Zeitschriftenartikel zum Thema „Bit (ordinateur)“

In this paper, the damage of drilling parameters on roundness error is investigated in drilling of Glass Fiber Reinforced Polypropylene (GFR/PP) matrix composites with ‘Brad and Spur’ drill bit. The experiment is carried out using Solid Carbide drill bit and L27 orthogonal array is used to analyze the effect of spindle speed, feed rate and drill diameter. A complete and in-detail evaluation and optimization of cutting parameter using Box-Behnken Design (BBD) technique is carried out. The design is contributed for quality and productivity equally and analysis of the drilling parameters. The roundness error is determined using response surface methodology (RSM) and Analysis of variance (ANOVA) which is used for analyzing the output results. One of the most important ovalty damage to be controlled on a cylindrical drilled part is the roundness error. The Co-ordinate Measuring Machine (CMM) is the general metrological equipment used for inspection of roundness error which is normally performed in a quality room. The results indicated that the model can be effectively used for predicting the response variable by means of which roundness error can be controlled. 3-D response surface graphs are developed to study the effect of drilling parameters with roundness error and presented in detail.

This paper presents a new automatic feature extraction technique and a neural network based classification method for recognition of rotating images. The image processing technique extracts global features of an image and converts a large size image into a one-dimensional small vector. A special advantage of the proposed technique is that the extracted features are the same even if the original image is rotated with rotation angles from 5 to 355 or rotated and a little bit distorted. The proposed approach technique is based on simple co-ordinate geometry, fuzzy sets and neural networks. The proposed approach is very easy in implementation and its has been developed in C++ on a Sun workstation. The experimental results have demonstrated that the proposed approach performs successfully on a variety of small as well as large scale rotated and distorted images.

The relative abundance of the mitochondrial-encoded mRNAs for cytochrome c oxidase subunit II and NADH dehydrogenase subunit I was lower in brown adipose tissue (BAT) from lactating rats than in virgin controls. This decrease was in parallel with a significant decrease in mitochondrial 16 S rRNA levels and in the relative content of mitochondrial DNA in the tissue. BAT from lactating rats showed lowered mRNA expression of the nuclear-encoded genes for the mitochondrial uncoupling protein, subunit IV of cytochrome c oxidase and the adenine nucleotide translocase isoforms ANT1 and ANT2, whereas mRNA levels for the ATP synthase beta-subunit were unchanged. However, the relative content of this last protein was lower in BAT mitochondria from lactating rats than in virgin controls. It is concluded that lactation-induced mitochondrial hypotrophy in BAT is associated with a co-ordinate decrease in the expression of the mitochondrial genome and nuclear genes for mitochondrial proteins. This decrease is caused by regulatory events acting at different levels, including pre- and post-transcriptional regulation. BAT appears to be a useful model with which to investigate the molecular mechanisms involved in the co-ordination of the expression of the mitochondrial and nuclear genomes during mitochondrial biogenesis.

Brown adipose tissue (BAT) is a metabolically beneficial organ capable of burning fat by dissipating chemical energy into heat, thereby increasing energy expenditure. Moreover, subcutaneous white adipose tissue can undergo so-called browning/beiging. The recent recognition of the presence of brown or beige adipocytes in human adults has attracted much attention to elucidate the molecular mechanism underlying the thermogenic adipose program. Many key transcriptional regulators critical for the thermogenic gene program centering on activating the UCP1 promoter, have been discovered. Thermogenic gene expression in brown adipocytes rely on co-ordinated actions of a multitude of transcription factors, including EBF2, PPARγ, Zfp516 and Zc3h10. These transcription factors probably integrate into a cohesive network for BAT gene program. Moreover, these transcription factors recruit epigenetic factors, such as LSD1 and MLL3/4, for specific histone signatures to establish the favorable chromatin landscape. In this review, we discuss advances made in understanding the molecular mechanism underlying the thermogenic gene program, particularly epigenetic regulation.

Bluetooth may be an inaccessible development standard utilized for exchanging data between settled and flexible contraptions over brief divisions utilizing UHF radio waves within the mechanical, coherent, and restorative radio bunches, from 2.402GHz to 2.480 GHz. PCM codec is an A/D interface for speech signals. The Bluetooth center framework underpins co-ordinate transport of application information that’s isochronous and of a consistent rate (either bit-rate or frame-rate for pre-framed information) employing an SCO or ESCO consistent joins. These coherent joins save physical channel transfer speed and give a consistent rate of transport bolted to the piconet clock. The codec interface block is used to interface an external PCM (8KHz voice data) or a stereo codec with the baseband controller for the direct transfer of voice data on isochronous links to external CODEC. Bluetooth baseband supports two CODEC interface protocols 1) for audio links it is the PCM interface and 2) for mono/stereo music data from audio codec it uses the IIS interface. This enables the source of isochronous data to be directly interfaced to the baseband controller if it is not required to be processed by firmware. It also provides the host access path where the source of isochronous data will be any application running on the host and data is written and read directly into baseband SCO/ESCO FIFOs from firmware. In this paper, PCM is verified in the Cadence tool and simulated images are shown.

