Journal articles on the topic 'Herbert River'

A laboratory-based study of the behaviour of phosphorus (P) was carried out on the soils of the lower Herbert River catchment, Queensland, Australia. The aim was to explore the potential for P sorption or desorption by Herbert soils in associated river and estuary waters, so that the extent of problems associated with sugarcane production and soil-derived inputs to streamwater could be defined. Anion exchange resin was used as a sink for P. The equilibrium phosphate concentration (EPC) measured in simulated soil pore water (0.01M CaCl2), and the EPC in the simulated river and estuary waters were strongly correlated. Based on this, and the close relationship between P sorption and selected soil properties, it was possible to estimate P desorption using commonly measured properties. Much less desorption of P took place in simulated estuary waters than in simulated river water of much lower ionic strength. This suggests that environmental degradation arising from the downstream export of soil-borne P from Herbert cane lands is likely to be concentrated in freshwater areas. Sorption properties of P in soils of the lower Herbert appear to be closely associated with aluminium-rich minerals, rather than with iron (hydr)oxides.

The two Herbert River ringtail possum subspecies, Pseudocheirus herbertensis ssp. herbertensis and P. h. ssp. cinereus, have diploid chromosome numbers of 12 and 16, respectively. The sex chromosomes of both subspecies are exceptionally large, with the X and Y chromosomes being approximately 16 and 12% of the haploid autosomal complement, respectively. A sex chromosome bivalent cannot be identified during male meiosis and a sex vesicle is not present during pachytene. The two karyotypes are most likely related by two centric fusion events affecting the autosomal complement. We conclude that the X and Y chromosomes have been translocated onto homologous autosomes to give t(XA) t(YA) ♀ t(XA) t(XA) ♂. Our data also strongly support the separation of P. h. cinereus as a distinct species.Key words: karyotypes, sex chromosomes, speciation.

Because coral reefs are sensitive to land derived inputs of nutrient and sediment, there is concern worldwide for the effects of anthropogenic change in river catchments on reefs. Thirty-one river catchments drain directly into the waters of the Great Barrier Reef, NE Australia. This case study was undertaken on the floodplain of the Herbert River catchment in north Queensland, utilizing remote sensing and GIS to assess both spatial and temporal changes in freshwater wetlands and riparian forests. We demonstrate that there has been a very large reduction in the area of these ecosystems since European settlement in the mid nineteenth century, with an 80% decline in their extent since 1943. We provide a range of quantitative measures to show that the landscape diversity of these ecosystems has also declined. These changes are of importance in terms of regional, national and international trends. We argue that policy, planning and management reform is required if the remaining ecological, economic and social values of these systems and the adjacent Great Barrier Reef Marine Park are to be maintained.

Current strategies for phosphorus (P) fertiliser management in the Australian sugar industry do not account for the differences between different soils in their ability to sorb and release P. However, the off-site export of P from land under sugarcane has been shown to be a major factor contributing to elevated concentrations of P in stream waters draining catchments dominated by sugarcane production. This paper presents the results of a study conducted in the lower part of the catchment of the Herbert River, north Queensland, a major sugarcane growing region. Our approach was to combine a knowledge of P sorption by soil and riverine sediments with an assessment of the risk of P loss from lower Herbert sugarcane soils and knowledge of the requirements of sugarcane for P. The results provide a basis for future P fertiliser management by canegrowers which accounts for both production and environmental imperatives. They also point to an urgent need for experimentation, based on rundown of soil P fertility, to determine critical soil test values in soils of varying P sorption, and provide a useful regional framework for the design of such experimentation.

Changes in the river chemistry of the Herbert River (northern Queensland) during a flood event that followed Cyclone Sadie in January 1994 are presented. Parallel data sets collected by AIMS and CSIRO were generally well correlated. Around the flood peak, concentrations of dissolved inorganic nutrients declined to a minimum, whereas particulate nutrient concentrations increased to a maximum (particulate nitrogen, 1200 µg N L-1; particulate phosphorus, 225 µg P L-1). Concentrations of dissolved organic nutrients varied erratically. Concentrations of silicate and potassium, pH and electrical conductivity varied inversely with discharge. Good correlations were observed between the concentrations of particulates and concurrent discharge, with differing relationships existing during the rising and falling stages of the flood. It is estimated that this flood event resulted in the export of at least 600 t of N, 65 t of P and 100000 t of suspended sediments over a period of six and a half days, with most transport (85%) occurring within the first two days. Particulate fractions of N (50%) and P (80%) constituted the bulk of the nutrient flux. This study illustrates the potential for high nutrient exports during brief flood events from intensively farmed agricultural land within tropical catchments.

Eighty-seven highbush blueberry and species-introgressed blueberry cultivars were evaluated for fruit firmness in the 1998-2000 growing seasons with a FirmTech 1 automated firmness tester. Significant differences were observed among cultivars. An average firmness of 136.1 g·mm-1 of deflection (g·mm-1 dfl) was observed across all studied cultivars, and a range of 80.4 g·mm-1 dfl (`Herbert') to 189.0 g·mm-1 dfl (`Pearl River'). Species ancestry was not consistently related to firmness; however, cultivars with higher firmness values often possessed a higher percentage of Vaccinium darrowi Camp and V. ashei Reade ancestry. Conversely, cultivars with softer than average fruit often possessed a higher percentage of lowbush (V. angustifolium Ait.) ancestry. This information may help to identify sources of breeding material for increased firmness in highbush blueberry hybrids.

Potential yield is one of the criteria used as an input to nitrogen (N) fertilizer management decisions when using SIX EASY STEPS (6ES), the fertilizer recommendation tool used in the Australian sugar industry. Most commonly, 6ES is implemented using a district yield potential (DYP). In this study, we use analysis of sugar mill and yield monitor data from the Herbert River cane growing district to demonstrate that yield is markedly spatially variable, with this variability following the same patterns from year to year. There would therefore be value in a more location specific consideration of potential yield and application of 6ES. Similar analyses could be readily conducted in other sugar producing regions with potentially important implications for fertilizer use efficiency and the minimization of nutrient accessions to the Great Barrier Reef.

This study discusses the uniqueness and meaning contained in the traditions of the circumcision of the apostle. The researcher uses the symbolic interaction theory developed by Herbert Blummer to analyze the meaning of Symbolic Interaction in the Unique Portrait of the Implementation of the Circumcision of the Apostles in Gampong Gunung Pudung, Kluet Utara, Aceh Selatan. Theoretically, symbolic interaction is a social life which is basically human interaction using symbols. So a symbol is not formed through mental coercion, it arises because the meaning is given by humans themselves. The type of research used by the researcher is qualitative and the focus of this research is intended to limit studies that can facilitate researchers in managing data which then becomes a conclusion according to the formulated problem. The results of this study indicate that there are several unique customs of circumcision of the apostle in Gampong Gunung Pudung which are very different from other areas such as hitting canangs, asking for money from close relatives, washing rice into the river, carrying on shoulders or being lifted on a stretcher, bathing in the river and swing chickens and now they still maintain their ancestral culture.

