Journal articles on the topic 'Cassilis (Vic )'

The Cassini spacecraft was launched in October, 1997. Since then it has been on an interplanetary trajectory aimed toward Saturn and arriving there on July 1, 2004. En route, Cassini has flown by Venus, the Earth, and Jupiter. Each of these events yielded new scientific results, (e.g., 11 papers in J. Geophys. Res. 106, 30099-30279.) The Cassini flyby of Jupiter, with Galileo already in Jovian orbit, enabled the first-ever simultaneous measurements by two spacecraft at an outer planet. This fortuitous event provided a unique opportunity to investigate the giant planet’s magnetic field and the properties of the Jovian system. It provided a focused period for intensive observations of Jupiter and cooperation with investigators using Galileo, Hubble, Chandra, and ground-based observatories. The results achieved at Jupiter were stunning (e.g., 8 articles in Nature 415, 965-1005, February 28, 2002). Recent results and the current status of the spacecraft and mission will be discussed. Of note are the dates of July 1, 2004 when Cassini goes into orbit about Saturn and January 14, 2005 when Huygens enters the atmosphere of Titan. The Cassini/Huygens mission is a joint undertaking by NASA and ESA, with ASI as a partner via a bilateral agreement with NASA.

ABITATI MINORI NELLA VALLE DEL TEVERE: BACCANAE, FORUM CASSII E CASTELLUM AMERINUML'articolo presenta i risultati delle indagini geofisiche e topografiche condotte a Baccano, Forum Cassii e Castellum Amerinum, come parte del progetto ‘Città romane nella Media e Bassa Valle del Tevere’. I risultati forniscono nuove informazioni sulla struttura e sull'estensione di questi centri, integrando le evidenze raccolte in occasione degli scavi precedenti. A Baccano sono stati individuati nuovi elementi della planimetria del sito. A Forum Cassii è stato chiarito l'andamento della via Cassia in questo punto e sono state individuate nuove strutture, tra cui tombe e un possibile anfiteatro. Infine a Castellum Amerinum sono stati rintracciati il percorso della via Amerina e nuove strutture lungo la riva del Tevere. Si discute inoltre il rinvenimento da quest'ultimo sito di tre tegole con bollo.

Huygens is an entry probe designed to descend under parachute through the atmosphere of Titan, Saturn’s largest moon. The Huygens Probe is provided by the European Space Agency (ESA) for the Cassini/Huygens mission to Saturn and Titan. The Huygens mission will be conducted on the 3rd Orbit around Saturn. The probe will be released around December 25, 2004 for entry in Titan on January 14, 2005. This paper provided an overview of the Huygens mission. The status of the probe and of the mission was reviewed, and opportunities for Titan observations by the Orbiter during the first two orbits were discussed. The Cassini/Huygens mission is a joint undertaking by NASA and ESA, with ASI as a partner via a bilateral agreement with NASA.

AbstractIn October 1997 a unique mission to the Saturnian system will be launched by NASA, the CASSINI mission. One goal of this mission is to study the Saturnian dust environment, and for this task, the COSMIC DUST ANALYZER (CDA) has been developed and is currently being tested. Impact ionization is used to determine the speed (1 - 100 km/s) and the mass (1•10–15 – 1•10–9 g) of impinging particles. Furthermore, the electric charge (1•10–15 – 1•10–12 C) of the particles can be measured via the induction principle, and an integrated time-of-flight mass spectrometer will analyze the chemical composition of individual dust particles. In order to achieve sufficient sensitivity for dust fluxes as low as 10 particles/(month-m2), the sensor has a large sensitive area of 0.1 m2. This paper will describe the function of the experiment.

Abstract We present an unprecedented comparison of ∼0.52–55 keV energetic neutral atom (ENA) heliosheath measurements, remotely sensed by the Interstellar Boundary Explorer (IBEX) mission and the Ion and Neutral Camera (INCA) on the Cassini mission, with modeled ENAs inferred from interstellar pickup protons that have been accelerated at the termination shock, using hybrid simulations, to assess the pickup ion energetics within the heliosheath. This is the first study to use hybrid simulations that are able to accurately model the acceleration of ions to tens of keV energies, which is essential in order to model ENA fluxes in the heliosheath, covering the full energy range observed by IBEX and CASSINI/INCA. The observed ENA intensities are an average value over the time period from 2009 to the end of 2012, along the Voyager 2 (V2) trajectory. The hybrid simulations upstream of the termination shock, where V2 crossed, are constrained by observations. We report an energy-dependent discrepancy between observed and simulated ENA fluxes, with the observed ENA fluxes being persistently higher than the simulated ones. Our analysis reveals that the termination shock may not accelerate pickup ions to sufficient energies to account for the observed ENA fluxes. We, thus, suggest that the further acceleration of these pickup ions is most likely occurring within the heliosheath, via additional physical processes like turbulence or magnetic reconnection. However, the redistribution of energy inside the heliosheath remains an open question.

Abstract Titan’s atmosphere is a natural laboratory for exploring the photochemical synthesis of organic molecules. Significant recent advances in the study of the atmosphere of Titan include: (a) detection of C3 molecules: C3H6, CH2CCH2, c-C3H2, and (b) retrieval of C6H6, which is formed primarily via C3 chemistry, from Cassini Ultraviolet Imaging Spectrograph data. The detection of c-C3H2 is of particular significance as ring molecules are of great astrobiological importance. Using the Caltech/JPL KINETICS code, along with the best available photochemical rate coefficients and parameterized vertical transport, we are able to account for the recent observations. It is significant that ion chemistry, reminiscent of that in the interstellar medium, plays a major role in the production of c-C3H2 above 1000 km.

In this paper, Neutrosophic definitions and properties of some special number sequences which are frequently found in the science literature, called Neutrosophic Number Sequences (NNSq) via Horadam sequence are studied for the first time. Especially for Neutrosophic Fibonacci (NFNq) and Neutrosophic Lucas (NLNq) number sequences, fundamental properties and identities such as Ruggles, Honsberger, Cassini, Catalan, d’Ocagne, and Tagiuri are given. In addition, Neutrosophic definitions of the sequences of Pell (NPNq), Pell-Lucas (NPLNq), Jacobsthal (NJNq), Jacobsthal-Lucas (NJLNq), Mersenne (NMNq), Mersenne-Lucas (NMLNq), Balancing (NBNq), and Lucas-Balancing (NLBNq) numbers are introduced. Besides defining these numbers and their sequences, since fuzzy and intuitionistic fuzzy sets are restrictions of neutrosophic sets, sequences of numbers within these sets are naturally and indirectly revealed.

