Journal articles on the topic 'Firearms – Social aspects – Vermont'

Firearms injuries are a major public health problem in Kosovo. Injuries from firearms injuries are those caused by any firearm (cartridge, Cannonball) and from the special properties war, mine explosive grenades, and other subjects. Epidemiology of the use of firearms in males ranges corresponding 1.9 per 100,000 population, while for women 0.3 per 100,000 inhabitants The most common injuries are caused by weapons fire, rarely with special tools of war, Causes with firearms injuries blamed mental health problems, domestic violence, disparities in family, social cases, use of drugs and alcohol Preventing injuries and deaths by firearms is one of the most complex issues at the country in recent years. Management and Access Principles, Access, Evaluation of Emergency Medical Care at Three Levels of Care based on EMS Standard. It is important to take a step, contributing significantly to the reduction of premature deaths, diseases, and disability. Careful medical certificates should be given for carrying weapons, assessing the psychophysical and social aspects. The Kosovo Police should control nightclubs, schools and universities, respecting, implementing legal and institutional mechanisms, educating communities through brushes, lectures, media, and social networks, as well as international cooperation. The significant number of injuries with disabilities and deaths should be prevented through national preventive strategies and the need to provide emergency medical care for the rapid transport of firearm victims to the emergency clinic for definitive treatment. Educational efforts are trying to promote safer use of firearms, but they have not led to a significant reduction in the number of victims.

This paper organizes the question of gun controls as violence policy under two quite different headings. The first issue to be discussed is the relationship between gun use and the death rate from violent crime. The second question is whether and how firearms control strategies might reduce the death rate from violence. When we review the evidence on the relationship between guns and violence, it seems clear that gun use, usually handgun use, increases the death rate from violence by a factor of three to five. Nobody in mainstream social science or criminology argues against such weapon effects these days, although some are more skeptical of the magnitude estimated than others (one example is Lance Stell; please see his essay in this issue). Thus the problem is both genuine and important.

A study in Canada of the accidental death rate from firearms, and of suicide and homicide rates by firearms and by all other methods, for the period 1975–85, indicated that the rates were positively associated with one another. The results were interpreted using a subcultural theory of violence, and the social policy implications of the results were discussed.

The research subject is social relations in the field of the development of basic skills of road traffic police officers of Russia in using firearms during operations and for stopping drivers attempting to escape from the crime scene. The research object is the formation and development of firearms using skills of internal affairs officers during the professional training of middle and major commanders enrolled in internal affairs bodies of Russia. The topicality of the research is determined by the tasks of improvement of professional training of specialists in educational institutions of the Ministry of Internal Affairs of Russia, and ensuring personal safety of internal affairs officers and the safety of civilians during operative actions. The research contains the analysis of use of service weapons by police officers during operative actions. Based on the example of apprehension of a vehicle, the author analyzes the effectiveness of use of service weapons by road traffic police officers. The research methodology is based on the analysis of the use of service weapons by police officers, and experiments. The scientific novelty of the research consists in the following: a) the analysis of statistical data of the use of service weapons by internal affairs officers; b) the task to organize a comprehensive firearms training of internal affairs officers; c) the list of measures aimed at the improvement of firearms training of internal affairs officers. In conclusion, the author substantiates the necessity to improve the basic professional training program in terms of raising the effectiveness of firearms training of internal affairs officers. The analysis of the use of service weapons by road traffic police officers, as well as experiments, prove the importance of the research in the field of public safety protection and effective prevention of criminal offences by police officers with the help of service weapons.   

Objective: To identify characteristics that could distinguish males who completed suicide by hanging from males who completed suicide by firearms and non-domestic gas, and to suggest suicide prevention strategies targeted at hanging. Method: Using the psychological autopsy design, males who used hanging, firearms and non-domestic gas were compared on a range of variables covering social, psychological, and health related factors and aspects of the suicide incident. The sample consisted of 950 males who suicided in Queensland, Australia, between 1994 and 1996. Results: Compared with males who used firearms and non-domestic gas, males who used hanging were significantly younger, less likely to have left a suicide note, and more likely to have been diagnosed with a psychotic disorder. Compared with males who used firearms, males who used hanging were significantly more likely to have made prior suicide attempts and have had no physical illness. Compared with males who used non-domestic gas, males who used hanging were significantly more likely to have lived with others, have had prior legal trouble, and have suicided at their residence. Conclusions: The results are discussed in terms of the availability and socio-cultural acceptability of methods. The authors suggest a possible relationship between impulsive traits and method choice. This proposition requires further investigation using alternative methodologies. Some suicide prevention measures targeting hanging suicides are discussed in light of the results.

The educational space consists of a number of important and interrelated components, some of them date back to the recent or distant past. There are components of such past, which in this regard can be of cognitive and scientific interest, in particular in relation to Ukrainian schooling. Width of this space keeps many questions open, which arouse and will arouse interest and need for clarification. One of such questions concerns existence, usage of firearms and knives by teachers and students and their attitude towards these articles. The study highlights usage of firearms and knives as a part of daily life of students of high schools in Kyiv's education district as well as of their teachers. Aspects related to following matters are studied: which types of firearms and knives were available to students and teachers, in which ways they came into hands of students and teachers, how they were used and for which purpose, which existential and social consequences they might have. Students and teachers were found to be dealing with shotguns, pistols and revolvers, as well as large knives and small penknives. The author pointed out that students were not allowed to use firearms; teachers could purchase them under certain circumstances. Knives used to sharpen pencils or quills were allowed to be used by students, whereas were forbidden to be used for other purposes. The study analyzes cases of usage of knives and shows that knives were used to intimidate, threaten or insult rivals or colleagues. Cases of usage of firearms and damages they caused were identified: suicide (very common cases), duel, hunting, reckless behaviour, and injuries or deaths as consequences. Access to firearms is related to negligence in their safekeeping, sometimes firearms were borrowed, purchased or appropriated. Usage of weapons and knives resulted in investigation, trial and imprisonment, expulsion from high school, or dismissal, injury and death. The author assumed that number of weapons kept at home as well as number of accidents was greater than nowadays.

The purpose of the article is to explore proliferation of firearms in the United States due to social problems (mass shootings) and public demand for increasing gun control. Primary challenges cover exploring the U.S. firearms history, which provides a key to understanding the causes of the current situation in this area; reviewing of Americans’ attitudes toward gun ownership; studying the U.S. foreign policy in the context of arms exports from Ukraine to the United States. Moreover, attention is paid to exploring the influence of the National Rifle Association (NRA) on Donald Trump’s decision on arms control and a comparative analysis of his gun policy with the policy of his predecessors. The methodological basis of the study includes a set of general and special research methods. Systematic approach is used to consider the U.S. gun policy as a complex system with the determinism of domestic and foreign policy levels. A significant role is played by descriptive-historical and chronological methods that allow to examine the evolution of the U.S. legal framework for firearms and small-arms control. The comparative method makes it possible to compare the approaches of George W. Bush’s, Barack Obama’s and Donald Trump’s administrations to the gun policy. The statistical method allows to consider the peculiarities of the U.S. exports of small arms and Ukraine’s exports of such type of weapons to the USA. The scientific novelty lies in one of the first attempts among Ukrainian authors to make a comprehensive analysis of the interdependence of internal and external aspects of firearms trafficking among the U.S. civilians. In this context, the paper examines the U.S.–Ukrainian relations. The study concludes that the U.S. gun traditions are the main stumbling block for tightening firearms legislation. On the gun issue, the U.S. domestic policy, which is heavily influenced by the NRA, determines the state’s foreign policy. At the same time, society is demanding reforms aimed at restricting the possession of firearms by the civilian population, which may increase the level of domestic security.

Through qualitative interviews, perspectives of parents of students who were in the first 2 years of the Think College Program at University of Vermont and Johnson State College were explored, thereby identifying expectations, academic and social aspects, and experiences of their children as college members. Previous experience of these students in inclusive educational environments influenced parent perceptions. Parents described efforts to support the students during college, from financing and transportation to academic coaching and accommodating lessons. They discussed hopes for employment, and evolving perceptions of their own roles in relation to the future lives of their adult sons or daughters.

Entertainment-education has proved to be an engaging medium through which to explore health and social issues in populations. Given the popularity of the zombie theme in popular culture it is no surprise therefore that the Centers for Disease Control and Prevention adopted this theme in an effort to engage youth and young adults in emergency preparedness. However, an earlier observational study involving elementary school children based on this premise raised concerns that it may have unexpectedly promoted a focus on firearms. A randomized control study involving 89 children (average age 10.4 years) was therefore conducted to explore this possibility in more depth. One group was exposed to a natural disaster scenario, while the other group was exposed to the zombie pandemic theme. When subsequently asked to prepare emergency kit lists, participants in the zombie themed scenario were 15.84 times as likely to include firearms in their lists compared with participants who were exposed to the natural disaster scenario. Although the sample size in this study was small, it is suggested that future interventions using entertainment-education need to explore all aspects of the messages implicit in their chosen medium, rather than just focusing on one element.

This article argues that the failure by the Ugandan government to put in place clear regulations governing the use of force and firearms by the police and armed security forces, particularly during joint police and military operations, as part of arrest and crowd control operations, threatens to violate the right to life, the right to freedom from inhumane treatment, the right to assemble and the right to a remedy under the Ugandan Constitution. It argues that the constitutional, statutory law and case law framework in Uganda can facilitate public interest litigation in order to secure the adoption by the Ugandan government of comprehensive and internationally-accepted standards on the use of force and firearms by police and armed security forces. The article draws on a recent progressive decision of the High Court in James Muhindo & 3 Others v Attorney-General, and the Human Rights Enforcement Act of 2019 to expound on the proactive potential of article 50 of Uganda's Constitution to deliver expedited institutional and human rights-oriented reforms and to afford the courts oversight functions in the implementation of these reforms through structural interdict. These aspects of the public interest litigation framework in Uganda offer a pathway to civilian-led reform in a highly state-controlled, politicised and militarised police and security sector over which Ugandans otherwise have no civilian oversight. Thus, the article explores the potential of public interest litigation as an empowering tool in competing approaches to state formation in transitional contexts and positions public interest litigation as a transformative response to militarisation in a fragile state.

Police shootings have become one of the most “visible and controversial” aspects of the criminal justice system . Yet, very little empirical effort has been devoted to understanding the underlying systemic vulnerabilities that likely contribute to these tragic outcomes. Using a randomized controlled experiment that incorporated a police firearms simulator and 306 active law enforcement officers, this study examined the effects of dispatch priming on an officer’s decision to use deadly force. The findings suggest that officers rely heavily on dispatched information in making the decision to pull the trigger when confronted with an ambiguously armed subject in a simulated environment. When the dispatched information was erroneous, it contributed to a significant increase in shooting errors. The results contribute to a broader understanding of officer decision-making within the context of police shootings and introduce the theoretical concepts of cognitive heuristics and human error to the research on police use of deadly force.