Two new species of the genus Cherax are described and illustrated. Cheraxmosessalossa sp. n., endemic to the Klademak Creek drainage in Sorong, in the western part of the Kepala Burung (Vogelkop) peninsula, West Papua, Indonesia, is described, figured and compared with its closest relatives, Cheraxmisolicus Holthuis, 1949 and Cheraxwarsamsonicus. The new species may be easily distinguished from both by the shape of the rostrum, the shape of the chelae, the presence of five cervical spines, the shape of the scaphocerite, and short scattered hairs on the carapace. Cheraxalyciae sp. n., endemic to creeks in the Digul River drainage in the eastern part of the Boven Digoel Regency, Papua, Indonesia, is described, figured, and compared with its closest relative, Cheraxpeknyi Lukhaup & Herbert, 2008. The new species may be easily distinguished from Cheraxpeknyi by the shape of the chelae, presence of a soft patch on the chelae of the males, and colouration. A molecular phylogeny based on two mitochondrial gene fragments, 16S and COI, supports the morphology-based description of the two new species, which can also be clearly distinguished by sequence differences.

Predicting the distribution of amphibians can be difficult because habitat suitability may depend on a variety of environmental and anthropogenic factors, including water quality of wetlands, geology of watersheds, and presence of invasive pathogens. Previous studies hypothesized that water chemistry may influence the rate of chytrid infection in amphibians where higher conductivity sites may have less infection. We sampled two watersheds in Grand Teton National Park and 3 watersheds adjacent to the park, and measured amphibian presence, chytrid infection, basic water quality, major ion concentrations and geology of the wetland. This is part of a larger project where we are comparing amphibian presence and infection rate among wetlands in the Gros Ventre, Wind River, and Teton Ranges. We sampled watersheds that were predominately limestone, granite or a mixture. Water quality varied among sites with higher conductivity and ion concentrations for limestone watersheds compared to granite watersheds. This report includes preliminary results of amphibian surveys and water quality analyses. Future analyses will relate occupancy rates of amphibians to environmental factors, including water chemistry, geology, and presence of chytrid fungus, as well as comparing detection rates of amphibians with environmental DNA (eDNA) and visual observation surveys. Featured photo by Neal Herbert on Flickr. https://flic.kr/p/2gv9PJA

Water quality condition and trend are important indicators of the impact of land use on the environment, as degraded water quality causes unwelcome changes to ecosystem composition and health. These concerns extend to the sea, where discharges of nutrients, sediments and toxicants above natural levels are unwelcome, particularly when they drain to the Great Barrier Reef World Heritage Area and other coastal waters of Queensland. Sugarcane is grown in 26 major river catchments in Queensland, most in environmentally sensitive areas. This puts pressure on the Queensland Sugar Industry to manage the land in ways that have minimum adverse off-site impacts. Sugar researchers including CRC Sugar have been associated with water quality studies in North Queensland. These include investigations and reviews to assess the role of groundwater as a pathway for nitrate loss from canelands in the Herbert Catchment, to find causes of oxygen depletion in water (including irrigation runoff) from Ingham to Mackay, to use residues of superseded pesticides as indicators of sediment loss to the sea, and to assemble information on water quality pressure and status in sugar catchments. Key findings, plus information on input pressures are described in this paper, and areas of concern and opportunities discussed.

Summary. Field trials were established at different locations within the Herbert River area near Ingham in North Queensland to assess the ratooning ability and yield of sugarcane after a wet harvest. Treatments consisted of harvesting under dry conditions and then applying 50 mm of irrigation, followed by no traffic (control), traffic of a haulout unit directly over the harvested row (traffic treatment), and traffic as above with the application of further irrigation to maintain wet soil conditions (traffic + water treatment). Undisturbed soil cores were collected from the row before harvest and after treatment imposition to assess the change in soil physical properties due to traffic. Soil cone resistance was also measured. Soil physical properties changed significantly after traffic with increases in soil bulk density and soil cone resistance and decreases in saturated hydraulic conductivity. The greatest change occurred in the top 20 cm of the profile. Yield at one site was significantly reduced after traffic and the effect was enhanced in the presence of water after traffic. It is suggested that to maintain good soil conditions in the row all traffic should be restricted to the central part of the inter-row. One way to achieve this is to match crop row spacing with equipment track widths.

R. sordidus is a major pest in the sugarcane-growing areas of north Queensland; however, little is known about factors affecting populations. This study investigated the effect of a minimum-tillage practice (green-cane harvest and trash-blanketing) compared with the conventional practice (pre-harvest burn and intensive cultivation) on the dynamics of populations of R. sordidus in sugarcane crops of the Herbert River District, N. Queensland, from Nov. 1987 to Sep. 1988 (from planting to harvesting of crops). Populations of R. sordidus became established earlier in trash-blanketed crops, but breeding was reduced as a result of the suppression of summer grasses, identified as a favoured food source of R. sordidus during the breeding period (Jan.-May). Cover of summer grasses was high in conventional areas, and these areas supported populations characterized by a female-biased sex ratio, a high incidence of pregnancy, females in the most productive age-class, and low turnover rates, relative to populations in trash-blanketed areas. Damage to sugarcane increased once breeding had ceased and the diet of R. sordidus had changed from seed and non-cane vegetation to sugarcane. Damage was similar in trash-blanketed and conventional areas, probably as a result of dispersal of individuals from conventional areas into trash-blanketed areas following the breeding period. Implications for population and damage levels of R. sordidus on a regional scale are discussed.

The minimization of environmental degradation that might arise as a result of agricultural production requires a detailed knowledge of the off-site effects of rural land use. This paper reports the results of an assessment of the effect of land use on water quality in the lower part of the catchment of the Herbert River, an intensively managed part of the humid tropics in north Queensland, where the major land uses are sugarcane production, cattle grazing and forestry. Compared with grazing and forestry, sugarcane production was found to have a significant impact on riverine water quality as evidenced by higher concentrations of nitrogen (N), phosphorus (P) and total suspended solids (TSS) in stream-waters draining land under sugarcane, a finding that was unaffected by the inclusion of sampling sites dominated by upper-catchment grazing. However, land use had no significant effect on the partitioning of N and P between mineral, organic and particulate phases in stream-waters, although the proportion in particulate form tended to be least for sugarcane-dominated sites. Irrespective of land use, the concentrations of both total N and P were dominated by soluble fractions, particularly in organic combination. These results suggest that, irrespective of the ecological impact of these nutrient and sediment loadings on freshwaters and the near-shore zone, there is considerable room for improvement in land management in the Australian humid tropics in terms of minimizing off-site export of both nutrients and sediment.

In this study we examined the potential for positive edge effects on folivorous arboreal marsupials inhabiting upland rainforest in the Wet Tropics region of far north Queensland, Australia. We predicted that the folivores should have increased densities at edges relative to interior forest 90 m from the edge owing to the following causal factors, either separately or in combination: (a) increased foliar biomass, measured as vertical foliage density; and/or (b) increased abundance of preferred food trees. To test these hypotheses, we conducted surveys of the lemuroid ringtail possum (Hemibelideus lemuroides), the green ringtail possum (Pseudochirops archeri), the Herbert River ringtail possum (Pseudochirulus herbertensis) and the coppery brushtail possum (Trichosurus vulpecula johnstonii) at two remnant rainforest sites with ‘hard’ edges such as roads or pasture. Because arboreal species are often difficult to survey accurately within forests, we utilised pellet counts as an index of the population and compared this to the common survey technique of night spotlighting. Our results indicated that pellet counts, combined over all species, were positively and strongly correlated with spotlighting results. Using pellet counts as a relative index of arboreal folivore populations, we found that edge transects contained a higher abundance of all species combined than did interior transects. Further, total foliage density in the 10–30-m vertical transect was found to be significantly correlated with total pellet counts at edge transects. Total preferred tree species was not significantly different between edge and interior transects. From these results we propose that foliage density, as a surrogate for biomass, is a possible mechanism explaining the higher abundance of arboreal marsupials at the edges of these two highland rainforest sites in north Queensland.

