Articoli di riviste sul tema "Settore ceramico"

Il presente lavoro si colloca all'interno del filone di studi che approfondisce le potenzialitŕ e i rischi degli accordi di co-branding nel settore turistico-alberghiero. La formazione di tali accordi č generalmente finalizzata ad allargare il raggio d'azione delle marche coinvolte, ad incrementarne la reputazione al fine di entrare in nuovi mercati, comprendere e presidiare nuove frontiere tecnologiche, ridurre i costi attraverso le economie di scala e/o di condivisione nonché rinnovare l'immagine aziendale (Collesei e Checchinato, 2007; Busacca e Bertoli, 2006). Se fino ad anni relativamente recenti tali accordi hanno riguardato soprattutto le relazioni di tipo verticale e orizzontale, negli ultimi tempi sono andati invece acquisendo rilevanza gli accordi di tipo laterale, in cui la relazione per la condivisione della marca s'instaura fra imprese che operano in settori merceologici differenti: i partner sono cioč aziende che, pur collaborando in alcune attivitŕ, mantengono la propria vocazione a competere in ambiti distinti (Bertoli, 1995; Della Corte e Sciarelli, 2003). In particolare, obiettivo del lavoro sarŕ quello di presentare una iniziativa di cobranding laterale sviluppata da due imprese di grande tradizione e operanti in settori differenziati: l'Hotel "Il San Pietro" di Positano - tra gli alberghi piů prestigiosi al mondo - e la Ceramica Stingo - antica manifattura di maioliche artistiche protagonista del panorama proto-industriale dell'area napoletana. Due imprese, dunque, lontane per settore di attivitŕ, ma vicine per allure, tradizione e qualitŕ, hanno dato vita ad una efficace simbiosi che testimonia come marchi di eccellenza possano interagire, potenziarsi a vicenda e, per quanto riguarda il settore turistico, rappresentare un peculiare fattore di attrattivitŕ di cui l'impresa ricettiva deve dotarsi per posizionarsi in una situazione di vantaggio rispetto ai concorrenti.

Large bulk solidified TiC-TiB2 eutectic composite ceramics were prepared by combustion synthesis under high gravity, and the WO3 was introduced into the combustion synthesis as one of oxidants in thermit to obtain the Ti-W-Cr-C-B liquid, so near-full-density TiB2-(Ti,W)C eutectic composite ceramics without the macrocracks were achieved. The ceramic matrix was mainly composed of TiB2-(Ti,W)C eutectic microstructures, and a few of Al2O3 and Al2O3-ZrO2 eutectic structures were also detected in between Ti-W carbides. Due to the introduction of the high gravity field, Stocks immigration of the immiscible liquids took place due to their density differences, resulting in float-up of oxide liquid and settle-down of Ti-W-Cr-C-B liquid, and the layered melt consisting of oxide liquid and Ti-W-Cr-C-B liquid was formed, finally, TiB2-(Ti,W)C eutectic composite grown from the melt. Due to the mutual solubility of W-Ti, the W atom diffused into the TiC, leading to the formation of (Ti,W)C solid solution as same as crystal lattice structure of TiC. The relative density, Vickers hardness and fracture toughness of the composite ceramics measured 98.4%, 26.4 GPa and 7.6±0.5 MPa•m1/2, respectively.

Il saggio espone l'idea progettuale dell'allestimento del Museo Regionale della Ceramica di Caltagirone nella nuova sede in Sant'Agostino, che per la prima volta trova una sua divulgazione. Il tracciato rende nota la metodologia utilizzata per la fruizione delle collezioni musealidal ‘500 all'800, costituite da materiali eterogenei e prevalentemente da vasi da farmacia, attraverso un innovativo percorso scientifico suddiviso in cinque tematiche. La storia della maiolica moderna, supportata dalle conoscenze acquisite dalla scrivente tra Sicilia e Malta è stata presentata ripercorrendo le svariate applicazioni della ceramica calatina in vari settori.

