Journal articles on the topic 'Web-expanded beams'

“Castellated beam” is a name commonly used for type of expanded beam. Castellated beams combine beauty, versatility, economy in steel design. These are fabricated from standard rolled section and are engineered to save time of construction, enabling saving in steel and reducing building costs. These are mainly designed to reduce weight and at the same time increase the efficiency in structural performance. The principal advantage of castellation is the increase in vertical bending stiffness castellated beams have proved to be efficient for moderately loaded longer spans where the Design is controlled by moment capacity or deflection. In this paper a steel beam is selected and Finite Element Analysis is done for constant loading and support condition by using ANSYS software. The deflection pattern at the center of castellated beam is studied for different parametric conditions by changing depth of hexagon to the depth of web ratio and also by changing the position of hexagon along the length of the beam. A comparison is done for various conditions.

Currently, the castellated steel beams are used widely because of their useful structural applications and serviceable performance due to their good significant properties such as light weight, facility in construction, materials economize and strength. The castellated steel beam fabricated from its origin solid beam (I-beam) by cutting its web in a zigzag path and then re-joined the two halve by welding so the height of the castellated beam expanded about 50%. The aim of this paper is to study the effect of castellation with and without strengthening on the structural behaviour of castellated beams and compare the results with the origin solid steel beam. Three castellated beams with deferent configuration in addition to solid beam subjected to two equal point loads at mid third of span with simple support condition were analysed numerically using finite element analysis by Abaqus software virgin (6.14.5) .The results show that the load carrying capacity values of castellated steel beams that represent (second, third& fourth) models were increased by (39.11,105.95&124.77) % respectively compared with origin solid beam due to increase beams stiffness after castellation and strengthening process, while mid-span deflection values at service load were decreased by (36.36,9.10&27.27) % respectively comparing with the origin solid steel beam due to increasing section dimensions and stiffness after castellation process and using strengthening technique respectively. Also it was seen that the maximum ultimate moment and ductility were observed in the fourth model that strengthened by high strength concrete and lacing reinforcement so they increased by 124.79% and 165.65% respectively as compare to reference beam, while the third model that strengthened by high strength concrete was stiffer than other beams.

Nowadays, use of castellated steel beams (CSBs) has become very common because of their advantageous implementations in construction of buildings. Castellated Steel Beams (CSBs) are those members that are fabricated from standard hot rolled steel (HRS) I- sections by cutting along its web in "zigzag" pattern and thereafter rejoining the two halves on one another by welding together to form a castellated beam, so that generally the depth of  a section will be increased. This research analyses the experimental results of six specimens of castellated steel beams and compares with control beam (Parent section). The purpose of this study is to investigate the effect of hexagonal hole dimensions on the ultimate strength and stiffens response of the castellated steel beam. Also, the effect of number of holes on the behavior of the castellated steel beams that have the same span and ratio of expansion was investigated. All specimens of the castellated steel beam were fabricated from hot rolled steel section (IPE140) and were expanded to (1.56) times the parent section depth. From the test results, it is observed that best dimension of castellated steel beam was (span length to holes space ratio L/S = 8.0); hole depth to Castellated beam depth ratio is h/H=0.56, and hole space to the castellated beam depth ratio is S/H = 1.03. The ultimate strength of the castellated steel beam was increased about (50%) stronger than the original beam.

This paper investigates the lateral buckling of simply supported nonprismatic I-beams with axially varying materials by a novel finite element formulation. The material properties of the beam are assumed to vary continuously through the axis according to the volume fraction of the constituent materials based on an exponential or a power law. The torsion governing equilibrium equation of the simply supported beam with free warping is numerically solved by employing the power series approximation. To this end, all the mechanical properties and displacement components are expanded in terms of the power series to a known degree. Then the shape functions are obtained by representing the deformation shape of the axially functionally graded (AFG) web and/or flanges tapered thin-walled beam in a power series form. At the end, new [Formula: see text] elastic and buckling stiffness matrices are exactly determined from the weak form expression of the governing equation. Three comprehensive examples each of axially nonhomogeneous and homogeneous tapered beams with doubly symmetric I-sections are presented to evaluate the effects of different parameters such as axial variation of material properties, tapering ratio and load height parameters on the lateral buckling strength of the beam. The numerical outcomes of this paper can serve as a benchmark for future studies on lateral-torsional critical loads of AFG beams with varying I-sections.

Abstract In the region of negative bending moments of continuous and semi-continuous steel and concrete composite beams, the inferior portion of the steel section is subjected to compression while the top flange is restricted by the slab, which may cause a global instability limit state know as lateral distortional buckling (LDB) characterized by a lateral displacement and rotation of the bottom flange with a distortion of the section’s web when it doesn’t have enough flexural rigidity. The ABNT NBR 8800:2008 provides an approximate procedure for the verification of this limit state, in which the resistant moment to LDB is obtained from the elastic critical moment in the negative moment region. One of the essential parameters for the evaluation of the critical moment is the composite beam’s rotational rigidity. This procedure is restricted only to to steel and concrete composite beams with sections that have plane webs. In this paper, an equation for the calculation of the rotational rigidity of cellular sections was developed in order to determine the LDB elastic critical moment. The formulation was verified by numerical analyses performed in ANSYS and its efficiency was confirmed. Finally, the procedure described in ABNT NBR 8800:2008 for the calculation of the critical LDB moment was expanded to composite beams with cellular sections in a numerical example with the appropriate modifications in geometric properties and rotational rigidity.

Abstract The article presents an original approach to the analysis of railway track dynamics. The “beam-inside-beam” concept is introduced as a dynamic generalisation of the static head-on-web effect, based on the two-layer model of rail. Rail head is a distinguished element of the rail. The system of distributed moving loads excites rail head as a beam supported by the rail web being considered as a viscoelastic layer. Rail head vibration is a kinematic excitation of the whole rail profile, including the rail head. The whole rail is also considered as a beam on viscoelastic foundation with parameters used in typical analyses of railway track dynamics. Vibrations of the whole rail obtained from the analysis of the two-layer “beam-inside-beam” model are compared with vibrations of typical one-layer track model. It is known that the static head-on-web effect is very limited. The range of significant rail head displacements covers nearly 0.6 m of area centred around the wheel position. This observation is also valid in the case of moving constant load. In other words, the dynamic effect of rail head vibrations in the case without imperfections type of track-vehicle is practically the same as in the static head-on-web case. Nevertheless, the analysis of track imperfections impact with various factors influencing the system behaviour, like the axles load and configuration, the track elastic parameters, the length of imperfection, or the train speed, show that the head-on-web effect is significant and should be analysed in more detail. For this purpose, a new model “beam-inside-beam” is proposed. The Fourier series are used to solve the two considered models. The load and unknown functions in the models’ solutions are expanded in the arbitrarily assumed interval which practically covers non-zero track response for the analysed system of parameters (group of wheels). This solving method for equation of motion was experimentally validated in the paper by Czyczula et al. (2017). Validation of the “beam-inside-beam” model is considered as future work and the current article should be recognised as a preliminary study of the analysed effects under assumption of being purely theoretical investigation so far, although forming hierarchically organised building of more complex rail models is possible to partially verify in further steps of modelling process.

Introduction: Computed tomography (CT) is crucial for the evaluation of mandibular fractures, especially in complex areas such as the condylar region. Its ability to provide detailed images in multiple planes has improved surgical planning and post-operative monitoring, offering precise information on the location and characteristics of fractures. Objective: This integrative review aims to analyze how tomographic aspects impact surgical planning and postoperative monitoring of condylar and mandibular fractures. The study discusses the advantages and limitations of tomographic techniques in order to understand how they influence the clinical outcome and rehabilitation of patients. Materials and Methods: An integrative literature review was carried out, without the need for submission to the Ethics Committee, in accordance with the guidelines of Normative Instruction No. 510/2016. The search was conducted in databases such as PubMed, Scopus and Web of Science, and expanded with Google Scholar. Results and Discussion: The analysis revealed that cone beam computed tomography (CBCT) provides high-resolution three-dimensional images, which are essential for the accurate assessment of fractures, especially in complex anatomical areas such as the mandibular condyle. Conclusion: Cone beam computed tomography (CBCT) is an indispensable tool for the management of condyle and mandible fractures. Its use in preoperative and post-fixation monitoring facilitates detailed visualization of anatomical structures, improving the precision of surgical interventions and contributing to superior functional and aesthetic results.

Three-dimensional concrete printing (3DCP) is of great interest to scientists and the construction industry to bring automation to structural engineering applications. However, studies on the thermal performance of three-dimensional printed concrete (3DPC) building envelopes are limited, despite their potential to provide a long-term solution to modern construction challenges. This work is a numerical study to examine the impact of infill geometry on 3DPC lattice envelope thermal performance. Three different lattice structures were modeled to have the same thickness and nearly equal contour lengths, voids, and insulation percentages. Additionally, the effects of filament width and the application of granular insulating materials (expanded polystyrene beads and loose-fill perlite) were also studied. Finally, the efficacy of insulation was established. Results show that void area affects the thermal performance of 3DPC envelopes under stagnant air conditions, while web length, filament width, and contact (intersection) area between the webs and face shells affect the thermal behavior when cavities are filled with insulating materials due to thermal bridging. The thermal efficiency of insulation, which shows the effective use of insulation, varies between 26 and 44%, due to thermal bridges.