Firearm violence is a major public health problem in the United States. In 2000, firearms were used in 10,801 homicides – two-thirds of all homicides in the U.S. – and 533,470 non-fatal criminal victimizations including rapes, robberies, and assaults. The social costs of gun violence in the United States are also staggering, and have been estimated to be on the order of $100 billion per year.Illegal gun carrying, usually concealed, in public places is an important risk factor for firearm-related crime. In the 1980s and 1990s, police departments across the country began to develop and implement strategies to address illegal weapons carrying. Often these strategies have involved aggressive efforts to identify and physically search individuals suspected of illegally carrying a firearm.

Relevance and subject of research. The circulation of firearms as a source of increased danger is subject to legal regulation and control in the Russian Federation. The use of weapons by police officers is no exception. The norms of the Federal Law of February 7, 2011 No. 3-FZ “About the Police” (hereinafter referred to as the Law “About the Police”) refer to the achievements of domestic administrative science as a result of the work of specialists. In systemic connection with the norms of criminal law, they regulate the conditions and limits for the use of coercive measures by police officers, including firearms. The fundamental ideas of the activities of the Russian police have successfully cooperated with the norms of international law. On the contrary, in the socalled “leading” democratic state – the United States of America, such cooperation does not look well-coordinated, which the Author substantiates when studying the origins of the right of citizens of this state to own firearms, the regulatory regulation of the circulation of weapons in the United States, the negative consequences of this regulation (based on research by American scientists and statistical data), the activities of the US police to counter armed attacks and its legal regulation. One of the US attempts to comply with international law in this area is analyzed, namely the adopted new policy of the US Customs and Border Protection on the use of force, including firearms.The purpose of the study is to determine the state of legal regulation of the circulation of civilian firearms in the United States, the use of these weapons as a coercive measure by police officers in order to identify its positive aspects, in the presence of which the decision on the possibility / impossibility of their introduction into Russian legislation. This led to the setting of the following tasks: to study the constitutional foundations of the right to own firearms by US citizens (historical aspect); to determine the current state of legal regulation of civilian circulation of firearms in the United States and its consequences; analyze the activities of the US police to counter armed attacks and its legal regulation, evaluate them and determine the prospects for their improvement; identify the provisions of American legislation that are of scientific interest, and the possibility / impossibility of their implementation in Russian legislation.The methodological basis of the study was a dialectical approach to the scientific knowledge of social relations associated with the circulation of firearms, the implementation of their state regulation, analysis and synthesis of the results obtained during the study, which made it possible to formulate and substantiate the conclusions. Among the special methods used in the study are the method of studying normative legal acts and documents, the empirical method, the method of processing and analyzing data, and their generalization. Findings. The study shows that the constitutional foundations for the right to own firearms by US citizens developed simultaneously with the emergence of statehood: first in individual states, and then in the very union of these states formed into a single US government. The existing multi-layered legal framework for regulating the circulation of firearms has created a wide range of owners with a relatively simple system of access, which negatively affects the criminal environment, in which armed attacks with mass casualties are of high importance. Cases of armed attacks and other negative illegal acts to a certain extent influenced the processes of militarization of the police, the creation and strengthening of special operations units, the adoption by the police of various types of military equipment, weapons and special means. Detailed legal regulation of the use of lethal force by the police is developing belatedly. The 2014 adoption of the U.S. Customs and Border Protection Manual did not prompt other law enforcement agencies to adopt similar rules, indicating the fragmentation of U.S. law enforcement. The U.S. Customs and Border Protection Guidelines on the use of force is of particular scientific interest, and after its careful analysis, it is possible to introduce certain provisions into the legal regulation of the activities of the Russian police, especially the use of lethal force. The fundamental ideas of police activity developed in Russia can be recognized as certain guidelines for the development of the American police. The relatively small number of firearm owners in Russia and the high requirements for the circulation of firearms are a deterrent to the negative developments taking place in the United States.

Informed by qualitative data from a study of formal and informal social control responses to gun crime in Lambeth, South London, this article seeks to map the contours of some of the key aspects of the policing of firearms offending in England and Wales. It is proposed that policing responses can be distinguished between a `preventative' disposition in areas where gun-related offending is rare, and a pragmatic `manage and suppress' reaction that is implemented in the small number of areas of the country where gun crime is comparatively more common. Focusing in particular upon the work of Operation Trident in London, the discussion seeks to identify some of the complex social forces at work within communities where gun violence is comparatively prevalent and how police seek to engage with such situations. This focus is utilized to construct an argument about a broader and deeper nascent trend in British policing that is exemplified by the response to gun crime. It is suggested that key components of the police function are increasingly being cast as requiring specialist expertise and skills if they are to be performed effectively. As such, the internal social organization of policing is coming to be organized around an increasingly complex architecture and division of labour.

To investigate the role of sociodemographic factors in the risk of death by homicide in Italy, official statistics from 1980 to 1994 concerning death by homicide have been studied. Homicide rates increase from 1980 to 1994 for males and, to a much lesser extent, for females. Clear differences exist by age and gender, with rates peaking in both genders at young adult age (25-34) and men having five times higher rates than women. Mean rate in the general population is 1.98 per 100,000, one of the highest rates in the civilized world. These findings are mostly influenced by higher homicide rates for both males and females in southern regions, where cultural attitudes towards violence, linked to the greater diffusion of criminal organizations, greatly influence the risk of death by homicide. About 75% of homicides involve firearms: clearly in Italy availability of lethal weapons is a key factor in homicide. Intervention aimed at increasing community awareness of the causes and methods of prevention of violence (including the roles of substance abuse and social inequality) are needed if adequate policies are to be developed to reduce the risk of death by homicide. Differences in homicide rates across countries clearly indicate that homicide is a preventable cause of death.

In response to the continued expansion of “red flag” laws allowing broader classes of people to petition a court for the removal of firearms from individuals who exhibit dangerous conduct, this paper argues that state laws should adopt a double-filter provision that balances individual rights and government public safety interests. The main component of such a provision is a special statutory category — “reporting party” — that enables a broader social network, such as co-workers or school administrators, to request that a law enforcement officer file a petition for an Extreme Risk Protection Order (ERPO). A double-filter provision would not give reporting parties a right to file a court petition directly. Instead, parties would file a request for petition with law enforcement officers (first filter), who must seek an ERPO from the court if they find the reporting party's information credible. That information is then transmitted to the court (second filter) as a sworn affidavit of the reporting party. The goal is to facilitate a balanced policy model that (1) widens the reporting circle in order to feed more potentially life-saving information into the system, (2) mitigates the risk of erroneous deprivation of constitutionally protected due process and Second Amendment rights.

In this research article, we discuss the social construction of public services within the conceptual and theoretical framework provided by Lipsky. We are interested in what it means if/when street-level bureaucrats (SLBs) have an active role in the construction of a service system. We argue that there are multiple realities in terms of the construction of public services and we approach the question by deploying Lipsky’s notion on SLBs by empirically analysing middle managers’ views on how SLBs act and their role in this construction process. This paper is based on empirical interviews (N=100) collated in 2012 from Barcelona, Den Bosch, Glasgow, Melbourne, Toronto, Vancouver, the Greater London area, and the US state of Vermont. The research collation strategy was to include reform-oriented cities and countries in terms of developing and delivering public services. We found that SLBs have three different kinds of strategies in the construction process: policy-making, working practices, and professionalism. We found that there are no conflicts arising from SLBs’ beliefs, organisational demands, and rules and regulations. Instead, SLBs try to solve conflicts or bridge gaps between policy-making and practical work in the boundaries between SLBs and service users. Based on this research, the role of SLBs and the built-in flexibility and agility of public service leadership and organisations must be addressed and developed further. The role of organisational learning and changing organisational cultures must also be scrutinized in the context of public service systems. The analysis of professional resilience in the context of public services planning needs more theoretical and empirical attention. The resilience of organisations and the capacities of SLBs need to be researched more. Finally, there is the need for better cultivation of the role of the SLBs and service users with regard to accountability aspects (horizontal and vertical).

The complexities of modern policing require internal affairs agencies to expand the training opportunities for police officers to carry out the tasks assigned to internal affairs agencies. It is not enough to focus solely on the law or on perishable skills such as arrest and control; defensive tactics; driving; and firearms. This article discusses the experience of building and developing the psychological skills required by the United States police force. Police training in the United States focuses on developing the skills needed to deal with the modern challenges that arise in the performance of official tasks. Training involves building and developing skills such as cognitive, emotional, social and moral skills that can improve the condition of police officers, as well as foster relationships between police officers and members of the community. Trained police officers need to develop critical thinking skills, effective communication, and emotional intelligence. The presented article reveals professional competencies for police officers, graduates of the police academy, which were developed by the Law Enforcement Foundation in the United States (Ohio). It also discusses aspects of psychological screening developed by the California Commission on Peacekeeping Training Standards to Consider When Recruiting Police Officers. The authors emphasize that when training police officers in any country, it is necessary to pay special attention to the continuity between training and practical service activities of the police officer.

What did John Dewey mean by the experience? Researchers of John Dewey’s work (philosophers, psychologists, artists and educators, among many others) often attempt to decipher the American thinker’s thesis, statements and postulates. However, specific approaches have probably become inexact when interpreting many of his concepts, even thinking that they are superficial idealism. Detailed state-of-the-art review during the past decade, in terms of the idea of experience in Dewey, makes it possible to think that this concept –although not precisely defined as that of a dictionary– can be analyzed more accurately. The last is the debate and reflection that will be open to the academic community in this paper; to clarify and, subsequently, define the concept, two fundamental and inherent aspects are presented in this document: first, the pragmatist line that addresses an epistemological framework of the idea; second, two Deweyan elements will be enlightened, these are the living organism and nature, which, as the axis of an empirical influence, are analyzed from the Vermont philosopher’s perspective. This concept also addresses three essential perspectives: biological, psychological and social, bearing in mind that, according to Dewey, real experiences occur if “meaning” comes after. Finally, an interpretative approach will answer, as possible, the question posed at the beginning of this abstract.

Early public health strategies to prevent the spread of COVID-19 in the United States relied on non-pharmaceutical interventions (NPIs) as vaccines and therapeutic treatments were not yet available. Implementation of NPIs, primarily social distancing and mask wearing, varied widely between communities within the US due to variable government mandates, as well as differences in attitudes and opinions. To understand the interplay of trust, risk perception, behavioral intention, and disease burden, we developed a survey instrument to study attitudes concerning COVID-19 and pandemic behavioral change in three states: Idaho, Texas, and Vermont. We designed our survey (n = 1034) to detect whether these relationships were significantly different in rural populations. The best fitting structural equation models show that trust indirectly affects protective pandemic behaviors via health and economic risk perception. We explore two different variations of this social cognitive model: the first assumes behavioral intention affects future disease burden while the second assumes that observed disease burden affects behavioral intention. In our models we include several exogenous variables to control for demographic and geographic effects. Notably, political ideology is the only exogenous variable which significantly affects all aspects of the social cognitive model (trust, risk perception, and behavioral intention). While there is a direct negative effect associated with rurality on disease burden, likely due to the protective effect of low population density in the early pandemic waves, we found a marginally significant, positive, indirect effect of rurality on disease burden via decreased trust (p = 0.095). This trust deficit creates additional vulnerabilities to COVID-19 in rural communities which also have reduced healthcare capacity. Increasing trust by methods such as in-group messaging could potentially remove some of the disparities inferred by our models and increase NPI effectiveness.