Developing a deep learning (DL) model for image classification commonly demands a crucial architecture organization. Planetary expeditions produce a massive quantity of data and images. However, manually analyzing and classifying flight missions image databases with hundreds of thousands of images is ungainly and yield weak accuracy. In this paper, we speculate an essential topic related to the classification of remotely sensed images, in which the process of feature coding and extraction are decisive procedures. Diverse feature extraction techniques are intended to stimulate a discriminative image classifier. Features extraction is the primary engagement in raw data processing with the purpose of data classification; when it comes across the task of analysis of vast and varied data, these kinds of tasks are considered as time-consuming and hard to be treated with. Most of these classifiers are either, in principle, quite intricate or virtually unattainable to calculate for massive datasets. Stimulated by this perception, we put forward a straightforward, efficient classifier based on feature extraction by analyzing the cell of tensors via layered MapReduce framework beside meta-learning LSTM followed by a SoftMax classifier. Experiment results show that the provided model attains a classification accuracy of 96.7%, which makes the provided model quite valid for diverse image databases with varying sizes.

ABSTRACT The Cassini and Juno probes have revealed large coherent cyclonic vortices in the polar regions of Saturn and Jupiter, a dramatic contrast from the east–west banded jet structure seen at lower latitudes. Debate has centred on whether the jets are shallow, or extend to greater depths in the planetary envelope. Recent experiments and observations have demonstrated the relevance of deep convection models to a successful explanation of jet structure, and cyclonic coherent vortices away from the polar regions have been simulated recently including an additional stratified shallow layer. Here we present new convective models able to produce long-lived polar vortices. Using simulation parameters relevant for giant planet atmospheres we find flow regimes of geostrophic turbulence (GT) in agreement with rotating convection theory. The formation of large-scale coherent structures occurs via 3D upscale energy transfers. Our simulations generate polar characteristics qualitatively similar to those seen by Juno and Cassini: They match the structure of cyclonic vortices seen on Jupiter; or can account for the existence of a strong polar vortex extending downwards to lower latitudes with a marked spiral morphology, and the hexagonal pattern seen on Saturn. Our findings indicate that these vortices can be generated deep in the planetary interior. A transition differentiating these two polar flows regimes is described, interpreted in terms of force balances and compared with shallow atmospheric models characterizing polar vortex dynamics in giant planets. In addition, heat transport properties are investigated, confirming recent scaling laws obtained with reduced models of GT.

The abundance of deuterium in giant planet atmospheres provides constraints on the reservoirs of ices incorporated into these worlds during their formation and evolution. Motivated by discrepancies in the measured deuterium-hydrogen (D/H) ratio on Jupiter and Saturn, we present a new measurement of the D/H ratio in methane for Saturn from ground-based measurements. We analysed a spectral cube (covering 1151–1160 cm−1 from 6 February 2013) from the Texas Echelon Cross Echelle Spectrograph (TEXES) on NASA’s Infrared Telescope Facility (IRTF) where emission lines from both methane and deuterated methane are well resolved. Our estimate of the D/H ratio in stratospheric methane, 1.65−0.21+0.27 × 10−5 is in agreement with results derived from Cassini CIRS and ISO/SWS observations, confirming the unexpectedly low CH3D abundance. Assuming a fractionation factor of 1.34 ± 0.19 we derive a hydrogen D/H of 1.23−0.23+0.27 × 10−5. This value remains lower than previous tropospheric hydrogen D/H measurements of (i) Saturn 2.10(±0.13) × 10−5, (ii) Jupiter 2.6(±0.7) × 10−5 and (iii) the proto-solar hydrogen D/H of 2.1(±0.5) × 10−5, suggesting that the fractionation factor may not be appropriate for stratospheric methane, or that the D/H ratio in Saturn’s stratosphere is not representative of the bulk of the planet.

AbstractSpacecraft have visited Jupiter and Saturn at all phases of the solar cycle and thus we have a wealth of data with which to explore both upstream parameters and magnetospheric response. In this paper we review upstream parameters including interplanetary magnetic field strength and direction, solar wind dynamic pressure, plasma beta and Mach number. We consider the impact of changing solar wind on dayside coupling via reconnection. We also comment on how solar UV flux variability over a solar cycle influences the plasma and neutral tori in the inner magnetospheres of Jupiter and Saturn, and thus estimate the solar cycle effects on internally driven magnetospheric dynamics. Finally we place our results in the context of the now complete set of data from the Cassini mission at Saturn and the current data streaming in from Juno at Jupiter, outlining future avenues for research.

Objectives The objectives of this paper were to identify and compare clinical prediction models used to assess the risk of venous thromboembolism (VTE) in ambulatory patients with cancer, as well as review the rationale and implementation of a pharmacist-led VTE screening program using the Khorana Risk Score model in an ambulatory oncology centre in Sault Ste. Marie, Ontario, Canada. Data Sources PubMed was used to identify clinical practice guidelines and review articles discussing risk prediction models used to assess VTE risk in ambulatory patients with cancer. Data Summary Three commonly used VTE risk prediction models in ambulatory patients with cancer: the Khorana Risk Score, Vienna Cancer and Thrombosis Study (CATS) and Protecht Score, were identified via literature review. After considering guideline recommendations, site-specific factors (i.e. laboratory costs, time pharmacists spent calculating VTE risk) and evidence from the CASSINI and AVERT trials, a novel pharmacist-led VTE risk assessment program using the Khorana Risk Score was developed during a fourth-year PharmD clinical rotation at the Algoma District Cancer Program (ADCP) [ambulatory cancer care centre]. ADCP patients with a Khorana Risk Score of [Formula: see text] were referred to the hematologist for a full VTE workup. Considering limitations, inclusion and exclusion criteria of the CASSINI and AVERT trials, the hematologist and pharmacy team decided on appropriate initiation of thromboprophylaxis with a direct oral anticoagulant (DOAC). Conclusions The Khorana Risk Score was the chosen model used for the pharmacist-led VTE risk assessment program due to its user-friendly scoring algorithm, evidence from validation studies and clinical trials, as well as ease of integration into pharmacy workflow. More research is needed to determine if pharmacist-led VTE risk assessment programs will impact patient outcomes, such as morbidity and mortality, secondary to cancer-associated thrombosis.

