Journal articles on the topic 'Top Shelf Productions Limited'

Abstract. We introduced a sediment-induced light attenuation algorithm into a biogeochemical model of the Coupled Ocean–Atmosphere–Wave–Sediment Transport (COAWST) modeling system. A fully coupled ocean–atmospheric–sediment–biogeochemical simulation was carried out to assess the impact of sediment-induced light attenuation on primary production in the northern Gulf of Mexico during the passage of Hurricane Gustav in 2008. When compared with model results without sediment-induced light attenuation, our new model showed a better agreement with satellite data on both the magnitude of nearshore chlorophyll concentration and the spatial distribution of offshore bloom. When Hurricane Gustav approached, resuspended sediment shifted the inner shelf ecosystem from a nutrient-limited one to a light-limited one. Only 1 week after Hurricane Gustav's landfall, accumulated nutrients and a favorable optical environment induced a posthurricane algal bloom in the top 20 m of the water column, while the productivity in the lower water column was still light-limited due to slow-settling sediment. Corresponding with the elevated offshore NO3 flux (38.71 mmol N m−1 s−1) and decreased chlorophyll flux (43.10 mg m−1 s−1), the outer shelf posthurricane bloom should have resulted from the cross-shelf nutrient supply instead of the lateral dispersed chlorophyll. Sensitivity tests indicated that sediment light attenuation efficiency affected primary production when sediment concentration was moderately high. Model uncertainties due to colored dissolved organic matter and parameterization of sediment-induced light attenuation are also discussed.

Shelf life of horticultural commodities is dependent on postharvest handling but also on a wide range of pre-harvest factors, which include genetic and environmental parameters. This study was conducted to explore the influence of cultivar, leaf position, and piece position on the leaf on visual quality of fresh-cut butterhead lettuce as well as the effect of a wide range of cultivation seasons on the postharvest quality and shelf life of baby leaves (spinach and ‘wild’ rocket). Six butterhead lettuce cultivars were used (cultivated soilless in an unheated plastic greenhouse) while the effect of leaf position on the plant (outer and inner leaves) and the piece position on the leaf (piece one close to the leaf base and piece four close to the top) were also evaluated. Baby leaves were cultivated under an unheated plastic greenhouse for winter production and under a nethouse for the rest of the growing season, with a total of five and seven sampling dates for spinach and ‘wild’ rocket respectively. The cultivar of butterhead lettuce had a significant effect on postharvest quality of fresh-cut product but more important was the piece position on the leaf. When this was closer to the base of the leaf, there was more browning on cut edges and limited shelf life for the fresh-cut lettuce. The result was associated in one tested cultivar with PAL activity, which was higher by 106% for piece one compared to piece four as an average for the whole storage period. The growing season of baby leaves had a great impact on their shelf life, with the season of mild environmental conditions achieving the highest marketability.

Abstract. The Texas-Louisiana shelf in the Northern Gulf of Mexico receives large inputs of nutrients and freshwater from the Mississippi/Atchafalaya River system. The nutrients stimulate high rates of primary production in the river plume, which contributes to the development of a large and recurring hypoxic area in summer. The mechanistic links between hypoxia and river discharge of freshwater and nutrients are complex as the accumulation and vertical export of organic matter, the establishment and maintenance of vertical stratification, and the microbial degradation of organic matter are controlled by a non-linear interplay of factors. We present results from a realistic, 3-dimensional, physical-biological model that includes the processes thought to be of first order importance to hypoxia formation and demonstrate that the model realistically reproduces many features of observed nitrate and phytoplankton dynamics including observed property distributions and rates. We then contrast the environmental factors and phytoplankton source and sink terms characteristic of three model subregions that represent an ecological gradient from eutrophic to oligotrophic conditions. We analyze specifically the reasons behind the counterintuitive observation that primary production in the light-limited plume region near the Mississippi River delta is positively correlated with river nutrient input. We find that, while primary production and phytoplankton biomass are positively correlated with nutrient load, phytoplankton growth rate is not. This suggests that accumulation of biomass in this region is not primarily controlled bottom up by nutrient-stimulation, but top down by systematic differences in the loss processes. We hypothesize that increased retention of river water in high discharge years explains this phenomenon.

Abstract. The Texas-Louisiana shelf in the Northern Gulf of Mexico receives large inputs of nutrients and freshwater from the Mississippi/Atchafalaya River system. The nutrients stimulate high rates of primary production in the river plume, which contributes to the development of a large and recurring hypoxic area in summer, but the mechanistic links between hypoxia and river discharge of freshwater and nutrients are complex as the accumulation and vertical export of organic matter, the establishment and maintenance of vertical stratification, and the microbial degradation of organic matter are controlled by a non-linear interplay of factors. Unraveling these interactions will have to rely on a combination of observations and models. Here we present results from a realistic, 3-dimensional, physical-biological model with focus on a quantification of nutrient-stimulated phytoplankton growth, its variability and the fate of this organic matter. We demonstrate that the model realistically reproduces many features of observed nitrate and phytoplankton dynamics including observed property distributions and rates. We then contrast the environmental factors and phytoplankton source and sink terms characteristic of three model subregions that represent an ecological gradient from eutrophic to oligotrophic conditions. We analyze specifically the reasons behind the counterintuitive observation that primary production in the light-limited plume region near the Mississippi River delta is positively correlated with river nutrient input, and find that, while primary production and phytoplankton biomass are positively correlated with nutrient load, phytoplankton growth rate is not. This suggests that accumulation of biomass in this region is not primarily controlled bottom up by nutrient-stimulation, but top down by systematic differences in the loss processes.

Background: Nutrient deficiencies affect the health and wellness of large populations around the world. For example, the majority suffer from vitamin, essential fatty acid (such as omega-3), dietary fiber, and other important ingredient deficiencies due to their limited supply in the human food chain. Current trends in the nutraceutics industry to place these substances in higher. more-efficiently dispersed quantities in our food have become critically essential to their business plans. Nutrients in the form of small solids or droplets improve bioavailability. However, there remain numerous barriers to successful implementation of cost effective manufacturing processes. These challenges are addressed in the work presented here with particular focus on stability, bioavailability, and consumer acceptance. The goal is to develop large scale manufacturing systems that implement efficient platform technologies, with their respective operational maps, to produce functional food formulations, with particle sizes of these specially formulated nutraceutical ingredients in the micron-and nano- range.Objective: Demonstrating that stable micron- and nano-size emulsions, liposomes, and aqueous suspensions of functional food formulations can be produced using both “top down” and “bottom up” methods is our main objective. Addressing the challenges associated with the incorporation of these ingredients into large scale manufacturing systems, mainly mechanical stability and related shelf-life issues, is also a focus. That is, to develop proper processing protocols providing improved quality foods enriched with ingredients that are in limited supply in our food chain; to enhance human health and wellness world-wide.Methods: The formulations considered here typical of those used for increasing bioavailability of the infused, specially formulated ingredients with anti-cancer, anti-aging, and in-general wellness properties, lowering fat content and enhancing the shelf-life stability. Included are (a) an oil-in-water (fish oil/omega-3) emulsion, (b) liposome chaperones to vitamin C, and (c) aqueous suspensions (curcumin crystals, lutein/carotenoids, and fiber in soy milk). The production techniques include both “top-down” particle size reduction and “bottom-up” formation of crystals/precipitates via solubility adjustments. Both techniques are based on high shear processing of multiple liquid feeds. Using an impinging jet system, micro-mixing scales less than 100 nm were obtained.Results: (a) All nano-emulsion types, single, double and larger, either as oil-in-water and water-in-oil, can effectively be produced from various formulations using “top-down” methods. Illustrated here are single, oil-in-water systems; concentrations of 12-14 wt. % fish oil/omega-3 were mixed with water containing food grade surfactants. The high shear processing produced stable, submicron particles; with median particle sizes of 119-163 nm, no particles larger than 1 micron, and the “fish” odor was suppressed. Pertinent discussions related to the other types are also given as suggested path forward approaches for the development of nutrient enriched functional foods. This includes water-in-oil formulations for reduced fat content and the delivery of multiple species via double and triple emulsions, as compared to liposome configurations. (b) Although liposomes may be used to encapsulate both hydrophobic and hydrophilic substances, we selected liposomal vitamin C as our initial proof-of-concept system since it is absorbed into the body over four times more easily than its non-encapsulated form. After top down processing, the median size was 200 nm, compared to a median size of about 5 microns obtained by traditional self-assembly protocols. (b) Aqueous suspensions of micron- and nano- size formulations were also accomplished. The top down size reduction technique was used for processing soy bean fibers and lutein and the bottom-up method used for curcumin crystals. The fibers initially had a median size of 150 microns and a bi-modal distribution was obtained after processing; 99% of the particles were smaller than 15 microns with median sizes at 10 microns and the larger peak at about 200 nm. The curcumin submicron particles were formed via anti-solvent crystallization; with stable particles in the range of 300-500 nm. Conclusions: Our study demonstrates that stable micron- and nano-size emulsions, liposomes, and aqueous suspensions can be produced using both “top down” and “bottom up” methods. The formulation properties, in terms of particle size and stability, strongly depend on the processing parameters used in terms of energy input and temperature history. The energy requirements of the “bottom up” methods may be substantially lower than those of “top down” methods. Although some of the processes presented here have been scaled up to commercial levels, more work is needed in terms of fully assessing the bioavailability of the produced formulations and optimizing the processes to minimize cost. Key words: nano-emulsion, nano-suspension, high-shear processing, crystallization, curcumin, fish oil, liposomal vitamins: C and E, lutein, nutraceuticals, omega-3, soybean fiber

The objective of our study was to provide a comprehensive evaluation on C, N, P cycling in medium sized Mediterranean rivers, such as the Evros, experiencing multiple pressures (intensive agriculture, industrial activities, population density). Our work aims also to contribute to the development of integrated management policies. Dissolved organic matter (DOM) cycling were investigated, during a one-year study. It was shown that the organic component of N and P was comparable to those of large Mediterranean rivers (Rhone, Po). In the lower parts of the river where all point and non-point inputs converge, the high inorganic N input favour elevated assimilation rates by phytoplankton and result in increased chl-a concentrations and autochthonous dissolved organic matter (DOM) production during the dry season with limited water flow. Moreover, carbohydrate distribution revealed that there is a constant background of soil derived mono-saccharides on top of which are superimposed impulses of poly-saccharides during blooms. During the dry season, inorganic nutrients and DOM are trapped in the lower parts of the river, whereas during high flow conditions DOM is flushed towards the sea and organic nitrogen forms can become an important TDN constituent (at least 40%) transported to shelf waters. The co-existence of terrigenous material with autochthonous and some anthropogenic is supported by the relatively low DOC:DON and DOC:DOP ratios, the positive correlation of DOC vs chl-a and the decoupling between DOC and DON. Overall, this study showed that in medium size Mediterranean rivers, such as the Evros, intensive agriculture and pollution sources in combination with water management practices and climatic variability are important factors determining C, N, P dynamics and export to coastal seas. Also, it highlights the importance of the organic fraction of N and P when considering management practices.

Research on the manufacture of nanoparticles of chitosan through top-down method has a limited publication. Most of the research on chitosan nanoparticles was conducted by ionic gelation and other methods. Therefore, this study aimed to investigate the characteristics of nanoparticles chitosan through top-down method. The rprocedure was composed using High Energy Milling (HEM) with different sizes of ball and milling time. The responses observed from this research were particle sizes, yield, viscosity and zeta potential. The results showed that milling time significantly affected the particle size. Milling time between 3 to 5 hour produce the particle size close to 200 nm. Milling duration for 5 hours with a small ball size produced shrimp chitosan nanoparticles with the value of 248.28 nm particle size, zeta potential mV of 44.92, yield of 96% and 104.88 cP viscosity. The nanoparticle produced was categorized as relatively stable because its zeta potential values were around ± 30 mV.

Summary Recently acquired geological, geophysical, and engineering data at the Nash Draw Brushy Canyon Pool revealed that the initial reservoir characterization was too simplistic to capture the critical features of this complex Delaware formation. A new reservoir description provides sufficient detail to indicate that compartmentalization exists in the Brushy Canyon interval. This new reservoir description is being used to identify "sweet spots" for a development drilling program as well as to optimize reservoir management strategies. This paper presents recent results of an integrated reservoir characterization effort that is being used at Nash Draw as a risk reduction tool. Introduction A producing property operated by Strata Production Company (Strata) in the Nash Draw Brushy Canyon Pool, Eddy County, New Mexico is a cost-shared field demonstration project in the U.S. Department of Energy Class III program. A major goal of the Class III Program is to stimulate the use of advanced technologies to increase ultimate recovery from slope-basin clastic reservoirs. The basic problem at the Nash Draw Pool (NDP) is the low oil recovery that is typically observed in similar Delaware reservoirs. By comparing a control area using standard infill drilling techniques to a similar area developed using advanced reservoir characterization methods, the goal of the project is to demonstrate that a development program based on advanced methodology can significantly improve oil recovery. During Phase I of the project, six new wells were drilled as data acquisition wells, several hundred feet of whole core was obtained from one of the new wells, and vertical seismic profiles and a 3D seismic survey were acquired. The advanced characterization effort is integrating geological, geophysical, petrophysical, geostatistical, production, and reservoir engineering data. The stratigraphic framework is being quantified in petrophysical terms using innovative rock-fabric/petrophysical relationships calibrated to wireline logs, and 3D seismic attributes are being used to extrapolate petrophysical properties into the interwell area. Using the geological model developed in the first year of the project, a detailed reservoir description of the pilot area has been made, and current efforts are concentrating on defining the next generation geological model that will include 3D seismic input and greater use of statistical methods. Reservoir characterization and simulation studies are being used to predict the distribution of remaining oil saturation and to optimize development drilling programs. Production and Recovery Challenges Production at the NDP is from the Brushy Canyon formation, a low-permeability turbidite reservoir of marginal quality. A challenge in developing the reservoir is to distinguish oil-productive pay intervals from water-saturated, nonpay intervals. Additionally, because initial reservoir pressure is only slightly above bubble-point pressure, rapid oil decline rates and high gas/oil ratios are typically observed in the first year of primary production. Further, limited surface access, caused by underground Potash mining and surface Playa Lakes in the area (see Fig. 1), prohibits development with conventional drilling in some parts of the reservoir. Various combinations of vertical and horizontal wells combined with selective completions are being considered for optimizing production performance. Based on the production constraints due to high gas-oil ratios observed in similar Delaware fields, pressure maintenance is a likely requirement at the NDP. Project Management Concept The project involved the demonstration of a virtual company concept involving a small independent oil producer and geographically diverse experts. This concept is described in a companion paper.1 Initial Reservoir Description Reservoir and fluid data are listed in Table 1.2,3 The sandstone units of the basal Brushy Canyon sequence of the Delaware Mountain Group in this study represent the initial phase of detrital basin fill in the Delaware Basin during Guadalupian time. The Delaware sands are deep-water marine turbidite deposits. Depositional models4,5 suggest that the sands were eolian derived and were transported across an exposed carbonate platform to the basin margin. Interpretations of the associated transport mechanisms6,7 suggest that the clastic materials were deposited episodically, and were transported into the basin through shelf by-pass systems along an emergent shelf-edge margin. The Brushy Canyon sequence lies above the Bone Spring Formation. The top of the Bone Spring is marked by a regionally persistent limestone varying from 50 to 100 ft in thickness. This surface provides an excellent regional mapping horizon. Regional dip is to the east-southeast at about 100 ft per mile in the area of the NDP. The structural dip resulted from an overprint of post-depositional tilting, and this overprint is reflected in the reservoir rocks of the Delaware formation and impacts the trapping mechanism in the sands.

Picophytoplankton are the most abundant primary producers in the ocean. Knowledge of their community dynamics is key to understanding their role in marine food webs and global biogeochemical cycles. To this end, we analyzed a 16-y time series of observations of a phytoplankton community at a nearshore site on the Northeast US Shelf. We used a size-structured population model to estimate in situ division rates for the picoeukaryote assemblage and compared the dynamics with those of the picocyanobacteriaSynechococcusat the same location. We found that the picoeukaryotes divide at roughly twice the rate of the more abundantSynechococcusand are subject to greater loss rates (likely from viral lysis and zooplankton grazing). We describe the dynamics of these groups across short and long timescales and conclude that, despite their taxonomic differences, their populations respond similarly to changes in the biotic and abiotic environment. Both groups appear to be temperature limited in the spring and light limited in the fall and to experience greater mortality during the day than at night. Compared withSynechococcus, the picoeukaryotes are subject to greater top-down control and contribute more to the region’s primary productivity than their standing stocks suggest.

Green chilies are highly perishable with limited postharvest life which substantially affects its quality and market potential. The present study was part of an ACIAR-funded project aiming at evaluating the effect low cost Glad wrap film packaging (GWFP) on eight commercial green chili cultivars (Kunri-1, Longi, Talhari, Skyline 1 and 3, Super-hot, Advanta and BSS-410) to help improve shelf life and quality during ambient storage at 18±2 °C. Chilies were weighed and filled in polyvinyl trays and wrapped with Glad wrap film. Chilies kept in Glad wrap film packaging improved marketability index and shelf life for 9 to 15 days compared to open top trays (control) with shelf life of 3 to 6 days depending on cultivar. GWFP storage of chili fruits markedly reduced weight loss, decay, disease incidence, wrinkling. red chili percentage and relative electrolyte leakage as compared with control. It was noted that chilies stored under GWFP displayed significantly higher firmness, soluble solid contents, acidity, ascorbic acid with maintained radical scavenging activity. In addition, total phenolic contents, enzymatic essays i.e. superoxide dismutase (SOD), peroxidase (POD), polyphenol oxidase (PPO) catalase (CAT) and ascorbate peroxidase (APX) activities were significantly higher in GWFP kept chilies. Conclusively, the low cost Glad wrap film packaging can be employed as promising technique to reduce postharvest losses, extend shelf life and maintain postharvest quality of chilies leading to more profit for the growers and linked stakeholders.

Summary The Foam Assisted Water Alternating Gas (FAWAG) project has been a full-scale field demonstration of foam for gas mobility control. It was carried out in the Snorre field on the Norwegian Continental Shelf from 1997 to 2000, with support from the European Commission's Thermie Program. A production well treatment to reduce the producing gas/oil ratio (GOR) was performed in 1996. The FAWAG was initiated in the Central Fault Block (CFB) of the Snorre field in August 1998. A commercial surfactant system, AOS (alpha-olefin-sulphonate), with a carbon chain length mix of C14/C16, was chosen as the foaming agent. Approximately 2000 tons of commercial grade AOS surfactant have been injected. Foam for mobility control in the CFB operation had to be aborted because of operative problems in the target injector P-25A. The main operational conclusion from the CFB operations was that surfactant alternating gas (SAG) injection is preferable to coinjection. Operationally, SAG injection is almost identical to water alternating gas injection (WAG), which is a well-known production method. The concluding demonstration was performed on the Western Fault Block (WFB) in well pair P32-P39. The target injector and producer wells are approximately 1500 m apart. A total of 380 tons of commercial grade surfactant was used. The surfactant was divided into two slugs, each followed by gas injection that lasted until original gas injectivity was restored. The production from WFB has shown that large volumes of gas have been stored, either temporarily or permanently, in the reservoir. It has been estimated that the FAWAG treatment has contributed approximately 250 000 Sm3 of oil. The cost of the treatment in WFB was approximately U.S. $1 million. Introduction Foam is a method to improve sweep efficiency during gas injection, and several field applications of foam have been reported.1–6 In the North Sea, foam application before FAWAG has mainly involved production well treatments.4–6 In 1996, a foam treatment was performed on production well P-18, located in the CFB of the Snorre field.6 Foam was used to reduce the producing GOR. The FAWAG project commenced in 1997 on the CFB of the Snorre field. Snorre is one of the major oil fields on the Norwegian Continental Shelf in the North Sea, located about 150 km off the coast. The reservoir is a massive fluvial deposit within rotated fault blocks. The field was originally developed with water injection as the main drive mechanism and came on stream in 1992. One of the first measures taken to increase production was implementation of a downdip WAG pilot in the CFB. This was later expanded to cover the three main fault blocks in the field. The demonstration of FAWAG was carried out in the CFB and WFB, as described in Fig. 1. The main target for the FAWAG was the Upper Statfjord reservoir zones S1 and S2. Upper Statfjord is a sandstone reservoir with upward coarsening sequences. The permeability is in the range of 400 to 3,500 md, and the blocks are dipping 5 to 9° toward the southwest. The injection is downdip. In the CFB, there is vertical communication between S1 and S2; this seems not to be the case in the WFB target area. In WFB, the injection is below the original water/oil contact. The Snorre oil is originally undersaturated by 260 bar. The injection gas used is identical to the export gas and is rich in intermediate components. Laboratory studies conclude that the gas is miscible with reservoir oil at pressures above 282 bar. The gas and water are injected downdip in all but one fault block in order to use existing water injectors and producers. In areas with direct communication from injector to producer, breakthrough times of gas on the order of 1 month were observed for well distances in excess of 1 km. In the Upper Statfjord sands, the gas will rapidly segregate and move updip. The gas will mix with the oil when the phases are in contact, but the amount of oil contacted is limited in later cycles. Local attics in the reservoir will be well swept by gas, and structural attics behind producers will form secondary gas caps. The principles behind FAWAG are illustrated in Fig. 2. The high mobility of the gas may result in early breakthrough of gas in the producers. On the Snorre field, it is believed that gas either moves on top of the reservoir zone or through other high-permeable zones. By generating foam in the reservoir, it is anticipated both that the gas sweep efficiency is improved and that the oil production is increased. To create the foam, a suitable foaming agent (surfactant) must be used. The surfactant can be applied in different ways. Both injection in a SAG mode and coinjection of aqueous surfactant solution and gas have been investigated in the FAWAG project. As part of the qualification plan for foam, it was decided to carry out two foam pilots: one producer treatment for gas shutoff, and one in-depth treatment to control gas mobility. The mobility-control operation had to be aborted because of operative problems in the target injector. Consequently, the operation was moved to the WFB of Snorre in 1999 for the concluding demonstration. This paper will give a summary of all foam applications on Snorre. Experiences from the foam tests involve logistics, evaluation of the gas-blocking effect, injection design, and gas storage. P-18 Gas Shutoff Treatment The producer treatment was carried out in well P-18 in July 1996,6 where a total of 32 tons of commercial-grade surfactant was used. P-18 was suffering from high GOR caused by premature gas breakthrough from WAG injection. The objectives of the test were to reduce the GOR in P-18 and to bring P-18 in production. The foam was placed in the target reservoir zone, which was isolated in the well during injection by a packer. It became apparent from downhole pressure measurements that a strong foam had been generated in the formation. The treatment resulted in a GOR reduction of more than 50% over a period of 2 months, resulting in a significantly increased oil production from lower reservoir zones. It is expected that a more gentle opening of the well after treatment could have increased the effective treatment period. Other North Sea foam treatments to reduce the producing GOR are discussed in Refs. 4 and 5.

AbstractThe Lower Cambrian in northwest Scotland is one example of a Lower Palaeozoic ‘orthoquartzite-carbonate’ succession deposited on a slowly subsiding, peneplained Precambrian basement during a period of relative sea-level rise. This particular setting led to the development of a very wide, low gradient shelf which was extremely sensitive to minor sea-level changes. The basal quartz arenite section (Lower Member-Pipe Rock) is a transgressive, tide-dominated systems tract, but lacks a systematic parasequence architecture because of three factors: a fluvial sediment flux was insufficient to induce shoreline progradation, accommodation space was limited during sea-level falls (which are commonly expressed by widespread erosional surfaces), and sediment yield to the shelf by transgressive reworking was a major contributor towards the preserved stratigraphy. The storm-dominated Fucoid Beds represent a condensed section and also show the effects of rapid and widespread facies belt oscillations because of the low shelf gradient. An overlying highstand systems tract is also lacking, partly due to the absence of a large fluvial sediment yield and also due to lowstand and transgressive reworking. An erosively based tidal sandsheet at the top of the Fucoid Beds, interpreted to be a lowstand systems tract, therefore rests directly on the condensed section of the underlying sequence. This was in turn reworked into linear tidal sandbanks (Salterella Grit) during slow sea-level rise, prior to the next major transgression. The limited accommodation space therefore introduced a preservational bias towards deepening-upward trends on a parasequence and sequence scale. The oscillations in facies belts, episodic subareal exposure and the potential to remove substantial portions of systems tracts suggests that Lower Palaeozoic ‘orthoquartzite’ successions may exhibit regular and abrupt vertical shifts in depositional environment which, given their subtle lithological character, may require detailed analysis to identify. Such successions may also display incomplete development of several components of transgressive-regressive sequence architecture.

Purpose – This paper aims to provide a framework for the choice, design, set-up and management of a fully flexible assembly system (F-FAS). Many industrial applications for small batch productions require highly flexible automated manufacturing systems. Moreover, some extensions of the F-FAS concept are provided. Design/methodology/approach – The paper reviews recent findings regarding the F-FAS with a top-down approach, and defines an integrated implementation framework. This framework is structured into three strictly correlated phases, and the presented procedure is organized to be readily used for new industrial applications. Practical applications are presented to show how the system can satisfy flexibility demands in a variety of cases. Findings – The proposed framework is organized in three steps: convenience analysis of the F-FAS compared to a traditional flexible assembly system; an optimal design of the feeder; a choice of the set-up and sequencing algorithm yielding the highest throughput. Following these steps, the F-FAS can become an effective solution for small batch productions with frequent reconfigurations. However, due to the limited throughput, the system is not well suited for large batches. Originality/value – The presented framework allows to implement an F-FAS for a given industrial application, and to evaluate its efficacy with respect to other assembly technologies. Moreover, with the same implementation framework, the F-FAS concept can be applied to production fields that are different from assembly, as shown by the provided examples. This represents an important element of originality and of interest for its strong practical implications in different production environments.