The Firearm Injury Reduction Education (FIRE) Program is a comprehensive community-based initiative aimed primarily at reducing the number of unintentional firearm injuries and deaths in Michigan. The FIRE Program is a multifaceted intervention that includes the following components: (1) videotaped testimonials; (2) radio public service announcements (PSAs); and (3) pamphlet distribution. In all cases, target audience members have an opportunity to receive a free gun trigger-lock. Several aspects of the social marketing model will be adopted by the FIRE Program. Pre-production formative evaluation is one important part of social marketing. The information reported here contains results of formative evaluation conducted to obtain feedback to develop and improve program components. Specifically, focus groups ( N = 6) were conducted with adults and children who owned firearms and/or were members of an at-risk population. Individual in- depth interviews were also conducted ( N = 11) with law enforcement officers and gun shop owners and/or operators. Results suggest that one can learn a reasonable amount of information from a limited number of focus groups and interviews. Injuries and deaths from guns represent a pervasive problem in American society. Firearms are the second-leading cause of fatal injuries in this country (Kellermann, 1994), and have surpassed automobile accidents in many states to become the leading cause of fatal injuries (Marwick, 1995). In 1994, firearms were involved in 17,866 homicides, there were 1,356 deaths due to unintentional gun injuries and 18,765 individuals prematurely ended their lives through suicide with a firearm (Singh, Kochanek, & MacDorman, 1996). Though fewer individuals died from unintentional shootings, estimates suggest that for every unintentional gun- related death, there are 13 unintentional gun-related injuries (Annest, Mercy, Gibson, & Ryan, 1995). Overall, for every gun-related death, estimates indicate that approximately seven people are injured by guns (Kellermann, 1994). The availability of a gun in a home is cited as a major contributing factor in each of these cases (Michigan Task Force on Interpersonal Violence Prevention and Reduction, 1994; Cook, 1979; Zimring, 1968; McDowall, 1991; Brent et al., 1991; Kellermann et al., 1992; Cotton, 1992), especially when the gun is stored loaded but not locked (Wintemut, Teret, Kraus, Wright, & Bradfield, 1987). Funding for this program was provided by the Michigan Department of Community Health to the Michigan Public Health Institute. Gun-related injuries and deaths carry a heavy price tag in terms of years-of-life lost and money spent to treat victims. National estimates indicate that annual costs related to firearm injuries and deaths average $14 billion (Voelker, 1995). Additionally, the life lost is often a young one, losing the potential for many years as a productive citizen. With regard to intentional firearm deaths, 20- to 24-year-olds have the highest death rate (National Center for Injury Prevention and Control, 1993). Unintentional gun injuries are the third leading cause of death for 15- to 24-year-olds and the fourth leading cause of death for 5- to 14-year-olds in the United States (Kellermann, Lee, Mercy, & Banton, 1991). The populations at greatest risk for gun-related suicide include males 10- to 34-years-old and those 70 and older (Rosenberg, 1993). These statistics illustrate the seriousness of firearm injuries and deaths. Treating this issue as a public health concern has been growing in popularity as a realistic option to reduce gun violence. Firearm injuries and deaths are increasingly being referred to as an “epidemic” (Mason & Proctor, 1992; Novello, Shosky, & Froehlke, 1992; Randall, 1990), “a public health emergency” (Novello et al., 1992), and one of “the most critical health problems this country faces” (Randall, 1990).

A study on social aspects of penetrating injuries was carried out at the surgical emergency of West Surgical Unit, Mayo Hospital, Lahore from 15th of February 2003 to 15th June 2003. A total of 80 patients were included. Our study shows that 86.25% of the patients were males and their ages were 40 years in 82.5%, 78.25% of the injuries were caused by firearms. 27.5% of patients had more than 4 injuries. Abdomen and chest were the most common target. The reason included financial matters, land, family and property disputes. 26.25% of the assailants were closely related to the victim. A large number of patients were unable to reach the hospital after injury within an hour. We need better laws to control this violence and also to improve resources for transportation of these victims to a trained and well equipped trauma centre.

Qualitative exploration into the risk, experiences, and outcomes of victims of firearm injury is imperative to informing not only further research, but prevention and intervention strategies. The purpose of this study was to explore prior violent exposures, risks, recovery, supportive services, outcomes, and views of firearms and violence among survivors of firearm assaults and unintentional injuries. Adults treated at a level 1 trauma center in Seattle, WA, for assault and unintentional firearm injuries were interviewed utilizing a semistructured instrument. Interview responses were coded to identify common themes and representative quotes are reported. Sixteen participants were interviewed. Notable themes included the following: (a) prior violent exposures were experienced by half of survivors, mostly through community violence; (b) risk for firearm injury was felt to be related to general societal violence, unsafe communities, and firearm practices; (c) important aspects of recovery included family/social support, mental health care and financial support services; (d) notable outcomes included psychological problems such as PTSD and anxiety, changes in relationships, and developing a new sense of purpose or mission in life; (e) generally negative views toward firearms, supporting restricted access and firearm safety practices; (f) acknowledgement of the complexity of firearm violence in society with prevention geared toward equitable education, economic opportunities and safety net programs to reduce community violence; and (g) disappointment in the criminal justice system. These findings demonstrate the varied experiences, needs, and outcomes after injury, but highlight the significance of community and societal violence, and need for improved mental health services. Integration of mental health services and victim assistance programs into trauma centers and hospital-based violence intervention programs is imperative for all survivors. Encouraging survivors to engage in new aspirations after injury can be empowering, and there is an unmet need for victim support and advocacy within the criminal justice system.

Ben & Jerry/Unilever raises the issues of (1) how to bring a nonbusiness culture (B&J) into a corporate culture (Unilever) while preserving the value acquired; (2) how to manage a recently acquired subsidiary whose parent company is an ocean away; (3) how, as a corporate-appointed general manager, the French general manger can gain the trust of the acquired firm; and (4) how (or even whether) to preserve the Social Responsibility (SR) aspects of the target. An additional focus might be how (or whether) to export a socially-responsible firm’s values to overseas locations. The case can be positioned near the end of a PMI course, where the students can apply PMI skills in a unique ethical and cultural situation. Alternatively, it can be used in an Ethics course to highlight the challenges of maintaining an SR mission when a public global corporation acquires a local (Vermont) SR organization.

Ben & Jerry/Unilever raises the issues of (1) how to bring a nonbusiness culture (B&J) into a corporate culture (Unilever) while preserving the value acquired; (2) how to manage a recently acquired subsidiary whose parent company is an ocean away; (3) how, as a corporate-appointed general manager, the French general manger can gain the trust of the acquired firm; and (4) how (or even whether) to preserve the Social Responsibility (SR) aspects of the target. An additional focus might be how (or whether) to export a socially-responsible firm's values to overseas locations. The case can be positioned near the end of a PMI course, where the students can apply PMI skills in a unique ethical and cultural situation. Alternatively, it can be used in an Ethics course to highlight the challenges of maintaining an SR mission when a public global corporation acquires a local (Vermont) SR organization.

Problem setting. One of the most important tasks of modern science of public management and administration is the further improvement of management technologies, management decisions in banking in particular and the increase of their efficiency and effectiveness. Accordingly, the scientific interest is not only in the study and the analysis of banking legislation of certain countries, but in the adaptation of national legislation to the directives of the European Union. The urgency of improving the mechanism of state regulation of the market for the provision of services for the collection of funds and transportation of currency valuables in the banking system of Ukraine is undeniable, the implementation of which should include the mandatory establishment of real requirements and measures of responsibility of managers of both individual financial institutions and regulatory bodies. Recent research and publications analysis. The organization of central banks of the world, their legal status, main functions, comparative aspects, regulatory activities in the field of the organization of cash circulation and cash collection were studied in the works of L. Voronova, D. Hetmantsev, V. Krotyuk, S. Yehorychev, M. Starynsky, P. Melnyk, S. Laptev, I. Zaverukha. Legal problems of legalization of firearms circulation in Ukraine were studied by А. Kolosok, P. Mitrukhov, P. Fries, S. Shumilenko and others. The works of V. Baranyak, V. Меzhyvy, М. Pinchuk, T. Pryhodko, V. Rybachuk, В. Tychyi, etc. are devoted to the study of legal problems of illegal handling of weapons. However, these works do not reflect the peculiarities of the use of firearms in subdivisions of collection of funds. Native and foreign scholars generally have not paid due attention to the study and the analysis of the existing model of cash circulation in Ukraine, its advantages, risks and disadvantages as well as the effective functioning of the market of collection of funds and transportation of currency valuables in the banking system of Ukraine. Highlighting previously unsettled parts of the general problem. The purpose of this article is to analyze the innovative foreign experience of state regulation of the market of collection of funds and transportation of currency valuables in the banking system of Ukraine (hereinafter – collection of funds) and to justify the need for its implementation in Ukraine. Another important problem in collection activities is the lack of legislative regulation of firearms trafficking as there is no law on weapons in Ukraine, there are only regulations of the Ministry of Internal Affairs of Ukraine, which greatly complicates its regulation by the state according to P. Fries. Paper main body. The market of collection of funds and transportation of currency valuables (hereinafter – the market of collection) is one of the most closed segments of the banking system of any country as a whole. The most popular way to pay for services and goods during the last few years, according to annual surveys conducted by the Swiss central bank, is cash. The important factor is that even with the spread of the COVID-19 coronavirus pandemic, the demand for cash and cash flow has increased significantly. The National Bank of Ukraine carries out regulatory activities in accordance with the requirements of the Law of Ukraine “On Principles of State Regulatory Policy in the Field of Economic Activity”. Collection of funds has never been a particularly profitable activity, for the subdivisions of collection of any country along with the staff and transportation costs, that is why to ensure the proper security of cash transportation is a very costly item of the estimate. In this regard, there is an urgent need for the adoption of the Law of Ukraine “On collection of funds and transportation of currency valuables” and “On firearms”, which would define the basic foundations, principles, forms of activities in the field of collection services, rights, duties and responsibilities of all participants in the collection market, in order to increase their reliability, safety and efficiency. In the countries of the European Union (EU), services for the collection and transportation of currency valuables are provided by public and private enterprises. In many EU countries there is no legal definition of the concept ‘collection’. In most cases, collection falls under the general legislation on the basics of security, except for Austria and Germany, which regulate such activities through professional organizations, insurance and collective agreements. Today, five foreign global CIT companies account for almost 60% of the global CIT market for cash collection and cash handling services. They are: – Brinks (USA) – 23%; – G4S (England) – 15%; – Loomis (Sweden) – 12%; – Prosegur (Spain) – 7%; – Garda (Canada) – 4%; – GSLS – 0.01%; – Other regional independent companies – 39%. In six EU countries (Denmark, Ireland, Greece, Sweden, Great Britain and the Netherlands) the presence of firearms during collection of funds is prohibited. In Belgium, Germany, France, Italy, Luxembourg and Spain, the presence of a weapon in the performance of professional collection duties is mandatory. Safe collection of funds largely depends on the fast, without delays, safe travel by road. Ukraine needs to reform its transport system to gain access to the European Union’s rail, road, river and air transport markets and to financial resources for building safe infrastructure of high quality. Conclusions of the research and prospects for further studies. Unfortunately, there are no well-known world CIT collection companies in the Ukrainian market of collection services and therefore Ukrainian banks and legal entities have to deal with local CIT companies, the authorized capital of which in some cases may be significantly less than the amount of the collected cash. In accordance with the mentioned above, for the effective functioning of the Ukrainian market of collection of funds and a balanced regulatory policy of the state, we suggest making appropriate changes and additions to the Laws of Ukraine on “Banks and Banking”, “National Bank of Ukraine”. To initiate the development and adoption of the Laws of Ukraine “On Collection and Transportation of Currency Valuables” and “On Firearms” which will ensure equal competitive conditions in the collection market for all its participants, reliable labor protection, social guarantees and rights of employees of collection divisions.

