Zeitschriftenartikel zum Thema „The Whistle caller concept“

AbstractIt is predicted that differences in mammalian alarm call systems may be explained relative to the complexity of their habitat, with species inhabiting three-dimensional habitats classifying predator types (externally referential), and those living in two-dimensional environments indicating the level of risk (urgency-based). We tested this prediction in a two-dimensional environment for a small African rodent, Brants' whistling rat, Parotomys brantsii. Colony members were presented with predator models of a raptor and puff adder, as well as a human observer, to investigate their alarm call repertoire. Alarm calls consisted of simple, singlenote vocalizations, often repeated in non-rhythmic bouts. Virtually no variation was detected in the structure of alarm whistles between the calls elicited by the two model predators and humans, indicating that P. brantsii did not identify different predator types by means of vocalizations. However, note duration was dependent on the reaction of the caller: when the caller bolted towards safety, the whistle was significantly shorter than when it remained stationary. A snake and far-off human elicited relatively long-duration calls and the caller would remain above ground, signifying a low-risk situation. High-risk encounters with a nearby raptor or human provoked short calls before the whistling rat bolted underground. We conclude that P. brantsii's alarm call repertoire represents a graded 'urgency-based' system, indicating perceived threat level rather than predator type. Our study supports the prediction that mammalian alarm call systems in two-dimensional environments primarily provide information indicating the level of risk and not predator type.

The present study investigates the nexus between whistle-blowing triangle having components like Pressure/Financial Incentives, Opportunity, rationalization, and whistle-blowing intentions by focusing the moral intensity playing a moderating role in the Pakistani context to enhance the body of information on this subject by giving observational demonstrate. The sample in this research is taken from the Karachi Stock Exchange of Pakistan registered audit firms. PLS-PM method based analysis results found a significant relationship between whistle-blowing triangle components, whistle-blowing intentions, and moral intensity. We found that the most significant predictor of the auditor’s intentions to report the wrongdoing in Pakistan is an opportunity. Pressure/Financial Incentives and rationalization, the other components of the whistle-blowing triangle, also play a vital role in assisting the auditor’s whistle-blowing intentions. These investigation findings proposed that an opportunity is the priority factor for enhancing the auditor’s whistle-blowing intentions in Pakistan. Our results also concluded that the moral intensity significantly and positively moderates this relation among the whistle-blowing triangle and intentions to report the wrongdoing. This study also provides insights to the society in better understanding the whistle-blowing concept, an issue neglected by society.

This research aims to examine the influence of attitude towards whistle-blowing, organizational commitment, personal cost,and seriousness of wrongdoing on the whistle-blowing intentions among civil servants in the Supreme Audit Board of the Republic of Indonesia (BPK RI). This research used primary data collected from online questionnaire survey. Using a sample of 107 BPK RI’s civil servants from 35 different units, this research shows that three of the four determinants significantly affect whistle blowing intention. The three affecting determinants are attitude towards whistle-blowing, organizational commitment, and seriousness of wrongdoing. This research has implications on literatures by confirming the theory of Prosocial Organizational Behavior; Theory of Planned Behavior; and The Concept of Organizational Commitment, and is expected to help the government, particularly BPK-RI, in designing strategies to increase their employees whistle-blowing intention or in designing or enhancing the institution’s whistle-blowing system. The results have limitations on the aspects of generalization, selection bias in data collection, and the sensitivity of research’s theme which is potentially biased with real condition. We suggest the next researcher to explore other whistle-blowing intention’s determinants, design spesific research on channels and forms of whistle-blowing, re-examine the consistency of personal cost’s effect, avoid data collection methods that potentially cause selection bias, and expand the sample.

History is witness to the fact that there have always been informers who reveal inside information to others. Ancient Greeks talked about whistleblowing centuries before. Lykourgos, the Athenian orator, in his speech against Leokratis said: neither laws nor judges can bring any results unless someone denounces the wrongdoers. Even in Ancient India, the concept of a Whistle blower was in existence, Kautilya proposed- “Any informant (súchaka) who supplies information about embezzlement just under perpetration shall, if he succeeds in proving it, get as reward one-sixth of the amount in question; if he happens to be a government servant (bhritaka), he shall get for the same act one-twelfth of the amount.Whistle blowers play an important role in fighting corruption, in protecting the public and the environment from harm, and in providing accountability for the violation of legal norms. When an individual blows the whistle on alleged wrongdoing, he/she may suffer severe financial consequences. The law recognizes the social good that can come from whistleblowing by providing some protection for them and encouraging such conduct in a variety of ways.Even so, whistle blowers continue to occupy a fundamentally ambivalent position in society. Some whistle blowers are celebrated for their courage and self-sacrifice in protecting society from harm. But at the same time, many whistle blowers experience financial and social retaliation. This ambivalence is reflected in the law of whistleblowing: both its limited scope and how it operates. The law offers whistle blowers some legal protection, but government officials who are responsible for administering those laws often find ways to narrow that protection. Thus, even the most robust legal protection cannot protect whistle blowers from the social consequences of their action.While whistle blowers can play a critical role in protecting the public, they often pay an enormous personal price. The article will seek to aid an understanding of how different policy purposes, approaches, and legal options can be combined in the design of better legislation. It provides a guide to key elements of the new legislation, as an example of legislative development taking place over a long period, informed by different trends.

This paper introduces the concept of ‘organizational readiness’: socio-cultural expectations about working selves that prepare young people (albeit indirectly and in complex and multi-faceted ways) for their future life in organizations. This concept emerges from an analysis of Disney animations and how they constitute expectations about working life that may influence children through their representations of work and gendered workplace roles. The paper’s exploration of Disney’s earlier animations suggests they circulated norms of gender that girls should be weak and avoid work. In contrast, its contemporary productions circulate gender norms that suggest girls should be strong and engage in paid work. In this reading, the continued circulation of earlier alongside contemporary animations may convey to young viewers a paradox: girls must and must not work; they must be both weak and strong. We thus offer new insights into the puzzle of the continued relegation of women to the sidelines in organizations; more optimistically, we also point to ways in which future generations of employees may forge ways of constituting forms of gendered selves as yet hardly imaginable.

Abstract The unique alpine-living kea parrot Nestor notabilis has been the focus of numerous cognitive studies, but its communication system has so far been largely neglected. We examined 2,884 calls recorded in New Zealand’s Southern Alps. Based on audio and visual spectrographic differences, these calls were categorised into seven distinct call types: the non-oscillating ‘screech’ contact call and ‘mew’; and the oscillating ‘trill’, ‘chatter’, ‘warble’ and ‘whistle’; and a hybrid ‘screech-trill’. Most of these calls contained aspects that were individually unique, in addition to potentially encoding for an individual’s sex and age. Additionally, for each recording, the sender’s previous and next calls were noted, as well as any response given by conspecifics. We found that the previous and next calls made by the sender were most often of the same type, and that the next most likely preceding and/or following call type was the screech call, a contact call which sounds like the ‘kee-ah’ from which the bird’s name derives. As a social bird capable of covering large distances over visually obstructive terrain, long distance contact calls may be of considerable importance for social cohesion. Contact calls allow kea to locate conspecifics and congregate in temporary groups for social activities. The most likely response to any given call was a screech, usually followed by the same type of call as the initial call made by the sender, although responses differed depending on the age of the caller. The exception was the warble, the kea’s play call, to which the most likely response was another warble. Being the most common call type, as well as the default response to another call, it appears that the ‘contagious’ screech contact call plays a central role in kea vocal communication and social cohesion.

This paper will read Jn 20.21–22 as a missional text of Johannine Trinitarian Missiology. It will argue that mission is proper first to the being and the act of the Trinity, and secondarily a concept in the church—the witness of the Trinity. The aim of this paper is threefold. First, it will explore the nature of the Trinity as a missionary God who sent the Son/incarnate Word and the Spirit/the cosmic Breath into the world. Secondly, it will examine how Christ as the Word and witness of the Father moves from the sent to the caller and sender of apostles into the world through the power of the Spirit. Third, seeing the world as the scope of the mission of Christ and apostles, this paper will study Christ’s boundary-crossing mission of incarnation and reconciliation as a model of the Church’s boundary-crossing mission witness in a pluralistic and Spirit-present world.

Emotional acumen is relatively a new concept compared to the other decision-making variables in the existing literature. Comprehending the procedure in which the individuals captivate themselves in ethical decision-making and the factors stimulating this procedure may be imperative for burgeoning more efficient education for ethics. The U.S. Securities and Exchange Commission issued new guidance calling on public companies to be more forthcoming when disclosing nature and scope of cybersecurity breaches. The statement also warns that corporate insiders must not trade shares when they have information about cybersecurity issues that is not public yet. Understanding the emotional underpinnings is critical to guiding how individuals deal with the complex nature of morally infused predicaments, their awareness of the moral dilemma, judgments about the potential consequences and their intention to act or propensity to whistle-blow related to cybersecurity breaches are significantly affected by the emotional acumen.