The subject of the study is hypertext in literary fiction. The research aims to determine which object is most aligned with the classical definition of hypertext, established in domestic scientific discourse since the 1970s, which implies software for hyperlinks, computer presentation of the resulting system of text integration, interactivity, and user influence on the unfolding structure of hypertext. However, in literary studies, hypertext is interpreted broadly, sometimes as any nonlinear narrative or as a narrative with reading instructions, featuring an oversized scientific-referential apparatus. In our view, such usage of the concept is metaphorical and bears no research value. We systematically distinguish between metaphorical and literal uses of the concept of hypertext and point to a specific example of hypertext in 20th-century literary fiction: the web version of D.E. Galkovsky's novel "Infinite Dead End." In this work, we employed methods from the history of concepts, semantic analysis, media studies, receptive aesthetics, and empirical comparative analysis. The main contribution of this work to domestic scientific discourse is the assertion of the necessity for a strict application of the concept of hypertext in literary analysis. We demonstrated the evolution of the concept in domestic scientific discourse and summarized the work of colleagues in this area. We proposed a strict and expanded version of the definition of the concept and developed an established thesis in domestic science regarding the existence of the metaphor and mythologem of hypertext, alongside actual hypertext. The work also advances a methodological thesis on the necessity of cross-referencing a literary text defined as hypertext with a standard or model. We analyzed "Infinite Dead End" by D.E. Galkovsky from the perspective of its various media presentations and proposed the thesis that the web version of the novel is a benchmark of postmodern artistic hypertext.

Nowadays, composite structures based on wood are frequently used. In civil engineering, mostly timber-concrete composite structures are used, particularly in reconstruction of old timber girder floor structures or manufacture of new ones at the reconstruction of old buildings in areas exposed to frequent earthquakes. In new buildings it is mainly glued laminated timber or lumber, while in reconstruction square timber is used. A timber beam is coupled with a concrete slab made either of conventional or a lightweight concrete. Best results are achieved by coupling timber with lightweight aggregate concrete that has all the properties similar to the timber except for its strength that is much higher and comparable to that of conventional concrete. This paper analyzes a composite timber-lightweight aggregate concrete structure. The basic girder is a T-cross section, with the web made of glulam, and flange made of lightweight concrete with expanded clay aggregate (Liapor). The two materials are coupled by means of mechanical fasteners, allowing joint action of the composite section. Quality of coupling has been determined by experimental tests carried out at the Laboratory of the Technical Mechanics Institute, Faculty of Civil Engineering in Zagreb. Finite element method was used for modelling of composite structures using ABAQUS software. The aim of this study was to determine the advantages of using timber-lightweight aggregate concrete composite structure, compared to solutions in which timber-conventional concrete composite structure or reinforced concrete slab are used.

