Auswahl der wissenschaftlichen Literatur zum Thema „Boro bhasa“

Writing from outside the Anglo-American world is appreciated largely for the social life of English in worlds elsewhere, the linguistic oddities of its non-native cast of characters that spot poor translations. While English is easily granted inordinate powers of cultural assimilation, the languages of erstwhile colonies, the bhashas of India for example, from which this ‘translation’ presumably takes place, are seen to be rather weak and ill-equipped to meet the challenging demands of western narrative gambits. This essay offers three concrete examples of English fiction where its Indian writers afford us glimpses of a phenomenon critics have barely begun to notice. The passages examined here show how the bhashas sound differently when cast in English, or how English begins to breathe an unmistakable Indian ethos and idiom. When the Indian bhashas and English so happen together, there is no discrete language from which or into which translation occurs. It is evident that the writers here are no ‘Indianizers’ of a language whose fortunes now are global in reach and affect. For readers in India, English is still a bhasha-in-the-making, which is neither set in a ‘colonial’ far away and long ago, nor yet within current precincts of some ‘postcolonial’ felicity. If the efforts of these writers at resisting translation win, it is because they have asserted their right to imagine a language as a form of global life toward which English has taken them.

The word Darshana is derived from the root “Drishyate” or “Drish” means to see.“Drishyate Anena iti Darshana” means that which facilitates to visualisation the facts pertaining to the universe. “Sarve Darshanaha Jnanartha saadhanaha” All the Darshanas are the means or instruments of knowledge. They were born out of Upanishads. The Upanishads were commonly referred to as Vedas. One section of Darshana known as Asthika Darshana believed that the vedas are “Apourusheya”(not created by man or beyond the intellectual capacity of a common man).They believe in the existence of Atma(soul),Paramatma(supreme soul),Janana(birth),Marana(death),Moksha(salvation) and Ishwara(creator). Dukha Nivritti and Moksha Prapti is the purpose of all the Darshanas or philosophical preaches. Moksha is the ultimate aim of life i.e., after attaining Moksha, there is no further Sukha Dukha Bhava in that individual and the person attains blissfulness. Ayurveda, the science of life, also stresses upon “Purushartha Chathushtaya” where Moksha can be achieved through a Swastha Shareera, explaining the methods to attain Jeevan mukti (attainment of Moksha during one period of life span itself). Since the purpose of Ayurveda is also towards the achievement of Moksha either in this loka and the paraloka (Imam Cha Amum Cha) we can say that it is an independent Darshana.

The word Darshana is derived from the root “Drishyate” or “Drish” means to see.“Drishyate Anena iti Darshana” means that which facilitates to visualisation the facts pertaining to the universe. “Sarve Darshanaha Jnanartha saadhanaha” All the Darshanas are the means or instruments of knowledge. They were born out of Upanishads. The Upanishads were commonly referred to as Vedas. One section of Darshana known as Asthika Darshana believed that the vedas are “Apourusheya”(not created by man or beyond the intellectual capacity of a common man).They believe in the existence of Atma(soul),Paramatma(supreme soul),Janana(birth),Marana(death),Moksha(salvation) and Ishwara(creator). Dukha Nivritti and Moksha Prapti is the purpose of all the Darshanas or philosophical preaches. Moksha is the ultimate aim of life i.e., after attaining Moksha, there is no further Sukha Dukha Bhava in that individual and the person attains blissfulness. Ayurveda, the science of life, also stresses upon “Purushartha Chathushtaya” where Moksha can be achieved through a Swastha Shareera, explaining the methods to attain Jeevan mukti (attainment of Moksha during one period of life span itself). Since the purpose of Ayurveda is also towards the achievement of Moksha either in this loka and the paraloka (Imam Cha Amum Cha) we can say that it is an independent Darshana.