Gli ultimi cinque decenni hanno visto un forte incremento del numero dei siti che in Italia hanno restituito frammenti di ceramica micenea. L'elevata presenza attribuita ai Micenei ha incoraggiato la teoria che furono loro ad innescare gli sviluppi sociali sperimentati in Italia alla fine dell'età del Bronzo. Concentrandosi sull'evidenza ceramica, questo contributo assume una posizione minimalista, sostenendo che le relazioni tra i Micenei e le genti d'Italia erano infrequenti, di piccola scala e avevano, al massimo, un impatto circoscritto in aree limitate. Comunque, esiste una marcata variabilità nella distribuzione della ceramica micenea in Italia, sia geografica sia cronologica, con nessuna chiara coerenza nelle azioni e risposte micenee e italiche.L'evidenza suggerisce che i Micenei non trassero molto giovamento dalle visite, che per questo divennero meno frequenti. In aggiunta i Micenei non ebbero la capacità di fare più che commerci di oggetti e prodotti con l'Italia, e così ebbero scarsa influenza su altri settori della vita.

relevance between technological parameter and processing effects in WEDM is extremely complex. In order to solve the difficulty of set up mathematical model for technological parameter and processing effects in engineering ceramics WEDM, an prediction model based on fuzzy logic is proposed through establish fuzzy controller by input/output fuzzification, fuzzy inference and settle fuzzy, whereas, build prediction model of engineering ceramics WEDM surface roughness change according to technological parameter utilizing established fuzzy logic controller in matlab. Laboratory finding shows, utilization of this model can precisely predict surface roughness under preset condition with relatively minus error, which further validate the reliability of this model. Keywords: Engineering ceramics, fuzzy logic, WEDM, processing optimization

The area around the confluence of the Ohio and Mississippi rivers has become a sharp focus of discussion about late Mississippian developments. The debate largely is based on the presence or absence of artifacts thought to be protohistoric or contact period horizon markers. Late deposits at Wickliffe Mounds (15BA4) have produced two such artifacts: astragalus dice and a head-effigy pot. Close study of the ceramic sequence and associated radiocarbon dates indicates that both “horizon markers” belong to the late prehistoric period of western Kentucky, and that neither can settle the debate about protohistoric occupation.

Excavations at the Vermeule-Mundy House uncovered a rich artifact deposit dating to the mid-1860s. The artifacts can be associated with Morris Cohen, an early Jewish farmer to settle in rural New Jersey, where he raised a family, a range of animals, and grains, and produced a large amount of butter. In an effort to deter a groundhog from burrowing under their porch, the Cohens placed hundreds of ceramic, glass, and iron objects into the burrow. These artifacts provide information about their table settings and agricultural production, and they may provide details about Cohen’s socioeconomic status as well as his Jewish ethnicity through the use of multiple ceramic and glass sets as well as a preference for olive oil.

Availability of a reliable and consistent source for high temperature ceramic capacitors has been an ongoing issue for design engineers looking at developing product for applications up to and including +300°C. The general practice has been to derate standard X7R ceramic capacitors for high temperature applications and settle for a device characterized by a significant reduction in those critical performance features related to capacitance value, operating voltage, insulation resistance and breakdown voltage, not to mention a substantial roll off in temperature coefficient above +150°C. In addition, the need to provide coated and / or leaded options also presents additional concerns related to operational integrity. This paper presents packaging options, life test reliability data and compares performance characteristics for a unique high K, high temperature ceramic capacitor, to the more traditional options. This approach utilizes leading edge, Class II dielectric and packaging materials that have been specifically developed for use at +300°C and then benefit from enhanced reliability when operated at lower temperatures. As shown in this paper, capacitors manufactured with this dielectric material exhibit much higher capacitance per unit volume and significant improvements in insulation resistance, without having to sacrifice mechanical strength, voltage rating or long term reliability.