<strong>Introduction</strong> Air pollution is the presentation into the atmosphere of synthetics, particulates, or organic materials that cause uneasiness, infection, or demise to people, harm other living life forms, for example, sustenance harvests, or harm the normal environment or constructed environment.A substance noticeable all around that can be unfriendly to people and the earth is known as an air poison. Poisons can be as strong particles, fluid beads, or gases. Likewise, they might be normal or man-made. Poisons can be named essential or optional. Generally, essential toxins are legitimately created from a procedure, for example, fiery debris from a volcanic emission, the carbon monoxidegas from an engine vehicle fumes or sulfur dioxide discharged from factories. Auxiliary poisons are not radiated legitimately. Or maybe, they structure noticeable all around when essential poisons respond or connect. A significant case of an auxiliary poison is ground level ozone&ndash;one of the numerous optional pollutions that make up photochemical brown haze. A few poisons might be both essential and auxiliary: that is, they are both transmitted legitimately and framed from other essential pollutants. Major essential pollutions created by human movement include:vSulphur oxides(SOx) - particularly sulfur dioxide, a synthetic compound with the recipe SO2. SO2is delivered by volcanoes and in different mechanical procedures. Since coal and oil regularly contain sulfur intensifies, their burning creates sulfur dioxide. Further oxidation of SO₂, for the most part within the sight of an impetus, for example, NO₂, frames H₂SO₄, and subsequently corrosive downpour. This is one of the reasons for worry over the ecological effect of the utilization of these fills as power sources. Nitrogen oxides(NOx) - particularly nitrogen dioxide are removed from high temperature ignition, and are likewise created normally during thunder storms by electric release. Can be viewed as the dark colored hazedome above or plume down wind of urban communities. Nitrogen dioxide is the concoction compound with the recipe NO2. It is one of the few nitrogen oxides. This rosy darker dangerous gas has a trademark sharp, gnawing scent. NO₂ is a standout amongst the most unmistakable air pollutants. Carbon monoxide(CO) - is a dry, unscented, non-aggravating yet toxic gas. It is an item by fragmented combustion of fuel, for example, flammable gas, coal or wood. Vehicular exhaust is a noteworthy wellspring of carbon monoxide. &nbsp;Volatile natural mixes VOCs are a significant open air pollution. In this field they are regularly isolated into the different classifications of methane (CH₄) and non-methane (NMVOCs). Methane is an incredibly proficient ozone depleting substance which adds to upgraded a dangerous atmospheric devation. Other hydrocarbon VOCs are additionally huge ozone harming substances by means of their job in making ozone and in dragging out the life of methane in the environment, in spite of the fact that the impact fluctuates relying upon neighborhood air quality. Inside the NMVOCs, the fragrant mixes benzene, toluene and xylene are suspected cancer-causing agents and may prompt leukemia through delayed presentation. 1, 3-butadiene is another risky compound which is regularly connected with mechanical uses. &nbsp;Particulates, then again alluded to as particulate issue (PM), barometrical particulate issue, or fine particles, are minor particles of strong or fluid suspended in a gas. Interestingly, airborne alludes to particles and the gas together. Wellsprings of particulates can be synthetic or common. A few particulates happen normally, beginning from volcanoes, dust tempests, woodland and field fires, living vegetation, and ocean splash. Human exercises, for example, the consuming of petroleum derivatives in vehicles, control plants and different modern procedures additionally produce critical measures of pressurized canned products. Arrived at the midpoint of over the globe, anthropogenic mist concentrates&mdash;those made by human exercises currently account for around 10 percent of the aggregate sum of pressurized canned products in our air. Expanded dimensions of fine particles noticeable all around are connected to wellbeing risks, for example, coronary illness, adjusted lung capacity and lung cancer. &nbsp;Persistent free radicals connected to airborne fine particles could cause cardiopulmonary disease. &nbsp;Toxic metals, for example, lead and mercury, particularly their compounds. &nbsp;Chlorofluorocarbons(CFCs) - hurtful to the ozone layer emitted from items right now prohibited from use. &nbsp;Ammonia(NH₃) - produced from horticultural procedures. Smelling salts is a compound with the equation NH₃. It is regularly experienced as a gas with a trademark sharp scent. Smelling salts, either straightforwardly or in a roundabout way, is likewise a structure hinder for the union of numerous pharmaceuticals. In spite of the fact that in wide use, alkali is both harsh and hazardous. &nbsp;Odors&ndash;suchas from trash, sewage, and mechanical processes Radioactive toxins produced by atomic blasts, atomic occasions, war explosives, and characteristic procedures, for example, the radioactive decay of radon. Optional toxins include: Particulates created from vaporous essential poisons and mixes in photochemical exhaust cloud. Smogis a sort of air pollution; &quot;exhaust cloud&quot; is a portmanteau of smoke and haze. Exemplary exhaust cloud results from a lot of coal consuming in a region brought about by a blend of smoke and sulfur dioxide. Present day exhaust cloud does not for the most part originate from coal but rather from vehicular and modern outflows that are followed up on in the climate by ultravioletlight from the sun to frame auxiliary pollutions that likewise join with the essential emanations to shape photochemical smog. Ground level ozone(O₃) framed from NOx and VOCs. Ozone (O₃) is a key constituent of the troposphere. It is likewise a significant constituent of specific areas of the stratosphere regularly known as the Ozone layer. Photochemical and substance responses including it drive a considerable lot of the concoction forms that happen in the air by day and by night. At unusually high focuses achieved by human exercises (generally the ignition of non-renewable energy source), it is a poison, and a constituent of exhaust cloud. &nbsp; <strong>Causes: Factors Responsible for Air Pollution</strong> Air pollution can result from both human and natural actions. Natural events that pollute &nbsp;the air include forest fires, volcanic eruptions, wind erosion, pollen dispersal, evaporation &nbsp;of organic compounds and natural radioactivity. Sources of air pollution refer to the various locations, activities or factors which are responsible for the releasing of pollutants into the atmosphere. <strong>Consequences: Effects of Air Pollution</strong> <strong>Health Effects</strong> Air pollution is a noteworthy hazard factor for different wellbeing conditions including respiratory diseases, coronary illness, and lung malignant growth, as indicated by the WHO. The wellbeing impacts brought about via air pollution may incorporate trouble in breathing, wheezing, hacking, asthmaand disturbance of existing respiratory and cardiovascular conditions. These impacts can result in expanded medicine use, expanded specialist or crisis room visits, more emergency clinic confirmations and sudden passing. The human wellbeing impacts of poor air quality are expansive, yet chiefly influence the body&#39;s respiratory framework and the cardiovascular framework. Singular responses to air toxins rely upon the sort of poison an individual is presented to, the level of introduction, the person&#39;s wellbeing status and genetics.The most regular wellsprings of air pollution incorporate particulates, ozone, nitrogen dioxide, and sulfur dioxide. Both indoor and open air pollution have caused around 3.3 million passings around the world. Kids matured lessthan five years that live in creating nations are the most helpless populace as far as all out passings owing to indoor and open air pollution. The World Health Organization expresses that 2.4 million individuals pass on every year from makes directlyattributable air pollution, with 1.5 million of these passings owing to indoor air pollution. The most noticeably awful momentary regular citizen pollution emergency in Indiawas the 1984 Bhopal Disaster. Released mechanical vapors from the Union Carbide manufacturing plant, having a place with Union Carbide, Inc., U.S.A., murdered in excess of 25,000 individuals inside and out and harmed somewhere in the range of 150,000 to 600,000. The United Kingdom endured its most noticeably awful air pollution occasion when the December 4 Great Smogof 1952 shaped over London. In six days more than 4,000 passed on, and 8,000 more kicked the bucket inside the next months. An unplanned break of anthraxspores from an organic warfarelaboratory in the previous USSRin 1979 close Sverdlovskis accepted to have been the reason for several non military personnel passings. Around the globe, youngsters living in urban communities with high introduction to air poisons are at expanded danger of creating asthma, pneumonia and other lower respiratory pollutions. Since kids are outdoorsmore and have higher moment ventilation they are progressively vulnerable to the perils of air pollution. Dangers of low beginning birth weight are likewise increased in such urban communities. &nbsp; <strong>Ecological Effects</strong> Poisonous air pollutions (poisonous synthetics noticeable all around) can frame corrosive downpour. It can likewise frame perilous ground level ozone. These crush trees, crops, homesteads, creatures and keep on making water bodies hurtful to people and creatures that live and rely upon water. &nbsp; <strong>Economical Effects</strong> The impact of air pollution on the economy might be a determined one. In straightforward language, the economy flourishes when individuals are solid, and business that relies upon developed crude materials and characteristic assets are running at full proficiency. Air pollution decreases farming harvest and business backwoods yields by billions of moneyeach year. This notwithstanding individuals remaining off work for wellbeing reasons can costs the economy incredibly. &nbsp; <strong>Control: Measures to reduce Air Pollution</strong> Solution&nbsp;&nbsp; efforts&nbsp;&nbsp; on&nbsp;&nbsp; pollution&nbsp;&nbsp; are always&nbsp;&nbsp; a&nbsp;&nbsp; big&nbsp;&nbsp; problem.