PurposeThe purpose of this paper is to examine the contribution of agentic work behaviour and decision-making authority (DMA) to thriving at work and, more importantly, the moderating role of DMA in the relationship between agentic behaviour and thriving.Design/methodology/approachThe study has been carried out upon a random sample of 330 employees below supervisory level from manufacturing companies located at Odisha (a state located at the eastern part of India). After verifying the significance of correlation among the study variables through Pearson’s product moment correlation, moderated regression analyses were carried out to examine the independent contribution of agentic work behaviour and DMA to thriving as well as the moderating contribution of DMA towards thriving.FindingsResults reveal that the three dimensions of agentic work behaviour, namely, task focus, exploration and heedful relation, have a direct positive contribution towards thriving at workplace. As far as the moderation is concerned, it is observed that the thriving level is higher for the employees having high DMA irrespective of the level of agentic work behaviour at each dimension.Research limitations/implicationsThe findings imply for designing interventions to enhance task focus, super-ordinate relationship and interest for learning. In addition, the organisations should provide autonomy to employees for decision making.Originality/valueThe study is first of its kind in the Indian context upon employee thriving. In this study, the authors have not only investigated the separate independent contribution of agentic behaviour and DMA, but also their interacting contribution to employee thriving.

A double perovskite structured series Bi2–xEuxWO6 (x = 0.03-0.24) was prepared by using simple citrate sol-gel method at 700 ºC for 5 h of sintering. The double perovskite structure and its lattice parameters were analyzed by the XRD technique and found to be pure orthorhombic phase. The concentrated sample of x = 0.12 exhibits more intensity than all other concentration in their emission spectra. Particle size, thickness of the particle, distance between particles and its surface morphology were identified by scanning electron microscopy. The size and distance between particles lies in between the range of 1-50 nm and 20-50 nm, respectively. In addition to this the absorption of light capacity for every sample was investigated through diffuse reflectance spectra method. All the samples of double perovskite structures exhibit a sharp cut-off of absorption light in the UV and visible regions of diffuse reflectance spectra. Predominantly, sample x = 0.12 shows very good charge transfer band in their excitation spectra that leads to more absorption of light correspondingly emits high intensity in emission spectra. All the samples of series emit main peaks in the range of 550-700 nm in their emission spectra. Out of all four main peaks, 614 nm peak represents the red phosphor with 5D0−7F2 transition in the emission spectra. The prepared double perovskite structure compound CRI co-ordinates (0.6254, 0. 3739) are almost close to commercially available red phosphor i.e. Y2O2S (0.67, 0.33) as per NTSC. Hence, the prepared red phosphors can be used in order to display devices, luminescent materials and WLEDs.

Herein, a chitosan (CH) and fluroapatite (TNP) based CH-TNP composite was synthesized by utilizing seafood waste and phosphate rock and was tested for divalent copper (Cu(II)) adsorptive removal from water. The XRD and FT-IR data affirmed the formation of a CH-TNP composite, while BET analysis showed that the surface area of the CH-TNP composite (35.5 m2/g) was twice that of CH (16.7 m2/g). Mechanistically, electrostatic, van der Waals, and co-ordinate interactions were primarily responsible for the binding of Cu(II) with the CH-TNP composite. The maximum Cu(II) uptake of both CH and CH-TNP composite was recorded in the pH range 3–4. Monolayer Cu(II) coverage over both CH and CH-TNP surfaces was confirmed by the fitting of adsorption data to a Langmuir isotherm model. The chemical nature of the adsorption process was confirmed by the fitting of a pseudo-second-order kinetic model to adsorption data. About 82% of Cu(II) from saturated CH-TNP was recovered by 0.5 M NaOH. A significant drop in Cu(II) uptake was observed after four consecutive regeneration cycles. The co-existing ions (in binary and ternary systems) significantly reduced the Cu(II) removal efficacy of CH-TNP.

AimsThe case for perinatal psychiatry as a subspecialty is strong. In the context of perinatal mental illness consideration has to be given to; differences in presentation, the need to account for mother and baby and the risks associated with inadequate treatment. Specialist services improve outcomes, reduce risks and save money. Despite the government's agenda of preventative healthcare, service provision has been inequitable across the UK. Here we detail the journey towards the development of new Community Perinatal Mental Health Services in Northern Ireland (NI).MethodsIn NI the first embers of a perinatal service were ignited by Dr Janine Lynch approximately 15 years ago when she established a small community perinatal team in Belfast Health and Social Care Trust (BHSCT). Her commitment and foresight regarding training inspired others, resulting in high levels of interest among trainees. From this grew a dedicated group of consultants committed to supporting service development across NI.A multidisciplinary regional perinatal mental health forum was formed leading the development of a Northern Ireland Care Pathway in 2012. In partnership with women with lived experience, this forum led the bid for perinatal service development across the province.ResultsFollowing years of campaigning the need for services was recognised in both the Bamford Review (2012) and RQIA Perinatal Review (2017). A commitment for funding for specialist teams, across all five health and social care trusts, was outlined in the Mental Health Action Plan in May 2020. Funding was finally approved in January 2021.Significant work has gone into training to ensure there is a workforce ready to deliver services with focus on upskilling all professionals who deliver care to mums during the perinatal period. A competency framework has been developed to compliment this.It is important to recognise the support and commitment of many members of the college Perinatal Faculty throughout this journey.ConclusionCommunity perinatal mental health services are at an exciting juncture in NI. Each of the trusts have made a commitment to the development of services under the co-ordination of the Public Health Agency. Several have progressed to recruitment of key staff with the aspiration for services to go live before the end of the year. There will be an overarching, integrated approach, co-ordinated by the new Regional Perinatal Network.As newly recruited consultants we look forward to working in partnership to address this long-standing health inequality and improve the outcome for women and their babies in NI.