Availability of a reliable and consistent source for high temperature ceramic capacitors has been an ongoing issue for design engineers for the purpose of developing product for applications up to and including +300°C. The general practice has been to de-rate standard X7R ceramic capacitors for high temperature applications and settle for a device characterized by a significant reduction in the critical performance features related to capacitance value, operating voltage, insulation resistance and breakdown voltage, not to mention a substantial roll off in temperature coefficient above +150°C. In addition, the need to provide coated and / or leaded options also presents additional concerns related to operational integrity. This paper presents packaging options, life tests reliability data and compares performance characteristics for a unique high K, high temperature ceramic capacitor, to the more traditional options. This approach utilizes leading edge, Class II dielectric and packaging materials that have been specifically developed for use at +300°C and then benefit from enhanced reliability when operated at lower temperatures. As shown in this paper, capacitors manufactured with this dielectric material exhibit much higher capacitance per unit volume and significant improvements in insulation resistance, without having to sacrifice mechanical strength, voltage rating or long term reliability.

Regularities, features and mechanisms of deformation and fracture processes of new ceramic materials – porous (=3-35 %) two-phase titanium nanolaminate-composites Ti3SiC2/TiC, Ti3AlC2/TiC, Ti4AlN3/TiN (content of TiC or TiN – 5-70 % vol.) at 20-1300 оС are established. Composites are made by reaction sintering. On increase in mechanical properties and resistance to deformation they settle down in the following sequence: Ti3AlC2/TiC–Ti4AlN3/TiN–Ti3SiC2/TiC. In porous nanolaminate-composites containing less than 20 % TiC the increase in porosity  results in decrease in high-temperature strength pl and increase of plasticity . Appreciable increase of strength of porous composites is marked at content TiC>25-30 % (vol.).

In the early 1980s Prof. Bowen at Massachusetts Institute of Technology advanced the concept that sintered ceramic bodies could be improved by decreasing the defects in green bodies. In addition, his group advanced the idea that ideal green bodies should be composed of monodisperse particles packed into an ordered array. They used the hydrolysis of metal alkoxides to produce narrow size distribution sol-gel powders (i.e., amorphous). These powders were allowed to settle under the force of gravity into an ordered array which was dried and sintered. Sintering took place at much lower temperatures and at faster rates than traditional ceramic processing (e.g., broad size distributions of crystalline powders). Improvements in strength and toughness of the sintered body were never demonstrated by Bowen's group for these novel ceramics.Ordered particles have packing faults which lead to ordered domains, as shown in Figure 1, similar to grains in polycrystalline materials. When sintered, the ordered domains shrink separately and pull away from each other as shown in Figure 2. This leads to defects in the sintered body of sizes similar to those of the ordered domains which can encompass as many as 10,000 particles. These ordered domains lead to weakness in the sintered body according to Griffith's theory.

A critical drawback for the application of magnesium wrought alloys is the limited formability of semifinished products that arises from a strong texture formation during thermomechanical treatment. The ability of second phase particles embedded into the metal matrix to alter this texture evolution is of great interest. Therefore, the fabrication of particle modified magnesium alloys (particle content 0.5–1 wt.-%) by gravity die casting has been studied. Five different types of micron sized ceramic powders (AlN, MgB2, MgO, SiC, and ZrB2) have been investigated to identify applicable particles for the modification. Agglomeration of the particles is revealed to be the central problem for the fabrication process. The main factors that influence the agglomerate size are the particle size and the intensity of melt stirring. Concerning handling, chemical stability in the Mg-Al-Zn alloy system, settling and wetting in the melt, and formation of the microstructure in most cases, the investigated powders show satisfying properties. However, SiC is chemically unstable in aluminum containing alloys. The high density of ZrB2 causes large particles to settle subsequent to stirring resulting in an inhomogeneous distribution of the particles over the cast billet.