Background: The baby boomer population will become high users of the health-care system in coming years. Self-report of hearing loss at a primary health-care visit may offer timely referrals to audiological services, but there has been no population-based study of self-reported hearing loss in the baby boomer generation. Purpose: To determine the clinical value and audiometric correspondence of self-reported hearing loss as a screening tool for the baby boomer population. Research Design: A population-based study, Busselton Healthy Ageing Study (BHAS), surveying baby boomers born between 1946 and 1964 from the shire of Busselton, Western Australia. Study Sample: A randomized sample of noninstitutionalized baby-boomers listed on the electoral roll (n = 6690) and resident in the shire are eligible to participate. This study reports on data from the first 1004 attendees (53.5% female) with a mean age of 56.23 (SD = 5.43). Data Collection and Analysis: Data from a self-report question on hearing loss and diagnostic pure tone audiometry was utilized for this study. Analysis included screening performance measures of self-report compared to audiometric cut-offs, receiver operator curve (ROC) to determine optimal level, analysis of variance to compare hearing status to self-report, and binary logistic regression to determine best audiometric predictors. Results: Of the sample, 16% self-reported hearing loss (72.1% males). Logistic regression indicated 4000 Hz as the most important individual frequency related to self-report while the four-frequency average (500, 1000, 2000, and 4000 Hz) >25 dB in the worse ear was the most significant averaged cutoff with 68% sensitivity and 87% specificity. Of those who self-reported a hearing loss, 80% had either a four-frequency average hearing loss >25 dB in the worse ear or a high-frequency average (4000 and 8000 Hz) hearing loss greater than 35 dB in the worse ear. Conclusions: Baby boomer adults who self-report hearing impairment on direct inquiry are most likely to have a hearing loss. A simple question at a primary health care visit may facilitate a timely referral for audiological services in a baby boomer adult, who may be more amenable to rehabilitation.

Background: Different ethnic rice products are obtained from specialty rice varieties of Assam, India. A unique characteristic of these rice products is that the products can be used instantly. Considering lack of study relating to biochemical changes during processing, the present study was conducted. Methods: The specialty rice products (bhaja bora, hurum, sandahguri, Korai, flaked rice and komal chaul including two intermediate forms in preparation of bhaja bora and hurum) prepared through traditional method and their respective raw forms were collected in Jorhat, Assam. The phytic acid, total phenols and a few minerals were estimated with standard methods. Result: Among the products, the phytic acid phosphorus and total phenol content ranged between 92.74-272.65 mg/100 g and 61.67-69.59 mg catechol equivalent/100 g, respectively. The total ash (%) and the minerals (mg/100 g) like sodium, calcium, potassium, phosphorus, zinc and iron ranged between 0.84-1.34, 37.33-56.67, 11.32-20.67, 64.32-134.33, 250.26-333.45, 3.24-4.08 and 2.47- 6.91, respectively. The higher concentration of total ash, iron and zinc were observed in the products than their respective raw forms. However, the observation of decrease in phytic acid content in all these products reveals that the processing may improve availability of certain minerals.

The present paper considers the issue of the Sanskrit term ārya, starting from the use of ārya and arya as ‘freeman’ and ‘owner’ in opposition to dāsa ‘servant’ (or śūdra), from the Vedas to the Arthaśāstra and Pāli texts (in the form ayya). The original meaning is here interpreted as based on social classes rather than ethnic differences, although foreign populations could be considered as belonging to the dāsa or śūdra class. This social meaning can be found also in the Irish cognate aire ‘freeman, noble’, and in Iranic cognates like Middle Persian ērīh ‘nobility’. Derived terms from arya/ārya often have an honorific use, and from the social meaning, also a moral and spiritual meaning could be developed, which is more easily explained from the concept of ‘noble’ and ‘freeman’ than from that of an ethnic identity or kinship. If the original meaning of Indo-European *aryos was ‘freeman, noble’, it can be compared with the Afro-Asiatic root *ħar- ‘(vb.) to be superior, to be higher in status or rank, to be above or over; (n.) nobleman, master, chief, superior; (adj.) free-born, noble’. We can have thus to do with concepts of nobility and freedom developed in the common cultural frame of a society where slavery and social stratification were evolving.