In software development, it is often desirable to reuse existing software components. This has been recognized since 1968, when Douglas Mcllroy of Bell Laboratories proposed basing the software industry on reuse. Despite the failures in practice, many efforts have been made to make this idea successful. In this context, we address the problem of reusing annotated components as a rigorous way of assuring the quality of the application under construction. We introduce the concept of caller-based slicing as a way to certify that the integration of an annotated component with a contract into a legacy system will preserve the behavior of the former. To complement the efforts done and the benefits of the slicing techniques, there is also a need to find an efficient way to visualize the annotated components and their slices. To take full profit of visualization, it is crucial to combine the visualization of the control/data flow with the textual representation of source code. To attain this objective, we extend the notion of System Dependence Graph and slicing criterion.

Being a whistleblower is not an easy matter. Someone from internal organizations will face an ethical dilemma in deciding whether to "blow the whistle" or leave it hidden. Some view whistleblowers as traitors who violate the norms of organizational loyalty, others see whistleblowers as heroic protectors of truth values, not just loyalty to conflicting organizations, causing potential whistleblowers to experience a dilemma in determining attitudes that can distort Whistleblowing interests..This research examines and analyzes the effect seriousness of the violation, organizational commitment, academic potential and gender towards possible intentions to Whistleblowing by students. Therefore this study would like to apply the Theory of Planned Behavior concept which explains that the behavior carried out by individuals arises because of the intention that underlies the behavior .Data analysis uses logistic regression analysis with SPSS 22.00 for Windows. The result indicates that Gender and organizational commitment have significant impact on probability of intention to do Whistleblowing.

This study aims to find out and describe the treatment practice of Ruq'yah Syirkiyyah towards witchcraft in Bandar Setia Village, Percut Sei Tuan Sub-district, Deli Serdang District. This study is qualitative research with an ethnographic approach. The techniques of collecting data are in-depth observations and interviews. The informants in the study are two people as experts in treatment and seven witnesses and patients. Based on the results of the study obtained in the field that the treatment of ruqyah syikiyyah is a treatment that combines the verses of the Qur'an, and local beliefs in the treatment practice towards witchcraft. The method used in the treatment is the four-point concept of nature as a media caller khodam with dhikr, seven mosques water, ape tiger flowers, and Minya bunibawasa to revoke magical objects that exist on the patient's body and in the process of healing, the patient must perform another special ritual such as feeding orphans and making a salvation event as a symbol of gratitude by the patient's family. The conclusion is that the treatment of ruqyah shirkiyyah is a religious treatment that mixes the local belief system, and in performing the treatment of witchcraft that is doing the dreamy stage, pull out magical objects, and the patient's family performs a ritual of salvation as a symbol of gratitude.

ABSTRACTThe actuary has played a role in regulation in the United Kingdom since 1819. More recently, in 1974, the Appointed Actuary system was introduced for life insurance companies, backed by strong professional guidance. Derivatives of the Appointed Actuary concept have been implemented in a number of other countries. Meanwhile, in the UK, defined benefit occupational pension schemes are now required to appoint a Scheme Actuary, who has a statutory whistle-blowing role under the Pensions Act 1995. A number of statutory roles for pension actuaries were in place prior to this. In general insurance, Lloyd's syndicates are now required to obtain an actuarial opinion on the end of year provisions, as part of the Lloyd's market regulatory structure, and friendly societies must obtain an actuarial opinion on their technical provisions once every three years. This paper reviews some of the different regulatory roles of the actuary in the UK, draws some comparisons with the situation in other countries, considers the strengths and weaknesses of the present situation and invites debate and discussion on the way forward in order to optimise the contribution which the profession can make to the public interest in the field of regulation.

In a ring signature scheme, a user selects an arbitrary ring to be able to sign a message on behalf of the ring without revealing the signer’s identity. Whistle-blowers especially find this useful. To date, various ring signature schemes have been proposed, all considered to be secure as existentially unforgeable with respect to insider corruption; that is, an adversary who chooses ring-message pairs for which he requests signatures, corrupts honest users, and obtains their signing keys can not produce forgeries for new ring-message pairs. Lattice-based ring signature schemes offer lower computational overhead and security from quantum attacks. In this paper, we offer a lattice-based scheme. We begin by showing that the existing ring signature schemes are not sufficiently secure, because existential unforgeability still permits a signer to potentially produce a new signature on previously signed messages. Furthermore, we show that existing ring signature schemes from lattices are not even existentially unforgeable with respect to insider corruption. We then improve previous schemes by applying, for the first time, the concept of strong unforgeability with respect to insider corruption to a ring signature scheme in lattices. This offers more security than any previous ring signature scheme: adversaries cannot produce new signatures for any ring-message pair, including previously signed ring-message pairs.

This article attempts to fill a gap in the literature about civilian control by presenting the concept of control from within the military and investigating its determinants. Control from within is the intentional action taken by soldiers tasked with missions with which they disagree in an attempt to affect how the military implements politically based directives. The forms of control from within include restraining the aggressiveness of other soldiers, whistle-blowing, selective and gray refusal to deploy, foot-dragging, collective bargaining about deployments, and documentation and testimonies. By drawing on the cases of the US and Israeli militaries, I argue that the interplay of two variables determines the choice made by soldiers tasked with missions with which they disagree: the level of presence of potentially subversive soldiers belonging to the same social group; and the group’s social status within and outside the military. These variables are strongly affected by the type of manpower system. Under conscription, both variables exert a powerful effect, encouraging the exercising of control from within. In contrast, a volunteer system reduces the influence of the two variables, so control from within is more restricted, and dissatisfied soldiers may favor other forms of action with a limited impact on military policies.

Purpose – Telephone crisis services are increasingly subject to a requirement to “prove their worth” as a suicide prevention strategy. The purpose of this paper is to: first, provide a detailed overview of the evidence on the impact of telephone crisis services on suicidal users; second, determine the limitations of the outcome measures used in this evidence; and third, suggest directions for future research. Design/methodology/approach – MEDLINE via Pubmed (from 1966), PsycINFO APA (from 1967) and ProQuest Dissertation and Theses (all to 4 June 2015) were searched. Papers were systematically extracted by title then abstract according to predefined inclusion and exclusion criteria. Findings – In total, 18 articles met inclusion criteria representing a range of outcome measures: changes during calls, reutilization of service, compliance with advice, caller satisfaction and counsellor satisfaction. The majority of studies showed beneficial impact on an immediate and intermediate degree of suicidal urgency, depressive mental states as well as positive feedback from users and counsellors. Research limitations/implications – A major limitation pertains to differences in the use of the term “suicidal”. Other limitations include the lack of long-term follow-up and of controlled research designs. Future research should include a focus on long-term follow-up designs, involving strict data protection. Furthermore, more qualitative research is needed in order to capture the essential nature of the intervention. Originality/value – This paper attempts to broaden the study and the concept of “effectiveness” as hitherto used in the literature about telephone crisis services and offers suggestions for future research.

What the Book is about? To dispel all the needless interpretations and confusions about the Caste and to compel all the Scholars, Academicians, Legislators, Politicians and even the Masses not to deviate themselves from the precise definition of Caste in the matters of Annihilation of Caste, Emancipation of Depressed Classes, Reservation etc. is what this Book aims to achieve. The concept of 'Unmarriageability' and the nomenclature of 'Unmarriageables' introduced in this Book is merely an extended reinterpretation of Dr.Ambedkar's finding in his Doctoral Thesis that Caste is nothing but the Mechanism of Endogamy. Hence, it became inevitable that the first chapter introduce the readers to the writings and speeches of Dr.Ambedkar for the better understanding about Caste and Untouchability- the premises based on which the entire Book is constructed. Proceeding from here, the rest of the chapters are in fact series of arguments built one over the other to expose the existence of stigma of Unmarriageability, its significance in sustaining Caste and the need to annihilate it in order to annihilate Caste. Whistle blowing the stigma of Unmarriageability is intended to dismantle the foundation of Caste system and also is a strategic spearhead to question the general conscience of this society and simultaneously safeguarding the principles of Social Justice, the aspects of which is dealt in the last two chapters.

Perturbation reductive procedures, as used to analyse various weakly nonlinear plasma waves (solitons and periodic waves), normally lead to the dynamical system being described by KdV, Burgers' or a nonlinear Schrödinger-type equation, with properties that can be deduced from an array of mathematical techniques. Here we develop a fully nonlinear theory of one-dimensional stationary plasma waves, which elucidates the common nature of various diverse wave phenomena. This is accomplished by adopting an essentially fluid dynamic viewpoint. In this unified treatment the constants of the motion (for mass, momentum and energy) lead naturally to the construction of the wave structure equations. It is shown, for example, that electrostatic, Hall–magnetohydrodynamic and ion–cyclotron–acoustic nonlinear waves all obey first-order differential equations of the same generic type for the longitudinal flow field of the wave. The equilibrium points, which define the soliton amplitude, are given by the compressive and/or rarefactive roots of a total plasma ‘energy’ or ‘momentum’ function characterizing the wave type. This energy function, which is an algebraic combination of the Bernoulli momentum and energy functions for the longitudinal flow field, is the fluid dynamic counterpart of the pseudo-potentials, which are characteristic of system structure equations formulated in other than fluid variables. Another general feature of the structure equation is the phenomenon of choked flow, which occurs when the flow speed becomes sonic. It is this trans-sonic property that limits the soliton amplitudes and defines the critical collective Mach numbers of the waves. These features are also obtained in multi-component plasmas where, for example, in a bi-ion plasma, momentum exchanges between protons and heavier ions are mediated by the Maxwell magnetic stresses. With a suitable generalization of the concept of a sonic point in a bi-ion system and the corresponding choked flow feature, the wave structures, although now more complicated, can also be understood within this overall fluid framework. Particularly useful tools in this context are the momentum hodograph (an algebraic relation between the bi-ion speeds and the electron speed, or magnetic field, which follows from the conservation of mass, momentum and charge-neutrality) and a generalized Bernoulli energy density for each species. Analysis shows that the bi-ion solitons are essentially compressive, but contain the remarkable feature of the presence of a proton rarefactive core. A new type of soliton, called an ‘oscilliton’ because embedded spatial oscillations are superimposed on the classical soliton, is also described and discussed. A necessary condition for the existence of this type of wave is that the linear phase velocity must exhibit an extremum where the phase speed matches the group speed. The remarkable properties of this wave are illustrated for the case of both whistler waves and bi-ion waves where, for the latter, the requisite condition is met near the cross-over frequencies. In the case of the whistler oscilliton, which propagates at speeds in excess of one half of the Alfvén speed (based on the electrons), an analytic solution has been constructed through a phase-portrait integral of the system in which the proton and electron dynamics must be placed on the same footing. The relevance of the different wave structures to diverse space environments is briefly discussed in relation to recently available high-time and spatial resolution data from satellite observations.

