tradition. Moranus’s opening criticism clearly shows that he is unhappy with Hobbes’s exclusion of the divine and the immaterial from natural philosophy. He asks what authority Hobbes has for breaking with the common understanding of philosophy, as defined by Cicero ‘the knowledge of things human and divine’. He also offers natural philosophical and theological criticisms of Hobbes for overlooking the generation of things involved in the Creation. He also attacks the natural philosophical underpinning of Hobbes’s civil philosophy. In this paper I look at a number of philosophical topics which Moranus criticised in Hobbes’s work, including his mechanical psychology, his theory of imaginary space, his use of the concept of accidents, his blurring of the distinction between the human being and the animal, and his theories of motion. Moranus’s criticisms, which are a mixture of philosophical and theological objections, gives us some clear indications of what made Hobbes’ natural philosophy controversial amongst his contemporaries, and sheds new light on the early continental reception of Hobbes’s work.

“We live in an age of wonders!” exclaims a character in Henry James's The Bostonians (1886). And so it must have seemed to any American who could read the newspapers, which thrived, in the 1880s, on the business of proclaiming marvels. In The Bostonians one of the “wonders” is Miss Verena Tarrant, whose precocious and hypnotic speaking powers on the subject of women's rights — together with a pretty face and trim figure — succeeded in selling out the Boston Music Hall. Other wonders of the decade were less comely but more enduring: the lightbulb, the electric generator (which so awed Henry Adams), the telephone, the automobile, motion pictures, the linotype machine, the Kodak camera. The hawking of Verena Tarrant outside the Music Hall followed the American pattern of packaging, promoting, and generally celebrating (in a chauvinistic spirit) all manner of sensational feats, new technologies, and even writers and painters who caught the public's fancy. One of these was, of course, Mark Twain, who successfully promoted his own works through direct subscription sales. Also included among the sensational feats of the period were the trompe l'oeil (trick of the eye) still-life paintings by William Michael Harnett, who was heralded in a feature article that appeared in the New York News at the end of the decade. The headline ran as follows:Painted Like Real Things. The Man Whose Pictures Are a Wonder and a Puzzle. How He Began and the Success He Has Met With — Poverty Forced Him to Earn a Living in the Line in Which He Excells.

Abstract. Thin anisotropic current sheets (CSs) are phenomena of the general occurrence in the magnetospheric tail. We develop an analytical theory of the self-consistent thin CSs. General solitions of the Grad-Shafranov equation are obtained in a quasi-adiabatic approximation which neglects the jumps of the sheet adiabatic invariant Iz This is possible if the anisotropy of the initial distribution function is not too strong. The resulting structure of the thin CSs is interpreted as a sum of negative dia- and positive paramagnetic currents flowing near the neutral plane. In the immediate vicinity of the magnetic field reversal region the paramagnetic current arising from the meandering motion of the ions on Speiser orbits dominates. The maximum CS thick-ness is achieved in the case of weak plasma anisotropy and is of the order of the thermal ion gyroradius outside the sheet. A unified picture of thin CS scalings includes both the quasi-adiabatic regimes of weak and strong anisotropies and the nonadiabatic limit of super-strong anisotropy of the source ion distribution. The later limit corresponds to the case of almost field-aligned initial distribution, when the ratio of the drift velocity outside the CS to the thermal ion velocity exceeds the ratio of the magnetic field outside the CS to its value in-side the CS (vD/vT> B0/Bn). In this regime the jumps of Iz, become essential, and the current sheet thickness is approaching to some small but finite value, which depends upon the parameter Bn /B0. Convective electric field increases the effective anisotropy of the source distribution and might produce the essential CS thinning which could have important implications for the sub-storm dynamics.

NEWTON THE ALCHEMIST: Science, Enigma, and the Quest for Nature's "Secret Fire" by William R. Newman. Princeton, NJ: Princeton University Press, 2019. xx + 537 pages, including four appendices and an index. Hardcover; $39.95. ISBN: 9780691174877. *If there is one person associated with developments in the physical sciences, it is Isaac Newton (1642-1727). For many, he represents the culmination of the seventeenth-century Scientific Revolution: its point of convergence and simultaneously the point from which science began to exercise its full influence on society. His work is often considered as thoroughly modern: well-designed experiments; precise and clearly articulated mathematical-physical principles which invite deductions further tested by measurement and experiment; and great discoveries in astronomy (universal law of gravitation), in optics, in mechanics, and in mathematics (the calculus). For many, Newton provided the model for physical theory for the next two hundred years. *And yet, this generally accepted description of Newton fails to capture the tension and diversity in Newton's work. The discovery of Newton's alchemical manuscripts (containing no fewer than one million words) by the economist John Maynard Keynes at an auction at Sotheby's in 1936 partially lifted the veil. In 1947, Keynes offered his rather candid assessment of Newton's alchemical work: he "was not the first of the age of reason" but rather "the last of the magicians." *However, in the last two decades, we have come to understand and appreciate that alchemy was not simply deviant behavior by "magicians" or charlatans, but rather part and parcel of the make-up of the Scientific Revolution. Alchemy, or better, chymistry, was a central part of the early modern study of nature. One of the leaders of this historiographical revolution has been William Newman, distinguished professor in the Department of History and Philosophy of Science and Medicine at Indiana University. [For more on this revolution, see my review of Lawrence Principe's book The Secrets of Alchemy in PSCF 66, no. 4 (2014): 258-59.] Newman has written several seminal books: for example, Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution (2006) and Promethean Ambitions: Alchemy and the Quest to Perfect Nature (2004). *Newton the Alchemist displays Newman's fifteen-year dedicated study of Newton's alchemical manuscripts. This is the book for anyone who wishes to understand the background, implementation, and experimentation characteristic of Newton's long and abiding interest in alchemy. Newman introduces us to a Newton who wished to be an adept alchemist (even as a student at the Free Grammar School in Grantham) and kept the alchemical fires burning throughout his life, not only in Trinity College at Cambridge University, but also as warden of the Royal Mint. Newman also shows that alchemy is not inherently unscientific or irrational, nor that Newton was an outlier. Such contemporary luminaries as Robert Boyle, Gottfried Leibniz, and John Locke were also involved in alchemical endeavors. *In the first chapter, "The Enigma of Newton's Alchemy: The Historical Reception," Newman addresses the claims of two of Newton's most illustrious interpreters: Richard Westfall and Betty Jo Teeter Dobbs. For Dobbs, Newton's belief in alchemical transmutation was a religious quest, with the "philosophic mercury" acting as a spirit mediating between the physical and divine realms. For Westfall, Newton's alchemical research, involving invisible forces acting at a distance, allowed him to develop his theory of universal gravitation, published in the Principia of 1687. Newman calls both claims into question based on his close reading of the extant alchemical papers, many of which Dobbs and Westfall were not able to see. Newman wishes to determine the "hidden material meaning of the text" (p. 46), rather than advance any broad metaphysical or soteriological claims on Newton's part. *In chapter 4, "Early Modern Alchemical Theory," Newman reveals how heavily influenced Newton was by European alchemists, above all by the Polish alchemist Michael Sendivogius. Drawing on their experiments, Newton, in the 1670s, developed an all-encompassing geochemical theory of nature, according to which the earth functions as "a 'great animall' or rather an 'inanimate vegetable'" (p. 64). In Newton's view, this process explained gravitation (among many other things), although he would abandon this idea when he came to write the Principia. *In collaboration with others, many at Indiana University, Newman has organized, read, and carefully compared Newton's alchemical manuscripts. [Readers can see the results at www.chymistry.org.] In his analysis, Newman employs an approach which he calls "experimental history." This involves at least two elements: (1) a careful textual linguistic analysis of alchemical manuscripts and their experimental details; and (2) an effort to repeat the experiments in a modern laboratory setting. To understand alchemical manuscripts is indeed a challenging undertaking involving an understanding of "materials, technology, and tacit practices," as well as deciphering "hidden terms or Decknamen" used for chemical substances, and the intricate symbols employed to designate them (see "Symbols and Conventions," pp. xi-xvii). *Newman repeated many of Newton's experiments, revealing many of his laboratory practices for the first time. The results are sometimes spectacular (see, for example, the colored plates 4-10 between pages 314 and 315). They clearly show how dedicated Newton was in his efforts to improve his knowledge of the natural world. Newman's final assessment: "Nowhere in Newton's scientific work can we see the same degree of combined textual scholarship and experiment that we encounter in his alchemy" (p. 498). *What may we learn from reading Newton the Alchemist? One thing for sure: that our contemporary scientific textbooks and enlightened culture celebrating Newton's "positive" results--the astronomical "System of the World" and his three laws of motion in mechanics--are a one-sided picture of Newton's work and life. By blithely neglecting his interests in alchemy, cabbalism (number mysticism), theology, chronology, and biblical prophecy, as well as Newton's deep sense of vocation (calling), they all too frequently divide his work into two predetermined categories: science and pseudo-science. It is certain that Newton's alchemy is not pseudo-science. History, and scientific practice as well, are never, if ever, so tidy. Newton's passionate pursuit of a coherent worldview is a reminder to us of the rich context in which science is embedded. Newman's book underscores the fact that science, our science too, is impelled by deep commitments, social and political factors, and personal ambition and motives. *Reviewed by Arie Leegwater, Department of Chemistry and Biochemistry, Calvin University, Grand Rapids, MI 49546.

The persistent growth of the human civilization, fueled in large part by technological progress has brought upon us a series of very serious challenges. The quality of our overall environment, energy and food supply are subjected to increased pressure, while access to decent employment, housing and medical care remains broadly unequal. According to the current trends most of the world’s future population growth will occur in cities, therefore positioning the city as a key component to solving challenges associated with human development. Based on that assumption, it seems crucial to think about what the city of the future should be and look like. If we look for existing and graphically convincing representation of the city of the future, we are inevitably drawn to popular culture media such as movies and graphic novels. For almost a century, movies in particular have proposed realistic constructs of future urban settlements along with the life associated with them. Based on a number of ideas expressed in motion pictures over the years about urban life in the future, one can argue that both past and recent predictions tend to be technologically optimistic but socially and environmentally pessimistic. This paper proposes to identify and discuss a number of challenges as well as opportunities associated with urban development in the next 100 to 200 years and present a series of urban visions to illustrate both positive and negative trends.

Pada era sekarang ini, banyak didapati kasus keamanan rumah yang semakin kompleks. Hal ini yang mendasari penelitian ini dilakukan. Penelitian ini bertujuan membuat sistem keamanan pintu rumah dengan notifikasi pesan via aplikasi telegram yang diharapkan memberikan rasa aman bagi pemilik rumah dengan. Sistem keamanan pintu rumah ini menggunakan Wemos D1 R1 sebagai mikrokontroler. Sistem ini dirancang dengan menggunakan aplikasi telegram messenger sebagai notifikasi. Penelitian ini menggunakan proximity sensor yang berfungsi mendeteksi setiap gerakan di sekitar pintu. Di atas pintu dipasang kamera yang dapat menangkap gambar atau objek saat ada gerakan. Sistem ini memiliki 2 cara kerja, yaitu pengecekan secara otomatis dan manual. Sistem bekerja secara otomatis pada saat sensor menangkap gerakan dan kamera langsung menggambil gambar, selanjutnya mengirimkan gambar tersebut ke aplikasi telegram. Sedanhgkan sistem bekerja secara manual dengan cara memasukkan perintah lewat BOT telegram untuk membuka pintu rumah. Hasil pengujian nilai rata- rata kinerja alat secara otomatis dari penangkapan gambar atau objek sebesar 16,7 detik, nilai rata-rata waktu kinerja alat secara manual sebesar 9,7 detik. Nilai rata-rata waktu kinerja solenoid doorlock sebesar 7,6 detik. Hasil pengujian kualitas layanan menunjukkan rata-rata delay sebesar 3,244 detik, dan rata-rata throughput sebesar 301.465 byte/s. In today's era, many cases of home security are increasingly complex. This is what underlies this research. This study aims to create a home door security system with message notifications via the telegram application which is expected to provide a sense of security for homeowners. This home door security system uses Wemos D1 R1 as a microcontroller. This system is designed using the telegram messenger application as a notification. This study uses a proximity sensor to detect any movement around the door. Above the door is installed a camera that can capture images or objects when there is movement. This system has 2 ways of working, namely checking automatically and manually. The system works automatically when the sensor captures motion and the camera immediately takes a picture, then sends the image to the telegram application. While the system works manually by entering commands via the telegram BOT to open the door of the house. The results of testing the average value of the tool's performance automatically from capturing images or objects of 16.7 seconds, the average value of manual tool performance takes 9.7 seconds. The average value of the door locked solenoid performance takes 7.6 seconds. The result of testing the quality of data services show an average delay of 3,244 seconds, and an average throughput is 301,465 byte/s.