IntroductionEvidence of the benefits of arts engagement to community wellbeing has been mounting since the 1990s. However, large scale, quantitative, epidemiological studies of the “arts–healthy aging” relationship, or the types of arts older adults voluntarily choose to engage in as part of their everyday life, for enjoyment, entertainment or as a hobby (vs. therapy or interventions) are limited. The aims of this study were to describe older adult recreational arts engagement via the Busselton Healthy Ageing Study (BHAS) cohort, and to determine if there was an association between arts engagement, general health and mental wellbeing.MethodsOverall, 2,843 older adults (born 1946–1964) from the BHAS cohort (n = 5,107) who had completed a supplementary arts survey (n = 3,055, 60%) and had data on required variables were included in this study (93% of those eligible). The dependent variable was general health (SF12) and subjective mental wellbeing (Warwick-Edinburgh Mental Wellbeing Scale, WEMWBS). The independent variable was hours engaged in recreational arts in the last 12 months. A descriptive analysis followed by a linear regression analysis was conducted.ResultsThe prevalence of recreational arts engagement in the last 12 months was 85% (mean = 132 h/year). Older adults engaged in the arts in a number of ways including attending events (79%), actively participating/making art (40%), as an arts society/club/organization member (20%), by learning about the arts (13%) or by volunteering/working in the arts (non-professional, 11%). When general health was assessed via the SF12, the average physical component score (PCS) was 50.1 (SD 8.9) and the average mental component score (MCS) was 53.6 (SD 8.3). When mental wellbeing was assessed, the average WEMWBS score was 54.9 (SD = 8.6). After adjustment for 12 demographic and lifestyle covariates, it was found that older adults who engaged in any recreational arts in the last 12 months had significantly higher WEMWBS scores and higher SF12 physical component scores than those who did not engage in the arts (0 h/year).DiscussionEvidence of an arts-health relationship was found in this study. The suitability of the arts as a population based, healthy aging strategy to influence the mental wellbeing and general health of older adults should be investigated further.

Abstract Background and objective Chronic medical conditions accumulate within individuals with age. However, knowledge concerning the trends, patterns and determinants of multimorbidity remains limited. This study assessed the prevalence and patterns of multimorbidity using extensive individual phenotyping in a general population of Australian middle-aged adults. Methods Participants (n = 5029, 55% female), born between 1946 and 1964 and attending the cross-sectional phase of the Busselton Healthy Ageing Study (BHAS) between 2010 and 2015, were studied. Prevalence of 21 chronic conditions was estimated using clinical measurement, validated instrument scores and/or self-reported doctor-diagnosis. Non-random patterns of multimorbidity were explored using observed/expected (O/E) prevalence ratios and latent class analysis (LCA). Variables associated with numbers of conditions and class of multimorbidity were investigated. Results The individual prevalence of 21 chronic conditions ranged from 2 to 54% and multimorbidity was common with 73% of the cohort having 2 or more chronic conditions. (mean ± SD 2.75 ± 1.84, median = 2.00, range 0–13). The prevalence of multimorbidity increased with age, obesity, physical inactivity, tobacco smoking and family history of asthma, diabetes, myocardial infarct or cancer. There were 13 pairs and 27 triplets of conditions identified with a prevalence > 1.5% and O/E > 1.5. Of the triplets, arthritis (> 50%), bowel disease (> 33%) and depression-anxiety (> 33%) were observed most commonly. LCA modelling identified 4 statistically and clinically distinct classes of multimorbidity labelled as: 1) “Healthy” (70%) with average of 1.95 conditions; 2) “Respiratory and Atopy” (11%, 3.65 conditions); 3) “Non-cardiometabolic” (14%, 4.77 conditions), and 4) “Cardiometabolic” (5%, 6.32 conditions). Predictors of multimorbidity class membership differed between classes and differed from predictors of number of co-occurring conditions. Conclusion Multimorbidity is common among middle-aged adults from a general population. Some conditions associated with ageing such as arthritis, bowel disease and depression-anxiety co-occur in clinically distinct patterns and at higher prevalence than expected by chance. These findings may inform further studies into shared biological and environmental causes of co-occurring conditions of ageing. Recognition of distinct patterns of multimorbidity may aid in a holistic approach to care management in individuals presenting with multiple chronic conditions, while also guiding health resource allocation in ageing populations.