BackgroundTo prevent the planet from catastrophic global warming a reduction of greenhouse gas emissions to net zero is required. Thus, divestment from fossil fuels must be a strategic interest for health insurers. The aim of this study was to analyse the implementation of environmental, social and governance (ESG) criteria in German private health insurers’ investments.MethodsIn 2019 a survey about ESG strategies was sent to German private health insurance companies. The survey evaluated investment strategies and thresholds for the exclusion of sectors and business practices, as well as company strategies for sustainable business development.FindingsGiven their business reports, German private health insurers manage assets of more than €350 billion. 11 of 40 insurance companies provided quantitative data, 10 refused to answer. According to quantitative data, €66 billion of assets is managed according to any ESG criteria; this equals an average of 76% of each company’s bonds. None of these insurers excluded the production and sale of fossil fuels. All excluded coal mining but only at high thresholds. For €226 billion, no data were provided.InterpretationThe findings are in contrast to the expected intrinsic economic interest of the insurers to stop global warming and improve public health. The majority of assets are managed in a highly problematic manner, especially the absence of capital allocated in fields contrary to medical ethics (eg, firearms, armour) cannot be presumed. Lack of transparency is a major problem that limits clients in choosing the insurer who has the most advanced ESG criteria.

This study aims to determine the factors that influence the habits of the people of Kaledupa Island, Wakatobi Regency to have and carry sharp weapons in association and the efforts that can be made by policy makers in overcoming them. Sociological juridical research method.descriptive research specifications. Primary data sources are the results of interviews with resource persons and observations as well as secondary data sources in the form of the Criminal Code (KUHP), Emergency Law Number 12 of 1951 concerning firearms, Law Number 2 of 2002 concerning the Indonesian National Police, literature books and internet articles related to the aspects studied. Methods of collecting data with interviews and observations as well as literature study. form of data presentation in narrative text and tables, qualitative data analysis. Based on the results of research and discussion of the subject matter proposed in this thesis, it can be concluded that the factors that influence the habits of the people of Kaledupa Island, Wakatobi Regency to have and carry sharp weapons in the struggle are the low level of education, misinterpretation of the existence of BharataKaledupa as one of the factors that influence the existence of BharataKaledupa. bharata at the time of the Sultanate of Buton, there was omission by certain parties. Efforts that can be made by policy makers in overcoming the habits of the people of Kaledupa Island, Wakatobi Regency in making sharp weapons in association are community leaders on Kaledupa Island who can create an institution for fostering the younger generation to carry out social activities, activating youth youth activities and legal counseling and the police do not only carry out preventive and repressive efforts in an effort to overcome the habit of people carrying sharp weapons but also must make pre-emptive efforts.

In July 2005, while European heads of state attended memorials to mark the ten year anniversary of the Srebrenica genocide and court trials continued in The Hague at the International Criminal Tribunal for the former Yugoslavia (ICTY), Bosnian-American artist Aida Sehovic presented the aftermath of this genocide on a day-to-day level through her art installation in memory of the victims of Srebrenica. Drawing on the Bosnian tradition of coming together for coffee, this installation, ‘Što te Nema?’ (Why are you not here?), comprised a collection of tiny white porcelain cups (‘fildzans’ in Bosnian) arranged in the geographic shape of Srebrenica in the lobby of the United Nations building in New York. It was to represent Europe’s worst mass killing since the Second World War, which took place in July 1995 in the Bosnian town of Srebrenica. Up to 8,000 Bosnian Muslim (Bosniak) men and boys were killed when Bosnian Serb troops overran the internationally protected enclave (The Guardian). The cups were gathered from Bosnian families in the United States of America and Bosnia & Herzegovina, and in particular from members of ‘Zene Srebrenice’ (‘the women of Srebrenica’). Each of the 1,705 cups represented one exhumed, identified and re-buried victim of the Srebrenica genocide (1,705 at July 2005). The cups were filled either with coffee or, in the case of victims not yet 18 and therefore not old enough at the time of their death to have participated in the coffee tradition, with sugar cubes. The names and birth dates of the victims were recited on an audio loop. Genocide is the methodical destruction of the existence of a people. It is noted through the ‘UN Convention on the Prevention and Punishment of the Crime of Genocide’ that genocide has inflicted great losses on humanity throughout history (UNHCHR). Tribunals, such as the ICTY, with their focus on justice, are formal and responsibility-based modes of responding to genocide. Society seeks justice, but raising awareness around genocide through the telling and hearing of the individual story is also required. Responding to genocide and communicating its existence through artistic expression has been a valuable way of bearing witness to such a horrendous and immense crime against humanity. Art can address the gaps in healing and understanding that cannot be addressed through tribunals. From Picasso’s ‘Guernica’, to the children’s pictures triggered by the Rwandan genocide, to the ‘War Rugs’ of Afghanistan and to vast installations such as Peter Eisenman’s recently opened Holocaust memorial in Berlin; art has proved a powerful medium for representing such atrocities and attempting to find healing after genocide. Artworks such as Sehovic’s ‘Što te Nema?’ give insight into the personal experience of genocide while challenging indifference and maintaining memory. For the affected communities, this addresses the impact on individuals; the human cost and the loss of everyday experiences. As Srebrenica survivor Emir Suljagic comments, “when you tell someone that 10,000 people died, they cannot understand or imagine that. What I want to say is that these people were peasants, car mechanics or masons. That they had daughters, mothers, that they leave someone behind; that a lot of people are hurt by this person’s death” (qtd. in Vulliamy). ‘Što te Nema?’ transmits this personal dimension of genocide by using an everyday situation of showing hospitality with family and friends, which is familiar and practised in most cultural experiences, juxtaposed with the loss of a family member who is missing as a result of genocide. This transmits the notion of genocide into the sphere of common experience, attachment and emotion. It acts as an invitation to explore the impact of genocide beyond the impersonal statistics and the aloof legalese of the courtroom drama. Beyond providing a representation of the facts or emotions around genocide, art provides a way of responding to a crime, which, by its nature, is generally difficult to comprehend. Art can offer a mode of giving testimony and providing catharsis about events which are not easily approached or discussed. As Sehovic says of ‘Što te Nema?’ (it) is a way of healing for Bosnians, coming to terms with this terrible thing that happened to us … it is building a bridge of understanding where Bosnian people are coming from, because it is very hard to talk about these things (qtd. in Vermont Quarterly Magazine). For its receiver, genocide art, with all its capacity to arouse our emotions and empathy, transmits something that we cannot see or engage with in the factual reporting of genocide or in a political analysis of the topic. Through art, it is possible to encounter genocide at an individual, personal level. As Mödersheim points out, we seem to need symbolic expressions to help us understand, and deal with the complex nature of events so horrific that reason and emotion fail to grasp their magnitude. To the intellect, many aspects of these experiences are unfathomable, and yet to keep our humanity we need to understand them … where words and explanations fail, we look for images (Mödersheim 18). An artist’s responses to genocide can vary from the need of survivors to create actual depictions of the atrocities, to more abstract portrayals of the emotional response to acts of genocide. Art that is created by survivors or witnesses to the genocide demonstrates a documentation and testament to what has occurred – a symbolic act of transmitting the personal experience of genocide. Artistic responses to genocide by those, such as Sehovic, who did not witness the event first hand, express how genocide “remains deeply felt to the point where we could not say it has ended” (Morris 329). Such art represents the continuation and global repercussions of genocide. The question of what ‘genocide art’ means to the neutral or removed viewer or society is also significant. Art is often associated with pleasure. Issues of mass killing and war are often not the types of topics one wishes to view on a trip to an art gallery. However, art has a more crucial function as a social reflector. It is often the reaction of non-acceptance of such artworks which indicates how society wishes to consider questions of genocide or of war in general. For example, Rayner Hoff’s 1932 war memorial ‘The Crucifixion of Civilisation 1914’ was rejected for display because it was considered too confronting and controversial in its depiction of a naked, tortured female victim of war in a Christ-like pose. As Picasso commented, “painting is not done to decorate apartments. It is an instrument of war for attack and defense against the enemy” (qtd. in Mödersheim 15). In discussing the art that emerged from the Sierra Leone Civil War, Ross notes, “as our stomachs and hearts turn over at such sights, we get a small taste of what the artists felt. Even as we look at the images and experience the horror, disgust and anger that comes with knowing that they really happened, we realise that if these images are to be understood as reports from the field, serving the same function as photojournalism, it means that we have been sheltered from this type of reporting from our own news sources” (Ross 39). Here, art can address the often cursory acknowledgment given to ‘events which happen in faraway places’ and lend an insight into the personal. As Adorno notes, “history in artworks is not something made, and history alone frees the work from being merely something posited or manufactured” (133). Here we see the indivisibility of the genocide (the ‘history’) from the artwork – that what is seen is not mere ‘depiction’ but art’s ability to turn the anonymous statistics or the unknown genocide into the realisation of a brutal annihilation of individual human beings – to bring history to life as it were. What the viewer does after viewing such art is perhaps immaterial; the important thing is that they now know. But why is it important to know and important to remember? It has been argued that genocides which occurred in places like Srebrenica and Rwanda happened because the international community did not know or refused to recognise the events to the point of initially declining to apply the term ‘genocide’ to Srebrenica and settling for the more sanitised term ‘ethnic cleansing’ (Bringa 196). It would be nave and even condescending to argue that ‘Što te Nema?’ or any of the myriad other artistic responses to genocide have the possibility of undoing a genocide such as that which took place in Srebrenica, or even the hope of preventing another genocide. However, it is in transporting genocide into the personal realm that the message is transmitted and ignorance to the event can no longer be claimed. The concept of genocide can be too horrendous and vast to take in; art, whilst making it no less horrific, transmits the message to and confronts the viewer at a more direct and personal level. Such art provokes and provides a starting point for comment and debate. Art also stands as a lasting memorial to those who have lost their lives as a result of genocide and as a reminder to humanity that to ignore, underestimate or forget genocide makes possible its recurrence. References Adorno, Theodor. Aesthetic Theory. Trans. by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 1997. Bringa, Tone. “Averted Gaze: Genocide in Bosnia-Herzegovina 1992-1995.” Annihilating Difference: The Anthropology of Genocide. Ed: Alexander Hinton Laban. London: University of California Press, 2002. 194-225. Kohn, Rachael. “War Memorials, Sublime & Scandalous.” Radio National 14 August 2005. 12 December 2005 http://www.abc.net.au/rn/relig/ark/stories/s1433477.htm>. Mödersheim, Sabine. “Art and War.” Representations of Violence: Art about the Sierra Leone Civil War. Ed. Chris Corcoran, Abu-Hassan Koroma, P.K. Muana. Chicago, 2004. 15-20. Morris, Daniel. “Jewish Artists in New York: The Holocaust Years.” American Jewish History 90.3 (September 2002): 329-331. Ross, Mariama. “Bearing Witness.” Representations of Violence: Art about the Sierra Leone Civil War. Ed. Chris Corcoran, Abu-Hassan Koroma, P.K. Muana. Chicago, 2004. 37-40. The Guardian. “Massacre at Srebrenica: Interactive Guide.” May 2005. 5 November 2005 http://www.guardian.co.uk/flash/0,5860,474564,00.html>. United Nations. “International Criminal Tribunal for the Former Yugoslavia.” 10 January 2006 http://www.un.org/icty/>. UNHCHR. “Convention on the Prevention and Punishment of the Crime of Genocide.” 1951. 3 January 2006 http://www.unhchr.ch/html/menu3/b/p_genoci.htm>. Vermont Quarterly Magazine. “Cups of Memory.” Winter 2005. 1 December 2005 http://www.uvm.edu/~uvmpr/vq/vqwinter05/aidasehovic.html>. Vulliamy, Ed. “Srebrenica Ten Years On.” June 2005. 10 February 2006 http://www.opendemocracy.net/conflict-yugoslavia/srebrenica_2651.jsp>. Citation reference for this article MLA Style Hawkes, Martine. "Transmitting Genocide: Genocide and Art." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/09-hawkes.php>. APA Style Hawkes, M. (Mar. 2006) "Transmitting Genocide: Genocide and Art," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/09-hawkes.php>.