ABSTRACT The past year has seen numerous publications underlining the importance of a space mission to the ice giants in the upcoming decade. Proposed mission plans involve a ∼10 yr cruise time to the ice giants. This cruise time can be utilized to search for low-frequency gravitational waves (GWs) by observing the Doppler shift caused by them in the Earth–spacecraft radio link. We calculate the sensitivity of prospective ice giant missions to GWs. Then, adopting a steady-state black hole binary population, we derive a conservative estimate for the detection rate of extreme mass ratio inspirals (EMRIs), supermassive black hole (SMBH), and stellar mass binary black hole (sBBH) mergers. We link the SMBH population to the fraction of quasars fbin resulting from Galaxy mergers that pair SMBHs to a binary. For a total of 10 40-d observations during the cruise of a single spacecraft, $\mathcal {O}(f_\mathrm{bin})\sim 0.5$ detections of SMBH mergers are likely, if Allan deviation of Cassini-era noise is improved by ∼102 in the 10−5 − 10−3 Hz range. For EMRIs the number of detections lies between $\mathcal {O}(0.1) \ \mathrm{ and} \ \mathcal {O}(100)$. Furthermore, ice giant missions combined with the Laser Interferometer Space Antenna (LISA) would improve the localization by an order of magnitude compared to LISA by itself.

Atresia ani is a congenital defect that describes the absence of a normal anal opening. It is fatal unless a surgical correction is carried out to provide an anal opening. In female, the rectum may break through the vagina, forming a rectovaginal fistula permitting defecation via the vulva. Surgical treatment of atresia ani is indicated to save the animal’s life and to improve body weight gain. Intestinal atresia has been reported as a congenital defect in all species of domestic animals (Gass and Tibboel, 1980). Atresia ani may be caused by genetic disorders (chromosomes or transgenesis), environmental factors, or a combination of both (Cassini et al., 2005). Monsang et al. (2011) reported a case of double vulva with atresia ani in a crossbred calf. Atresia ani should be treated by a surgical operation to solve the problem, improve body weight gain, and reduce economic loss. The present report records a case of atresia ani in a crossbred cow-calf and its successful surgical correction.

The Challis oil field development was approved in 1987 with marginal reserves (for an isolated offshore project) of 22 MMbbl. The initial development envisaged three subsea production wells connected via a riser to a floating production facility with one water injector also being required to maximise recovery. However, due to additional potential in the vicinity of the field, the production system was designed to accommodate up to 10 production/injection wells.Further appraisal in 1988/1989 doubled the reserves to 43 MMbbl and increased the number of initial production wells to seven from five reservoirs. The appraisal results also confirmed earlier concerns as to the structural complexity of the field. Analytical interpretations of the production tests performed on the wells could not be fully reconciled with the available well log, core and seismic data. Furthermore, the analytical models developed from these interpretations could not fully match the test results.Reservoir simulation was used to resolve, where possible, the discrepancies. Individual reservoir models were calibrated with the production test results and used to quantify the major uncertainties and their potential impact on production performance. The simulation results indicated that water injection may not be required. However, the degree of internal reservoir communication and the extent of the expected aquifer support were identified as the two principal unknowns.Production policy and monitoring procedures were structured to resolve these uncertainties as quickly as possible during the production start-up phase. Comparative forecasts of expected performance were developed for each reservoir with various levels of aquifer support. A surface controlled interference test was designed to investigate the extent of internal reservoir communication in the main reservoir.The success of the interference test and the results of the early well performance have confirmed the simulation predictions. Simulation modelling was successful in quantifying the range of expected pressure response (to production) for each reservoir and was able to quickly confirm the degree of pressure support present in each reservoir.

Abstract. The paraboloid model of Saturn's magnetosphere describes the magnetic field as being due to the sum of contributions from the internal field of the planet, the ring current, and the tail current, all contained by surface currents inside a magnetopause boundary which is taken to be a paraboloid of revolution about the planet-Sun line. The parameters of the model have previously been determined by comparison with data from a few passes through Saturn's magnetosphere in compressed and expanded states, depending on the prevailing dynamic pressure of the solar wind. Here we significantly expand such comparisons through examination of Cassini magnetic field data from 18 near-equatorial passes that span wide ranges of local time, focusing on modelling the co-latitudinal field component that defines the magnetic flux passing through the equatorial plane. For 12 of these passes, spanning pre-dawn, via noon, to post-midnight, the spacecraft crossed the magnetopause during the pass, thus allowing an estimate of the concurrent subsolar radial distance of the magnetopause R1 to be made, considered to be the primary parameter defining the scale size of the system. The best-fit model parameters from these passes are then employed to determine how the parameters vary with R1, using least-squares linear fits, thus providing predictive model parameters for any value of R1 within the range. We show that the fits obtained using the linear approximation parameters are of the same order as those for the individually selected parameters. We also show that the magnetic flux mapping to the tail lobes in these models is generally in good accord with observations of the location of the open-closed field line boundary in Saturn's ionosphere, and the related position of the auroral oval. We then investigate the field data on six passes through the nightside magnetosphere, for which the spacecraft did not cross the magnetopause, such that in this case we compare the observations with three linear approximation models representative of compressed, intermediate, and expanded states. Reasonable agreement is found in these cases for models representing intermediate or expanded states.