Multilayer composite materials are frequently used in aircraft interiors. Even though they have high properties (such as physical, chemical and mechanical properties), their application is limited due to lack of knowledge of their decomposition process and on the interaction between different layers in fire. In the present work, two types of composites with 3 and 4 layers are studied. The fire characterization of multilayer composite is studied in 3 different phases using ISO-5660 cone calorimeter at two heat fluxes (35 and 50 kW.m−2). Phase-I mainly concentrates on the decomposition of single layer materials (paint, laminate and honeycomb) while in phase-II and phase-III, different assemblies are formed using a single layer material and studied in the same experimental configuration. In all the three phases, back surface temperatures of the materials or assemblies are measured and analyzed with different gas productions which allow to understand the dynamics of the decomposition process. The finding from the cone calorimeter study suggests that the ignition primarily depends on the top layer behavior of the composite. The permeability analysis on the top layer of the composite confirms that decomposed layer of paint offers more resistance to the volatile gases escaping from the composite. At the end of the study, thermal conductivity is determined and the ignition temperature of both the composite is determined.

In contrast to building structural components, very little is known about the dynamic behavior of nonstructural components and systems (NCSs) within buildings. These systems come in such a variety of types that it can be overwhelming from an analysis perspective. Furthermore, an overarching issue is the limited test data available for characterizing their dynamic behavior. In this paper, an interior monitoring system is presented and used to monitor the response of a variety of NCSs within a full-scale building subjected to forced-vibration loading. The remotely operated monitoring system consists of an integrated array of off-the-shelf components, including; analog and digital (camera) sensors, acquisition PCs, and GPS synchronization equipment. Within the test building, the NCSs monitored include: (1) bench and shelf furnishing systems, (2) furnishing mounted equipment, and (3) piping systems. Results from the building vibration tests indicate that the interior furnishing systems considered here are very stiff with first mode frequencies in the range of 7–11 Hz and damping ratios between 4%–13%. Motion amplification at the top of the furnishing systems ranged between 1.5 and 4 times the floor level motion. These measurements highlight the importance of considering the transmissibility characteristics of building furnishings when estimating building NCS dynamic response.

Abstract. Iron (Fe) delivery by the Antarctic Ice Sheet (AIS) through ice shelf and iceberg melting enhances primary productivity in the largely iron-limited Southern Ocean (SO). To explore this fertilization capacity, we implement a simple representation of the AIS iron source in the global ocean biogeochemical model NEMO-PISCES. We evaluate the response of Fe, surface chlorophyll, primary production, and carbon (C) export to the magnitude and hypothesized vertical distributions of the AIS Fe fluxes. Surface Fe and chlorophyll concentrations are increased up to 24 % and 12 %, respectively, over the whole SO. The AIS Fe delivery is found to have a relatively modest impact on SO primary production and C export, which are increased by 0.063±0.036 PgC yr−1 and 0.028±0.016, respectively. However, in highly fertilized areas, primary production and C export can be increased by up to 30 % and 42 %, respectively. Icebergs are predicted to have a much larger impact on Fe, surface chlorophyll, and primary productivity than ice shelves in the SO. The response of surface Fe and chlorophyll is maximum in the Atlantic sector, northeast of the tip of the Antarctic Peninsula, and along the East Antarctic coast. The iceberg Fe delivery below the mixed layer may, depending on its assumed vertical distribution, fuel a non-negligible subsurface reservoir of Fe. The AIS Fe supply is effective all year round. The seasonal variations of the iceberg Fe fluxes have regional impacts that are small for annual mean primary productivity and C export at the scale of the SO.

1. The mechanism of dipteran flight has been investigated in a comparative study involving thorax manipulation, analysis of high-speed films and direct observation of tethered flies under stroboscopic illumination. 2. The click action observed in CCl4-anaesthetized Calliphora was found to be due to an interaction between the radial stop and the pleural wing process at the top of the upstroke. The movements occurring during unanaesthetized tethered flight were quite different as these structures were vertically separated except towards the bottom of the downstroke (Miyan & Ewing, 1985a,b). 3. Results of observations on tethered insect flight and on morphology did not give full support to either the click mechanism (Boettiger & Furshpan, 1952) or the model of Miyan & Ewing. 4. A novel model for the wingbeat is proposed. Distortion of the thorax brought about by the flight muscles results in upward and outward movement of the lateral scutum during the downstroke and inward and downward movement during the upstroke. In more advanced flies flexion lines result in a differentiated scutellar lever and parascutal shelf. Distortion is thereby limited largely to the posterior scutum. The parascutal shelf moves as a part of the scutal distortion, not as an independent element in the articulation, and the system is not bistable. 5. The automatic changes in angle of attack are caused by inertial and aerodynamic forces acting around the torsional axis of the wing during the beat, which twist the compliant wing base.

The dominant cause of overpressure in basins is rapid loading of fine-grained sediments in which incomplete dewatering leads to additional overburden load being supported partly by the pore fluids. The principal controls on the magnitude of overpressure created are permeability and compressibility of the fine-grained rocks, coupled with the loading or sedimentation rate. High magnitude overpressure requires rapid sedimentation and/or evolution of sediment permeability to nanoDarcy values at shallow depth. By contrast, most fluid expansion mechanisms can be shown to be ineffective at generating large magnitude overpressure at realistic basin conditions. Only gas generation (either directly from kerogen or by oil to gas cracking) has the potential to create large magnitude overpressure, and only if the connected reservoir volume is very restricted.The origin of overpressure in the North West Shelf, especially the Northern Carnarvon Basin has previously been suggested to be due to petroleum generation, principally because the top of overpressure is coincident with, or lies below, the hydrocarbon generation window. To achieve high magnitude overpressure by this mechanism requires large volumes of gas generative source rocks connected to reservoirs of extremely limited extent. The volume of reservoir rocks in the basins is relatively high, and gas generation appears to be only a secondary mechanism. The most likely origin of overpressure is burial of the Jurassic and Lower Cretaceous group sediments (including the Muderong Shale) with early development of the Muderong Shale as a pressure seal. Lateral stress cannot be discounted as an additional mechanism of overpressure generation. However, lateral strain appears to be significantly less than vertical strain.Overpressure has the potential to influence the petroleum system in the North West Shelf if there has been high magnitude overpressure for prolonged periods of geological time. Normally pressured units today may have had a history of overpressure in the geological past. Reservoir quality can be enhanced by overpressure, but trap seal integrity either strengthened or weakened by overpressure. Timing of maturation and migration of hydrocarbon can also be affected.

While visual assessment is the standard technique for burn evaluation, computer-aided diagnosis is increasingly sought due to high number of incidences globally. Patients are increasingly facing challenges which are not limited to shortage of experienced clinicians, lack of accessibility to healthcare facilities and high diagnostic cost. Certain number of studies were proposed in discriminating burn and healthy skin using machine learning leaving a huge and important gap unaddressed; whether burns and related skin injuries can be effectively discriminated using machine learning techniques. Therefore, we specifically use transfer learning by leveraging pre-trained deep learning models due to deficient dataset in this paper, to discriminate two classes of skin injuries—burnt skin and injured skin. Experiments were extensively conducted using three state-of-the-art pre-trained deep learning models that includes ResNet50, ResNet101 and ResNet152 for image patterns extraction via two transfer learning strategies—fine-tuning approach where dense and classification layers were modified and trained with features extracted by base layers and in the second approach support vector machine (SVM) was used to replace top-layers of the pre-trained models, trained using off-the-shelf features from the base layers. Our proposed approach records near perfect classification accuracy in categorizing burnt skin ad injured skin of approximately 99.9%.

Abstract An autonomous underwater vehicle (AUV) carrying 614 kHz RDI acoustic doppler current profilers (ADCPs) was deployed at four locations over the West Spitsbergen outer shelf in July 2010. The backscatter signal recorded by the ADCPs was extracted and analysed to investigate the vertical distribution and patchiness of pelagic organisms during midnight sun. At the northernmost locations (Norskebanken and Woodfjorden), fresher and colder water prevailed in the surface layer (0–20 m) and scatterers (interpreted as zooplankton and micronekton) were mainly distributed below the pycnocline. In contrast, more saline and warmer Atlantic Water dominated the surface layer at Kongsfjordbanken and Isfjordbanken and scatterers were concentrated in the top 20 m, above the pycnocline. Pelagic scatterers formed patchy aggregations at all locations, but patchiness generally increased with the density of organisms and decreased at depths >80 m. This study contributes to our understanding of the vertical distribution of pelagic organisms in the Arctic, and the spatial coverage of the AUV has extended early acoustic studies limited to Arctic fjords from 1D observations to a broader offshore coverage. Neither synchronized nor unsynchronized vertical migrations were detected, but autonomous vehicles with limited autonomy (<1 day) may not be as effective as long-term mooring deployments or long-range AUVs to study vertical migrations. Short-term AUV-based acoustic surveys of the pelagic communities are nonetheless highly complementary to Eulerian studies, in particular by providing spatial measurements of patchiness. Compared with ship-based or moored acoustic instruments, the 3D trajectory of AUVs also allows using acoustic instruments with higher frequencies and better size resolution, as well as the detection of organisms closer to the surface.

Present-day producing hydrocarbon reservoirs in the Taranaki Basin occur in the Paleocene-Eocene Kapuni Group, both onshore and offshore. The Kapuni Group has been encountered only in drillholes, the top being at depths ranging from 2 to 4 km. It consists of fluvial, paralic, near-shore and shelf sediments, containing proven and prospective reservoir sandstones with variable grain-size, sorting, porosity and permeability. Compositionally, the sandstones are sub-feldsarenites to feldsarenites, derived from continental block source rocks. Diagenetic features adversely affecting reservoir quality are compaction, pressure solution, clay neoformation, quartz overgrowth and neoformation, and carbonate neoformation. Secondary porosity development enhances reservoir quality, through dissolution of earlier (corroding) carbonate cement, dissolution of calcic plagioclase. quartz dissolution, and grain fracturing. Intrastratal solution of heavy minerals suggests that the Kapuni Group sedimentary sequence had progressed into the thermobaric hydrogeological regime. Kaolinite is an early diagenetic clay mineral, while illite and chlorite are formed later (> 3 km). Quartz overgrowth has only been observed in samples from deeper than 3 km. Carbonate cemented horizons, although of relatively limited occurrence, have been observed over the entire studied depth range. Good secondary porosity development, due to (probable) carobate-cement dissolution has been observed in the gas/condensate reservoir of the Maui Field, and in the Witiora Sandstone (base Kapuni Group) in Tane-1, indicating that potential reservoirs can exist at depths of at least 3.5 km.

Abstract Saunders, R. A., Royer, F., and Clarke, M. W. 2011. Winter migration and diving behaviour of porbeagle shark, Lamna nasus, in the Northeast Atlantic. – ICES Journal of Marine Science, 68: 166–174. The porbeagle is one of the top marine predators in the North Atlantic. However, little is known about its biology, abundance, or spatial ecology there. Results are presented on the migration and behaviour of three porbeagles tagged with archival pop-up tags off Ireland between September 2008 and January 2009. One shark migrated >2400 km to the northwest of Morocco, residing around the Bay of Biscay for approximately 30 days. The other two remained more localized in off-shelf regions around the Celtic Sea/Bay of Biscay and off western Ireland. The sharks occupied a broad vertical depth range (0–700 m) and a relatively limited temperature range (∼9–17°C), with notable variations in diving behaviour between individual sharks. There were distinct day–night differences in depth distribution, each shark being positioned higher in the water column by night than by day. Night-time depth distribution also appeared to be driven by the lunar cycle during broad-scale migration through oceanic waters. Our results show that porbeagles occupy and traverse regions of high fishing activity where they are potentially vulnerable to population depletion. Such large-scale movement outside the ICES Area underlines the need for international coordination in their assessment and management.

Abstract Abstract 1473 Background: A compact marker/suicide gene which relies on off-the-shelf reagents/pharmaceuticals would be of considerable practical utility for adoptive T-cell therapy. Marker genes enables measurement of transduction efficiency and allows sorting of transduced cells; while suicide genes allows deletion of administered T-cells in the face of toxicity. Previous marker genes include the Neomycin resistance gene, truncated nerve growth factor receptor and CD34; however these are limited by immunogenicity, unexpected biological activity and long coding region. Similarly, several suicide genes have already been described with Herpes Simplex Virus Thymidine Kinase and inducible Caspase 9 (iCasp9) in clinical use. These are limited by immunogenicity with HSVTK, limited availability of the inducing drug with iCasp9, as well as relatively long coding regions. Full-length CD20 has been tested as a suicide gene, with Rituximab as activating agent; however CD20 is biologically active when expressed in T-cells leading to spontaneous apoptosis. Aim: We sought to generate a compact marker/suicide gene construct which enables both clinical grade sorting and effective in vivo killing using off-the-shelf clinical grade reagents/pharmaceuticals – namely CD34 cliniMACS and Rituximab. By using minimal epitopes required for CD34 cliniMACS and Rituximab binding we hoped to greatly reduce the size of the construct as well as rendering it otherwise biologically inert. Results: We first sought to find the minimal epitope of CD34 which binds QBEnd10, the monoclonal antibody used in Miltenyi CliniMACS CD34 selection system. Screening a library of CD34 fragments located this to the extreme amino terminus of CD34. We further minimized this to 16 residues by sequential deletion of the amino and carboxy termini. Next, we attached this epitope to the top of the CD8alpha stalk. This highly glycosylated structure acts as an effective spacer, separating the epitope from the cell membrane but is only 49 amino acids long. We found that this construct could achieve equal binding of QBEnd10 as for full-length CD34. Next, we included a minimal epitope for rituximab binding: We first tried to co-express different fragments of the CD20 major extracellular loop identified by crystallography as the rituximab binding site. These constructs failed to bind. Next, we tried linear and circular Rituximab-binding mimetopes (described by Perosa et al. J. Immunol. 2007). Inclusion of the circular mimetope (11 amino acids) afforded excellent rituximab binding. However, complement mediated killing was poor. Further variant constructs were generated: A final construct comprising of two rituximab binding epitopes flanking a single QBEnd10 epitope on the CD8 stalk [figure (a)] was allowed optimal QBend10 and rituximab binding, as well as highly effective complement mediated killing. The binding of QBEND10 to this final construct is similar to that of full-length CD34 [figure (b)]. T-cells transduced with this construct could be effectively sorted using CD34 cliniMACS. Binding of Rituximab was 3.4 fold increased relative to native CD20 [figure (b)]. Complement mediated killing could delete >97% of transduced T-cells [figure (c)] Conclusions: We have created a 136 amino acid marker/suicide gene for T-cells. The translated protein is stably expressed on the cell surface after retroviral transduction. It binds QBEND10 with equal affinity to full length CD34. Further, the construct binds Rituximab, and the dual epitope design engenders highly effect complement mediated killing. Due to the small size of our construct, it can easily be co-expressed with typical T-cell engineering transgenes such as T-cell receptors or Chimeric Antigen Receptors and others allowing facile detection, cell selection as well as deletion of cells in the face of unacceptable toxicity with off the shelf clinical-grade reagents/pharmaceuticals. We are currently testing this construct in a murine model of GvHD. Disclosures: Linch: Roche: Honoraria, Membership on an entity's Board of Directors or advisory committees.

Large-scale 3D modeling of realistic earth models is being increasingly undertaken in industry and academia. These models have proven useful for various activities such as geologic scenario testing through seismic finite-difference (FD) modeling, investigating new acquisition geometries, and validating novel seismic imaging, inversion, and interpretation methods. We have evaluated the results of the Western Australia (WA) Modeling (WAMo) project, involving the development of a large-scale 3D geomodel representative of geology of the Carnarvon Basin, located offshore of WA’s North West Shelf (NWS). Constrained by a variety of geologic, petrophysical, and field seismic data sets, the viscoelastic WAMo 3D geomodel was used in seismic FD modeling and imaging tests to “validate” model realizations. Calibrating the near-surface model proved to be challenging due to the limited amount of well data available for the top 500 m below the mudline. We addressed this issue by incorporating additional information (e.g., geotechnical data, analog studies) as well as by using soft constraints to match the overall character of nearby NWS seismic data with the modeled shot gathers. This process required undertaking several “linear” iterations to apply near-surface model conditioning, as well as “nonlinear” iterations to update the underlying petrophysical relationships. Overall, the resulting final WAMo 3D geomodel and accompanying modeled shot gathers and imaging results are able to reproduce the complex full-wavefield character of NWS marine seismic data. Thus, the WAMo model is well-calibrated for use in geologic and geophysical scenario testing to address common NWS seismic imaging, inversion, and interpretation challenges.

Water challenges—especially in developing countries—are set to be strained by population explosion, growing technology, climate change and a shift in consumption pattern toward more water-intensive products. In these situations, water transfer in virtual form can play an important role in alleviating the pressure exerted on the limited water resources—especially in arid and semi-arid regions. This study aims to quantify the 10-year average of virtual water trade and the water footprint within South Khorasan—the third largest province in Iran—for both crops and livestock products. The virtual water content of 37 crops and five livestock is first estimated and the water footprint of each county is consequently measured using a top-down approach. The sustainability of the current agricultural productions is then assessed using the water scarcity (WS) indicator. Results of the study show that in spite of the aridity of the study area, eight out of 11 counties are net virtual water exporters. Birjand—the most populous county—is a net virtual water importer. The 10-year average water footprint of the region is measured as 2.341 Gm3 per year, which accounts for 2.28% of national water footprint. The region’s average per capita water footprint however, with 3486 m3, is 115% higher than the national ones. Crop production and livestock production are responsible for 82.16% and 17.84% of the total water footprint. The current intensive agricultural practices in such an arid region have resulted in a water scarcity of 206%—which is far beyond the sustainability criteria. This study gives the water authorities and decision-makers of the region a picture of how and where local water resources are used through the food trade network. The generated information can be applied by the regional policymakers to establish effective and applicable approaches to alleviate water scarcity, guarantee sustainable use of water supplies, and provide food security

AbstractDue to their potential as a petroleum or geothermal system, the Dinantian carbonates of the Netherlands have recently attracted renewed interest because of the identified presence of excellent reservoir properties. This notion contrasts with the general assumption that these carbonates are tight. Therefore, in order to give the current knowledge state, this paper re-examines the sparse publicly available well and seismic data and literature to assess the distribution and reservoir properties of the Dinantian carbonates.Dinantian carbonate deposition occurred throughout the study area (southern onshore and offshore of the Netherlands and northern Belgium), which is situated on the northern margin of the London–Brabant Massif, progressively onlapping the latter structure. This study confirms the presence of three carbonate facies types in the study area: a Tournaisian low-gradient carbonate ramp system, succeeded by a succession in which the carbonate ramp system evolved to a rimmed shelf setting. Subsidence of the northern margin of the London–Brabant Massif resulted in a landward shift of the shallow-marine facies belts, while the formation of normal faults resulted in a ‘staircase’-shaped shallow-water platform–slope–basin profile, associated with large-scale resedimentation processes. After deposition, the limestone deposits were frequently exhumed and reburied. A first period of regional exhumation occurred at the end of the Dinantian, which seems to be associated with porosity-enhancing meteoric karstification, possibly limited to the palaeo-shelf edge. The most intense alterations seem to be present as a deep leached horizon below the Cretaceous unconformity at the top of the Dinantian sequences. In addition, clear evidence for hydrothermal fluid migration is found locally, enhancing reservoir properties at some places while occluding porosity at others. The timing of these phases of hydrothermal fluid circulation is poorly understood.Whereas in the United Kingdom hydrocarbons have been produced from karstified Dinantian carbonates, this petroleum play has received little attention in the Netherlands. This paper shows that, also for the Netherlands, a karstic reservoir probably existed before the start of hydrocarbon generation from the onlapping basal Namurian shales. The hydrocarbon prospectivity of these sediments, however, is primarily controlled by the presence of both a karst-related reservoir and migration routes from a decent-quality source rock. Two geothermal projects producing from this reservoir in the southern onshore Netherlands have shown the potential of the Dinantian carbonates for ultra-deep geothermal projects. To conclude, the findings presented herein are relevant for studies of the hydrocarbon prospectivity and studies of the geothermal potential of Dinantian carbonates in the Dutch on- and offshore.

Abstract Many modern deltas exhibit a compound geometry that consists of a shoreline clinoform and a larger subaqueous clinoform connected through a subaqueous platform. Despite the ubiquity of compound clinoforms in modern deltas, very few examples have been documented from the ancient sedimentary record. We present recognition criteria for shelf compound-clinoform systems in both tide- and wave-dominated deltas by integration of ancient and modern examples from multiple types of data. The compound clinothem can be identified by using a combination of: (1) the three-dimensional (3-D) configuration identified in bathymetric or seismic data, (2) bipartite stacked regressive units, consisting of a lower muddy coarsening-to-fining-upward (CUFU) or coarsening-upward (CU) unit (30–100 m thick) and an overlying sandier CU unit (5–30 m thick) (together they represent the subaqueous and shoreline clinoform pair), and (3) distinct facies described herein, though both types of delta have highly bioturbated mudstone and siltstone bottomsets. Tide-dominated deltas have muddy foresets with tidal scours containing tidal rhythmites or inclined heterolithic strata in the subaqueous clinothem overlain by river and tidal deposits of the shoreline clinothem. Wave-dominated deltas show mainly wave-enhanced sediment-gravity-flow (WSGF) beds and some thin hummocky/swaley cross-stratified (HCS/SCS) sandstones toward the top in the subaqueous muddy foreset, and upward-thickening HCS/SCS and trough/planar cross-bedded sandstones interbedded with siltstones in the shoreline clinothem. The subaqueous platform, which links the clinoform couplet, shows evidence of frequent tidal or wave reworking and redeposition. The platform in tide-dominated deltas is characterized by tide-generated heterolithic strata (e.g., bidirectional current-rippled and cross-stratified sandstones, spring and neap tidal bundles, tidal rhythmites) with occasional storm-wave–influenced strata. In contrast, the wave-dominated platform comprises small-scale swales with scours and mud clasts and some WSGF deposits. The proposed criteria can aid in the recognition of compound deltaic clinothems in other basins, particularly those with limited amounts and/or types of data.

ABSTRACT The interaction of fluvial, tidal, and wave processes in coastal and paralic environments gives rise to sedimentary successions with highly varied styles of facies architecture; these are determined by the morphology and evolutionary behavior of the range of coastal sub-environments, which may be difficult to diagnose in subsurface sedimentary successions with limited well control. This study presents depositional models to account for stratigraphic complexity in a subsurface fluvial to shallow-marine succession, the Middle Jurassic Dhruma Formation, Saudi Arabia. The study achieves the following: i) it examines and demonstrates sedimentary relationships between various fluvial, nearshore, and shallow-marine deposits, ii) it develops depositional models to account for the stratigraphic complexity inherent in fluvial to shallow-marine successions, and iii) it documents the sedimentology and the stratigraphic evolutionary patterns of the lower Dhruma Formation in the studied area of Saudi Arabia. The dataset comprises facies descriptions of 570 m of core from 14 wells, 77 representative core thin sections, 14 gamma-ray logs, and FMI image logs from 4 wells. These data are integrated with quantitative information from > 50 analogous systems from a wide range of modern and ancient settings, stored in a relational database. Stratigraphic correlations reveal the internal anatomy of the succession. Facies associations are representative of fluvial channels, intertidal flats, pedogenically modified supratidal flats or floodplains, river-influenced tidal bars, weakly storm-affected shoreface and offshore-transition zones, storm-dominated delta-front and prodelta settings, and an open-marine carbonate-dominated shelf. These sub-environments interacted in a complex way through space and time. The vertical succession of the studied interval records an overall transition from coastal-plain deposits at the base to marine deposits at the top. As such, the succession records a long-term transgressive, deepening-upward trend. However, this general trend is punctuated by repeated progradational events whereby coastal sand bodies of fluvial, wave, and tidal origin prograded basinward during stillstands to fill bays along a coastline. The nature of juxtaposition of neighboring sub-environments has resulted in a sedimentary record that is highly complex compared to that generated by morphologically simple shoreface systems that accumulate more regularly ordered stratal packages.

Summary This paper describes a reservoir simulation study of a mature field. The objective of the study was to decide whether to drill an additional well and, if so, to determine its optimum location. An original approach to history-matching the model and accounting for structural uncertainty was adopted and we come to the following conclusions:The structural map can be used as a history matching parameter,Maps with the same original oil in place (OOIP) can lead to quite different productions,The same production can be obtained from different maps having different OOIP,The choice of complementary development schemes must take the nonuniqueness of the history match into account in order to minimize risk,Demonstration of the use of experimental design techniques in accounting for and managing structural uncertainty. Introduction For a developed field, the matching of the production history of the existing wells in a dynamic simulation is done by varying the usual parameters such as aquifer thickness, pore volume, petrophysics, relative permeabilities, fluids, etc. but seldom by making changes to the structural map. The latter is determined during the course of the static study [calculation of original oil in place (OOIP)] of a field and is generally not altered thereafter except, possibly, very locally. In the context of additional development, once a match is obtained, the location of one or more extra wells is determined on the basis of the structural image chosen. But there are nearly always uncertainties outside of the zone calibrated at well locations, and there may affect flow and, consequently, matching and additional reserve estimates. In what follows, consideration of the structural uncertainty led us to generate several possibilities for the top reservoir map and to propose an original approach for managing the multiple cases both for production history matching of the field and for choosing the location of an additional development well. Presentation of the Field The field studied here is a mature field with data available from six wells, three of which are production wells (P1, P2, and P6), the others being abandoned exploration or appraisal wells (Fig. 1) (one of these wells is used for produced water disposal). It has a production history of 11 years and current water cuts of 70%-90%. The hydrocarbon produced is dead oil (no gas) and the extremely thick aquifer provides excellent pressure maintenance (depletion virtually zero). At this stage of the well life, little further information about the reservoir can be expected from future production. The objective of the dynamic simulation of the field was to decide whether or not an additional well should be drilled to the south of the field in an apparently nondrained zone for which a three-dimensional (3D) seismic survey had shown a structural high. The uncertainty on the size of this local structural high was identified during the course of the study as being a major one. The dynamic study undertaken prior to the present work was a conventional one, performed using a structural map considered by the geophysicist as the most probable as a starting point. But satisfactory production history matching was impossible without impairing the consistency of the geological model. Structural Uncertainties After the seismic survey on the field had been interpreted, a study of the uncertainties on the structural map was decided on, in order to:determine statistically the rock volume and measure the impact of the structural uncertainties on dynamics, andmeasure the uncertainty on the structural high to the south of well P-1 so as to quantify the gains to be obtained from a new well. Geological and Geophysical Context. The field is located in a foot-hills basin. The reservoir has an overall almond shape running North-South, limited on its western flank by an extensive, normal fault (Fig. 1). The top reservoir is scarcely visible on the seismic data, and matching proved far from easy owing to static correction problems. The nature of the seismic marker corresponding to the top reservoir ranges from a zero crossing phase to a trough, between the oil zone and the reservoir flanks, rendering picking in this intermediate zone difficult. The time-to-depth conversion was carried out using two intermediate horizons. For calculating interval velocities, seismic time versus well depth regression functions were used. In the three intervals, compaction laws (V=V0+KZ) were used. In each geological unit the V0 values measured in the wells were kriged to form a map while the K coefficient was assumed to be constant. Construction of Uncertainty Maps. Only the errors in picking and depth conversion were taken into account. It was decided that the uncertainties on the preprocessing and migration could be integrated into the uncertainties on depth conversion. The map of uncertainty on picking was determined on the basis of three criteria:the difference between several interpretations,the problems of well-seismic matches, andthe amplitude map of top reservoir. To compute the uncertainty value (2 s) at each point the picking uncertainty map was constructed "by hand" but it can be seen as the root mean square of the sum of the square of the three criteria, i.e., the difference between interpretations, the well seismic mismatch and the quality maps ("inverse" of amplitude). The uncertainty thus determined is generally below 10 m except in the polarity change zone where it may exceed 30 m. Geological and Geophysical Context. The field is located in a foot-hills basin. The reservoir has an overall almond shape running North-South, limited on its western flank by an extensive, normal fault (Fig. 1). The top reservoir is scarcely visible on the seismic data, and matching proved far from easy owing to static correction problems. The nature of the seismic marker corresponding to the top reservoir ranges from a zero crossing phase to a trough, between the oil zone and the reservoir flanks, rendering picking in this intermediate zone difficult. The time-to-depth conversion was carried out using two intermediate horizons. For calculating interval velocities, seismic time versus well depth regression functions were used. In the three intervals, compaction laws (V=V0+KZ) were used. In each geological unit the V0 values measured in the wells were kriged to form a map while the K coefficient was assumed to be constant. Construction of Uncertainty Maps. Only the errors in picking and depth conversion were taken into account. It was decided that the uncertainties on the preprocessing and migration could be integrated into the uncertainties on depth conversion. The map of uncertainty on picking was determined on the basis of three criteria:the difference between several interpretations,the problems of well-seismic matches, andthe amplitude map of top reservoir. To compute the uncertainty value (2 s) at each point the picking uncertainty map was constructed "by hand" but it can be seen as the root mean square of the sum of the square of the three criteria, i.e., the difference between interpretations, the well seismic mismatch and the quality maps ("inverse" of amplitude). The uncertainty thus determined is generally below 10 m except in the polarity change zone where it may exceed 30 m.