Introduction“From every kind of man obedience I expect; I’m the Emperor of Japan.” (“Miyasama,” from Gilbert and Sullivan’s musical The Mikado, 1885)This commentary is facilitated by—surprisingly resilient—oriental stereotypes of an imagined Japan (think of Oscar Wilde’s assertion, in 1889, that Japan was a European invention). During the Victorian era, in Britain, there was a craze for all things oriental, particularly ceramics and “there was a craze for all things Japanese and no middle class drawing room was without its Japanese fan or teapot.“ (V&A Victorian). These pastoral depictions of the ‘oriental life’ included the figures of men and women in oriental garb, with fans, stilt shoes, kimono-like robes, and appropriate headdresses, engaging in garden-based activities, especially tea ceremony variations (Landow). In fact, tea itself, and the idea of a ceremony of serving it, had taken up a central role, even an obsession in middle- and upper-class Victorian life. Similarly, landscapes with wild seas, rugged rocks and stunted pines, wizened monks, pagodas and temples, and particular fauna and flora (cranes and other birds flying through clouds of peonies, cherry blossoms and chrysanthemums) were very popular motifs (see Martin and Koda). Rather than authenticity, these designs heightened the Western-based romantic stereotypes associated with a stylised form of Japanese life, conducted sedately under rule of the Japanese Imperial Court. In reality, prior to the Meiji period (1868–1912), the Emperor was largely removed from everyday concerns, residing as an isolated, holy figure in Kyoto, the traditional capital of Japan. Japan was instead ruled from Edo (modern day Tokyo) led by the Shogun and his generals, according to a strict Confucian influenced code (see Keene). In Japan, as elsewhere, the presence of feudal-style governance includes policies that determine much of everyday life, including restrictions on clothing (Rall 169). The Samurai code was no different, and included a series of protocols that restricted rank, movement, behaviour, and clothing. As Vincent has noted in the case of the ‘lace tax’ in Great Britain, these restrictions were designed to punish those who seek to penetrate the upper classes through their costume (28-30). In Japan, pre-Meiji sumptuary laws, for example, restricted the use of gold, and prohibited the use of a certain shade of red by merchant classes (V&A Kimono).Therefore, in the governance of pre-globalised societies, the importance of clothing and textile is evident; as Jones and Stallybrass comment: We need to understand the antimatedness of clothes, their ability to “pick up” subjects, to mould and shape them both physically and socially—to constitute subjects through their power as material memories […] Clothing is a worn world: a world of social relations put upon the wearer’s body. (2-3, emphasis added)The significant re-imagining of Japanese cultural and national identities are explored here through the cataclysmic impact of Western ideologies on Japanese cultural traditions. There are many ways to examine how indigenous cultures respond to European, British, or American (hereafter Western) influences, particularly in times of conflict (Wilk). Western ideology arrived in Japan after a long period of isolation (during which time Japan’s only contact was with Dutch traders) through the threat of military hostility and war. It is after this outside threat was realised that Japan’s adoption of military and industrial practices begins. The re-imagining of their national identity took many forms, and the inclusion of a Western-style military costuming as a schoolboy uniform became a highly visible indicator of Japan’s mission to protect its sovereign integrity. A brief history of Japan’s rise from a collection of isolated feudal states to a unified military power, in not only the Asian Pacific region but globally, demonstrates the speed at which they adopted the Western mode of warfare. Gunboats on Japan’s ShorelinesJapan was forcefully opened to the West in the 1850s by America under threat of First Name Perry’s ‘gunboat diplomacy’ (Hillsborough 7-8). Following this, Japan underwent a rapid period of modernisation, and an upsurge in nationalism and military expansion that was driven by a desire to catch up to the European powers present in the Pacific. Noted by Ian Ferguson in Civilization: The West and the Rest, Unsure, the Japanese decided […] to copy everything […] Japanese institutions were refashioned on Western models. The army drilled like Germans; the navy sailed like Britons. An American-style system of state elementary and middle schools was also introduced. (221, emphasis added)This was nothing short of a wide-scale reorganisation of Japan’s entire social structure and governance. Under the Emperor Meiji, who wrested power from the Shogunate and reclaimed it for the Imperial head, Japan steamed into an industrial revolution, achieving in a matter of years what had taken Europe over a century.Japan quickly became a major player-elect on the world stage. However, as an island nation, Japan lacked the essentials of both coal and iron with which to fashion not only industrial machinery but also military equipment, the machinery of war. In 1875 Japan forced Korea to open itself to foreign (read: Japanese) trade. In the same treaty, Korea was recognised as a sovereign nation, separate from Qing China (Tucker 1461). The necessity for raw materials then led to the Sino-Japanese War (1894–95), a conflict between Japan and China that marked the emergence of Japan as a major world power. The Korean Peninsula had long been China’s most important client state, but its strategic location adjacent to the Japanese archipelago, and its natural resources of coal and iron, attracted Japan’s interest. Later, the Russo-Japanese War (1904–05), allowed a victorious Japan to force Russia to abandon its expansionist policy in the Far East, becoming the first Asian power in modern times to defeat a European power. The Russo-Japanese War developed out of the rivalry between Russia and Japan for dominance in Korea and Manchuria, again in the struggle for natural resources (Tucker 1534-46).Japan’s victories, together with the county’s drive for resources, meant that Japan could now determine its role within the Asia-Pacific sphere of influence. As Japan’s military, and their adoption of Westernised combat, proved effective in maintaining national integrity, other social institutions also looked to the West (Ferguson 221). In an ironic twist—while Victorian and Continental fashion was busy adopting the exotic, oriental look (Martin and Koda)—the kimono, along with other essentials of Japanese fashions, were rapidly altered (both literally and figuratively) to suit new, warlike ideology. It should be noted that kimono literally means ‘things that you wear’ and which, prior to exposure to Western fashions, signified all worn clothing (Dalby 65-119). “Wearing Things” in Westernised JapanAs Japan modernised during the late 1800s the kimono was positioned as symbolising barbaric, pre-modern, ‘oriental’ Japan. Indeed, on 17 January 1887 the Meiji Empress issued a memorandum on the subject of women’s clothing in Japan: “She [the Empress] believed that western clothes were in fact closer to the dress of women in ancient Japan than the kimonos currently worn and urged that they be adopted as the standard clothes of the reign” (Keene 404). The resemblance between Western skirts and blouses and the simple skirt and separate top that had been worn in ancient times by a people descended from the sun goddess, Amaterasu wo mikami, was used to give authority and cultural authenticity to Japan’s modernisation projects. The Imperial Court, with its newly ennobled European style aristocrats, exchanged kimono silks for Victorian finery, and samurai armour for military pomp and splendour (Figure 1).Figure 1: The Meiji Emperor, Empress and Crown Prince resplendent in European fashions on an outing to Asukayama Park. Illustration: Toyohara Chikanobu, circa 1890.It is argued here that the function of a uniform is to prepare the body for service. Maids and butlers, nurses and courtesans, doctors, policemen, and soldiers are all distinguished by their garb. Prudence Black states: “as a technology, uniforms shape and code the body so they become a unit that belongs to a collective whole” (93). The requirement to discipline bodies through clothing, particularly through uniforms, is well documented (see Craik, Peoples, and Foucault). The need to distinguish enemies from allies on the battlefield requires adherence to a set of defined protocols, as referenced in military fashion compendiums (see Molloy). While the postcolonial adoption of Western-based clothing reflects a new form of subservience (Rall, Kuechler and Miller), in Japan, the indigenous garments were clearly designed in the interests of ideological allegiance. To understand the Japanese sartorial traditions, the kimono itself must be read as providing a strong disciplinary element. The traditional garment is designed to represent an upright and unbending column—where two meters of under bindings are used to discipline the body into shape are then topped with a further four meters of a stiffened silk obi wrapped around the waist and lower chest. To dress formally in such a garment requires helpers (see Dalby). The kimono both constructs and confines the women who wear it, and presses them into their roles as dutiful, upper-class daughters (see Craik). From the 1890s through to the 1930s, when Japan again enters a period of militarism, the myth of the kimono again changes as it is integrated into the build-up towards World War II.Decades later, when Japan re-established itself as a global economic power in the 1970s and 1980s, the kimono was re-authenticated as Japan’s ‘traditional’ garment. This time it was not the myth of a people descended from solar deities that was on display, but that of samurai strength and propriety for men, alongside an exaggerated femininity for women, invoking a powerful vision of Japanese sartorial tradition. This reworking of the kimono was only possible as the garment was already contained within the framework of Confucian family duty. However, in the lead up to World War II, Japanese military advancement demanded of its people soldiers that could win European-style wars. The quickest solution was to copy the military acumen and strategies of global warfare, and the costumes of the soldiery and seamen of Europe, including Great Britain (Ferguson). It was also acknowledged that soldiers were ‘made not born’ so the Japanese educational system was re-vamped to emulate those of its military rivals (McVeigh). It was in the uptake of schoolboy uniforms that this re-imagining of Japanese imperial strength took place.The Japanese Schoolboy UniformCentral to their rapid modernisation, Japan adopted a constitutional system of education that borrowed from American and French models (Tipton 68-69). The government viewed education as a “primary means of developing a sense of nation,” and at its core, was the imperial authorities’ obsession with defining “Japan and Japaneseness” (Tipton 68-69). Numerous reforms eventually saw, after an abolition of fees, nearly 100% attendance by both boys and girls, despite a lingering mind-set that educating women was “a waste of time” (Tipton 68-69). A boys’ uniform based on the French and Prussian military