Purpose – The aim of the paper is to consider the efficacy of requiring a public interest test to be satisfied before protection is afforded to workers who blow the whistle under Part IVA of the Employment Rights Act 1996 (ERA 1996). Design/methodology/approach – Not all definitions of whistleblowing require there to be a public interest in the disclosure of information. To illustrate how the expression “public interest” has been used in this context, the common law defence to an action for breach of confidence is outlined. The paper then explains how the concept of “public interest whistleblowing” evolved in other jurisdictions. It also examines the jurisprudence of the European Court of Human Rights to see if it helps us to apply the public interest test. Finally, this test is considered in the context of UK legislation. Findings – Several sources of uncertainty are identified. These include the fact that personal and public interest matters may be intertwined and that an organization may encourage the internal reporting of concerns about wrongdoing that do not have a public dimension to further its private interests. One obvious result of uncertainty is that those who are not legally required to report wrongdoing may choose not to do so and society may be denied important information; for example, about serious health and safety risks or financial scandals. Originality/value – It is suggested that the public interest test should be removed from Part IVA ERA 1996. However, this test is likely to remain for a while, so nine recommendations about how it should be interpreted are made.

Background: Several recent studies support the notion of excessive complement activation in patients with severe coronavirus disease-19 (COVID-19), with beneficial results of complement inhibition in case series. In this context, severe COVID-19 shares common characteristics with complement-mediated thrombotic microangiopathy (TMA). TMA is commonly characterized by genetic susceptibility, and presents with thrombocytopenia, anemia, increased lactate dehydrogenase (LDH), and organ damage (renal, neurological, cardiac). Aims: We hypothesized that genetic susceptibility would be also evident in patients with severe COVID-19 and would be associated with disease severity. Methods: We prospectively studied consecutive adult patients hospitalized with COVID-19 in our referral centers (April-May 2020). Diagnosis was confirmed by reverse-transcriptase polymerase chain reaction (RT-PCR). COVID-19 severity was assessed based on World Health Organization's (WHO) criteria into moderate/severe, and critical disease. Additional data on patients' history and course were recorded by treating physicians that followed patients up to discharge or death. Patients' DNA was obtained from peripheral blood samples. Probes were designed using the Design studio (Illumina). Amplicons cover exonic regions of TMA-associated genes (Complement factor H/CFH, CFH-related, CFI, CFB, CFD, C3, CD55, C5, MCP, thombomodulin/THBD, ADAMTS13) spanning 15 bases into the intronic regions. We used 10ng of initial DNA material. Libraries were quantified using Qubit and sequenced on a MiniSeq System in a 2x150 bp run. Analysis was performed using the TruSeq Amplicon application (BaseSpace). Alignment was based on the banded Smith-Waterman algorithm in the targeted regions (specified in a manifest file). We performed variant calling with the Illumina-developed Somatic Variant Caller in germline mode and variant allele frequency higher than 20%. Both Ensembl and Refseq were used for annotation of the output files. Variants clinical significance was based on ClinVar and the current version of the Complement Database, as we have previously described. Results: We studied 60 patients, 40 with moderate/severe disease hospitalized in COVID-19 general ward (GW) and 20 with critical disease hospitalized in intensive care units (ICU). Among them, 11 patients succumbed due to COVID-19 disease. Patients laboratory characteristics are shown in Figure. In genetic analysis, patients presented heterogeneous variant profiles including pathogenic, benign, likely benign, and variants of unknown significance (median number of variants: 62, range: 51-89). Search in the Complement Database revealed seven patients, each carrying one pathogenic or likely pathogenic variant in C3, CD46, DGKE, and CFH. Based on ClinVar, we found a pathogenic variant of ADAMTS13 (rs2301612, missense) in 28 patients. We also detected two missense risk factor variants, previously detected in complement-related diseases: rs2230199 in C3 (13 patients); and rs800292 in CFH (26 patients). Among them, 22 patients had a combination of these characterized variants. This combination was significantly associated with critical disease that required intensive care (p=0.037), as well as low lymphocyte counts (p=0.021) and high neutrophil-to-lymphocyte ratio (p=0.050). In the multivariate model, critical disease was an independent predictor of double heterozygocity in these variants. Furthermore, one patient had a rare germline missense variant in CFI (rs112534524), previously detected in complement-related diseases. This patient suffered from critical disease but survived after long-term ICU hospitalization. Interestingly, five patients showed a likely protective missense variant in CFB (rs641153). Conclusion: We have detected for the first time rare and pathogenic TMA-associated variants in patients with severe COVID-19. Our findings of variants in complement-regulatory genes and ADAMTS13 suggest genetic susceptibility and define proof-of-concept for proper selection of patients that would benefit from complement inhibition. Table Disclosures Gavriilaki: Omeros Pharmaceuticals: Consultancy.

This essay attempts to develop an interpretative framework for effects of timbre in selected twentieth-century instrumental music. My approach draws on ethnomusicologist Cornelia Fales’s concept of “perceptualization” in order to establish expressive associations of transparency and turbidity with sinusoidal purity and spectral noise, respectively. I explore how these sonic tokens of purity and impurity are in turn mapped onto concepts of spirituality and corporeality in music of Varèse, Stockhausen, Messiaen, Gubaidulina, and especially George Crumb, whose workBlack Angelsis singled out for a detailed discussion of its timbral processes and their interpretive possibilities.

Steve McCaffery describes sound poetry as a “new way to blow out candles” and “what sound poets do.” In his brief survey of sound poetry, McCaffery describes the genealogy of sound poetry from its earliest formalized birth during Russian futurism (found in the experiments of Khlebnikov and Kruchenykh) and builds his survey until North America, 1978. This essay will consider the history of sound poetry, a history that has no history, but retains the avant-garde experimentalism of modernist poetics. By looking at sound poems by Raoul Hausmann and Kurt Schwitters; the sound-experiments of Diamanda Galás; performance in sound poetry; the influence of “primal therapy” (which emphasizes the therapeutic potential of the scream); and the theological tradition of glossolalia, I will demonstrate how the noisiness and non-sense of sound poetry offers a variety of forms of political engagement against hegemonic uses of sound and silence. Sound poetry is notable in that it is loud – originally being called Lautgedichte or literally “loud poems” – and this brash noise opens up a heterotopic space of acoustic potential: of potential sonic engagement outside of normative chirps, whistles, vocalizations, glottal stops, fricatives, and speech. This “sonic engagement” will be grounded in the new theoretical concept of what I call "arche-speech" or "arche-sound."

Background: Recent studies have shown that hematopoietic stems cells can undergo clonal expansion secondary to somatic mutations, termed clonal hematopoiesis of indeterminate potential (CHIP). TET2 is frequently mutated in individuals with CHIP and has been associated with coronary heart disease in humans and Heart Failure in mice models. We investigated whether any of the top three somatic mutations ( DNMT3A,TET2, ASXL1) associated with CHIP were prospectively associated with heart failure (HF), heart failure with preserved ejection fraction (HFPEF) or heart failure with reduced ejection fraction (HFrEF) in post menopausal women. Methods: A subcohort of 5214 postmenopausal women in the Women’s Health Intiative were evaluated for CHIP and HF. CHIP was determined at the Broad Institute via whole genome sequencing using the GATK4 MuTect2 somatic variant caller through the NHLBI TOPMed project. Hospitalized heart failure was based upon trained physician record review. HFpEF was defined as an EF > 50% and HFrEF as EF<50% . Cox proportional hazards model were evaluate adjusting for age, race, income, education, cigarette smoking, body mass index, coronary heart disease, atrial fibrillation, diabetes , hypertension, systolic blood pressure, and stroke. Inverse probability weighting was used to account for selection bias associated with the subcohort selection. Results: Of the 5214 postmenopausal women, 597 developed HF, 283 HFpEF and 204 HFrEF. N=408 had CHIP. The top 3 gene mutations associated with CHIP (N=364) were DNMT3A (4.8%), TET2 (1.7%) and ASXL1 (0.5%). Women with CHIP associated with any of the top 3 mutations and with TET2 were associated with HF, HFpEF but not HFrEF. DNMT3A and ASXL1 CHIP mutations were not associated HF, HFpEF or HFrEF (See Table ). Conclusion: CHIP associated with the top 3 somatic mutations and TET2 were prospectively associated with HF and HFpEF consistent with animal models and the concept of HFpEF being associated with pathologic aging. Replication of these findings in other cohorts is warranted.