This work try to become a reflection, that we are not alone in this world. In this globalization era where communications expand at full speed, there’s still the human being which "live alone" in their own world. Of course it’s not things which they wish for, however, that circumstance was a disability they suffered. Everyone has their own world. But children’s world of deaf people is a world require to get sympathy, empathy, attention as well as heartfelt intention to assist them. At meanwhile art "telling a story" to us through channel of verbal and nonverbal. Because of its sensitivity and because its way give form to experience, art can jar wire in our soul and reach and also activate the parts of from our own experience which cannot be reached and activated by ordinary information. Art was a representative actualization media, grow self confidence up. Art also the therapy applicable for child suffering concentration trouble, co-ordinate body function, even bounce. Others also as medium of forming of ethic kindness, from values which consisted in art itself, and also in its learning process. For the reason, this work try to a little bit flicking away human side of ourself: is there any of us will share and have the empathy with them, disability children or deaf people which live in their own world? This work try to be a reflection for us about that thingKeyword : dance, therapy, education.

Responding to the changing landscape of higher education (HE) requires the development and implementation of flexible and imaginative approaches to continually inspire, engage and support academics and professional services staff in delivering high quality student-centred learning experiences. At Bournemouth University (BU), the cross-university Centre for Excellence in Learning (CEL) was created to promote, support and co-ordinate pedagogic initiatives and embed the explicit valuing of teaching and learning into all aspects of university life. It represents a collaborative, inter-disciplinary and trans-disciplinary model with multiple stakeholder voices. Operationalised through the secondment of academics two days a week, and taking a thematic approach, Theme Leaders 'bid' for the secondment, and drive forward an agreed agenda. The BU 'Fusion' corporate strategy promotes clear links between Pedagogy, Professional Practice and Research, complemented by the current CEL themes of: Employability; Innovation in Technology Enhanced Learning and Innovative Pedagogies; Assessment and Feedback.We believe that the sustainability and creativity required to deliver this agenda are promoted through the building of strong networks, the sharing of challenges and the collaborative development of solutions, however, as academics moving into the realms of learning development, our roles and identities are constantly being challenged, contested, and reframed by the responses of peers, students and our wider disciplinary roots. This paper offers a model for mapping and managing change and optimising these and other 'disruptive' practices within HE institutional settings, and considers the flexible and blended academic identities that facilitate this approach.

We study a Nano-Structural 4-forces of New Atomic Model, a lithography of biological elements on the basis of Super Unified Theorem SU(11)⊃SU(6)×SU(5)×U(1) or SU(11)⊃SU(6)×SU(3)×SU(2)×U(1). The existences of up-converting quantum masses or positions or dots of colloidal lithographies from exotic matter fluid to ordinary matter through colloidal stages, have been consider as four coordinates, such as x = ω1t; y = ω2t; z = ω3t; within the three dimensional real time ‘t’ and ω4t, a pseudo co-ordinate appearing by optical holography beams of photon-like[neutrino-likes created from the new energy sources of SU(6), SU(12), SU(24),....etc. interacting with photons creating by the group of U(1) through the respective framework of SU(6)×U(1), SU(12)×U(1),……etc. appears photon-likes quanta with ordinary photon of non-monotonic fluxes of flows (such like as laser pulses), appearing it, as incoming information through light rays with different gradient forces of multiple foci, behaving then as like different laser designated beams of holographic optical tweezers(HOT), then optimizing or controlling its potentiality for trapping multiple nano-particles fabricates colloidal lithography] fluxes of rays by new energies, an aperture or nano-hole based creation within a closed space or closed universe (an area filled with known & unknown energies, may increasing like a balloon, unfolding up-to a certain range then contraction), where ω1, ω2, ω3, ω4 are assumed to be the angular momentums. Assuming, in this model formed a General Atomic Structure where any formations was influences by exotic matter fluids through the creation of strong forces by the new energy sources of SU(6) in the framework of SU(6)×U(1) using with GUT symmetry breaking. We then find different status formation of ordinary matter atoms by the hidden interactions forces of new energies between different framework of sub-groups (as explained before) with U(1), the electrodynamics created magnetic monopole (once created does not destroyed) found it is highly polarizable particles. Thus, there created an electromagnetic force fields with appearances of “Charges” by quarks through the model of SU(5)⊃ SU(3) × SU(2) × U(1). In this new SUT model, we study the formations of some kind of new quantum particles-like in wave status created through colloidal stages firstly before GUT model by the exotic matter fluid maintaining the entanglement of wave-wave duality. The stiffness’s of different nano-particles within colloidal environment was appeared frequently by different resonance vibration mode through new light energy waves of high intensities of short wave lengths but strong strength forces created by SU(6) after the symmetry breaking of SU(11)⊃ SU(6) × SU(3) × SU(2) × U(1). According to the GUT theory, it is the low potential stage however it is high potential with respect to SUT[remembering the enthalpy of vaporization, it is like the measure of latent heat (540Cal/g) is traded or discharged in the stage move during the build-up of 1g water fume to 1g water with same temperature 100˚C]. In the theory of SU(11), new particle-likes in wave status are formed tightly bindings by the bosons of SU(6) with different quark-types but lepton-likes. These new kind of particle-like in wave characters (considering as primary nascent fundamental matter particles) are assumed to be the causes for wave-particle duality of quantum entanglement or the uncertainty principle of ordinary matter particles. These new kinds of particle-likes are then hidden in the background of all known ordinary particle interactions, may observe only by laboratory experiments. Although, ordinary matter particles are find when bosons of SU(6) changes to the bosons of SU(5) [i.e. SU(3)×SU(2)×U(1)] by exchanging the bosons of SU(11). The observing matter particles in GUT model, forming by gluons & different quarks fabricating and accelerating the ordinary quantum structures, which are therefore actually formed by up-converting quantum masses through resonance vibrations with proper interactions of background hidden forces between trapping particles with all others non-trapping nano-particles. We find then require different mobilise or immobilise elements structures, such as DNA or Protein bio-molecules, monomers, polymers etc. We thus need a Revision of Standard Model of Physics on the basis of Super Unified Theory of SU(11)⊃ SU(6) × SU(3) × SU(2) × U(1), where we positively accounting the 4th forces as gravitational force created by SU(6).