uniforms of the 1860s and 1870s respectively (Kinsella 217), was adopted in 1879 (McVeigh 47). This jacket, initially with Prussian cape and cap, consists of a square body, standing mandarin style collar and a buttoned front. It was through these education reforms, as visually symbolised by the adoption of military style school uniforms, that citizen making, education, and military training became interrelated aspects of Meiji modernisation (Kinsella 217). Known as the gakuran (gaku: to study; ran: meaning both orchid, and a pun on Horanda, meaning Holland, the only Western country with trading relations in pre-Meiji Japan), these jackets were a symbol of education, indicating European knowledge, power and influence and came to reflect all things European in Meiji Japan. By adopting these jackets two objectives were realised:through the magical power of imitation, Japan would, by adopting the clothing of the West, naturally rise in military power; and boys were uniformed to become not only educated as quasi-Europeans, but as fighting soldiers and sons (suns) of the nation.The gakuran jacket was first popularised by state-run schools, however, in the century and a half that the garment has been in use it has come to symbolise young Japanese masculinity as showcased in campus films, anime, manga, computer games, and as fashion is the preeminent garment for boybands and Japanese hipsters.While the gakuran is central to the rise of global militarism in Japan (McVeigh 51-53), the jacket would go on to form the basis of the Sun Yat Sen and Mao Suits as symbols of revolutionary China (see McVeigh). Supposedly, Sun Yat Sen saw the schoolboy jacket in Japan as a utilitarian garment and adopted it with a turn down collar (Cumming et al.). For Sun Yat Sen, the gakuran was the perfect mix of civilian (school boy) and military (the garment’s Prussian heritage) allowing him to walk a middle path between the demands of both. Furthermore, the garment allowed Sun to navigate between Western style suits and old-fashioned Qing dynasty styles (Gerth 116); one was associated with the imperialism of the National Products Movement, while the other represented the corruption of the old dynasty. In this way, the gakuran was further politicised from a national (Japanese) symbol to a global one. While military uniforms have always been political garments, in the late 1800s and early 1900s, as the world was rocked by revolutions and war, civilian clothing also became a means of expressing political ideals (McVeigh 48-49). Note that Mahatma Ghandi’s clothing choices also evolved from wholly Western styles to traditional and emphasised domestic products (Gerth 116).Mao adopted this style circa 1927, further defining the style when he came to power by adding elements from the trousers, tunics, and black cotton shoes worn by peasants. The suit was further codified during the 1960s, reaching its height in the Cultural Revolution. While the gakuran has always been a scholarly black (see Figure 2), subtle differences in the colour palette differentiated the Chinese population—peasants and workers donned indigo blue Mao jackets, while the People’s Liberation Army Soldiers donned khaki green. This limited colour scheme somewhat paradoxically ensured that subtle hierarchical differences were maintained even whilst advocating egalitarian ideals (Davis 522). Both the Sun Yat Sen suit and the Mao jacket represented the rejection of bourgeois (Western) norms that objectified the female form in favour of a uniform society. Neo-Maoism and Mao fever of the early 1990s saw the Mao suit emerge again as a desirable piece of iconic/ironic youth fashion. Figure 2: An example of Gakuran uniform next to the girl’s equivalent on display at Ichikawa Gakuen School (Japan). Photo: Emerald King, 2015.There is a clear and vital link between the influence of the Prussian style Japanese schoolboy uniform on the later creation of the Mao jacket—that of the uniform as an integral piece of worn propaganda (Atkins).For Japan, the rapid deployment of new military and industrial technologies, as well as a sartorial need to present her leaders as modern (read: Western) demanded the adoption of European-style uniforms. The Imperial family had always been removed from Samurai battlefields, so the adoption of Western military costume allowed Japan’s rulers to present a uniform face to other global powers. When Japan found itself in conflict in the Asia Pacific Region, without an organised military, the first requirement was to completely reorganise their system of warfare from a feudal base and to train up national servicemen. Within an American-style compulsory education system, the European-based curriculum included training in mathematics, engineering and military history, as young Britons had for generations begun their education in Greek and Latin, with the study of Ancient Greek and Roman wars (Bantock). It is only in the classroom that ideological change on a mass scale can take place (Reference Please), a lesson not missed by later leaders such as Mao Zedong.ConclusionIn the 1880s, the Japanese leaders established their position in global politics by adopting clothing and practices from the West (Europeans, Britons, and Americans) in order to quickly re-shape their country’s educational system and military establishment. The prevailing military costume from foreign cultures not only disciplined their adopted European bodies, they enforced a new regime through dress (Rall 157-174). For boys, the gakuran symbolised the unity of education and militarism as central to Japanese masculinity. Wearing a uniform, as many authors suggest, furthers compliance (Craik, Nagasawa Kaiser and Hutton, and McVeigh). As conscription became a part of Japanese reality in World War II, the schoolboys just swapped their military-inspired school uniforms for genuine military garments.Re-imagining a Japanese schoolboy uniform from a European military costume might suit ideological purposes (Atkins), but there is more. The gakuran, as a uniform based on a close, but not fitted jacket, was the product of a process of advanced industrialisation in the garment-making industry also taking place in the 1800s:Between 1810 and 1830, technical calibrations invented by tailors working at the very highest level of the craft [in Britain] eventually made it possible for hundreds of suits to be cut up and made in advance [...] and the ready-to-wear idea was put into practice for men’s clothes […] originally for uniforms for the War of 1812. (Hollander 31) In this way, industrialisation became a means to mass production, which furthered militarisation, “the uniform is thus the clothing of the modern disciplinary society” (Black 102). There is a perfect resonance between Japan’s appetite for a modern military and their rise to an industrialised society, and their conquests in Asia Pacific supplied the necessary material resources that made such a rapid deployment possible. The Japanese schoolboy uniform was an integral part of the process of both industrialisation and militarisation, which instilled in the wearer a social role required by modern Japanese society in its rise for global power. Garments are never just clothing, but offer a “world of social relations put upon the wearer’s body” (Jones and Stallybrass 3-4).Today, both the Japanese kimono and the Japanese schoolboy uniform continue to interact with, and interrogate, global fashions as contemporary designers continue to call on the tropes of ‘military chic’ (Tonchi) and Japanese-inspired clothing (Kawamura). References Atkins, Jaqueline. Wearing Propaganda: Textiles on the Home Front in Japan, Britain, and the United States. Princeton: Yale UP, 2005.Bantock, Geoffrey Herman. Culture, Industrialisation and Education. London: Routledge & K. Paul, 1968.Black, Prudence. “The Discipline of Appearance: Military Style and Australian Flight Hostess Uniforms 1930–1964.” Fashion & War in Popular Culture. Ed. Denise N. Rall. Bristol: Intellect/U Chicago P, 2014. 91-106.Craik, Jenifer. Uniforms Exposed: From Conformity to Transgression. Oxford: Berg, 2005.Cumming, Valerie, Cecil Williet Cunnington, and Phillis Emily Cunnington. “Mao Style.” The Dictionary of Fashion History. Eds. Valerie Cumming, Cecil Williet Cunnington, and Phillis Emily Cunnington. Oxford: Berg, 2010.Dalby, Liza, ed. Kimono: Fashioning Culture. London: Vintage, 2001.Davis, Edward L., ed. Encyclopaedia of Contemporary Chinese Culture. London: Routledge, 2005.Dees, Jan. Taisho Kimono: Speaking of Past and Present. Milan: Skira, 2009.Ferguson, N. Civilization: The West and the Rest. London: Penguin, 2011.Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. London: Penguin, 1997. Gerth, Karl. China Made: Consumer Culture and the Creation of the Nation, Cambridge: East Asian Harvard Monograph 224, 2003.Gilbert, W.S., and Arthur Sullivan. The Mikado or, The Town of Titipu. 1885. 16 Nov. 2015 ‹http://math.boisestate.edu/gas/mikado/mk_lib.pdf›. Hillsborough, Romulus. Samurai Revolution: The Dawn of Modern Japan Seen through the Eyes of the Shogun's Last Samurai. Vermont: Tuttle, 2014.Jones, Anne R., and Peter Stallybrass, Renaissance Clothing and the Materials of Memory. Cambridge: Cambridge UP, 2000.Keene, Donald. Emperor of Japan: Meiji and His World, 1852-1912. New York: Columbia UP, 2002.King, Emerald L. “Schoolboys and Kimono Ladies.” Presentation to the Un-Thinking Asian Migrations Conference, University of Otago, Dunedin, New Zealand, 24-26 Aug. 2014. Kinsella, Sharon. “What’s Behind the Fetishism of Japanese School Uniforms?” Fashion Theory 6.2 (2002): 215-37. Kuechler, Susanne, and Daniel Miller, eds. Clothing as Material Culture. Oxford: Berg, 2005.Landow, George P. “Liberty and the Evolution of the Liberty Style.” 22 Aug. 2010. ‹http://www.victorianweb.org/art/design/liberty/lstyle.html›.Martin, Richard, and Harold Koda. Orientalism: Vision of the East in Western Dress. New York: Metropolitan Museum of Art, 1994.McVeigh, Brian J. Wearing Ideology: State, Schooling, and Self-Presentation in Japan. Oxford: Berg, 2000.Molloy, John. Military Fashion: A Comparative History of the Uniforms of the Great Armies from the 17th Century to the First World War. New York: Putnam, 1972.Peoples, Sharon. “Embodying the Military: Uniforms.” Critical Studies in Men’s Fashion 1.1 (2014): 7-21.Rall, Denise N. “Costume & Conquest: A Proximity Framework for Post-War Impacts on Clothing and Textile Art.” Fashion & War in Popular Culture, ed. Denise N. Rall. Bristol: Intellect/U Chicago P, 2014. 157-74. Tipton, Elise K. Modern Japan: A Social and Political History. 3rd ed. London: Routledge, 2016.Tucker, Spencer C., ed. A Global Chronology of Conflict: From the Ancient World to the Modern Middle East. Santa Barbara, CA: ABC-CLIO, 2013.V&A Kimono. Victoria and Albert Museum. “A History of the Kimono.” 2004. 2 Oct. 2015 ‹http://www.vam.ac.uk/content/articles/h/a-history-of-the-kimono/›.V&A Victorian. Victoria and Albert Museum. “The Victorian Vision of China and Japan.” 10 Nov. 2015 ‹http://www.vam.ac.uk/content/articles/t/the-victorian-vision-of-china-and-japan/›.Vincent, Susan J. The Anatomy of Fashion: Dressing the Body from the Renaissance to Today. Berg: Oxford, 2009.Wilde, Oscar. “The Decay of Lying.” 1889. In Intentions New York: Berentano’s 1905. 16 Nov. 2015 ‹http://virgil.org/dswo/courses/novel/wilde-lying.pdf›. Wilk, Richard. “Consumer Goods as a Dialogue about Development.” Cultural History 7 (1990) 79-100.