Virtual testing has lately gained widespread acceptance among scientists as a simple, accurate, and reproducible method to determine the mechanical properties of heterogeneous microstructures, early in the production process. As a result of the rapid expansion of the use of composites in aerospace design, virtual testing techniques are, in fact, deemed extremely useful to eliminate unnecessary tests and to reduce cost and time associated with generating allowables for lengthy lifing analyses of structures. Leveraging on a limited set of experimental data, a Progressive Failure Analysis can accurately predict the life and safety of a component/assembly, simply tapping on the physics of its micro-/macro- mechanics material properties, manufacturing processes, and service environments. The robust methodology is showcased using blind predictions of fatigue stiffness degradation and residual strength in tension and compression after fatigue compared with test data from Lockheed Martin Aeronautics and Air Force Research Laboratory). The multi-scale progressive failure analysis methodology in the GENOA software considers uncertainties and defects and evaluated the damage and fracture evolution of three IM7-977-3 laminated composite layups at room temperature. The onset and growth of composite damage was predicted and compared with X-ray CT. After blind predictions, recalibrations were performed with knowledge of the test data using the same set of inputs for all layups and simulations. Damage and fracture mechanism evolution/tracking throughout the cyclic loading is achieved by an integrated multi-scale progressive failure analysis extended FEM solution: (a) damage tracking predicts percentage contributing translaminar and interlaminar failure type, initiation, propagation, crack growth path, and observed shift in failure modes, and (b) fracture mechanics (VCCT, DCZM) predicts crack growth (Crack Tip Energy Release Rate vs. Crack Length), and delamination. The predictive methodology is verified using a building block validation strategy that uses: (a) composite material characterization and qualification (MCQ) software, and (b) the GENOA multi-scale progressive failure analysis fatigue life, stiffness degradation, and post-fatigue strength predictions for open-hole specimens under tension/compression at RTD. The unidirectional tension, compression, and in-plane shear lamina properties supplied by Lockheed Martin Aeronautics and the Air Force Research Laboratory (based on the D3039, D638, D3518 tests) were used by MCQ to reverse engineer effective fiber and matrix static and fatigue properties for the IM7-977-3 material system. The use of constituent properties identified the root cause problem for composite failure and enabled the detection of damage at the micro-scale of the material where damage is incepted. For all three case studies (namely, layups [0/45/90/−45]2s, [+60, 0, −60]3s, and [+30, +60, 90, −60, −30]2s), the blind predictions on the fatigue stiffness degradation and residual strength of the open-hole coupon in tension/compression under cyclic loading (with R = 0.1) at RTD were evaluated using a FE mesh (made of 2k shell elements), in which only one shell element, containing all plies, was employed through the thickness. The results of all analyses correlated very well with the tests, including the damage micro-graphs generated during the cyclic loading.

Abstract Background Natural Killer (NK) lymphocytes possess innate anti-tumor activity that has the potential to be used as an allogeneic cell therapy due to reduced GvHD risk relative to αβ T cells. Despite their potential, adoptive NK cell immunotherapies have been limited by poor expansion in vivo. Using our previously developed Chimeric Antigen Receptor-T cell (CAR-T) strategy that relies on rimiducid-based dimerization of inducible MyD88/CD40 (iMC) to regulate T cell expansion and survival, we demonstrate that iMC can also be applied to NK cell growth and anti-tumor efficacy in vitro and in vivo. Moreover, a rapamycin-inducible Caspase-9 (iRC9) was used to provide an orthogonally regulated safety switch. Methods and Results CD56+ NK cells were isolated from peripheral blood of human donors, stimulated overnight with IL-15 then activated by seeding with K562 erythroleukemia target cells. NK cells were then transduced with γ-retrovirus encoding control iRC9-2A-ΔCD19, iRC9-2A-ΔCD19-2A-iMC (dual-switch NK) or iRC9-2A-IL-15-2A-ΔCD19-2A-iMC (dual-switch/IL-15 NK). ΔCD19 marked transduced cells in 50:50 cocultures with untransduced NK cells. NK cells containing only iRC9 grew at the same rate as untransduced cells, but iMC-expressing NK cells displayed enhanced growth that was further augmented by 1 nM rimiducid treatment. In cocultures with THP1 acute myeloid leukemia cells at increasing Target:Effector (T:E) ratios, presence (P < 0.001, two way ANOVA) and activation (P <0.001) of iMC increased tumor killing activity. Inflammatory cytokine and chemokine production was also dramatically (10 to 1000-fold) elevated by the expression and activation of iMC in NK cells in the presence and absence of THP1 tumor target. To study in vivo anti-tumor activity, immunodeficient NSG mice were engrafted with dual-switch NK cells with or without autocrine IL-15 expression in the presence or absence of THP-1 tumor targets. When tumor was present, unstimulated iMC with IL-15 or activation of iMC without IL-15 expression supported modest NK cell expansion, but rimiducid stimulation of iMC plus autocrine IL-15 showed enhanced NK expansion in vivo. Furthermore, in tumor-free animals only dual-switch/IL-15 NK cells with weekly rimiducid stimulation expanded and persisted in vivo (up to 7 weeks). Cotransduction of a first generation CD123-targeted CAR to produce dual-switch/IL-15 CD123CAR-NK cells led to rimiducid-dependent control of THP1 tumor outgrowth in vivo beyond 40 days. Conversely, temsirolimus-mediated activation of the iRC9 safety switch rapidly (< 24 hours) ablated dual-switch NK cells in vivo. Conclusions Inducible MyD88/CD40 is an activation switch that supports NK cell expansion, persistence and anti-tumor activity. When paired with autocrine IL-15 expression, this platform supports NK expansion and persistence in vivo, and AML tumoricidal activity that can be further activated by target-specific CAR expression. Moreover, the fast-acting, orthogonally regulated proapoptotic switch, iRC9, mitigates the risk of off-tumor targeting. Therefore, we describe a novel, regulated NK cell platform that solves many of the challenges of NK cell-based therapy and should be amenable to a readily translatable off-the-shelf cellular therapy for malignancies. Disclosures Wang: Bellicum Pharmaceuticals: Employment, Equity Ownership. Chang:Bellicum Pharmaceuticals: Employment, Equity Ownership. Jasinski:Bellicum Pharmaceuticals: Employment, Equity Ownership. Medina:Bellicum Pharmaceuticals: Employment, Equity Ownership. Zhang:Bellicum Pharmaceuticals: Employment, Equity Ownership. Foster:Bellicum: Employment, Equity Ownership. Spencer:Bellicum Pharmaceuticals: Employment, Equity Ownership. Bayle:Bellicum Pharmaceuticals: Employment, Equity Ownership.

Abstract Background: The risk of bacterial growth has limited the shelf life of platelet concentrates (PC) to 5 days. Modern platelet storage containers facilitate storage for up to 7 days, if bacterial contamination is prevented. INTERCEPT (Baxter, La Chatre, France; Cerus, Concord, CA) photochemical treatment (PCT) for pathogen reduction based on amotosalen (150μM) and UVA illumination (3 J/cm2) inactivates high titers of bacteria in PC (Transfusion2004; 44: 1496–1504). Adhesion and aggregation of platelets to injured vascular surfaces are critical aspects of platelet hemostatic function. In this study, the adhesion and aggregation of leucocyte-reduced buffy coat derived PC (BCPC), treated with INTERCEPT and stored up to 7 days, were measured on injured vascular surfaces using an ex-vivo blood flow system. Methods: BCPC were prepared from 450 mL-whole blood donations with the top and bottom method (Optipress II, Baxter). Five BCPC, of the same ABO group, were pooled with additive solution (Intersol™) the day following collection, after viral screening testing was completed. Following centrifugation and leukocyte depletion, two BCPC pools of the same ABO group were mixed and divided. One pooled BCPC was treated with INTERCEPT (I-BCPC) and the other was prepared by conventional methods (C-BCPC); and both were stored in 1.3 liter PL2410 plastic containers (Baxter R4R7012) at 22 ± 2°C with continuous agitation for 7 days. Samples for hemostatic function testing were taken immediately after preparation before splitting for treatment and after 5 and 7 days of storage. Platelet counts were performed in K3EDTA in a Coulter MD II counter (Coulter, Miami, FL). Samples of I-BCPC and C-BCPC were added to citrate anticoagulated blood, previously depleted of platelets and leukocytes by filtration, and adjusted to a final platelet count of 150x109/L. Enzymatically denuded vascular segments were exposed to circulating whole blood, reconstituted with I-BCPC and C-BCPC, in Baumgartner chambers at a shear rate of 800 s−1 for 10 minutes. The proportion (%) of the vascular surface area covered by platelets after perfusion was measured for each type of BCPC (N = 9) at each storage time point. Platelets and groups of platelets were classified as adhesive when platelet masses were less than 5 μm in height and as thrombi when height exceeded 5 μm. Data were analyzed with the SPSS 12.0.1 statistical package with significance at p < 0.05, and expressed at the mean ± SEM Results(Table). Conclusion: The platelet count of I- BCPC decreased by 12.3% including PCT processing losses and 7 days of storage. However, I- BCPC platelet adhesive and aggregatory capacities under flow conditions were similar to C- BCPC, and were well conserved for up to 7 days of storage. Hemostatic Function of Stored I-BCPC and C-BCPC Parameter I-BCPC C-BCPC p Day 1(Pre Treatment) Platelet Count (109/L) 945±40 945±40 Platelet Coverage (%) 26.0±3.7 26.0±4.2 Adhesion(%) 24.0±3.7 24.0±3.7 Thrombus(%) 1.9±0.6 1.9±0.6 Day 5 Storage Platelet Count (109/L 844±41 902±44 0.004 Platelet Coverage (%) 20.9±2.2 20.6±1.6 0.9 Adhesion(%) 19.9±2.1 19.3±1.4 0.8 Thrombus(%) 0.9±0.3 1.2±0.4 0.5 Day 7 Storage Platelet Count (109/L) 829±32 923±48 0.008 Platelet Coverage (%) 27.1±2.9 21.2±2.8 0.06 Adhesion(%) 26.0±2.7 20.4±2.7 0.06 Thrombus(%) 1.2±0.3 0.7±0.2 0.16

Lacustrine strata of a portion of the Green River Formation studied in outcrops along Raven Ridge and in the subsurface around Red Wash Field in the northeastern Uinta Basin represent cyclic storm-dominated shoreface to deep lake deposition within a syntectonic embayment on the margin of Eocene Lake Uinta. The study interval consists of the lower Green River Formation, including the Douglas Creek, Garden Gulch, and lower Parachute Creek members, from the top of the underlying Wasatch to the Mahogany Zone of the Parachute Creek Member. Data consists of 11,900 ft (3627 m) of section measured at 23 locations across Raven Ridge, including 7,800 ft (2377 m) of hand-held gamma-ray scintillometer measurements, and over 500 wells in the greater Red Wash Field area, including pay zone analysis correlated to stratigraphy in the field. Facies analysis, as the basis for an integrated stratigraphic approach, reveals a seven-fold hierarchy of stratigraphic cycles ranging from two orders of large-scale cycles to five orders of progressively higher-frequency (smaller scale) shoreface-lake cycles across an 18-mile (29 km) long and 1900-ft (579 m) thick dip-oriented stratigraphic transect. This study recognized twenty-two facies grouped into eight facies tracts using Walther’s Law for two composite shoreface successions: one for a siliciclastic storm-graded shoreface profile that was dominant during times of regression and one for a carbonate profile that dominated in times of transgression. Two important regional facies trends across Raven Ridge include: 1) greater proportions of mudstone facies present in the southern, upper portion of the Green River Formation; and 2) significantly higher proportion of bioturbated sandstone in the northern, lower portion of the formation. The long-term 2nd-order transgression of Lake Uinta from base to top of the study interval results in an evolution from a low-gradient shoreline with marshes, ponds, and sand/mud flats to a high-gradient high-energy profile composed of spits and shorefaces that grew southward away from the emergent highlands. A composite storm-graded shelf profile shows how trough, hummocky, and swaley cross stratification type and amalgamation style change offshore proportionally to contain mud-dominated tempestites, erosional storm furrows, and oil shale. In the most offshore positions, diastasis cracks caused by differential loading are common. The lacustrine shoreface profile is compressed in the Green River Fm. in the study area with narrow facies tracts and large local gradient changes as a result of different responses to sediment supply. As a lake grows and shorelines migrate, the increase in accommodation is balanced, or in-phase, by a corresponding increase in sediment supply resulting in shoreface progradation keeping up with lake-level rise. As the shoreface stacks vertically during the rise, over steepening and failure of the profile generates gravity-flow sandstone facies. Little reworking of hummocky cross stratification high on the profile was observed, probably because wave power was limited by a shallow fair-weather wave-base. These differences also result in more symmetrical lacustrine shoreface cycles, with a large proportion of sediment partitioned into rise hemicycles, as opposed to the classical fall-asymmetric marine para-sequence which tends to have little to no strata preserved in the rise hemicycle along most of the shoreface profile. Landward-stepping lacustrine shoreface cycles are more common during the early rise portions of larger-scale 3rd-order megacycles for similar reasons. Strata at Raven Ridge support the concept that Eocene Lake Uinta was chemically stratified, or meromictic, at least during certain periods. The equable subtropical Eocene paleoclimate is interpreted to be the most important control on meromixis. Chemical stratification played a critical role in the development and preservation of organic matter, as evidenced by oil shale facies. The equable climate, however, might also have made the lake prone to thermal stratification. A paradox exists in the storm dominance of the lacustrine shorefaces and the coeval lake stratification: wave energy apparently was insufficient to break through the strong chemocline. Red Wash Field, directly downdip from the Raven Ridge outcrop belt, is an example of an oil field in a setting where the lake margin is not coincident with a structural feature: a “non-coincident” margin. Reservoirs mostly are present in the 6th-order aggradational shoreface cycles that are interpreted to have accumulated in the rise portions of 3rd-order megacycles. The best reservoir facies are trough, hummocky, and swaley cross-stratified sandstone deposited by storm processes and structureless sandstone probably derived from over steepening and failure of the shoreface during transgression. A petroleum accumulation model encompassing the Red Wash-Raven Ridge area proposes that lacustrine-sourced petroleum originated from an over-pressured mature cell in the Altamont-Bluebell field region. Oil migrated updip through leaky seals and became trapped in reservoirs within the non-coincident lake margin strata. An irregular shoreline configuration and compaction folds at Red Wash Field trapped petroleum. After reaching spill point at Red Wash Field, oil migrated farther updip to Raven Ridge and Asphalt Ridge, forming tar sand accumulations.

<p><strong>Abstract.</strong> Land Information New Zealand (LINZ) is in a unique position internationally. This Central Government organisation houses New Zealand’s national mapping agency, hydrographic authority and geodetic survey office all under one roof. This gives the organisation the opportunity to think broadly about future directions and leverage a combined centre of expertise and skills, across the three disciplines, nationwide.</p><p>In 2007, LINZ launched the Geospatial Strategy to improve coordination, sharing and use of geospatial data across New Zealand’s government entities. The Strategy had four goals – good governance across the system; creating and maintaining key geospatial datasets; accessible and useable Government geospatial data; and interoperability.</p><p>Since then, LINZ has begun a 10-year programme of work – Mapping New Zealand 2025 – to deliver the mapping, data and expertise needed to address some of the most significant challenges facing the country, now and in the future – firstly resilience and climate change, secondly urban growth and thirdly water. These three challenges prioritise LINZ’s work under its 2017 Outcomes Framework. The vision is seamless land and sea mapping, from the top of Aoraki/Mount Cook to the edge of the continental shelf.</p><p>Mapping New Zealand 2025 brings together initiatives, leadership and investment, and builds on core LINZ expertise in mapping and charting, data partnerships with other organisations and new technologies to deliver this programme.</p><p>This paper will give an outline and update on the five major components that make up the Mapping New Zealand 2025 work programme.</p> <ol><li>Improving New Zealand’s Bathymetry Data – Decision-makers around the world are increasing their use of marine information to tackle issues such as the sustainability of ocean resources. LINZ is working with national and international organisations on projects to drive improvements in New Zealand’s depths information and to map the world’s ocean floors. Coupled with international projects, LINZ is also focusing on local initiatives such as building relationships and partnerships to ensure valuable New Zealand marine data is collected efficiently, is more accessible and reusable. The organisation is also now coordinating retrieval of data, samples and reports from international vessels undertaking marine science research in New Zealand’s Exclusive Economic Zone, Territorial Sea and Continental Shelf.</li><li>National Elevation and Imagery Partnerships – Aerial imagery and elevation (LiDAR) are foundational data infrastructure for New Zealand, with many critical applications. LINZ operates a successful partnership model for procuring and publishing aerial imagery across New Zealand, an initiative begun after the Canterbury earthquakes, when imagery over Christchurch was in great demand, but not accessible. The initiative has made aerial imagery of the entire country available to all, under a creative commons licence. LINZ has also recently established national coordination of elevation (LiDAR) data to maximise its value to New Zealand. Coordinating procurement partnerships and publishing data for open reuse are the focus of this ambitious initiative.</li><li>Mapping the coastal zone – New Zealand’s coastal zone is of great economic, social and environmental importance, and it is where climate change processes will impact the most. Fit-for-purpose coastal mapping is essential to modelling and decision-making that help us adapt and mitigate risks to our communities, individual property and infrastructure. LINZ is undertaking a one-year pilot as an initial step towards determining the needs for, and benefits of, improved coastal mapping. The pilot is stocktaking existing datasets that map parts of the coast (or intertidal or littoral zone) and identifying a fit-for-purpose reference frame for analysing data. The work will then move on to investigate the products needed to improve coastal mapping and decision-making and develop a prototype tool for mapping and visualisation.</li><li>Joining land and sea data – Currently in New Zealand, elevation and depths datasets are captured to a range of reference surfaces and datums, limiting our ability to merge them together. The largest challenges are across the coastal zone, where LINZ is working with the National Institute of Water & Atmospheric Research (NIWA) to develop a tool for ‘seamless’ linking of land and sea data. This project is being run in tandem with improving coastal mapping mentioned above, as the definition of tidal surfaces (such as mean high-water springs) are limited by the accuracy of digital terrain models and the ability to connect tidal surfaces to the coast. This project will also deliver an improved national tidal model. New Zealand’s current model was developed between 1996 and 2000 and is built on a now obsolete platform. The updated model will be recreated on a new platform and be able to use 20 additional years of data and improvements in global modelling technologies.</li><li>Maximising the benefits of Earth observation data – 2018 saw a greatly increased awareness of the potential applications of Earth observation data and technologies in government, industries and research in New Zealand. LINZ is joining with major stakeholders such as the Ministry of Business, Innovation and Employment’s Space Agency, Venture Southland and the Centre for Space Science Technology to develop a national strategy for maximising the benefits of Earth observation. Aside from this national focus, LINZ will work on how best to utilise Earth observation in our own activities, in areas such as using remote sensing to map our built environments and understanding potential applications for interferometric synthetic aperture radar (InSAR), which uses radar images of Earth’s surface collected by satellites to map ground deformation.</li></ol><p> Each of these five projects are at different stages of maturity. The presentation will cover off what each project has accomplished to date. We will present what the future holds for the programme and how Mapping New Zealand 2025 will allow LINZ, and the wider New Zealand community, to think and work differently.</p>

PurposeOf the global carrot production, 20–30% is outgraded as carrot rejects and waste (CRW) at the primary processing level, which is partially used toward animal feed and the remaining ends in the landfills. This study was undertaken to identify the hurdles and seek potential solutions for using CRW in food processing.Design/methodology/approachCRW were procured from the processing unit in Ontario, Canada, as (1) outgraded carrots (OGCs) and (2) processed discards (PDs). The physical parameters of CRW, imperfections responsible for their separation from the graded carrots and shelf-life studies were recorded.FindingsA significant difference with p ≤ 0.05 was recorded for both the physical parameters and the nature of imperfections in CRW. Discolored carrots (42.37 ± 3.59%) and the presence of vertical splits (52.71 ± 3.18%) were among the top defects in the OGCs. In contrast, the presence of broken tips (54.83 ± 2.52%) and vertical splits (40.56 ± 2.65%) were among the primary cause for the generation of PDs. In total, five percent of CRW were initially infected, which later increased to 30% during the seven days storage period.Research limitations/implicationsThe limitation of the study was that only two varieties of carrots were considered and these were procured from one processor (the authors’ industry partner) at different time intervals of the year. Microbiological analysis could not be completed and reported due to prevailing coronavirus disease 2019 (COVID-19) situation but is included for future studies.Practical implicationsDevelopment of specialized post-harvest packaging and handling protocols and separation of infected fragments are essential before suggesting the use of CRW in food processing.Originality/valueNumerous studies report on the post-harvest management and processing of graded carrots, but limited to no studies are published on the usage of CRW in food processing.