The paper explains the use of machine learning approaches and especially throws light on the issue of user-based recommender frameworks. The new sort of framework which has been received by this exploration is a blend of profound learning baed and client recommender type arrangement of AI. Therefore, the model of a hybrid system of deep learning system has been incorporated into this research which used the convolutional neural learning models. This system of learning has been explained as the method which is used to study various users’ preferences in order to see their clicks. The information utilizes considering the inclinations or proposals of the clients is utilized in such a manner to direct these machines. In the client proposals frameworks, the innovation of computerized reasoning is utilized with the goal that the machines could learn things like a human brain. In the section of the literature review, the researcher has emphasized the various models which are used in machine learning. The systems which play a role in the users’ recommender systems involve examining the preferences of these users who use these systems. The system which has been utilized for this exploration is examining different characters who watch various motion pictures which have a place with two classifications of activity and parody. Thus, the information which has been gathered examined and anticipated the inclinations of these clients by considering the aa around gave information. Hence, there are various datasets that are used in this paper to predict the users’ preferences.

This paper is hinged on the conviction that the quality of a society depends on the quality of its citizens and the quality of the citizens depends on the quality of their education. Hence, quality education is imperative for a society to cope and compete favorably and effectively in today’s fast changing world. Biology is a science subject that enables learners to acquire the knowledge and abilities needed for effective living in the modern age of science and technology. It is also a major requirement for higher learning in a number of science related professional fields such as medicine, agriculture, pharmacy etc. The goal of education cannot be achieved by doing the same thing the same way always. There is need for modification to remain relevant at all times. The desire for improvement in the quality of knowledge calls for changes in the pattern of interaction between the teachers and learners through innovation so that the product of school system can compete effectively within and in the global world. The innovation confers relevance and importance to the knowledge acquired in schools for quality and productivity. The process of innovation involves transforming the methods, techniques and approaches of making learning functional, relevant and qualitative. This paper seeks to appraise the use of animation in the teaching and learning of biological concepts as a means of producing quality and proactive learners that are relevant in the global world. The paper attempted to define animation as teaching tool that combine still and motion pictures with Sound and text to ensure effective instructional delivery. The place of animation in teaching particularly biology for productive education, features, benefits and limitation of animation in teaching and learning were equally highlighted. Various aspects of animation such as forms and classification were mentioned and suggestions on the use of animation such as teacher should be encouraged to use animation in teaching biology themes that are abstract in nature for better understanding and retention and others were equally discussed.

This research studies about flouting maxim in The B.F.G movie. The research concerns on finding the flouting maxims in The B.F.G movie. This research employed mainly descriptive qualitative method to support in interpreting and analysing the data. The data of this research were utterances produced by Sophie and BFG as main characters in The B.F.G movie. The context of the research was the dialogues of the movie. The data sources of this research were The B.F.G and its script. Meanwhile, the primary instrument of this research was the researcher ourselves. The data were collected by downloading the movie and the script, watching the movie, and then collecting the data which reflects the phenomena of maxim flouting. The paper examines the use of flouts in different situations and explores in what situations the different characters flout the maxims for any conversation. The results show that there were 10 flouting maxims of quantity (42%); 10 flouting maxims of relevance (42%); 2 flouting maxims of quality (8%); and 2 flouting maxims of manner (8%). Hence the total number of flouting maxims is 24. These results suggest that the use of flouts has to do with their different personalities and communities.Keywords: Cooperative Principle, Grice’s Maxim, Flouting MaximHow to Cite: Ulfah-1, R.A.A.N.U.-1., Afrilia, R-2. (2018). An Analysis of Fluting Maxim in BFG Movie. Project, X (X), XX-XX. INTRODUCTIONCommunication is a medium to convey meaning from one to another. As stated by Yule (2006) that communication involves word recognition and meaning recognition. There could be hidden intention in some utterances. Failing to recognize those intentions may lead to misunderstanding and even a dispute. Nevertheless, listener is not always to be in guilt. Sometimes in communication, the speaker may provide incomplete or unclear utterance hence the listener found difficulties to comprehend. Thus it is claimed that language as a tool for communication serves as an instrument to maintain a good relationship between the speaker and the hearer. Dealing with language and communication, cooperative principle proposed by Grice serves as means to achieve effective communication. It is described that speakers and listeners must give contribution as required by each other so that both of them may come to the same understanding of the meaning they are trying to convey. Grice elaborates four conversational maxims: maxim of relevance, maxim of quantity, maxim of quality, and maxim of manner. During conversation, speakers may break the rule of the maxims. The flouting of the maxims may occur in daily life or in movies. Movies as one of literary works mostly functions to entertain the audience. The flouting maxims in movies may be intentionally created to achieve the purpose of entertaining. The BFG is one fantasy adventure film released in 2016 by Walt Disney. It tells about the journey of two different species, a human (Sophie) and a giant (that Sophie called Big Friendly Giant). Since they are from different group of communities, their communication may run ineffective. This study aims at analyzing the flouting maxims occurred in The BFG movie.The Cooperative Principle Cooperative Principle is the basic principle in pragmatics. The Cooperative Principle is principle of conversation that was proposed by Grice. He called The Cooperative Principle as when we try to talk to be cooperative by elevating. He says, “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of talk exchange in which you are engaged.” Within this principle, he intended four maxims.(Grundy, 1998) (in Ginarsih, 2014)Grice’s MaximMaxim of RelevanceMaxim of relation: This maxim may seem clear in the first look but as Grice himself mentioned it is very difficult to define it exactly: "Though the maxim itself is terse, its formulation conceals a number of problems that exercise me a good deal: questions about what different kinds and focuses of relevance there may be, how these shift in the course of a talk exchange, how to allow for the fact that subjects of conversations are legitimately changed, and so on. I find the treatment of such questions exceedingly difficult, and I hope to revert to them in later work." Grice ( in Kheirabadi, 2012).Maxim of Quantity Maxim of quantity requires that participants of a conversation give their contribution as is required in terms of the quantity of information. To say beyond the quantity of information needed in the conversation is to break the maxim. In making their contribution to the conventional talk, participants should gauge the amount information that is really sought for and give it as much as is necessary. They should not make their contribution either more informative or less informative. (Seken, n.d.2015)Maxim of QualityMaxim of quality requires conventional participants to say things that are true or things that they believe to be true. That is, they do not say anything than they believe to be false or anything of which they do not have any evidence. In other words, to comply with this maxim, a speaker in a conventional exchange must speak on the basis of facts, or he/she must have factual evidence by which to sufficiently support what he/she says as truth. (Seken, n.d.2015)Maxim of Manner Utterances may conform to the maxims or may disobey them by infringing, opting out, and flouting or violating. The infringement of the maxims is because of the speaker‟s imperfect knowledge of linguistic. When speakers decided to be uncooperative, they opt out of observing the maxims. ( Thomas 1995 in Jafari, 2013) Maxim Flouting Flouting a maxim is the case when a speaker purposefully disobeys a maxim at the level of what is said with the deliberate intention of generating an implicature. In this case, the speaker’s choice not to observe the maxim by the words he/she utters may be related to the some motive (such as politeness, style of speaking, etc.) (Seken, n.d.2015).According to Thomas (1995:64 in Mohammed & Alduais, 2012) flouting a maxim occurs where a participant in a conversation chooses to ignore one or more of the maxims by using a conversational implicature. Ignoring maxims by using conversational implicatures means that the participant adds meaning to the literal meaning of the utterance. He further explains the conversational implicature that is added when flouting is not intended to deceive the recipient of the conversation, but the purpose is to make the recipient look for other meaning. Moreover Black (2006:25 in Mohammed & Alduais, 2012) explains that a speaker who flouts maxims is actually aware of the Cooperative Principles and the maxims. In other words, it is not only about the maxims that are broken down but that the speaker chooses an indirect way to achieve the cooperation of the communication.Types of Flouting Maxim In ( Grice’s theory in Nur & Fatmawati, 2015) there are four types of maxim flouting. They are quantity maxim flouting, quality maxim flouting, relevance maxim flouting, and manner maxim flouting. Quantity Maxim FloutingWhen a speaker flouts the maxims under the category of Quantity, she/he blatantly gives either more or less information than the situation demands.For example: A : The other giants. Are they nice, like you a nice?B : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.In the example above, it is not appropriate, because when A asks the B about another giant, B does not answer according to the question. He give more information that not needed by A.Quality Maxim Flouting Thomas (in Fami 2015:15) said that flout maxim of quality occur when the speaker say something which is blatantly untrue or for which he/she lack adequate evidence.For example:A : Not as it happens to me, it is most terrible speakB : Well, I think you speak beautifullyIn the example above, B say untrue or lie. She do this, because she doesn’t want B sad with his speaking.Relevance Maxim FloutingFlouting of maxim relevance, (Ginarsih 2014, n.d.) said that by changing the subject or by failing the address the topic directly is encountered very frequently. For example:A : You mean of my life. For the rest of my life?B : Hey, do not you cold?In this case B did not answer according to the question, B changes the topic of conversation. Manner Maxim FloutingAccording to (Ginarsih 2014, n.d.) The maxim under the category of manner is exploited by giving ambiguity and obscure expressions, failure to be brief and orderly. It is often trying to exclude a third party, as in this sort of exchange between husband and wife.A : Where are you off to?B : I was thinking of going out to get some of that funny white stuff for somebody.A : OK, but don’t be long – dinner is nearly readyB speaks in an ambiguous way, saying “that funny white stuff” and“somebody”, because he is avoiding saying “ice cream” and “her/his Daugther”, so that his little daughter does not become excited and ask for the ice cream before her meal. Sometimes the speakers play with words to heighten the ambiguity, in order to make a point.Movie(Chandra Yuliasman 2014) Movie is happen based on script, but it reflect to our daily life activity mostly. That is why the researcher interested to use movie as media to increase the researcher understanding about flouting maxim. Movie also affect masses in childhood and youth. Movie is also called a film or motion picture, is a series of still or moving images. Based on the theories above, the researcher chose “The BFG (Big Friendly Giant)” as the object of the research.The B.F.GThe B.F.G is a 2016 American fantasy adventure film directed and produced by Steven Spielberg, written by Melissa Mathison and based on the 1982 novel of the same name by Roald Dahl. In the film, an orphan human girl be friends a benevolent giant, dubbed the "Big Friendly Giant", who takes her to Giant Country, where they attempt to stop the man-eating giants that are invading the human world. The writers chose The B.F.G, because in the film contain about friendship and courage, in that movie also have morality and ethics quotes. Steven Spielberg is known for his quality films, such as Jurrasic Park. He has also received three Oscars, and received a Life Achievement Award from the American Film Institute (AFI). Steven hooked some Hollywood actresses to play in the movie B.F.G, such as: Mark Rylance (B.F.G), Ruby Barnhill (Sophie), Penelope Wilton, Jemani Clement, Rebecca Hall, Rafe Spall, and Bill Hader. Steven Spielberg films this In the premiere of premiere The BFG managed to triumph in the Top 10 Box Office by collecting revenues of USD 31 million. Although not a chance to taste the top of the Box Office but The BFG still loved by his fans, especially for lovers of fantasy and adventure movies.METHODThis research uses a descriptive qualitative method to analyse the flouting maxim in The B.F.G movie directed by Steven Spielberg. According to Holloway (in Nur & Fatmawati, n.d.) qualitative research is a form of social inquiry focusing on the interpretation of experience and the world by people.” Therefore, this research is conducted systematically through the technique of data collecting and data analysis. The data are taken from the script, the writers analysed of flouting maxim of quantity, maxim of quality, maxim of relation, and maxim of manner based on Grice’s theories, being used to choose the most frequently method among them, the writer used percentage category based on Multihajz’s formula, in Selvia (2014) as follows: P = Percentage F = Frequency n = Number of Maxims RESULTS AND DISCUSSIONResultsThere are 24 conversations from 100 conversations that found in The B.F.G Movie between the main characters, Sophie and B.F.G that flouted the Grice’s cooperative principle. They flouted the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. In the calculation the writers employed percentage technique as described below:Table 1The Classification of Maxim:NoTypes of MaximQuantityPercentage1.The Maxim of Quantity1042 %2. The Maxim of Quality28 %3The Maxim of Relevance1042 %4The Maxim of Manner28 %Total24100 %From the classification above, it could be seen clearly that among four types of maxim in conversation between the main characters, Sophie and B.F.G in “The B.F.G” Movie, the maxim of Quantity and Relevance were the most identifiable types. First is Quantity. There are 10 conversations or cover 42 %. The second was the maxim of Relevance; there are 10 conversations or cover 42 %. The third was maxim of Quality; there are 2 conversations or cover 8 %. The fourth was the maxim of Manner; there are 2 conversations or cover 8 %. Based on the table above, here are the explanations of each maxim that the main character, Sophie and B.F.G flouted in The B.F.G Movie. The maxim of quantitySophie : The other giants. Are they nice, like you a nice?B.F.G : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.Analysis: It is not appropriate, because when Sophie asks the BFG about another giant, the BFG does not answer according to the question. He give more information that not needed by Sophie.Sophie : We can’t have secrets. I'll tell you mine. I sneak around at night too, and that still sometimes theft and lying. So I’m alone at the time. I've never had a best friend, I told you all thatB.F.G : We got over.Analysis: The BFG did not give the right reasons to reply to a statement from Sophie.Sophie : You should not let them treat you like that. You should notB.F.G : Live with nine giant eats beans. They take so I return. Murmur good dreams. It's what I can do, I do something. I do something.Analysis: The BFG ignored Sophie’s suggestion of another giant treating the BFG badly and he changed the subject.Sophie : No I’m not.B.F.G : Yes you here. If you are a human being and human being is a strawberry cream for giants. They are the prey of those giants out there, so you stay in a nice safe place right here. Analysis: BFG answer does not fit with the context of the conversation at that time.B.F.G : Someone called me a big, friendly giant. How should I call you? Sophie : My name is SophieAnalysis: Sophie does not understand about a nickname, so she just answers with her name only "Sophie".B.F.G: So you're an orphan?Sophie: Yes. You took me to an orphanage. You did not know?Analysis: Sophie did not give the right reasons to reply to a statement from B.F.G.B.F.G: I did not know that. Are you happy there?Sophie: No! I hate that. The lady who runs it is incompetent and she’s crazy rules and you get punish a lot.Analysis: In this conversation, Sophie should answer yes or no , because the question is are you happy there ?.Sophie : Being is not be ing .What is that green thing ?B.F.G : Frobscuttel. All giant drink frobscottel.Analysis: BFG answer does not fit with the context of the conversation at that time.Sophie : Where are you going now ?B.F.G : A dreams blow .It's what I do next.Analysis: BFG answer does not fit with the context of the conversation at that time. In this conversation Sophie asks where, it means that ask about place.Sophie : But why did you bring me here? Why did you take me?B.F.G : I had did to take you, because the first thing you, you would do spread the news you actually saw a giant and then there would be a big fuss and all human beans would be looking for the giant dresses all excited, and then I would be locked up in a cage to look at me with all the noisy hypo-fat and crocodiles and giraffes. And then there would be a huge hunt for all the boy giantsAnalysis: The BFG gives too much give reason to Sophie, should the BFG give Sophie a simple and precise reason for the question.The maxim of RelevanceSophie : Then, who are you? What kind of monster are you?B.F.G : You as me wrongAnalysis: BFG does not honestly reply to Shopie that he is a giant kind.Sophie : You mean of my life. For the rest of my life. B.F.G : Hey, do not you cold?Analysis: BFG did not answer according to the questionSophie : What did you work? B.F.G : And now she asks me to tell you very big secrets.Analysis: BFG did not answer according to the questionSophie : Flesh head ,he comes to eat me, my blood will be on your hands. B.F.G : Everything about you going against my better judgment.Analysis: BFG tries to make Shopie calm by diverting the conversationSophie : Look at all the stars! B.F.G : Often when it is clear I hear distant music living of the stars in the skyAnalysis: When Shopie wants to show something, BFG answer it with things that are not appropriate.Sophie: Really? B.F.G : You think I'm kidding, right? Analysis: BFG should simply answer "yes" or "no".Sophie : Are there bad dreams here too? B.F.G : It will a TrogglehumperAnalysis: BFG did not answer the question correctly.Sophie : Make them all happy. BFG, your father and your mother taught you about dreams? B.F.G : The Giants do not have mothers or fathers. Analysis: BFG should simply answer “has” or “has not”.Sophie : What is the Sophie’s dream? B.F.G : A golden Phizzwizard. I had not seen in a while. Analysis: BFG does not explain what dreams Sophie will experience.Sophie : You snapped me.B..F.G : Well, you are right. After all, you're just a little thing. I can’t help thinking what your poor mother and father must be …Analysis: BFG should simply answer "yes" and "no", and not discuss the unnecessaryThe maxim of QualityB.F.G : You do, you really do?Sophie : Simply beautifully.Analysis: In this situation of conversation, Sophie gives untrue respond to B.F.G or she lies, because she didn’t want make B.F.G sad with B.F.G’s sentence.B.F.G : Not as it happens to me, it is most terrible speak.Sophie : Well, I think you speak beautifully.Analysis: In this conversation, Sophie say untrue or lie. She did it, because she didn’t want B.F.G sad with his statement.The maxim of mannerSophie : Blood bottler ? B.F.G : Yes and butcherSophie : The butcher. Please don’t eat me.Analysis: BFG does not explain in detail about Bottler.Sophie : But then I wake up.B.F.G : And you wake up.Sophie : But not here.Analysis: There is no alignment in the conversationDiscussionThe writer found total numbers of flouting maxim that produce by main character in “The B.F.G” movie those were 24 utterances. Then divided into four types of flouting, they were quality which had 10 data or 42%, quantity had 2 data or 8%, relevance had 10 data or 42% and manner had 2 data or 8%. Thus the most frequent category of flouting maxim produce is the main character was maxim of quality and maxim of relevance. It means that in this movie, The BFG tended to conduct his flouted utterance for move the conversations. CONCLUSIONThe aim of this research is to find out the flouting maxim by the main characters in “The B.F.G” movie. The result show the most frequent category of flouting maxim by the main character was quality and relevance. It indicates that based on the maxim of quantity, there are some conversations that giving more or less information. Based on the semantics theory it is wrong, because giving more information than the need is flouting the maxim of quantity. For the maxim of relevance, there are some conversations that are not relevance, it is related with Ginarsih statement relevance maxim flouting by changing the subject or by failing the address the topic directly is encountered very frequently. There are only two flouting maxims of quality and manner was less frequent. It indicates mostly the conversation in The B.F.G movie is cooperative. It is different with the previous study, from Iniyanti, A et.al (2014) they found two flouting maxims, there are: maxim of relation and maxim of manner. And from Al-Qaderi (2015) he found that the maxim of quantity was most frequently flouted.After the research, the researcher took a conclusion that even the famous movie, the flouting maxims are can’t be avoid. ACKNOWLEDGMENTSPlace Acknowledgments, including information on the source of any financial support received for the work being published. Place Acknowledgments, including information on the source of any financial support received for the work being published.