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. New York: Routledge, 2017.Cardiff, Janet. The Missing Case Study B. Art Angel, 1999.Home-Cook, George. Theatre and Aural Attention. London: Palgrave Macmillan, 2015.Greenlaw, Lavinia. Audio Obscura. 2011.Bouckaert, Charlotte, and Steve Salembier. Bildraum. Brussels. 8 Oct. 2014. 18 Jan. 2017 <https://www.youtube.com/watch?v=eueeAaIuMo0>.Daemen, Merel. “Steve Salembier & Charlotte Bouckaert.” 1 Jul. 2015. 18 Jan. 2017 <http://thissurroundingusall.com/post/122886489993/steve-salembier-charlotte-bouckaert-an-architect>. Haydon, Andrew. “Bildraum – Summerhall, Edinburgh.” Postcards from the Gods 20 Aug. 2016. 18 Jan. 2017 <http://postcardsgods.blogspot.co.uk/2016/08/bildraum-summerhall-edinburgh.html>. Heidegger, Martin. “Building, Dwelling, Thinking.” Basic Writings. Ed. David Farrell Krell. Oxford: Routledge, 1978. 239-57.Hutchins, Roy. 27 Aug. 2016. 18 Jan. 2017 <http://fringereview.co.uk/review/edinburgh-fringe/2016/bildraum/>.Invisible Flock. 105+dB. Zebedee’s Yard, Made in Hull. Hull. 7 Jan. 2017. Labelle, Brandon. “Acoustic Spatiality.” SIC – Journal of Literature, Culture and Literary Translation (2012). 18 Jan. 2017 <http://hrcak.srce.hr/file/127338>.———. “Other Acoustics” OASE: Immersed - Sound & Architecture 78 (2009): 14-24.———. “Sharing Architecture: Space, Time and the Aesthetics of Pressure.” Journal of Visual Culture 10.2 (2011): 177-89.Miller, Graeme. Linked. 2003.Myers, Misha. “Situations for Living: Performing Emplacement.” Research in Drama Education 13.2 (2008): 171-80.Pallasmaa, Juhani. “Space, Place and Atmosphere. Emotion and Peripheral Perception in Architectural Experience.” Lebenswelt 4.1 (2014): 230-45.Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Vermont: Destiny Books, 1994.Schevers, Bas. Bildraum (trailer) by Charlotte Bouckaert and Steve Salembier. Dec. 2014. 18 Jan. 2017 <https://vimeo.com/126676951>.Taylor, N. “Made in Hull Artists: Invisible Flock.” 6 Jan. 2017. 9 Jan. 2017 <https://www.hull2017.co.uk/discover/article/made-hull-artists-invisible-flock/>. Thibaud, Jean-Paul. “The Three Dynamics of Urban Ambiances.” Sites of Sound: of Architecture and the Ear Vol. II. Eds. B. Labelle and C. Martinho. Berlin: Errant Bodies P, 2011. 45-53.———. “Urban Ambiances as Common Ground?” 4.1 (2014): 282-95.Voegelin, Salomé. Listening to Sound and Silence: Toward a Philosophy of Sound Art. New York: Continuum, 2010.———. Sonic Possible Worlds. London: Bloomsbury, 2014.Zumthor, Peter. Thinking Architecture. Basel: Birkhäuser, 1998.———. Atmosphere: Architectural Environments – Surrounding Objects. Basel: Birkhäuser, 2006.