In "Speed and Information: Cyberspace Alarm!", Paul Virilio claims that telecommunications are ushering in the "invention of a perspective of real time" which results in "some kind of choking of the senses, a loss of control over reason". As users of this new technology, as the receptors of the stream of computer-mediated information, we need to figure out the terms and conditions of our acceptance of cyberspace as a space and realtime as a form of time, to understand the implications of this new mode of communication, for "no information exists without dis-information". In "Speed and Information: Cyberspace Alarm!", Paul Virilio claims that telecommunications are ushering in the "invention of a perspective of real time" which results in "some kind of choking of the senses, a loss of control over reason". As users of this new technology, as the receptors of the stream of computer-mediated information, we need to figure out the terms and conditions of our acceptance of cyberspace as a space and realtime as a form of time, to understand the implications of this new mode of communication, for "no information exists without dis-information". Even Virilio proclaims apocalyptically that "our history will happen in universal time, itself the outcome of instantaneity -- and there only". In fact, time also governs narrative choices: their availability, viability, desirability, relevance. Despite the hype surrounding the instantaneity of virtual travel, narrative in cyberspace is inherently subordinate to connection speed and loadtime. This is why the "loading screen" has become the standard welcome on Shockwave-heavy sites, developing into a kind of mini-genre of low-bandwidth animation. The possiblity of using temporality as a narrative catalyst has been exploited in cinema, as in classic Hollywood dissolves and fades. Metaphors of the passing of time are a familiar cliche: the pages of a daily calendar fluttering away, the changing of the seasons. Stanley Kubrick's bold cut from a spinning bone to a space station in orbit in 2001: A Space Odyssey is an extreme and unusual example of this sort of metaphor. These all function as temporal ellipses. The passage of time can also function as plot, as in Warhol's Blow Job and Richard Linklater's Slacker, both of which are ostensibly about merely the passage of time. Slacker lacks a traditional narrative and instead progresses through a series of vignettes, each one following seemingly random characters through seemingly random events (an idea developed further by the recent Magnolia). The change from one vignette to the next is motivated simply by the camera's movement from one character or event to another. The camera is like a nosy passerby, a voyeur, showing noncommittal interest in one thing, then another, and the viewer must give up interest in each vignette without the satisfaction of narrative closure. As the filmmaker tells the cabdriver in the beginning, each turn of events, each decision made, results in all possibilities going on to live out their potential realities. We, the viewers, in turn, follow the camera's gaze with the frustrating knowledge that other, unresolved realities are continuing without that gaze. The recent Timecode uses the same hypertext-type approach with four simultaneous screens, each a single shot capturing one part of an interlocked world. These are all extreme, overt examples of Deleuze's time-image. Online, similar moves have been made in Mark Napier's Shredder and Maciej Wisniewski's Netomat interfaces. Both function as alternatives to conventional browsing, Netomat even labelled an "anti-browser" that engages "an Internet that is an intelligent application and not simply a large database of static files". The above-mentioned devices for manipulating the perception and understanding of time as represented in film (fade, dissolve, et al.) exploited an inherently filmic problem: simply put, that there is a serious discrepancy between time as it happens and its perception, much like the time it takes to enjoy a Website's multimedia content and the length of its download. In the case of the fade, for instance, an inherent problem of the medium has been internalised in a non-transparent way and used overtly to further the narrative meaning. Likewise, the "loading screen" offers a morsel of content typically focussed on its function ("loading... 5 seconds to go..."). The existence of these filmic conventions makes us aware of when they are broken, as in the "realtime" films Nick of Time, Blow Job, and Timecode, and also in instances of extended time, as in the classic shower scene in Hitchcock's Psycho. Think, too, of the last time you had to wait before you saw any of a Website's content. Just as filmic time is typically compressed for the sake of appearing real, navigational movement on the Web is in fact constrained while seeming free, and delayed while seeming instantaneous. The promise of instant access has instead been fulfilled by erratic connection speeds and server problems. Because Web time ostensibly passes almost in an instant (this is, after all, the industry in which a product might become passé while still at the beta phase), information ages just as quickly: "404 File not found" is a familiar sight, telling us that the link we followed may have been coded, not last year, but maybe even last week, or yesterday. Information loses relevance, even disappears, often in no time at all. These problems have been exploited by JODI, whose experimental online work foregrounds the nuts and bolts (and kinks) of the Web, instead of hiding it beneath a clean "other" design. The desirability of information over time is also the focus of Rhizome's Starry Night interface which, utilizing Java, shifts over time to emphasise popular links, eventually eradicating unpopular ones. In The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin writes that "even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be" (220). But what of the Web art project, whose existence on a server somewhere does not need to be known for the work to be understood, whose duplication yields a copy that is indistinguishable from the original? What of the work that is both static and temporal, which is inherently mediated through time, including time (as in server and connection speed) which cannot be completely