The North Anatolian Fault is a 1200 km long strike-slip fault system connecting the East Anatolian convergent area with the Hellenic subduction zone and, as such, represents an intracontinental transform fault. It began forming some 13–11 Ma ago within a keirogen, called the North Anatolian Shear Zone, which becomes wider from east to west. Its width is maximum at the latitude of the Sea of Marmara, where it is 100 km. The Marmara Basin is unique in containing part of an active strike-slip fault system in a submarine environment in which there has been active sedimentation in a Paratethyan context where stratigraphic resolution is higher than elsewhere in the Mediterranean. It is also surrounded by a long-civilised rim where historical records reach well into the second half of the first millennium BCE (before common era). In this study, we have used 210 multichannel seismic reflexion profiles, adding up to 6210 km profile length and high-resolution bathymetry and chirp profiles reported in the literature to map all the faults that are younger than the Oligocene. Within these faults, we have distinguished those that cut the surface and those that do not. Among the ones that do not cut the surface, we have further created a timetable of fault generation based on seismic sequence recognition. The results are surprising in that faults of all orientations contain subsets that are active and others that are inactive. This suggests that as the shear zone evolves, faults of all orientations become activated and deactivated in a manner that now seems almost haphazard, but a tendency is noticed to confine the overall movement to a zone that becomes narrower with time since the inception of the shear zone, i.e., the whole keirogen, at its full width. In basins, basin margins move outward with time, whereas highs maintain their faults free of sediment cover, making their dating difficult, but small perched basins on top of them in places make relative dating possible. In addition, these basins permit comparison of geological history of the highs with those of the neighbouring basins. The two westerly deeps within the Sea of Marmara seem inherited structures from the earlier Rhodope–Pontide fragment/Sakarya continent collision, but were much accentuated by the rise of the intervening highs during the shear evolution. When it is assumed that below 10 km depth the faults that now constitute the Marmara fault family might have widths approaching 4 km, the resulting picture resembles a large version of an amphibolite-grade shear zone fabric, an inference in agreement with the scale-independent structure of shear zones. We think that the North Anatolian Fault at depth has such a fabric not only on a meso, but also on a macro scale. Detection of such broad, vertical shear zones in Precambrian terrains may be one way to get a handle on relative plate motion directions during those remote times.

Обсуждается проблема методологии в науке о языке и предлагается возможный путь ее решения, который заключается в обращении к визуальной семиотике кинофильма как источнику эмпирических научных данных. Утверждается, что в основе методологического кризиса классического языкознания лежит принцип самодостаточности аналитической логики как единственного инструмента познания языковых данных, в роли которых выступают письменные тексты. Причины, по которым лингвистика оказалась в подобном кризисе, носят эпистемологический характер. Во-первых, наука изучает не столько то, что есть объект на самом деле, сколько то, как этот объект функционирует в процессе взаимодействия с точки зрения наблюдателя. Язык, напротив, рассматривается как абсолютизированная система знаков, существующая «в себе» и «для себя». Во-вторых, степень валидности научных знаний об объекте определяется логической связностью теоретического построения, упорядочивающего эмпирические данные о мире, что означает функциональную взаимосвязь теории и наблюдения, обеспечивающую науке опытную проверку и верификацию любых выдвигаемых гипотез и тезисов, доказательность которых не может исчерпываться другими гипотезами или другими тезисами. В лингвистике, однако, подобная верификация и проверка осуществляются методом логической интерпретации и анализа текстов, которые не являются источником эмпирических данных, а представляют собой продукты того же самого интерпретационного анализа. Такая методология создает порочный круг по той простой причине, что тексты не могут выступать в качестве эмпирической доказательной базы, поскольку лишены перцептуальной динамики, и поэтому их невозможно наблюдать ни в обыденном, ни в научном смысле этого слова. Чтобы отойти от устоявшейся логико-позитивистской традиции и изучать язык не только на материале текстов, лингвистике необходим поворот в сторону эмпирического подхода. Такой поворот возможен, если признать эмпирическую ценность кинофильмов в изучении того, как экспериенциальный мир человека конструируется и «разыгрывается» в пределах сюжетной линии. Исходя из того, что работа человеческого воображения становится доступной для непосредственного наблюдения посредством кино, лингвистика и смежные дисциплины, включая когнитивные науки, могут использовать на практике данный эмпирический материал в качестве доказательной базы для различных утверждений о том, как человек воображает мир, конструирует значения, общается с другими и использует язык в целом, чтобы осуществить все эти когнитивные процессы. В статье подробно описывается и объясняется эмпирическая методология исследования языка, уточняется, какие виды действий и взаимодействий с семантическими объектам можно наблюдать косвенно или напрямую в кинофильмах (в частности, направление внимания, динамику пережитого опыта, эмоциональные и сенсомоторные процессы). Концепция языка как экспериенциальной динамики, наблюдаемой в фильмах, продолжает философские идеи радикального конструктивизма и энактивизма, согласно которым человек подобно актеру «разыгрывает», или генерирует в своих перцептуальных действиях, мир как биологическую, социальную, культурную историю всех предыдущих подобных действий. The article raises the problem of methodology in the language science and discusses a possible way of solving this problem by recognizing films as a source of observational scientific data. The article claims that the reliance of classical linguistics upon logical analysis and interpretation as a sufficient method of research with texts as primary sources of data is a a fallacy. This fallacy is accounted for by a number of epistemological factors. Firstly, science generally concerns itself not with what things are, but how they appear to the standard observer in the process of interaction. Language, oppositely, is studied as a self-sufficient sign system in and of itself. Secondly, any science constructs its object and produces valid knowledge about this object on the basis of empirical data put together in a logical way, which means that theory and observation are two co-dependent technologies of science ensuring that any claim about the experiential world is verified and “life-tested”. In linguistics, conversely, such an empirical test and verification of claims is replaced by a logical procedure of interpretation and analysis on the basis of texts, which is far from empirical evidence, but rather appears as another set of claims. In other words, texts take on the role of empirical data in linguistics, which is wrong for one simple reason that texts are logical interpretations devoid of any perceptual dynamics and, therefore, unable to be observed. In order to break with such a product-oriented approach and the logico-positivist tradition, and study language beyond written texts only, especially given that illiterate people are language users too, linguistics needs to take an empirical turn. To make this turn possible, linguists need to reconsider the empirical role motion pictures play in the study of how a human’s experiential world is enacted and constructed into a coherent story. Recognizing that films make the work of somebody else’s imagination observable, linguists and cognitive scientists as well could make practical use of cinematic observations as a primary source of evidence for claims about how a human imagines things, constructs meanings, communicates with others, and uses language in general to make all of those things possible. The article elaborates on the cinema-mediated empirical methodology of language studies and specifies what types of observable actions (or their implications) upon linguistic objects we can find in films, including attentional processes, the dynamics of the lived experience, emotioning and sensorimotor activity. As opposed to apparatus theory, the conception of language as experiential dynamics observable in films fits in with the philosophy of radical constructivism and enactivism according to which a human, by analogy with an actor, enacts the world as a (biological, social and cultural) history of her previous actions, these enactments becoming the world itself.