Introduction Burning Man (BM) is a festival of art and music that materialises for one week each year in the Nevada desert. It is considered by many to be the world’s largest countercultural event. But what is BM, really? With record attendance of 69,613 in 2013 (Griffith) (the original event in 1986 had twenty), and recent event themes that have engaged with mainstream political themes such as “Green Man” (2007) and “American Dream” (2008), can BM still be considered countercultural? Was it ever? In the first part of this article, we define counterculture as a subculture that originates in the hippie movement of 1960s America and the rejection of “mainstream” values associated with post-WWII industrial culture, that aligns itself with environmentalism and ecological consciousness, and that is distinctly anti-consumer (Roszak, Making). Second, we identify BM as an art and music festival that transcends the event to travel with its desert denizens out into the “real world.” In this way, it is also a festival that has countercultural connections. Third, though BM bears some resemblance to counterculture, given that it is founded upon “Radical Self-Reliance”, BM is actually anything but countercultural because it interlocks with the current socioeconomic zeitgeist of neoliberalism, and that reflects a “new individualism” (Elliot & Lemert). BM’s ambition to be a commercial-free zone runs aground against its entanglement with market relations, and BM is also arguably a consumer space. Finally, neoliberal ideology and “new individualism” are encoded in the space of BM at the level of the spectacle (Debord). The Uchronian’s structure from BM 2006 (a cavernous wooden construction nicknamed the “Belgian Waffle”) could be read as one example. However, opportunities for personal transformation and transcendent experience may persist as counterculture moves into a global age. Defining Counterculture To talk about BM as a counterculture, we must first define counterculture. Hebdige provided a useful distinction between subculture and counterculture in an endnote to a discussion of Teds versus Rockers (148). According to Hebdige, what distinguishes counterculture from mere subculture and related styles is its association with a specific era (1967–70), that its adherents tended to hail from educated, middle-class families, and that it is “explicitly political and ideological” and thus more easily “read” by the dominant powers. Finally, it opposes the dominant culture. Counterculture has its roots in “the hippies, the flower children, the yippies” of the 60s. However, perhaps Hebdige’s definition is too narrow; it is more of an instance of counterculture than a definition. A more general definition of counterculture might be a subculture that rejects “mainstream” values, and examples of this have existed throughout time. For example, we might include the 19th century Romantics with their rejection of the Enlightenment and distrust of capitalism (Roszak 1972), or the Beat generation and post-War America (Miller). Perhaps counterculture even requires one to be a criminal: the prominent Beat writer William S. Burroughs shot guns and heroin, was a homosexual, and accidentally shot and killed his wife in a drug haze (Severo). All of these are examples of subcultures that rejected or opposed the mainstream values of the time. But it was Roszak (Making) who originally defined counterculture as the hippie movement of 1960s era college-aged middle-class American youth who revolted against the values and society inherited not only from their parents, but from the “military-industrial complex” itself, which “quite simply was the American political system” (3). Indeed, the 1960s counterculture—what the term “counterculture” has more generally come to mean—was perhaps the most radical expression of humanity ever in its ontological overthrow of industrial culture and all that it implied (and also, Roszak speculates, in so much that it may have been an experiment gone wrong on the part of the American establishment): The Communist and Socialist Left had always been as committed to industrialism as their capitalist foes, never questioning it as an inevitable historical stage. From this viewpoint, all that needed to be debated was the ownership and control of the system. But here was a dissenting movement that yearned for an entirely different quality of life. It was not simply calling the political superstructure into question; with precocious ecological insight, it was challenging the culture of industrial cities on which that superstructure stood. And more troubling still, there were those among the dissenters who questioned the very sanity of that culture. These psychic disaffiliates took off in search of altered states of consciousness that might generate altered states of society. (8) For the purposes of this paper, then, counterculture refers specifically to those cultures that find their roots in the hippie movement of the late 1960s. I embrace both Roszak’s and Hebdige’s definitions of counterculture because they define it as a unique reaction of post-WWII American youth against industrial culture and a rejection of the accompanying values of home, marriage and career. Instead, counterculture embraced ecological awareness, rejected consumption, and even directed itself toward mystical altered states. In the case of the espoused ecological consciousness, that blossomed into the contemporary (increasingly mainstream) environmental movement toward “green” energy. In the case of counterculture, the specific instance really is the definition in this case because the response of postwar youth was so strong and idiosyncratic, and there is overlap between counterculture and the BM community. So what is Burning Man? Defining Burning Man According to the event’s website: Burning Man is an annual event and a thriving year-round culture. The event takes place the week leading up to and including Labor Day, in Nevada’s Black Rock Desert. The Burning Man organization […] creates the infrastructure of Black Rock City, wherein attendees (or “participants”) dedicate themselves to the spirit of community, art, self-expression, and self-reliance. They depart one week later, leaving no trace […] Outside the event, Burning Man’s vibrant year-round culture is growing through the non-profit Burning Man Project, including worldwide Regional Groups and associated non-profits who embody Burning Man’s ethos out in the world. (“What is Burning Man?”) I interpret BM as a massive art festival and party that materialises in the desert once a year to produce one of the largest cities in Nevada, but one with increasingly global reach in which the participants feel compelled to carry the ethos forward into their everyday lives. It is also an event with an increasing number of “regional burns” (Taylor) that have emerged as offshoots of the original. Creator Larry Harvey originally conceived of burning the effigy of a man on San Francisco’s Baker Beach in 1986 in honor of the solstice (“Burning Man Timeline”). Twenty people attended the first BM. That figure rapidly rose to 800 by 1990 when for legal reasons it became necessary to relocate to the remote Black Rock desert in Nevada, the largest expanse of flat land in the United States. In the early 90s, when BM had newly relocated and attendees numbered in the low thousands, it was not uncommon for participants to mix drugs, booze, speeding cars and firearms (Bonin) (reminiscent of the outlaw associations of counterculture). As the Internet became popular in the mid-1990s word spread quickly, leading to a surge in the population. By the early 2000s attendance regularly numbered in the tens of thousands and BM had become a global phenomenon. In 2014 the festival turned 28, but it had already been a corporation for nearly two decades before transitioning to a non-profit (“Burning Man Transitions”). Burning Man as Countercultural Event BM has connections to the counterculture, though the organisation is quick to dispel these connections as myths (“Media Myths”). For example, in response to the notion that BM is a “90s Woodstock”, the organisers point out that BM is for all ages and not a concert. Rather, it is a “noncommercial environment” where the participants come to entertain each other, and thus it is “not limited by the conventions of any subculture.” The idea that BM is a “hippie” festival is also a myth, but one with some truth to it: Hippies helped create environmental ethics, founded communes, wore colorful clothing, courted mysticism, and distrusted the modern industrial economy. In some ways, this counterculture bears a resemblance to aspects of Burning Man. Hippie society was also a youth movement that often revolved around drugs, music, and checks from home. Burning Man is about “radical self-reliance”–it is not a youth movement, and it is definitely not a subculture (“Media Myths”). There are some familiar aspects of counterculture here, particularly environmental consciousness, anti-consumer tendencies and mysticism. Yet, looking at the high attendance numbers and the progression of themes in recent years one might speculate that BM is no longer as countercultural as it once was. For instance, psychedelic themes such as “Vault of Heaven” (2004) and “Psyche” (2005) gave way to “The Green Man” (2007) and “American Dream” (2008). Although “Green Man” was an environmental theme it debuted the year after Vice President Al Gore’s “An Inconvenient Truth” (2006) brought the issue of climate change to a mainstream audience. Indeed, as a global, leaderless event with a strong participatory ethos in many respects BM followed suit with the business world, particularly given it was a Limited Liability Corporation (LLC) for many years (though it was ahead of the curve): “Capitalism has learned from the counter culture. But this is not news” (Rojek 355). Similarly, just in time for the 2008 U.S. Presidential election the organisational committee decided to juxtapose “the Man” with the American flag. Therefore, there has been an arguable shift toward engagement with mainstream issues and politics in recent years (and away from mysticism). Recent themes are really re-appropriations of mainstream discourses; hence they are “agonistic” readings (Mouffe). Take for example the VoterDrive Bus, an early example of political talk at BM that engaged with mainstream politics. The driver was seven-time BM veteran Corey Mervis (also known as “Misty Mocracy”) (“Jack Rabbit Speaks”). Beginning on 22 July 2004, the VoterDrive Bus wrote the word VOTE in script across the continental United States in the months before the election, stopping in the Black Rock City (BRC) for one week during the BM festival. Four years later the theme “American Dream” would reflect this countercultural re-appropriation of mainstream political themes in the final months leading up to the 2008 Presidential election. In that year, “the Man,” a massive wooden effigy that burns on the last night of the event, stood atop a platform of windows, each inscribed with the flag of a different country. “American Dream” was as politically as it was poetically inspired. Note the agonistic appeal: “This year's art theme is about patriotism—not that kind which freights the nation state with the collective weight of ego, but a patriotism that is based upon a love of country and culture. Leave ideology at home…Ask yourself, instead…What can postmodern America, this stumbling, roused, half-conscious giant, yet give to the world?” (“2008 Art Theme: American Dream”). BM has arguably retained its countercultural authenticity despite engagement with mainstream political themes by virtue of such agonistic appeals to “American Dream”, and to “Green Man” which promoted environmental awareness, and which after all started out in the counterculture. I attended BM twice in 2006 and 2007 with “The Zombie Hotel”, one among a thousand camps in the BRC, Nevada (oddly, there were numerous zombie-themed camps). The last year I attended, the festival seemed to have come of age, and 2007 was the first in its history that BM invited corporate presence in the form of green energy companies (and informational kiosks, courtesy of Google) (Taylor). Midway through the week, as I stumbled through the haphazard common area that was The Zombie Hotel hiding from the infernal heat of the desert sun, two twin fighter jets, their paths intertwining, disturbed the sanctity of the clear, blue afternoon sky followed by a collective roar from the city. One can imagine my dismay at rumours that the fighter jets—which I had initially assumed to be some sort of military reconnaissance—were in fact hired by the BM Organizational Committee to trace the event’s symbol in the sky. Speculation would later abound on Tribe.net (“What was up with the fighter jets?”). What had BM become after all? Figure 1: Misty Mocracy & the VoterDrive Bus. Photo: Erick Leskinen (2004). Reproduced with permission. “Radical Self-Reliance”, Neoliberalism and the “New Individualism” Despite overlap with elements of counterculture, there is something quite normative about BM from the standpoint of ideology, and thus “mainstream” in the sense of favouring values associated with what Roszak calls “industrial society”, namely consumption and capitalist labor relations. To understand this, let us examine “The Ten Principles of BM”. These include: Radical Inclusion, Gifting, Decommodification, Radical Self-Reliance, Radical Self-Expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation and Immediacy (“Ten Principles of Burning Man”). These categories speak to BM’s strong connection to the counterculture. For example, “Decommodification” is a rejection of consumerism in favour of a culture of giving; “Immediacy” rejects mediation, and “Participation” stresses transformative change. Many of these categories also evoke political agonism, for example “Radical Inclusion” requires that “anyone may be a part of Burning Man”, and “Radical Self-Expression”, which suggests that no one other than the gift-giver can determine the content of the message. Finally, there are categories that also engage with concepts associated with traditional civil society and democracy, such as “Civic Responsibility”, which refers to the “public welfare”, “Participation”, and “Communal Effort.” Though at first it may seem to connect with countercultural values, upon closer inspection “Radical Self-Reliance” aligns BM with the larger socioeconomic zeitgeist under late-capitalism, subverting its message of “Decommodification.” Here is what it says: “Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.” That message is transformative, even mystical, but it aligns well with a neoliberal ideology and uncertain labor relations under late capitalism. Indeed, Elliot and Lemert explore the psychological impact of a “new individualism”, setting the self in opposition to the incoming forces of globalisation. They address the question of how individuals respond to globalisation, perhaps pathologically. Elliot and Lemert clarify the socio-psychological ramifications of economic fragmentation. They envision this as inextricably caught up with the erosion of personal identity and the necessity to please “self-absorbed others” in a multiplicity of incommensurate realities (20, 21). Individuals are not merely atomised socially but fragmented psychologically, while at the macroscopic level privatisation of the economy spawns this colonisation of the personal Lifeworld, as social things move into the realm of individualised dilemmas (42). It is interesting to note how BM’s principles (in particular “Radical Self-Reliance”) evoke this fracturing of identity as identities and realities multiply in the BRC. Furthermore, the spectre of neoliberal labour conditions on “the Playa” kicks down the door for consumer culture’s entrée. Consumer society “technicises” the project of the self as a series of problems having consumer solutions with reference to expert advice (Slater 86), BM provides that solution in the form of a transformative experience through “Participation”, and acolytes of the BM festival can be said to be deeply invested in the “experience economy” (Pine & Gilmore): “We believe that transformative change, whether in the individual or in society, can occur only through the medium of deeply personal participation” (“Ten Principles”). Yet, while BM rejects consumption as part of “Decommodification”, the event has become something of a playground for new technological elites (with a taste for pink fur and glow tape rather than wine and cheese) with some camps charging as much as US $25,000 in fees per person for the week (most charge $300) (Bilton). BM is gentrifying, or as veteran attendee Tyler Hanson put it, “Burning Man is no longer a counterculture revolution. It’s now become a mirror of society” (quoted in Bilton). Neoliberalism and “new individualism” are all around at BM, and a reading of space and spectacle in the Uchronian structure reveals this encoding. Figure 2: “Message Out of the Future by Night” (also known as “the Belgian Waffle). Photo: Laurent Chavanne (2006). Reproduced with permission. “Long Gone Hippies” Republican tax reformist Grover Norquist made his way to BM for the first time this year, joining the tech elites. He subsequently proclaimed that America had a lot to learn from BM: “The story of Burning Man is one of radical self-reliance” (Norquist). As the population of the BRC surges toward seventy thousand, it may be difficult to call BM a countercultural event any longer. Given parallels between the BM ethos and neoliberal market relations and a “new individualism”, it is hard to deny that BM is deeply intertwined with counterposing forces of globalisation. However, if you ask the participants (and Norquist) they will have a different story: After you buy your ticket to Burning Man to help pay for the infrastructure, and after you pay for your own transportation, food and water, and if you optionally decide to pay to join a camp that provides some services THEN you never have to take your wallet out while at Burning Man. Folks share food, massages, alcohol, swimming pools, trampolines, many experiences. The expenses that occur prior to the festival are very reasonable and it is wonderful to walk around free from shopping or purchasing. Pockets are unnecessary. So are clothes. (Alex & Allyson Grey) Consumerism is a means to an end in an environment where the meanings of civic participation and “giving back” to the counterculture take many forms. Moreover, Thornton argued that the varied definitions of what is “mainstream” among subcultures point more to a complex and multifaceted landscape of subculture than to any coherent agreement as to what “mainstream” actually means (101), and so perhaps our entire discussion of the counterculture/mainstream binary is moot. Perhaps there is something yet to be salvaged in the spaces of participation at BM, some agonistic activity to be harnessed. The fluid spaces of the desert are the loci of community action. Jan Kriekels, founder of the Uchronia Community, holds out some hope. The Belgian based art collective hauled 150 kilometres of lumber to the BRC in the summer of 2006 to construct a freestanding, cavernous structure with a floor space of 60 by 30 metres at its center and a height of 15 metres (they promised a reforestation of the equivalent amount of trees) (Figure 1). “Don’t mistake us for long gone hippies in the desert”, wrote Kriekels in Message Out of the Future: Uchronia Community, “we are trying to build a bridge between materialism and spiritualism” (102). The Uchronians announced themselves as not only desert nomads but nomads in time (“U” signifying “nothing” and “chronos” or “time”), their time-traveller personas designed to subvert commodification, their mysterious structure (nicknamed the “Belgian Waffle” by the burners, a painful misnomer in the eyes of the Uchronians) evoking a sense of timelessness. I remember standing within that “cathedral-like” (60) structure and feeling exhilarated and lonely and cold all at once for the chill of the desert at night, and later, much later, away from the Playa in conversations with a friend we recalled Guy Debord’s “Thesis 30”: “The spectator feels at home nowhere, for the spectacle is everywhere.” The message of the Uchronians provokes a comparison with Virilio’s conceptualisations of “world time” and “simultaneity” that emerge from globalisation and digital technologies (13), part of the rise of a “globalitarianism” (15)—“world time (‘live’) takes over from the ancient, immemorial supremacy of the local time of regions” (113). A fragmented sense of time, after all, accompanies unstable labour conditions in the 21st century. Still, I hold out hope for the “resistance” inherent in counterculture as it fosters humanity’s “bothersomely unfulfilled potentialities” (Roszak, Making 16). I wonder in closing if I have damaged the trust of burners in attempting to write about what is a transcendent experience for many. It may be argued that the space of the BRC is not merely a spectacle—rather, it contains the urban “forests of gestures” (de Certeau 102). These are the secret perambulations—physical and mental—at risk of betrayal. References An Inconvenient Truth. Dir. Davis Guggenheim. Perf. Al Gore. Paramount Pictures, 2006. Bilton, Nick. “At Burning Man, the Tech Elite One-Up One Another.” The New York Times: Fashion & Style, 20 Aug. 2014. 10 Oct. 2014 ‹http://www.nytimes.com/2014/08/21/fashion/at-burning-man-the-tech-elite-one-up-one-another.html› “Burning Man Timeline.” Burningman. 10 Oct. 2014 ‹http://burningman.org/timeline/›. “Burning Man Transitions to Non-Profit Organization.” Burningman 3 Mar. 2014. 10 Oct. 2014 ‹http://blog.burningman.com/2014/03/news/burning-man-transitions-to-non-profit-organization/›. De Bord, Guy. The Society of the Spectacle. 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