The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structural violence might look. I analyse three cultural practices to consider the social demarcations around aggression and gender, both within overt acts of violence and in less overt protocols. This research will focus on artistic practices as they offer unique embodied ways to “challenge our systems of representation and knowledge” (Szylak 2).The three creative works reviewed: the 2009 Swedish film the Girl with the Dragon Tattoo, the work Becoming an Image by Canadian non-binary/transgender artist Cassils, and Gambit Lines, by artist Carolyn Craig, each contest gendered modes of normativity within the space of the Cultural Screen (Silverman). The character of Lisbeth Salander in Girl with the Dragon Tattoo subverts the aggressor female/femme fatale trope in Western cinema by confusing and expanding visual repertoires around aggression, while artists Cassils and Carolyn Craig re-draw how their biologically assigned female bodies perform power in the Cultural Screen by activating bodily feedback loops for the viewer’s gaze.The Aggressor ModeThe discussion of these three works will centre on the ‘female aggressor trope’, understood here as the static coda of visual practices of female power/aggression in the western gaze. This article considers how subverting such representations of aggression can trigger an “epistemic crisis that allows gender categories to change,” in particular in the way protocols of power are performed over female and trans subjectivities (Butler, Athletic 105). The tran/non-binary subject state in the work of Cassils is included in this discussion of the female aggressor trope as their work directly subverts the biological habitus of the female body, that is, the artist’s birth/biologically assigned gender (Bourdieu). The transgender state they perform – where the body is still visibly female but refusing its constraints - offers a radical framework to consider new aggressive stances for non-biologically male bodies.The Cultural Screen and Visual RepresentationsI consider that aggression, when performed through the mediated position of a creative visual practice (as a fictional site of becoming) can deconstruct the textual citations that form normative tropes in the Cultural Screen. The Screen, for this article, is considered asthe site at which the gaze is defined for a particular society, and is consequently responsible both for the way in which the inhabitants of that society experience the gaze’s effects, and for much of the seeming particularity of that society’s visual regime. (Silverman 135)The Screen functions as a suite of agreed metaphors that constitute a plane of ‘reality’ that defines how we perform the self (Goffman). It comprises bodily performance, our internal gaze (of self and other) and the visual artefacts a culture produces. Each of the three works discussed here purposely intervenes with this site of gender production within the Cultural Screen, by creating new visual artefacts that expand permissible aggressive repertoires for female assigned bodies. Deconstructing the Cultural ScreenThe history of images … can be read as a cultural history of the human body. (Belting 17)Cinematic representations play a key role in producing the visual primers that generate social ‘acts’. For this reason I examine the Swedish film Män Som Hatar Kvinnor (Men Who Hate Women, 2009), released as The Girl with the Dragon Tattoo for foreign audiences, as an example of an expanding range of female aggressor representations in film, and one of particular complexity in the way it expands on representational politics. I consider how specific scripting, dialogue and casting decisions in the lead female character of Lisbeth Salander (played by Noomi Rapace) serve to deconstruct the female aggressor trope (as criminal or sexual provocateur) to allow her character to engage in aggressive acts outside of the cliché of the deviant woman. This disrupts the fixity of assigned body protocols on the social grid to expand their gendered habitus (Bourdieu).Key semiotic relations in the film’s characterisation of Lisbeth prevent her performance of aggression from moving into the clichés of erotic or evil feminine typologies. Her character remains unfixed, moving between a continuous state of unfolding in response to necessity and desire. Here, she exhibits an agency usually denoting masculinity. This allows her violence a positive emancipatory affect, one that avoids the fixity of the representational tropes of the deviant woman or the femme fatale. Her character draws upon both tropes, but reformulates them into a postmodern hybridity, where aggression slips from its sexualised/deviant fetish state into an athletic political resistance. Signification is strategically confused