Through the verve and beauty of V. Sambasivan’s (1929‐97) recitals for Kerala’s kathaprasangam temple art form, performed solo onstage to harmonium accompaniment, Shakespeare’s Othello has become a lasting part of cultural memory. The veteran storyteller’s energetic Malayalam-language Othello lingers in a YouTube recording, an hour-long musical narrative that sticks faithfully to the bones of Shakespeare’s tragedy while fleshing it out with colourful colloquial songs, verse, dialogue and commentary. Sambasivan consciously indigenized Shakespeare, lending local appeal through familiar stock characters and poetic metaphor. Othello’s ‘moonless night’ or ‘amavasi’ is made bright by Desdemona’s ‘full moon’ or ‘purnima’; Cassio’s lover Bianca is renamed Vasavadatta, after poet Kumaran Asan’s lovelorn courtesan-heroine. Crucially, Sambasivan’s populist introduction of Othello through kathaprasangam marks a progressive phase where Marxism, rather than colonialism, facilitated India’s assimilation of Shakespeare. As part of Kerala’s communist anti-caste movement and mass literacy drive, Sambasivan used the devotional art form to adapt secular world classics into Malayalam, presenting these before thousands of people at venues both sacred and secular. In this article, I interview his son Professor Vasanthakumar Sambasivan, who carries on the family kathaprasangam tradition, as he recalls how his father’s adaptation represents both an artistic and sociopolitical intervention, via Shakespeare.

Abstract Cyanoacetylene (HC3N) ice has been observed in Titan’s stratosphere by both Voyager 1's InfraRed Interferometer Spectrometer (IRIS) and Cassini's Composite InfraRed Spectrometer (CIRS), and it is likely prevalent in other objects in our solar system and exoplanetary systems as well. While previous experimental studies targeting Titan’s stratospheric clouds have determined the optical properties of HC3N ice in the infrared (IR) spectral range, those thin ice films were formed by annealing processes, which contradicts the formation mechanism of Titan’s stratospheric ice clouds. As a result, optical constants of HC3N ices, experimentally created in a similar manner to the way they are formed in Titan’s stratosphere, are crucial. Here we experimentally measured absorbance spectra of HC3N thin ice films from the near- to far-IR spectral region (50–8000 cm−1; 200–1.25 μm) formed via direct vapor deposition at 30, 50, 70, 90, 110, and 113 K. The corresponding optical constants at all temperatures were also computed, resulting in the largest continuous IR spectral range available for HC3N ice. New tentative peak assignments for spectral features in the near-IR are also reported, thereby further enhancing the inventory of optical constants available for HC3N ice spanning the near- to far-IR spectral range.

Abstract We report the results of the trajectory-based simulation of far-infrared collision-induced absorption (CIA) due to CH4–N2 pairs at temperatures between 70 and 400 K. Our analysis utilizes recently calculated high-level potential energy and induced dipole surfaces. Treating collision partners as rigid rotors, the time evolution of interaction-induced dipole is accumulated over a vast ensemble of classical trajectories and subsequently transformed into a CIA spectrum via Fourier transform. In our calculations, both bound and unbound states are properly accounted for, and the rigorous theory of lower-order spectral moments is addressed to check the accuracy of simulated profiles. Classically derived trajectory-based profiles are subject to two approximate desymmetrization procedures so that resulting profiles conform to the quantum principle of detailed balance. The simulated profiles are compared to laboratory measurements and employed for modeling Titan’s spectra in the 50–500 cm−1 range. Based on the desymmetrized simulated profiles, a new semiempirical model for CH4–N2 CIA is proposed for modeling Titan’s infrared spectra. Synthetic spectra derived using this model yield an excellent agreement with the data recorded by the Composite Infrared Spectrometer aboard the Cassini spacecraft at low and high emission angles.

ABSTRACT Saturn’s moon Enceladus is erupting a plume of gas and ice grains from its south pole. Linked directly to the moon’s subsurface global ocean, plume material travels through cracks in the icy crust and is ejected into space. The subsurface ocean is believed to be in contact with the rocky core, with ongoing hydrothermal activity present. The Cassini spacecraft’s Ion and Neutral Mass Spectrometer (INMS) detected volatile, gas phase, organic species in the plume and the Cosmic Dust Analyser (CDA) discovered high-mass, complex organic material in a small fraction of ice grains. Here, we present a broader compositional analysis of CDA mass spectra from organic-bearing ice grains. Through analogue experiments, we find spectral characteristics attributable to low-mass organic compounds in the Enceladean ice grains: nitrogen-bearing, oxygen-bearing, and aromatic. By comparison with INMS results, we identify low-mass amines [particularly (di)methylamine and/or ethylamine] and carbonyls (with acetic acid and/or acetaldehyde most suitable) as the best candidates for the N- and O-bearing compounds, respectively. Inferred organic concentrations in individual ice particles vary but may reach tens of mmol levels. The low-mass nitrogen- and oxygen-bearing compounds are dissolved in the ocean, evaporating efficiently at its surface and entering the ice grains via vapour adsorption. The potentially partially water soluble, low-mass aromatic compounds may alternatively enter ice grains via aerosolization. These amines, carbonyls, and aromatic compounds could be ideal precursors for mineral-catalysed Friedel–Crafts hydrothermal synthesis of biologically relevant organic compounds in the warm depths of Enceladus’ ocean.

Abstract. The periodicity of Saturn kilometric radiation (SKR) varies with time, and its two periods during the first 5 years of the Cassini mission have been attributed to SKR from the northern and southern hemisphere. After Saturn equinox in August 2009, there were long intervals of time (March 2010 to February 2011 and September 2011 to June 2012) with similar northern and southern SKR periods and locked SKR phases. However, from March to August 2011 the SKR periods were split up again, and the phases were unlocked. In this time interval, the southern SKR period slowed down by ~ 0.5% on average, and there was a large jump back to a faster period in August 2011. The northern SKR period speeded up and coalesced again with the southern period in September 2011. We argue that this unusual behavior could be related to the so-called Great White Spot (GWS), a giant thunderstorm that raged in Saturn's atmosphere around that time. For several months in 2011, the visible head of the GWS had the same period of ~ 10.69 h as the main southern SKR modulation signal. The GWS was most likely a source of intense gravity waves that may have caused a global change in Saturn's thermospheric winds via energy and momentum deposition. This would support the theory that Saturn's magnetospheric periodicities are driven by the upper atmosphere. Since the GWS with simultaneous SKR periodicity measurements have only been made once, it is difficult to prove a physical connection between these two phenomena, but we provide plausible mechanisms by which the GWS might modify the SKR periods.