IntroductionWhen she divorced, Cheryl Strayed chose for herself an entirely new surname. In Wild: A Journey from Lost to Found, the memoir she wrote and published in 2012 about hiking 1,100 miles of the Pacific Crest Trail (PCT) from the Mojave Desert to the Oregon-Washington border, she recalls looking up the definition of the word “strayed”, and how its meaning resonated for her. “I had diverged, digressed, wandered, and become wild”, Strayed writes. “Even in my darkest days—those very days in which I was naming myself—I saw the power of the darkness. Saw that, in fact, I had strayed and that I was a stray and that from the wild places my straying had brought me, I knew things I couldn’t have known before” (97).From the outset of her memoir, Strayed links the notion of wildness with movement, suggesting that “becom[ing] wild” only came about for her when she moved away from—and I would suggest here deliberately rejected—a sedentary role in her life. That is, when she became a peripatetic walker: someone “travelling from place to place, in particular working or based in various places for relatively short periods” (Oxford English Dictionary online). In this article, I discuss Strayed’s memoir Wild as an example of radical wandering. I argue that Strayed subverts the figure of the adventuring explorer in nature—who we usually think of as male—by using the idea of “dark peripatetic walking” whereby the dark peripatetic walker transgresses by going against, or existing outside of, society’s norms, walking “perhaps out of life itself” (Adams 196). Strayed walks the PCT out of desperation and grief after her mother dies and her marriage ends. While Paul Adams interprets dark peripatetic walking as a dire act, in this article I offer a reading of this impulse to wander away from as empowering: a radical “return to the self” only made possible by solitude (Barbour 201-202). My reading of Strayed’s walking as dark peripatetic offers a framework for understanding women’s walking in the wild; how, in wandering away from society’s norms, and in seeking solitude and being self-sufficient, the female walker rejects what society expects of women in the wild and finds empowerment in the transgressive act of existing in a male-dominated terrain: in this case, the literal one of the PCT, and the generic one that comprises memoirs about journeys in nature.Dark Peripatetic Walking as Radical Wandering A rich history of walking exists throughout the last few centuries, from Charles Baudelaire’s flâneur strolling the streets of Paris, to psychogeography and Guy Debord’s theory of the dérive, to pilgrimages throughout the ages. However, much of this walking was conducted in primarily urban spaces—and flânerie, in particular, excluded women both culturally and linguistically. Dark peripatetic walking is also associated with the urban rather than nature, but I want to take it out into wild landscapes. Adams describes two kinds of walking that Western society practises: “light peripatetic” and “dark peripatetic”. Light peripatetic is associated with solitude, simplicity, and idyll; in short, it connotes a Romantic strolling (193-194). Adams cites the celebrated nature writer Henry David Thoreau’s essay “Walking” as an example of light peripatetic, in which, for Thoreau, walking is an essential, routine part of each day. Dark peripatetic is a more ominous form of walking. Adams writes that “the dark peripatetic motif signals that the bonds of society have been torn, or a character’s identity is beginning to dissolve, or both” (196). The dark peripatetic walker is seen to walk “out of doors, out of society, out of community, out of normal reality, and perhaps even out of life itself” (196). Adams associates dark peripatetic with walking in urban spaces, driven by a sense of leaving, or being forced to leave, society.Extending Adams’s concept of the dark peripatetic, we might follow the dark peripatetic walker away from an urban setting and into the wilderness. Here we find Strayed. By the time she sets out to embark on the PCT, she has transgressed a number of social norms that have taken her to the edge of society and her existence: she has been unfaithful in her marriage, which has now fallen apart; she regularly takes drugs (though does not consider herself an addict); she is struggling with depression after the death of her mother; she is emotionally isolated as significant relationships with her family and wider networks have collapsed, and she has almost no money and no plans for the immediate future. We can see in Strayed a figure poised at the edge of what could be conceived as the limit of what is bearable. Strayed’s solution is to walk away from her broken life and into solitude and nature. The impulse of dark peripatetic is away from; the dark peripatetic walker transgresses by going against, or existing outside of society’s norms, walking “perhaps out of life itself” (Adams 196). However, while Strayed’s sense of identity, and her connections with society, have come to feel tenuous, I do not insinuate that she sees hiking the PCT as an act that leads her away from life and into death. While her reasoning for embarking on the hike comes from a place of desperation, it is not a desperate act; while Strayed is unprepared for the rigours of the hike, her inexperience does not equal failure. While Adams interprets dark peripatetic walking as dire, it is possible also to interpret this impulse to walk away from as radical and empowering—particularly for women walking away from societal norms and gendered constrictions that say women should not be, nor want to be, in the wild. Woman in the WildWhen we think about “wildness”, notions of the unfamiliar are evoked; the uncomfortable, the frightening, and the physically arduous. But wildness can also evoke the empowering. For Thoreau, the word “wild” was “the past participle of to will, self-willed” (cited in Turner 111). Carol Black elaborates on this idea, describing Thoreau’s wild as “that which lives out of its own intrinsic nature rather than bowing to some extrinsic force” (Black). Understood like this, to be wild is ultimately to embody your intrinsic essence. Of course, the discussion of an “intrinsic essence”, or, implicitly, one of a woman’s, is complicated territory: as the feminist scholar Donna Haraway writes, “there is not even such a state as ‘being’ female, itself a highly complex category constructed in contested sexual scientific discourses and other social practices” (155). There is a long association between women and nature as the ecofeminist scholar Carolyn Merchant discusses in her important book The Death of Nature, with both being dominated by science and men, and both being conflated as the “nurturing mother” (xx). The association between men and nature, however, is interestingly fluid, as the ecocritic Astrid Bracke points out: “‘male’ can be seen as both culture, and nature: culture, when ‘wild’, ‘natural’ women have to be civilized, nature when it comes to drawing a contrast to the domestic sphere of the home, the place of women and children” (“Macho Nature”). The discussion of the essence of a human being is complex and potentially fraught, and would require another article to do it justice, so what I want to focus on here is the idea of wildness as being, or returning to, a sense of selfhood that may have been forgotten. I focus here on how Strayed experiences self and wildness through the act of walking in solitude, and what this means for narratives of being in the wild. The ability to inhabit, explore freely, and stake claims on wild places has often been the business of men in history and male characters in literature. For instance, Tanya Kam argues that women who hike alone are more likely to be asked what compelled them to do so, whereas this legitimisation is not required when a man does the same thing (365). She suggests that adventures in the wild are often perceived in Western society as a “rite of masculinity” (365) where the male explorer sets out to conquer “rugged, natural terrain” (353). For Kam, this stems from the concept of “frontier masculinity”, which, she writes, “depends on romanticised conceptions of the wilderness, rugged self-sufficiency, courage, masculine physical strength, autonomous individualism, and the active subordination of nature” (353). This masculine explorer trope impedes the fact that women have always been present in nature and wilderness. Sarah McFarland calls for “the reconstruction of the concept of nature itself” (45), which she argues women’s nature writing can bring about, in a way that will “integrat[e] the interests of actual women into an actual wilderness” (45). Memoirs such as Tracks (1980) by Robyn Davidson, Woman in the Wilderness (2018) by Miriam Lancewood, Welcome to the Goddamn Ice Cube (2016) by Blair Braverman, and even The Word for Woman Is Wilderness by Abi Andrews (2018), which is not a memoir but a novel that reads like one, are a suite of texts that I think would interest McFarland, who proposes that by disrupting the notion of the solitary male “questing hero” (37), women-authored texts about being in nature refute “the myth of a womanless wilderness” (38). Strayed, with Wild, joins the lineage of women writers who do this.One strategy that Strayed uses to refute this myth, and provide an alternative to the male explorer, is to embody some of the tropes of this figure in her narration of hiking the PCT. The