&nbsp;&nbsp; This&nbsp;&nbsp; is&nbsp;&nbsp; why&nbsp;&nbsp; prevention interventions&nbsp; are&nbsp; always&nbsp; a&nbsp; better&nbsp; way&nbsp; of&nbsp; controlling&nbsp; air&nbsp; pollution.&nbsp; These&nbsp; prevention methods&nbsp; can&nbsp; either&nbsp; come&nbsp; from&nbsp; government&nbsp; (laws)&nbsp; or&nbsp; by&nbsp; individual&nbsp; actions.&nbsp; In&nbsp; many&nbsp; big cities,&nbsp; monitoring&nbsp; equipments&nbsp; have&nbsp; been&nbsp; installed&nbsp; at&nbsp; many&nbsp; points&nbsp; in&nbsp; the&nbsp; city.&nbsp; Authorities read them regularly to check the quality of air. Government (or community) level prevention. Governments throughout the world have already taken action against air pollution by&nbsp; introducing green energy. Some governments are investing in wind energy and solar&nbsp; energy,&nbsp; as&nbsp; well&nbsp; as&nbsp; other renewable&nbsp; energy, to&nbsp; minimize&nbsp; burning of&nbsp; fossil fuels, which cause heavy air pollution. Governments&nbsp; are&nbsp; also&nbsp; forcing&nbsp; companies&nbsp; to&nbsp; be&nbsp; more&nbsp; responsible&nbsp; with&nbsp; their manufacturing&nbsp; activities,&nbsp; so&nbsp; that&nbsp; even&nbsp; though&nbsp; they&nbsp; still&nbsp; cause&nbsp; pollution,&nbsp; they&nbsp; are&nbsp; a lot controlled. &nbsp;Companies&nbsp; are&nbsp; also&nbsp; building&nbsp; more&nbsp; energy&nbsp; efficient&nbsp; cars,&nbsp; which&nbsp; pollute&nbsp; less&nbsp; than before. Individual Level Prevention. Encourage&nbsp; your family to use the bus, train or bike when commuting. If we all do this, there will be fewer cars on road and less fumes. &nbsp;Use energy (light, water, boiler, kettle and fire woods) wisely. This is because lots of fossil fuels are burned to generate electricity, and so if we can cut down the use, we will also cut down the amount of pollution we create. &nbsp;Recycle&nbsp; and&nbsp; re-use&nbsp; things.&nbsp; This&nbsp; will&nbsp; minimize&nbsp; the&nbsp; dependence of&nbsp; producing&nbsp; new things.&nbsp; Remember&nbsp; manufacturing&nbsp; industries&nbsp; create&nbsp; a&nbsp; lot of pollution,&nbsp; so&nbsp; if&nbsp; we&nbsp; can re-use things like shopping plastic bags, clothing, paper and bottles, it can help. &nbsp; Figure 1. Global Environmental Monitoring System/Air pollution management &nbsp; <strong>Control devices</strong> The following items are commonly used as pollution control devices by industry or &nbsp;transportation devices. They can either destroy contaminants or remove them from an exhaust stream before it is emitted into the atmosphere. Mechanical collectors (dust cyclones, multi-cyclones) Electrostatic precipitators:An electrostatic precipitator (ESP), or electrostatic air cleaner is a particulate collection device that removes particles from a flowing gas (such&nbsp; as&nbsp; air)&nbsp; using&nbsp; the&nbsp; force&nbsp; of&nbsp; an&nbsp; induced&nbsp; electrostatic&nbsp; charge.&nbsp; Electrostatic precipitators are highly efficient&nbsp; filtration devices that minimally impede the&nbsp; flow of&nbsp; gases&nbsp; through&nbsp; the&nbsp; device,&nbsp; and&nbsp; can&nbsp; easily&nbsp; remove&nbsp; fine&nbsp; particulates&nbsp; such&nbsp; as&nbsp; dust and smoke from the air stream. Baghouses:Designed&nbsp; to&nbsp; handle&nbsp; heavy&nbsp; dust&nbsp; loads,&nbsp; a&nbsp; dust&nbsp; collector&nbsp; consists&nbsp; of&nbsp; a blower, dust&nbsp; filter,&nbsp; a&nbsp; filter-cleaning&nbsp; system,&nbsp; and&nbsp; a&nbsp; dust receptacle&nbsp; or dust&nbsp; removal system&nbsp; (distinguished&nbsp; from&nbsp; air&nbsp; cleaners&nbsp; which&nbsp; utilize&nbsp; disposable&nbsp; filters to&nbsp; remove the dust). Particulate&nbsp; scrubbers:Wet&nbsp; scrubber&nbsp; is&nbsp; a&nbsp; form&nbsp; of&nbsp; pollution&nbsp; control&nbsp; technology. The term describes a variety of devices that use pollutants from a furnace flue gas or&nbsp; from&nbsp; other&nbsp; gas&nbsp; streams.&nbsp; In&nbsp; a&nbsp; wet&nbsp; scrubber,&nbsp; the&nbsp; polluted&nbsp; gas&nbsp; stream&nbsp; is&nbsp; brought into contact with the&nbsp; scrubbing&nbsp; liquid, by spraying&nbsp; it with the&nbsp; liquid, by forcing&nbsp; it through&nbsp; a&nbsp; pool&nbsp; of&nbsp; liquid,&nbsp; or&nbsp; by&nbsp; some&nbsp; other&nbsp; contact&nbsp; method,&nbsp; so&nbsp; as&nbsp; to&nbsp; remove&nbsp; the pollutants. &nbsp; <strong>Design Methodology: Pollution Monitoring Middleware Framework</strong> This research exhibit the potential to create a valuable problem-solving platform in identifying consistently vulnerable locations or affected areas, and presenting quantitative and qualitative evidence of spatial and temporal air pollution system. Building upon IoT architecture similar, we present an integrated and distributed IoT air pollution monitoring system as depicted in figure 1, which comprises four key layers; &nbsp; <strong><em>Sensing Layer</em></strong> The bottom layer is the sensing layer which comprises of several mobile/sensing devices (e.g. gas sensors). The devices are launched or embedded into the environment to sense and locate particles/pollutants of interest in the atmosphere, and report findings, to appropriate channels, via the communication links in the Network layer. <strong><em>Networking Layer</em></strong> The networking layer is responsible for data transmission. It acts like a broker between the sensing layer and middleware layer, communicating the sensor readings to the processing place. It is responsible to receive, collect data from sensors and to dispatch it to appropriate storage service hosted on cloud or web platforms (e.g. Google Sheets and Databases). &nbsp; <strong><em>Middleware Layer</em></strong> Our work focuses on the middleware layer where the sensor readings are stored and processed using machine learning technologies to reveal hidden relevant patterns in the collected data. This layer serves as an interface between the lower layers and the application layer. Our main aim is to determine if the ambient air in specific locations examined is polluted or not, and how much the air quality affects the health of the surrounding community. Results are published on our portal and alerts are sent to users who subscribed to the notification services in the application layer. The hardware part of our solution is mainly for data acquisition and temporary data storage, while the software part of the solution utilises machine learning algorithms and serves the purpose of rigorously analysing and extracting useful information that the users can interpret with ease. These classifiers enabled us to predict the level of risk posed to our health prior to exposure to various air conditions recorded by devices in the sensing layer. More details about the classifiers are outlined in Section 4 of this paper. <strong><em>Application Layer</em></strong> Different applications related to air pollution are seen in the application layer. The functionality of this layer is to provide a platform for development, testing and deployment of applications capable of sending requests to retrieve raw data and information from the data storage facilities. This layer acts like a door for mobile and stationary devices to access all available information. Figure 2 shows the overall system architecture. We employ the concept of web scrapping to extract data from the cloud based storage files (the concept of cloud based storage file system should also briefly be mentioned in the four key layers, to make clear at what point this is used/introduced). Data is temporarily stored in the Google Spread Sheet and then permanently stored in a database table. For example, records of the features are written to Google Spread Sheet for an hour. After that hour these values are copied to their respective database tables and deleted from the Spread Sheet. Since new data is written to Google Spread Sheet after every hour, making predictions on the risk based on values that are written to the Spread Sheet makes our system to be a near-to-real-time system. Adjusting the sampling time and the time for writing, copying and deleting these values should therefore be put into consideration in our attempt to make our system a real-time. &nbsp; <strong>Figure 2: High-level overview of the system.</strong> <strong>Classification Algorithms</strong> A machine learning technique can be used to perform intelligent data analysis in order to perform situation recognition, predicting the level of risk or identifying anomalies. In our research we identified three levels of risk (low, medium and high). This prediction is a multiple class classification problem, so we proposed the following supervised learning algorithms to model the data: Quadratic Discriminant Analysis algorithm, K-Nearest Neighbor using Euclidean distances and Naive Bayes classifier. The best algorithm was then used to produce the final output that was visualised. &nbsp; <strong>Figure 3 &nbsp;Software Architecture for labeling training data</strong> <strong><em>Naive Bayes&rsquo; Model function for each Class Density</em></strong> The Bayes classifier for a 0-1 loss function is nothing more than computation of decision function of the form: &nbsp; Where a pattern vector x is assigned to the class whose decision function yields the largest numerical value. The decision functions <em>dj(x), </em>are optimal in the sense that they minimize the average loss in misclassification. Estimation of the probability density function <em>P(x|cj)</em> is another matter. If the pattern vectors, x, are n dimensional, then <em>P(x|cj) </em>is a function of n variables, which requires methods from multivariate probability theory for its estimation. The assumed form for <em>P(x|cj) </em>is the product of the marginal densities. &nbsp; <strong>Figure 4 Accuracy against training ratio from bootstrap performance measures with the lowest accuracy</strong> <strong>(QDA)</strong> &nbsp; <strong>Figure 5: Accuracy and time plots for Quadratic Discriminant Analysis</strong> <strong>Conclusion</strong> Air pollution can be averted just if people and organizations quit utilizing harmful substances that reason air pollution in any case. This would require the end of all non-renewable energy source consuming procedures, from modern assembling to home utilization of climate control systems. This is an improbable situation as of now. Be that as it may, we need to make rules which set stringent guidelines on mechanical and power supply assembling and taking care of. The guidelines are to be intended to further diminish unsafe outflows into the Earth&#39;s environment. &nbsp;