Studying the Eneolithic Period and Early Bronze Age has always been one of the major problems of the Caucasus archeology. Ovchulartepe settlement is one of the monuments representing the both aforementioned periods in a wide range. Plenteous tangible cultural patterns were discovered in the settlement as a result of systematic archaeological investigations conducted during 2007-2013. Investigations conducted by both local and foreign researchers studied the remains of Ovchulartepe, ceramic products, fauna and flora, metal items, labor tools and so on. As a result of research work, it become known that people had started to settle in Ovchulartepe from the middle of the 5th millennium BC, and there is a notable opportunity to study their economic and cultural relations with the countries of the Near East.

Recent advances in the development of high gauge factor thin-films for strain gauges prompt the research on advanced substrate materials. A glass ceramic composite has been developed in consideration of a high coefficient of thermal expansion and a low modulus of elasticity for the application as support material for thin-film sensors. Constantan foil strain gauges were fabricated from this material by tape casting, pressure-assisted sintering and subsequent lamination of the metal foil on the planar ceramic substrates. The sensors were mounted on a strain gauge beam arrangement and load curves and creep behavior were evaluated. The accuracy of the assembled load cells correspond to accuracy class C6. That qualifies the load cells for the use in automatic packaging units and confirms the applicability of the LTCC substrates for fabrication of accurate strain gauges. To facilitate the deposition of thin film sensor structures onto the LTCC substrates, the pressure-assisted sintering technology has been refined. By the use of smooth setters instead of release tapes substrates with minimal surface roughness were fabricated. Metallic thin films deposited on these substrates exhibit low surface resistances comparable to thin films on commercial alumina thin-film substrates. The presented advances in material design and manufacturing technology are important to promote the development of high performance thin-film strain gauges.

Il contributo presenta l'inedita collezione di vasi da farmacia in maiolica custoditi presso il Museum of the Order of St. John di Londra e realizzati in botteghe calatine tra il XVII ed il XIX secolo. L'autore propone una lettura dei manufatti - sette albarelli, due versatori, due anfore ed un vaso a palla - attraverso l'analisi stilistica e formale, e ne propone una contestualizzazione cronologica. La ricerca è supportata da raffronti con oggetti noti, custoditi in musei e collezioni private.

To suppress the agglomeration of a photocatalyst, facilitate its recovery, and avoid photolysis of dyes, various support materials such as ceramic, carbon, and polymer have been investigated. However, these support materials pose the following additional challenges: ceramic supports will settle down at the bottom of their container due to their high density, while the carbon support will absorb the UV-vis light for its black color. Herein, we propose a floatable, UV transmitting, mesoporous bleached wood with most lignin removal to support P25 nanoparticles (BP-wood) that can effectively, recyclable, three dimensional (3D) photocatalytic degrade dyes such as methylene blue (MB) under ambient sunlight. The BP-wood has the following advantages: (1) The delignification makes the BP-wood more porous to not only quickly transport MB solutions upstream to the top surface, but is also decorated with P25 nanoparticles on the cell wall to form a 3D photocatalyst. (2) The delignification endows the BP-wood with good UV transmittance to undergo 3D photocatalytic degradation under sunlight. (3) It can float on the surface of the MB solution to capture more sunlight to enhance the photodegradation efficiency by suppressing the photolysis of MB. (4) It has comparable or even better photocatalytic degradation of 40 mg/L and 60 mg/L MB than that of P25 nanoparticles suspension. (5) It is green, recyclable, and scalable.

An issue of paramount importance for the fabrication of microplasma devices is internal structure flatness. To overcome this problem we devised a fabrication method using LTCC (Low Temperature Cofired Ceramic) and LTTT (Low Temperature Transfer Tape) technologies. The flexibility resulting from mixing these technologies could enable fabrication of certain microfluidic applications. In the present work, the fabrication of a microplasma generator using a mixed LTCC and LTTT technology is presented. Silver-palladium electrodes were screen printed on the green tapes and were cofired after machining of microchannels and other structures. Two electrode plates were obtained separately in this way using a setter powder sheet to ensure flatness. In the postfire process, transfer tapes were used to bind the two electrode plates and the electrode spacer together to make the final device structure. Uniform and stable glow discharges were obtained in argon, nitrogen, oxygen, and sulfur hexafluoride gases. Paschen's curves, V-I characteristics, and optical emission spectra were obtained in DC discharges. The fabrication method presented has been demonstrated to be very reproducible and produced very flat electrodes.