accounted for by the author? He goes on to say that technical reproduction "enables the original to meet the beholder halfway" (220), but what is the Website's point of departure? Its creator's computer? The server on which it lives? The end user's computer? How can we map the path from the "original" to its "reproduction" when the two are indistinguishable, when, in fact, there is no confirmable original? As if in response to Benjamin, Paul Virilio writes in "Speed and Information: Cyberspace Alarm!" that "the specific negative aspect of these information superhighways is precisely this loss of orientation regarding alterity (the other), this disturbance in the relationship with the other and with the world". Virilio is concerned with the problem of orientation, that is, of the lack of geographical, historical, and temporal specificity and point of reference when experiencing a Web-based narrative. Compare that to Deleuze's claim that, in the time-image, "the brain has lost its Euclidean co-ordinates, and now emits other signs" (278), a notion similar to the "loading screen", a bit of content which exists merely to inform that content is forthcoming. Virilio sees this as a crucial problem facing us today and adds that "there is talk of substituting the term 'global' by 'glocal,' a concatenation of the words local and global". The Internet yields both seeming temporal instantaneity and spatial compression. We can be everywhere all at once, all the time; but what of the inevitable slippage of time involved? The World Wide Web has created a life of dead moments, of moments spent waiting for the instantaneous to happen. References Baudrillard, Jean. "Radical Thought." Trans. Francois Debrix in CTheory. Collection Morsure. Eds. Sens and Tonka. Paris: 1994. Benjamin, Walter. Illuminations. New York: Shocken Books, 1968. Debord, Guy. The Society of the Spectacle. London: Rebel Press, 1992. Deleuze, Gilles. Cinema 2: The Time-Image. Minneapolis: U of Minnesota P, 1989. Napier, Mark. Shredder. 27 June 2000 <http://www.potatoland.org/shredder/>. Rhizome. 27. June 2000 <http://www.rhizome.org/>. Virilio, Paul. "Speed and Information: Cyberspace Alarm!" Le Monde Diplomatique Aug. 1995. Trans. Patrice Riemens in CTheory. Wisniewski, Maciej. Netomat. 27 June 2000 <http://www.netomat.net/>. Citation reference for this article MLA style: Maya Drozdz. "Waiting for Instantaneity." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/instantaneity.php>. Chicago style: Maya Drozdz, "Waiting for Instantaneity," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/instantaneity.php> ([your date of access]). APA style: Maya Drozdz. (2000) Waiting for instantaneity. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/instantaneity.php> ([your date of access]).

Michael Haneke’s film Caché tells the story of a bourgeois family in peril. The comfortable lives of the Laurents—husband Georges (Daniel Auteuil), wife Anne (Juliette Binoche), and teenage son Pierrot (Lester Makedonsky)—are disrupted when surveillance tapes of their home and private conversations are delivered to them anonymously. Ostensibly Caché sits in a familiar generic framework: the thriller narrative of a family under threat is reminiscent of films such as The Desperate Hours (1955), Cape Fear (1962), and Straw Dogs (1971). The weight of outside forces causes tension within the family dynamic and Georges spends much of the film playing detective (unravelling clues from the tapes and from his past). This framing draws us in; it is presumed that the mystery of the family’s harassment will finally be solved, and yet Haneke’s treatment of this material undermines viewer expectations. This paper examines the process of suspicious reading when applied to a film that encourages such a method, only to thwart the viewer’s attempts to come to a definitive meaning. I argue that Caché plays with generic expectations in order to critique the interpretive process, and consider what implications this has for suspicious readers. Caché positions us as detective. Throughout the film we follow Georges’s investigation to unravel the film’s central enigma: Who is sending the tapes? The answer to this, however, is never revealed. Instead viewers are left with more questions than answers; it seems that for every explanation there is a circumventing intricacy. This lack of narrative closure within the surface framework of a psychological thriller has proven fertile ground for critics, scholars, and home viewers alike as they painstakingly try to ascertain the elusive culprit. Character motives are scrutinised, performances are analysed, specific shots are dissected, and various theories have been canvassed. The viewer becomes ensnared in the hermeneutics of suspicion, a critical reading strategy that literary theorist Rita Felski has compared to the hard-boiled crime story, a scenario in which critic becomes detective, and text becomes criminal suspect to be “scrutinized, interrogated, and made to yield its hidden secrets” (224). Like Georges, the viewer becomes investigator, sifting through the available evidence in the vain hope that with scrupulous attention the film will surrender its mystery.Of course, Haneke is not unique in his withholding of a film’s enigma. David Lynch’s surreal neo-noir Lost Highway (1997) and Mulholland Drive (2001) have garnered a similar response and continue to be debated. Film scholar Mark Cousins compares Caché’s reception at Cannes to other landmark film and television examples:Where Dallas made people ask ‘who?’, Twin Peaks ‘what?’, the genre-bending films of the last decade ‘how?’ and The Crying Game was about the implications of the answer, Caché’s conversational buzz was more circular. Yes, we asked ‘who?’ Then, when it was clear this question was not answered by the film, we considered why it was not answered. (225–6)Felski’s meditation on the hermeneutics of suspicion touches on this issue, considering literary texts as preemptive of our mistrust. Extending Felski’s reasoning here as applicable to other forms of cultural expression, I would like to argue that Caché is a film that “matches and exceeds the critic’s own vigilance” for it is already involved in “subverting the self-evident, challenging the commonplace, [and] relentlessly questioning idées fixes and idées recus” (Felski 217). Caché challenges fixed and received ideas pertaining to audience expectations of the thriller film, subverting generic conventions that traditionally see the enigma resolved, the culprit apprehended, and order restored. More than simply refusing closure, Caché casts doubt on the very clues it offers up as evidence. Such a text performs “a meta-commentary on the traps of interpretation, a knowing anticipation and exposure of all possible hermeneutic blunders” (Felski 217). Throughout her essay, Felski highlights the lures and pitfalls of suspicious reading practices. Felski warns that attempts to gain mastery over texts by drawing to light purportedly obscured meanings are often as concerned with self-congratulatory demonstrations of skill in drawing hitherto unmade connections as they are with the texts themselves (230). While I do not wish to endorse suspicious reading as an unproblematic approach, the present paper considers what happens when readers encounter a text that seemingly cannot be approached in any other way. Unlike the realist literary narratives and mystery stories drawn on by Felski, Caché resists a manifest meaning in both form and content, making it nearly impossible for viewers not to search for latent meaning.So where are suspicious readers left when the texts interrogated refuse to bend to the demands placed on them? This is the question I will be examining in the remainder of this paper through the questions Caché poses and the care it takes in ensuring its enigmatic quality. I will proceed by breaking down what I believe to be the three possible avenues of response—Caché as impossible puzzle, inconclusive puzzle, or wrong puzzle—and their implications.I The Impossible Puzzle Caché opens with a static frame long take of a Parisian residential street. This could be mistaken for a still image until a pedestrian bustles past. A woman leaves her house centre frame. A cyclist turns the corner. “Well?” a male voice intones. “Nothing,” a female replies. The voices come from off-screen, and soon after the image is interrupted by fast forward lines, revealing that what we have been watching is not an image of the present moment but a video cassette of time already elapsed; the voices belong to our protagonists, Georges and Anne, commenting on its content and manipulating its playback. From the opening moments it becomes clear that we cannot be certain of what we are seeing or when we are seeing it.This presents an intriguing tension between form and content that complicates our attempts to gather evidence. Haneke pares back style in a manner reminiscent of the films of Robert Bresson or the work of the Italian neo-realists. Caché’s long takes, naturalistic lighting, and emphasis on the everyday suggest a realist aesthetic; the viewer can invest faith in these images because they ascribe to a familiar paradigm, one in which artifice is apparently minimal. This notion that a realist aesthetic equates to straightforward images is at odds, however, with both the thriller narrative (in which solutions must be concealed before they can be uncovered) and Haneke’s constant undermining of the ontology of the image; throughout the film, viewers will be disoriented by Haneke’s manipulation of time and space with unclear or retroactive distinctions between past, present, video, dream, memory, and reality.An additional contention might be the seemingly impossible placement of the hidden camera. In the same tape, Georges leaves the house and walks towards the camera, unaware of it. The shot indicates the camera must be elevated in the street, and at one point it appears that Georges is looking right at it. A later recording takes place in the apartment of Georges’s suspect, Majid. Viewers are given ample opportunity to scour the mise en scène to find what apparently is not there. Perhaps the camera is just too well hidden. But if this is not the case and we can neither locate nor conceive of the camera’s placement because it simply cannot be there, this would seem to break the rules of the game. If we are to formulate theories as to the culprit at large, what good is our evidence if it is unreliable? Viewers could stop here and conclude that a puzzle without a solution amounts to a film without a point. “Well?” Georges asks in the film’s opening. “Nothing,” Anne replies. Case closed. Short of giving up on a solution, one might conclude (as Antoine Doinel has) that those looking within the film for a perpetrator are looking in the wrong place. When the motives or opportunities of on-screen characters do not add up, perhaps it is Haneke one should turn to. Those familiar with Haneke’s earlier film Funny Games (1997) will know he is not afraid to break the tacit rules by which we suspend our disbelief if there is a point to be made. Film scholar David Sorfa concludes it is in fact the audience who send the tapes; Caché’s narrative is fuelled by the desire of viewers who want to see a film (102). Tempting though these solutions might be (Georges does not see the camera because he is a fictional character in a film unaware of its creator), as critic Roger Ebert has pointed out, such theories render both the film’s content, and any analysis of it, without purpose: It introduces a wild card. It essentially means that no analysis of the film is relevant, because nothing need make sense and no character actions need be significant. Therefore, the film would have the appearance of a whodunit but with no who and no dunnit. (“Caché: A Riddle”)The Caché as impossible puzzle avenue leaves the suspicious reader without reason to engage. If there can be no reward for our efforts, we are left without incentive. Alternately, if we conclude that Haneke is but the puppet master sadistically toying with his characters, we are left at a similar juncture; our critical enquiry has all the consequence of the trite “but it was all a dream…” scenario. “Well?” “Nothing.” I suspect there is more to Caché than that. A film so explicit in its stimulation of suspicious reading seems to merit our engagement. However, this is not to say that our attention will be satisfied with the neatly tied up solution we might expect. II The Inconclusive Puzzle When, one evening, Pierrot does not come home as expected, Georges and Anne conclude the boy has been kidnapped. They interpret their