Web-expanded steel beams provide an easy and economical solution for the systems having longer structural members. The main goal of manufacturing these beams is to increase the moment of inertia and section modulus, which results in greater strength and rigidity. Until recently, there were two common types of open web-expanded beams: with hexagonal openings, also called castellated beams, and beams with circular openings referred to as cellular beams, until the generation of sinusoidal web-expanded beams. In the present research, the optimum design of a new generation beams, namely sinusoidal web-expanded beams, will be carried out and the design results will be compared with castellated and cellular beam solutions. Thanks to a reduced fabrication process and substantial material savings, the web-expanded beam with sinusoidal holes (Angelina™ Beam) meets the economic requirements of steel design problems while ensuring optimum safety. The objective of this research is to carry out non-linear finite element analysis (FEA) of the web-expanded beam with sinusoidal holes. The FE method has been used to predict their entire response to increasing values of external loading until they lose their load carrying capacity. FE model of each specimen that is utilized in the experimental studies is carried out. These models are used to simulate the experimental work to verify of test results and to investigate the non-linear behavior of failure modes such as web-post buckling, shear buckling and vierendeel bending of beams.

This study briefly summarizes the results of experimental tests performed on optimal designed Angelina™ steel beams. The objective of the investigation was to study the effect of hole geometry on the mode of failure and ultimate strength of such beams under loading conditions. For this purpose, six optimal designed Angelina™ beams are tested in a self-reacting frame to determine the ultimate load carrying capacities of these new generation web-expanded beams. The specimens were all fabricated from IPN beams and were expanded to almost 1.5 times the original depth. All specimens were fabricated from ASTM A-36 steel. The design methods for the specimens will be the harmony search algorithm and particle swarm method which are stochastic search techniques. The minimum weight is taken as the design objective while the design constraints are implemented from the SCI (Steel Construction Institute). Design constraints include the displacement limitations, overall beam flexural capacity, beam shear capacity, overall beam buckling strength, web post flexure and buckling, vierendeel bending of upper and lower tees and local buckling of compression flange. The design methods adopted in this publication are consistent with BS5950.

This study briefly summarizes the results of experimental tests performed on optimal designed Angelina™ steel beams. The objective of the investigation was to study the effect of hole geometry on the mode of failure and ultimate strength of such beams under loading conditions. For this purpose, six optimal designed Angelina™ beams are tested in a self-reacting frame to determine the ultimate load carrying capacities of these new generation web-expanded beams. The specimens were all fabricated from IPN beams and were expanded to almost 1.5 times the original depth. All specimens were fabricated from ASTM A-36 steel. The design methods for the specimens will be the harmony search algorithm and particle swarm method which are stochastic search techniques. The minimum weight is taken as the design objective while the design constraints are implemented from the SCI (Steel Construction Institute). Design constraints include the displacement limitations, overall beam flexural capacity, beam shear capacity, overall beam buckling strength, web post flexure and buckling, vierendeel bending of upper and lower tees and local buckling of compression flange. The design methods adopted in this publication are consistent with BS5950.

Utilization of castellated beam has become extremely well known nowadays because of its beneficial auxiliary applications. The chief preferred position of castellated beam is increment in vertical twisting solidness, simplicity of administration arrangement and appealing appearance. Anyway one outcome of essence of web opening is the advancement of different neighborhood impacts. This is because of expanded profundity of area with no extra weight, High solidarity to weight proportion, their lower upkeep and painting cost. In this work steel I area was chosen. To break down the static and dynamic conduct of castellated steel beams having different openings were displayed by limited component programming bundle ABAQUS 6.14. Investigation was completed on the beams with consistently circulated burden and their closures are essentially bolstered. The avoidance at focus of beam different disappointment examples are examined. In this investigation of castellated beam having different web openings are dissected by ABAQUS (Finite component analysis).From the Finite component examination results compelling model is recognized.

Aim The aim of this study was to investigate the potential of novel automated machine learning (AutoML) in vascular medicine by developing a discriminative artificial intelligence (AI) model for the classification of anatomical patterns of peripheral artery disease (PAD). Material and methods Random open-source angiograms of lower limbs were collected using a web-indexed search. An experienced researcher in vascular medicine labelled the angiograms according to the most applicable grade of femoropopliteal disease in the Global Limb Anatomic Staging System (GLASS). An AutoML model was trained using the Vertex AI (Google Cloud) platform to classify the angiograms according to the GLASS grade with a multi-label algorithm. Following deployment, we conducted a test using 25 random angiograms (five from each GLASS grade). Model tuning through incremental training by introducing new angiograms was executed to the limit of the allocated quota following the initial evaluation to determine its effect on the software’s performance. Results We collected 323 angiograms to create the AutoML model. Among these, 80 angiograms were labelled as grade 0 of femoropopliteal disease in GLASS, 114 as grade 1, 34 as grade 2, 25 as grade 3 and 70 as grade 4. After 4.5 h of training, the AI model was deployed. The AI self-assessed average precision was 0.77 (0 is minimal and 1 is maximal). During the testing phase, the AI model successfully determined the GLASS grade in 100% of the cases. The agreement with the researcher was almost perfect with the number of observed agreements being 22 (88%), Kappa = 0.85 (95% CI 0.69–1.0). The best results were achieved in predicting GLASS grade 0 and grade 4 (initial precision: 0.76 and 0.84). However, the AI model exhibited poorer results in classifying GLASS grade 3 (initial precision: 0.2) compared to other grades. Disagreements between the AI and the researcher were associated with the low resolution of the test images. Incremental training expanded the initial dataset by 23% to a total of 417 images, which improved the model’s average precision by 11% to 0.86. Conclusion After a brief training period with a limited dataset, AutoML has demonstrated its potential in identifying and classifying the anatomical patterns of PAD, operating unhindered by the factors that can affect human analysts, such as fatigue or lack of experience. This technology bears the potential to revolutionize outcome prediction and standardize evidence-based revascularization strategies for patients with PAD, leveraging its adaptability and ability to continuously improve with additional data. The pursuit of further research in AutoML within the field of vascular medicine is both promising and warranted. However, it necessitates additional financial support to realize its full potential.