Context. Atmospheric escape has an appreciable impact on the long-term climate evolution on terrestrial planets. Exothermic chemistry serves as an important mechanism driving atmospheric escape and the role of such a mechanism is of great interest for Titan due to its extremely complicated atmospheric and ionospheric composition. Aims. This study is devoted to a detailed investigation of neutral N and C escape on the dayside of Titan, which is driven by exothermic neutral–neutral, ion–neutral, and dissociative recombination (DR) reactions. It was carried out based on the extensive measurements of Titan’s upper atmospheric structure by a number of instruments on board Cassini, along with an improved understanding of the chemical network involved. Methods. A total number of 14 C- and N-containing species are investigated based on 146 exothermic chemical reactions that release hot neutrals with nascent energies above their respective local escape energies. For each species and each chemical channel, the hot neutral production rate profile is calculated, which provides an estimate of the corresponding escape rate when combined with the appropriate escape probability profile obtained from a test particle Monte Carlo model. Results. Our calculations suggest a total N escape rate of 9.0 × 1023 s−1 and a total C escape rate of 4.2 × 1023 s−1, driven by exothermic chemistry and appropriate for the dayside of Titan. The former is primarily contributed by neutral-neutral reactions, whereas the latter is dominated by ion–neutral reactions; however, contributions from neutral–neutral and DR reactions to the latter cannot be ignored either. Our calculations further reveal that the bulk of N escape is driven by hot N(4S) production from the collisional quenching of N(2D) by ambient N2, while C escape is mainly driven by hot CH3 and CH4 production via a number of important ion–neutral and neutral–neutral reactions. Conclusions. Considered in the context of prior investigations of other known escape mechanisms, we suggest that exothermic chemistry is likely to contribute appreciably to non-thermal C escape on the dayside of Titan, although it plays an insignificant role in N escape.

The question “Is nonviolence a possibility?” was a lightning rod of disorder in the 1960s as leftist groups became militarized, claiming counter-violence as the most effective vehicle of self-preservation. Numerous publications, whether advocating counter-violence as self-destruction or as self-preservation, from Konrad Lorenz's On Aggression (1963) to the collection The Dialectics of Liberation (which appeared in 1968 and featured essays by Herbert Marcuse, R.D. Laing, and Stokely Carmichael), spoke to the problem of venting human aggression and thereby ending our “mass suicide.” Artistic use of violence at the 1966 Destruction in Art Symposium in London, where Viennese Actionists as well as members of the Fluxus group gathered to stage performances of their works such as Ten Rounds for Cassius Clay, questioned the sublimation of violence or its aggravation via aesthetic strategies. In suggesting that nonviolence in an oppressive society was the equivalent of self-destruction, Actionists participated in a broader discussion of the character of violence being conducted by a number of activist groups at this time. It dismissed self-defense in favor of revolutionary violence. The Actionists politicized self-destruction as a means of routing bourgeois individualism and its internalization of repressive aspects of the state apparatus, forming group-subjects as in Wehrertüchtigung [Toughening Up the Army] from 1967, which had performers parodying the training exercises of army soldiers and reveling in corporal abjection. In this sense, the political capacities of Actionism can be seen not just in its partnering with student-activist groups to offer “teach-ins,” as at 1968's “Art and Revolution” (a manifestation of performance and actions co-organized by the Viennese Actionists and a student group at the University of Vienna); they are more widely manifest in the Direct Art performances of the mid-1960s and in Günter Brus's Body Analysis actions, which question the relationship between the materiality of the human body and the political identity of the citizen subject. Here, violence applied to the body as material seeks to overturn the originary violence that is the basis of state power and to render visible the internalization of repressive social forces.

Aims. Methyl isocyanate (CH3NCO) and glycolonitrile (HOCH2CN) are isomers and prebiotic molecules that are involved in the formation of peptide structures and the nucleobase adenine, respectively. These two species are investigated to study the interstellar chemistry of cyanides (CN) and isocyanates (NCO) and to gain insight into the reservoir of interstellar prebiotic molecules. Methods. ALMA observations of the intermediate-mass Class 0 protostar Serpens SMM1-a and ALMA-PILS data of the low-mass Class 0 protostar IRAS 16293B are used. Spectra are analysed with the CASSIS line analysis software package in order to identify and characterise molecules. Results. CH3NCO, HOCH2CN, and various other molecules are detected towards SMM1-a. HOCH2CN is identified in the PILS data towards IRAS 16293B in a spectrum extracted at a half-beam offset position from the peak continuum. CH3NCO and HOCH2CN are equally abundant in SMM1-a at [X]/[CH3OH] of 5.3 × 10−4 and 6.2 × 10−4, respectively. A comparison between SMM1-a and IRAS 16293B shows that HOCH2CN and HNCO are more abundant in the former source, but CH3NCO abundances do not differ significantly. Data from other sources are used to show that the [CH3NCO]/[HNCO] ratio is similar in all these sources within ~10%. Conclusions. The new detections of CH3NCO and HOCH2CN are additional evidence for a large interstellar reservoir of prebiotic molecules that can contribute to the formation of biomolecules on planets. The equal abundances of these molecules in SMM1-a indicate that their formation is driven by kinetic processes instead of thermodynamic equilibrium, which would drive the chemistry to one product. HOCH2CN is found to be much more abundant in SMM1-a than in IRAS 16293B. From the observational data, it is difficult to indicate a formation pathway for HOCH2CN, but the thermal Strecker-like reaction of CN− with H2CO is a possibility. The similar [CH3NCO]/[HNCO] ratios found in the available sample of studied interstellar sources indicate that these two species are either chemically related or their formation is affected by physical conditions in the same way. Both species likely form early during star formation, presumably via ice mantle reactions taking place in the dark cloud or when ice mantles are being heated in the hot core. The relatively high abundances of HOCH2CN and HNCO in SMM1-a may be explained by a prolonged stage of relatively warm ice mantles, where thermal and energetic processing of HCN in the ice results in the efficient formation of both species.