The initial settlement of the Greater Mapungubwe Landscape by Zhizo ceramic-producing farmers around AD 900 is said to be linked to the large elephant population that the region once supported. Elephant ivory was used in the Indian Ocean trade network to obtain exotic trade goods such as glass beads and cloth. However, there has been no attempt to determine whether the local elephant population was large enough to support such trade endeavours. In this paper, we use an inter-disciplinary approach to establish a projection of the past elephant population and demonstrate that the ivory tonnage in the region, including that which could be recovered from natural carcasses, could have supported trade demand. We also argue that at the time of settlement the same environmental productivity supporting the elephant population provided an ecological system amenable to cultivation and could support domesticated livestock. In addition, the local topography, river networks and community of large mammalian herbivores contributed to the attractiveness of the region from a settlement perspective. We believe that the elephant population was only one component present on the landscape that attracted agriculturalists to settle in the area.

Processing of Ag-equipped thick film modules is still challenging due to well-known issues of warpage of Ag-containing LTCC substrates or undesired coloring of Ag-surrounding ceramics. To increase the workability of Ag based thick film modules, enhanced control over these effects is necessary. From the experimental background as well as the chemical and thermodynamic nature of the element Ag, conclusions regarding essential properties during Ag-high temperature processing, like initial oxidation, transport via the vapor and glassy phase, and reduction are discussed. Taking into consideration a possible occurrences of this phenomenas as activated/deactivaed dependent on sintering conditions, explanation of unwanted maufacturing results like LTCC staining, warpage, glass thinning and setter memory effects are possible. From a technical standpoint, there are roughly two temperature ranges of relevance for processing silver metalized thick film structures. Between approximately 300 °C and 700 °C fast transport mechanisms of silver through the gaseous phase take place. Control can be achieved via governing the silver manufacturing, oxygen partial pressure, organic composition, powder conditioning and temperature-time schedule. Above approximately 600 °C, slower transport mechanisms of silver through the glassy phase and possible reduction of Ag(I) become evident. These effects originate corresponding impacts on the sintering kinetics. Here, control can be achieved via governing the glass composition, redox potential and, again, temperature-time schedule.

Linearbandkeramik and Lengyel Culture: Barcs-Som-ogytarnóca-Aszalói dűlő, Barcs-Somogytarnóca-Sertésteleptől ÉNy-ra, Hollád, Komlósd-Mogyorós (settlements); Balaton-Las-inja Culture: Gyékényes, Lulla-Büdösalja (settlements); „Furch-enstich” ceramic Culture: Barcs-Somogytarnóca-Aszalói dűlő, Istvándi-Csontai-dűlő (settlements); Baden Culture: Kaposvár-Kisgát, Lulla-Jabapuszta (settlements); Somogyvár-Vinkovci Culture: Hollád, Lulla-Büdösalja, Lulla-Jabapuszta (settlements), Zamárdi-Réti földek (grave), Kaposvár-Kaposfüred 67/13 (set-tlement); Kisapostag Culture: Barcs-Somogytarnóca-Aszalói dűlő, Kaposvár-Kisgát (settlements); Urnfield Culture (earlier and elder period): Vörs-Battyáni disznólegelő (cemetery), Bar-cs-Somogytarnóca-Aszalói dűlő, Gyékényes, Hollád, Siófok (settlements); Hallstatt Culture: Kaposvár-Kaposfüred 67/13, Siófok (settlements); Celtic age: Barcs-Somogytarnóca-Aszalói dűlő, Gyékényes, Lulla-Büdösalja (settlements), Kaposvár-Ka-posfüred 67/13 (graves); Roman age: Barcs-Somogytarnóca-Aszalói dűlő, Balatonszentgyörgy (Vörs-B), Gyékényes-Fehér-dűlő, Kaposvár-Kisgát, Lulla-Büdösalja, Sávoly (settlements), Somogyvár-Bréza-erdő (barrow grave), Lulla-Jabapuszta (settlement, first-third centuries); Avar period: Vörs-Battyáni disznólegelő, Kaposvár-Kertészet, Zamárdi-Réti földek (cem-eteries), Siófok (settlement); 10-11th centuries: Hollád (settle-ment), Kaposvár-Kertészet (cemetery); Arpadian-age: Barcs-Somogytarnóca-Aszalói dűlő, Hollád-Körforgalom, Kaposvár-Kaposfüred 67/12, Komlósd-Mogyorós, Lulla-Büdösalja (set-tlements), Iharos-temető, Kisberény-Helai-dűlő, Szőkedencs-temető (churchs, cemeteries); Late medieval period: Iharos-temető, Kisberény-Helai-dűlő, Szőkedencs-temető (churchs, cemeteries), Lulla-Büdösalja (settlement); Early new ages: Kaposvár-Kisgát (cemetery), Őrtilos-Új Zrinyi vár (fortress)