The L Word: Generation Q is the reboot of The L Word, a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot Generation Q now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing portrayals of gay representation. Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century. (Russo 66) In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often “reluctant to openly and non-stereotypically engage with gay subjects and gay characters” (Baker 41), the L Word offered an alternative to the norm in media representation. “The L Word’s significance lies in its very existence” according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 reboot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation influences the system of representation that has predominantly been excluding and misrepresentative of gay life. The exclusion of authentic representation of lesbians and gays in Hollywood film is not new. Over time, however, there has been an increased representation of gay characters in film and television. However, beneath the positive veneer remains a morally disapproving undertone (Yang), where lesbians and gays are displayed as the showpiece of the abnormal (Gross, "Out of the Mainstream"). Gross ("Out of the Mainstream") suggests that through the ‘othering’ of lesbians and gays within media, a means of maintaining the moral order is achieved, and where being ‘straight’ results in a happy ending. Lesbians and gays in film thus achieve what Gerbner referred to as symbolic annihilation, purposefully created in a bid to maintain the social inequity. This form of exclusion often saw controversial gay representation, with a history of portraying these characters in a false, excluding, and pejorative way (Russo; Gross, "What Is Wrong"; Hart). The history of gay representation in media had at times been monstrous, playing out the themes of gay sexuality as threatening to heterosexual persons and communities (Juárez). Gay people were incorrectly stereotyped, and gay lives were seen through the slimmest of windows. Walters (15) argued that it was “too often” that film and television images would narrowly portray gays “as either desexualized or over sexualized”, framing their sexuality as the sole identity of the character. She also contested that gay characters were “shown as nonthreatening and campy 'others' or equally comforting and familiar boys (and they are usually boys, not girls) next door” (Walters 15). In Russo’s seminal text, The Celluloid Closet, he demonstrated that gay characters were largely excluded from genuine and thoughtful presentation in film, while the only option given to them was how they died. Gay activists and film makers in the 1980s and beyond built on the momentum of AIDS activism (Streitmatter) to bring films that dealt with gay subject matter more fairly than before, with examples like The Birdcage, Philadelphia, To Wong Foo, Thanks for Everything! Julie Newmar, and In and Out. Walters argues that while “mainstream films like Brokeback Mountain and The Kids are Alright entertain moviegoers with their forthright gay themes and scenes” (12), often the roles have been more of tokenisation, representing the “surprisingly gay characters in a tedious romcom, the coyly queer older man in a star-studded indie hit, the incidentally gay sister of the lead in a serious drama” (Walters 12). This ambivalence towards the gay role model in the media has had real world effects on those who identify themselves as lesbian or gay, creating feelings of self-hatred or of being ‘unacceptable’ citizens of society (Gamson), as media content “is an active component in the cultural process of shaping LGBT identities” (Sarkissian 147). The stigmatisation of gays was further identified by the respondents to a study on media and gay identity, where “the prevailing sentiment in these discussions was a sense of being excluded from traditional society” (Gomillion and Guiliano 343). Exclusion promotes segregation and isolation, and since television media are ever-present via conventional and web-based platforms, their messages are increasingly visible and powerful. The improved portrayal of gay characters was not just confined to the area of film and television however, and many publications produced major stories on bi-sexual chic, lesbian chic, the rise of gay political power and gay families. This process of greater inclusion, however, has not been linear, and in 2013 the media advocacy group known as the Gay and Lesbian Alliance against Defamation (GLAAD) mapped the quantity, quality, and diversity of LGBT people depicted in films, finding that there was still much work to be done to fairly include gay characters (GLAAD Studio Responsibility Index). In another report made in 2019, which examined cable and streaming media, GLAAD found that of the 879 regular characters expected to appear on broadcast scripted primetime programming, 10.2% were identified as gay, lesbian, bisexual, transgender and or queer (GLAAD Where Are We on TV). This was the highest number of queer characters recorded since the start of their reporting. In January 2004, Showtime launched The L Word, the first scripted cable television to focus chiefly on lesbians. Over the course of six seasons it explored the deep bonds that linked the members of an evolving lesbian friendship circle. The central themes of the programme were the love and friendship between the women, and it was a television programme structured by its own values and ideologies. The series offered a moral argument against the widespread sexism and anti-gay prejudice that was evident in media. The cast, however, were conventionally beautiful, gender normative, and expensively attired, leading to fears that the programme would appeal more to straight men, and that the sex in the programme would be exploitative and pornographic. The result, however, was that women’s sex and connection were foregrounded, and appeared as a central theme of the drama. This was, however, ground-breaking television. The showrunner of the original L Word, Ilene Chaiken, was aware of the often-damning account of lesbians in Hollywood, and the programme managed to convey an indictment of Hollywood (Mcfadden). The L Word increased lesbian visibility on television and was revolutionary in countering some of the exclusionary and damaging representation that had taken place before. It portrayed variations of lesbians, showing new positive representations in the form of power lesbians, sports lesbians, singles, and couples. Broadly speaking, gay visibility and representation can be marked and measured by levels of their exclusion and inclusion. Sedgwick said that the L Word was particularly important as it created a “lesbian ecology—a visible world in which lesbians exist, go on existing, exist in forms beyond the solitary and the couple, sustain and develop relations among themselves of difference and commonality” (xix). However, as much as this programme challenged the previous representations it also enacted a “Faustian bargain because television is a genre which ultimately caters to the desires and expectations of mainstream audiences” (Wolfe and Roripaugh 76). The producers knew it was difficult to change the problematic and biased representation of queer women within the structures of commercial media and understood the history of queer representation and its effects. Therefore, they had to navigate between the legitimate desire to represent lesbians as well as being able to attract a large enough mainstream audience to keep the show commercially viable. The L Word: Generation Q is the reboot of the popular series, and includes some of the old cast, who have also become the executive producers. These characters include Bette Porter, who in 2019 is running for the office of the Mayor of Los Angeles. Shane McCutchen returns as the fast-talking womanising hairdresser, and Alice Pieszecki in this iteration is a talk show host. When interviewed, Jennifer Beals (executive producer and Bette Porter actor) said that the programme is important, because there have been no new lesbian dramas to follow after the 2004 series ended (Beals, You Tube). Furthermore, the returning cast members believe the reboot is important because of the increased attacks that queer people have been experiencing since the election of Donald Trump in 2016. Between the two productions there have been changes in the film and television landscape, with additional queer programmes such as Pose, Orange Is the New Black, Euphoria, RuPaul’s Drag Race, and Are You the One, for example. The new L Word, therefore, needed to project a new and modern voice that would reflect contemporary lesbian life. There was also a strong desire to rectify criticism of the former show, by presenting an increased variation of characters in the 2019 series. Ironically, while the L Word had purposefully aimed to remove the negativity of exclusion through the portrayal of a group of lesbians in a more true-to-life account, the limited character tropes inadvertently marginalised other areas of lesbian and queer representation. These excluded characters were for example fully representative trans characters. The 2000s television industry had seemingly returned to a period of little interest in women’s stories generally, and though queer stories seeped into popular culture, there was no dedicated drama with a significant focus on lesbian story lines (Vanity Fair). The first iteration of The L Word was aimed at satisfying lesbian audiences as well as creating mainstream television success. It was not a tacky or pornographic television series playing to male voyeuristic ideals, although some critics believed that it included female-to-female sex scenes to draw in an additional male viewership (Anderson-Minshall; Graham). There was also a great emphasis on processing the concept of being queer. However, in the reboot Generation Q, the decision was made by the showrunner Marja-Lewis Ryan that the series would not be about any forms of ‘coming out stories’, and the characters were simply going about their lives as opposed to the burdensome tropes of transitioning or coming out. This is a significant change from many of the gay storylines in the 1990s that were seemingly all focussed on these themes. The new programme features a wider demographic, too, with younger characters who are comfortable with who they are. Essentially, the importance of the 2019 series is to portray healthy, varied representations of lesbian life, and to encourage accurate inclusion into film and television without the skewed or distorted earlier narratives. The L Word and L Word: Generation Q then carried the additional burden of countering criticisms The L Word received. Roseneil explains that creating both normalcy and belonging for lesbians and gays brings “cultural value and normativity” (218) and removes the psychosocial barriers that cause alienation or segregation. This “accept us” agenda appears through both popular culture and “in the broader national discourse on rights and belongings” (Walters 11), and is thus important because “representations of happy, healthy, well integrated lesbian and gay characters in film or television would create the impression that, in a social, economic, and legal sense, all is well for lesbians and gay men” (Schacter 729). Essentially, these programmes shouldered the burden of representation for the lesbian community, which was a heavy expectation. Critiques of the original L Word focussed on how the original cast looked as if they had all walked out of a high-end salon, for example, but in L Word: Generation Q this has been altered to have a much more DIY look. One of the younger cast members, Finlay, looks like someone cut her hair in the kitchen while others have styles that resemble YouTube tutorials and queer internet celebrities (Vanity Fair). The recognisable stereotypes that were both including and excluding have also altered the representation of the trans characters. Bette Porter’s campaign manager, for example, determines his style through his transition story, unlike Max, the prominent trans character from the first series. The trans characters of 2019 are comfortable in their own skins and supported by the community around them. Another important distinction between the representation of the old and new cast is around their material wealth. The returning cast members have comfortable lives and demonstrate affluence while the younger cast are less comfortable, expressing far more financial anxiety. This may indeed make a storyline that is closer to heterosexual communities. The L Word demonstrated a sophisticated awareness of feminist debates about the visual representation of women and made those debates a critical theme of the programme, and these themes have been expanded further in The L Word: Generation Q. One of the crucial areas that the programme/s have improved upon is to denaturalise the hegemonic straight gaze, drawing attention to the ways, conventions and techniques of reproduction that create sexist, heterosexist, and homophobic ideologies (McFadden). This was achieved through a predominantly female, lesbian cast that dealt with stories amongst their own friend group and relationships, serving to upend the audience position, and encouraging an alternative gaze, a gaze that could be occupied by anyone watching, but positioned the audience as lesbian. In concluding, The L Word in its original iteration set out to create something unique in its representation of lesbians. However, in its mission to create something new, it was also seen as problematic in its representation and in some ways excluding of certain gay and lesbian people. The L Word: Generation Q has therefore focussed on more diversity within a minority group, bringing normality and a sense of ‘realness’ to the previously skewed narratives seen in the media. In so doing, “perhaps these images will induce or confirm” to audiences that “lesbians and gay men are already ‘equal’—accepted, integrated, part of the mainstream” (Schacter 729). References Anderson-Minshall, Diane. “Sex and the Clittie, in Reading the L Word: Outing Contemporary Television.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 11–14. Are You the One? Presented by Ryan Devlin. Reality television programme. Viacom Media Networks, 2014. Baker, Sarah. “The Changing Face of Gay Representation in Hollywood Films from the 1990s Onwards: What’s Really Changed in the Hollywood Representation of Gay Characters?” The International Journal of Interdisciplinary Cultural Studies 10.4 (2015): 41–51. Brokeback Mountain. Dir. Ang Lee. Film. Focus Features, 2005. Chambers, Samuel. A. “Heteronormativity and The L Word: From a Politics of Representation to a Politics of Norms.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 81–98. Euphoria. Dir. Sam Levinson. Television Series. HBO, 2019. Gamson, Joshua. “Sweating in the Spotlight: Lesbian, Gay and Queer Encounters with Media and Popular Culture.” Handbook of Lesbian and Gay Studies.London: Sage, 2002. 339–354. Graham, Paula. “The L Word Under-whelms the UK?” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 15–26. Gross, Larry. “What Is Wrong with this Picture? Lesbian Women and Gay Men on Television.” Queer Words, Queer Images: Communication and the Construction of Homosexuality. Ed. R.J. Ringer. New York: New York UP, 1994. 143–156. Gross, Larry. “Out of the Mainstream: Sexual Minorities and the Mass Media.” Gay People, Sex, and the Media. Eds. M. Wolf and A. Kielwasser. Haworth Press, 1991. 19–36. Hart, Kylo-Patrick. R. “Representing Gay Men on American Television.” Journal of Men’s Studies 9 (2000): 59–79. In and Out. Dir. Frank Oz. Film. Paramount Pictures, 1997. Juárez, Sergio Fernando. “Creeper Bogeyman: Cultural Narratives of Gay as Monstrous.” At the Interface / Probing the Boundaries 91 (2018): 226–249. McFadden, Margaret. T. The L Word. Wayne State University Press, 2014. Moore, Candace, and Kristin Schilt. “Is She Man Enough? Female Masculinities on The L Word.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 159–172. Orange Is the New Black. Dir. Jenji Johan. Web series. Netflix Streaming Services, 2003–. Philadelphia. Directed by Jonathan Demme. Film. Tristar Pictures, 1993. Pose. Dirs. Ryan Murphy, Steven Canals, and Brad Falchuk. Television series. Color Force, 2018. Roseneil, Sasha. “On Missed Encounters: Psychoanalysis, Queer Theory, and the Psychosocial Dynamics of Exclusion.” Studies in Gender and Sexuality 20.4 (2019): 214–219. RuPaul’s Drag Race. Directed by Nick Murray. Reality competition. Passion Distribution, 2009–. Russo, Vito. The Celluloid Closet. Rev. ed. New York: Harper &amp; Row, 1987. Sarkissian, Raffi. “Queering TV Conventions: LGBT Teen Narratives on Glee.” Queer Youth and Media Cultures. Ed. C. Pullen. Palgrave Macmillan, 2014. 145–157. Sedgwick, Eve Kosofsky. “Foreword: The Letter L.” Reading 'The L Word’: Outing Contemporary Television. Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 20–25. Schacter, Jane S. “Skepticism, Culture and the Gay Civil Rights Debate in Post-Civil-Rights Era.” Harvard Law Review 110 (1997): 684–731. Streitmatter, Rodger. Perverts to Fab Five: The Media’s Changing Depiction of Gay Men and Lesbians. New York: Routledge. 2009. The Birdcage. Dir. Mike Nichols. Film. United Artists, 1995. The Kids Are Alright. Dir. Lisa Cholodenko. Film. Focus Features, 2010. The L Word. Created by Ilene Chaiken, Kathy Greenberg, and Michelle Abbott. TV drama. Showtime Networks, 2004–2009. The L Word: Generation Q. Prods. Ilene Chaiken, Jennifer Beals, Katherine Moennig, and Leisha Hailey. TV drama. Showtime Networks, 2019–. To Wong Foo, Thanks for Everything! Julie Newmar. Dir. Beeban Kidron. Film. Universal Pictures, 1995. Walters, Suzanna Danuta. The Tolerance Trap: How God, Genes and Good Intentions Are Sabotaging Gay Equality. New York: New York UP, 2014. Yang, Alan. "From Wrongs to Rights: Public Opinion on Gay and Lesbian Americans Moves towards Equality." New York: The Policy Institute of the National Gay and Lesbian Task Force, 1999.