Introduction: The Khorana Score (KS) is a validated tool to assess the risk of thrombosis in cancer patients, prior to initiation of chemotherapy. The AVERT and CASSINI studies evaluated prophylactic anticoagulation with apixaban or rivaroxaban for patients with KS of 2 or higher. Both studies demonstrated that while patients were taking prophylactic anticoagulant, the Hazard Ratio of cancer associated thrombosis was approximately 0.4. The NCCN and other societies are now recommending oral anticoagulant prophylaxis should be considered for up to 6 months, for patients with an intermediate or high-risk score of ≥2. Methods: We have developed a medical record tool, that identifies all MSKCC patients prior to initiation of a new chemotherapy regimen, captures the KS parameters, and generates the KS. Once fully implemented, it is anticipated that this tool and appropriate use of prophylactic anticoagulation, will reduce the burden of cancer associated thrombosis. To accurately document a potential reduction in rates of cancer associated thrombosis, we need to establish current baseline rates of cancer associated thrombosis via a contemporary verification of the KS, reflecting potential changes in oncology in the 12 years since the score was first published. We applied our KS capture tool to a 2-year period (10/17/2017 to 11/29/2019). 13,992 patients were identified with a new chemotherapy order, of whom 13,176 were found to have cancer and had complete parameters for the KS. We tracked all patients for 6 months, to identify possible episodes of Venous Thromboembolism (VTE). VTE episodes were identified by capturing the impressions of all contrast imaging studies, Doppler ultrasounds, and V/Q scans, combined with keyword and phrase computer identification, and manual review. To identify possible VTE events that occurred at an outside emergency department or hospital, we also queried new prescriptions for therapeutic doses of anticoagulants and ICD10 codes. In this analysis we focus on deep vein thrombosis (DVT) and pulmonary embolism (PE). Results: The 6-month rate of VTE (DVT or PE) was 6.4%. The VTE rate was 4.1% in the KS 0 cohort, and >18% for patients with a score of 4 or greater. We assessed the contribution of each parameter of the KS, in univariate analysis. Of the cancers assigned 2 points in the KS, pancreatic cancer had the highest VTE rate of 13.7%, but gastric/esophageal cancer did not have an increased rate. Of the cancers assigned 1 point, germ cell/testis, gynecologic, and lung cancer, also had increased risk of VTE, but bladder and non-Hodgkin lymphoma did not. Renal/urothelial cancers and cholangiocarcinoma/biliary tract cancers were also associated with high rates of VTE, although were not assigned points using the KS. Elevated BMI (≥35 kg/m2) was a weak risk factor. However, baseline anemia (<10 gm/dL), leukocytosis (>11,000/mcL) and thrombocytosis (≥350,000/mcL) were all strong predictors of VTE rate. Conclusions: The purpose of this QA project was to provide contemporary data on baseline cancer associated thrombosis rates, anticipating implementation of a program of targeted primary thrombosis prophylaxis. It remains clear that the KS provides a valuable risk assessment tool, stratifying 6-month VTE risk from 4.1% to >18%. Cancer type is typically the parameter that gets the first consideration. And most of the cancers with 1 or 2 points did predict increased risk. We don't have an explanation as to why, gastric/esophageal cancers and non-Hodgkin lymphoma were not associated with increased risk, but this finding may reflect the stage of their treatment at which patients begin care at MSKCC. Renal/urothelial, and cholangiocarcinoma/biliary tract cancers are associated with a high risk of VTE, and one may choose to include them for consideration of prophylactic anticoagulation. The relative contribution of pre-chemotherapy blood counts has been questioned in the past, but in this cohort, they clearly contributed to appropriate risk assessment. These data will serve as baseline for future assessment of thrombosis risk reduction upon implementation of a program of targeted prophylactic anticoagulation. Table Disclosures Khorana: Leap: Research Funding; BMS: Honoraria, Research Funding; Merck: Research Funding; Array: Other: Research funding (to institution); Janssen: Honoraria; Bayer: Honoraria; Pfizer: Honoraria; Sanofi: Honoraria; Medscape: Honoraria; Leo Pharma: Honoraria; Seattle Genetics: Honoraria; Pharmacyte: Honoraria; Pharmacyclics: Honoraria. Mantha:MJH Associates: Honoraria; Physicians Education Resource: Honoraria. Soff:Amgen: Research Funding; Amgen: Honoraria; Janssen Scientific Affairs: Honoraria; Dova Pharmaceuticals: Honoraria; Bristol-Myers Squibb, Pfizer: Honoraria; Janssen Scientific Affairs: Research Funding; Dova Pharmaceuticals: Research Funding.

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

This paper examines the role of the media in representing environmental risks to society, focusing on how environmental realities are constructed via the objectivist and subjective perspectives. This study explores the construction of reality centered on space exploration, namely, the Cassini space probe. In this study, 200 respondents were asked to read four news articles from various sources and comment on the information contained in the articles. Their comments addressed the extent to which the articles were useful in helping them assess their risk to potential plutonium exposure in the event of a launch disaster. A large majority of the respondents noted that while the information presented by newspaper coverage helped to provide insight, the news coverage often left more questions than answers. However, respondents also noted that the information was not sufficient to help draw specific conclusions about their risk of toxic exposure. Rather, this information was considered adequate for making a general assessment of potential environmental hazards in their immediate environment.

Abstract Saturn’s rings are composed of icy grains, most in the mm to m size ranges, undergoing several collisions per orbit. Their collective behaviour generates a remarkable array of structure over many orders of magnitude, much of it not well understood. On the other hand, the collisional properties and parameters of individual ring particles are poorly constrained; usually N-body simulations and kinetic theory employ hard-sphere models with a coefficient of restitution ε that is constant or a decreasing function of impact speed. Due to plastic deformation of surface regolith, however, it is likely that ε will be more complicated, at the very least a non-monotonic function. We undertake N-body simulations with the REBOUND code with non-monotonic ε laws to approximate surfaces that are friable but not sticking. Our simulations reveal that such ring models can support two thermally stable steady states for the same (dynamical) optical depth: a cold and a warm state. If the ring breaks up into radial bands of one or the other state, we find that warmer states tend to migrate into the colder states via a coherent travelling front. We also find stationary ‘viscous’ fronts, which connect states of different optical depth, but the same angular momentum flux. We discuss these preliminary results and speculate on their implications for structure formation in Saturn’s B and C-rings, especially with respect to structures that appear in Cassini images but not in occultations.