One of the most forbidding images in the history of Islamic spiritualityis the public execution of the great Muslim mystic Husayn bin MansurHallaj in 922. The punishment followed a long and well-publicized trialin which Hallaj was accused of sorcery and of attempting to overthrowthe Islamic Shari‘ah. The sentence against Hallaj was singularly harsh.He was publicly flogged five hundred lashes, stoned by believers in thecity square, and then raised on a cross where he was left bleeding for thenight, his hands and feet having been amputated. The following morninghe was beheaded, his trunk doused with fuel and set on fire and his ashesscattered in the Tigris River. His head was displayed in towns and districtsas a warning to opponents of the State. Such shocking measuresensured that the execution and the circumstances that precipitated itwould remain etched in human memory over the centuries throughaccounts of biographers, mystics, and historians. Herbert Mason’s Al-Hulluj is the latest addition to this vibrant trajectory.A professor of history and religion at Boston University, Mason hasbeen conducting research on Hallaj for the past thirty years, a devotionhe might have inherited from his former teacher Louis Massignon, theFrench scholar who started work on Hallaj’s thoughts and ideas in 1907,culminating in four volumes posthumously published in 1975 as Lapssiond’ul-Hulluj. Mason translated this monumental work from Frenchinto English. His new book, a slim volume on perhaps the most celebratedand reviled mystic of all times, brims with power and insightperhapsas much for the author’s empathy for the “martyr of Love” as anattempt for mediating on the event’s inner meaning.The story of Hallaj, Mason notes, “is one of unhinging humanself-assurance and spiritual selflessness. It remains an awesome mysteryand guide across the ages for those who would pursue the truth of our ...

SummarySimple, inexpensive techniques were used to analyse the mtDNA of nine chromosomally distinct populations of Petrogale. Eight of these populations occur in sequence along the Great Dividing Range of eastern Australia; six have been described as species. Diagnostic mtDNA morphs were found throughout the latitudinal ranges of four of the described species. A fifth morph spanned the ranges of two described species and three additional taxa which have been designated chromosome races. These five mtDNA morphs, and others with local distributions, were used to assess interactions between the taxa. Limited introgression was indicated across the chromosomal boundaries of P. penicillata/P. herberti and P. inornata/P. assimilis; atypical mtDNA morphs were found within the P. herberti and P. inornata chromosomal distributions. No introgression was detected between P. herberti and P. inornata, whose distributions are separated by the Fitzroy River. Nor was there evidence of recent contact between P. assimilis, P. herberti and P. purpureicollis, despite the late occupancy of parts of the intervening area by unidentified Petrogale. These data, considered in the light of information obtained from previous studies on chromosomes, allozymes and parasites, have contributed to the decision to consider all the eastern representatives of the lateralis-penicillata group of Petrogale as being specifically distinct from each other.

Can Gio mangrove forest (CGM) is located downstream of Ho Chi Minh City (HCMC), situated between an estuarine system of Dong Nai - Sai Gon river and a part of Vam Co river. The CGM is the largest restored mangrove forest in Vietnam and the UNESCO’s Mangrove Biosphere Reserve. The CGM has been gradually facing to numeric challenges of global climate change, environmental degradation and socio-economic development for the last decades. To evaluate sediment quality in the CGM, we collected 13 cores to analyze for sediment grain size, organic matter content, and trace element concentration of Cd, Cr, Cu, Ni, Pb, Zn. Results showed that trace element concentrations ranged from uncontaminated (Cd, Cu, and Zn) to very minor contaminated (Cr, Ni, and Pb). The concentrations were gradually influenced by suspended particle size and the mangrove plants.ReferencesAnh M.T., Chi D.H., Vinh N.N., Loan T.T., Triet L.M., Slootenb K.B.-V., Tarradellas J., 2003. 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In this article we try to reconstruct the planning structures of town of Dobromil in Rus` (Rythenia) province of Kingdom of Poland at the time of 17th century. Dobromil (ukr. Dobromyl) was the main private city of Herburt family in the valley of the river Strvyazh in the Sambir district. We perform attempts of a hypothetical planning reconstruction of this city on the basis of an analysis of a number of historical maps of the late 18th and 19th centuries. The city of Dobromyl also has the peculiarity that Herburts founded two castles here – the High Castle at a certain distance from the city and the Low Castle near the midtown. Jan Herburt from Felshtyn became famous for founding a printing house in Dobromyl, where significant written historical works were first printed in 1611-1616 – a chronicle of Poland by Jan Długosz and letters by Orżechowski. An important material for the hypothetical reconstruction of city layouts and city fortifications was the hand-drawn map by d'Otto from 1772, the map by F. von Mieg from the 1779-1781, cadastral maps from the 1852, and 1853, maps from 1860-1864 of the Second cartographic survey of Galicia.

The genus Chinavia Orian has a great diversity of species, being distributed in the Nearctic, Neotropical and Afrotropical regions (Rolston 1983; Schwertner & Grazia 2007, Grazia & Schwertner 2017). The genus is included in the subfamily Pentatominae, tribe Nezarini, whose individuals retain their green coloration after death, average size between 9 and 19 mm, and considered polyphagous (Rolston 1983; Schwertner et al. 2002; Rider 2020). Some species of Chinavia are recorded as important crop pests in different countries (e.g. Matesco et al. 2007; Herbert & Toews 2012), and those species are better known regarding distribution, ecology and other biological aspects. However, the great majority of species is known only for the adult morphology, and there are still problems concerning the correct identification of the species due to their wide distribution.

In response to John Muffty's critique of my communication concerning the case of Antonio Rivero, I would accept that my references to the whole document contained in P.R.O., HO 48/30 case 5 as ‘the opinion’ were misleading, given that most of it, as I noted in my original communication, consists of the presentation of the case. However, this is immaterial to the conclusion. The point is that the document contains statements which do not easily square with what was then the official British line on sovereignty over the Islands, namely that British sovereignty had been sustained ever since the evacuation of Port Egmont in 1774 by what Sir Herbert Jenner in 1829 had described as ‘the symbols of property and possession’, i.e. a single stone plaque. For example, the reference in the document to the attention of the British government having been ‘altogether withdrawn’ from the Islands between 1774 and 1829 seemed to me to suggest a sceptical view of Jenner's argument.