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

In the roadrunner cartoons, the unlucky coyote, in hot pursuit of the roadrunner, frequently finds himself running off the edge of a precipice. In sympathy with the coyote's plight, the laws of physics suspend their action. Gravity waits to exert its force until the coyote realizes his situation and resigns himself to the inevitable. Only then does the coyote fall, miraculously surviving the near-disaster without serious damage. What does this have to do with cell biology at the turn of the millennium? Blame it on JCS's Caveman or at least the infectiousness of the troglodyte's point of view. But it strikes this Editor that for much of cell biology, no less than for the roadrunner, the laws of physics are seemingly suspended. Pick up any contemporary text book or review article and look at the cartoons (diagrams) that grace the pages. You will find diagrams replete with circles, squares, ellipsoids and iconic representations of molecular components, supramolecular assemblies or membrane compartments. Arrows define signal cascades, pathways of transport and patterns of interaction. Even better, check out any of the supplementary instructional CDs that accompany text books and view the animations. You will see cell toons - molecules moving on smooth trajectories to interact with their partners, assembling into cellular machinery or arriving at cellular destinations. They all seem to know where to go and what to do in their cell toon life. It doesn't matter whether we are talking about DNA replication, protein synthesis, mitochondrial respiration, membrane trafficking, nuclear import, chromatin condensation or assembly of the mitotic spindle to mention just a few examples. In each case, the process unfolds before us as a molecular ballet choreographed by a hidden director. Or should I say anonymous animator. Please don't get me wrong. Cartoon diagrams are a necessary part of science. They help us to form and communicate concepts. Adages such as ‘a picture is worth a thousand words’ do not come into existence for nothing. Further, simplification is necessary to sharpen Occam's razor. Science progresses faster if a hypothesis is honed to the point where it can be readily refuted. Of course, it is best to be right. Next best is to be wrong. But the worst thing that can be said about a concept is that it is so hedged or ambiguous that it cannot even be wrong. Cartoons are invaluable in presenting clear alternatives. And cartoons, by definition, do not attempt to portray reality. We understand and accept that they deliberately omit details which may be important in some other context but which are extraneous to the story line. We do not have to know how the coyote recovers from his disastrous fall. It is sufficient that he resumes the chase. Likewise, much of Cell Biology can satisfactorily be ‘explained’ in terms of the behavior of toons. My thesis for this essay is that cell biology at the turn of the millennium has, for the first time, the real opportunity to burst the frames of the cartoons. The field has progressed to the point where the maxim that cells obey the laws of physics and chemistry can be made more than a creed. The time is approaching for the mystery of the hidden directornymous animator to be dispelled. What is driving this new orientation and what is required to bring it to fruition? Advances in structural biology provide part of the explanation. Atomic structures have been determined for a large variety of proteins, with the number increasing on a daily basis. Structural genomics will succeed genomics. It is possible to foresee that in the not too distant future atomic structures will be known for most if not all the major proteins in a cell. Not only individual proteins but supramolecular assemblies as complex as the ribosome have yielded to structural analysis. Of course, structures per se are static entities, but biology has taught that function is inherent in structure. Knowledge of molecular structures has provided atomic explanations for ligand binding, allosteric interaction, enzymatic catalysis, ion pumps, immune recognition, sensory detection and mechano-chemical transduction. When combined with kinetics, structural biology provides the chemical bedrock of cell biology. But the bedrock of structural biology, while necessary for the new cell biology, is almost certainly not sufficient. A major gap is in understanding the complex properties of self-organizing systems. Cells are ensembles of molecules interacting within boundaries. Some of the molecules are organized into supramolecular assemblies that have been likened to molecular machines. Examples include multi-enzyme complexes, DNA replication complexes, the ribosome and the proteasome. Understanding the operation of these molecular machines in chemical and physical terms is a major challenge in that they display exotic behavior such as solid-state channeling of substrates, error-checking, proof-reading, regulation and adaptiveness. Nevertheless, the conceptual basis for their formation is thought to rest on well-established principles: namely, the equilibrium self-assembly of molecular components whose specific affinities are inherent in their 3-D structure. However, other aspects of cellular organization manifest properties beyond self-assembly. The cytoskeleton, for example, is a steady-state system which requires the continuous input of energy to maintain its organization. It displays emergent properties of self-organization, self-centering, self-polarization and self-propagating motility. Membrane compartments such as the endoplasmic reticulum, the Golgi apparatus and transport vesicles provide additional examples of cellular organization dependent upon dynamic processes far from equilibrium. A further level of complexity is introduced by the fact that the self-organization of one system, such as membrane compartments, may be dependent upon another, such as the cytoskeleton. A challenge for the new cell biology is to go beyond ‘toon’ explanations, to understand the emergent, self-organizing properties of interdependent systems. It is likely that an adequate response to this challenge will be multidisciplinary, involving approaches not normally associated with mainstream cell biology. We are likely to be in for a heavy dose of biophysics, computer modeling and systems analysis. A serious problem will be to identify functional levels of decomposition and reconstitution. Because of the microscopic scale, thermal energy, randomness and stochastic processes will be an intrinsic part of the landscape. Brownian motions may present a Damoclean double edge. They are commonly thought to be responsible for the degradation of order into disorder. But, counterintuitively, random thermal processes may also provide the raw energy which, if biased by energy-dependent molecular switches and motors, generates order from disorder. Non-deterministic processes and selection from among alternative pathways may be a common strategy. Fluctuation theory, probabilistic formulations and rare events may underpin the capacity of molecular ensembles to ‘evolve’ into ordered configurations. Further, biological properties such as error-checking and adaptiveness imply an ‘intelligence’, which suggests that the systems analysis may have ‘software’ as well as ‘hardware’ dimensions. Molecular logic may be non-deterministic, ‘fuzzy’ and able to ‘learn’. The evolvability of the system may itself be an important consideration in understanding the design principles. The belief that cells obey the laws of physics and chemistry means that, in terms of the molecular ballet, the director is not only hidden - he doesn't exist. One is tempted to say that the challenge is to understand how the ballet came to be self- choreographed. But even this formulation misses the point that the individual dancers have no definite positions on the stage. Organization in the cell is a continuity of form, not individual molecules. The challenge is to understand how the ensemble is able to perform the dance with chaotic free substitution.

The purpose of this paper is to show how one common thing can make a huge difference in someone’s life and how in fact even though a lot of things seem to be misplaced or out of order, at the end of the day everything is just where it is supposed to be. We sometimes try and picture how everything would look like if we would have taken a different path. But who knows where that would have led us to? Life is an event filled with motion and is the pure fact that keeps us going. You either go with it or it takes over you...unless you find a way to stay ahead of it.

The super-powerful polysemy of discourse about civilization is seen not as a defect in language and speech, but as an objective, irreducible characterization of the subject itself and the discourse about it. This excludes the possibility of universal or consolidated definitions. The solution is offered in a special kind of semantic empathy — in the acceptance of the discourse about civilization in the presumption of its fullness, in the meaningful intuitions of understanding. The principle of "civilizational multiplicity" or "civilization of civilizations" leads to the ideas of the multiplicity of civilizational projects, including the need to understand the Russian project of civilizational development as a "project of projects", that is, not only a mega-, but also a meta-project. Modern times are seen as "times of projects" with corresponding outlets in the problems of postmodernity, postmodern, and postmodernism. The temporal contradictions of the project, the paradoxes of dynamics and statics are considered. Is a project a future in the present and/or a present in the future? The ontological duality of the project is similar: process and thing, life and product, plan and embodiment. The discourse on civilization is considered as a systemic object. Reconstruction of the common problem-thematic space is carried out by the method of contour mapping. The isomorphism of historical time and space of analysis is substantiated: a picture as an image and as a motion picture, as a sequence of frames. A reverse perspective technique is introduced — reverse research and retro analysis, in which the genesis is supplemented by "autopsy" techniques