Greetings Everyone,The news for this new year’s issue consists mainly of a list of a major children’s literature awards that have been announced, as well as a few upcoming conferences.AWARDS2017 ALSC (Association for Library Service to Children) Book and Media Award WinnersJohn Newberry MedalThe Girl Who Drank the Moon Written by Kelly Barnhill and published by Algonquin Young Readers, an imprint of Algonquin Books of Chapel Hill, a division of Workman PublishingNewberry Honour BooksFreedom Over Me: Eleven Slaves, Their Lives and Dreams Brought to Life by Ashley Bryan written and illustrated by Ashley Bryan and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children's Publishing DivisionThe Inquisitor’s Tale: Or, The Three Magical Children and Their Holy Dog written by Adam Gidwitz, illustrated by Hatem Aly and published by Dutton Children's Books, Penguin Young Readers Group, an imprint of Penguin Random House LLCWolf Hollow written by Lauren Wolk and published by Dutton Children's Books, Penguin Young Readers Group, an imprint of Penguin Random House LLCRandolph Caldecott MedalRadiant Child: The Story of Young Artist Jean-Michel Basquiat illustrated by Javaka Steptoe, written by Javaka Steptoe and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecot Honour BooksDu Iz Tak? illustrated and written by Carson Ellis, and published by Candlewick PressFreedom in Congo Square illustrated by R. Gregory Christie, written by Carole Boston Weatherford and published by Little Bee Books, an imprint of Bonnier Publishing GroupLeave Me Alone! illustrated and written by Vera Brosgol and published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited PartnershipThey All Saw a Cat illustrated and written by Brendan Wenzel and published by Chronicle Books LLCLaura Ingalls Wilder AwardNikki Grimes -- Her award-winning works include “Bronx Masquerade,” recipient of the Coretta Scott King Author Award in 2003, and “Words with Wings,” the recipient of a Coretta Scott King Author Honor in 2014. Grimes is also the recipient of the Virginia Hamilton Literary Award in 2016 and the NCTE (National Council of Teachers of English) Award for Excellence in Poetry for Children in 2006.2018 May Hill Arbuthnot Honor AwardNaomi Shihab Nye will deliver the 2018 May Hill Arbuthnot Honor Lecture.Mildred L. Batchelder AwardCry, Heart, But Never Break - Originally published in Danish in 2001 as “Græd blot hjerte,” the book was written by Glenn Ringtved, illustrated by Charolotte Pardi, translated by Robert Moulthrop and published by Enchanted Lion Books.Batchelder Honour BooksAs Time Went By published by NorthSouth Books, Inc., written and illustrated by José Sanabria and translated from the German by Audrey HallOver the Ocean published by Chronicle Books LLC, written and illustrated by Taro Gomi and translated from the Japanese by Taylor NormanPura Belpre (Author) AwardJuana & Lucas written by Juana Medina, is the Pura Belpré Author Award winner. The book is illustrated by Juana Medina and published by Candlewick PressPura Belpre (Illustrator) AwardLowriders to the Center of the Earth illustrated by Raúl Gonzalez, written by Cathy Camper and published by Chronicle Books LLCAndrew Carnegie MedalRyan Swenar Dreamscape Media, LLC, producer of “Drum Dream Girl: How One Girl’s Courage Changed Music”Theodor Seuss Geisel AwardWe Are Growing: A Mo Willems’ Elephant & Piggie Like Reading! Book written by Laurie Keller. The book is published by Hyperion Books for Children, an imprint of Disney Book GroupRobert F. Sibert Informational Book MedalMarch: Book Three written by John Lewis and Andrew Aydin and illustrated by Nate Powell, published by Top Shelf Productions, an imprint of IDW Publishing, a division of Idea and Design Works LLC Stonewall Book Awards - ALA Gay, Lesbian, Bisexual, and Transgender Round Table (GLBTRT)Mike Morgan & Larry Romans Children’s & Young Adult Literature AwardIf I Was Your Girl written by Meredith Russo and published by Flatiron BooksMagnus Chase and the Gods of Asgard: The Hammer of Thor written by Rick Riordan and published by Disney Hyperion, an imprint of Disney Book GroupHonor BooksPride: Celebrating Diversity & Community written by Robin Stevenson and published by Orca Book PublishersUnbecoming written by Jenny Downham and published by Scholastic Inc. by arrangement with David Fickling BooksWhen the Moon Was Ours written by Anna-Marie McLemore and published by Thomas Dunne Books, an imprint of St. Martin’s Press2017 Children’s Literature Association Phoenix AwardsPhoenix Award 2017Wish Me Luck by James Heneghan Farrar Straus Giroux, 1997Phoenix Honor Books 2017Seedfolks by Paul Fleischman HarperCollins, 1997Habibi by Naomi Shihab Nye Simon & Schuster, 19972017 Phoenix Picture Book AwardTell Me a Season by Mary McKenna Siddals & Petra Mathers Clarion Books, 1997One Grain of Rice: A Mathematical Tale by Demi Scholastic, 1997 CONFERENCESMarchSerendipity 2017: From Beginning to End (Life, Death, and Everything In Between) The Vancouver Children’s Literature Roundtable Mar. 4, 2017 | 8am to 3:30 pm | UBC Ike Barber LibraryJuneChildren’s Literature Association ConferenceHosted by the University of South Florida June 22-24, 2017 Tampa, FL Hilton Tampa Downtown Hotel Conference Theme: Imagined FuturesJulyInternational Research Society for Children’s Literature (IRSCL) Congress 2017 – Toronto July 29 - August 2, 2017 Keele Campus, York University The Congress theme is “Possible & Impossible Children: Intersections of Children’s Literature & Childhood Studies." That is all for this issue. Best wishes!Hanne Pearce, Communication Editor

ObjectivesThis study was conducted to evaluate the dehydration methods of goat meat based in Malawi and the effects on food safety.Materials and MethodsGoat meat was prepared as ground, minced, and whole muscle strips. Samples were treated with 6% lemon juice marinade, 6% vinegar marinade, or salt rub. During phase 1, dehydration of the meat was performed with a solar dehydrator (n = 108), electric oven (n = 108) or drum oven (n = 108). Qualitative data on the three drying methods was collected from a panel of students from Mzuzu University, Malawi, on the practicality of each method in a local rural setting. Additionally, visual observations were conducted 30 d prior to drying for the presence of mold and insects to give an indication of shelf life. Phase 2 was performed at Texas Tech University in Lubbock, Texas where whole muscle strips of lamb were submerged in a five-strain Escherichia coli surrogate cocktail of Escherichia coli for 5 min, allowed 30 min for cell attachment, then dried using an electric and drum oven, replicating the dehydration procedure in Malawi. For each replicate (n = 2), attachment samples (n = 10), samples dried in the electric oven (n = 10) and samples dried in drum oven samples (n = 10) were aseptically plated on MacConkey agar with a TSA overlay and enumerated for E. coli.ResultsIn phase 1, mold growth was observed on 15.7% (34/216) of samples dried in the solar dehydrator and drum oven. Of those positive for mold, 32.4% (n = 11) were minced, and 67.6% (n = 23) were whole muscle strips. No samples dried using the electric oven displayed mold (0/108). No samples displayed insects. Based on qualitative data that was gathered, top reasons to dry goat meat using the drum oven include “not requiring electricity” and “drum ovens are a common piece of equipment in villages”. Top reasons against using a drum oven include “unequal distribution of heat” and “high level of oversight required during drying”. Top reasons to dry goat meat using electric oven include “fast drying time”, “uniform distribution of heat”, and “limited oversight required”. Top reasons against using electric oven to dry goat meat include “requiring electricity” and “low knowledge of electric oven operation in a community setting”. Top reasons to use the solar dehydrator to dry goat meat include “not requiring electricity or firewood” and “limited oversight required”. Top reasons against using the solar dehydrator to dry goat meat include “slow drying time” and “uneven heat distribution due to time of day and shadows”. In phase 2, a 5-log reduction was observed for all electric oven treatment replicates (100%, 2/2) and half drum oven (50%, 1/2) replicates. However, variation in the reduction of E.coli is a direct result of weather and fuel provided to the drum oven.ConclusionElectric drying oven displayed the most consistent results for shelf life and safety. However, in rural Malawi, dehydrating methods should be chosen on a case by case basis.

Climate-driven impacts on marine trophic pathways worldwide are compounded by sea-ice loss at northern latitudes. For the Arctic, current information describing food web linkages is fragmented, and there is a need for tools that can describe overarching trophic structure despite limited species-specific data. Here, we tested the ability of a mass-balanced ecosystem model (Ecopath with Ecosim, EwE) to reconstruct the trophic hierarchy of 31 groups, from primary producers to polar bears, in the Canadian Beaufort Sea continental shelf. Trophic level (TL) estimates from EwE were compared with those derived from two nitrogen stable isotope (SI) modelling approaches (SI linear and scaled) to assess EwE accuracy, using a dataset of 642 δ15N observations across 282 taxa. TLs from EwE were strongly, positively related to those from both SI models (R2 > 0.80). EwE performed well (within 0.2 TL) for groups with relatively well-known diets or for taxa characterized by fewer trophic connections (e.g., primary consumers). Performance was worse (> 0.5 TL) for species groups aggregated at coarse taxonomic levels, those with poorly documented diets, and for anadromous fishes. Comparisons with SI models suggested that the scaled approach can overestimate the TL of top predators if ecosystem-specific information is not considered.

Blackberry fruits are fresh products with wide market possibilities but of very limited shelf life (3–6 days). To develop preservation alternatives, the effect and interaction of a modified atmosphere packaging and an edible coating based on guar gum were determined on the shelf life and quality properties of blackberry cv. Castilla stored at 5 ℃. Three types of packaging were evaluated: (1) perforated polyethylene terephthalate clamshells, (2) sealed polyethylene terephthalate clamshells, and (3) sealed polyethylene terephthalate clamshells with a polylactic acid film on top. In turn, two types of coating were evaluated: coatings of guar gum solutions at (1) 0.3% and (2) 0.4% in water. During storage, an index of deterioration and different quality properties were evaluated. In the polyethylene terephthalate packages with polylactic acid, an equilibrium modified atmosphere packaging was formed. Weight loss was much lower for the sealed polyethylene terephthalate and polyethylene terephthalate + polylactic acid (<2%) compared to fruits in perforated clamshells, with no significant differences between these two types of packaging. It was possible to observe the treatment with an edible coating of 0.3% gum guar and perforated clamshells (guar gum 0.3/N) presented the lowest deterioration rate and preserve the fruit longer time (13 days) although with a high weight loss (23.23%) while the treatment with polyethylene terephthalate and polylactic acid film + edible coating of gum guar (guar gum 03/polylactic acid) kept the samples during 12 days with a lower weight loss (1.75%). This latter combination of equilibrium modified atmosphere packaging with a biodegradable film and the guar gum edible coating can be an interesting treatment from a commercial point of view.

AbstractThe study deals with a large sand body (spit-bar) attached to the eastern tip of the Robberg Peninsula, Plettenberg Bay, South Africa. To date, the bar has prograded about 8 km beyond the tip of the peninsula. The bar top is predominantly composed of medium sand, the upper slope of fine sand, and the lower slope of fine muddy sand. Stratigraphically, the sedimentology thus documents an upward coarsening, calcareous quartz-arenitic depositional sequence. The spit-bar as a whole forms the eastern end of a sediment compartment that is clearly distinguishable from neighbouring compartments on the basis of its geomorphology, the textural characteristics of the sediment, and the distribution of sediment thicknesses. Aeolian overpass across the peninsula appears to have formed a fan-like sand deposit in its rear, which is perched upon the upper shoreface of the bay as suggested by the bathymetry to the north of the peninsula. It forms an integral part of the sediment body defining the spit-bar. The estimated volume of sand stored in the spit-bar amounts to 5.815 km3, of which 0.22 km3 is contributed by the aeolian overpass sand. The sediment sources of the spit-bar are located up to 100 km to the west, where a number of small rivers supply limited amounts of sediment to the sea and numerous coastal aeolianite ridges in the Wilderness embayment have been subject to erosion after becoming drowned in the course of the postglacial sea-level rise since about 12 ky BP. By contrast, the sediment volume in the adjacent compartment B to the north (Plettenberg Bay), which has been supplied by local rivers, amounts to only 0.127 km3. In a geological context, large sand bodies such as the Robberg spit-bar are excellent exploration models for hydrocarbons (oil and gas).

Abstract Sub-bottom profiling (SBP) surveys and bathymetric mapping conducted off the shore of Miyako-jima, which belongs to the southern Ryukyus in the Ryukyu Island Arc, have revealed the presence of mound-shaped structures 3–8 m high and 50–120 m wide at depths of 70–100 m. The SBP surveys showed that the mounds possess strong distinct, convex upward reflector shapes at the top, which we interpret as submerged reefs and reefal sediments. Additionally, modern stratified sediment layers that cover these mound-shaped structures indicate that those reefs began forming and advancing shoreward in a back-stepping fashion as a result of sea-level rise. An analysis of the mound distribution shown by SBP and multibeam echo sounding (MBES) surveys suggest that they might have been formed during the lowstand stage of sea-level change, which includes the Last Glacial Period, because the distribution of these mounds is limited to water depths of 70 to 100 m, deeper than where present-day reefs grow. The SBP images hint that such high-resolution seismic profiles, accompanied by detailed bathymetric mapping off the reefal area, have the potential to provide effective indicators of not only coral reef paleoenvironment development, but also the tectonic setting of this offshore area.

IntroductionWe are increasingly being told to make ethical food choices, often by high-profile chefs advocating what they view as ethical consumption habits. Some actively promote vegetarian or vegan diets, with a growing number of high-profile restaurants featuring only or mainly plant-based meals. However, what makes food or restaurant menus ethical is not assessed by most of us using one standardised definition. Our food values differ based on our outlooks, past experiences, and perhaps most importantly, how we balance various trade-offs inherent in making food choices under different circumstances and in diverse contexts.Restaurants can face difficulties when trying to balance ethical considerations. For instance, is it inconsistent to promote foraging, seasonality, local products, and plant-based eating, yet also serve meat and other animal-derived protein products on the same menu? For example, Danish chef Rene Redzepi, co-owner of the Michelin-starred restaurant Noma in Copenhagen who recently had an extended stay in Australia (Redzepi), recently offered a purely vegetarian menu featuring foraged native ingredients. However, Redzepi followed this with a meat-based menu including teal, moose leg, reindeer tongue, and wild duck brain. These changes make clear that although Redzepi was still conflicted about serving animal products (Ankeny and Bray), he thinks that options for ethical eating are not limited to plants and that it is important to utilise available, and especially neglected, resources in novel ways.In this article, we argue that celebrity and other high-profile chefs have roles to play in conversations about the emerging range of new meat consumption norms, which might include humanely produced meat, wild meat, or other considerations. However, we contend that restaurants and popular media may be limited spaces in which to engage consumers in these conversations. Ultimately, celebrity and high-profile chefs can help us not only to reflect on our eating habits, but also to engage us in ways that help us to ask the right questions rather than encouraging reliance on set answers from them or other supposed experts.Chefs and New Meat NormsChefs are now key voices in the politics of lifestyle, shaping both the grammars and the practices of ethical consumption, which is further reinforced by the increasing mediatisation of food and food politics (Phillipov, Media). Contemporary trends toward ethical consumption have been much critiqued; nevertheless, ethical consumption has become a dominant means through which individuals within contemporary marketised, neoliberal economies are able to invest lifestyle choices with ethical, social, and civic meanings (Barnett et al.; Lewis and Potter). While vegetarianism was once considered a central pillar of ethical diets, the rise of individualized and diverse approaches to food and food politics has seen meat (at least in its “ethical” form) not only remain firmly on the menu, but also become a powerful symbol of “good” politics, taste, and desirable lifestyles (Pilgrim 112).Chefs’ involvement in promoting ethical meat initially began within restaurants catering for an elite foodie clientele. The details provided about meat producers and production methods on the menu of Alice Waters’ Californian restaurant Chez Panisse and her cookbooks (Waters), or the focus by Fergus Henderson on “nose to tail” eating at his London restaurant St. John (Henderson) has led many to cite them as among the originators of the ethical meat movement. But the increasing mediatisation of food and the emergence of chefs as celebrity brands with their own TV shows, cookbooks, YouTube channels, websites, sponsorship deals, and myriad other media appearances has allowed ethical meat to move out of elite restaurants and into more quotidian domestic spaces. High profile UK and US exposés including “campaigning culinary documentaries” fronted by celebrity chefs (Bell, Hollows, and Jones 179), along with the work of popular food writers such as Michael Pollan, have been instrumental in the mainstreaming of diverse new meat norms.The horrifying depictions of intensive chicken, beef, and pork farming in these exposés have contributed to greater public awareness of, and concern about, industrialised meat production. However, the poor welfare conditions of animals raised in battery cages and concentrated animal feeding operations often are presented not as motivations to eschew meat entirely, but instead as reasons to opt for more ethical alternatives. For instance, Hugh’s Chicken Run, Hugh Fearnley-Whittingstall’s 2008 television campaign for chicken welfare, resulted in making more free-range products available in British supermarkets (Johnston). More recently, there have been significant expansions in markets for variously defined categories such as grass-fed, free-range, organic, welfare-certified, humane, and/or environmentally friendly meat products in Australia and elsewhere, thanks in part to increased media attention to animal welfare issues (Arcari 169).As media has emerged as a “fundamental component of contemporary foodscapes, how they ‘perform’ and function, and the socio-material means by which they are produced” (Johnston and Goodman 205), ethical meat has increasingly been employed as a strategic resource in mainstream media and marketing. Ethical meat, for example, has been a key pillar in the contemporary rebranding of both of Australia’s major supermarkets (Lewis and Huber 289). Through partnerships that draw upon the “ethical capital” (290) of celebrity chefs including Jamie Oliver and Curtis Stone, and collaborations with animal welfare organisations such as the RSPCA, ethical meat has become central to supermarket advertising campaigns in recent years. Such campaigns have been especially successful for Coles supermarkets, which controls almost 30% of Australia’s highly concentrated grocery market (Roy Morgan). The retailer’s long-term sponsorship of MasterChef Australia (Network 10, 2009–)—a show that presents meat (or, as they term it, “protein”) as an essential component of most dishes and which regularly rates in the top 10 of Australian television programs (OzTAM)—further helps to emphasise that the solution to ethical problems is not to avoid meat, but to choose (Coles’) “better” meat (see fig. 1). This is promoted on the basis of a combination of ethics, price, and taste, and, remarkably, is able to deliver “better welfare at no extra cost to you” (Parker, Carey, and Scrinis 209). In short, chefs are making major contributions to awareness of ethical norms relating to meat consumption in a variety of settings. Figure 1: An example of a current meat product on the shelf at a major Australian retailer with packaging that makes a range of claims relating to production practices and quality, among other attributes. (Emily Buddle)“The Good Life”Lifestyle media has been a key site through which meat eating is normalised and recuperated into “ethical” frameworks (Arcari 169). Utopian visions of small-scale animal agriculture are a key feature of popular texts from the River Cottage Australia (Foxtel Networks, 2013–) series to Gourmet Farmer (SBS, 2010–) and Paddock to Plate (Foxtel Networks, 2013–). These programs are typically set in bucolic rural surrounds and centre on the host’s “escape” from the city to a more fulfilling, happier existence in the country (Phillipov, “Escaping”). Rural self-sufficiency is frequently framed as the solution to urban consumers’ alienation from the sources of their food, and a means of taking responsibility for the food they eat. The opening credits of Gourmet Farmer, for instance, outline host Matthew Evans’s quest to “know and trust what [he] eat[s]”, either by growing the food himself or being “no more than one degree of separation from the person who does”.This sense of connection to one’s food is central to how these programs make meat consumption ethical. Indeed, the production of animals for food reinforces particular notions of “the good life” in which the happiness of the animal is closely aligned with the happiness of its human producer. While texts sometimes show food animals’ full lifecycle from birth to slaughter, lifestyle media focuses mainly on their happy existence while still alive. Evans gives his pigs names that foreground their destiny as food (e.g., Prosciutto and Cassoulet), but he also pampers them as though they are pets, feeding them cherries and apples, and scratching them behind the ears much like he would his dog. These bucolic televisual images serve to anchor the programs’ many “spin-off” media texts, including blog posts, cookbooks (e.g. Evans), and endorsements, that instruct urban audiences who do not have the luxury of raising their own meat on how to source ethical alternatives. They also emphasise the deliciousness of meat raised and killed in humane, “natural” conditions, as opposed to those subjected to more intensive, industrialised production systems.Some argue that the notion of “ethical meat” merely masks the realities of humans’ domination over animals (Arcari). However the transition from “happy animals” to “happy meat” (Pilgrim 123) has been key to lifestyle media’s recuperation of (certain kinds of) meat production as a “humane, benevolent and wholly ‘natural’ process” (Parry 381), which helps to morally absolve the chefs who promote it, and by extension, their audiences.The Good DeathMeat consumption has been theorised to be based on the invisibility of the lives and deaths of animals—what has been termed the “absent referent” by feminist philosopher Carol J. Adams (14; see also Fiddes). This line of argument holds that slaughter and other practices that may raise moral concerns are actively hidden from view, and that animals are “made absent” within food consumption practices (Evans and Miele 298). Few meat consumers, at least those in Western countries, have seen animal slaughter first hand, and a disconnect between meat and animal is actively maintained through current retail practices (such as pre-packaged meat with few identifying cues), as well as in our language use, at least in English where most of the names of the meat are different to those of the animal (Plous; Croney) and where euphemisms such as “harvesting” abound (Abrams, Zimbres, and Carr). In many locales, including Australia, there is squeamishness about talking about slaughter and the processes by which “animal” becomes “meat” which in turn prevents open discussion about the origins of meat (Bray et al., “Conversation”).Campaigning culinary documentaries by chefs, including Matthew Evans’s recent For the Love of Meat (SBS, 2016), aim to reconnect animal and meat in order to critique modern meat production methods. In addition, Gourmet Farmer and River Cottage Australia both feature depictions of hunting (skinning and butchering of the animals is shown but viewers are rarely exposed to the kill itself) and emphasise the use of highly skilled hunters in order to bring about a quick death. By highlighting not only a good life but also what constitutes a “good death”, celebrity chefs and others are arguably generating discussion about what makes meat ethical by emphasizing that the quality of death is as important as the quality of life. In many of these programs, the emphasis is on more boutique or small-scale production systems which typically produce meat products that are higher priced and more difficult to source.Given that such products are likely out of reach for many potential consumers because of price point, convenience, or both, perhaps unsurprisingly the emphasis in many of these programs is on the consumer rather than the consumed. Hence these programs tend to be more about constructing an “ethical meat consumer”, defined implicitly as someone who acknowledges the meat/animal connection through conscious exposure to the realities of animal slaughter (for example, by watching a documentary), by “meeting your meat” such as in the BBC series Kill It, Cook It, Eat It (BBC, 2007; Evans and Miele), or by actively participating in the slaughter process as Evans did with his own chickens on Gourmet Farmer. As anthropologist Catie Gressier notes in her study of wild meat consumers in Australia, “hunting meat is seen as more noble than purchasing it, while wild meat is seen as preferable to farmed” (Gressier 58). Gressier also describes how one of her participants viewed hunting (and eating locally) as preferable to veganism because of the “animal violence that is the inevitable outcome of mass-crop agriculture” (58). However some scholars have argued that highly graphic depictions of slaughter in the popular media are becoming more commonplace as a masculinised type of “gastro-snuff” (a term referring to food-related visual depictions of brutal killings) (Parry 382). These types of efforts thus may fail to create dialogue about what constitutes ethical meat or even an ethical meat consumer, and may well reinforce more traditional ideas about human/non-human hierarchies.In contrast to coverage in popular media, detailed descriptions of commercial slaughter, in particular pre-slaughter (lairage) conditions, are yet to make it on to restaurant menus, despite the connections between meat quality and pre-slaughter conditions being well recognised even by consumers (Evans and Miele). Commercial slaughter conditions are one of the reasons that hunting is framed as more ethical than “ethically farmed” animals. As an Internet post, quoted in Adams (“Redneck” 50), puts it: “Hunting? A creature is peacefully in its own domain, it is shot. How is that worse than being carried for hours in a truck, being forced into a crush, hearing the bellows of other creatures, being physically restrained at the peak of terror, then culled?” Although determining precise rates of consumption of wild meat is methodologically difficult (Conservation Visions 28), available rates of hunting together with limited consumption data indicate that Australians currently eat less game or wild-caught meat per capita than those in Europe or North America. However, there is a sector of the community in Australia who pursue hunting as part of their ethical food habits (Bray et al., “Ferals”) with the largest proportion of wild-meat consumers being those who hunted it themselves (Gressier).In many cases, descriptions of animal lives (using descriptors such as “free range” or “grass fed”) serve implicitly as proxies for assurances that the animals’ deaths also have been good. One exception is the increasing awareness of the use of halal slaughter methods in part due to more transparent labelling, despite limited public awareness about the nature of these methods, particularly in the Australian context where they in fact comply with standard animal welfare requirements such as pre-slaughter stunning (Bergeauld-Blackler). Detailed descriptions of post-mortem conditions (e.g., aging conditions and time) are more common on restaurant menus, although arguably these no longer draw attention to the connections between the animal and the meat, and instead focus on the meat itself, its flavour and other physical qualities, rather than on ethical attributes.Thus, although it would seem obvious that ethical meat consumption should involve considerations about slaughter conditions or what makes a “good death”, most efforts have focused on encouraging people to make better and more reflexive consumer choices, rather than promoting deeper engagement with slaughter processes, perhaps underscoring that this domain may still represent one of the final food taboos. Although it might seem to be counterintuitive that wild or hunted meat could be viewed as an ethical food choice, particularly if vegetarianism or veganism is taken as the main point of comparison, these trends point toward the complexities inherent in food choice and the inevitable trade-offs in values that occur in these processes.Problems with Promoting Ethical Meat Norms: Ways ForwardIt is undeniable that many people are reflecting on their consumption habits in order to pursue decisions that better reflect their values. Attempting to be an “ethical meat consumer” clearly fits within these broader trends. However there are a number of problems associated with current approaches to ethical meat consumption, and these raise questions as to whether such efforts are likely to result in broader changes. First, it is not clear that restaurants are the most appropriate spaces for people to engage with ethical considerations, including those relating to meat consumption. Many people seek to try something new, or to treat themselves when dining out, but these behaviours do not necessarily translate into changes in everyday eating habits. Reasons are varied but include that people cannot reproduce the same types of dishes or concepts at home as what they get at restaurants (or see on TV shows for that matter), and that many products may be out of an acceptable price range or inconvenient for daily consumption. Others want to escape from ethical decisions when dining out by relying on those preparing the food to do the work for them, and thus sometimes simply consume without necessarily investigating every detail relating to its production, preparation, and so on.Perhaps more importantly, many are sceptical about the promotion of various meat-related values by high-profile or celebrity chefs, raising questions about whether ethical categories are merely packaging or window dressing designed to sell products, or if they are truly tied to deeper values and better products. Such concerns are reinforced by tendencies to emphasize one type of meat product—say free-range, grass-fed, or humanely-raised—as better than all others, or even as the only right choice, and thus can at times seem to be elitist in their approaches, since they emphasize that only certain (often extremely expensive boutique products) count as ethical. As scholars have noted about the classed nature of many of these consumption practices (see, for example, Bell and Hollows; Naccarato and LeBesco), these types of value judgments are likely to be alienating to many people, and most importantly will not foster deeper reflections on our consumption habits.However it is clear that celebrity and other high-profile chefs do get the public’s attention, and thus can play important roles in shaping conversations about fostering more ethical ways of eating, including meat consumption. We contend that it is important not to emphasize only one right way of eating, but to actively consider the various trade-offs that we make when choosing what to buy, prepare, and consume. Promoting answers by nominating certain meat products or production methods as always better in all circumstances, no matter how these might be in conflict with other values, such as preferences for local, organic, alignment with cultural or religious values, sustainable, fair trade, and so on, is not likely to result in meaningful public engagement. Critiques of Pollan and other food activists make similar points about the potential elitism and hence limited value of promoting narrow forms of ethical eating (e.g., Guthman et al.; Zimmerman).In addition, such food categories often serve as proxies for deeper values, but not necessarily for the same values for all of us. Simply relying on categories or types of products thus fails to allow engagement with the underlying rationale for various choices. More generally, promoting individual consumer decision-making and market demand as the keys to ethical consumption overlooks the broader systemic issues that limit our choices, and in turn limits attention to changes that might be made in that system (e.g., Lavin; Guthman et al.; DeLind; Ankeny).Thus instead of promoting one right way of eating meat, or a narrow number of acceptable choices, celebrities, chefs, and restauranteurs should consider how they can help to promote dialogue and the posing of the right types of questions to consumers and diners, including about trade-offs inherent in meat consumption and choices of other products, ethical and otherwise. They also should use their roles as change-makers to consider how they might influence the broader food system, but without promoting a single right way of eating. Parallel to recent calls from scientists for a new planetary health diet which promotes increased vegetable consumption and reduced meat consumption for environmental, health, and other reasons, by providing a range of trade-offs to support a diet that that allows individuals to make personalised choices (Willett et al.), hybrid approaches to ethical eating are more likely to have influence on consumers and in turn on changing eating habits.ReferencesAbrams, Katie M., Thais Zimbres, and Chad Carr. “Communicating Sensitive Scientific Issues: The Interplay between Values, Attitudes, and Euphemisms in Communicating Livestock Slaughter.” Science Communication 37 (2015): 485–505.Adams, Carol. The Sexual Politics of Meat: A Feminist Vegetarian Critical Theory. London: Continuum, 2000.Adams, Michael. “‘Redneck, Barbaric, Cashed Up Bogan? 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Cham: Palgrave Macmillan, 2017.Pilgrim, Karyn. “‘Happy Cows’, ‘Happy Beef’: A Critique of the Rationales for Ethical Meat.” Environmental Studies 3 (2013): 111–27.Plous, S.S. “Psychological Mechanisms in the Human Use of Animals.” Journal of Social Issues 49 (1993): 11–52.Pollan, Michael. The Omnivore’s Dilemma: A Natural History of Four Meals. London: Penguin, 2006.Redzepi, Rene. “Redzepi on Redzepi: The Noma Australia Exit Interview.” Gourmet Traveller 30 Mar. 2016. 20 Mar. 2019 <https://www.gourmettraveller.com.au/news/restaurant-news/redzepi-on-redzepi-the-noma-australia-exit-interview-3702>.Roy Morgan. “Woolworths Increases Lead in $100b+ Grocery War.” Roy Morgan 23 Mar. 2018. 20 Mar. 2019 <http://www.roymorgan.com/findings/7537-woolworths-increases-lead-in-$100b-plus-grocery-war-201803230113>.Waters, Alice. The Chez Panisse Menu Cookbook. London: Chatto and Windus / The Hogarth Press, 1982.———. “The Farm-Restaurant Connection.” A Slice of Life: Contemporary Writers on Food. Ed. Bonnie Marranca. Woodstock: Overlook Duckworth, 2003. 328–36.Willett, Walter, et al. “Food in the Anthropocene: The EAT–Lancet Commission on Healthy Diets from Sustainable Food Systems.” The Lancet 393 (2019): 447–92.Zimmerman, Heidi. “Caring for the Middle Class Soul: Ambivalence, Ethical Eating and the Michael Pollan Phenomenon.” Food, Culture and Society 18 (2013): 31–50.

Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each sharing “common aesthetic values and standards of tastes” (8). However, this article is not concerned with these categorisations, or macro analysis. Rather, it is a reflection piece that inquires if opera, which is usually considered high culture, has become more equal to popular culture, and why some directors change the time and place of opera plots, whereas others will stay true to the original setting of the story. I do not consider these productions “adaptations,” but “post-modern morphologies,” and I will refer to this later in the paper. In other words, the paper is seeking to explain a social phenomenon and explore the underlying motives by quoting interviews with directors. The word ‘opera’ is defined in Elson’s Music Dictionary as: “a form of musical composition evolved shortly before 1600, by some enthusiastic Florentine amateurs who sought to bring back the Greek plays to the modern stage” (189). Hence, it was an experimentation to revive Greek music and drama believed to be the ideal way to express emotions (Grout 186). It is difficult to pinpoint the exact moment when stage directors started changing the time and place of the original settings of operas. The practice became more common after World War II, and Peter Brook’s Covent Garden productions of Boris Godunov (1948) and Salome (1949) are considered the prototypes of this practice (Sutcliffe 19-20). Richard Wagner’s grandsons, the brothers Wieland and Wolfgang Wagner are cited in the music literature as using technology and modern innovations in staging and design beginning in the early 1950s. Brief Background into the History of Opera Grout contends that opera began as an attempt to heighten the dramatic expression of language by intensifying the natural accents of speech through melody supported by simple harmony. In the late 1590s, the Italian composer Jacopo Peri wrote what is considered to be the first opera, but most of it has been lost. The first surviving complete opera is Euridice, a version of the Orpheus myth that Peri and Giulio Caccini jointly set to music in 1600. The first composer to understand the possibilities inherent in this new musical form was Claudio Monteverdi, who in 1607 wrote Orfeo. Although it was based on the same story as Euridice, it was expanded to a full five acts. Early opera was meant for small, private audiences, usually at court; hence it began as an elitist genre. After thirty years of being private, in 1637, opera went public with the opening of the first public opera house, Teatro di San Cassiano, in Venice, and the genre quickly became popular. Indeed, Monteverdi wrote his last two operas, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea for the Venetian public, thereby leading the transition from the Italian courts to the ‘public’. Both operas are still performed today. Poppea was the first opera to be based on a historical rather than a mythological or allegorical subject. Sutcliffe argues that opera became popular because it was a new mixture of means: new words, new music, new methods of performance. He states, “operatic fashion through history may be a desire for novelty, new formulas displacing old” (65). By the end of the 17th century, Venice alone had ten opera houses that had produced more than 350 operas. Wealthy families purchased season boxes, but inexpensive tickets made the genre available to persons of lesser means. The genre spread quickly, and various styles of opera developed. In Naples, for example, music rather than the libretto dominated opera. The genre spread to Germany and France, each developing the genre to suit the demands of its audiences. For example, ballet became an essential component of French opera. Eventually, “opera became the profligate art as large casts and lavish settings made it the most expensive public entertainment. It was the only art that without embarrassment called itself ‘grand’” (Boorstin 467). Contemporary Opera Productions Opera continues to be popular. According to a 2002 report released by the National Endowment for the Arts, 6.6 million adults attended at least one live opera performance in 2002, and 37.6 million experienced opera on television, video, radio, audio recording or via the Internet. Some think that it is a dying art form, while others think to the contrary, that it is a living art form because of its complexity and “ability to probe deeper into the human experience than any other art form” (Berger 3). Some directors change the setting of operas with perhaps the most famous contemporary proponent of this approach being Peter Sellars, who made drastic changes to three of Mozart’s most famous operas. Le Nozze di Figaro, originally set in 18th-century Seville, was set by Sellars in a luxury apartment in the Trump Tower in New York City; Sellars set Don Giovanni in contemporary Spanish Harlem rather than 17th century Seville; and for Cosi Fan Tutte, Sellars chose a diner on Cape Cod rather than 18th century Naples. As one of the more than six million Americans who attend live opera each year, I have experienced several updated productions, which made me reflect on the convergence or cross-over between high culture and popular culture. In 2000, I attended a production of Don Giovanni at the Estates Theatre in Prague, the very theatre where Mozart conducted the world premiere in 1787. In this production, Don Giovanni was a fashion designer known as “Don G” and drove a BMW. During the 1999-2000 season, Los Angeles Opera engaged film director Bruce Beresford to direct Verdi’s Rigoletto. Beresford updated the original setting of 16th century Mantua to 20th century Hollywood. The lead tenor, rather than being the Duke of Mantua, was a Hollywood agent known as “Duke Mantua.” In the first act, just before Marullo announces to the Duke’s guests that the jester Rigoletto has taken a mistress, he gets the news via his cell phone. Director Ian Judge set the 2004 production of Le Nozze di Figaro in the 1950s. In one of the opening productions of the 2006-07 LA opera season, Vincent Patterson also chose the 1950s for Massenet’s Manon rather than France in the 1720s. This allowed the title character to appear in the fourth act dressed as Marilyn Monroe. Excerpts from the dress rehearsal can be seen on YouTube. Most recently, I attended a production of Ariane et Barbe-Bleu at the Paris Opera. The original setting of the Maeterlinck play is in Duke Bluebeard’s castle, but the time period is unclear. However, it is doubtful that the 1907 opera based on an 1899 play was meant to be set in what appeared to be a mental institution equipped with surveillance cameras whose screens were visible to the audience. The critical and audience consensus seemed to be that the opera was a musical success but a failure as a production. James Shore summed up the audience reaction: “the production team was vociferously booed and jeered by much of the house, and the enthusiastic applause that had greeted the singers and conductor, immediately went nearly silent when they came on stage”. It seems to me that a new class-related taste has emerged; the opera genre has shot out a subdivision which I shall call “post-modern morphologies,” that may appeal to a larger pool of people. Hence, class, age, gender, and race are becoming more important factors in conceptualising opera productions today than in the past. I do not consider these productions as new adaptations because the libretto and the music are originals. What changes is the fact that both text and sound are taken to a higher dimension by adding iconographic images that stimulate people’s brains. When asked in an interview why he often changes the setting of an opera, Ian Judge commented, “I try to find the best world for the story and characters to operate in, and I think you have to find a balance between the period the author set it in, the period he conceived it in and the nature of theatre and audiences at that time, and the world we live in.” Hence, the world today is complex, interconnected, borderless and timeless because of advanced technologies, and updated opera productions play with symbols that offer multiple meanings that reflect the world we live in. It may be that television and film have influenced opera production. Character tenor Graham Clark recently observed in an interview, “Now the situation has changed enormously. Television and film have made a lot of things totally accessible which they were not before and in an entirely different perception.” Director Ian Judge believes that television and film have affected audience expectations in opera. “I think audiences who are brought up on television, which is bad acting, and movies, which is not that good acting, perhaps require more of opera than stand and deliver, and I have never really been happy with someone who just stands and sings.” Sociologist Wendy Griswold states that culture reflects social reality and the meaning of a particular cultural object (such as opera), originates “in the social structures and social patterns it reflects” (22). Screens of various technologies are embedded in our lives and normalised as extensions of our bodies. In those opera productions in which directors change the time and place of opera plots, use technology, and are less concerned with what the composer or librettist intended (which we can only guess), the iconographic images create multi valances, textuality similar to Mikhail Bakhtin’s notion of multiplicity of voices. Hence, a plurality of meanings. Plàcido Domingo, the Eli and Edyth Broad General Director of Los Angeles Opera, seeks to take advantage of the company’s proximity to the film industry. This is evidenced by his having engaged Bruce Beresford to direct Rigoletto and William Friedkin to direct Ariadne auf Naxos, Duke Bluebeard’s Castle and Gianni Schicchi. Perhaps the most daring example of Domingo’s approach was convincing Garry Marshall, creator of the television sitcom Happy Days and who directed the films Pretty Woman and The Princess Diaries, to direct Jacques Offenbach’s The Grand Duchess of Gerolstein to open the company’s 20th anniversary season. When asked how Domingo convinced him to direct an opera for the first time, Marshall responded, “he was insistent that one, people think that opera is pretty elitist, and he knew without insulting me that I was not one of the elitists; two, he said that you gotta make a funny opera; we need more comedy in the operetta and opera world.” Marshall rewrote most of the dialogue and performed it in English, but left the “songs” untouched and in the original French. He also developed numerous sight gags and added characters including a dog named Morrie and the composer Jacques Offenbach himself. Did it work? Christie Grimstad wrote, “if you want an evening filled with witty music, kaleidoscopic colors and hilariously good singing, seek out The Grand Duchess. You will not be disappointed.” The FanFaire Website commented on Domingo’s approach of using television and film directors to direct opera: You’ve got to hand it to Plàcido Domingo for having the vision to draw on Hollywood’s vast pool of directorial talent. Certainly something can be gained from the cross-fertilization that could ensue from this sort of interaction between opera and the movies, two forms of entertainment (elitist and perennially struggling for funds vs. popular and, it seems, eternally rich) that in Los Angeles have traditionally lived separate lives on opposite sides of the tracks. A wider audience, for example, never a problem for the movies, can only mean good news for the future of opera. So, did the Marshall Plan work? Purists of course will always want their operas and operettas ‘pure and unadulterated’. But with an audience that seemed to have as much fun as the stellar cast on stage, it sure did. Critic Alan Rich disagrees, calling Marshall “a representative from an alien industry taking on an artistic product, not to create something innovative and interesting, but merely to insult.” Nevertheless, the combination of Hollywood and opera seems to work. The Los Angeles Opera reported that the 2005-2006 season was its best ever: “ticket revenues from the season, which ended in June, exceeded projected figures by nearly US$900,000. Seasonal attendance at the Dorothy Chandler Pavilion stood at more than 86% of the house’s capacity, the largest percentage in the opera’s history.” Domingo continues with the Hollywood connection in the upcoming 2008-2009 season. He has reengaged William Friedkin to direct two of Puccini’s three operas titled collectively as Il Trittico. Friedkin will direct the two tragedies, Il Tabarro and Suor Angelica. Although Friedkin has already directed a production of the third opera in Il Trittico for Los Angeles, the comedy Gianni Schicchi, Domingo convinced Woody Allen to make his operatic directorial debut with this work. This can be viewed as another example of the desire to make opera and popular culture more equal. However, some, like Alan Rich, may see this attempt as merely insulting rather than interesting and innovative. With a top ticket price in Los Angeles of US$238 per seat, opera seems to continue to be elitist. Berger (2005) concurs with this idea and gives his rationale for elitism: there are rich people who support and attend the opera; it is an imported art from Europe that causes some marginalisation; opera is not associated with something being ‘moral,’ a concept engrained in American culture; it is expensive to produce and usually funded by kings, corporations, rich people; and the opera singers are rare –usually one in a million who will have the vocal quality to sing opera arias. Furthermore, Nicholas Kenyon commented in the early 1990s: “there is suspicion that audiences are now paying more and more money for their seats to see more and more money spent on stage” (Kenyon 3). Still, Garry Marshall commented that the budget for The Grand Duchess was US$2 million, while his budget for Runaway Bride was US$72 million. Kenyon warns, “Such popularity for opera may be illusory. The enjoyment of one striking aria does not guarantee the survival of an art form long regarded as over-elitist, over-recondite, and over-priced” (Kenyon 3). A recent development is the Metropolitan Opera’s decision to simulcast live opera performances from the Met stage to various cinemas around the world. These HD transmissions began with the 2006-2007 season when six performances were broadcast. In the 2007-2008 season, the schedule has expanded to eight live Saturday matinee broadcasts plus eight recorded encores broadcast the following day. According to The Los Angeles Times, “the Met’s experiment of merging film with live performance has created a new art form” (Aslup). Whether or not this is a “new art form,” it certainly makes world-class live opera available to countless persons who cannot travel to New York and pay the price for tickets, when they are available. In the US alone, more than 350 cinemas screen these live HD broadcasts from the Met. Top ticket price for these performances at the Met is US$375, while the lowest price is US$27 for seats with only a partial view. Top price for the HD transmissions in participating cinemas is US$22. This experiment with live simulcasts makes opera more affordable and may increase its popularity; combined with updated stagings, opera can engage a much larger audience and hope for even a mass consumption. Is opera moving closer and closer to popular culture? There still seems to be an aura of elitism and snobbery about opera. However, Plàcido Domingo’s attempt to join opera with Hollywood is meant to break the barriers between high and popular culture. The practice of updating opera settings is not confined to Los Angeles. As mentioned earlier, the idea can be traced to post World War II England, and is quite common in Europe. Examples include Erich Wonder’s approach to Wagner’s Ring, making Valhalla, the mythological home of the gods and typically a mountaintop, into the spaceship Valhalla, as well as my own experience with Don Giovanni in Prague and Ariane et Barbe-Bleu in Paris. Indeed, Sutcliffe maintains, “Great classics in all branches of the arts are repeatedly being repackaged for a consumerist world that is increasingly and neurotically self-obsessed” (61). Although new operas are being written and performed, most contemporary performances are of operas by Verdi, Mozart, and Puccini (www.operabase.com). This means that audiences see the same works repeated many times, but in different interpretations. Perhaps this is why Sutcliffe contends, “since the 1970s it is the actual productions that have had the novelty value grabbed by the headlines. Singing no longer predominates” (Sutcliffe 57). If then, as Sutcliffe argues, “operatic fashion through history may be a desire for novelty, new formulas displacing old” (Sutcliffe 65), then the contemporary practice of changing the original settings is simply the latest “new formula” that is replacing the old ones. If there are no new words or new music, then what remains are new methods of performance, hence the practice of changing time and place. Opera is a complex art form that has evolved over the past 400 years and continues to evolve, but will it survive? The underlining motives for directors changing the time and place of opera performances are at least three: for aesthetic/artistic purposes, financial purposes, and to reach an audience from many cultures, who speak different languages, and who have varied tastes. These three reasons are interrelated. In 1996, Sutcliffe wrote that there has been one constant in all the arguments about opera productions during the preceding two decades: “the producer’s wish to relate the works being staged to contemporary circumstances and passions.” Although that sounds like a purely aesthetic reason, making opera relevant to new, multicultural audiences and thereby increasing the bottom line seems very much a part of that aesthetic. It is as true today as it was when Sutcliffe made the observation twelve years ago (60-61). My own speculation is that opera needs to attract various audiences, and it can only do so by appealing to popular culture and engaging new forms of media and technology. Erickson concludes that the number of upper status people who are exclusively faithful to fine arts is declining; high status people consume a variety of culture while the lower status people are limited to what they like. Research in North America, Europe, and Australia, states Erickson, attest to these trends. My answer to the question can stage directors make opera and popular culture “equal” is yes, and they can do it successfully. Perhaps Stanley Sharpless summed it up best: After his Eden triumph, When the Devil played his ace, He wondered what he could do next To irk the human race, So he invented Opera, With many a fiendish grin, To mystify the lowbrows, And take the highbrows in. References The Grand Duchess. 2005. 3 Feb. 2008 < http://www.ffaire.com/Duchess/index.htm >.Aslup, Glenn. “Puccini’s La Boheme: A Live HD Broadcast from the Met.” Central City Blog Opera 7 Apr. 2008. 24 Apr. 2008 < http://www.centralcityopera.org/blog/2008/04/07/puccini%E2%80%99s- la-boheme-a-live-hd-broadcast-from-the-met/ >.Berger, William. Puccini without Excuses. New York: Vintage, 2005.Boorstin, Daniel. The Creators: A History of Heroes of the Imagination. New York: Random House, 1992.Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Cambridge: Harvard UP, 1984.Clark, Graham. “Interview with Graham Clark.” The KCSN Opera House, 88.5 FM. 11 Aug. 2006.DiMaggio, Paul. “Cultural Capital and School Success.” American Sociological Review 47 (1982): 189-201.DiMaggio, Paul. “Classification in Art.”_ American Sociological Review_ 52 (1987): 440-55.Elson, C. Louis. “Opera.” Elson’s Music Dictionary. Boston: Oliver Ditson, 1905.Erickson, H. Bonnie. “The Crisis in Culture and Inequality.” In W. Ivey and S. J. Tepper, eds. Engaging Art: The Next Great Transformation of America’s Cultural Life. New York: Routledge, 2007.Fanfaire.com. “At Its 20th Anniversary Celebration, the Los Angeles Opera Had a Ball with The Grand Duchess.” 24 Apr. 2008 < http://www.fanfaire.com/Duchess/index.htm >.Gans, J. Herbert. Popular Culture and High Culture: An Analysis and Evaluation of Taste. New York: Basic Books, 1977.Grimstad, Christie. Concerto Net.com. 2005. 12 Jan. 2008 < http://www.concertonet.com/scripts/review.php?ID_review=3091 >.Grisworld, Wendy. Cultures and Societies in a Changing World. Thousand Oaks, CA: Pine Forge Press, 1994.Grout, D. Jay. A History of Western Music. Shorter ed. New York: W.W. Norton & Company, Inc, 1964.Halle, David. “High and Low Culture.” The Blackwell Encyclopedia of Sociology. London: Blackwell, 2006.Judge, Ian. “Interview with Ian Judge.” The KCSN Opera House, 88.5 FM. 22 Mar. 2006.Harper, Douglas. Online Etymology Dictionary. 2001. 19 Nov. 2006 < http://www.etymonline.com/index.php?search=opera&searchmode=none >.Kenyon, Nicholas. “Introduction.” In A. Holden, N. Kenyon and S. Walsh, eds. The Viking Opera Guide. New York: Penguin, 1993.Lamont, Michele, and Marcel Fournier. Cultivating Differences: Symbolic Boundaries and the Making of Inequality. Chicago: U of Chicago P, 1992.Lord, M.G. “Shlemiel! Shlemozzle! And Cue the Soprano.” The New York Times 4 Sep. 2005.Los Angeles Opera. “LA Opera General Director Placido Domingo Announces Results of Record-Breaking 20th Anniversary Season.” News release. 2006.Marshall, Garry. “Interview with Garry Marshall.” The KCSN Opera House, 88.5 FM. 31 Aug. 2005.National Endowment for the Arts. 2002 Survey of Public Participation in the Arts. Research Division Report #45. 5 Feb. 2008 < http://www.nea.gov/pub/NEASurvey2004.pdf >.NCM Fanthom. “The Metropolitan Opera HD Live.” 2 Feb. 2008 < http://fathomevents.com/details.aspx?seriesid=622&gclid= CLa59NGuspECFQU6awodjiOafA >.Opera Today. James Sobre: Ariane et Barbe-Bleue and Capriccio in Paris – Name This Stage Piece If You Can. 5 Feb. 2008 < http://www.operatoday.com/content/2007/09/ariane_et_barbe_1.php >.Rich, Alan. “High Notes, and Low.” LA Weekly 15 Sep. 2005. 6 May 2008 < http://www.laweekly.com/stage/a-lot-of-night-music/high-notes-and-low/8160/ >.Sharpless, Stanley. “A Song against Opera.” In E. O. Parrott, ed. How to Be Tremendously Tuned in to Opera. New York: Penguin, 1990.Shore, James. Opera Today. 2007. 4 Feb. 2008 < http://www.operatoday.com/content/2007/09/ariane_et_barbe_1.php >.Sutcliffe, Tom. Believing in Opera. Princeton, New Jersey: Princeton UP, 1996.YouTube. “Manon Sex and the Opera.” 24 Apr. 2008 < http://www.youtube.com/watch?v=YiBQhr2Sy0k >.