son’s absence as an escalation in the “campaign of terror” that had hitherto consisted of surveillance videos, odd phone calls, and childlike but portent drawings. With police assistance, Georges goes to confront his suspect, Majid. An Algerian boy from his childhood, now middle aged and disadvantaged because of lies Georges told as a child, Majid has already (quite convincingly) denied any knowledge of the tapes. At the door they meet Majid’s son who is equally perplexed at the accusation of kidnapping. The pair are arrested and an exhausted Georges returns home to explain the situation to his wife:Georges: So now they’re both in the cage for the night.Anne: And then?Georges: Then they’ll let them go. If there’s no proof, they have to. There’s suspicion, nothing more.The next day a sullen Pierrot returns home, having stayed the night at a friend’s without notifying his parents. His clear disdain for his mother is revealed as he rejects her affection and accuses her of having an affair. Pierrot likewise treats his father with disinterest, raising viewer suspicion that he might have a motive for tormenting his parents with the videotapes. Pierrot is just one cog in the family’s internal mechanism of suspicion, however. Whether or not Anne is actually having an affair can only be speculated; she denies it, but other scenes open the way to our suspicion. Anne is rightly suspicious of Georges’s reluctance to be open about his past as his proclivity to lie is gradually revealed. In short, Haneke deliberately layers the film with complexity and ambiguity; numerous characters could be implicated, and many questions are raised but few are answered.This suggests that suspicious readers might have recourse to Haneke as author of the text. Haneke, however, celebrates Caché’s ambiguity and his decision to leave the film open: “The truth is always hidden…that’s how it is in the real world. We never, ever know what the truth is. There are a thousand versions of the truth. It depends on your point of view” (Haneke). In interview, Haneke’s language also raises suspicion. At times he speaks knowingly (refusing to reveal important dialogue that occurs in the film’s final shot—an extreme long shot, the characters too distant to be heard), and at other times he seems as uncertain as his viewers (commenting on Anne’s denial of an affair, Haneke remarks “I believe her because she plays it very seriously. But you never know”) (Haneke).Despite this reluctance to offer explanations, Haneke’s status as an auteur with recurring concerns and an ever-developing vision prompts suspicious readers to evaluate Caché in light of his greater oeuvre. Those suspecting Pierrot of wanting to punish his parents might find their theory bolstered by Benny’s Video (1992), Haneke’s film about a teenage boy who murders a friend and then turns in his parents to the police for helping him cover it up. Furthermore, Das Weiße Band (The White Ribbon, 2009) is set in a small German village on the eve of World War One and the narrative strongly suggests the town’s children are responsible for a series of malicious crimes. Whilst malign children in Haneke’s other works cannot explain Caché’s mystery, his oeuvre provides a greater context in which to consider the film, and regenerates discussion as viewers look for patterns in the subject matter Haneke chooses to explore. Regarding Caché as an inconclusive puzzle shifts the emphasis from a neatly packaged solution to a renewable process of discovery. To suggest that there is an answer to be found in the text, a culprit who escapes apprehension but is at least present to be caught, gives suspicious readers cause to engage and re-engage. It is to assume that the film is not without a point. Close attention may reward us with meaningful nuances that colour our interpretation. Haneke’s obsessive attention to detail also seems to suggest that nothing on screen is accidental or arbitrary, that our concentration is warranted, and that active viewing is a necessity even if our expectations and desires for closure may not be granted.Caché ends without revealing its secret. Georges’s suspect Majid has committed suicide (perhaps due to the trauma dredged up by Georges’s accusations), Majid’s son has confronted Georges at his work place (“I wondered how it feels, a man’s life on your conscience?”), and Georges has refused any responsibility for his actions in the distant and recent past. Of the film’s conclusion, cinema theorist Martine Beugnet writes:In the end […] we watch him draw the curtains, take a sleeping pill and go to bed: an emphatic way of signifying the closure of an episode, the return to normality—the conclusion of the film. Yet the images ‘refuse’ to comply: behind the closing credits, the questioning gaze not only persists but affirms its capacity to reinvent itself. (230)The images Beugnet is referring to are the two final shots, which are both static long takes. The first is an extreme long shot, taken from the darkness of a barn into the bright courtyard of the family estate of Georges’s childhood. A child (Majid) is forcibly removed from the home and taken away in a car (presumably to an orphanage due to the lies told by a jealous Georges). This shot is followed by the film’s closing shot, another extreme long shot, this time of the front steps of Pierrot’s school. The frame is cluttered with children and parents, and our eyes are not directed anywhere in particular. Some viewers will notice Pierrot chatting with Majid’s son (a potentially revealing conversation that cannot be heard), others will not see the two young men hidden in the crowd. Eventually the credits roll over this image.Georges’s attempts to shut out the world seem undermined by these images, as Beugnet writes they “‘refuse’ to comply” to this notion of conclusion. Instead of bringing closure to the narrative, they raise more questions. What and when are they? One cannot be sure. The first shot may be a dream or a memory; its placement after a shot of Georges going to bed might encourage us to connect the two. The second shot at the school could be more surveillance footage, or possibly another dream. It might imply the boys have conspired together. It might imply Majid’s son is confronting Pierrot with information about his father. It could be interpreted as the end of the