The German anatomist and artist Gunther von Hagens’s exhibition Body Worlds has toured Europe, Asia and the US several times, provoking both interest and dismay, fascination and disgust. This “original exhibition of real human bodies” features whole cadavers as well as specific body parts and it is organized thematically around specific bodily functions such as the respiratory system, blood circulation, skeletal materials and brain and nervous system. In each segment of the exhibition these themes are illustrated using parts of the body, presented in glass cases that are associated with each function. Next to these cases are the full body cadavers—the so-called “plastinates”. The Body Worlds exhibition is all about perception-in-motion: it is about circumnavigating bodies, stopping in front of a plastinate and in-corporating it, leaning over an arm or reaching towards a face, pointing towards a discrete blood vessel, drawing an abstract line between two organs. Experiencing here is above all a matter of reaching-towards and incorporeally touching bodies (Manning, Politics of Touch). These bodies are dead, still, motionless, “frozen in time between death and decay” (von Hagens, Body Worlds). Dead and still eerily animate, just as the surface of a freeze-frame photograph would seem to capture spatially a movement in its unfolding becoming, plastinates do not simply appear as dead matter used to represent vitality, but rather [...] as persons who managed to survive together with their bodies. What “inner quality” makes them appear alive? In what way is someone present, when what is conserved is not opinions (in writing), actions (in stories) or voice (on tape) but the body? (Hirschauer 41—42) Through the corporeal transformation—the plastination process—that these bodies have gone through, and the designed space of the exhibition—a space that makes possible both innovative and restrictive movements—these seemingly dead bodies come alive. There is a movement within these bodies, a movement that resonates with-in the exhibition space and mobilises visitors.Two ways of thinking movement in relation to stillness come out of this. The first one is concerned with the ordering and designing of space by means of visual cues, things or texts. This relates to stillness and slowness as suggestive, imposed and enforced upon bodies so that the possibilities of movement are reduced due to the way an environment is designed. Think for example of the way that an escalator moulds movements and speeds, or how signs such as “No walking on the grass” suggest a given pattern of walking. The second one is concerned with how movement is linked up with and implies continuous change. If a body’s movement and exaltation is reduced or slowed down, does the body then become immobile and still? Take ice, water and steam: these states give expression to three different attributes or conditions of what is considered to be one and the same chemical body. But in the transformation from one to the other, there is also an incorporeal transformation related to the possibilities of movement and change—between motion and rest—of what a body can do (Deleuze, Spinoza).Slowing Down Ever since the first exhibition Body Worlds has been under attack from critics, ethicists, journalists and religious groups, who claim that the public exhibition of dead bodies should, for various reasons, be banned. In 2004, in response to such criticism, the Californian Science Centre commissioned an ethical review of the exhibition before taking the decision on whether and how to host Body Worlds. One of the more interesting points in this review was the proposition that “the exhibition is powerful, and guests need time to acclimate themselves” (6). As a consequence, it was suggested that the Science Center arrange an entrance that would “slow people down and foster a reverential and respectful mood” (5). The exhibition space was to be organized in such a way that skeletons, historical contexts and images would be placed in the beginning of the exhibition, the whole body plastinates should only be introduced later in the exhibition. Before my first visit to the exhibition, I wasn’t sure how I would react when confronted with these dead bodies. To be perfectly honest, the moments before entering, I panicked. Crossing the asphalt between the Manchester Museum of Science and the exhibition hall, I felt dizzy; heart pounding in my chest and a sensation of nausea spreading throughout my body. Ascending a staircase that would take me to the entrance, located on the third floor in the exhibition hall, I thought I had detected an odour—rotten flesh or foul meat mixed with chemicals. Upon entering I was greeted by a young man to whom I presented my ticket. Without knowing in advance that this first room had been structured in such a way as to “slow people down”, I immediately felt relieved as I realized that the previously detected smell must have been psychosomatic: the room was perfectly odourless and the atmosphere was calm and tempered. Dimmed lights and pointed spotlights filled the space with an inviting and warm ambience. Images and texts on death and anatomical art were spread over the walls and in the back corners of the room two skeletons had been placed. Two glass cases containing bones and tendons had been placed in the middle of the room and next to these a case with a whole body, positioned upright in ‘anatomically correct’ position with arms, hands and legs down. There was nothing gruesome or spectacular about this room; I had visited anatomical collections, such as that of the Hunterian Museum in London or Medical Museion in Copenhagen, which in comparison far surpassed the alleged gruesomeness and voyeurism. And so I realized that the room had effectively slowed me down as my initial state of exaltation had been altered and stalled by the relative familiarity of images, texts and bare bones, all presented in a tempered and respectful way.Visitors are slowed down, but they are not still. There is no degree zero of movement, only different relations of speeds and slowness. Here I think it is useful to think of movement and change as it is expressed in Henri Bergson’s writings on temporality. Bergson frequently argued that the problem of Western metaphysics had been to spatialise movement, as in the famous example with Zeno’s arrow that—given that we think of movement as spatial—never reaches the tree towards which it has been shot. Bergson however did not refute the importance and practical dimensions of thinking through immobility; rather, immobility is the “prerequisite for our action” (Creative Mind 120). The problem occurs when we think away movement on behalf of that which we think of as still or immobile.We need immobility, and the more we succeed in imagining movement as coinciding with the immobilities of the points of space through which it passes, the better we think we understand it. To tell the truth, there never is real immobility, if we understand by that an absence of movement. Movement is reality itself (Bergson, Creative Mind 119).This notion of movement as primary, and immobility as secondary, gives expression to the proposition that immobility, solids and stillness are not given but have to be achieved. This can be done in several ways: external forces that act upon a body and transform it, as when water crystallizes into ice; certain therapeutic practices—yoga or relaxation exercises—that focus and concentrate attention and perception; spatial and architectural designs such as museums, art galleries or churches that induce and invoke certain moods and slow people down. Obviously there are other kinds of situations when bodies become excited and start moving more rapidly. Such situations could be, to name a few, when water starts to boil; when people use drugs like nicotine or caffeine in order to heighten alertness; or when bodies occupy spaces where movement is amplified by means of increased sensual stimuli, for example in the extreme conditions that characterize a natural catastrophe or a war.Speeding Up After the Body Worlds visitor had been slowed down and acclimatised in and through the first room, the full body plastinates were introduced. These bodies laid bare muscles, tissues, nerves, brain, heart, kidneys, and lungs. Some of these were “exploded views” of the body—in these, the body and its parts have been separated and drawn out from the position that they occupy in the living body, in some cases resulting in two discrete plastinates—e.g. one skeleton and one muscle-plastinate—that come from the same anatomical body. Congruent with the renaissance anatomical art of Vesalius, all plastinates are positioned in lifelike poses (Benthien, Skin). Some are placed inside a protective glass case while others are either standing, lying on the ground or hanging from the ceiling.As the exhibition unfolds, the plastinates themselves wipe away the calmness and stillness intended with the spatial design. Whereas a skeleton seems mute and dumb these plastinates come alive as visitors circle and navigate between them. Most visitors would merely point and whisper, some would reach towards and lean over a plastinate. Others however noticed that jumping up and down created a resonating effect in the plastinates so that a plastinate’s hand, leg or arm moved. At times the rooms were literally filled with hordes of excited and energized school children. Then the exhibition space was overtaken with laughter, loud voices, running feet, comments about the gruesome von Hagens and repeated remarks on the plastinates’ genitalia. The former mood of respectfulness and reverence has been replaced by the fascinating and idiosyncratic presence of animated and still, plastinated bodies. Animated and still? So what is a plastinate?Movement and Form Through plastination, the body undergoes a radical and irreversible transformation which turns the organic body into an “inorganic organism”, a hybrid of plastic and flesh (Hirschauer 36). Before this happens however the living body has to face another phase of transition by which it turns into a dead cadaver. From the point of view of an individual body that lives, breathes and evolves, this transformation implies turning into a decomposing and rotting piece of flesh, tissue and bones. Any corpse will sooner or later turn into something else, ashes, dust or earth. This process can be slowed down using various techniques and chemicals such as mummification or formaldehyde, but this will merely slow down the process of decomposition, and not terminate it.The plastination technique is rather different in several respects. Firstly the specimen is soaked in acetone and the liquids in the corpse—water and fat—are displaced. This displacement prepares the specimen for the next step in the process which is the forced vacuum impregnation. Here the specimen is placed in a polymer mixture with silicone rubber or epoxy resin. This process is undertaken in vacuum which allows for the plastic to enter each and every cell of the specimen, thus replacing the acetone (von Hagens, Body Worlds). Later on, when this transformation has finished, the specimen is modelled according to a concept, a “gestalt plastinate”, such as “the runner”, “the badminton player” or “the skin man”. The concept expresses a dynamic and life-like pose—referred to as the gestalt—that exceeds the individual parts of which it is formed. This would suggest that form is in itself immobility and that perception is what is needed to make form mobile; as gestalt the plastinated body is spatially immobilised, yet it gives birth to a body that comes alive in perception-movement. Once again I think that Bergson could help us to think through this relation, a relation that is conceived here as a difference between form-as-stillness and formation-as-movement:Life is an evolution. We concentrate a period of this evolution in a stable view which we call a form, and, when the change has become considerable enough to overcome the fortunate inertia of our perception, we say that the body has changed its form. But in reality the body is changing form at every moment; or rather, there is no form, since form is immobile and the reality is movement. What is real is the continual change of form; form is only a snapshot view of a transition (Bergson, Creative Evolution 328, emphasis in original).In other words there is a form that is relative to human perception, but there is “underneath” this form nothing but a continuous formation or becoming as Bergson would have it. For our purposes the formation of the gestalt plastinate is an achievement that makes perceptible the possibility of divergent or co-existent durations; the plastinate belongs to a temporal rhythm that even though it coincides with ours is not identical to it.Movement and Trans-formation So what kind of a strange entity is it that emerges out of this transformation, through which organic materials are partly replaced with plastic? Compared with a living body or a mourned cadaver, it is first and foremost an entity that no longer is subject to the continuous evolution of time. In this sense the plastinate is similar to cryogenetical bodies (Doyle, Wetwares), or to Ötzi the ice man (Spindler, Man in the ice)—bodies that resist the temporal logic according to which things are in constant motion. The processes of composition and decomposition that every living organism undergoes at every instant have been radically interrupted.However, plastinates are not forever fixed, motionless and eternally enduring objects. As Walter points out, plastinated cadavers are expected to “remain stable” for approximately 4000 years (606). Thus, the plastinate has become solidified and stabilized according to a different pattern of duration than that of the decaying human body. There is a tension here between permanence and change, between bodies that endure and a body that decomposes. Maybe as when summer, which is full of life and energy, turns into winter, which is still and seemingly without life. It reminds us of Nietzsche's Zarathustra and the winter doctrine: When the water is spanned by planks, when bridges and railings leap over the river, verily those are believed who say, “everything is in flux. . .” But when the winter comes . . . , then verily, not only the blockheads say, “Does not everything stand still?” “At bottom everything stands still.”—that is truly a winter doctrine (Bennett and Connolly 150). So we encounter the paradox of how to accommodate motion within stillness and stillness within motion: if everything is in continuous movement, how can there be stillness and regularity (and vice versa)? An interesting example of such temporal interruption is described by Giorgio Agamben who invokes an example with a tick that was kept alive, in a state of hibernation, for 18 years without nourishment (47). During those years this tick had ceased to exist in time, it existed only in extended space. There are of course differences between the tick and von Hagens’s plastinates—one difference being that the plastinates are not only dead but also plastic and inorganic—but the analogy points us to the idea of producing the conditions of possibility for eternal, timeless (and, by implication, motionless) bodies. If movement and change are thought of as spatial, as in Zeno’s paradox, here they have become temporal: movement happens in and because of time and not in space. The technique of plastination and the plastinates themselves emerge as processes of a-temporalisation and re-spatialisation of the body. The body is displaced—pulled out of time and history—and becomes a Cartesian body located entirely in the coordinates of extended space. As Ian Hacking suggests, plastinates are “Cartesian, extended, occupying space. Plastinated organs and corpses are odourless: like the Cartesian body, they can be seen but not smelt” (15).Interestingly, Body Worlds purports to show the inner workings of the human body. However, what visitors experience is not the working but the being. They do not see what the body does, its activities over time; rather, they see what it is, in space. Conversely, von Hagens wishes to “make us aware of our physical nature, our nature within us” (Kuppers 127), but the nature that we become aware of is not the messy, smelly and fluid nature of bodily interiors. Rather we encounter the still nature of Zarathustra’s winter landscape, a landscape in which the passage of time has come to a halt. As Walter concludes “the Body Worlds experience is primarily visual, spatial, static and odourless” (619).Still in Constant MotionAnd yet...Body Worlds moves us. If not for the fact that these plastinates and their creator strike us as gruesome, horrific and controversial, then because these bodies that we encounter touch us and we them. The sensation of movement, in and through the exhibition, is about this tension between being struck, touched or moved by a body that is radically foreign and yet strangely familiar to us. The resonant and reverberating movement that connects us with it is expressed through that (in)ability to accommodate motion in stillness, and stillness in motion. For whereas the plastinates are immobilised in space, they move in time and in experience. As Nigel Thrift puts it The body is in constant motion. Even at rest, the body is never still. As bodies move they trace out a path from one location to another. These paths constantly intersect with those of others in a complex web of biographies. These others are not just human bodies but also all other objects that can be described as trajectories in time-space: animals, machines, trees, dwellings, and so on (Thrift 8).This understanding of the body as being in constant motion stretches beyond the idea of a body that literally moves in physical space; it stresses the processual intertwining of subjects and objects through space-times that are enduring and evolving. The paradoxical nature of the relation between bodies in motion and bodies at rest is obviously far from exhausted through the brief exemplification that I have tried to provide here. Therefore I must end here and let someone else, better suited for this task, explain what it is that I wish to have said. We are hardly conscious of anything metaphorical when we say of one picture or of a story that it is dead, and of another that it has life. To explain just what we mean when we say this, is not easy. Yet the consciousness that one thing is limp, that another one has the heavy inertness of inanimate things, while another seems to move from within arises spontaneously. There must be something in the object that instigates it (Dewey 182). References Agamben, Giorgio. The Open. Trans. Kevin Attell. Stanford: Stanford U P, 2004.Bennett, Jane, and William Connolly. “Contesting Nature/Culture.” Journal of Nietzsche Studies 24 (2002) 148-163.Benthien, Claudia. Skin: On the Cultural Border Between Self and the World. Trans. Thomas Dunlap. New York: Columbia U P, 2002. California Science Center. “Summary of Ethical Review.” 10 Jan. 2009.Bergson, Henri. The Creative Mind. Trans. Mabelle Andison. Mineola: Dover, 2007. –––. Creative Evolution. Trans. Arthur Mitchell. New York: Cosimo Classics, 2005Deleuze, Gilles. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights, 1988.Dewey, John. Art as Experience. New York: Perigee, 2005.Doyle, Richard. Wetwares. Minnesota: Minnesota U P, 2003.Hacking, Ian. “The Cartesian Body.” Biosocieties 1 (2006) 13-15.Hirschauer, Stefan. “Animated Corpses: Communicating with Post Mortals in an Anatomical Exhibition.” Body & Society 12.4 (2006) 25-52.Kuppers, Petra. “Visions of Anatomy: Exhibitions and Dense Bodies.” differences 15.3 (2004) 123-156.Manning, Erin. Politics of Touch: Sense, Movement, Sovereignty. Minnesota: Minnesota UP, 2007. Spindler, Konrad. The Man in the Ice. London: Weidenfeld and Nicolson, 1994.Thrift, Nigel. Spatial Formations. London: Sage, 1996.Von Hagens, Gunther, and Angelina Whalley. Body Worlds: The Original Exhibition of Real Human Bodies. Heidelberg: Institute for Plastination, 2008.Walter, Tony. “Plastination for Display: A New Way to Dispose of the Dead.” Journal of the Royal Anthropological Institute 10.3 (2004) 603-627.