Introduction: Google Autocomplete Algorithms Despite recent attention to the impact of social media platforms on political discourse and public opinion, most people locate their news on search engines (Robertson et al.). When a user conducts a search, millions of outputs, in the form of videos, images, articles, and Websites are sorted to present the most relevant search predictions. Google, the most dominant search engine in the world, expanded its search index in 2009 to include the autocomplete function, which provides suggestions for query inputs (Dörr and Stephan). Google’s autocomplete function also allows users to “search smarter” by reducing typing time by 25 percent (Baker and Potts 189). Google’s complex algorithm is impacted upon by factors like search history, location, and keyword searches (Karapapa and Borghi), and there are policies to ensure the autocomplete function does not contain harmful content. In 2017, Google implemented a feedback tool to allow human evaluators to assess the quality of search results; however, the algorithm still provides misleading results that frame far-right actors as neutral. In this article, we use reverse engineering to understand the nature of these algorithms in relation to the descriptive outcome, to illustrate how autocomplete subtitles label conspiracists in three countries. According to Google, these “subtitles are generated automatically”, further stating that the “systems might determine that someone could be called an actor, director, or writer. Only one of these can appear as the subtitle” and that Google “cannot accept or create custom subtitles” (Google). We focused our attention on well-known conspiracy theorists because of their influence and audience outreach. In this article we argue that these subtitles are problematic because they can mislead the public and amplify extremist views. Google’s autocomplete feature is misleading because it does not highlight what is publicly known about these actors. The labels are neutral or positive but never negative, reflecting primary jobs and/or the actor’s preferred descriptions. This is harmful to the public because Google’s search rankings can influence a user’s knowledge and information preferences through the search engine manipulation effect (Epstein and Robertson). Users’ preferences and understanding of information can be manipulated based upon their trust in Google search results, thus allowing these labels to be widely accepted instead of providing a full picture of the harm their ideologies and belief cause. Algorithms That Mainstream Conspiracies Search engines establish order and visibility to Web pages that operationalise and stabilise meaning to particular queries (Gillespie). Google’s subtitles and blackbox operate as a complex algorithm for its search index and offer a mediated visibility to aspects of social and political life (Gillespie). Algorithms are designed to perform computational tasks through an operational sequence that computer systems must follow (Broussard), but they are also “invisible infrastructures” that Internet users consciously or unconsciously follow (Gran et al. 1779). The way algorithms rank, classify, sort, predict, and process data is political because it presents the world through a predetermined lens (Bucher 3) decided by proprietary knowledge – a “secret sauce” (O’Neil 29) – that is not disclosed to the general public (Christin). Technology titans, like Google, Facebook, and Amazon (Webb), rigorously protect and defend intellectual property for these algorithms, which are worth billions of dollars (O’Neil). As a result, algorithms are commonly defined as opaque, secret “black boxes” that conceal the decisions that are already made “behind corporate walls and layers of code” (Pasquale 899). The opacity of algorithms is related to layers of intentional secrecy, technical illiteracy, the size of algorithmic systems, and the ability of machine learning algorithms to evolve and become unintelligible to humans, even to those trained in programming languages (Christin 898-899). The opaque nature of algorithms alongside the perceived neutrality of algorithmic systems is problematic. Search engines are increasingly normalised and this leads to a socialisation where suppositions are made that “these artifacts are credible and provide accurate information that is fundamentally depoliticized and neutral” (Noble 25). Google’s autocomplete and PageRank algorithms exist outside of the veil of neutrality. In 2015, Google’s photos app, which uses machine learning techniques to help users collect, search, and categorise images, labelled two black people as ‘gorillas’ (O’Neil). Safiya Noble illustrates how media and technology are rooted in systems of white supremacy, and how these long-standing social biases surface in algorithms, illustrating how racial and gendered inequities embed into algorithmic systems. Google actively fixes algorithmic biases with band-aid-like solutions, which means the errors remain inevitable constituents within the algorithms. Rising levels of automation correspond to a rising level of errors, which can lead to confusion and misdirection of the algorithms that people use to manage their lives (O’Neil). As a result, software, code, machine learning algorithms, and facial/voice recognition technologies are scrutinised for producing and reproducing prejudices (Gray) and promoting conspiracies – often described as algorithmic bias (Bucher). Algorithmic bias occurs because algorithms are trained by historical data already embedded with social biases (O’Neil), and if that is not problematic enough, algorithms like Google’s search engine also learn and replicate the behaviours of Internet users (Benjamin 93), including conspiracy theorists and their followers. Technological errors, algorithmic bias, and increasing automation are further complicated by the fact that Google’s Internet service uses “2 billion lines of code” – a magnitude that is difficult to keep track of, including for “the programmers who designed the algorithm” (Christin 899). Understanding this level of code is not critical to understanding algorithmic logics, but we must be aware of the inscriptions such algorithms afford (Krasmann). As algorithms become more ubiquitous it is urgent to “demand that systems that hold algorithms accountable become ubiquitous as well” (O’Neil 231). This is particularly important because algorithms play a critical role in “providing the conditions for participation in public life”; however, the majority of the public has a modest to nonexistent awareness of algorithms (Gran et al. 1791). Given the heavy reliance of Internet users on Google’s search engine, it is necessary for research to provide a glimpse into the black boxes that people use to extract information especially when it comes to searching for information about conspiracy theorists. Our study fills a major gap in research as it examines a sub-category of Google’s autocomplete algorithm that has not been empirically explored before. Unlike the standard autocomplete feature that is primarily programmed according to popular searches, we examine the subtitle feature that operates as a fixed label for popular conspiracists within Google’s algorithm. Our initial foray into our research revealed that this is not only an issue with conspiracists, but also occurs with terrorists, extremists, and mass murderers. Method Using a reverse engineering approach (Bucher) from September to October 2021, we explored how Google’s autocomplete feature assigns subtitles to widely known conspiracists. The conspiracists were not geographically limited, and we searched for those who reside in the United States, Canada, United Kingdom, and various countries in Europe. Reverse engineering stems from Ashby’s canonical text on cybernetics, in which he argues that black boxes are not a problem; the problem or challenge is related to the way one can discern their contents. As Google’s algorithms are not disclosed to the general public (Christin), we use this method as an extraction tool to understand the nature of how these algorithms (Eilam) apply subtitles. To systematically document the search results, we took screenshots for every conspiracist we searched in an attempt to archive the Google autocomplete algorithm. By relying on previous literature, reports, and the figures’ public statements, we identified and searched Google for 37 Western-based and influencial conspiracy theorists. We initially experimented with other problematic figures, including terrorists, extremists, and mass murderers to see whether Google applied a subtitle or not. Additionally, we examined whether subtitles were positive, neutral, or negative, and compared this valence to personality descriptions for each figure. Using the standard procedures of content analysis (Krippendorff), we focus on the manifest or explicit meaning of text to inform subtitle valence in terms of their positive, negative, or neutral connotations. These manifest features refer to the “elements that are physically present and countable” (Gray and Densten 420) or what is known as the dictionary definitions of items. Using a manual query, we searched Google for subtitles ascribed to conspiracy theorists, and found the results were consistent across different countries. Searches were conducted on Firefox and Chrome and tested on an Android phone. Regardless of language input or the country location established by a Virtual Private Network (VPN), the search terms remained stable, regardless of who conducted the search. The conspiracy theorists in our dataset cover a wide range of conspiracies, including historical figures like Nesta Webster and John Robison, who were foundational in Illuminati lore, as well as contemporary conspiracists such as Marjorie Taylor Greene and Alex Jones. Each individual’s name was searched on Google with a VPN set to three countries. Results and Discussion This study examines Google’s autocomplete feature associated with subtitles of conspiratorial actors. We first tested Google’s subtitling system with known terrorists, convicted mass shooters, and controversial cult leaders like David Koresh. Garry et al. (154) argue that “while conspiracy theories may not have mass radicalising effects, they are extremely effective at leading to increased polarization within societies”. We believe that the impact of neutral subtitling of conspiracists reflects the integral role conspiracies plays in contemporary politics and right-wing extremism. The sample includes contemporary and historical conspiracists to establish consistency in labelling. For historical figures, the labels are less consequential and simply reflect the reality that Google’s subtitles are primarily neutral. Of the 37 conspiracy theorists we searched (see Table 1 in the Appendix), seven (18.9%) do not have an associated subtitle, and the other 30 (81%) have distinctive subtitles, but none of them reflects the public knowledge of the individuals’ harmful role in disseminating conspiracy theories. In the list, 16 (43.2%) are noted for their contribution to the arts, 4 are labelled as activists, 7 are associated with their professional affiliation or original jobs, 2 to the journalism industry, one is linked to his sports career, another one as a researcher, and 7 have no subtitle. The problem here is that when white nationalists or conspiracy theorists are not acknowledged as such in their subtitles, search engine users could possibly encounter content that may sway their understanding of society, politics, and culture. For example, a conspiracist like Alex Jones is labeled as an “American Radio Host” (see Figure 1), despite losing two defamation lawsuits for declaring that the shooting at Sandy Hook Elementary School in Newtown, Connecticut, was a ‘false flag’ event. Jones’s actions on his InfoWars media platforms led to parents of shooting victims being stalked and threatened. Another conspiracy theorist, Gavin McInnes, the creator of the far-right, neo-fascist Proud Boys organisation, a known terrorist entity in Canada and hate group in the United States, is listed simply as a “Canadian writer” (see Figure 1). Fig. 1: Screenshots of Google’s subtitles for Alex Jones and Gavin McInnes. Although subtitles under an individual’s name are not audio, video, or image content, the algorithms that create these subtitles are an invisible infrastructure that could cause harm through their uninterrogated status and pervasive presence. This could then be a potential conduit to media which could cause harm and develop distrust in electoral and civic processes, or all institutions. Examples from our list include Brittany Pettibone, whose subtitle states that she is an “American writer” despite being one of the main propagators of the Pizzagate conspiracy which led to Edgar Maddison Welch (whose subtitle is “Screenwriter”) travelling from North Carolina to Washington D.C. to violently threaten and confront those who worked at Comet Ping Pong Pizzeria. The same misleading label can be found via searching for James O’Keefe of Project Veritas, who is positively labelled as “American activist”. Veritas is known for releasing audio and video recordings that contain false information designed to discredit academic, political, and service organisations. In one instance, a 2020 video