Three new species of Cypella are described and illustrated for the complex of grasslands ecosystems of Rio de La Plata: C. aurinegra, C. guttata and C. ravenniana. The former is endemic to the region of the Taquari river, southern Cerro Largo Department, Uruguay, and is closely related to Cypella fucata and C. luteogibbosa, but can be distinguished from these species by its yellow flowers stained with dark-purple, narrower outer tepals, smaller inner tepals, shorter adaxial crests of style branches, slender filaments, and seeds with smooth testa. Cypella guttata occurs in Artigas and Rivera Departments, northern Uruguay, and in Santana do Livramento Municipality, southwestern Rio Grande do Sul State, Brazil. This species resembles C. herbertii and C. lapidosa, and can be distinguished by its flowers with central depression showing red spots, filaments narrower and tape-shaped, style branches with shorter adaxial crests, and small transverse stigmatic surface of the abaxial crest. The range of geographic distribution of C. ravenniana includes southern Misiones, and northeast Corrientes Provinces, Argentina, and west and northwest Rio Grande do Sul State, Brazil. This species can be recognized by its one-flowered spathes, borne on short peduncles. Cypella ravenniana was firstly misidentified as C. suffusa; however, having as base the type and topotypical collections of the latter species, C. suffusa is recognized by its two-flowered spathes borne on long peduncles, and perigone golden-yellow with deep central concavity. Data about phenology, geographic distribution, conservation and dichotomous keys to segregate these three new species from its related species are supplied.

This study evaluates the species composition of Cladocera and Copepoda in the five lakes of the Bogda-Shan Mountain range and in the floodplain of the Tarim and Konchedarya rivers located in the Xinjiang Uygur Autonomous Region of China (Xinjiang). We collected seven species of Cladocera and six species of Copepoda. Seven species were identified as new for Xinjiang fauna, and two species (Cyclops cf. herberti Einsle, 1996, and Eucyclops roseus Ishida, 1997) were first records for China. Herein, we characterize the distribution ranges for the detected species and provide taxonomic remarks. The total species list for water bodies in Xinjiang compiled from original data and available literature includes 56 species of Cladocera and 33 species of Copepoda. We also discuss the biogeographical structure of Cladocera and Copepoda faunas in Xinjiang.

SummaryLaos is an important country for bird conservation. Bird surveys between 1992 and 1996, the first since 1949, covered 20 main areas, with incidental records from many others.This paper reviews the status of all Lao species reported to be of elevated conservation concern (key species) in any of the following categories: Globally Threatened or Globally Near-Threatened (sensu Collar and Andrew 1988 and Collar et al. 1994), and At Risk or Rare in Thailand (sensu Round 1988 and Treesucon and Round 1990). Several additional species are covered which have clearly undergone a National Historical Decline in Laos. A comprehensive review of other Lao species was not possible, and some species which are in truth of conservation concern have doubtless been overlooked. Historical and modern records were reviewed and population trends identified where possible.Current global status listings (Collar et al. 1994) were supported, except that consideration should be given to changing Red-collared Woodpecker Picus rabieri and Sooty Babbler Stachyris herberti from Threatened to Near-Threatened. If the Lao situation is representative of the species throughout their range, then consideration should also be given to placing Ratchet-tailed Treepie Temnurus temnurus and River Lapwing Vanellus duvaucelii as Near-Threatened.Twenty-seven Globally Threatened species are known from Laos, of which there are recent records of 22. There are recent unconfirmed records of two more. Forty-seven Globally Near-Threatened species are known from Laos, of which there are recent records of 39; there are unconfirmed records of one further species. Five Globally Threatened and five Near-Threatened species were recorded for the first time in Laos in recent years, suggesting that further species of elevated conservation concern remain to be found.

LODO DE CURTUME EM SUBSTRATO COMERCIAL PARA PRODUÇÃO DE MUDAS DE MAMÃO CV. GOLDEN THB OTTO HERBERT SCHUHMACHER DIETRICH1, MÁRCIA ADRIANA CARVALHO DOS SANTOS2, VINICIUS RODRIGUES FERREIRA3, SÁVIO DA SILVA BERILLI4, ANA PAULA CANDIDO GABRIEL BERILLI5 1 Instituto Federal do Espírito Santo, Campus Barra de São Francisco, Av. Herculano Fernandes de Jesus, 111, Irmãos Fernandes, CEP: 29800-000, Barra de São Francisco-ES, Brasil. otto.dietrich@ifes.edu.br 2Embrapa Semiárido, Rodovia BR-428, Km 152, Zona Rural, CEP: 56302-970, Petrolina-PE, Brasil. marciagro3@yahoo.com.br 3Programa de Pós-graduação em Agroecologia, Instituto Federal do Espírito Santo, Campus de Alegre, Rodovia BR-482, Km 40, Rive, CEP: 29500-000, Alegre-ES, Brasil. rodrigues.ufes@gmail.com 4Programa de Pós-graduação em Agroecologia, Instituto Federal do Espírito Santo, Campus de Alegre, Rodovia BR-482, Km 40, Rive, CEP: 29500-000, Alegre-ES, Brasil. berilli@gmail.com 5Programa de Pós-graduação em Agroecologia, Instituto Federal do Espírito Santo, Campus de Alegre, Rodovia BR-482, Km 40, Rive, CEP: 29500-000, Alegre-ES, Brasil. anapaulacg@gmail.com RESUMO: O aproveitamento de resíduos para produção de mudas pode ser uma solução acessível em áreas produtoras de mamão, como alternativa ao uso de substratos comerciais. Assim, este estudo avaliou o efeito do lodo de curtume na produção de mudas de mamão cv. Golden THB. Foram testadas as proporções 0, 15, 30, 45 e 60% de lodo de curtume em mistura com substrato comercial, avaliando as características de emergência, biométricas, gravimétricas e de qualidade de mudas. Os resultados foram submetidos ao teste F e Dunnett (p< 0,05). Os substratos com lodo tiveram desempenho similar ao comercial em todas as características de emergência, mas inferiores para altura da muda, área foliar, matéria fresca e seca da parte aérea e raiz e IQD. Para o número de folhas e diâmetro do caule, apenas a proporção de 15% foi semelhante ao substrato comercial. A análise de regressão apontou que o aumento das proporções de lodo de curtume reduziu gradualmente as médias das variáveis analisadas, exceto para percentagem de emergência. Isso pode estar relacionado a salinidade do lodo, além de desequilíbrios nutricionais. Portanto, a mistura de lodo de curtume ao substrato comercial limitou o desenvolvimento e a qualidade das mudas de mamoeiro cv. Golden THB. Palavras-chaves: propagação, resíduo alternativo, sustentabilidade, redução de custos, Carica papaya. TANNERY SLUDGE IN COMMERCIAL SUBSTRATE FOR THE PRODUCTION OF PAPAYA SEEDLINGS CV. GOLDEN THB ABSTRACT: The use of residues for the production of papaya seedlings can mention an accessible solution to the producing areas. Therefore, the objective was to evaluate the influence of portions of 0 to 60% of tannery sludge in a mixture with a commercial substrate, traditionally used in papaya propagation, to evaluate the emergence, biometric, gravimetric and quality characteristics of papaya seedlings. cv. Golden THB. The emergence characteristics had a similar performance between the proposed and commercial substrates. Overall, there were significant differences between treatments with more than 15% tannery sludge and the commercial substrate. Except for the percentage of emergence, significant results were found for regression, with the answer being the indication that gradually with the increase in the portion of the tannery sludge to the commercial substrate, there was a reduction in the characteristics analyzed. Possibly, the effects of high salinity provided this response pattern, in addition to the nutritional imbalance as a result. Despite the good results of the emergence characteristics, in general, the mixture of tannery sludge to the commercial substrate limited the development and quality of papaya seedlings cv. Golden THB, for use only in proportions up to 15% of sludge. Keywords: propagation, alternative waste, sustainability, cost reduction, Carica papaya.