As part of an effort to grapple with the meaning of violence, Hannah Arendt argued that it was curious how infrequently violence was taken up for special consideration in conversations of history and politics, remarking that “this shows to what an extent violence and its arbitrariness were taken for granted and therefore neglected; no one questions or examines what is obvious to all” (8). While we are not suggesting that violence has eluded the critical eye in the time since Arendt’s argument, there is something remarkably resonant about the idea that violence is taken-for-granted as part of human existence, and thus—for privileged citizens protected from its affects—invisible. In this issue, the contributors explore how violence continues to define and shape social, political, and cultural terrains. In what follows, we explore what it means to talk about violence and follow this with a general introduction to the pieces in this special issue that tease out the various locations of violence and its representations across different spaces. Defining Violence In general in western society, we think of violence in its most manifest forms: war, terrorism or massacres. But violence operates in many forms, some of them more subtle or latent and arguably more destructive given their structural and far-reaching character. Some forms of violence are easily recognised, others decontextualised and depoliticised through complex cultural processes of normalisation and denial (Brison). Violence can become a spectacle, an aestheticised representation, or it can be reduced to banality when its horror and trauma is refracted through everyday lives and spaces which are shaped by violent systems and ideologies (Arendt). Notions of trauma, spectatorship, testimony, and witnessing circulate through narratives of violence. Ideas of “civilisation” implicitly and explicitly reference competing discourses of violence and put them to work in damaging ways, often in the service of ideals (liberalism, for example) that mask the very violence that supports them. Even those discourses that claim most ardently to uphold principles of safety and inclusion (for example, multiculturalism) are impeded by or invested in systems of violence, and in fact they depend on it for their very legitimacy. For those of us living and working in white, patriarchal, settler states, it is inevitable that our cultural and material conditions are underpinned by a systemic and perpetual condition of violence. Even for those of us who feel generally safe, violence is all around us, shaping how we live, work, think, feel, and act. However, violence is not equally experienced throughout the world or within our own communities, nor is the absence of violence. Ultimately, feeling safe from violence is often a marker of privilege and safety often comes at the price of violence enacted upon others. What makes violence so powerful as a force with material and symbolic consequences is both this articulation with privilege and its resultant banal expression in everyday spaces. Projects of racial, gendered, sexed, classed and ableist exclusion and violence operate below the surface of conscious registration for those not immediately impacted by them, allowing violence to elude critical interrogation. In this respect, even the idea of safety is only possible through a guarantee of violence, a guarantee written into the lands themselves, the institutions of the state, and the discourse of Western liberal traditions. Both victims and perpetrators of violence differ in their visibility. In easily recognised forms of violence, there is usually an actor who is violent and a victim of that violence. However, even in the most obvious cases, there are examples of missing perpetrators. For example, domestic violence is often discussed using passive language that centres the victim and erases the perpetrator (Katz and Earp). Or in the case of police violence against minorities, even where there is compelling evidence of police brutality, legal systems fail to find and sentence perpetrators (e.g. Chernega; Waters). This process of erasure is itself a further act of violence that places blame on victims, leading outsiders to question why they didn’t take action to prevent their victimisation. However, increasing attention has been given to these subtle erasures; for example, Jane Gilmore’s book Fixed It: Violence and the Representation of Women in the Media calls the mainstream media to task for their representation of gender violence as a problem women experience, rather than a problem perpetrated by men. This issue of M/C Journal invited responses to the theme of “violence,” understood broadly, as it operates through various social, cultural, institutional, and affective domains. The articles included here demonstrate the complexity of different forms of violence. They cover terrain such as symbolic violence and the discursive, political and social domination that shapes contemporary or historical realities; pedagogical violence and the operation of power and control over the means of intellectual, social and cultural production in spaces of learning; physical violence and the attendant damages that this entails; technological violence and the ways in which media technologies facilitate or resist violence; and violence as a subject of public interest in forms including news media, true crime, and entertainment. This issue’s articles intersect in interesting ways which encourage readers to think about multiple aspects of violence. We explore some of the common themes below, and in doing so introduce readers to the rich collection of ideas included in this issue. Enacted Violence It is interesting to consider what we can learn from violence by thinking about the perspectives of those who perpetrate it, and those who experience it. As discussed above, sometimes these agents are easier to spot. Larissa Sexton-Finck’s contribution reminds us that the most visible forms of violence aren’t necessarily the most damaging. In her essay, she explores her experience of being in a car crash. The obvious perpetrator of violence is the driver of the car that caused the crash, but as we read through her experience we see that she was victimised in many ways by those who filmed her experience in order to sell it to the news. These ‘citizen journalists’ are likely to think of their work as important and not as enacting violence on others, but Sexton-Finck’s firsthand experience of being filmed highlights the violence of the act. Similarly, some practices are so commonplace that it is easy to overlook the violence inherent within them. Yirga Woldeyes gives us the example of museum collections, a taken-for-granted effect of colonisation, which perpetuates an ongoing violent epistemic power differential. This is another example of violence with an invisible perpetrator; museums consider themselves keepers of knowledge, protectors of culture and heritage. Where collecting is considered an act of violence, it is typically perceived as action from the past, rather than an ongoing act of violence with continuing experiences of victimisation. However, as Woldeyes’ article makes clear, the violence of the act reverberates for generations. For Ailie McDowall, violence works in subtle ways that are both unconscious or explicit. Exploring pre-service teacher engagements with an Indigenous education subject, McDowall speaks to the limits of intention (Milner) by highlighting how the good intentions of pre-service teachers can result in ideological violence through the bringing of Indigenous peoples and knowledges into Western epistemic comprehension as part of an effort to know. Further, while educators are often called to envision “preferred futures” (Hicks) in their teaching practice, McDowall shows us that ethical calls to teach and live responsibly and critically in the face of colonial logics results in a deferral of that responsibility to the future, what McDowall identifies