Print culture, as the call for this issue suggests, has dominated the world for 500 years, but also suggests that print’s hegemony may now be under threat from new communications technologies. There are a number of perspectives from which to view the ‘threats’ to which print culture is subject, the longer term effects this will have and, particularly, on what it will mean to be human in the future of print culture. I’d like to address this issue by turning my attention to one dimension of this question that seems essentially absent from the discourses which surround it. I’d like to step back and put this question in the context of the structural relations of print as a cultural technology. My questions concern what these structural relations and their effects are, the limits of this print model of textuality, and what would constitute an ‘outside’ to the print system of texts. The point of this is to expose the ‘naturalised’ elements of this cultural formation, to show that there is as yet no radical break from print culture, and to consider the nature of the current pressures on print culture. The primary infrastructure of the print system concerns the structure of its texts, the structure of its modes of subject formation, and the structural relations between them. We should note how deeply embedded these structural relations are in terms of the idea of the human, of the idea of being human. Walter Ong (117-38), for example, has shown us how the print form is deeply embedded within culture and affects us at deeper levels than just the external manifestations of the medium. The conventions of print greatly influence and structure the ways in which it is possible to think – for Ong, the dominant communicational culture affects and determines the possibilities of thought and expression, and the relationships between individuals and texts structures the ways in which we view the world. This is what Ong calls “a psychological breakthrough of the first order”. For Ong, the achievement of alphabetic letterpress printing was that it “embedded the word itself deeply in the manufacturing process and made it a kind of commodity”. It was, he says, the first assembly line, and from this we have the mass distribution of texts, mass literacy through mass schooling, religion, etc. (Extended examinations of the function of religion in the construction of a print model can be pursued in both Aries and Luke.) Firstly, we must note that a model of textuality is not a natural thing; it is a technology. A textual model provides an infrastructure which determines and articulates the possibilities of relationships between those elements of the textual infrastructure – texts, subjects, and their relationships. As a consequence, the model also largely determines the possibilities for reading and writing within the textual system. The print-based system of texts has always presented an infrastructure that consists of a two-dimensional surface to which it sutures a subject in a face-to-face relationship – the requirement is for a certain kind of text, a certain kind of subject, and a certain kind of relationship between them in a highly prescribed and circumscribed textual infrastructure. This model of textuality is assumed as the natural mode of textuality, and consequently the referent for all textuality. What is obscured in the naturalisation of the print model of textuality are the technological dimensions of textuality: that all textual models are technologies. This print model has become so naturalised that it disappears. These structural relations of print do not change with the advent of the desktop personal computer, nor screen culture generally, as these are already cast within the infrastructure of the print model. Even three-dimensionality on the two-dimensional screen is always-already simulacra, constituted by continual changes on a surface which give only the appearance of three-dimensionality. The screen and keyboard therefore mark a continuity with the pre-existing social relations of print-based technology and its system of texts, and inscribe these textual relations in the model of the desktop personal computer. The essential “face-to-face” relation, where the subject is always placed “in front of”, also largely determines this subject. This mode of positionality is the condition of this subject. Its possibilities for “knowing” and “understanding”, if not wholly determined, are strongly influenced by this positionality. When Heidegger says that the meaning of the term understanding is intended to go back to its usage in ordinary language, he is referring to understanding (verstehen) in these terms: In German we say that someone can vorstehen something – literally stand in front or ahead of it, that is, stand at its head, administer, manage, preside over it. This is equivalent to saying that he versteht sich darauf, understands in the sense of being skilled or expert at it, has the know how of it. (Heidegger, “Age” 129-30) Such a subject, in that she or he is always placed “in front of” the text, surface, screen, page, is always the subject of the print age. This is the sense in which the desktop personal computer is still a Book. Accounts of computing per se initiating a radically new textuality, then, should proceed with caution. There is a new textual environment, to be sure, yet assertions of its radicality would seem firstly to refer to changes in degree rather than changes in kind. For Heidegger, the very essence of ‘man’ changes in the representationalist paradigm in that ‘man becomes subject’. He points out that the word sub-iectum names ‘that-which-lies-before’, and which ‘as ground, gathers everything onto itself’ (Heidegger, “Age” 128). When man becomes primary, then ‘man becomes that being upon which all that is is grounded as regards the manner of its Being and its truth’. It is only possible for man to become this relational centre when ‘the comprehension of what is as a whole changes’ (Heidegger, “Age” 128). In terms of this change, Heidegger says, we are asking after the ‘essence of the modern age’ which concerns the ‘modern world picture (Weltbild)’. World picture … does not mean a picture of the world but the world conceived and grasped as picture. … Whenever we have the world picture, an essential decision takes place regarding what is, in its entirety. The Being of whatever is, is sought and found in the representedness of the latter. He further points out that The world picture does not change from an earlier medieval one into a modern one, but rather the fact that the world becomes picture at all is what distinguishes the essence of the modern age. (Heidegger, “Age” 129-30) It is the positionality largely determined through these structural relations that enables the identity of the modernist subject, and the possibility of its representation (as an object for another subject). Representationalism therefore requires positionality in order to represent. The print subject is sutured to the page or screen and this always provides it with a representable position. The subject of representationalism therefore comes to appear as naturally given, just as, in this view, technology is also a given. Positionality concerns fixation, or what can be held to be true. Positionality is what Deleuze and Guattari oppose to nomadism which concerns constant movement and circulation. Representationalism requires this stable formation, and infusions of ‘noise’ into the system are rendered as pathologies. “Virtual reality” then, in that it disrupts or introduces something that is apparently new into the system, tends to become a pathologisation of the subject. It is on this basis that claims are made of crises in modes of subjectivity within virtual reality or cyberculture, where the problematic is mis-construed in terms of the subject rather than in terms of this model of interpretation. In this sense, it clings to the illusion of the subject as ground, that everything that is, is an object for a subject. In this model, it becomes a question of repositioning the subject such that the subject may be accommodated in an expanded representational regime, a practice that is widespread. Bukatman (8-9), for example, has argued a representationalist position which can be seen in the following passage. It is the purpose of much recent science fiction to construct a new subject position to interface with the global realms of data circulation, a subject that can occupy or intersect the cyberscapes of contemporary existence. For Bukatman, it is about a new position for the subject: that is, it is a question of how to represent the subject such that it can be accommodated to or within a representationalist paradigm. This subject is reduced to the notion of positionality which is representable as the subject labelled “I”. It concerns differences in degree rather than in kind. The establishing of the human subject as ground for “that which is” positions the human in an entirely different way from the subject of earlier times. For the first time, Heidegger says, there became such a thing as a “position” of the human. Humanity is subiectum, and must stand in front of, or “take his stand in relation to whatever is as the objective”. What is decisive, he says is that man himself expressly takes up this position as one constituted by himself, that he intentionally maintains it as that taken up by himself, and that he makes it secure as the solid footing for a possible development of humanity. (Heidegger, “Age” 132) This decisive event, for Heidegger, is what begins a new way of being human that gives rise to the world as picture. Heidegger’s “age of the world picture” corresponds with the arrival of the mass textual system or model (the printing press of the fifteenth century) which serves to instantiate this model of “man”. This is an actualisation of the technology of the subiectum, the age of the world picture, that is henceforth demanded in order to produce and to represent this “man”, and to represent him to himself. There has been no radical break with the structures underlying the social formation of print culture, yet this formation is subject to increasing pressures. What is most under pressure in this late age of print, however, is not the particular formation of texts, but, crucially, this mode of being human that has been ever more deeply embedded in the human psyche for more than 500 years. This will not disappear overnight; however, its structural conditions of existence do appear to be beginning to overflow their limit, producing an excess that is not, or not easily, assimilated back to itself. This excess is constituted by those contemporary elements that do not fit the structural model of the print system of texts. There are several aspects to this which can only be gestured towards in this space. In particular, one aspect will concern the complex network of relations in the changing nature of information in a digital, networked era, the commodification of information in global capitalism, and the distortions of space and time these produce. It gestures towards the possibility of a post-representationalism – a new subject that, rather than being fixed and positional, sutured to a screen/page, is set in motion – a structure which would alter all relations as well as the constitution of the subject. Immersive virtual reality texts already begin the necessity of thinking these relations and the possibility of a subject in motion within fields of information flow. These immersive virtual realities gesture towards the possibility of the subject becoming a post-print. A post-print will not emerge fully formed or all at once, or even very soon, but reflections on what such a system of texts and subjects might be or become poses the relations of print or our reflections on them in a different way. In any event, it points towards a difficult time ahead for the print subject and for the formation and meaning of print culture. References Aries, Philippe. Centuries of Childhood. Trans. Robert Baldick. London: Jonathan Cape, 1973. Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham: Duke UP, 1993. Heidegger, Martin. The Basic Problems of Phenomenology. Trans. A. Hofstadter. Bloomington: Indiana UP, 1982. —. “The Age of the World Picture”. In Martin Heidegger, The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Garland, 1977. 115-54. Luke, Carmen. Pedagogy, Printing, and Protestantism. Albany: State U of New York, 1989. Ong, Walter. Orality and Literacy: The Technologizing of the Word. London: Routledge. 1982. Citation reference for this article MLA Style Roe, Phillip. "Dimensions of Print." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/07-roe.php>. APA Style Roe, P. (Jun. 2005) "Dimensions of Print," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/07-roe.php>.

The main characteristics of ball lightning are well established. They include its general appearance (shape, size range, brightness, etc.), its peculiar motion and, less satisfactorily, its energy content. A remarkably consistent picture emerges from the thousands of detailed descriptions which are now available. There is, however, no such consistency in the various hypotheses that have been put forward to explain ball lightning. The only thing most of them share is an ability to explain a few aspects of the phenomenon at the expense of physically impossible requirements in other areas. If one is to accept that a single phenomenon is being described in all these observations, it seems clear that ball lightning is, at the very least, an electrical and chemical phenomenon; and several branches of both disciplines seem to be involved. High humidities are nearly always implied and it is known that the behaviour of strong electrolytes in saturated water vapour cannot be properly modelled thermodynamically. An approximate way of circumventing this problem is developed. It allows a thorough, if only approximate, thermodynamic analysis to be undertaken From this, phenomena that explain the structure and stability of ball lightning are predictable. They arise quite naturally by considering the nature, energetics and fate of ions escaping from a hot air plasma into the cool, high humidity environment of electrically charged air. The model resulting is as follows. A central plasma core is surrounded by a coo er, intermediate zone, in which recombination of most or all of the high-energy ions takes place. Further out is a zone in which temperatures are low enough for any ions present to become extensively hydrated. Hydrated ions can also form spontaneously in the inner, hotter, parts of this hydration zone. Near the surface of the ball is a region, quite essential to the model, in which thermochemical refrigeration can take place. In an established ball, energy is supplied not only by electric fields and, possibly, electromagnetic fields, but also by the production of nitric acid from nitrogen and oxygen and by the hydration of the ions. It is shown that, if NO - 2 and H 3 O + ions become hydrated by more than about five water molecules before they can combine at the edge of the ball, the reaction will be endothermic and can refrigerate its surface. The ball can thus be considered as a thermochemical heat pump powered by the electric field of a thunder storm. The surface refrigeration allows the condensation of water in quantities sufficient to counteract the buoyancy of the hot plasma. The in-flow of N 2 and O 2 produces both nitrous and nitric acids, the latter being dissolved in the water droplets. The flow of gas inwards past these droplets (and past those condensed around an excess of H 3 O + ions) provides an effective surface tension for the ball which appears sufficient to explain its shape and mechanical stability. Clearly explanations for the surface coolness and frequently reported cloudiness are provided at the same time. All the well documented properties (amounting to over 20 distinct properties in total) can be explained in a consistent manner within the framework of the model.

Intruders usually break into houses with the intention of committing burglaries. This research proposed a development of an intrusion detection and security Alarm System using the Internet of Things. The methodology of the proposed system consists of five components. First, the hardware components are Raspberry Pi 3 Model B+, a camera for Raspberry Pi, motion sensors, relays and speakers, while the software system was developed by Python. Second, the architecture of the proposed system. Third, the design and construction of the electronic circuit connected with sensors. Fourth, the intruder image analysis for the alarm system using OpenCV and Deep Learning. The face detected by the camera was compared with homeowner’s pictures. If the detected face was not the homeowner, the system alarms the user or the owner via the smartphone LINE Application. Last, the Anto, which is the free and easy Internet of Things platform, connect the devices and the smartphone application together via the internet. Hence, the users or homeowners can control the devices or take the picture from a distance using a smartphone. The experimental results show that the proposed system can detect the intruder and alarm the homeowner via LINE Application on the smartphone. The experimental results show that the proposed system can efficiently detect the intruder and alarm the homeowner via LINE Application on the smartphone. The performance of the proposed system is excellent with the average score of 97.40%. The developed application on the Android smartphone is user-friendly, simple and efficient as well.

Referral techniques are normally employed in internet business applications. Existing frameworks prescribe things to a particular client according to client inclinations and former high evaluations. Quite a number of methods, such as cooperative filtering and content-based methodologies, dominate the architectural design of referral frameworks. Many referral schemes are domain-specific and cannot be deployed in a general-purpose setting. This study proposes a two-dimensional (User × Item)-space multimode referral scheme, having an enormous client base but few articles on offer. Additionally, the design of the referral scheme is anchored on the and articles, as expressed by a particular client, and is a combination of affiliation rules mining and the content-based method. The experiments used the dataset of MovieLens, consisting of 100,000 motion pictures appraisals on a size of 1-5, from 943 clients on 1,682 motion pictures. It utilised a five-overlap cross appraisal on a (User × Item)-rating matrix with 12 articles evaluated by a minimum of 320 clients. A total of 16 rules were generated for both and articles, at 35% minimum support and 80% confidence for the articles and 50% similitude for the . Experimental results showed that the anticipated appraisals in denary give a better rating than other measures of exactness. In conclusion, the proposed algorithm works well and fits on two dimensional -space with articles that are significantly fewer than users, thus making it applicable and effective in a variety of uses and scenarios as a general-purpose utility.