narrative, but it could also be the beginning. Some read it as threatening, others as hopeful. It might imply so many things. However, this “questioning gaze” that persists and reinvents itself is not just the gaze of the film. It is also the gaze of the suspicious reader. From the initial hype upon the film’s Cannes release in 2005, to the various theories circulating in online forums, to Ebert’s scrupulous re-evaluation of the film’s enigma in 2010, to the ever developing body of scholarly work on Haneke’s films, it seems Caché’s mileage for suspicious readers is still running strong, not least because “whodunit?” may be the wrong question.III The Wrong PuzzleOliver C. Speck has remarked that Caché is “Haneke’s most accessible film, but also the most densely layered,” leading the viewer “on a search for clues that always ends in frustration” (97). For Ebert, the film’s lack of resolution leaves the viewer “feeling as the characters feel, uneasy, violated, spied upon, surrounded by faceless observers” (“Caché”). Cousins likewise comments on the process Caché instigates: The film structures our experience in a generically gripping way but then the structure melts away at the moment when it should most cohere, requiring us to look back along its length (the structure’s length and the film’s) to work out where we went wrong. But we did not go wrong. We went where we were told to go, we took the hand of the narrative that, in the final stages, slipped away, leaving us without co-ordinates. (226)The "whodunit” of Caché cannot be definitively proven. Ultimately, viewers can have suspicion, nothing more. So where are we left as suspicious readers when texts such as Caché surpass our own critical vigilance? We can throw in the towel and claim that an impossible puzzle does not deserve our efforts. We can accept that the text has out-played us; it is an inconclusive but compelling puzzle that does not provide enough links in the hermeneutic chain for us to find the closure we seek. Alternately, when the answer is not forthcoming, we can hypothesise that perhaps we have been asking the wrong question; whodunit is beside the point, simply a Hitchcockian MacGuffin (the object or objective that the protagonists seek) introduced to bait us into confronting much more important questions. Perhaps instead we should be asking what Caché can tell us about colonial histories, guilt, vision, or the ontology of cinema itself.This is the avenue many scholars have taken, and the avenue Haneke (rather than his film necessarily) would have us take. The “who did what, when, why, and how” might be regarded as beside the point. In an interview with Andrew O’Hehir, Haneke is quoted:These superficial questions are the glue that holds the spectator in place, and they allow me to raise underlying questions that they have to grapple with. It’s relatively unimportant who sent the tapes, but by engaging with that the viewer must engage questions that are far less banal.Catherine Wheatley agrees, arguing Caché’s open ending renders the epistemological questions of the guilty party and their motives irrelevant, giving preference to questions raised by how this chain of events affect Georges, and by extension the viewer (163–4). By refusing to divulge its secrets, Caché both incites and critiques the interpretive process, encouraging us to take up the role of detective only to anticipate and exceed our investigative efforts. Caché’s subversion of the self-evident is as much a means to launch its thriller narrative as it is a way of calling into question our very understanding of what “self-evident” means. Where Felski describes suspicious interpretations of realist texts (those that attempt to unmask the ideologies concealed behind an illusion of transparency and totality), from its opening moments, Caché is already and constantly unmasking itself. The film’s resistance of a superficial reading seems to make suspicious interpretation inevitable. Wherever viewer suspicion is directed, however, it relies on engagement. Without reason to engage, viewers are left with an impossible puzzle where critical involvement and attention is of no consequence. “Who is sending the tapes?” may be an unimportant or unanswerable question, but it must always be a valid one. It is this query that incites and fuels the interpretive process. As there can only ever be suspicion, nothing more, perhaps it is the question rather than “the answer” that is of utmost significance.Works CitedBeugnet, Martine. “Blind Spot.” Screen 48.2 (2007): 227–31.Benny’s Video. Dir. Michael Haneke. Madman, 1992.Caché (Hidden). Dir. Michael Haneke. Sony Pictures Classics, 2005. Cape Fear. Dir. J. Lee Thompson. Universal, 1962.Cousins, Mark. “After the End: Word of Mouth and Caché.” Screen 48.2 (2007): 223–6.Desperate Hours, The. Dir. William Wyler. Paramount, 1955.Doinel, Antoine. “(Un)hidden Camera: The ‘Real’ Sender of the Tapes.” Mubi.com. Mubi. n.d. 10 Apr. 2011. ‹http://mubi.com/topics/461›. Ebert, Roger. “Caché.” Roger Ebert.com. Chicago Sun-Times. 13 Jan. 2006. 25 Feb. 2011. ‹http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20060112/REVIEWS/51220007›.---. “Caché: A Riddle, Wrapped in a Mystery, Inside an Enigma [Response to Readers].” Roger Ebert’s Journal. Chicago Sun-Times. 18 Jan. 2010. 2 Apr. 2011. ‹http://blogs.suntimes.com/ebert/2010/01/a_riddle_wrapped_in_a_mystery.html›.Felski, Rita. “Suspicious Minds.” Poetics Today 32.2 (2011): 215–34.Funny Games. Dir. Michael Haneke. Madman, 1997.Haneke, Michael. “Hidden: Interview with Michael Haneke by Serge Toubiana.” DVD Special Features. Hidden (Caché). Dir. Michael Haneke. Madman, 2005.Lost Highway. Dir. David Lynch. Universal, 1997.Mulholland Drive. Dir. David Lynch. Reel, 2001.O’Hehir, Andrew. “Michael Haneke’s ‘White Ribbon.’” Salon.com. Salon. 2 Jan. 2010. 2 Apr. 2011. ‹http://www.salon.com/entertainment/movies/andrew_ohehir/2010/01/02/haneke›.Sorfa, David. “Uneasy Domesticity in the Films of Michael Haneke.” Studies in European Cinema 3.2 (2006): 93–104.Speck, Oliver C. Funny Frames: The Filmic Concepts of Michael Haneke. New York: Continuum, 2010.Straw Dogs. Dir. Sam Peckinpah. MRA, 1971.Wheatley, Catherine. Michael Haneke’s Cinema: The Ethic of the Image. New York: Berghahn Books, 2009.White Ribbon, The (Das Weiße Band). Dir. Michael Haneke. Artificial Eye, 2009.