I RINVENIMENTI DELL'ETÀ DEL BRONZO E DEL FERRO DA IL PIZZO (NEPI, VT): I RISULTATI DELLA RICOGNIZIONE INTENSIVA DEL 2000Questo articolo presenta i rinvenimenti protostorici documentati durante la ricognizione in località Il Pizzo (Nepi, VT) nel marzo 2000, come parte della ricognizione di Nepi, all'interno del più ampio Tiber Valley Project. La ricognizione intensiva del sito ha previsto l'utilizzo di rilevamenti tradizionali, della ricognizione con stazione totale, della raccolta complessiva di superficie lungo un transetto longitudinale sul promontorio e della raccolta aggiuntiva sui pendii. Sono stati identificati 161 frammenti di ceramica protostorica; 31 dei quali possono essere datati precisamente. Molti di questi sono attribuibili al Bronzo Finale. Due frammenti sono indubbiamente del Bronzo Medio e sette o otto potrebbero essere datati all'età del ferro. Nessun reperto è attribuibile con certezza al Bronzo Recente. Il materiale dell'età del bronzo è compatibile dal punto di vista funzionale con le attività domestiche, mentre quello dell'età del ferro suggerisce una provenienza da un'area funeraria. I dati cronologici permettono di ipotizzare che l'area rappresenti il nucleo di un insediamento a continuità di vita dal Bronzo Medio a quello Finale, seguito da un possibile iato nel Bronzo Recente e ripresa di uso nell'età del ferro, probabilmente come un'area funeraria.

In a bandsaw machine, the blade guides provide additional stiffness and help to align the blade near the cutting region. Typically, these are either in the form of blocks made of carbide or ceramics or as sealed bearings. Abrasive particles, generated while cutting hard and brittle materials like natural stones, settle between the contact surfaces of the guides and the blade causing wear and premature failure. The hydrostatic guide system, as presented in this work, is a contactless blade guiding method that uses the force of several pressurized water jets to align the blade to the direction of the cut. For this investigation, cutting tests were performed on a marble block using a galvanic diamond coated bandsaw blade with the upper roller guides replaced by hydrostatic guides. The results show that the hydrostatic guides help to reduce the passive force to a constant near zero in contrast with the traditional guides. This also resulted in reduced surface roughness of the stone plates that were cut, indicating a reduction in laterial vibration of the band. Additionally, it has also been shown that using hydrostatic guides the bandsaw blade can be tilted to counter the bandsaw drift, opening opportunities for further research in active alignment control. This original research work has shown that the hydrostatic guide systems are capable of replacing, and in fact, perform better than state-of-the-art bearing or block guides, particularly for stone-cutting applications.