as Lisbeth struts through the scaffolding of normalcy in her insurgent gender game. Her post-punk weaponised attire draws on the repertoire of super heroes, rock stars and bondage mistresses, without committing to any. The libidinal component of violence/aggression is not avoided, but acknowledged, both in its patriarchal formula and Lisbeth’s enactment of revenge as embodied pleasure.The visual representation of both lead actors is also of interest. Both Lisbeth and Mikael have visible acne scars. This small breach in aesthetic selection affects how we view and consume them as subjects and objects on the Screen. The standard social more for the appearance of male and female leads is to use faces modeled on ideas of symmetry and perfection. These tendencies draw upon the cultural legacies of physiognomy that linked moral character with attractiveness schedules and that continue to flourish in the Cultural Screen (Lavater; Principe and Langlois). This decision to feature faces with minor flaws appropriates the camera’s gaze to re-consider schedules of normalcy, in particular value and image index as they relate to gendered representations. This aesthetic erasure of the Western tradition of stereotyped representations permits transitional spaces to emerge within the binary onslaught. Technology is also appropriated in the film as a space for a performative ‘switching’ of the gender codes of fixity. In her role as undercover researcher, Lisbeth’s control of code gives her both a monetised agency and an informational agency. The way that she types takes on an almost aggressive assertion. Each stroke is active and purposeful, as she exerts control through her interface with digital space. This is made explicit early in the film when she appropriates the gaze of technology (a particularly male semiotic code) to extract agency from within the structural discourse of patriarchy itself. In this scene, she forces her guardian to watch footage of his own act of raping her. Here Lisbeth uses the apparatus of the gaze to re-inscribe it back over his body. This structural inversion of the devices of control is made even more explicit when Lisbeth then brands him with text. Here ‘writing on the body’ becomes manifest.The director also frames initial scenes of Lisbeth’s nude body in subtle ways that fracture the entrenched history of representations of women, where the female as object exists for the gaze of male desire (Berger). Initially all we see are her shoulders. They are powerful and she moves like a boxer, inhabiting space and flexing her sinew. When we do see her breasts, they are neutered from the dominant coda of the “breasted experience” (Young). Instead, they function as a necessary appendage that she acknowledges as part of the technology of her body, not as objectified male desire.These varied representational modes built within Lisbeth’s characterisation, inhabit and subvert the female aggressor trope (as deviant), to offer a more nuanced portrayal where the feminine is still worn, but as both a masquerade and an internal emancipatory dialogue. That is, the feminine is permitted to remain whilst the masculine (as aggressive code) is intertwined into non-binary relations of embodied agency. This fluidity refracts the male gaze from imposing spectatorial control via the gaze.Cassils The Canadian non-binary/transgender artist Cassils also uses the body as semiotic technology to deny submission to the dominant code of the Cultural Screen. They re-image the self with bodybuilding, diet and steroids to exit their biologically female structural discourse into a more fluid gendered state. This state remains transitive as their body is not surgically ‘reassigned ‘ back into normative codes (male or female assignations) but instead inhabits the trans pronoun of ‘they/their’. This challenges the Cultural Screen’s dependence on fixed binary states through which to allocate privilege. This visible reshaping also permits entry into more aggressive bodily protocols via the gaze (through the spectorial viewpoint of self and other).Cassils ruptures the restrictive habitus of female/trans subjectivity to enable more expansive gestures in the social sphere, and a more assertive bodily performance. This is achieved by appropriating the citational apparatus of male aggression via a visual reframing of its actions. Through daily repetitive athletic training Cassils activates the proprioceptive loops that inform their gendered schema and the presentation of self (Goffman). This training re-scripts their socially inscribed gender code with semiotically switched gender ‘acts’. This altered subjectivity is made visible for the viewer through performance to destablise the Screen of representation further via the observers’ gaze.In their work Becoming an Image (2012- current), Cassils performs against a nine hundred kilogram lump of clay for twenty minutes in complete darkness, fractured only by an intermittent camera flash that documents the action. This performance contests the social processes that formulate the subject as ‘image’. By using bodily force (aggressive power) against an inert lump of clay, Cassils enacts the frustration and affect that the disenfranchised Other feels from their own gender shaping (Bhaba). The images taken by the camera during this performance reflect a ferocious refusal, an animal intent, a state of battle. The marks and residues of their bodily ‘acts’ shape the clay in an endurance archive of resistance, where the body’s trace/print forms the material itself along with the semiotic residue of the violence against transgender and female bodies. In some ways, the body of Cassils and the body of clay confront each other through Cassils’s aggressive remolding of the material of social discourse itself.The complicity of photography in sustaining representational discourse is highlighted within Cassils’s work through the intertextual rupturing of the performance with the camera flash and through the title of the work. To Become an Image invokes the processes of the darkroom itself, where the photographer controls image development, whilst the aggressive flash reflects the snapshot of violence, where the gendered subject is ‘imaged’ (formulated and confined) without permission by the observer schedules of patriarchy. The flash also leaves a residual trace in the retinas of the viewer, a kind of image burn, perhaps chosen to mimic the fear, intrusion and coercion that normalcy’s violence impinges over Othered subjects. The artist converts these flash generated images into wallpaper that is installed into the gallery space, usually the day after the performance. Thus, Cassils’s corporeal space is re-inscribed onto the walls of the institutional archive of representations – to evoke both the domestic (wallpaper as home décor), the public domain (the white walls of institutional rhetoric) and the Cultural Screen.Carolyn Craig The work of Carolyn Craig also targets representations that substantiate the Cultural Screen. She uses performative modes in the studio to unravel her own subjective habitus, in particular targeting the codes that align female aggression with deviancy. Her work isolates the action of making a fist to re-inscribe how the aggression code is ‘read’ as embodied knowledge by women. Two key articles by Thomas Schubert that investigated how making a fist is perceived differently between genders (in terms of interiorised power) informed her research. Both studies found that when males make a fist they experience an enhanced sense of power, while women did not. In fact, in the studies, they experienced a slight decrease in their sense of comfort in the world (their embodied sense of agency). Schubert surmised this reflected gender-based protocols in relation to the permissible display of aggression, as “men are culturally less discouraged to use bodily force, which will frequently be associated with success and power gain [whilst women] are culturally discouraged from using bodily force” (Schubert 758). These studies suggest how anchored gestures of aggression are to male power schemas and their almost inaccessibility to women. When artists re-formulate such (existing) input algorithms by inserting new representations of female aggression into the Cultural Screen, they sever the display of aggression from the exclusive domain of the masculine. This circulates and incorporates a broader visual code that informs conceptual relations of power.Craig performs the fisting action in the studio to neuter this existing code using endurance, repetition and parody (fig. 1). Parody activates a Bakhtian space of Carnivalesque, a unique space in the western cultural tradition that permits transgressive inversions of gender, power and normativity (Hutcheon). By making and remaking a fist through an absurdist lens, the social scaffolding attached to the action (fear, anxiety, transgression) is diluted. Repetition and humour breaks down the existing code, and integrates new perceptual schema through the body itself. Parody becomes a space of slippage, one that is a precursor to a process of (re)constitution within the social screen, so that Craig can “produce representation” rather than be (re)presentation (Schneider 51). This transitory state of Carnivalesque produces new relational fields (both bodily and visual) that are then projected back into the Screen of normativity to further dislodge gender fixity. Figure 1: Carolyn Craig, Gambit Lines (Angles of Incidence #1), 2016. Etchings from performance on folded aluminium, 25.5 x 34 x 21cm. This nullifies the power of the static image of