as an act of violence. Representations of Violence Social understandings of violence are both shaped by, and influence, representations of violence in media, culture, and the arts. Such representations can themselves be forms of symbolic violence, that is, ”violence wielded with tacit complicity between its victims and its agents, insofar as both remain unconscious of submitting to or wielding it” (Bourdieu 17). As mechanisms for transmitting normalised ideas of politics and peoples, representations can effect such symbolic violence by disseminating hegemonic notions of exclusion/inclusion, safety/harm, and justifications and logics for violence. Indeed, as Dervin argues, “representations do have an ideological component and […] an exercise of power is always present in representations” (185). Yet, we are wise to remember that representations, the projection of power, and the ideological legitimation of symbolic violence that may inhere in representations can neither guarantee truth nor action as people exercise agency and speak and act back to and against those very representations of “truth”. The authors in this issue work within this tension, highlighting efforts by some to either create and deploy representation as an instrument of legitimating violence or critically engaging representations of violence as part of efforts to dismantle and surfaces the symbolic violence transmitted through various works. When considering the symbolic violence of media, it is crucial that we consider who is doing the representation, and how that representation is mediated. Social media (as discussed in the contribution by Milton and Petray), has different characteristics to products of the culture industry (Adorno) such as commercial news reporting (Sexton-Finck) or cinematic films (McKenzie-Craig). And these are different again in the literary genre of the autobiographical novel (Nile) or the form of the public testimony (Craven). Some representations of violence allow for more agency than others. Creative works by victims of violence, for example that discussed by Sexton-Finck, challenge viewers and draw our attention to the ways the commodification of the culture industry (Adorno) makes us complicit as spectators in acts of violence. In a similar way, creative representations of enacting violence can cause productive discomfort by going against stereotypes and norms about who perpetrates violence. Carolyn McKenzie-Craig's contribution compares representations of gender and violence that defy expectations. McKenzie-Craig considers the Swedish film Män som hatar kvinnor (released in English as The Girl with the Dragon Tattoo) alongside work from non-binary artist, Cassils, and her own creative works. In all three of these works, women and non-binary agents enact violence in ways that unsettle viewers, forcing contemplation about the nature of violence. Likewise, literature provides a fruitful arena for examining violence as a cultural force. Indeed, post-colonial scholars have shown us that literature has been a tool of violence, and has, in contrast, also been used to “write back” to oppressive ideologies (Ashcroft, Griffiths, and Tiffin, after Salman Rushdie). Richard Nile’s essay considers the power of violence to echo through families in cases of intergenerational trauma. In considering an autobiographical novel that takes the form of a family drama, Nile traces the reverberations of real wartime violence and family violence and shows how fictionalising such trauma can reveal new ways of looking at it, both for the author of such a work and for the historians and literary scholars who examine such work. In the article by Milton and Petray, the authors explore how violence mediates and regulates ideas of belonging as it is is represented through a lens of citizenship via social media. Through an exploration of a digital space, Milton and Petray highlight the bifurcation of people into us/them, a split predicated on desires to protect the sanctity of “us” and “our” citizenship through the use of violent discourse to normalise the divide. What is perhaps most striking is the reminder that categories of inclusion are powerfully framed through everything from the banality of seemingly mundane language and everyday languages of race (Billig; Hill) through to more abhorrent language and far reaching discourses of normalised violence. Through this, Milton and Petray draw our attention not just to the manifestation of violence online but also its use as a strategy for regulating inclusion into the deemed “legitimate” community through the very act of representing people as either legitimate citizens or not. As who counts as a citizen in need of state protection is contested, so is what counts as violence. In “The Last of the Long Takes: Feminism, Sexual Harassment, and the Action of Change”, Allison Craven reminds us that the naming of systemic violence remains a crucial early step in the fight against it, and goes some way toward dismantling its taken-for-grandness. In considering Lauren Berlant’s notion of the “diva citizen” in relation to Anita Hill’s 1991 testimony of sexual harassment, Craven reframes the #metoo movement as a call to action to which, crucially, the body politic must respond. Craven draws our attention to the fact that the second-wave feminist movement’s naming of workplace sexual harassment created the conditions for a public that would hear and witness these later testimonies. In naming violence where we see it and considering violence from various and multiple scholarly dimensions, the essays in this issue refuse to shelter it beneath the veil of the everyday, the arbitrary, the taken for granted. In explicitly naming violence, they bring it out into the open, and they allow us to consider alternatives. Creative works, for example, offer an opportunity to play with the meanings of violence, and to reimagine what it means to be an aggressor or a victim (McKenzie-Craig; Sexton-Finck). Through such explorations, these pieces collectively draw to our attention the possibility and need for futures different from the histories and present that we inherit and live within today. Together, the arguments, insights and calls for something different compel us to confront that which some seek not to discuss, that which some of us might take for granted as a condition of everyday life. Through such calls, we are asked to confront what it means to live and relate ethically together for something and somewhere different. References Adorno, Theodor W. “Culture Industry Reconsidered.” Media Studies. Eds. P. Marris and S. Thornham. Edinburgh: Edinburgh University Press, 1999. 31–7. Arendt, Hannah. On Violence. London: Harcourt, 1970. Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Empire Writes Back: Theory and Practice in Postcolonial Literatures. London: Routledge, 1989. Billig, Michael. Banal Nationalism. Thousand Oaks: Sage, 1995. Bourdieu, Pierre. On Television and Journalism. London: Pluto Press, 1998. Chernega, Jennifer. “Black Lives Matter: Racialised Policing in the United States.” Comparative American Studies 14.3-4 (2016): 234-45. Dervin, Fred. “Cultural Identity, Representation and Othering.” The Routledge Handbook of Language and Intercultural Communication. Ed Jane Jackson. New York: Routledge, 2012. 181–94. Gilmore, Jane. Fixed It: Violence and the Representation of Women in the Media. Melbourne: Penguin Random House, 2019.Hicks, David. Lessons for the Future: The Missing Dimension in Education. New York: Routledge Falmer, 2002. Hill, Jane. The Everyday Language of White Racism. Malden, MA: Wiley-Blackwell, 2008. Katz, Jackson, and Jeremy Earp. Tough Guise. 2011. Milner, H. Richard. “But Good Intentions Are Not Enough: Doing What’s Necessary to Teach for Diversity.” White Teachers, Diverse Classrooms: Creating Inclusive Schools, Building on Students’ Diversity, and Providing True Educational Equity. Eds. Julie. 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