released by O’Keefe accused Democrat Ilhan Omar’s campaign of illegally collecting ballots. The same dissembling of distrust applies to Mike Lindell, whose Google subtitle is “CEO of My Pillow”, as well as Sidney Powell, who is listed as an “American lawyer”; both are propagators of conspiracy theories relating to the 2020 presidential election. The subtitles attributed to conspiracists on Google do not acknowledge the widescale public awareness of the negative role these individuals play in spreading conspiracy theories or causing harm to others. Some of the selected conspiracists are well known white nationalists, including Stefan Molyneux who has been banned from social media platforms like Twitter, Twitch, Facebook, and YouTube for the promotion of scientific racism and eugenics; however, he is neutrally listed on Google as a “Canadian podcaster”. In addition, Laura Loomer, who describes herself as a “proud Islamophobe,” is listed by Google as an “Author”. These subtitles can pose a threat by normalising individuals who spread conspiracy theories, sow dissension and distrust in institutions, and cause harm to minority groups and vulnerable individuals. Once clicking on the selected person, the results, although influenced by the algorithm, did not provide information that aligned with the associated subtitle. The search results are skewed to the actual conspiratorial nature of the individuals and associated news articles. In essence, the subtitles do not reflect the subsequent search results, and provide a counter-labelling to the reality of the resulting information provided to the user. Another significant example is Jerad Miller, who is listed as “American performer”, despite the fact that he is the Las Vegas shooter who posted anti-government and white nationalist 3 Percenters memes on his social media (SunStaff), even though the majority of search results connect him to the mass shooting he orchestrated in 2014. The subtitle “performer” is certainly not the common characteristic that should be associated with Jerad Miller. Table 1 in the Appendix shows that individuals who are not within the contemporary milieux of conspiracists, but have had a significant impact, such as Nesta Webster, Robert Welch Junior, and John Robison, were listed by their original profession or sometimes without a subtitle. David Icke, infamous for his lizard people conspiracies, has a subtitle reflecting his past football career. In all cases, Google’s subtitle was never consistent with the actor’s conspiratorial behaviour. Indeed, the neutral subtitles applied to conspiracists in our research may reflect some aspect of the individuals’ previous careers but are not an accurate reflection of the individuals’ publicly known role in propagating hate, which we argue is misleading to the public. For example, David Icke may be a former footballer, but the 4.7 million search results predominantly focus on his conspiracies, his public fora, and his status of being deplatformed by mainstream social media sites. The subtitles are not only neutral, but they are not based on the actual search results, and so are misleading in what the searcher will discover; most importantly, they do not provide a warning about the misinformation contained in the autocomplete subtitle. To conclude, algorithms automate the search engines that people use in the functions of everyday life, but are also entangled in technological errors, algorithmic bias, and have the capacity to mislead the public. Through a process of reverse engineering (Ashby; Bucher), we searched 37 conspiracy theorists to decode the Google autocomplete algorithms. We identified how the subtitles attributed to conspiracy theorists are neutral, positive, but never negative, which does not accurately reflect the widely known public conspiratorial discourse these individuals propagate on the Web. This is problematic because the algorithms that determine these subtitles are invisible infrastructures acting to misinform the public and to mainstream conspiracies within larger social, cultural, and political structures. This study highlights the urgent need for Google to review the subtitles attributed to conspiracy theorists, terrorists, and mass murderers, to better inform the public about the negative nature of these actors, rather than always labelling them in neutral or positive ways. Funding Acknowledgement This project has been made possible in part by the Canadian Department of Heritage – the Digital Citizen Contribution program – under grant no. R529384. The title of the project is “Understanding hate groups’ narratives and conspiracy theories in traditional and alternative social media”. References Ashby, W. Ross. An Introduction to Cybernetics. Chapman &amp; Hall, 1961. Baker, Paul, and Amanda Potts. "‘Why Do White People Have Thin Lips?’ Google and the Perpetuation of Stereotypes via Auto-Complete Search Forms." Critical Discourse Studies 10.2 (2013): 187-204. Benjamin, Ruha. Race after Technology: Abolitionist Tools for the New Jim Code. Polity, 2019. Bucher, Taina. If... Then: Algorithmic Power and Politics. OUP, 2018. Broussard, Meredith. Artificial Unintelligence: How Computers Misunderstand the World. MIT P, 2018. Christin, Angèle. "The Ethnographer and the Algorithm: Beyond the Black Box." Theory and Society 49.5 (2020): 897-918. D'Ignazio, Catherine, and Lauren F. Klein. Data Feminism. MIT P, 2020. Dörr, Dieter, and Juliane Stephan. "The Google Autocomplete Function and the German General Right of Personality." Perspectives on Privacy. De Gruyter, 2014. 80-95. Eilam, Eldad. Reversing: Secrets of Reverse Engineering. John Wiley &amp; Sons, 2011. Epstein, Robert, and Ronald E. Robertson. "The Search Engine Manipulation Effect (SEME) and Its Possible Impact on the Outcomes of Elections." Proceedings of the National Academy of Sciences 112.33 (2015): E4512-E4521. Garry, Amanda, et al. "QAnon Conspiracy Theory: Examining its Evolution and Mechanisms of Radicalization." Journal for Deradicalization 26 (2021): 152-216. Gillespie, Tarleton. "Algorithmically Recognizable: Santorum’s Google Problem, and Google’s Santorum Problem." Information, Communication &amp; Society 20.1 (2017): 63-80. Google. “Update your Google knowledge panel.” 2022. 3 Jan. 2022 &lt;https://support.google.com/knowledgepanel/answer/7534842?hl=en#zippy=%2Csubtitle&gt;. Gran, Anne-Britt, Peter Booth, and Taina Bucher. "To Be or Not to Be Algorithm Aware: A Question of a New Digital Divide?" Information, Communication &amp; Society 24.12 (2021): 1779-1796. Gray, Judy H., and Iain L. Densten. "Integrating Quantitative and Qualitative Analysis Using Latent and Manifest Variables." Quality and Quantity 32.4 (1998): 419-431. Gray, Kishonna L. Intersectional Tech: Black Users in Digital Gaming. LSU P, 2020. Karapapa, Stavroula, and Maurizio Borghi. "Search Engine Liability for Autocomplete Suggestions: Personality, Privacy and the Power of the Algorithm." International Journal of Law and Information Technology 23.3 (2015): 261-289. Krasmann, Susanne. "The Logic of the Surface: On the Epistemology of Algorithms in Times of Big Data." Information, Communication &amp; Society 23.14 (2020): 2096-2109. Krippendorff, Klaus. Content Analysis: An Introduction to Its Methodology. Sage, 2004. Noble, Safiya Umoja. Algorithms of Oppression. New York UP, 2018. O'Neil, Cathy. Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy. Crown, 2016. Pasquale, Frank. The Black Box Society. Harvard UP, 2015. Robertson, Ronald E., David Lazer, and Christo Wilson. "Auditing the Personalization and Composition of Politically-Related Search Engine Results Pages." Proceedings of the 2018 World Wide Web Conference. 2018. Staff, Sun. “A Look inside the Lives of Shooters Jerad Miller, Amanda Miller.” Las Vegas Sun 9 June 2014. &lt;https://lasvegassun.com/news/2014/jun/09/look/&gt;. Webb, Amy. The Big Nine: How the Tech Titans and Their Thinking Machines Could Warp Humanity. Hachette UK, 2019. Appendix Table 1: The subtitles of conspiracy theorists on Google autocomplete Conspiracy Theorist Google Autocomplete Subtitle Character Description Alex Jones American radio host InfoWars founder, American far-right radio show host and conspiracy theorist. The SPLC describes Alex Jones as "the most prolific conspiracy theorist in contemporary America." Barry Zwicker Canadian journalist Filmmaker who made a documentary that claimed fear was used to control the public after 9/11. Bart Sibrel American producer Writer, producer, and director of work to falsely claim the Apollo moon landings between 1969 and 1972 were staged by NASA. Ben Garrison American cartoonist Alt-right and QAnon political cartoonist Brittany Pettibone American writer Far-right, political vlogger on YouTube and propagator of #pizzagate. Cathy O’Brien American author Cathy O’Brien claims she was a victim of a government mind control project called Project Monarch. Dan Bongino American radio host Stakeholder in Parler, Radio Host, Ex-Spy, Conspiracist (Spygate, MAGA election fraud, etc.). David Icke Former footballer Reptilian humanoid conspiracist. David Wynn Miller (No subtitle) Conspiracist, far-right tax protester, and founder of the Sovereign Citizens Movement. Jack Posobiec American activist Alt-right, alt-lite political activist, conspiracy theorist, and Internet troll. Editor of Human Events Daily. James O’Keefe American activist Founder of Project Veritas, a far-right company that propagates disinformation and conspiracy theories. John Robison Foundational Illuminati conspiracist. Kevin Annett Canadian writer Former minister and writer, who wrote a book exposing the atrocities to Indigenous Communities, and now is a conspiracist and vlogger. Laura Loomer Author Far-right, anti-Muslim, conspiracy theorist, and Internet personality. Republican nominee in Florida's 21st congressional district in 2020. Marjorie Taylor Greene United States Representative Conspiracist, QAnon adherent, and U.S. representative for Georgia's 14th congressional district. Mark Dice American YouTuber Right-wing conservative pundit and conspiracy theorist. Mark Taylor (No subtitle) QAnon minister and self-proclaimed prophet of Donald Trump, the 45th U.S. President. Michael Chossudovsky Canadian economist Professor emeritus at the University of Ottawa, founder of the Centre for Research on Globalization, and conspiracist. Michael Cremo(Drutakarmā dāsa) American researcher Self-described Vedic creationist whose book, Forbidden Archeology, argues humans have lived on earth for millions of years. Mike Lindell CEO of My Pillow Business owner and conspiracist. Neil Patel English entrepreneur Founded The Daily Caller with Tucker Carlson. Nesta Helen Webster English author Foundational Illuminati conspiracist. Naomi Wolf American author Feminist turned conspiracist (ISIS, COVID-19, etc.). Owen Benjamin American comedian Former actor/comedian now conspiracist (Beartopia), who is banned from mainstream social media for using hate speech. Pamela Geller American activist Conspiracist, Anti-Islam, Blogger, Host. Paul Joseph Watson British YouTuber InfoWars co-host and host of the YouTube show PrisonPlanetLive. QAnon Shaman (Jake Angeli) American activist Conspiracy theorist who participated in the 2021 attack on Capitol Hil. Richard B. Spencer (No subtitle) American neo-Nazi, antisemitic conspiracy theorist, and white supremacist. Rick Wiles (No subtitle) Minister, Founded conspiracy site, TruNews. Robert W. Welch Jr. American businessman Founded the John Birch Society. Ronald Watkins (No subtitle) Founder of 8kun. Serge Monast Journalist Creator of Project Blue Beam conspiracy. Sidney Powell (No subtitle) One of former President Trump’s Lawyers, and renowned conspiracist regarding the 2020 Presidential election. Stanton T. Friedman Nuclear physicist Original civilian researcher of the 1947 Roswell UFO incident. Stefan Molyneux Canadian podcaster Irish-born, Canadian far-right white nationalist, podcaster, blogger, and banned YouTuber, who promotes conspiracy theories, scientific racism, eugenics, and racist views Tim LaHaye American author Founded the Council for National Policy, leader in the Moral Majority movement, and co-author of the Left Behind book series. Viva Frei (No subtitle) YouTuber/ Canadian Influencer, on the Far-Right and Covid conspiracy proponent. William Guy Carr Canadian author Illuminati/III World War Conspiracist Google searches conducted as of 9 October 2021.

&#x0D; &#x0D; &#x0D; 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/&gt; 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&gt;. 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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&gt;. 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&gt;. 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&gt;. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02&gt;. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02&gt;. 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. &#x0D; &#x0D; &#x0D; &#x0D; Citation reference for this article&#x0D; &#x0D; MLA Style&#x0D; 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'); ?&gt; &lt;http://journal.media-culture.org.au/0506/08-watson.php&gt;. APA Style&#x0D; 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'); ?&gt; from &lt;http://journal.media-culture.org.au/0506/08-watson.php&gt;. &#x0D;