ResumenEl presente trabajo tiene por propósito exponer el modo en que las redes sociales (Facebook, Instagram, Twitter, etc.), constituyen lo que llamamos aquí “habitar web”. Retomando de forma parcial los planteamientos de Heidegger, Marx y Han, y poniendo la vista a la par en The Matrix, mostraremos que el “habitar web” es un modo del habitar fundado en el desarrollo de la técnica moderna, caracterizado, primero, por la transparencia y, segundo, por ser un modo histórico específico de enajenación que oculta el mundo de la vida. Palabras clave Redes sociales; Habitar; Enajenación; Transparencia, Mundo de la vida. Referencias Benjamin, Walter, “Kapitalismus als Religion” en: Gesammelte Schriften (Band 7), ed. Rolf Tiedemann & Hermann Schweppenhäuser, Frankfurt am Main: Suhrkamp, 1991, 100-102. Han, Byung-Chul, La sociedad de la transparencia, trad. Raúl Gabás, Barcelona: Herder, 2013. Han, Byung-Chul, Psicopolítica, trad. Alfredo Bergés, Barcelona: Herder, 2014. Han, Byung-Chul, El enjambre, trad. Raúl Gabás, Barcelona: Herder, 2014. Heidegger, Martin, Prolegomena zur Geschichte des Zeitbegriffes (GA 20), ed. Petra Jaeger, Frankfurt am Main: Vittorio Klostermann, 1979. Heidegger, Martin, Aus der Erfahrung des Denkens (GA 13), ed. Hermann Heidegger, Frankfurt am Main: Vittorio Klostermann, 1983. Heidegger, Martin, “La pregunta por la técnica”, en Conferencias y Artículos, trad. Eustaquio Barjau, Barcelona: Serbal, 1994, 9-38. Heidegger, Martin, Ser y tiempo, trad. Jorge Eduardo Rivera, Santiago de Chile: Editorial Universitaria, 1997. Heidegger, Martin, “Bauen Wohnen Denken”, en Vorträge und Aufsätze (GA 7), ed. F.W. von Herrmann (Frankfurt am Main: Vittorio Klostermann, 2000, 145-164. Heidegger, Martin, “Wissenschaft und Besinnung”, en Vorträge und Aufsätze (GA 7), F.-W. von Herrmann, Frankfurt am Main: Vittorio Klostermann, 2000, 37-66. Heidegger, Martin, Serenidad, trad. Ives Zimmermann, Barcelona: Serbal, 2002. Husserl, Edmund, Die Krisis der europäischen Wissenschaften und die transzendentale Phänomenologie (Hua VI), ed. Walter Biemel, Den Haag: Martinus Nijhof, 1954. Kant, Immanuel, Grundlegung zur Metaphysik der Sitten, Hamburg: Meiner, 1965. Kracauer, Siegfried, “La crisis de las ciencias”, en Estética sin territorio, trad. Vincente Jarque, Murcia: Consejería de Educación y Cultura de la Región de Murcia, 2006, 157-172. Löwy, Michael,“Capitalism as Religion: Walter Benjamin and Max Weber”, en Historical Materialism 17, (2009): 60-73. Mackay, Hamish, “¿Cuánto dinero ganan realmente los ‘influencers’ como Kylie Jenner en Instagram?”, BBC News Online, 4 de Octubre, 2018, https://www. bbc.com/mundo/noticias-45746922 Marcuse, Herbert, One-dimensional man, New York-London: Routledge, 2002. Marx, Karl & Friedrich Engels, “Zur Kritik der Hegelschen Rechtsphilosophie. Einleitung”, en Marx-Engels Werke (MEW 1), ed. Institut für Marxismus-Leninismus, Berlin: Dietz, 1981, 378-391. Marx, Karl & Friedrich Engels, “Zur Judenfrage”, en Marx-Engels Werke (MEW 1), ed. Institut für Marxismus-Leninismus, Berlin: Dietz, 1981, 347-377. Orejarena, Jean, “Heidegger y Hölderlin: Una investigación acerca del sentido del habitar en la época moderna”, Tesis de Maestría, Benemérita Universidad Autónoma de Puebla, 2014. Ponzi, Mauro, Nietzsche’s Nihilism in Walter Benjamin, New York-London: Palgrave Macmillan, 2017. Xolocotzi, Ángel, Fundamento y abismo. Aproximaciones al Heidegger tardío, México: Miguel Ángel Porrúa/BUAP, 2011.