deviancy (the woman as specimen) and ferments leakages into broader representational fields. Craig’s fisting actions target the proprioceptive feedback loops that make women fear their own bodies’ potential of violence, that make us retreat from the citational acts of aggression. Her work tilts embodied retreat (as fear) through the distorted mimesis of parody to initiate a Deleuzian space of agentic potential (Deleuze and Guattari). This is re-inserted into the Cultural Screen as suites of etchings grounded in the representational politics, and historical genealogy of printed matter, to bring the historical conditions of formation of knowledge into review.Conclusion The aggressor trope as used within the works discussed, produces a more varied representational subject. This fosters subjectivities outside the restraints of normativity and its imposed gendered habitus. The performance of aggression by bodies not permissibly branded to script such acts forces static representations embedded through the Cultural Screen into “an unstable and troubled terrain, a crisis of knowledge, a situation of not-knowing”. This state of representational confusion leads to a “risking of gender itself … that exposes our knowledge about gender as tenuous, contested, and ungrounded in a thorough and productively disturbing sense” (Butler, Athletic 110). Tropes that define binary privilege, when dislodged in such a way, become accessible to fluidity or erasure. This allows more nuanced gender allocation to schedules of power.The Cultural Screen produces and projects the metaphors we live by and its relations to power are concrete (Johnson and Lakoff). Even small-scale incursions into masculine domains of agency (such as the visual display of aggression) have a direct correlation to the allocation of resources, both spatial, economic and subjective. The use of the visual can re-train the conceptual parameters of the cultural matrix to chip small ways forward to occupy space with our bodies and intellects, to assume more aggressive stances in public, to speak over people if I feel the need, and to be rewarded for such actions in a social context. I still feel unable to propose direct violence as a useful action but I do admit to having a small poster of Phoolan Devi in my home and my admiration for such women is deep.ReferencesBelting, Hans. An Anthropology of Images. Princeton, N.J: Princeton University Press, 2011.Berger, John. Ways of Seeing. London: Penguin, 2008.Bhaba, Homi. "The Other Question: Difference, Discrimination and the Discourse of Colonialism.” Out There: Marginalisation and Contemporary Cultures. Eds. Russell Ferguson and Trinh T. Minh-ha. Massachusetts: MIT Press, 1990. 71-89.Bordo, Susan. “The Body and the Reproduction of Femininity.” Writing on the Body: Female Embodiment and Feminist Theory. Eds. Katie Conboy et al. New York: Colombia UP, 1997. 90-110.Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.Butler, Judith. “Athletic Genders: Hyperbolic Instance and/or the Overcoming of Sexual Binarism.” Stanford Humanities Review 6 (1998): 103-111.———. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal (1988): 519–31.Cassils. Becoming an Image. ONE Archive, Los Angeles. Original performance. 2012.Craig, Carolyn. “Gambit Lines." The Deviant Woman. POP Gallery, Brisbane. 2016.Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Minneapolis: University of Minnesota, 1987.Girl with the Dragon Tattoo [Män Som Hatar Kvinnor]. Dir. Niels Arden Oplev. Stockholm: Yellowbird, 2009.Goffman, Erving. The Presentation of Self in Everyday Life. London: Allen Lane, 1969.Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985.Johnson, Mark, and George Lakoff. Metaphors We Live By. Chicago: Chicago University Press, 1980.Lavater, John Caspar. Essays in Physiognomy Designed to Promote the Knowledge and Love of Mankind. Vol. 1. London: Murray and Highley, 1789.Principe, Connor, and Judith Langlois. "Shifting the Prototype: Experience with Faces Influences Affective and Attractiveness Preferences." Social Cognition 30.1 (2012): 109-120.Schneider, Rebecca. The Explicit Body in Performance. New York: Routledge, 1997.Schubert, Thomas W., and Sander L. Koole. “The Embodied Self: Making a Fist Enhances Men’s Power-Related Self-Conceptions.” Journal of Experimental Social Psychology 45.4 (2009): 828–834.Schubert, Thomas W. “The Power in Your Hand: Gender Differences in Bodily Feedback from Making a Fist.” Personality and Social Psychology Bulletin 30.6 (2004): 757–769.Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.Szylak, Aneta. The Field Is to the Sky, Only Backwards. Brooklyn, NY: International Studio and Curatorial Program, 2013.Young, Iris Marion. “Breasted Experience: The Look and the Feeling.” On Female Body Experience. Oxford: Oxford University Press, 2005.