criteria by which Kam defines this masculine explorer are evident, in most instances, in Strayed’s narrator in Wild. During the three months that she spends hiking the PCT, she is forced to become self-sufficient; she finds courage in the face of extreme hardship; her physical strength develops, and she becomes comfortable in her autonomy. Strayed consistently highlights the gender of her body in this narration: her overweight pack “Monster” is a constant struggle for her smaller physique; she pushes herself physically so male hikers don’t overtake her; she lists the condoms and natural sea sponge she packs, anticipating occasions of physical intimacy and attending to the practicality of menstruating while on the trail. She notes, as the weeks pass, the way her hair grows straw-like from exposure to the weather, and how the developing muscles in her legs “rippl[e] beneath [her] thinning flesh in ways they never had” (190). Patches of skin on her hips and tailbone bleed and scab over from her pack chafing (190). Strayed’s walking, and how she foregrounds the femininity of her body, disrupts the idea that the wilderness is not a place for a woman’s body.However, it is important that the narrator does not seek to subordinate nature—a key aspect of Kam’s “frontier masculinity”. Embodying some, but not all, of the masculine explorer’s traits, as a female narrator-protagonist, Strayed engages with, but ultimately resists, conforming to this tradition, subverting the dominant picture of the masculine explorer in wild places. This is not to say that Strayed refrains from engaging in adversarial encounters with nature; she feels triumphant after successfully navigating snow-covered parts of the trail, and loudly blows her whistle to scare away wildlife. Strayed’s gender is key here: with this strategy, Strayed claims her place as a woman in masculine territory, but in doing so she is more concerned with reflecting on her inner life than in asserting herself over the land that she traverses. In a statement against patriarchal and colonial conceptions of “the wilderness” as empty space to be claimed (via literally claiming land, or by inscribing a romantic narrative upon it), Strayed finds her place in the landscape without owning it. She writes about being in nature, but is ultimately more occupied with being in herself.Witnessing the SelfIf the need to assert himself over nature drives the male adventurer, as Kam suggests, we might read in Wild’s female adventurer an antithesis to this impulse: the act of witness. In a moment of revelation, the narrator realises what it is that drove her, and others before her, to hike the PCT:It had only to do with how it felt to be in the wild. With what it was like to walk for miles for no reason other than to witness the accumulation of trees and meadows, mountains and deserts, streams and rocks, rivers and grasses, sunrises and sunsets. The experience was powerful and fundamental. It seemed to me that it had always felt like this to be a human in the wild, and as long as the wild existed it would always feel this way. (207)Strayed’s language choices are significant here. In walking through the landscape features that she names in the above passage, she is witnessing place. Witnessing connotes viewing, but not acting upon. We might also surmise, however, that she is witnessing herself located in these places. Strayed uses the phrase “how it felt to be” to describe the essence of her experience in the wild—again, “felt” could refer to tactile experience in the landscape, or a sense of wildness in her identity that manifested through being in that landscape.On the trail, Strayed also discovers that she is comfortable alone. In a passage that is deceptively short, Strayed makes a remarkable comment on solitude as a transgressive and transformative state for a woman to seek out and ultimately feel at home in: Alone had always felt like an actual place to me, as if it weren’t a state of being, but rather a room where I could retreat to be who I really was. The radical aloneness of the PCT had altered that sense. Alone wasn’t a room anymore, but the whole wide world, and now I was alone in that world, occupying it in a way I never had before. (119, emphasis mine)There are two important points in this passage: the first is that Strayed feels most herself when she is alone, and the second that her understanding of aloneness has shifted. Reading Strayed’s walking as dark peripatetic allows us to see the act of walking as a radical “return to the self”. John Barbour, from whom I have borrowed this phrase, explains that “solitude … is not oriented toward escaping the world, but toward a different kind of participation in it, as made possible by the disengagement from ordinary social interactions. Solitude is a return to the self” (201-202). Kam discusses how Barbour’s “return to the self” (201-202) occurs when the subject is freed from the various social and domestic responsibilities by which they would normally be bound. She speculates that isolation, or solitude, is generally discouraged in the individual as it endangers the functionality of society. This criticism seems particularly relevant in relation to women, as it highlights their roles as home-makers in a patriarchal society. Hiking alone, Strayed finds that her participation in the world has changed—and it is through her solitary experience that this occurs. There is a safety, a self-containment, in Strayed’s solitude—which counters the narrative that for women, in particular, the wilderness contains danger and threat. As Kam points out, it is not wild animals that present the greatest threat to Strayed; it is a pair of male hunters who encounter her campsite on one occasion (Kam 363).Claiming autonomy and seeking out solitude, as Strayed does in Wild, suggests an experience of wildness that resonates with Thoreau’s understanding of it as “self-willedness” (Turner 111). After reading Wild, the phrase “radical self-containment” seems to me to describe the phenomenon of the particular kind of wildness enabled by walking; the autonomy found in solitude; and in existing beyond the reach of extrinsic forces that would normally affect one’s life. In this experience of wildness, walking, the natural world, and solitude are entwined and essential to the other: wildness is both an embodied and internal experience. ConclusionWild asks us to think about what we make of women venturing into the wild, and the role that walking plays in this. Reading Strayed’s walking in Wild as dark peripatetic suggests a framework for understanding women’s walking in the wild; how, in seeking and discovering that she is at home in solitude, the female walker rejects what society expects of women. Women are not, culturally speaking, encouraged to seek out either solitude or wild places. As nature writing has historically suggested, wild terrain is male terrain. Strayed subverts the figure of the adventuring explorer in nature with her walking by foregrounding the lived experiences of her female body, rejecting society’s role for her, and finding that she is at home in solitude. But most importantly, she does so by shifting the gaze of the walker that we encounter in much male-authored nature literature: rather than looking outward with the intention of conquering, dominating, or claiming landscape, she looks inwards, witnessing the changes in self that walking in remote, wild landscapes enables, and in doing so, gives us another narrative for contemporary journeys in the wild.ReferencesAdams, Paul C. “Peripatetic Imagery and Peripatetic Sense of Place.” Textures of Place: Exploring Humanist Geographies. Eds. Paul C. Adams, Steven Hoelscher, and Karen E. Till. Minnesota: U of Minnesota P, 2001.Andrews, Abi. The Word for Woman Is Wilderness. London: Profile Books, 2018.Barbour, John D. The Value of Solitude: The Ethics and Spirituality of Aloneness in Autobiography. Charlottesville: U of Virginia P, 2004.Black, Carol. “On the Wildness of Children: The Revolution Will Not Take Place in the Classroom.” Carolblack.org, Apr. 2016. 27 May 2019 <https://www.filmsforaction.org/articles/on-the-wildness-of-children/>.Bracke, Astrid. “Macho Nature? Or, Gender in New Nature Writing Part I.” Astridbracke.com, 19 Feb. 2013. Braverman, Blair. Welcome to the Goddamn Ice Cube: Chasing Fear and Finding Home in the Great White North. New York: HarperCollins, 2016.Davidson, Robyn. Tracks. 1980. London: Bloomsbury, 2017.Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late 20th Century.” In Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.Kam, Tanya Y. “Forests of the Self: Life Writing and ‘Wild’ Wanderings.” Life Writing 13.3 (2016): 351-371. 22 Apr. 2019 <https://www.tandfonline.com/doi/abs/10.1080/14484528.2016.1086290>.Lancewood, Miriam. Woman in the Wilderness: A Story of Survival, Love and Self-Discovery in New Zealand. New Zealand: Allen & Unwin. 2017.McFarland, Sarah E. “Wild Women: Literary Explorations of American Landscapes.” Ed. Barbara J. Cook. Women Writing Nature: A Feminist View. Plymouth: Lexington Books, 2008.Merchant, Carolyn. The Death of Nature: Women, Ecology and the Scientific Revolution. New York: HarperCollins, 1983.“Peripatetic.” Oxford English Dictionary. Lexico, 2019. <https://www.lexico.com/en/definition/peripatetic>.Strayed, Cheryl. Wild: A Journey from Lost to Found. Rev. ed. London: Atlantic Books, 2013.Turner, Jack. The Abstract Wild. Tucson: U of Arizona P, 1996.