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The challenge for rural communities to provide quality education for early childhood in Indonesia is difficult. National politics, policies, and economic and cultural conditions affect the Early Childhood Education system, and Indonesia is a large multicultural country, so, even the quality of education is difficult. This study aims to look at the quality of children's education in Pandalungan. Using qualitative methods with ethnographic design, data collection techniques using interviews, observation, and documentation. The results showed that educational institutions for children in urban areas can be categorized quite high. However, for early childhood education services in Desa Sukorambi Pandalungan, the quality is quite poor. Research suggestions are the need for follow-up related to social, economic, cultural and environmental factors at the level of Pandalungan community awareness of early childhood education. Keywords: Early Childhood, Learning Quality, Pandalungan Community References: Bernal, R., & Ramírez, S. M. (2019). Improving the quality of early childhood care at scale: The effects of “From Zero to Forever.” World Development, 118, 91–105. https://doi.org/10.1016/j.worlddev.2019.02.012 Bers, M. U., González-González, C., & Armas-Torres, M. B. (2019). Coding as a playground: Promoting positive learning experiences in childhood classrooms. Computers and Education, 138, 130–145. https://doi.org/10.1016/j.compedu.2019.04.013 Biersteker, L., Dawes, A., Hendricks, L., & Tredoux, C. (2016). Center-based early childhood care and education program quality: A South African study. Early Childhood Research Quarterly, 36, 334–344. https://doi.org/10.1016/j.ecresq.2016.01.004 Burchinal, M. (2018). Measuring Early Care and Education Quality. Child Development Perspectives, 12(1), 3–9. https://doi.org/10.1111/cdep.12260 Church, A., & Bateman, A. (2019). 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Массовое применение пестицидов для защиты растений от вредителей и болезней неизбежно ставит вопрос о безопасности этих соединений для организмов, не являющихся мишенями их действия. В статье приведен обзор исследований влияния инсектицидов, акарицидов, фунгицидов и гербицидов на Apis mellifera. Эти вещества могут оказывать как летальное, так и сублетальное токсическое действие на пчел. В последние два десятилетия в большинстве стран наблюдается массовая гибель пчелиных семей, основной причиной которой считают применение инсектицидов неоникотиноидов. В связи с высокой токсичностью неоникотиноидов для пчел в странах Евросоюза в 2013 г. был введен мораторий на их использование. Большую опасность для пчел представляет применение инсектицидов в смеси с гербицидами и/или фунгицидами. Гербициды и фунгициды per se не оказывают прямого токсического действия на пчел, но при смешивании их с инсектицидами наблюдается существенное усиление негативного влияния на пчел вследствие синергизма. Помимо усиления токсичности инсектицидов для пчел гербициды, в частности глифосат, уничтожают естественное биоразнообразие растений, в том числе снижают численность дикорастущих медоносов. В Российской Федерации с июня 2021 г. действует закон «О пчеловодстве в Российской Федерации», в котором перечислены мероприятия, направленные на защиту пчел от негативного воздействия пестицидов и агрохимикатов. Перечень мероприятий по защите пчел от токсического действия пестицидов содержится также в СанПиН 1.2.2584-10 «Гигиенические требования к безопасности процессов испытаний, хранения, перевозки, реализации, применения, обезвреживания и утилизации пестицидов и агрохимикатов» и «Инструкции о мероприятиях по предупреждению и ликвидации болезней, отравлений и основных вредителей пчел». Библиографические ссылки 1. Бойко Т.В., Герунова Л.К., Герунов В.И., Гонохова М.Н. Токсикологическая характеристика неоникотиноидов // Вестник Омского ГАУ. 2015. № 4. С. 49–54.2. «Инструкция о мероприятиях по предупреждению и ликвидации болезней, отравлений и основных вредителей пчел» (утв. Минсельхозпродом РФ 17.08.1998 № 13-4-2/1362.3. СанПиН 1.2.2584-10. Гигиенические требования к безопасности процессов испытаний, хранения, перевозки, реализации, применения, обезвреживания и утилизации пестицидов и агрохимикатов.4. Соловьева Л.Ф. Защитить пчел от отравления пестицидами // Защита и карантин растений. 2012. №5. С. 53–54.5. Федеральный закон от 30.12.2020 г. № 90-ФЗ «О пчеловодстве в Российской Федерации».6. Blackquière T., Smagghe G., van Gestel C.A.M., Mommaerts V. Neonicotinoids in bees: a review on concentrations, side-effects and risk assessment // Ecotoxicol. 2012. V. 21. P. 973–992. https://doi.org/10.1007/s10646-012-0863-x.7. Bonmatin J.M., Moineau I., Fleche C., Colin M.E., Bengsch E.R. A LC/APCI-MS/MS method for analysis of imidacloprid in soils, in plants, and in pollens // Analytical chemistry. 2003. V. 75. P. 2027–2033. https://doi.org/10.1021/ac020600b8. Carreck N.L., Ratnieks F.L.W. The dose makes the poison: have “field realistic” rates of exposure of bees to neonicotinoid insecticides been overestimated in laboratory studies? // J. Apicultural resources. 2014. V. 53. P. 607–614. https://doi.org/10.3896/ibra.1.53.5.08.9. Cloyd R.A. Effects of pesticides and adjuvants on the honey bee, Apis mellifera: an updated bibliographic review // Modernbeekeeping – bases for sustainable production / Ed. R.E.R. Ranz. London, 2020. Chapter 1. P. 1–12. https://doi.org/10.5772/intechopen.89082.10. Coulon M., Dalmon A., Prisco G.D., Prado A., Arban F., Dubois E., Ribière-Chabert M., Alaux C., Thiéry R., Conte Y.L. Interactions between thiamethoxam and deformed wing virus can drastically impair flight behavior of honey bees // Frontiers in microbiology. 2020. V. 11. Article 766. https://doi.org/10.3389/fmicb.2020.00766.11. Garbuzov M., Couvillon M.J., Schürch R., Rathieks L.W. Honey bee dance decoding and pollen-load analysis show limited foraging on spring-flowering oilseed rape, a potential source of neonicotinoid contamination // Agriculture, Ecosystems & Environment. 2015. V. 203. P. 62–68. https://doi.org/10.1016/j. agee.2014.12.009.12. Grünewald B., Siefert P. Acetylcholine and its receptors in honeybees: involvement in development and impairments by neonicotinoids // Insects. 2019. V. 10. P. 1–13. https://doi.org/10.3390/insects10120420.13. Herbert L.T., Vázquez D.E., Arenas A., Farina W.M. Effects of field-realistic doses of glyphosate on honeybee appetitive behavior // Journal of experimental biology. 2014. V. 217. P. 3457–3464. https://doi.org/10.1242/jeb.109520.14. Jones A.K., Raymond-Deplech V., Thany S.H., Gauthier M., Sattelle D.B. The nicotinic acetylcholin receptor gene family of the honey bee, Apis mellifera // Genome Research. 2006. V.16. P. 1422–1430. https://doi.org/10.1101/gr.4549206.15. Laurent F.M., Rathahao E. Distribution of [C-14] imidacloprid in sunflowers (Helianthus annuus L.) following seed treatment // Journal of agricultural and food chemistry. 2003. V. 51. P. 8005–8010. https://doi.org/10.1021/jf034310n.16. Moffat C., Buckland S.T., Samson A.J., McArthur R., Pino V.C., Bollan K.A., Huang J.T.-J., Connoly C.N. Neonicotinoids target distinct nicotinic acetylcholine receptors and neurons, leading to differential risks to bumblebees // Scientific reports. 2016. V. 6. Article 24764. https://doi.org/10.1038/srep24764.17. Morfin N., Goodwin P.H., Hunt G.J., Guzman-Novoa E. Effects of sublethal doses of clothianidin and/or V. destructor on honey bee (Apis mellifera) self-grooming behavior and associated gene expression // Scientific reports. 2019. V. 9. Article 5196.https://doi.org/10.1038/s41598-019-41365-0.18. Motta E.V.C., Raymann K., Moran N.A. Glyphosate perturbs the gut microbiota of honey bees // Proceedings of the NationalAcademy of Sciences USA. 2018. V. 115. P. 10305–10310. https://doi.org/10.1073/pnas.1803880115.19. Ostiguy N., Drummond F.A., Aronstein K., Eitzer B., Ellis J.D., Spivak M., Sheppard W.S. Honey bee exposure to pesticides: a four-year nationwide study // Insects. 2019. V. 10. P. 1–34. https://doi.org/10.3390/insects10010013.20. Sánchez-Bayo F. Insecticides mode of action in relation to their toxicity to non-target organisms // Journal of environmental analytic toxicology. 2011. V. S4. e002. https://doi.org/10.4172/2161-0525.s4-002.21. Sánchez-Bayo F., Goka K. Impacts of pesticides on honey bees // Beekeeping and bee conservation – advances in research. / Ed. E.D. Chambó. London, 2016. Ch. 4. P. 77–97. https://doi.org/10.5772/62487.22. Sattelle D.B. Invertebrate nicotinic acetylcholine receptors – targets for chemicals and drugs important in agriculture, veterinary medicine and human health // Journal of pesticide science. 2009. Vol. 34. P. 233–240. https://doi.org/10.1584/jpestics. r09-02.23. Schmuck R., Schöning R., Stork A., Schramel O. Risk posed to honeybees (Apis mellifera L. Hymenoptera) by an imidacloprid seed dressing of sunflowers // Pest Management Science. 2001. V. 59. P. 225–238. https://doi.org/10.1002/ps.270.24. Tackenberg M.C., Giannoni-Guzman M.A., Sanchez-Perez E., Doll C.A., Agosto-Rivera J.L., Broadie K., Moore D., Mc-Mahon D.G. Neonicotinoids disrupt circadian rhythms and sleep in honey bees // Scientific reports. 2020. V. 10. Article 17929. https://doi.org/10.1101/2020.04.15.042960.25. Tsvetkov N., Samson-Robert O., Sood K., Patel H.S., Malena D.A., Gajiwala P.H., Maciukiewicz P., Fournier V., Zayed A. Chronic exposure to neonicotinoids reduces honey bee health near corn crops // Science. 2017. V. 356. P. 1395–1397. https://doi.org/10.1126/science.aam7470.26. Vázquez D.E., Ilina N., Pagano E.A., Zavala J.A., Farina W.M. Glyphosate affects the larval development of honey bees depending on the susceptibility of colonies // PLoS One. 2018. V. 13. P. e0205074. https://doi.org/10.1371/journal.pone.0205074. 27. Woodcock B.A., Bullock J.M., Shore R.F., Heard M.S., Pereira M.G., Redhead J., Ridding L., Dean H., Sleep D., Henrys P., Peyton J., Hulmes S., Hulmes L., Sárospataki M., Saure C., Edwards M., Genersch E., Knäbe S., Pywell R.F. Country-specific effects of neonicotinoid pesticides on honey bees and wild bees // Science. 2017. V. 356. P. 1393–1395. https://doi.org/10.1126/science.aaa1190.