Abstract The Llanos basin is one of the most important areas in Colombia, due to its contribution to the national oil production and the development plans managed by operator companies. The projects in llanos basin face different challenges such as heavy oil production, low reservoir thickness, lateral variations, active aquifers, and low resistivity contrast of its fluvio-estuarine sands. These circumstances demand the design of complex horizontal profiles, being the TVD definition and well placement paramount to land and maintain the trajectories in the sweet spot. This paper shows how the application of disruptive Measurement while drilling (MWD) and logging while drilling (LWD) technologies with the support of novel drilling engineering methodologies, permitted to reach difficult reservoirs and maintain production in Ocelote, Guarrojo and Pintado fields, with a positive outcome in drilling performance and sustainability. The key actions for the mentioned success, described in this paper, were:Introduction of a disruptive MWD technology to enhance the true vertical depth (TVD) definition in the 8 ½" landing section using the Definitive Dynamic Surveys (DDS) capability of the tool combined with a new methodology to define the optimum survey frequency while drilling.Optimized positive displacement motor (PDM) bore hole assemblies (BHAs) and fit-for-purpose drill string configurations leveraged in an engineering procedure that maximizes weight transfer to the bit and avoids buckling.Digital enabled workflows to perform well planning and engineering calculations.Introduction of an LWD technology that provides an outstanding definition of the resistive channels in the sands, managing to map and define zones with less than 4 ft TVD thickness. The new survey methodology permitted the capture of an optimum amount of data in the landing section which enabled a more accurate TVD calculation, decreasing the uncertainty in the structural model, and improving the correlation for future wells. In addition, the drilling dynamic survey saved up to five minutes per stand reducing also the differential stuck pipe risk. The deep azimuthal resistivity technology successfully mapped multiple layers despite their low resistivity contrast, clearly differentiating their resistive properties to support real-time proactive decisions and augment the production well after well. In the last two years, there has been an increase in net pay from 65% to 80% (Average) along with a 30% increase in the length of horizontal sections thanks to the implementation of these technologies. The complex well profiles drilled in the past with rotary steerable systems now are possible with the optimized motor BHAs. From the operator's perspective, the optimum trajectory design and precise placement of the wells have permitted draining reservoirs in a more effective way increasing the project profitability. The methodology designed to define the optimum survey frequency, by taking advantage of the definitive dynamic survey technology, represents a new approach to improve TVD definition in the industry without incurring extra data processing or additional parts in the survey program. The BHA design process permitted drilling efficiently, being this technique a didactic reference for horizontal or high inclination wells. The novel multilayer mapping-while-drilling technology used can be applied in thin reservoirs with similar conditions.

Abstract This paper highlights the successful installation of a MultiLateral Technology (MLT) for the first time in an offshore field 40 km from Abu Dhabi. It will document the deployment of the deepest cemented MLT Level 5 globally, with improvements in well design and operations sequence compared to the conventional design and execution plan. The system is demonstrated as a reliable method to access laterals giving the utmost importance to all operational risks concerning drilling and completion. The design relies on the Latch Coupling (LC) pre-installed with the production casing as the foundation for the successful drilling and cementing of the upper drain liner and for different completion runs. The downhole completion components that are permanently installed provide the capability for future reservoir monitoring and intervention to the laterals via coil tubing, wireline or slickline through the Multilateral Tieback System (MLTBS) completion. The well was completed as the deepest cemented Level 5 System globally with zero NPT on MLT completion operations. The planning phase was extremely meticulous and all risks were properly identified at planning stage and mitigated during execution. The significant developments to multilateral construction are: Optimize well profile, mud system, clean out and milling BHAs to facilitate the deployment of MTLB system. Improve the operations sequence by replacing the Retrievable Bridge Plug (RBP) run with intermediate completion. The assessed amendment has reduced four (4) trips during installation which has been recognized as a global system improvement for MLT Technology. Utilizing a glass device for the well barrier instead of slickline plugs have efficiently reduced the time and simplified the operation's intervention. Selecting to spot Hi-Vis after isolating the lateral instead of the sand has effectively improved the metal recovery and clean wellbore post clean up approach. The challenge of clean out post washover was moderated with fabricating a stinger to pass inside the packer and achieve proper debris cleaning to the seal bore area. The well achieved its objective by providing two integral laterals with mechanical and hydraulic isolation and full accessibility of both drains for better reservoir surveillance through one single well slot. MLT installation strategy was effectively optimized to reduce time, cost and installation's risk against the original plan. The design enhancements were beneficial to achieve multiple global records.