IntroductionSupermarkets are functionally challenging environments for people with vision impairments. A supermarket is likely to house an average of 45,000 products in a median floor-space of 4,529 square meters and many visually impaired people are unable to shop without assistance, which greatly impedes personal independence (Nicholson et al.). The task of selecting goods in a supermarket is an “activity that is expressive of agency, identity and creativity” (Sutherland) from which many vision-impaired persons are excluded. In response to this, a number of proof of concept (demonstrating feasibility) and prototype assistive technologies are being developed which aim to use smart phones as potential sensorial aides for vision impaired persons. In this paper, I discuss two such prototypic technologies, Shop Talk and BlindShopping. I engage with this issue’s list theme by suggesting that, on the one hand, list making is a uniquely human activity that demonstrates our need for order, reliance on memory, reveals our idiosyncrasies, and provides insights into our private lives (Keaggy 12). On the other hand, lists feature in the creation of spatial inventories that represent physical environments (Perec 3-4, 9-10). The use of lists in the architecture of assistive technologies for shopping illuminates the interaction between these two modalities of list use where items contained in a list are not only textual but also cartographic elements that link the material and immaterial in space and time (Haber 63). I argue that despite the emancipatory potential of assistive shopping technologies, their efficacy in practical situations is highly dependent on the extent to which they can integrate a number of lists to produce representations of space that are meaningful for vision impaired users. I suggest that the extent to which these prototypes may translate to becoming commercially viable, widely adopted technologies is heavily reliant upon commercial and institutional infrastructures, data sources, and regulation. Thus, their design, manufacture and adoption-potential are shaped by the extent to which certain data inventories are accessible and made interoperable. To overcome such constraints, it is important to better understand the “spatial syntax” associated with the shopping task for a vision impaired person; that is, the connected ordering of real and virtual spatial elements that result in a supermarket as a knowable space within which an assisted “spatial practice” of shopping can occur (Kellerman 148, Lefebvre 16).In what follows, I use the concept of lists to discuss the production of supermarket-space in relation to the enabling and disabling potentials of assistive technologies. First, I discuss mobile digital technologies relative to disability and impairment and describe how the shopping task produces a disabling spatial practice. Second, I present a case study showing how assistive technologies function in aiding vision impaired users in completing the task of supermarket shopping. Third, I discuss various factors that may inhibit the liberating potential of technology assisted shopping by vision-impaired people. Addressing Shopping as a Disabling Spatial Practice Consider how a shopping list might inform one’s experience of supermarket space. The way shopping lists are written demonstrate the variability in the logic that governs list writing. As Bill Keaggy demonstrates in his found shopping list Web project and subsequent book, Milk, Eggs, Vodka, a shopping list may be written on a variety of materials, be arranged in a number of orientations, and the writer may use differing textual attributes, such as size or underlining to show emphasis. The writer may use longhand, abbreviate, write neatly, scribble, and use an array of alternate spelling and naming conventions. For example, items may be listed based on knowledge of the location of products, they may be arranged on a list as a result of an inventory of a pantry or fridge, or they may be copied in the order they appear in a recipe. Whilst shopping, some may follow strictly the order of their list, crossing back and forth between aisles. Some may work through their list item-by-item, perhaps forward scanning to achieve greater economies of time and space. As a person shops, their memory may be stimulated by visual cues reminding them of products they need that may not be included on their list. For the vision impaired, this task is near impossible to complete without the assistance of a relative, friend, agency volunteer, or store employee. Such forms of assistance are often unsatisfactory, as delays may be caused due to the unavailability of an assistant, or the assistant having limited literacy, knowledge, or patience to adequately meet the shopper’s needs. Home delivery services, though readily available, impede personal independence (Nicholson et al.). Katie Ellis and Mike Kent argue that “an impairment becomes a disability due to the impact of prevailing ableist social structures” (3). It can be said, then, that supermarkets function as a disability producing space for the vision impaired shopper. For the vision impaired, a supermarket is a “hegemonic modern visual infrastructure” where, for example, merchandisers may reposition items regularly to induce customers to explore areas of the shop that they wouldn’t usually, a move which adds to the difficulty faced by those customers with impaired vision who work on the assumption that items remain as they usually are (Schillmeier 161).In addressing this issue, much emphasis has been placed on the potential of mobile communications technologies in affording vision impaired users greater mobility and flexibility (Jolley 27). However, as Gerard Goggin argues, the adoption of mobile communication technologies has not necessarily “gone hand in hand with new personal and collective possibilities” given the limited access to standard features, even if the device is text-to-speech enabled (98). Issues with Digital Rights Management (DRM) limit the way a device accesses and reproduces information, and confusion over whether audio rights are needed to convert text-to-speech, impede the accessibility of mobile communications technologies for vision impaired users (Ellis and Kent 136). Accessibility and functionality issues like these arise out of the needs, desires, and expectations of the visually impaired as a user group being considered as an afterthought as opposed to a significant factor in the early phases of design and prototyping (Goggin 89). Thus, the development of assistive technologies for the vision impaired has been left to third parties who must adopt their solutions to fit within certain technical parameters. It is valuable to consider what is involved in the task of shopping in order to appreciate the considerations that must be made in the design of shopping intended assistive technologies. Shopping generally consists of five sub-tasks: travelling to the store; finding items in-store; paying for and bagging items at the register; exiting the store and getting home; and, the often overlooked task of putting items away once at home. In this process supermarkets exhibit a “trichotomous spatial ontology” consisting of locomotor space that a shopper moves around the store, haptic space in the immediate vicinity of the shopper, and search space where individual products are located (Nicholson et al.). In completing these tasks, a shopper will constantly be moving through and switching between all three of these spaces. In the next section I examine how assistive technologies function in producing supermarkets as both enabling and disabling spaces for the vision impaired. Assistive Technologies for Vision Impaired ShoppersJason Farman (43) and Adriana de Douza e Silva both argue that in many ways spaces have always acted as information interfaces where data of all types can reside. Global Positioning System (GPS), Radio Frequency Identification (RFID), and Quick Response (QR) codes all allow for practically every spatial encounter to be an encounter with information. Site-specific and location-aware technologies address the desire for meaningful representations of space for use in everyday situations by the vision impaired. Further, the possibility of an “always-on” connection to spatial information via a mobile phone with WiFi or 3G connections transforms spatial experience by “enfolding remote [and latent] contexts inside the present context” (de Souza e Silva). A range of GPS navigation systems adapted for vision-impaired users are currently on the market. Typically, these systems convert GPS information into text-to-speech instructions and are either standalone devices, such as the Trekker Breeze, or they use the compass, accelerometer, and 3G or WiFi functions found on most smart phones, such as Loadstone. Whilst both these products are adequate in guiding a vision-impaired user from their home to a supermarket, there are significant differences in their interfaces and data architectures. Trekker Breeze is a standalone hardware device that produces talking menus, maps, and GPS information. While its navigation functionality relies on a worldwide radio-navigation system that uses a constellation of 24 satellites to triangulate one’s position (May and LaPierre 263-64), its map and text-to-speech functionality relies on data on a DVD provided with the unit. Loadstone is an open source software system for Nokia devices that has been developed within the vision-impaired community. Loadstone is built on GNU General Public License (GPL) software and is developed from private and user based funding; this overcomes the issue of Trekker Breeze’s reliance on trading policies and pricing models of the few global vendors of satellite navigation data. Both products have significant shortcomings if viewed in the broader context of the five sub-tasks involved in shopping described above. Trekker Breeze and Loadstone require that additional devices be connected to it. In the case of Trekker Breeze it is a tactile keypad, and with Loadstone it is an aftermarket screen reader. To function optimally, Trekker Breeze requires that routes be pre-recorded and, according to a review conducted by the American Foundation for the Blind, it requires a 30-minute warm up time to properly orient itself. Both Trekker Breeze and Loadstone allow users to create and share Points of Interest (POI) databases showing the location of various places along a given route. Non-standard or duplicated user generated content in POI databases may, however, have a negative effect on usability (Ellis and Kent 2). Furthermore, GPS-based navigation systems are accurate to approximately ten metres, which means that users must rely on their own mobility skills when they are required to change direction or stop for traffic. This issue with GPS accuracy is more pronounced when a vision-impaired user is approaching a supermarket where they are likely to encounter environmental hazards with greater frequency and both pedestrian and vehicular traffic in greater density. Here the relations between space defined and spaces poorly defined or undefined by the GPS device interact to produce the supermarket surrounds as a disabling space (Galloway). Prototype Systems for Supermarket Navigation and Product SelectionIn the discussion to follow, I look at two prototype systems using QR codes and RFID that are designed to be used in-store by vision-impaired shoppers. Shop Talk is a proof of concept system developed by researchers at Utah State University that uses synthetic verbal route directions to assist vision impaired shoppers with supermarket navigation, product search, and selection (Nicholson et al.). Its hardware consists of a portable computational unit, a numeric keypad, a wireless barcode scanner and base station, headphones for the user to receive the synthetic speech instructions, a USB hub to connect all the components, and a backpack to carry them (with the exception of the barcode scanner) which has been slightly modified with a plastic stabiliser to assist in correct positioning. Shop Talk represents the supermarket environment using two data structures. The first is comprised of two elements: a topological map of locomotor space that allows for directional labels of “left,” “right,” and “forward,” to be added to the supermarket floor plan; and, for navigation of haptic space, the supermarket inventory management system, which is used to create verbal descriptions of product information. The second data structure is a Barcode Connectivity Matrix (BCM), which associates each shelf barcode with several pieces of information such as aisle, aisle side, section, shelf, position, Universal Product Code (UPC) barcode, product description, and price. Nicholson et al. suggest that one of their “most immediate objectives for future work is to migrate the system to a more conventional mobile platform” such as a smart phone (see Mobile Shopping). The Personalisable Interactions with Resources on AMI-Enabled Mobile Dynamic Environments (PRIAmIDE) research group at the University of Deusto is also approaching Ambient Assisted Living (AAL) by exploring the smart phone’s sensing, communication, computing, and storage potential. As part of their work, the prototype system, BlindShopping, was developed to address the issue of assisted shopping using entirely off-the-shelf technology with minimal environmental adjustments to navigate the store and search, browse and select products (López-de-Ipiña et al. 34). Blind Shopping’s architecture is based on three components. Firstly, a navigation system provides the user with synthetic verbal instructions to users via headphones connected to the smart phone device being used in order to guide them around the store. This requires a RFID reader to be attached to the tip of the user’s white cane and road-marking-like RFID tag lines to be distributed throughout the aisles. A smartphone application processes the RFID data that is received by the smart phone via Bluetooth generating the verbal navigation commands as a result. Products are recognised by pointing a QR code reader enabled smart phone at an embossed code located on a shelf. The system is managed by a Rich Internet Application (RIA) interface, which operates by Web browser, and is used to register the RFID tags situated in the aisles and the QR codes located on shelves (López-de-Ipiña and 37-38). A typical use-scenario for Blind Shopping involves a user activating the system by tracing an “L” on the screen or issuing the “Location” voice command, which activates the supermarket navigation system which then asks the user to either touch an RFID floor marking with their cane or scan a QR code on a nearby shelf to orient the system. The application then asks the user to dictate the product or category of product that they wish to locate. The smart phone maintains a continuous Bluetooth connection with the RFID reader to keep track of user location at all times. By drawing a “P” or issuing the “Product” voice command, a user can switch the device into product recognition mode where the smart phone camera is pointed at an embossed QR code on a shelf to retrieve information about a product such as manufacturer, name, weight, and price, via synthetic speech (López-de-Ipiña et al. 38-39). Despite both systems aiming to operate with as little environmental adjustment as possible, as well as minimise the extent to which a supermarket would need to allocate infrastructural, administrative, and human resources to implementing assistive technologies for vision impaired shoppers, there will undoubtedly be significant establishment and maintenance costs associated with the adoption of production versions of systems resembling either prototype described in this paper. As both systems rely on data obtained from a server by invoking Web services, supermarkets would need to provide in-store WiFi. Further, both systems’ dependence on store inventory data would mean that commercial versions of either of these systems are likely to be supermarket specific or exclusive given that there will be policies in place that forbid access to inventory systems, which contain pricing information to third parties. Secondly, an assumption in the design of both prototypes is that the shopping task ends with the user arriving at home; this overlooks the important task of being able to recognise products in order to put them away or to use at a later time.The BCM and QR product recognition components of both respective prototypic systems associates information to products in order to assist users in the product search and selection sub-tasks. However, information such as use-by dates, discount offers, country of manufacture, country of manufacturer’s origin, nutritional information, and the labelling of products as Halal, Kosher, containing alcohol, nuts, gluten, lactose, phenylalanine, and so on, create further challenges in how different data sources are managed within the devices’ software architecture. The reliance of both systems on existing smartphone technology is also problematic. Changes in the production and uptake of mobile communication devices, and the software that they operate on, occurs rapidly. Once the fit-out of a retail space with the necessary instrumentation in order to accommodate a particular system has occurred, this system is unlikely to be able to cater to the requirement for frequent upgrades, as built environments are less flexible in the upgrading of their technological infrastructure (Kellerman 148). This sets up a scenario where the supermarket may persist as a disabling space due to a gap between the functional capacities of applications designed for mobile communication devices and the environments in which they are to be used. Lists and Disabling Spatial PracticeThe development and provision of access to assistive technologies and the data they rely upon is a commercial issue (Ellis and Kent 7). The use of assistive technologies in supermarket-spaces that rely on the inter-functional coordination of multiple inventories may have the unintended effect of excluding people with disabilities from access to legitimate content (Ellis and Kent 7). With de Certeau, we can ask of supermarket-space “What spatial practices correspond, in the area where discipline is manipulated, to these apparatuses that produce a disciplinary space?" (96).In designing assistive technologies, such as those discussed in this paper, developers must strive to achieve integration across multiple data inventories. Software architectures must be optimised to overcome issues relating to intellectual property, cross platform access, standardisation, fidelity, potential duplication, and mass-storage. This need for “cross sectioning,” however, “merely adds to the muddle” (Lefebvre 8). This is a predicament that only intensifies as space and objects in space become increasingly “representable” (Galloway), and as the impetus for the project of spatial politics for the vision impaired moves beyond representation to centre on access and meaning-making.ConclusionSupermarkets act as sites of hegemony, resistance, difference, and transformation, where the vision impaired and their allies resist the “repressive socialization of impaired bodies” through their own social movements relating to environmental accessibility and the technology assisted spatial practice of shopping (Gleeson 129). It is undeniable that the prototype technologies described in this paper, and those like it, indeed do have a great deal of emancipatory potential. However, it should be understood that these devices produce representations of supermarket-space as a simulation within a framework that attempts to mimic the real, and these representations are pre-determined by the industrial, technological, and regulatory forces that govern their production (Lefebvre 8). Thus, the potential of assistive technologies is dependent upon a range of constraints relating to data accessibility, and the interaction of various kinds of lists across the geographic area that surrounds the supermarket, locomotor, haptic, and search spaces of the supermarket, the home-space, and the internal spaces of a shopper’s imaginary. These interactions are important in contributing to the reproduction of disability in supermarkets through the use of assistive shopping technologies. The ways by which people make and read shopping lists complicate the relations between supermarket-space as location data and product inventories versus that which is intuited and experienced by a shopper (Sutherland). Not only should we be creating inventories of supermarket locomotor, haptic, and search spaces, the attention of developers working in this area of assistive technologies should look beyond the challenges of spatial representation and move towards a focus on issues of interoperability and expanded access of spatial inventory databases and data within and beyond supermarket-space.ReferencesDe Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1984. Print.De Souza e Silva, A. “From Cyber to Hybrid: Mobile Technologies As Interfaces of Hybrid Spaces.” Space and Culture 9.3 (2006): 261-78.Ellis, Katie, and Mike Kent. Disability and New Media. New York: Routledge, 2011.Farman, Jason. Mobile Interface Theory: Embodied Space and Locative Media. New York: Routledge, 2012.Galloway, Alexander. “Are Some Things Unrepresentable?” Theory, Culture and Society 28 (2011): 85-102.Gleeson, Brendan. Geographies of Disability. London: Routledge, 1999.Goggin, Gerard. Cell Phone Culture: Mobile Technology in Everyday Life. London: Routledge, 2006.Haber, Alex. “Mapping the Void in Perec’s Species of Spaces.” Tattered Fragments of the Map. Ed. Adam Katz and Brian Rosa. S.l.: Thelimitsoffun.org, 2009.Jolley, William M. When the Tide Comes in: Towards Accessible Telecommunications for People with Disabilities in Australia. Sydney: Human Rights and Equal Opportunity Commission, 2003.Keaggy, Bill. Milk Eggs Vodka: Grocery Lists Lost and Found. Cincinnati, Ohio: HOW Books, 2007.Kellerman, Aharon. Personal Mobilities. London: Routledge, 2006.Kleege, Georgia. “Blindness and Visual Culture: An Eyewitness Account.” The Disability Studies Reader. 2nd edition. Ed. Lennard J. Davis. New York: Routledge, 2006. 391-98.Lefebvre, Henri. The Production of Space. Oxford, UK: Blackwell, 1991.López-de-Ipiña, Diego, Tania Lorido, and Unai López. “Indoor Navigation and Product Recognition for Blind People Assisted Shopping.” Ambient Assisted Living. Ed. J. Bravo, R. Hervás, and V. Villarreal. Berlin: Springer-Verlag, 2011. 25-32. May, Michael, and Charles LaPierre. “Accessible Global Position System (GPS) and Related Orientation Technologies.” Assistive Technology for Visually Impaired and Blind People. Ed. Marion A. Hersh, and Michael A. Johnson. London: Springer-Verlag, 2008. 261-88. Nicholson, John, Vladimir Kulyukin, and Daniel Coster. “Shoptalk: Independent Blind Shopping Through Verbal Route Directions and Barcode Scans.” The Open Rehabilitation Journal 2.1 (2009): 11-23.Perec, Georges. Species of Spaces and Other Pieces. Trans. and Ed. John Sturrock. London: Penguin Books, 1997.Schillmeier, Michael W. J. Rethinking Disability: Bodies, Senses, and Things. New York: Routledge, 2010.Sutherland, I. “Mobile Media and the Socio-Technical Protocols of the Supermarket.” Australian Journal of Communication. 36.1 (2009): 73-84.

IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists presented as characters in a fictional world, cutting-edge lighting and visuals, extraordinary innovative staging, and the uptake of new technology for special effects can all be linked back to an early form of circus which is sometimes termed illegitimate circus. In the late 18th century and early 19th century, in the age of Romanticism, only two theatres in London, Covent Garden and Drury Lane, plus the summer theatre in the Haymarket, had royal patents allowing them to produce plays or text-based productions, and these were considered legitimate theatres. (These theatres retained this monopoly until the Theatre Regulation Act of 1843; Saxon 301.) Other circuses and theatres such as Astley’s Amphitheatre, which were precluded from performing text-based works by the terms of their licenses, have been termed illegitimate (Moody 1). Perversely, the effect of licensing venues in this way, instead of having the desired effect of enshrining some particular forms of expression and “casting all others beyond the cultural pale,” served instead to help to cultivate a different kind of theatrical landscape, “a theatrical terrain with a new, rich and varied dramatic ecology” (Reed 255). A fundamental change to the theatrical culture of London took place, and pivotal to “that transformation was the emergence of an illegitimate theatrical culture” (Moody 1) with circus at its heart. An innovative and different form of performance, a theatre of the body, featuring spectacle and athleticism emerged, with “a sensuous, spectacular aesthetic largely wordless except for the lyrics of songs” (Bratton 117).This writing sets out to explore some of the strong parallels between the aesthetic that emerged in this early illegitimate circus and the aesthetic of the Montreal-based, multi-billion dollar entertainment empire of Cirque du Soleil. Although it is not fighting against legal restrictions and can in no way be considered illegitimate, the circus of Cirque du Soleil can be seen to be the descendant of the early circus entrepreneurs and their illegitimate aesthetic which arose out of the desire to find ways to continue to attract audiences to their shows in spite of the restrictions of the licenses granted to them. BackgroundCircus has served as an inspiration for many innovatory theatre productions including Peter Brook’s Midsummer Night’s Dream (1970) and Tom Stoppard’s Jumpers (1972) as well as the earlier experiments of Meyerhold, Eisenstein, Mayakovsky and other Soviet directors of the 1920’s (Saxon 299). A. H. Saxon points out, however, that the relationship between circus and theatre is a long-standing one that begins in the late 18th century and the early 19th century, when circus itself was theatre (Saxon 299).Modern circus was founded in London in 1768 by an ex-cavalryman and his wife, Philip and Patty Astley, and consisted of spectacular stunt horse riding taking place in a ring, with acts from traditional fairs such as juggling, acrobatics, clowning and wire-walking inserted to cover the changeovers between riding acts. From the very first shows entry was by paid ticket only and the early history of circus was driven by innovative, risk-taking entrepreneurs such as Philip Astley, who indeed built so many new amphitheatres for his productions that he became known as Amphi-Philip (Jando). After years of legal tussles with the authorities concerning the legal status of this new entertainment, a limited license was finally granted in 1783 for Astley’s Amphitheatre. This license precluded the performing of plays, anything text-based, or anything which had a script that resembled a play. Instead the annual license granted allowed only for “public dancing and music” and “other public entertainments of like kind” (St. Leon 9).Corporeal Dramaturgy and TextIn the face of the ban on scripted text, illegitimate circus turned to the human body and privileged it as a means of dramatic expression. A resultant dramaturgy focusing on the expressive capabilities of the performers’ bodies emerged. “The primacy of rhetoric and the spoken word in legitimate drama gave way […] to a corporeal dramaturgy which privileged the galvanic, affective capacity of the human body as a vehicle of dramatic expression” (Moody 83). Moody proposes that the “iconography of illegitimacy participated in a broader cultural and scientific transformation in which the human body began to be understood as an eloquent compendium of visible signs” (83). Even though the company has the use of text and dramatic dialogue freely available to it, Cirque du Soleil, shares this investment in the bodies of the performers and their “galvanic, affective capacity” (83) to communicate with the audience directly without the use of a scripted text, and this remains a constant between the two forms of circus. Robert Lepage, the director of two Cirque du Soleil shows, KÀ (2004) and more recently Totem (2010), speaking about KÀ in 2004, said, “We wanted it to be an epic story told not with the use of words, but with the universal language of body movement” (Lepage cited in Fink).In accordance with David Graver’s system of classifying performers’ bodies, Cirque du Soleil’s productions most usually present performers’ ‘character bodies’ in which the performers are understood by spectators to be playing fictional roles or characters (Hurley n/p) and this was also the case with illegitimate circus which right from its very beginnings presented its performers within narratives in which the performers are understood to be playing characters. In Cirque du Soleil’s shows, as with illegitimate circus, this presentation of the performers’ character bodies is interspersed with acts “that emphasize the extraordinary training and physical skill of the performers, that is which draw attention to the ‘performer body’ but always within the context of an overall narrative” (Fricker n.p.).Insertion of Vital TextAfter audience feedback, text was eventually added into KÀ (2004) in the form of a pre-recorded prologue inserted to enable people to follow the narrative arc, and in the show Wintuk (2007) there are tales that are sung by Jim Comcoran (Leroux 126). Interestingly early illegitimate circus creators, in their efforts to circumvent the ban on using dramatic dialogue, often inserted text into their performances in similar ways to the methods Cirque du Soleil chose for KÀ and Wintuk. Illegitimate circus included dramatic recitatives accompanied by music to facilitate the following of the storyline (Moody 28) in the same way that Cirque du Soleil inserted a pre-recorded prologue to KÀ to enable audience members to understand the narrative. Performers in illegitimate circus often conveyed essential information to the audience as lyrics of songs (Bratton 117) in the same way that Jim Comcoran does in Wintuk. Dramaturgical StructuresAstley from his very first circus show in 1768 began to set his equestrian stunts within a narrative. Billy Button’s Ride to Brentford (1768), showed a tailor, a novice rider, mounting backwards, losing his belongings and being thrown off the horse when it bucks. The act ends with the tailor being chased around the ring by his horse (Schlicke 161). Early circus innovators, searching for dramaturgy for their shows drew on contemporary warfare, creating vivid physical enactments of contemporary battles. They also created a new dramatic form known as Hippodramas (literally ‘horse dramas’ from hippos the Attic Greek for Horse), a hybridization of melodrama and circus featuring the trick riding skills of the early circus pioneers. The narrative arcs chosen were often archetypal or sourced from well-known contemporary books or poems. As Moody writes, at the heart of many of these shows “lay an archetypal narrative of the villainous usurper finally defeated” (Moody 30).One of the first hippodramas, The Blood Red Knight, opened at Astley’s Amphitheatre in 1810.Presented in dumbshow, and interspersed with grand chivalric processions, the show featured Alphonso’s rescue of his wife Isabella from her imprisonment and forced marriage to the evil knight Sir Rowland and concluded with the spectacular, fiery destruction of the castle and Sir Rowland’s death. (Moody 69)Another later hippodrama, The Spectre Monarch and his Phantom Steed, or the Genii Horseman of the Air (1830) was set in China where the rightful prince was ousted by a Tartar usurper who entered into a pact with the Spectre Monarch and received,a magic ring, by aid of which his unlawful desires were instantly gratified. Virtue, predictably won out in the end, and the discomforted villain, in a final settling of accounts with his dread master was borne off through the air in a car of fire pursued by Daemon Horsemen above THE GREAT WALL OF CHINA. (Saxon 303)Karen Fricker writes of early Cirque du Soleil shows that “while plot is doubtless too strong a word, each of Cirque’s recent shows has a distinct concept or theme, that is urbanity for Saltimbanco; nomadism in Varekai (2002) and humanity’s clownish spirit for Corteo (2005), and tend to follow the same very basic storyline, which is not narrated in words but suggested by the staging that connects the individual acts” (Fricker n/p). Leroux describes the early Cirque du Soleil shows as following a “proverbial and well-worn ‘collective transformation trope’” (Leroux 122) whilst Peta Tait points out that the narrative arc of Cirque du Soleil “ might be summarized as an innocent protagonist, often female, helped by an older identity, seemingly male, to face a challenging journey or search for identity; more generally, old versus young” (Tait 128). However Leroux discerns an increasing interest in narrative devices such as action and plot in Cirque du Soleil’s Las Vegas productions (Leroux 122). Fricker points out that “with KÀ, what Cirque sought – and indeed found in Lepage’s staging – was to push this storytelling tendency further into full-fledged plot and character” (Fricker n/p). Telling a story without words, apart from the inserted prologue, means that the narrative arc of Kà is, however, very simple. A young prince and princess, twins in a mythical Far Eastern kingdom, are separated when a ceremonial occasion is interrupted by an attack by a tribe of enemy warriors. A variety of adventures follow, most involving perilous escapes from bad guys with flaming arrows and fierce-looking body tattoos. After many trials, a happy reunion arrives. (Isherwood)This increasing emphasis on developing a plot and a narrative arc positions Cirque as moving closer in dramaturgical aesthetic to illegitimate circus.Visual TechnologiesTo increase the visual excitement of its shows and compensate for the absence of spoken dialogue, illegitimate circus in the late 18th and early 19th century drew on contemporaneous and emerging visual technologies. Some of the new visual technologies that Astley’s used have been termed pre-cinematic, including the panorama (or diorama as it is sometimes called) and “the phantasmagoria and other visual machines… [which] expanded the means through which an audience could be addressed” (O’Quinn, Governance 312). The panorama or diorama ran in the same way that a film runs in an analogue camera, rolling between vertical rollers on either side of the stage. In Astley’s production The Siege and Storming of Seringapatam (1800) he used another effect almost equivalent to a modern day camera zoom-in by showing scenic back drops which, as they moved through time, progressively moved geographically closer to the battle. This meant that “the increasing enlargement of scale-each successive scene has a smaller geographic space-has a telescopic event. Although the size of the performance space remains constant, the spatial parameters of the spectacle become increasingly magnified” (O’Quinn, Governance 345). In KÀ, Robert Lepage experiments with “cinematographic stage storytelling on a very grand scale” (Fricker n.p.). A KÀ press release (2005) from Cirque du Soleil describes the show “as a cinematic journey of aerial adventure” (Cirque du Soleil). Cirque du Soleil worked with ground-breaking visual technologies in KÀ, developing an interactive projected set. This involves the performers controlling what happens to the projected environment in real time, with the projected scenery responding to their movements. The performers’ movements are tracked by an infra-red sensitive camera above the stage, and by computer software written by Interactive Production Designer Olger Förterer. “In essence, what we have is an intelligent set,” says Förterer. “And everything the audience sees is created by the computer” (Cirque du Soleil).Contemporary Technology Cutting edge technologies, many of which came directly from contemporaneous warfare, were introduced into the illegitimate circus performance space by Astley and his competitors. These included explosions using redfire, a new military explosive that combined “strontia, shellac and chlorate of potash, [which] produced […] spectacular flame effects” (Moody 28). Redfire was used for ‘blow-ups,’ the spectacular explosions often occurring at the end of the performance when the villain’s castle or hideout was destroyed. Cirque du Soleil is also drawing on contemporary military technology for performance projects. Sparked: A Live interaction between Humans and Quadcopters (2014) is a recent short film released by Cirque du Soleil, which features the theatrical use of drones. The new collaboration between Cirque du Soleil, ETH Zurich and Verity Studios uses 10 quadcopters disguised as animated lampshades which take to the air, “carrying out the kinds of complex synchronized dance manoeuvres we usually see from the circus' famed acrobats” (Huffington Post). This shows, as with early illegitimate circus, the quick theatrical uptake of contemporary technology originally developed for use in warfare.Innovative StagingArrighi writes that the performance space that Astley developed was a “completely new theatrical configuration that had not been seen in Western culture before… [and] included a circular ring (primarily for equestrian performance) and a raised theatre stage (for pantomime and burletta)” (177) joined together by ramps that were large enough and strong enough to allow horses to be ridden over them during performances. The stage at Astley’s Amphitheatre was said to be the largest in Europe measuring over 130 feet across. A proscenium arch was installed in 1818 which could be adjusted in full view of the audience with the stage opening changing anywhere in size from forty to sixty feet (Saxon 300). The staging evolved so that it had the capacity to be multi-level, involving “immense [moveable] platforms or floors, rising above each other, and extending the whole width of the stage” (Meisel 214). The ability to transform the stage by the use of draped and masked platforms which could be moved mechanically, proved central to the creation of the “new hybrid genre of swashbuckling melodramas on horseback, or ‘hippodramas’” (Kwint, Leisure 46). Foot soldiers and mounted cavalry would fight their way across the elaborate sets and the production would culminate with a big finale that usually featured a burning castle (Kwint, Legitimization 95). Cirque du Soleil’s investment in high-tech staging can be clearly seen in KÀ. Mark Swed writes that KÀ is, “the most lavish production in the history of Western theatre. It is surely the most technologically advanced” (Swed). With a production budget of $165 million (Swed), theatre designer Michael Fisher has replaced the conventional stage floor with two huge moveable performance platforms and five smaller platforms that appear to float above a gigantic pit descending 51 feet below floor level. One of the larger platforms is a tatami floor that moves backwards and forwards, the other platform is described by the New York Times as being the most thrilling performer in the show.The most consistently thrilling performer, perhaps appropriately, isn't even human: It's the giant slab of machinery that serves as one of the two stages designed by Mark Fisher. Here Mr. Lepage's ability to use a single emblem or image for a variety of dramatic purposes is magnified to epic proportions. Rising and falling with amazing speed and ease, spinning and tilting to a full vertical position, this huge, hydraulically powered game board is a sandy beach in one segment, a sheer cliff wall in another and a battleground, viewed from above, for the evening's exuberantly cinematic climax. (Isherwood)In the climax a vertical battle is fought by aerialists fighting up and down the surface of the sand stone cliff with defeated fighters portrayed as tumbling down the surface of the cliff into the depths of the pit below. Cirque du Soleil’s production entitled O, which phonetically is the French word eau meaning water, is a collaboration with director Franco Dragone that has been running at Las Vegas’ Bellagio Hotel since 1998. O has grossed over a billion dollars since it opened in 1998 (Sylt and Reid). It is an aquatic circus or an aquadrama. In 1804, Charles Dibdin, one of Astley’s rivals, taking advantage of the nearby New River, “added to the accoutrements of the Sadler’s Wells Theatre a tank three feet deep, ninety feet long and as wide as twenty-four feet which could be filled with water from the New River” (Hays and Nickolopoulou 171) Sadler’s Wells presented aquadramas depicting many reconstructions of famous naval battles. One of the first of these was The Siege of Gibraltar (1804) that used “117 ships designed by the Woolwich Dockyard shipwrights and capable of firing their guns” (Hays and Nickolopoulou 5). To represent the drowning Spanish sailors saved by the British, “Dibdin used children, ‘who were seen swimming and affecting to struggle with the waves’”(5).O (1998) is the first Cirque production to be performed in a proscenium arch theatre, with the pool installed behind the proscenium arch. “To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4" thick Plexiglas windows that open along the downstage perimeter of the pool” (Lampert-Greaux). Accompanied by a live orchestra, performers dive into the 53 x 90 foot pool from on high, they swim underwater lit by lights installed in the subterranean light tunnel and they also perform on perforated platforms that rise up out of the water and turn the pool into a solid stage floor. In many respects, Cirque du Soleil can be seen to be the inheritors of the spectacular illegitimate circus of the 18th and 19th Century. The inheritance can be seen in Cirque du Soleil’s entrepreneurial daring, the corporeal dramaturgy privileging the affective power of the body over the use of words, in the performers presented primarily as character bodies, and in the delivering of essential text either as a prologue or as lyrics to songs. It can also be seen in Cirque du Soleil’s innovative staging design, the uptake of military based technology and the experimentation with cutting edge visual effects. Although re-invigorating the tradition and creating spectacular shows that in many respects are entirely of the moment, Cirque du Soleil’s aesthetic roots can be clearly seen to draw deeply on the inheritance of illegitimate circus.ReferencesBratton, Jacky. “Romantic Melodrama.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University, 2007. 115-27. Bratton, Jacky. “What Is a Play? 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Oxford: Berg Publishers, 2002. 45-60. ---. “The Theatre of War.” History Today 53.6 (2003). 28 Mar. 2012 ‹http://www.historytoday.com/marius-kwint/theatre-war›.Lampert-Greaux, Ellen. “The Wizardry of O: Cirque du Soleil Takes the Plunge into an Underwater World.” livedesignonline 1999. 17 Aug. 2014 ‹http://livedesignonline.com/mag/wizardry-o-cirque-du-soleil-takes-plunge-underwater-world›.Lavers, Katie. “Sighting Circus: Perceptions of Circus Phenomena Investigated through Diverse Bodies.” Doctoral Thesis. Perth, WA: Edith Cowan University, 2014. Leroux, Patrick Louis. “The Cirque du Soleil in Las Vegas: An American Striptease.” Revista Mexicana de Estudio Canadiens (Nueva Época) 16 (2008): 121-126.Mazza, Ed. “Cirque du Soleil’s Drone Video ‘Sparked’ is Pure Magic.” Huffington Post 22 Sep. 2014. 23 Sep. 2014 ‹http://www.huffingtonpost.com/2014/09/22/cirque-du-soleil-sparked-drone-video_n_5865668.html›.Meisel, Martin. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England. Princeton, New Jersey: Princeton University Press, 1983.Moody, Jane. Illegitimate Theatre in London, 1770-1840. Cambridge: Cambridge University Press, 2000. O'Quinn, Daniel. Staging Governance: Teatrical Imperialism in London 1770-1800. Baltimore, Maryland, USA: Johns Hopkins University Press, 2005. O'Quinn, Daniel. “Theatre and Empire.” The Cambridge Companion to British Theatre 1730-1830. Eds. Jane Moody and Daniel O'Quinn. Cambridge: Cambridge University Press, 2007. 233-46. Reed, Peter P. “Interrogating Legitimacy in Britain and America.” The Oxford Handbook of Georgian Theatre. Eds. Julia Swindells and Francis David. Oxford: Oxford University Press, 2014. 247-264.Saxon, A.H. “The Circus as Theatre: Astley’s and Its Actors in the Age of Romanticism.” Educational Theatre Journal 27.3 (1975): 299-312.Schlicke, P. Dickens and Popular Entertainment. London: Unwin Hyman, 1985.St. Leon, Mark. Circus: The Australian Story. Melbourne: Melbourne Books, 2011. Stoddart, Helen. Rings of Desire: Circus History and Representation. Manchester: Manchester University Press, 2000. Swed, Mark. “Epic, Extravagant: In Ka the Acrobatics and Dazzling Special Effects Are Stunning and Enchanting.” Los Angeles Times 5 Feb. 2005. 22 Aug. 2014 ‹http://articles.latimes.com/2005/feb/05/entertainment/et-ka5›.Sylt, Cristian, and Caroline Reid. “Cirque du Soleil Swings to $1bn Revenue as It Mulls Shows at O2.” The Independent Oct. 2011. 14 Sep. 2014 ‹http://www.independent.co.uk/news/business/news/cirque-du-soleil-swings-to-1bn-revenue-as-it-mulls-shows-at-o2-2191850.html›.Tait, Peta. Circus Bodies: Cultural Identity in Aerial Performance. London: Routledge, 2005.Terdiman, Daniel. “Flying Lampshades: Cirque du Soleil Plays with Drones.” CNet 2014. 22 Sept 2014 ‹http://www.cnet.com/news/flying-lampshades-the-cirque-du-soleil-plays-with-drones/›.Venables, Michael. “The Technology Behind the Las Vegas Magic of Cirque du Soleil.” Forbes Magazine 30 Aug. 2013. 16 Aug. 2014 ‹http://www.forbes.com/sites/michaelvenables/2013/08/30/technology-behind-the-magical-universe-of-cirque-du-soleil-part-one/›.

Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This essay argues that through the presentation of diverse alternative bodies, not only through the performing bodies presented on stage but also in the corporate bodies of the companies they have set up, they profoundly challenge the structure of the Australian performance industry and contribute a radical re-envisaging of the potential of circus to act as a vital political force.Briefs was co-founded by Creative Director, Samoan, Fez Fa’anana with his brother Natano Fa’anana in 2008. An experienced dancer and physical theatre performer, Fa’anana describes the company’s performances as the “dysfunctional marriage of theatre, circus, dance, drag and burlesque with the simplicity of a variety show format” (“On the Couch”). As Fa’anana’s alter ego, “the beautiful bearded Samoan ringmistress Shivannah says, describing The Second Coming, the Briefs show at the Sydney Festival 2017, the show is ‘A little bit butch with a f*** load of camp’” (Lavers). The show involves “extreme costume changes, extravagant birdbath boylesque, too close for comfort yo-yo tricks and more than one highly inappropriate banana” (“Briefs: The Second Coming”).Briefs is an all-male company with gender-bending forming an integral part of the ethos. In The Second Coming the accepted sinuous image of the female performer entwining herself around the aerial hoop or lyra is subverted with the act featuring instead a male contortionist performing the same seductive moves with silky smooth sensuousness. Another example of gender bending in the show is the Dita Von Teese number performed by a male performer in a birdbath filled with water with a trapeze suspended over the top of it. Perhaps the most sensational example of alternative bodies in the show is “the moment when performer Dallas Dellaforce, wearing a nude body stocking with a female body drawn onto it, and an enormously long, curly white-blond wig blown by a wind machine, stands like a high camp Botticelli Venus rising up out of the stage” (Lavers). The highly visible body of Fez Fa’anana as the gender-bending Samoan ringmistress challenges the pervasive whiteness in contemporary circus. Although there has been some discourse on the issue of whiteness within the context of Australian theatre, for example Lee Lewis arguing for an aggressive approach to cross-racial casting to combat the whiteness of Australian theatre and TV (Lewis), there has however been very little discussion of this issue within Australian contemporary circus. Mark St Leon’s discussion of historical attitudes to Aboriginal performers in Australian circus is a notable exception (St Leon).This issue remains widely unacknowledged, an aspect of whiteness that social geographers Audrey Kobashi and Linda Peake identify in their writing, whiteness is indicated less by its explicit racism than by the fact that it ignores, or even denies, racist indications. It occupies central ground by deracializing and normalizing common events and beliefs, giving them legitimacy as part of a moral system depicted as natural and universal. (Kobayashi and Peake 394)As film studies scholar, Richard Dyer writes,the invisibility of whiteness as a racial position in white (which is to say dominant) discourse is of a piece with its ubiquity … In fact for most of the time white people speak about nothing but white people, it’s just that we couch it in terms of ‘people’ in general. Research – into books, museums, the press, advertising, films, television, software – repeatedly shows that in Western representation whites are overwhelmingly and disproportionately predominant, have the central and elaborated roles, and above all, are placed as the norm, the ordinary, the standard. Whites are everywhere in representation … At the level of racial representation, in other words, whites are not of a certain race, they’re just the human race. (3)Dyer writes in conclusion that “white people need to learn to see themselves as white, to see their particularity. In other words whiteness needs to be made strange” (541). This applies in particular to contemporary circus. In a recent interview with the authors, ex-Circus Oz Artistic Director and CEO, Mike Finch, commented, “You could make an all-round entertaining family circus show with [racial] diversity represented and I believe that would be a deeply subversive act in a way in contemporary Australia” (Finch).Today in contemporary Australian circus very few racially diverse bodies can be seen and almost no Indigenous performers and this fact goes largely unremarked upon. In spite of there being Indigenous cultures within Australia that celebrate physical achievement, clowning and performance, there seem to be few pathways into professional circus for Indigenous athletes or artists. Although a considerable spread of social circus programs exists across Australia working with Indigenous youth at risk, there seem to be few structures in place to facilitate the transitioning between these social circus classes and entry into circus training programs or professional companies. Since 2012 Circus Oz has set up the program Blakflip to mentor and support young Indigenous performers to try and redress this problem. This has led to two graduates of the program moving on to perform with the company, namely Dale Woodbridge Brown and Ghenoa Gella, and also led to the mentorship and support of several students in gaining entry into the National Institute of Circus Arts in Melbourne. Circus Oz has also now appointed an Aboriginal and Torres Straight Islander Program Officer, Davey Thomson, who is working to develop networks between past and present participants in the Blakflip program and to strengthen links with Indigenous Communities. However, it could be argued that Fez Fa’anana with Briefs has in fact leapfrogged over these programs aimed at addressing the whiteness in contemporary circus. As a Samoan Australian performer he has not only co-founded his own contemporary performance company in which he takes the central performing role, but has now also established another company called Briefs Factory, which is a creative production house that develops, presents, produces and manages artists and productions, and now at any one time employs around 20 people. In terms of his performative physical presence on stage, in an interview in 2015, Fa’anana described his performance alter ego, Shivannah, as the “love child of the bearded lady and ring master.” In the same interview he also described himself tellingly as “a Samoan (who is not a security guard, football player nor a KFC cashier),” and as “an Australian … a legal immigrant” (“On the Couch”). The radical racial difference that the alternative body of Shivannah the ringmistress presents in performance is also constantly reinforced by Fa’anana’s repartee. At the beginning of the show he urges the audience “to put their feet flat on the floor and acknowledge the earth and how lucky we are to be in this beautiful country that for 200 years now has been called Australia” (Fa’anana). Comments about his Samoan ancestry are sprinkled throughout the show and are delivered with a light touch, constantly making the audience laugh. At one point in the show resplendent in a sequined costume, Fa’anana stands downstage in front of two performers on their knees cleaning up the mess left on the stage from the act before, and he says, “Finally, I’ve made it! I’ve got a couple of white boys cleaning up after me” (Fa’anana). In another part of the show, alluding to white stereotypes of Indigenous performers, Fa’anana thanks the drag artist who taught him how to put his drag make-up on, saying “I used to put my make-up on with a burnt stick before he showed me how to do it” (Fa’anana).In his book on critical pedagogy, political activist and scholar Peter McLaren writes on approaches to developing the means to resist and subvert pervasive whiteness, saying, “To resist whiteness means developing a politics of difference […] we need to re-think difference and identity outside a set of binary oppositions. We need to view identity as coalitional, as collective, as processual, as grounded in the struggle for social justice” (213). One example of how identity outside binary oppositions was explored in The Second Coming was in an act by drag artist Dallas Dellaforce, who dressedin a sumptuous fifties evening dress with pink balloon breasts rising out of the top of his low cut evening dress and wearing a Marilyn Monroe blonde wig, camped it up as a fifties coquette, flipping from sultry into a totally scary horror tantrum, before returning to coquette mode with the husky phrase, ‘I love you.’ When at the end of the song, stripped naked, sporting a shaved bald head and wearing only a suggestive long thin pink balloon, the full potential of camp to reveal different layers of artifice and constructed identity was revealed. (Lavers)Fez Fa’anana comments at the end of the show that The Second Coming was not aimed at any particular group of people, but instead aimed to “celebrate being human.” However, if this is the case, Fa’anana is demanding an extended definition of being human that through the inclusion of diverse alternative bodies pushes for a new understandings of what constitutes being human and how human identity can be construed. His work demands an understanding that is not oppositional nor grounded in binary opposition to normative whiteness but instead forms part of a re-thinking of human identity through alternative bodies that are presented as processual, and deeply grounded in the struggle for the social justice issue of acceptance of difference and alternatives.Hot Brown Honey is another Brisbane based company working with circus in conjunction with other forms such as burlesque, hip hop, and cabaret. The all-female company was recently awarded the UK 2016 Total Theatre Award for Innovation, Experimentation and Playing with Form. The company was co-founded by dancer and choreographer Lisa Fa’alafi, who is from the same Samoan family as Fez and Natano Fa’anana, with sound designer Kim “Busty Beatz” Bowers, a successful hip hop artist, poet and record producer. From the beginning Hot Brown Honey was envisaged as providing a performance space for women of colour. Lisa Fa’alafi says the company was formed to address the lack of performance opportunities available, “It’s plain knowledge that there are limited roles for people of colour, let alone women of colour” (quoted in Northover).Lyn Gardner, arts critic for The Guardian in the UK, describing Hot Brown Honey’s performance, writes that the company fights “gender and racial stereotypes with a raucous glee, while giving a feminist makeover to circus, hip-hop and burlesque” (Gardner). The company includes women mainly “of Indigenous, Pacific Islander and Indonesian heritage taking on colonialism, sexism, gender stereotypes and racism through often confronting performance and humour; their tagline is ‘fighting the power never tasted so sweet’” (Northover).In their show Hot Brown Honey present a straps act. Straps is a physically demanding aerial circus act that requires great upper body strength and is usually performed by male aerialists. However, in the Hot Brown Honey show gender expectations are subverted with the straps act performed by a female aerialist. Gardner writes of the performance of this straps act at the 2016 Edinburgh Festival Fringe as a “sequence that conjures the twisted moves of a woman trying to escape domestic violence,” and “One of the best circus sequences I’ve seen at this festival” (Gardner). Hula hoops, a traditionally female act, is also subverted and used to explore the stereotypes of the “exotic notion of Pacific culture” (Northover). Gardner writes of this act that the hoola hoops “are called into service to explore western tourists’ culture of entitlement”. Company co-founder Kim “Busty Beatz” Bowers, talks about the group’s approach to flipping perceptions of women of colour through investigating the power dynamics in gender relations, “We have a lot of flips around sexuality,” says Bowers. “Especially around the way people expect a black woman to be. We like to shift the exploitation and the power” (quoted in Northover).Another pressing issue that Hot Brown Honey address is a strange phenomenon apparent in much contemporary circus. In addition to the pervasive whiteness in contemporary circus, relatively few women are visible in many contemporary circus companies. Suzie Williams from Acrobatic Conundrum, the Seattle-based circus company, writes in her blog, “there are a lot of shows that feature many young, fit, exuberant guys and one flexible girl who performs a sensual/sentimental/romantic solo act” (Williams). Writing about Complètement Cirque, Montreal’s international circus festival which took place in July 2016, Williams says, “this year at the festival, my least favorite trend was … out of the 9 ticketed productions only one had more than one woman in it” (Williams, emphasis in original).Circus scholars have started to research this trend of lack of female representation both in contemporary circus schools and performance companies. “Gender in Circus Education: the institutionalization of stereotypes” was the title of a paper presented at the Circus and Its Others Conference in Montreal in July 2016 by Alisan Funk, a circus choreographer, teacher and director and an MA candidate at Concordia University in Montreal. Funk cited research from France showing that the educational programs and the industry are 70% male dominated. Although recreational programs in France have majority female populations, there appears to be a bottleneck at the level of entrance exams to superior schools. The few female students accepted to those schools are then frequently pushed towards solo aerial work (Funk). This push to solo aerial work means that the group floor work and acrobatics are often performed by men who create acrobatic groups that often then go on to form the basis for companies. (In this context the work of Circus Oz in this area needs to be acknowledged with the company having had a consistent policy over its 39 year existence of employing 50% female performers, however in the context of international contemporary circus this is increasingly rare).Williams writes in her blog about contemporary circus performance, “I want to see more women. I want to see women who look different from each other. I want to see so many women that no single women has to stand as a symbol of what all women can be” (Williams).Hot Brown Honey tackle the issue Williams raises head on, and they do it in the form of internationally award winning circus/cabaret that is all-female, where the bodies of the performers offer a radical alternative to the norms of contemporary circus and performance generally. The work shows women, a range of women performing circus-women of colour, with a wide range of bodies of varying shapes and sizes on stage. In Hot Brown Honey no single women in the show has to stand as a symbol of what all women can be. Briefs and Hot Brown Honey, through accessible yet political circus/cabaret, subvert the norms and institutionalized racial and gender-based biases inherent in contemporary circus both in Australia and internationally. By doing so these two companies have leap-frogged the normative presentation of performers in contemporary circus by speaking directly to a celebration of difference and diversity through the presentation of radical alternative bodies.ReferencesAlthusser, L. For Marx. Trans. Ben Brewster. London: Verso, 1965/2005.Beeby, J. “Briefs: The Second Coming – Jack Beeby Chats with Creative Director Fez Faanana.” Aussie Theatre 2015. <http://aussietheatre.com.au/features/briefs-the-second-coming-jack-beeby-chats-with-creative-director-fez-faanana>.“Briefs: The Second Coming.” Sydney Festival 2016. <http://www.sydneyfestival.org.au/2017/briefs>.Dyer, R. White: Essays on Race and Culture. New York: Routledge, 1997. Fa’anana, F. Repartee as Shivannah in The Second Coming by Briefs. Magic Mirrors Spiegeltent, Sydney Festival, 7 Jan. 2017. Performance.Finch, M. Personal communication. 13 Dec. 2016.Funk, A. “Gender in Circus Education: The Institutionalization of Stereotypes.” Paper presented at Circus and Its Others, July 2016.Gardner, L. “Shameless and Subversive: The Feminist Revolution Hits the Edinburgh Fringe.” The Guardian Theatre Blog 14 Aug. 2016. <https://www.theguardian.com/stage/theatreblog/2016/aug/14/feminist-revolution-edinburgh-stage-fringe-2016-burlesque>.Kyobashi A., and L. Peake. “Racism Out of Place: Thoughts on Whiteness and an Antiracist Geography in the New Millennium.” Annals of American Geographers 90.2 (2000): 392-403.Lavers, K. “Briefs: The Second Coming.” ArtsHub Reviews 2017. <http://performing.artshub.com.au/news-article/reviews/performing-arts/katie-lavers/briefs-the-second-coming-252936>.Lewis, L. Cross-Racial Casting: Changing the Face of Australian Theatre. Platform Papers No. 13. Strawberry Hills, NSW: Currency House, 2007. McLaren, P. Life in Schools: An Introduction to Critical Pedagogy in the Foundations of Education. 6th ed. New York: Routledge, 2016. McLaren, P., and R. Torres. “Racism and Multicultural Education: Rethinking ‘Race’ and ‘Whiteness’ in Late Capitalism.” Critical Multiculturalism: Rethinking Multicultural and Antiracist Education. Ed. S. May. Philadelphia, PA: Falmer Press, 1999. 42-76. Northover, K. “Melbourne International Comedy Festival: A Mix of Politically Infused Hip Hop and Cabaret.” Sydney Morning Herald 3 Apr. 2016. <http://www.smh.com.au/entertainment/comedy/melbourne-international-comedy-festival-hot-brown-honey-a-mix-of-politicallyinfused-hiphop-and-cabaret-20160403-gnxazn.html>.“On the Couch with Fez Fa’anana.” Arts Review 2015. <http://artsreview.com.au/on-the-couch-with-fez-faanana/>.“Outrageous Boys’ Circus Briefs Is No Drag.” Daily Telegraph 2016. <http://www.dailytelegraph.com.au/archive/specials/outrageous-boys-circus-briefs-is-no-drag/news-story/7d24aee1560666b4eca65af81ad19ff3>.St Leon, M. “Celebrated at First, Then Implied and Finally Denied.” The Routledge Circus Studies Reader. Eds. Katie Lavers and Peta Tait. London: Routledge, 2008/2016. 209-33. Williams, S. “Gender in Circus.” Acrobatic Conundrum 3 Aug. 2016. <http://www.acrobaticconundrum.com/blog/2016/8/3/gender-in-circus>.


 
 
 From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. British Broadcasting Commission. “Films ‘Fuel Online File-Sharing’.’’ 22 Feb. 2005 http://news.bbc.co.uk/1/hi/technology/3890527.stm>. Bretherton, I. “The Origins of Attachment Theory: John Bowlby and Mary Ainsworth.” 1994. 23 Jan. 2005 http://www.psy.med.br/livros/autores/bowlby/bowlby.pdf>. Bunniesormaybemidgets. Chat Room Comment. “What Did Those Girls Do to Rhonda?” 28 Mar. 2005 http://us.imdb.com/title/tt0110598/board/>. Chinese Graphic Arts Net. Mantras of the Dharani Sutra. 20 Feb. 2005 http://www.cgan.com/english/english/cpg/engcp10.htm>. Ewins, R. Barkcloth and the Origins of Paper. 1991. 20 Feb. 2005 http://www.justpacific.com/pacific/papers/barkcloth~paper.html>. Grassl K.R. The DVD Statistical Report. 14 Mar. 2005 http://www.corbell.com>. Hahn, C. M. The Topic Is Paper. 20 Feb. 2005 http://www.nystamp.org/Topic_is_paper.html>. Harper, D. Online Etymology Dictionary. 14 Mar. 2005 http://www.etymonline.com/>. Mask of Zorro, The. Screenplay by J McCulley. UA, 1920. Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. 
 
 
 
 Citation reference for this article
 
 MLA Style
 Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style
 Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>. 


 
 
 All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).
 
 
 As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia seem faded and useless to me. (Meaghan Morris 700).
 
 
 The music’s loud, the lights are low. I’m at a party and somebody’s shouting at me. “How many films do you see every week?” “Do you really get in for free?” “So what should I see next Saturday night?” These are the questions that shape the small talk of my life. After seven years of reviewing movies you’d think I’d have ready answers and sparkling rehearsed tip-offs to scatter at the slightest quiver of interest. And yet I feel anxious when I’m asked to predict some stranger’s enjoyment – their 15-odd bucks worth of dark velvet pleasure. Who am I to say what they’ll enjoy? Who am I to judge what’s worthwhile? 
 
 As editor of the film pages of The Big Issue magazine (Australian edition), I make such value judgments every day, sifting through hundreds of press releases, invitations and interview offers. I choose just three films and three DVDs to be reviewed each fortnight, and one film to form the subject of a feature article or interview. The film pages are a very small part of an independent magazine that exists to provide an income for the homeless and long-term unemployed people who sell it on the streets of Melbourne, Sydney, Brisbane, Adelaide and Perth. And no, homeless people don’t go to the movies very often but our relatively educated and affluent city-dwelling readers do. 
 
 The letters page of the magazine suggests that readers’ favourite pages are the Vendor Portraits – the extraordinary and sobering photographs and life stories of the people who are out there on the streets selling the magazine. Yet the editorial policy is to maintain a certain lightness of touch amidst the serious business. Thus, the entertainment pages (music, books, film, TV and humour) have no specific social justice agenda. But if there’s a new Australian film out there that deals with the topic of homelessness, it seems imperative to at least consider the story.
 
 Rather than offering in-depth analysis of particular films and the ways I go about judging them, the following diary excerpts instead offer a sketch of the practical process of editorial decision-making. Why review this film and not that one? Why interview this actor or that film director? And how do these choices fit within the broad goals of a social justice publication? Created randomly, from a quick scan of the last twelve months, the diary is a scribbled attempt to justify, or in Bourdieu’s terms, “legitimate” the critical role I play, and to try and explain how that role can never be fully defined by an aesthetic that is divorced from social and political realities. 
 
 August 2004
 
 My editor calls me and asks if I’ve seen Tom White, the new low-budget Australian film by Alkinos Tsilimidos. I have, and I hated it. Starring Colin Friels, the film follows the journey of a middle-aged middle-class man who walks out of his life and onto the streets. It’s a grimy, frustrating film, supported by only the barest bones of narrative. I was bored and infuriated by the central character, and I know it’s the kind of under-developed story that’s keeping Australian audiences away from our own films. And yet … it’s a local film that actually dares to tackle issues of homelessness and mental illness, and it’s a story that presents a truth about homelessness that’s borne out by many of our vendors: that any one of us could, except by the grace of God or luck, find ourselves sleeping rough.
 