Metal matrix composites (MMCs) play a vital role in today’s engineering industries. Stir casting is one of the most inexpensive methods for the production of particulate reinforced metal matrix composites. However there are few problems encountered in stir casting such as the problem of poor wettability of the reinforcement particles in the matrix metal. The reinforcement particles have the tendency to either settle at the bottom of the crucible or they tend to float at the top of molten metal. This is due to the greater surface tension of the molten metal. Various techniques are available to improve the wettability of the ceramic particles in metal matrix which includes Particle treatment, Particle coating and Addition of alloying agent. In this work, Magnesium (Mg) was used as the alloying element to improve the wettability of SiC particles in the Al matrix. Mg is used to reduce the surface tension of molten aluminum (Al) thus promoting proper wetting. To understand the effect of Mg on improving the wettability of SiC in aluminum matrix, different weight percentages of SiC particles reinforced aluminum alloy 6061(AA6061) based MMCs were fabricated in stir casting method by adding Mg as alloying element. The cast specimens were subjected to microstructural analysis, tension tests and hardness tests. Results showed that addition of Mg with SiC in AA6061 matrix significantly improved the wetting between Al and SiC; subsequently MMCs possessed enhanced mechanical properties.

In the past two decades, the number of archaeological explorations significantly increased in the densely built-up 11th district of Budapest, the area called Lágymányos. The recent excavations not once of large extent reveal a much more detailed picture of the Roman city structure and topography of the area that belongs to the vicinity of Aquincum, south of the Gellérthegy.Considering the information obtained from previous smaller scale excavations (i.e. Kende Str. 8–10, Gellért Square) and the more recent excavations of a larger extent (Skála Department Store, Bercsényi Rd.) we may come to the conclusion that the area south of Gellérthegy called Lagymányos today was occupied by an indigenous Celtic vicus of the early imperial period. The composition of the findings of the different sites was almost identical. There was a strong indigenous (Celtic) component along with products of “provincial” ceramic production of the 1st and the 2nd century AD. The amount of imported ware found was insignificant in all sites. Excavated building structures (pit-houses, storage pits, ceramic kilns, industrial workshops) show the characteristics of a village-like settlement. According to Samian ware finds the settlement evolved in the Claudian era, flourished under the Flavians, slowly depopulated in the 2nd century, and was abandoned by its last inhabitants in the Severan era at the latest. Part of its population likely moved to this area from the native settlement of Tabán ceased under Tiberius.The slow dissolution of the settlement refers to its inhabitants leaving the area because of economical reasons. The municipium of Aquincum starting to flourish in the mid 2nd century offering a better living for the inhabitants. The antique name of the vicus is not known. In terms of topography, the vicus of Lágymányos evolved in a favourable position. The southern slopes of Gellérthegy were a safe place to settle at, besides there were excellent quality clay sources along the Danube. A wide valley leads in the direction of today’s Budaörs through which trade and transportation could easily be carried out.In the last one and a half decades several significant indigenous vici were excavated in the area of Budapest (BudaörsKamaraerdei-dűlő, Biatorbágy-Kukorica-dűlő, Páty-Malom-dűlő). The distance of these vici from one another is approximately equally about 6 kms. A group of sites (Kelenhegyi Rd. 27, Mányoki Str. 16, and the southern slopes of Gellérthegy) are linked to cemeteries instead of settlements. The majority of names on the epitaphs and the clothing and jewelry depicted on the steles dating back to the period between the last third of the 1st and the beginning of the 2nd century refer to the native Celtic population (one exception being Valerius Crescens who probably passed away as a veteranus). The vessels unearthed at Mányoki u. 16. referring to a cremation burial can also easily be fitted into the series of cemeteries of the early imperial age. Accordingly, a cemetery that belonged to the above vicus lied on the southern, south-western slopes of the Gellérthegy.In conclusion, it is ascertainable, that after cross-checking data from the sporadic, mosaic-like excavation sites of Lágymányos, we localized an unknown (or interpreted otherwise previously) early Roman (1st–2nd century AD) indigenous vicus south of the Gellérthegy. The approximate extent of the vicus’ cemetery and several burials and steles are also known implying this being a complex settlement, not a potter’s workshop or a temporary settlement as it was previously believed.