Author's Note: The Theme of the Loop: Image, Exhibition and Networkability In his contribution to the anthology, The Digital Dialectic, George P. Landow inventories a set of characteristics that define digital media. These defining traits result from a hybrid mixture of ideas relating hypertext writing to the visual language of collage. Included in this list is the quality of "networkability".1 It is through reading into this particular element that I will focus on the character of the digital image itself as multi-dimensional and how, by extension, this enmeshes notions of the image within a wider network of relations; of image to the imaginary, of vision to visuality, and of artwork to exhibition. Underpinning this text will be my curatorial "projection"2—using the term as it is articulated by Ron Burnett as an active, interpenetration of the processes of vision, representation, technology and the imagination—of the digital image culminating in the exhibition, The Synthetic Image.3 The exhibition presents the work of thirteen artists working within the vectors that define imaging practices informed by new technologies. Exploring the relationship between the real and the virtual, the selected artists and artworks exemplify the crossover between a variety of digital and interactive media informed by other artistic traditions and individual positions on the role of the image in representing, simulating or creating realities. The perspective of this project views the relationship between digital technologies and the image as a synthetic one. Recognizing the ability to double and fold in the malleability of the material from which the digital image is composed, the dichotomy of inside and outside collapses. Instead of conceiving, visualizing pixels as a solid, impenetrable grid, I've tried, rather, to recognize in this resulting surface the qualities of a fabric, as a mesh of interpenetrating, weaving fibres. Instead of the content of the image being contained in the "solid" pixels, it is implied in the "threads" of the screen holding together the field of relationships, looping like a closed electrical or magnetic circuit. The vectors of relationship bound the "empty" image; fastening, holding together and forming the picture. In many ways my approach to this topic (as artist, curator and, in this immediate guise, as author) finds expression in the term "synthesis" defined as a "rhythmic coexistence of radically heterogenous and temporally dispersed elements".4 The virtuality of this thing called an "exhibition" is approached as a narrative space; a fluid, complex epistemological environment. The curatorial role makes evident the subtext of diverse strands connecting respective works and artists and collects them in the space of the gallery in an attempt to draw them into the "loop." The exhibition/ installation operates by gathering together disparate components into what is as much a "context" as a physical and spatial realization. The choice and arrangement of artworks, displayed as printed images or encountered as fleeting emanations of light, creates channels of communication where meaning is more than implied, and can be likened to the type of referentiality associated with that of the image produced by projection and the apparatus of the projector itself. Considered in this way, even static images, fixed into pigment on paper, operate luminously, acting like beacons which together form a constellation of points creating lines of force, motion, influence and meaning; the exhibition itself is a loop structure which enfolds and encircles its incorporated range of (inter, hyper, meta and para) textual components. The writing also parallels a similarly conceived and structured trajectory towards the metaphor of the loop. At its inception, I developed a graphic visualization of the textual content of this text, meditating upon the interrelationships of the synthetic qualities of the image fused with a mapping of theoretical positionings and the example provided through the exhibition itself. This diagram of sorts resulted in a narrative structure which collects the various themes (mesh, weave, wire frame, map, moire and screen) within the text's centrifugal sweep, overlapping with the artists' works comprising the exhibition, and made possible by the navigation structure realized by Leon Meyer. In exploring the formal possibilities offered by hypertext, multiple vantage points and intersections result from the folding and overlapping of image and text. As with crumpling the written page into a ball,5 synthetic qualities are realized. Enter "The Synthetic Image". To view this hypertextual essay, you will need to download the latest version of Macromedia Shockwave. Notes 1. "Digital words and images take the form of semiotic codes, and this fundamental fact about them leads to the characteristic, defining qualities of digital infotech: 1) virtuality, (2) fluidity, (3) adaptability, (4) openness (or existing without borders), (5) processability, (6) infinite duplicability, (7) capacity for being moved about rapidly, and (8) networkability." George P. Landow, "Hypertext as Collage-writing," The Digital Dialectic, ed. Peter Lunenfeld (Cambridge, MA: MIT, 2000) 166. 2. "There may be no better time than now (with virtual technologies inching closer to realization) to rethink what we mean when we talk about pictures and what we are capable of saying with the pictures we create. One of my aims then, is to discuss strategies for renaming and redescribing (thus reinterpreting), not only the pictures themselves, but circular processes of interaction, the relationships between images, thought, language and subjectivity." Ron Burnett, Cultures of Vision, Images, Media, and the Imaginary (Bloomington: U of Indiana P, 1995) 24. 3. The Synthetic Image, 8 July 4 August 2002, The Faculty Gallery, Monash University, Melbourne, Australia. The artists represented are Marcus Bunyan, Megan Evans, Marcus Fajl, Phil George, Troy Innocent, Murray McKeich, Gerard Minogue, Matthew Perkins, Patricia Piccinini, Lynne Roberts-Goodwin, Daniel Von Sturmer, Trinh Vu and Vince Dziekan. 4. Jonathan Crary, Suspensions of Perception, Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT, 1999) 297. 5. This allusion finds an intertextual reference in Daniel von Sturmer's video piece Material From Another Medium included in the exhibition's inventory. Links http://happyjack.artdes.monash.edu.au/syntheticimage/ Citation reference for this article MLA Style Dziekan, Vince. "The Synthetic Image" M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/synthetic.php>. Chicago Style Dziekan, Vince, "The Synthetic Image" M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/synthetic.php> ([your date of access]). APA Style Dziekan, Vince. (2002) The Synthetic Image. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/synthetic.php> ([your date of access]).