 My editor wants me to interview Colin Friels, who will appear on the cover of the magazine. I don’t want to touch the film, and I prefer interviewing people whose work genuinely interests and excites me. But there are other factors to be considered. The film’s exhibitor, Palace Films, is offering to hold charity screenings for our benefit, and they are regular advertising supporters of The Big Issue. My editor, a passionate and informed film lover himself, understands the quandary. We are in no way beholden to Palace, he assures me, and we can tread the fine line with this film, using it to highlight the important issues at hand, without necessarily recommending the film to audiences. It’s tricky and uncomfortable; a simple example of the way in which political and aesthetic values do not always dance so gracefully together. Nevertheless, I find a way to write the story without dishonesty.
 
 September 2004
 
 There’s no denying the pleasure of writing (or reading) a scathing film review that leaves you in stitches of laughter over the dismembered corpse of a bad movie. But when space is limited, I’d rather choose the best three films every fortnight for review and recommendation. In an ideal world I’d attend every preview and take my pick. They’d be an excitingly diverse mix. Say, one provocative documentary (maybe Mike Moore or Errol Morris), one big-budget event movie (from the likes of Scorsese or Tarantino), and one local or art-house gem. In the real world, it’s a scramble for deadlines. Time is short and some of the best films only screen in one or two states, making it impossible for us to cover them for our national audience. Nevertheless, we do our best to keep the mix as interesting and timely as possible. For our second edition this month I review the brilliant documentary Metallica: Some Kind of Monster (Joe Berlinger and Bruce Sinofsky), while I send other reviewers to rate Spielberg’s The Terminal (only one and a half stars out of five), and Cate Shortland’s captivating debut Australian feature Somersault (four stars).
 
 For the DVD review page we look at a boxed set of The Adventures of Tintin, together with the strange sombre drama House of Sand and Fog (Vadim Perelman), and the gripping documentary One Day in September (Kevin MacDonald) about the terrorist attacks at the 1972 Munich Olympic Games. As editor, I try to match up films with the writers who’ll best appreciate them. With a 200-word limit we know that we’re humble ‘reviewers’ rather than lofty ‘critics’, and that we can only offer the briefest subjective response to a work. Yet the goal remains to be entertaining and fair, and to try and evaluate films on their own terms. Is this particular movie an original and effective example of the schlocky teen horror thriller? If so, let’s give it the thumbs up. Is this ‘worthy’ anti-globalisation documentary just a boring preachy sermon with bad hand-held camera work? Then we say so.
 
 For our film feature article this edition, I write up an interview with Italian director Luigi Falorni, whose simple little film The Weeping Camel has been reducing audiences to tears. It’s a strange quiet film, a ‘narrative documentary’ set in the Gobi desert, about a mother camel that refuses to give milk to her newborn baby. There’s nothing political or radical about it. It’s just beautiful and interesting and odd. And that’s enough to make it worthy of attention. 
 
 November 2004
 
 When we choose to do a ‘celebrity’ cover, we find pretty people with serious minds and interesting causes. This month two gorgeous film stars, Natalie Portman and Gael Garcia Bernal find their way onto our covers. Portman’s promoting the quirky coming of age film, Garden State (Zach Braff), but the story we run focuses mainly on her status as ambassador for the Foundation of International Community Assistance (FINCA), which offers loans to deprived women to help them start their own businesses. Gabriel Garcia Bernal, the Mexican star of Walter Salle’s The Motorcycle Diaries appears on our cover and talks about his role as the young Che Guevara, the ultimate idealist and symbol of rebellion. We hope this appeals to those radicals who are prepared to stop in the street, speak to a homeless person, and shell out four dollars for an independent magazine – and also to all those shallow people who want to see more pictures of the hot-eyed Latin lad. 
 
 April 2005
 
 Three Dollars is Robert Connelly’s adaptation of Elliot Perlman’s best-selling novel about economic rationalism and its effect on an average Australian family. I loved the book, and the film isn’t bad either, despite some unevenness in the script and performances. I interview Frances O’Connor, who plays opposite David Wenham as his depressed underemployed wife. O’Connor makes a beautiful cover-girl, and talks about the seemingly universal experience of depression. We run the interview alongside one with Connelly, who knows just how to pitch his film to an audience interested in homelessness. He gives great quotes about John Howard’s heartless Australia, and the way we’ve become an economy rather than a society. It’s almost too easy.
 
 In the reviews section of the magazine we pan two other Australian films, Paul Cox’s Human Touch, and the Jimeoin comedy-vehicle The Extra. I’d rather ignore bad Australian films and focus on good films from elsewhere, or big-budget stinkers that need to be brought down a peg. But I’d lined up reviews for these local ones, expecting them to be good, and so we run with the negativity. Some films are practically critic-proof, but small niche films, like most Australian titles, aren’t among these Teflon giants. As Joel Pearlman, Managing Director of Roadshow Films has said, “There are certain types of films that are somewhat critic-proof. They’ve either got a built-in audience, are part of a successful franchise, like The Matrix or Bond films, or have a popular star. It’s films without the multimillion-dollar ad campaigns and the big names where critics are far more influential” ( Pearlman in Bolles 19). Sometimes I’m glad that I’m just a small fish in the film critic pond, and that my bad reviews can’t really destroy someone’s livelihood. It’s well known that a caning from reviewers like David Stratton and Margaret Pomeranz (ABC, At the Movies), or the Melbourne Age’s Jim Schembri can practically destroy the prospects of a small local film, and I’m not sure I have the bravery or conviction of the value of my own tastes to bear such responsibility. Admittedly, that’s just gutless tender-heartedness for, as reviewers, our responsibility is to the audience not to the filmmaker. But when you’ve met with cash-strapped filmmakers, and heard their stories and their struggles, it’s sometimes hard to put personal compassion aside and see the film as the punter will. But you must. 
 
 August 2005
 
 It’s a busy time with the Melbourne International Film Festival just finishing up. Hordes of film directors accompany their films to the festival, promoting them here ahead of a later national release schedule, and making themselves available for rare face-to face interviews. This year I find a bunch of goodies that seem like they were tailor-made for our readership. There are winning local films like Sarah Watt’s life-affirming debut Look Both Ways; and Rowan Woods’ gritty addiction-drama Little Fish. There’s my personal favourite, Bahman Ghobadi’s stunning and devastating Kurdish/Iranian feature Turtles Can Fly; and Avi Lewis’s inspiring documentary The Take, about Argentine factory workers who unite to revive their bankrupt workplaces.
 
 It’s when I see films like this, and get to talk to the people who bring them into existence, that I realize how much I value writing about films for a publication that doesn’t exist just to make a profit or fill space between advertisements. As the great American critic Jonathan Rosenbaum has eloquently argued, most of the worldwide media coverage concerning film is merely a variation on the ‘corporate stories’ that film studios feed us as part of their advertising. To be able to provide some small resistance to that juggernaut is a wonderful privilege.
 
 I love to be lost in the dark, studying films frame by frame, and with reference only to some magical internal universe of ‘cinema’ and its endless references to itself. But as the real world outside falls apart, such airless cinephilia feels just plain wrong. As a writer whose subject is films, what I’m compelled to do is to come out of the cinema and try to use my words to convey the best of what I’ve seen to my friends and readers, pointing them towards small treasures they may have overlooked amidst the hype. So maybe I’m not a ‘pure’ critic, and maybe there’s no shame in that. The films I’ll gravitate towards share an almost indefinable quality – to use Jauss’s phrase, they reconstruct and expand my “horizon of expectation” (28). Sometimes these films are overtly committed to a cause, but often they’re just beautiful and strange and fresh. Always they expand me, open me, make me feel that there’s more to the world than expected, and make me want more too – more information, more freedom, more compassion, more equality, more beauty. And, after all these years in the dark, I still want more films like that.
 
 Endnotes
 
 As of August 2005, the role of DVD editor of The Big Issue has been filled by Anthony Morris.
 
 According the latest Morgan Poll, readers of The Big Issue are likely to be young (18-39), urban, educated, and affluent professionals. Current readership is estimated at 144,000 fortnightly and growing.
 
 References
 
 Bolles, Scott. “The Critics.” Sunday Life. The Age 10 Jul. 2005: 19. Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal Johnson. Cambridge: Polity Press, 1993. Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti. Minnesota: U of Minnesota P, 1982. Morris, Meaghan. “On Going to Bed Early: Once Upon a Time in America.” Meanjin 4 (1998): 700. Rosenbaum, Jonathan. “Junket Bonds.” Chicago Reader Movie Review (2000). 2 Sept. 2005 http://www.chicagoreader.com/movies/archives/2000/1000/00117.html>. The Big Issue Australia. http://www.bigissue.org.au/> 10 Oct. 2005.
 
 
 
 
 Citation reference for this article
 
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 Siemienowicz, Rochelle. "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/01-siemienowicz.php>. APA Style
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Introduction Ever-enduring advancements in science and technology promise to offer solutions to problems or simply to make life a bit easier. However, not every advancement has only positive effects, but can also have undesired, negative ramifications. This article will take a closer look at Deus Ex: Human Revolution (DXHR), a dystopian video game which promises to put players in the position of deciding whether the science of human enhancement is a way to try to play God, or whether it enables us “to become the Gods we’ve always been striving to be” (Eidos Montreal, “Deus Ex: Human Revolution”). In this article I will argue that DXHR creates a space in which players can virtually witness future technologies for human performance enhancement without the need to alter their own bodies. DXHR is special particularly in two respects: first, the developers have achieved a high credibility and scientific realism of the enhancement technologies depicted in the game which can be described as being “diegetic prototypes” (Kirby, “The Future Is Now ” 43); second, the game directly invites players to reflect upon the impact and morality of human enhancement. It does so through a story in line with the cyberpunk genre, which envisions not only the potential benefits of an emergent technology, but has an even stronger focus on the negative contingencies. The game and its developers foresee a near-future society that is split into two fractions due to human enhancement technologies which come in the form of neuro-implants and mechanical prosthetics; and they foresee a near-future setting in which people are socially and economically forced to undergo enhancement surgery in order to keep up with the augmented competition. DXHR is set in the year 2027 and the player takes control of Adam Jensen, an ex-SWAT police officer who is now the chief of security of Sarif Industries, one of the world's leading biotechnology companies that produce enhancement technologies. Augmented terrorists attack Sarif Industries, abduct the head scientists, and nearly kill Jensen. Jensen merely survives because his boss puts him through enhancement surgery, which replaces many parts of his body with mechanical augmentations. In the course of the game it becomes clear that Jensen has been augmented beyond any life-saving necessity that grants him superhuman abilities and allows him to find and defeat the terrorists, but the augmentations also challenge his humanity. Is Jensen a human, a cyborg, or has he become more machine than man? DXHR grants players the illusion of immersion into a virtual world in which augmentations exist as a matter of fact and in which a certain level of control can be practiced. Players take up the role of a character distinctly more powerful and capable than the person in control, exceeding the limits of human abilities. The superior abilities are a result of scientific and technological advancements implying that every man or woman is able to attain the same abilities by simply acquiring augmentations. Thus, with the help of the playable character, Adam Jensen, the game lets players experience augmentations without any irreparable damages done to their bodies, but the experience will leave a lasting impression on players regarding the science of human enhancement. The experience with augmentations happens through and benefits from the effect of “virtual witnessing”: The technology of virtual witnessing involves the production in a reader’s mind of such an image of an experimental scene as obviates the necessity for either direct witness or replication. Through virtual witnessing the multiplication of witnesses could be, in principle, unlimited. (Shapin and Schaffer 60) In other words, simply by reading about and/or seeing scientific advancements, audiences can witness them without having to be present at the site of creation. The video game, hereby, is itself the medium of virtual witnessing whereby audiences can experience scientific advancements. Nevertheless, the video game is not just about reading or seeing potential future enhancement technologies, but permits players to virtually test-drive augmentations—to actually try out three-dimensionally rendered prototypes on a virtual body. In order to justify this thesis, a couple of things need to be clarified that explain in which ways the virtual witnessing of fictional enhancements in DXHR is a valid claim. Getting into the Game First I want to briefly describe how I investigated the stated issue. I have undertaken an auto-ethnography (Ellis, Adams, and Bochner) of DXHR, which concretely means that I have analytically played DXHR in an explorative fashion (Aarseth) trying to discover as many elements on human enhancement that the game has to offer. This method requires not only close observation of the virtual environment and documentation through field notes and screenshots, but also self-reflection of the actions that I chose to take and that were offered to me in the course of the game. An essential part of analytically playing a game is to be aware that the material requires “the activity of an actual player in order to be accessible for scrutiny” (Iversen), and that the player’s input fundamentally shapes the gaming experience (Juul 42). The meaning of the game is contingent upon the contribution of the player, especially in times in which digital games grant players more and more freedom in terms of narrative construction. In contrast to traditional narrative, the game poses an active challenge to the player which entails the need to become better in relation to the game’s mechanics and hence “studying games … implies interacting with the game rules and exploring the possibilities created by these rules, in addition to studying the graphical codes or the narration that unfolds” (Malliet). It is important to highlight that, although the visual representation of human enhancement technologies has an enormous potential impact on the player’s experience, it is not the only crucial element. Next to the representational shell, the core of the game, i.e. “how game rules and interactions with game objects and other players are structured” (Mäyrä 165), shapes the virtual witnessing of the augmentations in just an important way. Finally, the empirical material that was collected was analyzed and interpreted with the help of close-reading (Bizzocchi and Tanenbaum 395). In addition to the game itself, I have enriched my empirical material with interviews of developers of the game that are partly freely available on the Internet, and with the promotional material such as the trailers and a website (Eidos Montreal, “Sarif Industries”) that was released prior to the game. Sociotechnical Imaginaries In this case study of DXHR I have not only investigated how augmented bodies and enhancement technologies are represented in this specific video game, but also attempted to uncover which “sociotechnical imaginaries” (Jasanoff and Kim) underlie the game and support the virtual witnessing experience. Sociotechnical imaginaries are defined as “collectively imagined forms of social life and social order reflected in the design and fulfillment of nation-specific scientific and/or technological projects” (Jasanoff and Kim 120). The concept appeared to be suitable for this study as it covers and includes “promises, visions and expectations of future possibilities” (Jasanoff and Kim 122) of a technology as well as “implicit understandings of what is good or desirable in the social world writ large” (Jasanoff and Kim 122–23). The game draws upon several imaginaries of human enhancement. For example, the most basic imaginary in the game is that advanced engineered prosthetics and implants will be able to not only remedy dysfunctional parts of the human body, but will be able to upgrade these. Apart from this idea, the two prevailing sociotechnical imaginaries that forward the narrative can be subsumed as the transhumanist and the purist imaginary. The latter views human enhancement, with the help of science and technology, as unnatural and as a threat to humanity particularly through the power that it grants to individuals, while the former transports the opposing view. Transhumanism is: the intellectual and cultural movement that affirms the possibility and desirability of fundamentally improving the human condition through applied reason, especially by developing and making widely available technologies to eliminate aging and to greatly enhance human intellectual, physical, and psychological capacities. (Chrislenko et al.) The transhumanist imaginary in the game views technological development of the body as another step in the human evolution, not as something abhorrent to nature, but a fundamental human quality. Similar ideas can be found in the writings of Sigmund Freud and Arnold Gehlen, who both view the human being’s need to improve as part of its culture. Gehlen described the human as a “Mängelwesen”—a ‘deficient’ creature—who is, in contrast to other species, not specialized to a specific environment, but has the ability to adapt to nearly every situation because of this deficiency (Menne, Trutwin, and Türk). Freud even denoted the human as a “Prothesengott”—a god of prostheses: By means of all his tools, man makes his own organs more perfect—both the motor and the sensory—or else removes the obstacles in the way of their activity. Machinery places gigantic power at his disposal which, like his muscles, he can employ in any direction; ships and aircraft have the effect that neither air nor water can prevent his traversing them. With spectacles he corrects the defects of the lens in his own eyes; with telescopes he looks at far distances; with the microscope he overcomes the limitations in visibility due to the structure of his retina. (Freud 15) Returning to DXHR, how do the sociotechnical imaginaries matter for the player? Primarily, the imaginaries cannot be avoided as they pervade nearly every element in the game, from the main story that hinges upon human enhancement over the many optional side missions, to contextual elements such as a conference on “the next steps in human evolution” (Eidos Montreal, “Deus Ex: Human Revolution”). Most importantly, it impacts the player’s view in a crucial way. Human enhancement technologies are presented as controversial, neither exclusively good nor bad, which require reflection and perhaps even legal regulation. In this way, DXHR can be seen as offering the player a restricted building set of sociotechnical imaginaries of human enhancement, whereby the protagonist, Adam Jensen, becomes the player’s vessel to construct one’s own individual imaginary. In the end the player is forced to choose one of four outcomes to complete the game, and this choice can be quite difficult to make. Anticipation of the Future It is not unusual for video games to feature futuristic technologies that do not exist in the real world, but what makes DXHR distinct from others is that the developers have included an extent of information that goes beyond any game playing necessity (see Figures 1 & 2). Moreover, the information is not fictional but the developers have taken strategic steps to make it credible. Mary DeMarle, the narrative designer, explained at the San Diego Comic-Con in 2011, that a timeline of augmentation was created during the production phase in which the present state of technology was extrapolated into the future. In small incremental steps the developers have anticipated which enhancement technologies might be potentially feasible by the year 2027. Their efforts were supported by the science consultant, Will Rosellini, who voluntarily approached the development team to help. Being a neuroscientist, he could not have been a more fitting candidate for the job as he is actively working and researching in the biotechnology sector. He has co-founded two companies, MicroTransponder Inc., which produces tiny implantable wireless devices to interface with the nervous system to remedy diseases (see Rosellini’s presentation at the 2011 Comic-Con) and Rosellini Scientific, which funds, researches and develops advanced technological healthcare solutions (Rosellini; Rosellini Scientific). Due to the timeline which has been embedded explicitly and implicitly, no augmentation appears as a disembodied technology without history in the game. For example, although the protagonist wears top-notch military arm prostheses that appear very human-like, this prosthesis is depicted as one of the latest iterations and many non-playable characters possess arm prostheses that appear a lot older, cruder and more industrial than those of Jensen. Furthermore, an extensive description employing scientific jargon for each of the augmentations can be read on the augmentation overview screen, which includes details about the material composition and bodily locations of the augmentations. Figure 1: More Info Section of the Cybernetic Arm Prosthesis as it appears in-game (all screenshots taken with permission from Deus Ex: Human Revolution (2011), courtesy of Eidos Montreal) More details are provided through eBooks, which are presented in the form of scientific articles or conference proceedings, for which the explorative gamer is also rewarded with valuable experience points upon finding which are used to activate and upgrade augmentations. The eBooks also reflect the timeline as each eBook is equipped with a year of publication between 2001 and 2022. Despite the fact that these articles have been supposedly written by a fictional character, the information is authentic and taken from actual scientific research papers, whereby some of these articles even include a proper scientific citation. Figure 2: Example of a Darrow eBook The fact that a scientist was involved in the production of the game allows classifying the augmentations as “diegetic prototypes” which are “cinematic depictions of future technologies … that demonstrate to large public audiences a technology’s need, benevolence and viability” (“The Future Is Now” 43). Diegetic prototypes are fictional, on-screen depictions of technologies that do not exist in that form in real life and have been created with the help of a science consultant. They have been placed in movies to allay anxieties and doubts and perhaps to even provoke a longing in audiences to see depicted technologies become reality (Kirby, “The Future Is Now” 43). Of course the aesthetic appearance of the prototypes has an impact on audiences’s desire, and particularly the artificial arms of Jensen that have been designed in an alluring fashion as can be seen in the following figure: Figure 3: Adam Jensen and arm prosthesis An important fact about diegetic prototypes—and about prototypes (see Suchman, Trigg, and Blomberg) in general—is that they are put to specific use and are embedded and presented in an identifiable social context. Technological objects in cinema are at once both completely artificial—all aspects of their depiction are controlled—and normalized as practical objects. Characters treat these technologies as a ‘natural’ part of their landscape and interact with these prototypes as if they are everyday parts of their world. … fictional characters are ‘socializing’ technological artifacts by creating meanings for the audience, ‘which is tantamount to making the artifacts socially relevant’. (Kirby, “Lab Coats” 196) The power of DXHR is that the diegetic prototypes—the augmentations—are not only based on real world scientific developments and contextualized in a virtual social space, but that the player has the opportunity to handle the augmentations. Virtual Testing Virtual witnessing of the not-yet-existent augmentations is supported by scientific descriptions, articles, and the appearance of the technologies in DXHR, but the moral and ethical engagement is established by the player’s ability to actively use the augmentations and by the provision of choice how to use them. As mentioned, most of the augmentations are inactive and must first be activated by accumulating and spending experience points on them. This requires the player to make reflections on the potential usage and how a particular augmentation will lead to the successful completion of a mission. This means that the player has to constantly decide how s/he wants to play the game. Do I want to be able to hack terminals and computers or do I rather prefer getting mission-critical information by confronting people in conversation? Do I want to search for routes where I can avoid enemy detection or do I rather prefer taking the direct route through the enemy lines with heavy guns in hands? This recurring reflection of which augmentation to choose and their continuous usage throughout the game causes the selected augmentations to become valuable and precious to the player because they transform from augmentations into frequently used tools that facilitate challenge and reduce difficulty of certain situations. In addition, the developers have ensured that no matter which approach is taken, it will always lead to success. This way the role-playing elements of the game are accentuated and each player will construct their own version of Jensen. However, it may be argued that DXHR goes beyond mere character building. There is a breadth of information and opinions on human enhancement offered, but also choices that are made invite players to reflect upon the topic of human enhancement. Among the most conspicuous instances in the game, that involve the player’s choice, are the conversations with other non-playable characters. These are events in the game which require the player to choose one out of three responses for Jensen, and hence, these determine to some extent Jensen’s attitude towards human enhancement. Thus, in the course of the game players might discover their own conviction and might compose their own imaginary of human enhancement. Conclusion This article has explored that DXHR enables players to experience augmentations without being modified themselves. The game is filled with various sociotechnical imaginaries of prosthetic and neurological human enhancement technologies. The relevance of these imaginaries is increased by a high degree of credibility as a science consultant has ensured that the fictional augmentations are founded upon real world scientific advancements. The main story, and much of the virtual world, hinge upon the existence and controversy of these sorts of technologies. Finally, the medium ‘videogame’ allows taking control of an individual, who is heavily augmented with diegetic prototypes of future enhancement technologies, and it also allows using and testing the increased abilities in various situations and challenges. All these elements combined enable players to virtually witness not-yet-existent, future augmentations safely in the present without the need to undertake any alterations of their own bodies. This, in addition to the fact that the technologies are depicted in an appealing fashion, may create a desire in players to see these augmentations become reality. Nevertheless, DXHR sparks an important incentive to critically think about the future of human enhancement technologies.References Aarseth, Espen. “Playing Research: Methodological Approaches to Game Analysis.” DAC Conference, Melbourne, 2003. 14 Apr. 2013 ‹http://hypertext.rmit.edu.au/dac/papers/Aarseth.pdf›. Bizzocchi, J., and J. Tanenbaum. “Mass Effect 2: A Case Study in the Design of Game Narrative.” Bulletin of Science, Technology & Society 32.5 (2012): 393-404. Chrislenko, Alexander, et al. “Transhumanist FAQ.” humanity+. 2001. 18 July 2013 ‹http://humanityplus.org/philosophy/transhumanist-faq/#top›. Eidos Montreal. “Deus Ex: Human Revolution.” Square Enix. 2011. PC. ———. “Welcome to Sarif Industries: Envisioning a New Future.” 2011. 14 Apr. 2013 ‹http://www.sarifindustries.com›. Ellis, Carolyn, Tony E. Adams, and Arthur P. Bochner. “Autoethnography: An Overview.” Forum Qualitative Sozialforschung 12.1 (2010): n. pag. 9 July 2013 ‹http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095›. Freud, Sigmund. Civilization and Its Discontents. Aylesbury, England: Chrysoma Associates Limited, 1929. Iversen, Sara Mosberg. “In the Double Grip of the Game: Challenge and Fallout 3.” Game Studies 12.2 (2012): n. pag. 5 Feb. 2013 ‹http://gamestudies.org/1202/articles/in_the_double_grip_of_the_game›. Jasanoff, Sheila, and Sang-Hyun Kim. “Containing the Atom: Sociotechnical Imaginaries and Nuclear Power in the United States and South Korea.” Minerva 47.2 (2009): 119–146. Juul, Jesper. “A Clash between Game and Narrative.” MA thesis. U of Copenhagen, 1999. 29 May 2013 ‹http://www.jesperjuul.net/thesis/›. Kirby, David A. Lab Coats in Hollywood. Cambridge, Massachusetts: MIT Press, 2011. ———. “The Future Is Now : Diegetic Prototypes and the Role of Popular Films in Generating Real-World Technological Development.” Social Studies of Science 40.1 (2010): 41-70. Malliet, Steven. “Adapting the Principles of Ludology to the Method of Video Game Content Analysis Content.” Game Studies 7.1 (2007): n. pag. 28 May 2013 ‹http://gamestudies.org/0701/articles/malliet›. Mäyrä, F. An Introduction to Game Studies. London: Sage, 2008. Menne, Erwin, Werner Trutwin, and Hans J. Türk. Philosophisches Kolleg Band 4 Anthropologie. Düsseldorf: Patmos, 1986. Rosellini, Will, and Mary DeMarle. “Deus Ex: Human Revolution.” Comic Con. San Diego, 2011. Panel. Rosellini Scientific. “Prevent. Restore. Enhance.” 2013. 25 May 2013 ‹http://www.roselliniscientific.com›. Shapin, Steven, and Simon Schaffer. Leviathan and the Air Pump: Hobbes, Boyle and the Experimental Life. Princeton: Princeton University Press, 1985. Suchman, Lucy, Randall Trigg, and Jeanette Blomberg. “Working Artefacts: Ethnomethods of the Prototype.” The British Journal of Sociology 53.2 (2002): 163-79. Image Credits All screenshots taken with permission from Deus Ex: Human Revolution (2011), courtesy of Eidos Montreal.

Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. 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