I. Happy Endings Chaplin’s Modern Times features one of the most subtly strange endings in Hollywood history. It concludes with the Tramp (Chaplin) and the Gamin (Paulette Goddard) walking away from the camera, down the road, toward the sunrise. (Figure 1.) They leave behind the city, their hopes for employment, and, it seems, civilization itself. The iconography deployed is clear: it is 1936, millions are unemployed, and to walk penniless into the Great Depression means destitution if not death. Chaplin invokes a familiar trope of 1930s texts, the “marginal men,” for whom “life on the road is not romanticized” and who “do not participate in any culture,” as Warren Susman puts it (171). The Tramp and the Gamin seem destined for this non-existence. For the duration of the film they have tried to live and work within society, but now they are outcasts. This is supposed to be a happy ending, though. Before marching off into poverty, the Tramp whistles a tune and tells the Gamin to “buck up” and smile; the string section swells around them. (Little-known [or discussed] fact: Chaplin later added lyrics to this music, resulting in the song “Smile,” now part of the repertoire of countless torch singers and jazz musicians. Standout recordings include those by Nat King Cole and Elvis Costello.) It seems like a great day to be alive. Why is that? In this narrative of despair, what is there to “buck up” about? The answer lies outside of the narrative. There is another iconography at work here: the rear-view silhouette of the Tramp strolling down the road, foregrounded against a wide vista, complete with bowler hat, baggy pants, and pigeon-toed walk, recalls previous Chaplin films. By invoking similar moments in his oeuvre, Chaplin signals that the Tramp, more than a mere movie character, is the mass-reproduced trademark image of Charlie Chaplin, multimillionaire entertainer and worldwide celebrity. The film doubles Chaplin with the Tramp. This double exposure, figuratively speaking, reconciles the contradictions between the cheerful atmosphere and the grim story. The celebrity’s presence alleviates the suspicion that the protagonists are doomed. Rather than being reduced to one of the “marginal men,” the Tramp is heading for the Hollywood hills, where Chaplin participates in quite a bit of culture, making hit movies for huge audiences. Nice work if you can get it, indeed. Chaplin resolves the plot by supplanting narrative logic with celebrity logic. Chaplin’s celebrity diverges somewhat from the way Hollywood celebrity functions generally. Miriam Hansen provides a popular understanding of celebrity: “The star’s presence in a particular film blurs the boundary between diegesis and discourse, between an address relying on the identification with fictional characters and an activation of the viewer’s familiarity with the star on the basis of production and publicity” (246). That is, celebrity images alter films by enlisting what Hansen terms “intertexts,” which include journalism and studio publicity. According to Hansen, celebrity invites these intertexts to inform and multiply the meaning of the narrative. By contrast, Modern Times disregards the diegesis altogether, switching focus to the celebrity. Meaning is not multiplied. It is replaced. Filmic resolution depends not only on recognizing Chaplin’s image, but also on abandoning plot and leaving the Tramp and the Gamin to their fates. This explicit use of celebrity culminates Chaplin’s reworking of early twentieth-century celebrity, his negotiations with fame that continue to reverberate today. In what follows, I will argue that Chaplin weds visual celebrity with strategies of author-production often attributed to modernist literature, strategies that parallel Michel Foucault’s theory of the “author function.” Like his modernist contemporaries, Chaplin deploys narrative techniques that gesture toward the text’s creator, not as a person who is visible in a so-called real world, but as an idealized consciousness who resides in the film and controls its meaning. While Chaplin’s Hollywood counterparts rely on images to connote individual personalities, Chaplin resists locating his self within a body, instead using the Tramp as a sign, rather than an embodiment, of his celebrity, and turning his filmmaking into an aesthetic space to contain his subjectivity. Creating himself as author, Chaplin reckons with the fact that his image remains on display. Chaplin recuperates the Tramp image, mobilizing it as a signifier of his mass audience. The Tramp’s universal recognizability, Chaplin suggests, authorizes the image to represent an entire historical moment. II. An Author Is Born Chaplin produces himself as an author residing in his texts, rather than a celebrity on display. He injects himself into Modern Times to resolve the narrative (and by extension assuage the social unrest the film portrays). This gesture insists that the presence of the author generates and controls signification. Chaplin thus echoes Foucault’s account of the author function: “The author is . . . the principle of a certain unity of writing – all differences having to be resolved” by reference to the author’s subjectivity (215). By reconciling narrative contradictions through the author, Chaplin proposes himself as the key to his films’ coherence of meaning. Foucault reminds us, however, that such positioning of the author is illusory: “We are used to thinking that the author is so different from all other men, and so transcendent . . . that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely. The truth is quite the contrary: the author does not precede the works. The text contains a number of signs referring to the author” (221). In this formulation, authors do not create meaning. Rather, texts exercise formal attributes to produce their authors. So Modern Times, by enlisting Chaplin’s celebrity to provide closure, produces a controlling consciousness, a special class of being who “proliferates” meaning. Chaplin’s films in general contain signs of the author such as displays of cinematic tricks. These strategies, claiming affinity with objects of high culture, inevitably evoke the author. Chaplin’s author is not a physical entity. Authorship, Foucault writes, “does not refer purely and simply to a real individual,” meaning that the author is composed of text, not flesh and blood (216). Chaplin resists imbuing the image of the Tramp with the sort of subjectivity reserved for the author. In this way Chaplin again departs from usual accounts of Hollywood stars. In Chaplin’s time, according to Richard Dyer, “The roles and/or the performance of a star in a film were taken as revealing the personality of the star” (20). (Moreover, Chaplin achieves all that fame without relying on close-ups. Critics typically cite the close-up as the device most instrumental to Hollywood celebrity. Scott J. Juengel writes of the close-up as “a fetishization of the face” that creates “an intense manifestation of subjectivity” [353; also see Dyer, 14-15, and Susman, 282]. The one true close-up I have found in Chaplin’s early films occurs in “A Woman” [1915], when Chaplin goes in drag. It shows Chaplin’s face minus the trademark fake mustache, as if to de-familiarize his recognizability.) Dyer represents the standard view: Hollywood movies propose that stars’ public images directly reflect their private personalities. Chaplin’s celebrity contradicts that model. Chaplin’s initial fame stems from his 1914 performances in Mack Sennett’s Keystone productions, consummate examples of the slapstick genre, in which the Tramp and his trademark regalia first become recognizable trademarks. Far from offering roles that reveal “personality,” slapstick treats both people and things as objects, equally at the mercy of apparently unpredictable physical laws. Within this genre the Tramp remains an object, subject to the chaos of slapstick just like the other bodies on the screen. Chaplin’s celebrity emerges without the suggestion that his image contains a unique subject or stands out among other slapstick objects. The disinclination to treat the image as container of the subject – shared with literary modernism – sets up the Tramp as a sign that connotes Chaplin’s presence elsewhere. Gradually, Chaplin turns his image into an emblem that metonymically refers to the author. When he begins to direct, Chaplin manipulates the generic features of slapstick to reconstruct his image, establishing the Tramp in a central position. For example, in “The Vagabond” (1916), the Tramp becomes embroiled in a barroom brawl and runs toward the saloon’s swinging doors, neatly sidestepping before reaching them. The pursuer’s momentum, naturally, carries him through the doorway. Other characters exist in a slapstick dimension that turns bodies into objects, but not the Tramp. He exploits his liberation from slapstick by exacerbating the other characters’ lack of control. Such moments grant the Tramp a degree of physical control that enhances his value in relation to the other images. The Tramp, bearing the celebrity image and referring to authorial control, becomes a signifier of Chaplin’s combination of authorship and celebrity. Chaplin devises a metonymic relationship between author and image; the Tramp cannot encompass the author, only refer to him. Maintaining his subjectivity separate from the image, Chaplin imagines his films as an aesthetic space where signification is contingent on the author. He attempts to delimit what he, his name and image, signify – in opposition to intertexts that might mobilize meanings drawn from outside the text. Writing of celebrity intertexts, P. David Marshall notes that “the descriptions of the connections between celebrities’ ‘real’ lives and their working lives . . . are what configure the celebrity status” (58). For Chaplin, to situate the subject in a celebrity body would be to allow other influences – uses of his name or image in other texts – to determine the meaning of the celebrity sign. His separation of image and author reveals an anxiety about identifying one specific body or image as location of the subject, about putting the actual subject on display and in circulation. The opening moment of “Shoulder Arms” (1920) illustrates Chaplin’s uneasy alliance of celebrity, author, and image. The title card displays a cartoon sketch of the Tramp in doughboy garb. Alongside, print lettering conveys the film title and the words, “written and produced by” above a blank area. A real hand appears, points to the drawing, and elaborately signs “Charles Chaplin” in the blank space. It then pantomimes shooting a gun at the Tramp. The film announces itself as a product of one author, represented by a giant, disembodied hand. The hand provides an inimitable signature of the author, while the Tramp, disfigured by the uniform but still identifiable, provides an inimitable signature of the celebrity. The relationship between the image and the “writer” is co-dependent but antagonistic; the same hand signs Chaplin’s name and mimes shooting the Tramp. Author-production merges with resistance to the image as representation of the subject. III. The Image Is History “Shoulder Arms” reminds us that despite Chaplin’s conception of himself as an incorporeal author, the Tramp remains present, and not quite accounted for. Here Foucault’s author function finds its limitations, failing to explain author-production that relies on the image even as it situates the author in the text. The Tramp remains visible in Modern Times while the film has made it clear that the author is present to engender significance. To Slavoj Zizek the Tramp is “the remainder” of the text, existing on a separate plane from the diegesis (6). Zizek watches City Lights (1931) and finds that the Tramp, who is continually shifting between classes and characters, acts as “an intercessor, middleman, purveyor.” He is continually mistaken for something he is not, and when the mistake is recognized, “he turns into a disturbing stain one tries to get rid of as quickly as possible” (4). Zizek points out that the Tramp is often positioned outside of social institutions, set slightly apart from the diegesis. Modern Times follows this pattern as well. For example, throughout the film the Tramp continually shifts from one side of the law to the other. He endures two prison sentences, prevents a jailbreak, and becomes a security guard. The film doesn’t quite know what to do with him. Chaplin takes up this remainder and transforms it into an emblem of his mass popularity. The Tramp has always floated somewhat above the narrative; in Modern Times that narrative occurs against a backdrop of historical turmoil. Chaplin, therefore, superimposes the Tramp on to scenes of historical change. The film actually withholds the tramp image during the first section of the movie, as the character is working in a factory and does not appear in his trademark regalia until he emerges from a stay in the “hospital.” His appearance engenders a montage of filmmaking techniques: abrupt cross-cutting between shots at tilted angles, superimpositions, and crowds of people and cars moving rapidly through the city, all set to (Chaplin’s) jarring, brass-wind music. The Tramp passes before a closed factory and accidentally marches at the head of a left-wing demonstration. The sequence combines signs of social upheaval, technological advancement, and Chaplin’s own technical achievements, to indicate that the film has entered “modern times” – all spurred by the appearance of the Tramp in his trademark attire, thus implicating the Tramp in the narration of historical change. By casting his image as a universally identifiable sign of Chaplin’s mass popularity, Chaplin authorizes it to function as a sign of the historical moment. The logic behind Chaplin’s treating the Tramp as an emblem of history is articulated by Walter Benjamin’s concept of the dialectical image. Benjamin explains how culture identifies itself through images, writing that “Every present day is determined by the images that are synchronic with it: each “now” is of a particular recognizability”(462-3). Benjamin proposes that the image, achieving a “particular recognizability,” puts temporality in stasis. This illuminates the dynamic by which Chaplin elevates the mass-reproduced icon to transcendent historical symbol. The Tramp image crystallizes that passing of time into a static unit. Indeed, Chaplin instigates the way the twentieth century, according to Richard Schickel, registers its history. Schickel writes that “In the 1920s, the media, newly abustle, had discovered techniques whereby anyone could be wrested out of whatever context had originally nurtured him and turned into images . . . for no previous era is it possible to make a history out of images . . . for no subsequent era is it possible to avoid doing so. For most of us, now, this is history” (70-1). From Schickel, Benjamin, and Chaplin, a picture of the far-reaching implications of Chaplin’s celebrity emerges. By gesturing beyond the boundary of the text, toward Chaplin’s audience, the Tramp image makes legible that significant portion of the masses unified in recognition of Chaplin’s celebrity, affirming that the celebrity sign depends on its wide circulation to attain significance. As Marshall writes, “The celebrity’s power is derived from the collective configuration of its meaning.” The image’s connotative function requires collaboration with the audience. The collective configuration Chaplin mobilizes is the Tramp’s recognizability as it moves through scenes of historical change, whatever other discourses may attach to it. Chaplin thrusts the image into this role because of its status as remainder, which stems from Chaplin’s rejection of the body as a location of the subject. Chaplin has incorporated the modernist desire to situate subjectivity in the text rather than the body. Paradoxically, this impulse expands the role of visuality, turning the celebrity image into a principal figure by which our culture understands itself. References Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge: The Belknap Press of Harvard UP, 1999. Chaplin, Charles, dir. City Lights. RBC Films, 1931. –––. Modern Times. Perf. Chaplin and Paulette Goddard, United Artists, 1936. –––. “Shoulder Arms.” First National, 1918. –––. “The Vagabond.” Mutual, 1916. Dyer, Richard. Stars. London: BFI, 1998. Foucault, Michel. Aesthetics, Method, and Epistemology. Ed. James D. Faubion. New York: The New Press, 1998. Hansen, Miriam. Babel and Babylon. Cambridge: Harvard UP, 1991. Marshall, P. David. Celebrity and Power. Minneapolis: U of Minnesota P, 1998. Juengel, Scott J. “Face, Figure and Physiognomics: Mary Shelley’s Frankenstein and the Moving Image.” Novel 33.3 (Summer 2000): 353-67. Schickel. Intimate Strangers. New York: Fromm International Publishing Company, 1986. Susman, Warren I. Culture as History. New York: Pantheon Books, 1973. Zizek, Slavoj. Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. New York: Routledge, 1992. Citation reference for this article MLA Style Goldman, Jonathan. "Double Exposure: Charlie Chaplin as Author and Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/05-goldman.php>. APA Style Goldman, J. (Nov. 2004) "Double Exposure: Charlie Chaplin as Author and Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/05-goldman.php>.

IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questioning the role of site within sound installation works. The potential for sound to create shared space and foster relationships between bodies, objects, and the surrounding environment is evident in recent contemporary art exhibitions. For MOMA’s Soundings: A Contemporary Score, curator Barbara London, sought to create a series of “tuned environments” rather than use headphones, emphasising the potential of sound works to envelop the gallery goer. Similarly, Sam Belinafante’s Listening, aimed to capture a sense of how sound can influence attention by choreographing the visitors’ experience towards the artworks. By using motorised technology to stagger each installation, gallery goers were led by their ears. Both London’s and Belinafante’s curatorial approaches highlight the current awareness and interest in aural space and its influence on bodies, an area I aim to contribute to with this article.Audio-based performance works consisting of narration or instructions received through headphones feature as a dominant trend within the field of theatre and performance studies. Well-known examples from the past decade include: Janet Cardiff’s The Missing Case Study B; Graeme Miller’s Linked; and Lavinia Greenlaw’s Audio Obscura. The use of sound in these works offers several possibilities: the layering of fiction onto site, the intensification, or contradiction of existing atmospheres and, in most cases, the direction of audience attention. Misha Myers uses the term ‘percipient’ to articulate this mode of engagement that relies on the active attendance of the participant to their surroundings. She states that it is the participant “whose active, embodied and sensorial engagement alters and determines [an artistic] process and its outcomes” (172-23). Indeed, audio-based works provide invaluable ways of considering how the body of the audience member might be engaged, raising important issues in relation to sound, embodiment and presence. Yet the question remains, outside of individual acoustic environments, how does sound build physical relations between bodies and across space? Within sound studies the World Soundscape Project, founded in the 1970s by R. Murray Schafer, documents the acoustic properties of cities, nature, technology and work. Collaborations between sound engineers and musicians indicated the musicality inherent in the world encouraging attunement to the acoustic characteristics of our environment. Gernot Böhme indicates the importance of personal and emotional impressions of space, experienced as atmosphere. Atmosphere, rather than being an accumulation of individual acoustic characteristics, is a total experience. In relation to sound, sensitivity to this mode of engagement is understood as a need to shift from hearing in “an instrumental sense—hearing something—into a way of taking part in the world” (221). Böhme highlights the importance of the less tangible, emotional consistency of our surrounding environment. Brandon Labelle further indicates the social potential of sound by foregrounding the emotional and psychological charges which support “event-architecture, participatory productions, and related performative aspects of space” (Acoustic Spatiality 2) these, Labelle claims enable sound to catalyse both the material world and our imaginations. Sound as felt experience and the emotional construction of space form the key focus here. Within architectural discourse, both Juhani Pallasmaa and Peter Zumthor point to atmospheric nuances and flows of energy which can cause events to furnish the more rigid physical constructs we exist between, influencing spatial quality. However, it is sensorial experience Jean-Paul Thibaud claims, including attention to light, sound, smell and texture that informs much of how we situate ourselves, contributing to the way we imaginatively construct the world we inhabit, even if only of temporary duration. To expand on this, Thibaud locates the sensorial appreciation of site between “the lived experience of people as well as the built environment of the place” (Three Dynamics 37) hinting at the presence of energetic flows. Such insights into how relations are built between bodies and objects inform the approach taken in this article, as I focus on sensorial modes of engagement to write through my own experience as listener-spectator. George Home-Cook uses the term listener-spectator to describe “an ongoing, intersensorial bodily engagement with the affordances of the theatrical environment” (147) and a mode of attending that privileges phenomenal engagement. Here, I occupy the position of the listener-spectator to attend to two installations, Invisible Flock’s 105+dB and Atelier Bildraum’s Bildraum. The first is a large-scale sound installation produced for Hull UK city of culture, 2017. The piece uses audio recordings from 16 shotgun microphones positioned at the periphery of Hull City’s soccer pitch during a match on 28 November 2016. The piece relocates the recordings in public space, replaying a twenty-minute edited version through 36 speakers. The second, Bildraum, is an installation performance consisting of photographer Charlotte Bouckaert, architect Steve Salembier with sound by Duncan Speakman. The piece, with a running time of 40-minutes uses architectural models, live photography, sound and lighting to explore narrative, memory, and space. In writing through these two case studies, I aim to emphasise sensorial engagement. To do so I recognise, as Salomé Voegelin does, the limits of critical discourse to account for relations built through sound. Voegelin indicates the rift critical discourse creates between what is described and its description. In her own writing, Voegelin attempts to counteract this by using the subjective “I” to foreground the experience of a sound work as a writer-listener. Similarly, here I foreground my position as a listener-spectator and aim to evidence the criticality within the work by writing through my experience of attending thereby bringing out mood, texture, atmosphere to foreground how relations are built across space and between bodies.105+dB Invisible Flock January 2017, I arrive in Hull for Invisible Flock’s 105+dB programmed as part of Made in Hull, a series of cultural activities happening across the city. The piece takes place in Zebedee’s Yard, a pedestrianised area located between Princes Dock Street and Whitefriargate in the grounds of the former Trinity House School. From several streets, I can already hear a crowd. Sound, porous in its very nature, flows through the city expanding beyond its immediate geography bringing the notion of a fictional event into being. I look in pub windows to see which teams are playing, yet the visual clues defy what my ears tell me. Listening, as Labelle suggests is relational, it brings us into proximity with nearby occurrences, bodies and objects. Sound and in turn listening, by both an intended and unsuspecting public, lures bodies into proximity aurally bound by the promise of an event. The use of sound, combined with the physical sensation implied by the surrounding architecture serves to construct us as a group of attendees to a soccer match. This is evident as I continue my approach, passing through an archway with cobbled stones underfoot. The narrow entrance rapidly fills up with bodies and objects; push chairs, wheelchairs, umbrellas, and thick winter coats bringing us into close physical contact with one another. Individuals are reduced to a sea of heads bobbing towards the bright stadium lights now visible in the distance. The title 105+dB, refers to the volume at which the sound of an individual voice is lost amongst a crowd, accordingly my experience of being at the site of the piece further echoes this theme. The physical structure of the archway combined with the volume of bodies contributes to what Pallasmaa describes as “atmospheric perception” (231), a mode of attending to experience that engages all the senses as well as time, memory and imagination. Sound here contributes to the atmosphere provoking a shift in my listening. The importance of the listener-spectator experience is underscored by the absence of architectural structures habitually found in stadiums. The piece is staged using the bare minimum: four metal scaffolding structures on each side of the Yard support stadium lights and a high-visibility clad figure patrols the periphery. These trappings serve to evoke an essence of the original site of the recordings, the rest is furnished by the audio track played through 36 speakers situated at intervals around the space as well as the movement of other bodies. As Böhme notes: “Space is genuinely experienced by being in it, through physical presence” (179) similarly, here, it is necessary to be in the space, aurally immersed in sound and in physical proximity to other bodies moving across the Yard. Image 1: The piece is staged using the bare minimum, the rest is furnished by the audio track and movement of bodies. Image courtesy of the artists.The absence of visual clues draws attention to the importance of presence and mood, as Böhme claims: “By feeling our own presence, we feel the space in which we are present” (179). Listening-spectators actively contribute to the event-architecture as physical sensations build and are tangibly felt amongst those present, influenced by the dramaturgical structure of the audio recording. Sounds of jeering, applause and the referees’ whistle combine with occasional chants such as “come on city, come on city” marking a shared rhythm. Specific moments, such as the sound of a leather ball hitting a foot creates a sense of expectation amongst the crowd, and disappointed “ohhs” make a near-miss audibly palpable. Yet, more important than a singular sound event is the sustained sensation of being in a situation, a distinction Pallasmaa makes, foregrounding the “ephemeral and dynamic experiential fields” (235) offered by music, an argument I wish to consider in relation to this sound installation.The detail of the recording makes it possible to