Introduction. The Nomads of early Sarmatian time is a complex conglomerate of constantly growing groups of new population in the Volga-Don interfluve area. Determining their location is becoming a relevant problem in the current research. The early Sarmatian burials of the Kovalevka burial mound are significantly different from the synchronous array of similar monuments. It makes possible to clarify the historical situation in the final stage of the early Sarmatian culture in the studied region. Methods. The method of cross-dating and comparative-typological analysis of 12 burials of 8 barrows of the Kovalevka burial mound, located in the southern part of the Volga-Don interfluve area, allow clarifying the chronology of materials and identify the specifics of the funeral rite. Analysis. The ceramic complex as a part of the North Caucasian antiquities of the 3rd - 1st centuries BC, can be identified through the presence of iron stemmed arrowheads, common for the period 2nd - 1st centuries BC. The tradition of the ancestral mounds-cemeteries with multiple burials under one mound dominated during this time period. However, the analyzed complexes represented a new tradition of individual burial places, more common in the latter period. Besides, the horse bones, iron bits and a few iron spearheads were found in the burial mound. This is a rarity in the funeral rite of the early Sarmatian culture. All of these innovations are known in the controversial Sarmatian complexes of the turn of eras when the change from early Sarmatian culture to middle Sarmatian culture took place. Another common feature of all the burials under study is a ritual robbery of buried people. The burials were destroyed, mostly for the purpose of their desecration. The bones of the buried were found at the bottom of the grave, and the remaining parts of the skeleton were thrown out of the pit. Results. It can be assumed that at the end of the 1st century BC a group of well-armed nomads entered the territory uder study and was not accepted by the local population. The attempt to settle in the place led migrants to founding their own cemetery in the floodplain of the Esaulovsky Aksai river (local Sarmatians chose watersheds for this). However, this action caused discontent of natives, which led to the desecration of strangers’ graves by the local population.

ABSTRACTBinder design is an important issue in ceramic injection molding technology. The binder decomposition mechanism, which involves thermodynamics, kinetics, as well as heat and mass transfer, controls the binder removal process. This process, in turn, is governed by the thermal and physical characteristics of the organic waxes used, and is the most critical step in injection molding ceramics. In this paper, we present the binder design philosophy and the method of binder selection. A systematic binder removal study focusing on heating rate, setter powder, and sublimable materials was carried out with the selected compositions. As a result of this study, we concluded that the fluid wicking controls the binder removal at the molten temperature of the binder, and the diffusion and permeation-controlled mechanism dominate at the decomposition temperature range of the binder. With the right binder selection, it is feasible to produce internal and external crack-free large cross-section injection-molded ceramic parts.

Did ancestral Caddo peoples live and settle on the prairies of Central Texas in prehistoric times (i.e., before A.D. 1680)? Story had noted that there is little known about “the nature of the Caddo connections” in these sites, and she wondered what these settlements represented: “(1) groups from the east who occupied the area year round and/or seasonally; or (2) local groups who were interacting with Caddoans [sic] through trade, marriage, and visitations…?” In this article, I am concerned with the consideration of “Caddo connections” as expressed in the character of the ceramic assemblages from four sites in Central Texas that have been considered to have Caddo pottery and were occupied by Prairie Caddo peoples, Of particular importance are the stylistic (i.e., decorative methods and decorative elements) and technological (i.e., choice of temper inclusions) attributes of the sherds from the sites that are from utility ware and fine ware vessels. According to Shafer, the term “Prairie Caddo” refers to “Caddo groups [that] occupied portions of central Texas prairies in Late Prehistoric times,” from ca. A.D. 1000–1300.

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