IntroductionTwo writers, stuck in our university offices, decide to take our thoughts “for a walk” across the page. Writing from Middlesbrough, United Kingdom, and Auckland, New Zealand, we are separated by 18,000 kilometres and 11 hours, and yet here, on the page, our paths meet. How does walking, imaginary or real, affect our thinking? How do the environments through which we move, and the things we see along the way, influence our writing? What role do rhythm and pace play in the process? We invite you to join us on two short walks that reflect on our shared challenges as writers from two different strands of writing studies. Perhaps our paths will intersect, or even overlap, with yours somewhere? Ultimately, we aim to find out what happens when we leave our academic baggage behind, side-stepping dense theoretical arguments and comprehensive literature reviews for a creative-critical exploration. Evija: Let’s admit it, Sophie—I’m stuck. I’ve spent half a day in front of this computer but have hardly typed a line. It’s not just writing. It’s my thinking. I feel like my mind is weighed down by the clutter of thoughts that lead nowhere.Look at my surroundings. My office is crammed with stuff. So many thoughts buried under piles of paper, insisting on their place in the work in which they so obviously do not belong. I also can’t help but feel the magnetic pull of others’ ideas from all the books around me. Each thought, each reference, fights for its place in my work. What an unbearable intertextual mess...Sophie: I think that everyone who has ever tried to write knows exactly what these moments feel like. We can feel so lost, so stuck and blocked. Have you ever noticed that the words that we use about these feelings are intensely visceral? Perhaps that’s why, when the words won’t come, so many of us find it helpful to get up and move our bodies. Evija, shall we leave our desks behind for a while and go for a walk? Would you like to join me?E: Most certainly! Apparently, Friedrich Nietzsche loved to take his mind for a walk (Gros). Ideas, born among books, says Frédéric Gros, “exude the stuffy odour of libraries” (18). Gros describes such books as “grey”: “overloaded with quotations, references, footnotes, explicatory prudence, indefinite refutations” (19). They fail to say anything new and are “crammed”, “stuffed”, and “weighed down”; they are “born of a compilation of the other books” (Gros 19) so also bear their weight. Essentially, we are told, we should think of the books we are writing as “expression[s] of [our] physiology” (Gros 19). If we are shrivelled, stuck, stooped, tense, and tired, so also are our thoughts. Therefore, in order to make your thoughts breathe, walk, and even “dance”, says Nietzsche, you should go outdoors, go up in the mountains.S: As I read what you’ve written here, Evija, I feel as if I’m walking amongst your thoughts, both here on the screen and in my imagination. Sometimes, I’m in perfect step with you. At other times, I want to interrupt, tug on your sleeve and point, and say “Look! Have you seen this, just up ahead?”E: That’s the value of companionship on the road. A shared conversation on the move can lead to a transformation of thought, a conversion, as in the Biblical stories of the roads to Emmaus and Damascus. In fact, we tested the power of walking and talking in rural settings in a series of experimental events organised for academics in Auckland, New Zealand, throughout 2017 (see our blog post on Writing, Writing Everywhere website). It appeared to work very well for writers who had either been “stuck” or in the early stages of drafting. Those who were looking to structure existing thoughts were better off staying put. But walking and talking is an entire other topic (see Anderson) that we should discuss in more depth some other time.Anyway, you’ve brought us to what looks like a forest. Is this where you want us to go?A Walk “into the Woods,” or Getting in the Thick of Free-Writing S: Yes, just follow me. I often walk in the woods close to where I live. Of course, going “into the woods” is itself a metaphor, rich with fairy-tale connotations about creativity. The woods are full of darkness and danger, grandmother’s cottage, wild beasts, witches, poisonous fruits. The woods are where traps are laid, where children wander and get lost, where enchantments befall us. But humans have always been seduced by the woods and what lies in wait there (Maitland). In Jungian terms, losing oneself in darkness is a rite of initiation. By stepping into the woods, we surrender to not knowing, to walking off the path and into the depths of our imagination. I dare you to do that, right now! E: Letting go is not always easy. I keep wanting to respond to your claim by adding scholarly references to important work on the topic. I want to mention the father of the essay, Michel de Montaigne, for whom this form of writing was but “an attempt” (from Old French, “essai”) to place himself in this world, a philosophical and literary adventure that stood very far from the rigidly structured academic essay of the present day (Sturm). We’ve forgotten that writing is a risky undertaking, an exploration of uncharted terrains (Sturm). S: Yes, and in academic thinking, we’re always afraid to ramble. But perhaps rambling is exactly what we need to do. Perhaps we need to start walking without knowing where we’re going ... and see where it takes us. E: Indeed. Instead of going on writing retreats, academics should be sent “into the woods”, where their main task would be to get lost before they even start to think.S: Into the Woods, a reality TV show for academics? But seriously, maybe there is something about walking into the woods—or a landscape different from our habitual one—that symbolises a shift in feeling-state. When I walk into the woods, I purposely place myself in a different world. My senses are heightened. I become acutely aware of each tiny sound—the ticking of the leaves, the wind, the birdsong, the crunch of my feet, the pounding of the blood in my ears. I become less aware of all the difficult parts of myself, my troubles, my stuckness, what weighs on me so heavily. It seems to me that there is a parallel here with a state of consciousness or awareness famously described by the psychologist of optimal experience, Mihalyi Csikszentmihalyi, as “flow”. In flow, “the loss of a sense of self separate from the world around it is sometimes accompanied by a feeling of union with the environment” (Csikszentmihalyi 63), together with pleasure in movement and in the sensory experience of seeing the world. So flow might be one way of thinking about my lived experience of walking in the woods. But this shift has also been described by the psychotherapist Marion Milner as a shift from “narrow thinking” into a “wider” way of looking, listening, feeling, and moving—a feeling state that Milner called the “fat feeling”. She identified this “fat feeling” as characteristic of moments when she experienced intense delight (Milner 15) and she began to experiment with ways in which she could practice it more purposefully.In this sense, walking is a kind of “trick” that I can play upon myself. The shift from office to woods, from sitting at my desk to moving through the world, triggers a shift from preoccupation with the “head stuff” of academic work and into a more felt, bodily way of experiencing. Walking helps me to “get out of my head.”E: So wandering through this thicket becomes a kind of free writing?S: Yes, free writing is like “taking a line for a walk” on the page, words that the Swiss-German artist Paul Klee famously attributed to drawing (Klee 105; see also Raymond). It’s what we’re doing here, wouldn’t you say?Two Lines of Walking: A drawing by Evija. E: Yes—and we don’t know where this walk will lead us. I’m thinking of the many times I have propelled myself into meaningful writing by simply letting the hand do its work and produce written characters on the screen or page. Initially, it looks like nonsense. Then, meaning and order start to emerge.S: Yes, my suggestion is that walking—like writing—frees us up, connects us with the bodily, felt, and pleasurable aspects of the writing process. We need this opportunity to meander, go off at tangents...E: So what qualities do free writing and walking have in common? What is helpful about each of these activities?S: A first guess might be that free writing and walking make use of rhythm. Linguist and psychoanalyst Julia Kristeva calls the sound, rhythm, and texture of language the “semiotic”. For Kristeva, the “semiotic” (the realm of bodily drives and affects, rhythms, pre-verbal babble) and the “symbolic” (the realm of prescribed language, linguistic structure, grammar, and judgment) do not exist in rigid opposition to one another. Instead, they form a continuum which she calls “signifiance” or signification (Kristeva 22), a “dialectic” (24) of making meaning. According to Kristeva, even the smallest element of symbolic meaning, the phoneme, is involved in “rhythmic, intonational repetitions” (103) so that, as we order phonemes into words and words into sentences, our language pulses with the operations of our bodily, instinctual drives. Kristeva thinks in terms of an “explosion of the semiotic in the symbolic” (69). E: An explosion. I like that!S: Me too.My theory is that, by letting go into that rhythm a little, we’re enabling ourselves to access some of the pre-verbal force that Kristeva talks about. E: So the rhythm of walking helps us to connect with the rhythmic qualities of the semiotic?S: Exactly. We might say that a lot of academic writing tends to privilege the symbolic—both in terms of the style we choose and the way that we structure our arguments. E: And academic convention requires that we make more references here. For example, as we’re discussing “free writing”, we could cite Ken Macrorie or Peter Elbow, the two grandfathers of the method. Or we might scaffold our talks about collaborative writing as a means of scholarly inquiry, with the work of Laurel Richardson or another authority in the field.S: Yes, and all of this is an important part of academic practice, of course. But perhaps when we give ourselves permission to ramble and meander, to loosen up the relationships between what we feel and what we say, we move along the continuum of meaning-making towards the more felt and bodily, and away from the received and prescribed. …S: And I’ve put an ellipsis there to mark that we are moving into another kind of space now. We’re coming to a clearing in the woods. Because at some point in our rambling, we might want to pause and make a few suggestions. Perhaps we come to a clearing, like this one here. We sit down for a while and collect our thoughts.E: Yes. Let’s sit down. And, while you’re resting, let me tell you what this “collecting of thoughts” reminds me of.I’m thinking that we don’t necessarily need to go anywhere to get away from our particular state of mind. A shared cup of coffee or a conversation can have the same effect. Much has already been said about the effects of alcohol, tobacco, and drugs on writing; all rather harmful ways of going “on a trip” (Laing; Klein). In our case, it’s the blank pages of a shared Google Doc that has brought us together, collecting our thoughts on walking and moving us into a different realm, a new world of exciting and strange ideas to be explored. And the idea of mapping out this space by gradually filling its pages with words sets our minds on a journey.S: That’s interesting. The choreographer Twyla Tharp talks about the power of ritual in creating this shift for us into a creative or flow state. It could be lighting a candle or drinking a glass of water. There is a moment when something “clicks”, and we enter the world of creativity.E: Yes, a thing can act as a portal or gateway. And, as I want to show you, the things in the landscape that we walk through can help us to enter imaginary realms.So can I take you for a little walk now? See that winding country road leading through open fields and rolling hills? That’s where we’re going to start.A publicity image, drawn by Evija, for Walking Talking Writing events for academics, organised at the University of Auckland in 2017.A Walk “through the Countryside”, or Traversing the Landscape of ThoughtsE: Sophie, you spoke earlier about the way that experiencing yourself in relation to the environment is important for opening up your imagination. For example, just allowing yourself to be in the woods and noticing how the space pulsates around you is enough to awaken your bodily awareness.But let’s take a stroll along this road and let me explain to you what’s happening for me. You see, I find the woods too distracting and stimulating. When I’m stuck, I crave openness and space like this landscape that we’re walking through right now. S: Too much detail, too many things, overwhelm you?E: Exactly. Here, where the landscape is simple and spacious, my thoughts can breathe. Ideas quietly graze as I move through them. The country road is under my feet and I know exactly where I’m heading – beyond that horizon line in the distance… I need to be able to look far into that hazy distance to get my sense of seeing things “in depth.” All this makes me think of a study by Mia Keinänen in which she surveyed nine Norwegian academics who habitually walk to think (Keinänen). Based on their personal observations, the resulting article provides interesting material about the importance of walking—its rhythm, environment, and so on—on one’s thinking. For one of the academics, being able to see landmarks and thoughts in perspective was the key to being able to see ideas in new ways. There is a “landscape of thinking”, in which thinking becomes a place and environment is a process.For another participant in the study, thoughts become objects populating the landscape. The thinker walks through these object-thoughts, mapping out their connections, pulling some ideas closer, pushing others further away, as if moving through a 3D computer game.S: Hmm. I too think that we tend to project not only thoughts but also the emotions that we ourselves might be experiencing onto the objects around us. The literary critic Suzanne Nalbantian describes this as the creation of “aesthetic objects”, a “mythopoetic” process by which material objects in the external world “change their status from real to ‘aesthetic’ objects” and begin to function as “anchors or receptacles for subjectivity” (Nalbantien 54).Nalbantian uses examples such as Proust’s madeleine or Woolf’s lighthouse to illustrate the ways in which authors of autobiographical fiction invest the objects around them with a particular psychic value or feeling-tone.For me, this might be a tree, or a fallen leaf on the path. For you, Evija, it could be the horizon, or an open field or a vague object, half-perceived in the distance. E: So there’s a kind of equivalence between what we’re feeling and what we’re noticing? S: Yes. And it works the other way around too. What we’re noticing affects our feelings and thoughts. And perhaps it’s really about finding and knowing what works best for us—the landscape that is the best fit for how we want to feel… E: Or how we want to think. Or write. S: That’s it. Of course, metaphor is another way of describing this process. When we create a metaphor, we bring together a feeling or memory inside us with an object in the outside world. The feeling that we carry within us right now finds perfect form in the shape of this particular hillside. A thought is this pebble. A memory is that cloud…E: That’s the method of loci, which Mia Keinänen also refers to (600) in her article about the walking-thinking Norwegian academics. By projecting one’s learnt knowledge onto a physical landscape, one is able to better navigate ideas.S: Although I can’t help thinking that’s all a little cerebral. For me, the process is more immediate and felt. But I’m sure we’re talking about something very similar...E: Well, the anthropologist Tim Ingold, who has written a great deal on walking, in his article “Ways of Mind-Walking: Reading, Writing, Painting” urges us to rethink what imagination might be and the ways that it might relate to the physical environment, our movement through it, and our vision. He quotes James Elkins’s suggestion (in Ingold 15-16) that true “seeing” involves workings of both the eye and the mind in bringing forth images. But Ingold questions the very notion of imagination as a place inhabited by images. From derelict houses, barren fields and crossroads, to trees, stray dogs, and other people, the images we see around us do not represent “the forms of things in the world” (Ingold 16). Instead, they are gateways and “place-holders” for the truer essence of things they seem to represent (16). S: There’s that idea of the thing acting as a gateway or portal again… E: Yes, images—like the ruins of that windmill over there—do not “stand for things” but help us experientially “find” those things (Ingold16). This is one of the purposes of art, which, instead of giving us representations of things in the world, offers us something which is like the things in the world (16)—i.e., experiences.But as we walk, and notice the objects around us, are there specific qualities about the objects themselves that make this process—what you call “projection”—more or less difficult for us?A drawing by Latvian artist Māris Subačs (2016). The text on the image says: “Clouds slowly moving.” Publicity image for Subačs’s exhibition “Baltā Istaba” (The White Room), taken from Latvijas Sabiedriskie Mediji, https://www.lsm.lv/. S: Well, let’s circle back now—on the road and on the page. We’ve talked about the way that you need wide, open spaces, whereas I find myself responding to a range of different environments in different ways. How do you feel now, as we pause here and begin to retrace our steps? E: How do I feel? I’m not sure. Right now, I’m thinking about the way that I respond to art. For example, I would say that life-like images of physical objects in this world (e.g., a realistic painting of a vase with flowers) are harder to perceive with my mind's eye than, let’s say, of an abstract painting. I don’t want to be too tied to the surface details and physicality of the world. What I see in a picture is not the representation of the vase and flowers; what I see are forms that the “inner life force”, to use Ingold’s term, has taken to express itself through (vaseness, flowerness). The more abstract the image, the more of the symbolic or the imaginary it can contain. (Consider the traditional Aboriginal art, as Ingold invites, or the line drawings of Latvian artist Māris Subačs, as I suggest, depicted above.) Things we can observe in this world, says Ingold, are but “outward, sensible forms” that “give shape to the inner generative impulse that is life itself” (17). (This comes from the underlying belief that the phenomenal world itself is all “figmented” (Ingold 17, referring to literary scholar Mary Carruthers).)S: And, interestingly, I don’t recognise this at all! My experiencing of the objects around me feels very different. That tree, this pine cone in my hand, the solidity of this physical form is very helpful in crystallising something that I’m feeling. I enjoy looking at abstract paintings too. I can imagine myself into them. But the thing-ness of things is also deeply satisfying, especially if I can also touch, taste, smell, hold the thing itself. The poet Selima Hill goes for a walk in order to gather objects in a Tupperware box: “a dead butterfly, a yellow pebble, a scrap of blue paper, an empty condom packet.” Later she places an object from these “Tupperware treasures” on her writing desk and uses it “to focus on the kernel of the poem”, concentrating on it “to select the fragments and images she needs” (Taylor). This resonates with me.E: So, to summarise, walking seems to have something to do with seeing, for both of us. S: Yes, and not just seeing but also feeling and experiencing, with all of our senses. E: OK. And walking like appreciating art or writing or reading, has the capacity to take us beyond what shows at surface level, and so a step closer to the “truer” expression of life, to paraphrase Ingold. S: Yes, and the expression that Ingold calls more “true” is what Kristeva would say is the semiotic, the other-than-meaning, the felt and bodily, always bubbling beneath the surface. E: True, true. And although Ingold here doesn’t say how walking facilitates this kind of seeing and experiencing, perhaps we can make some suggestions here.You focused on the rhythm of walking and thinking/writing earlier. But I’m equally intrigued by the effects of speed. S: That resonates for me too. I need to be able to slow down and really experience the world around me. E: Well, did you know that there are scientific studies that suggest a correlation between the speed of walking and the speed of thinking (Jabr; Oppezzo and Schwartz)? The pace of walking, as the movement of our bodies through space, sets a particular temporal relationship with the objects we move past. In turn, this affects our “thinking time”, and our thinking about abstract ideas (Cuelenaere 127, referring to George Lakoff and Mark Johnson’s ideas).S: That makes sense to me. I noticed that when we were walking through the woods, we had slowed right down and then, as we reached the open road, you seemed to want to go much faster than me…E: Yes, at a steady pace. That’s perhaps not surprising. Because it seems that the speed of our walking is intimately connected with our vision. So if I’m moving through a landscape in which I’m fully immersed, I’m unable to take in everything around me. I choose to rest my eyes on a few select points of interest. S: Or on the horizon…E: Yes. The path that leads through an open field allows me to rest my eyes on the distant horizon. I register the patterns of fields and houses; and perhaps I catch sight of the trees in my peripheral vision. The detailed imagery, if any, gets reduced to geometrical figures and lines.The challenge is to find the right balance between the stimuli provided by the external world and the speed of movement through it.S: So the pace of walking can enable us to see things in a certain way. For you, this is moving quickly, seeing things vaguely, fragmentally and selectively. For me, it’s an opportunity to take my time, find my own rhythm, to slow down and weigh a thought or a thing. I think I’m probably the kind of walker who stops to pick up sticks and shells, and curious stones. I love the rhythm of moving but it isn’t necessarily fast movement. Perhaps you’re a speed walker and I’m a rambler? E: I think both the pace and the rhythm are of equal importance. The movement can be so monotonous that it becomes a meditative process, in which I lose myself. Then, what matters is no longer the destination but the journey itself. It’s like...S: Evija! Stop for a moment! Over here! Look at this! E: You know, that actually broke my train of thought. S: I’m sorry… I couldn’t resist. But Evija, we’ve arrived at the entrance to the woods again. E: And the light’s fading… I should get back to the office.S: Yes, but this time, we can choose which way to go: through the trees and into the half-dark of my creative subconscious or across the wide, open spaces of your imagination. E: And will we walk slowly—or at speed? There’s still so much to say. There are other landscapes and pathways—and pages—that we haven’t even explored yet.S: But I don’t want to stop. I want to keep walking with you.E: Indeed, Sophie, writing is a walk that never ends. ReferencesAnderson, Jon. “Talking whilst Walking: A Geographical Archaeology of Knowledge.” Area 36.3 (2004): 254-261. Csikszentmihalyi, Mihalyi. Flow and the Psychology of Discovery and Invention. NewYork: Harper Perennial, 1997.Cuelenaere, Laurence. “Aymara Forms of Walking: A Linguistic Anthropological Reflection on the Relation between Language and Motion.” Language Sciences 33.1 (2011):126-137. Elbow, Peter. Writing without Teachers. 2nd ed. Oxford: Oxford UP, 1998. Gros, Frédéric. The Philosophy of Walking. London: Verso, 2014.Ingold, Tim. Being Alive: Essays on Movement, Knowledge and Description. Abingdon: Routledge, 2011.———. “Culture on the Ground: The World Perceived through the Feet.” Journal of Material Culture 9.3 (2004): 315-340.———. Lines: A Brief History. Abingdon: Routledge, 2007.———. “Ways of Mind-Walking: Reading, Writing, Painting.” Visual Studies 25.1 (2010):15-23.Ingold, Tim, and J.L. Vergunst, eds. Ways of Walking: Ethnography and Practice on Foot. London: Ashgate, 2008.Jabr, Ferris. “Why Walking Helps Us Think.” The New Yorker, 3 Sep. 2014. 10 Aug. 2018 <https://www.newyorker.com/tech/elements/walking-helps-us-think>.Keinänen, Mia. “Taking Your Mind for a Walk: A Qualitative Investigation of Walking and Thinking among Nine Norwegian Academics.” Higher Education 71.4 (2016): 593-605. Klee, Paul. Notebooks, Volume 1: The Thinking Eye. Ed. J. Spiller. Trans. R. Manheim. London: Lund Humphries, 1961. Klein, Richard. Cigarettes Are Sublime. London: Picador, 1995. Kristeva, Julia. Revolution in Poetic Language. Trans. Leon S. Roudiez. New York: Columbia UP, 1984.Laing, Olivia. The Trip to Echo Spring: Why Writers Drink. Edinburgh: Canongate 2013.Macrorie, Ken. Telling Writing. Rochelle Park, N.J.: Hayden Book Company, 1976.Maitland, Sarah. Gossip from the Forest: The Tangled Roots of Our Forests and Fairy-Tales. Berkeley, CA: Counterpoint, 2012. Milner, Marion (as Joanna Field). A Life of One’s Own. 1934. London: Virago, 1986.Nalbantien, Suzanne. Aesthetic Autobiography. London: Macmillan, 1994.Oppezzo, Marily, and Daniel L. Schwartz. “Give Your Ideas Some Legs: The Positive Effect of Walking on Creative Thinking.” Journal of Experimental Psychology: Learning, Memory, and Cognition 40.4 (2014): 1142-1152.Richardson, Laurel. “Writing: A Method of Inquiry.” Handbook of Qualitative Research. 2nd ed. Ed. N.K. Denzin and Y.S. Lincoln. Thousand Oaks, CA: Sage Publications, 2007. 923-948. Sturm, Sean. “Terra (In)cognita: Mapping Academic Writing.” TEXT 16.2 (2012).Taylor, Debbie. “The Selima Hill Method.” Mslexia 6 (Summer/Autumn 2000). Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. New York: Simon Schuster, 2003.Trofimova, Evija. “Academics Go Walking, Talking, Writing*.” Writing, Writing Everywhere, 8 Dec. 2017. 1 Oct. 2018 <http://www.writing.auckland.ac.nz/2017/12/08/academics-go-walking-talking-writing>.

Exactly 140 years ago today, The New York Graphic ran a story about Thomas Edison with this headline: “Edison Invents a Machine That Will Feed the Human Race.” Did he? Did Thomas Edison invent such a device? You might pause to consider the possibility. After all, Thomas Edison is arguably the most prolific inventor in history. He invented the phonograph, the first reliable electric light bulb, the first practical storage battery, and the first operable electrical plant. Without Edison, we wouldn't have motion pictures: It was Edison who figured out how to present photographs in quick succession by perforating specially designed celluloid film and moving the images with sprockets behind a shutter. And he had a thousand more inventions—with the patents to prove it. Edison is celebrated for his grit. “The trouble with other inventors,” he once observed, “is that they try a few things and quit. I never quit until I get what I want.” But Edison was also a paragon of curiosity. It is easy to forget that curiosity is part of character. Curiosity—wanting to learn—is as elemental to a fulfilling life as any other character strength.