imagine, and almost accurately chart, the movement of the ball around the pitch. A “yeah” erupts, making it acoustically evident that a goal is scored as the sound of elation erupts through the speakers. In turn, this sensation much like Thibaud’s concept of intercorporeality, spreads amongst the bodies of the listening-spectators who fist bump, smile, clap, jeer and jump about sharing and occupying Zebedee’s Yard with physical manifestations of triumph. Through sound comes an invitation to be both physically and emotionally in the space, indicating the potential to understand, as Pallasmaa suggests, how “spaces and true architectural experiences are verbs” (231). By physically engaging with the peaks and troughs of the game, a temporary community of sorts forms. After twenty minutes, the main lights dim creating an amber glow in the space, sound is reduced to shuffling noises as the stadium fills up, or empties out (it is impossible to tell). Accordingly, Zebedee’s Yard also begins to empty. It is unclear if I am listening to the sounds in the space around me, or those on the recording as they overlap. People turn to leave, or stand and shuffle evidencing an attitude of receptiveness towards their surrounding environment and underscoring what Thibaud describes as “tuned ambiance” where a resemblance emerges “between what is felt and what is produced” (Three Dynamics 44). The piece, by replaying the crowd sounds of a soccer match across the space of Zebedee’s Yard, stages atmospheric perception. In the absence of further architectural structures, it is the sound of the crowd in the stadium and in turn an attention to our hearing and physical presence that constitutes the event. Bildraum Atelier BildraumAugust 2016, I am in Edinburgh to see Bildraum. The German word “bildraum” roughly translates as image room, and specifically relates to the part of the camera where the image is constructed. Bouckaert takes high definition images live onstage that project immediately onto the screen at the back of the space. The audience see the architectural model, the taking of the photograph, the projected image and hear both pre-recorded ambient sounds by Speakman, and live music played by Salembier generating the sensation that they are inhabiting a bildraum. Here I explore how both sound and image projection can encourage the listener-spectator to construct multiple narratives of possible events and engage their spatial imagination. Image 2: The audience see the architectural model, the taking of the photograph, the projected image and hear both live and pre-recorded sounds. Image courtesy of the artists.In Bildraum, the combination of elements (photographic, acoustic, architectural) serve to create provocative scenes which (quite literally) build multiple spaces for potential narratives. As Bouckaert asserts, “when we speak with people after the performance, they all have a different story”. The piece always begins with a scale model of the actual space. It then evolves to show other spaces such as a ‘social’ scene located in a restaurant, a ‘relaxation’ scene featuring sun loungers, an oversize palm tree and a pool as well as a ‘domestic’ scene with a staircase to another room. The use of architectural models makes the spaces presented appear as homogenous, neutral containers yet layers of sound including footsteps, people chatting, doors opening and closing, objects dropping, and an eerie soundscape serve to expand and incite the construction of imaginative possibilities. In relation to spatial imagination, Pallasmaa discusses the novel and our ability, when reading, to build all the settings of the story, as though they already existed in pre-formed realities. These imagined scenes are not experienced in two dimensions, as pictures, but in three dimensions and include both atmosphere and a sense of spatiality (239). Here, the clean, slick lines of the rooms, devoid of colour and personal clutter become personalised, yet also troubled through the sounds and shadows which appear in the photographs, adding ambiance and serving to highlight the pluralisation of space. As the piece progresses, these neat lines suffer disruption giving insight into the relations between bodies and across space. As Martin Heidegger notes, space and our occupation of space are not mutually exclusive but intertwined. Pallasmaa further reminds us that when we enter a space, space enters us and the experience is a reciprocal exchange and fusion of both subject and object (232).One image shows a table with several chairs neatly arranged around the outside. The distance between the chairs and the table is sufficient to imagine the presence of several bodies. The first image, though visually devoid of any living presence is layered with chattering sounds suggesting the presence of bodies. In the following image, the chairs have shifted position and there is a light haze, I envisage familiar social scenes where conversations with friends last long into the night. In the next image, one chair appears on top of the table, another lies tilted on the floor with raucous noise to accompany the image. Despite the absence of bodies, the minimal audio-visual provocations activate my spatial imagination and serve to suggest a correlation between physical behaviour and ambiance in everyday settings. As discussed in the previous paragraph, this highlights how space is far from a disinterested, or separate container for physical relations, rather, it underscores how social energy, sound and mood can build a dynamic presence within the built environment, one that is not in isolation but indeed in dialogue with surrounding structures. In a further scene, the seemingly fixed, stable nature of the models undergoes a sudden influx of materials as a barrage of tiny polystyrene balls appears. The image, combined with the sound suggests a large-scale disaster, or freak weather incident. The ambiguity created by the combination of sound and image indicates a hidden mobility beneath what is seen. Sound here does not announce the presence of an object, or indicate the taking place of a specific event, instead it acts as an invitation, as Voegelin notes, “not to confirm and preserve actuality but to explore possibilities” (Sonic 13). The use of sound which accompanies the image helps to underscore an exchange between the material and immaterial elements occurring within everyday life, leaving a gap for the listener-spectator to build their own narrative whilst also indicating further on goings in the depth of the visual. Image 3: The minimal audio-visual provocations serve to activate my spatial imagination. Image courtesy of the artists.The piece advances at a slow pace as each model is adjusted while lighting and objects are arranged. The previous image lingers on the projector screen, animated by the sound track which uses simple but evocative chords. This lulls me into an attentive, almost meditative state as I tune into and construct my own memories prompted by the spaces shown. The pace and rhythm that this establishes in Summerhall’s Old Lab creates a productive imaginative space. Böhme argues that atmosphere is a combination of both subjective and objective perceptions of space (16). Here, stimulated by the shifting arrangements Bouckaert and Salembier propose, I create short-lived geographies charting my lived experience and memories across a plurality of possible environments. As listener-spectator I am individually implicated as the producer of a series of invisible maps. The invitation to engage with the process of the work over 40-minutes as the building and dismantling of models and objects takes place draws attention to the sensorial flows and what Voegelin denotes as a “semantic materiality” (Sonic 53), one that might penetrate our sensibility and accompany us beyond the immediate timeframe of the work itself. The timeframe and rhythm of the piece encourages me, as listener-spectator to focus on the ambient sound track, not just as sound, but to consider the material realities of the here and now, to attend to vibrational milieus which operate beyond the surface of the visible. In doing so, I become aware of constructed actualities and of sound as a medium to get me beyond what is merely presented. ConclusionThe dynamic experiential potential of sound installations discussed from the perspective of a listener-spectator indicate how emotion is a key composite of spatial construction. Beyond the closed acoustic environments of audio-based performance works, aural space, physical proximity, and the importance of ambiance are foregrounded. Such intangible, ephemeral experiences can benefit from a writing practice that attends to these aesthetic concerns. By writing through both case studies from the position of listener-spectator, my lived experience of each work, manifested through attention to sensorial experience, have indicated how relations are built between bodies and across space. In Invisible Flock´s 105+dB sound featured as a social material binding listener-spectators to each other and catalysing a fictional relation to space. Here, sound formed temporal communities bringing bodies into contact to share in constructing and further shaping the parameters of a fictional event.In Atelier Bildraum’s Bildraum the construction of architectural models combined with ambient and live sound indicated a depth of engagement to the visual, one not confined to how things might appear on the surface. The seemingly given, stable nature of familiar environments can be questioned hinting at the presence of further layers within the vibrational or atmospheric properties operating across space that might bring new or alternative realities to the forefront.In both, the correlation between the environment and emotional impressions of bodies that occupy it emerged as key in underscoring and engaging in a dialogue between ambiance and lived experience.ReferencesBildraum, Atelier. Bildraum. Old Lab, Summer Hall, Edinburgh. 18 Aug. 2016.Böhme, Gernot, and Jean-Paul Thibaud (eds.). The Aesthetics of Atmospheres. 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