The impact of agricultural intensification on soil degradation now is occurring in tropical countries. The objective of this study was to determine the effect of long-term tillage and N fertilization on soil properties and crop yields in corn-soybean rotation. This long-term study which initiated since 1987 was carried out on a Typic Fragiudult soil at Politeknik Negeri Lampung, Sumatra (105o13’45.5"-105o13’48.0"E, 05o21’19.6"-05o21’19.7"S) in 2010 and 2011. A factorial experiment was arranged in a randomized block design with four replications. The first factor was tillage system namely intensive tillage (IT) and conservation tillage (CT) which consist of minimum tillage (MT) and no-tillage (NT); while the second factor was N fertilization with rates of 0, 100 and 200 kg N ha-1 applied for corn, and 0, 25, and 50 kg N ha-1 for soybean. The results showed that bulk density and soil strength at upper layer after 24 years of cropping were similar among treatments, but the soil strength under IT at 50-60 cm depth was 28.2% higher (p<0.05) than NT. Soil moisture and temperature under CT at 0-5 cm depth were respectively 38.1% and 4.5% higher (p<0.05) than IT. High N rate decreased soil pH at 0-20 cm depth as much as 10%, but increased total soil N at 0-5 cm depth as much as 19% (p<0.05). At 0-10 cm depth, MT with no N had highest exchangeable K, while IT with medium N rate had the lowest (p<0.05). At 0-5 cm depth, MT with no N had highest exchangeable Ca, but it had the lowest (p<0.05) if combined with higher N rate. Microbial biomass C throughout the growing season for NT was consistently highest and it was 14.4% higher (p<0.05) than IT. Compared to IT, Ap horizon of CT after 24 years of cropping was deeper, with larger soil structure and more abundance macro pores. Soybean and corn yields for long-term CT were 64.3% and 31.8% higher (p<0.05) than IT, respectively. Corn yield for long-term N with rate of 100 kg N ha-1 was 36.4% higher (p<0.05) than with no N.Keywords: Conservation tillage, crop yields, N fertilization, soil properties[How to Cite: Utomo M, IS Banuwa, H Buchari, Y Anggraini and Berthiria. 2013.Long-term Tillage and Nitrogen Fertilization Effects on Soil Properties and Crop Yields. J Trop Soils 18 (2): 131-139. Doi: 10.5400/jts.2013.18.2.131][Permalink/DOI: www.dx.doi.org/10.5400/jts.2013.18.2.131] REFERENCESAl-Kaisi and X Yin. 2005. Tillage and crop residue effects on soil carbon dioxide emission in corn- soybean rotation. J Environ Qual 34: 437-445. Pub Med. Barak P, BO Jobe, AR Krueger, LA Peterson and DA Laird. 1997. Effects of long-term soilacidification due to nitrogen inputs in Wisconsin. Plant Soil 197: 61-69.Blake GR and KH Hartge. 1986. Bulk density. In: A Klute (ed). Methods of Soil Analysis. ASA and SSSA. 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New Jersey, 965 p.Brito-Vega, H, D Espinosa-Victoria, C Fragoso, D Mendoza, N De la Cruz Landaro and A Aldares-Chavez. 2009. Soil organic particle and presence of earthworm under different tillage systems. J Biol Sci 9: 180-183.Derpch, R 1998. Historical review of no-tilage cultivation of crops. JIRCAS Working Rep. JAPAN Int Res Ctr for Agric Sciences, Ibaraki, Japan 13: 1-18. Diaz-Zorita, M., JH Grove, L Murdock, J Herbeck and E Perfect. 2004. Soil structural disturbance effects on crop yields and soil properties in a no-till production system. Agron J 96: 1651-1659.Dickey EC, PJ Jasa and RD Grisso. 1994. Long-term tillage effect on grain yield and soil properties in a soybean/grain sorghum Rotation. J Prod Agric 7: 465 - 470.Edwards WM, LD, Norton, CE, Redmond. 1988. Characterizing macro pores that affect infiltration into non tilled soil. Soil Sci Soc Am J 52: 483-487.Fernandez RO, PG Fernandez, JVG Cervera and FP Torres. 2007 Soil properties and crop yields after 21 years of direct drilling trials in southern Spain. Soil Till Res 94: 47-54.Fengyun Z, W Pute, Z Xining and C Xuefeng. 2011. The effects of no-tillage practice on soil physical properties. Afr J Biotech 10: 17645-17650. Havlin, JL, JD Beaton, SM Tisdale and WL Nelson. 2005. Soil Fertility and Fertilizer: an Introduction to Nutrient Management. Pearson Prantice Hall. Sevent Edition. Upper Saddle River, New Jersey, 515 p.Karlen DL, NC Wollenhaupt, DC Erbach, EC Berry, JB Swan, NS Eash and JL Jordahl. 1994. Crop residue effects on soil quality following 10-years of no-till corn. Soil Till Res 31: 149-167.Kumar A and DS Yadav. 2005. Effect of zero and minimum tillage in conjunction with nitrogen management in wheat (Triticum aestivum ) after rice (Oryza sativa.). Indian J Agron 50 (1): 54-57.Lal R. 1989. Conservation tillage for sustainable agriculture: tropics versus temper­ate environment. Adv Agron 42: 85-197.Lal R. 1997. Residue management, conservation tillage and soil restoration for mitigating greenhouse effect by CO2 enrichment. Soil Till Res 43: 81-107.Lal R. 2007. Soil science in a changing climate. CSA New 52: 1-9.Mallory J J, RH Mohtar, GC Heathman, DG Schulze and E Braudeau. 2011. Evaluating the effect of tillage on soil structural properties using the pedostructure concept. Geoderma 163: 141-149. doi:10.1016/ j.geoderma. 2011.01.018. 9p.Paustian K, HP Collins and EA Paul. 1997. Management control on soil carbon. In: EA Paul, ET Elliot, K Paustian and CV Cole (eds). Soil Organic Matter in Temperate Agro-ecosystems: Long-term Experiment in North America. CRC Press, pp. 15-50.Rasmussen, KJ. 1999. Impact of ploughless soil tillage on yield and soil quality: A Scandinavian review. Soil Till Res 53: 3-14.Quintero M. 2009. 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This paper is meant to study the apocalyptic scenario of the at the perspectives of the Great Acceleration. the apocalyptic scenario is not a pure imagination of the literature works. Instead, scientific evidences are in favour of dramatic change in the climatic conditions related to the climax of Man actions. the modelling of the future climate leads to horrible situations including intolerable temperatures, dryness, tornadoes, and noticeable sear level rise evading coastal regions. Going far from these scientific claims, Homo Sapiens Sapiens extended his imagination through the Climate-Fiction (cli-fi) to propose a dramatic end. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Introduction The Great Acceleration may be considered as the Late Anthropocene in which Man actions reached their climax to lead to dramatic climatic changes paving the way for a possible apocalyptic scenario threatening the existence of the humanity. So, the apocalyptic scenario is not a pure imagination of the literature works. Instead, many scientific arguments especially related to climate change are in favour of the apocalypse1. As a matter of fact, the modelling of the future climate leads to horrible situations including intolerable temperatures (In 06/07/2021, Kuwait recorded the highest temperature of 53.2 °C), dryness, tornadoes, and noticeable sear level rise evading coastal regions. These conditions taking place during the Great Acceleration would have direct repercussions on the human species. Considering that the apocalyptic extinction had really caused the disappearance of many stronger species including dinosaurs, Homo Sapiens Sapiens extended his imagination though the Climate-Fiction (cli-fi) to propose a dramatic end due to severe climate conditions intolerable by the humankind. The mass extinction of animal species has occurred several times over the geological ages. Researchers have a poor understanding of the causes and processes of these major crises1. Nonetheless, whatever the cause of extinction, the apocalyptic scenario has always been present in the geological history. For example, dinosaurs extinction either by asteroids impact or climate changes could by no means denies the apocalyptic aspect2.At the same time as them, many animal and plant species became extinct, from marine or flying reptiles to marine plankton. This biological crisis of sixty-five million years ago is not the only one that the biosphere has suffered. It was preceded and followed by other crises which caused the extinction or the rarefaction of animal species. So, it is undeniable that many animal groups have disappeared. It is even on the changes of fauna that the geologists of the last century have based themselves to establish the scale of geological times, scale which is still used. But it is no less certain that the extinction processes, extremely complex, are far from being understood. We must first agree on the meaning of the word "extinction", namely on the apocalyptic aspect of the concept. It is quite understood that, without disappearances, the evolution of species could not have followed its course. Being aware that the apocalyptic extinction had massacred stronger species that had dominated the planet, Homo Sapiens Sapiens has been aware that the possibility of apocalyptic end at the perspective of the Anthropocene (i.e., Great Acceleration) could not be excluded. This conviction is motivated by the progressive defaunation in some regions3and the appearance of alien species in others related to change of mineralogy and geochemistry4 leading to a climate change during the Anthropocene. These scientific claims fed the vast imagination about climate change to set the so-called cli-fi. The concept of the Anthropocene is the new geological era which begins when the Man actions have reached a sufficient power to modify the geological processes and climatic cycles of the planet5. The Anthropocene by no means excludes the possibility of an apocalyptic horizon, namely in the perspectives of the Great Acceleration. On the contrary, two scenarios do indeed seem to dispute the future of the Anthropocene, with a dramatic cross-charge. The stories of the end of the world are as old as it is, as the world is the origin of these stories. However, these stories of the apocalypse have evolved over time and, since the beginning of the 19th century, they have been nourished particularly by science and its advances. These fictions have sometimes tried to pass themselves off as science. This is the current vogue, called collapsology6. This end is more than likely cli-fi driven7and it may cause the extinction of the many species including the Homo Sapiens Sapiens. In this vein, Anthropocene defaunation has become an ultimate reality8. More than one in eight birds, more than one in five mammals, more than one in four coniferous species, one in three amphibians are threatened. The hypothesis of a hierarchy within the living is induced by the error of believing that evolution goes from the simplest to the most sophisticated, from the inevitably stupid inferior to the superior endowed with an intelligence giving prerogative to all powers. Evolution goes in all directions and pursues no goal except the extension of life on Earth. Evolution certainly does not lead from bacteria to humans, preferably male and white. Our species is only a carrier of the DNA that precedes us and that will survive us. Until we show a deep respect for the biosphere particularly, and our planet in general, we will not become much, we will remain a predator among other predators, the fiercest of predators, the almighty craftsman of the Anthropocene. To be in the depths of our humanity, somehow giving back to the biosphere what we have taken from it seems obvious. To stop the sixth extinction of species, we must condemn our anthropocentrism and the anthropization of the territories that goes with it. The other forms of life also need to keep their ecological niches. According to the first, humanity seems at first to withdraw from the limits of the planet and ultimately succumb to them, with a loss of dramatic meaning. According to the second, from collapse to collapse, it is perhaps another humanity, having overcome its demons, that could come. Climate fiction is a literary sub-genre dealing with the theme of climate change, including global warming. The term appears to have been first used in 2008 by blogger and writer Dan Bloom. In October 2013, Angela Evancie, in a review of the novel Odds against Tomorrow, by Nathaniel Rich, wonders if climate change has created a new literary genre. Scientific basis of the apocalyptic scenario in the perspective of the Anthropocene Global warming All temperature indices are in favour of a global warming (Fig.1). According to the different scenarios of the IPCC9, the temperatures of the globe could increase by 2 °C to 5 °C by 2100. But some scientists warn about a possible runaway of the warming which can reach more than 3 °C. Thus, the average temperature on the surface of the globe has already increased by more than 1.1 °C since the pre-industrial era. The rise in average temperatures at the surface of the globe is the first expected and observed consequence of massive greenhouse gas emissions. However, meteorological surveys record positive temperature anomalies which are confirmed from year to year compared to the temperatures recorded since the middle of the 19th century. Climatologists point out that the past 30 years have seen the highest temperatures in the Northern Hemisphere for over 1,400 years. Several climatic centres around the world record, synthesize and follow the evolution of temperatures on Earth. Since the beginning of the 20th century (1906-2005), the average temperature at the surface of the globe has increased by 0.74 °C, but this progression has not been continuous since 1976, the increase has clearly accelerated, reaching 0.19 °C per decade according to model predictions. Despite the decline in solar activity, the period 1997-2006 is marked by an average positive anomaly of 0.53 °C in the northern hemisphere and 0.27 °C in the southern hemisphere, still compared to the normal calculated for 1961-1990. The ten hottest years on record are all after 1997. Worse, 14 of the 15 hottest years are in the 21st century, which has barely started. Thus, 2016 is the hottest year, followed closely by 2015, 2014 and 2010. The temperature of tropical waters increased by 1.2 °C during the 20th century (compared to 0.5 °C on average for the oceans), causing coral reefs to bleach in 1997. In 1998, the period of Fort El Niño, the prolonged warming of the water has destroyed half of the coral reefs of the Indian Ocean. In addition, the temperature in the tropics of the five ocean basins, where cyclones form, increased by 0.5 °C from 1970 to 2004, and powerful cyclones appeared in the North Atlantic in 2005, while they were more numerous in other parts of the world. Recently, mountains of studies focused on the possible scenario of climate change and the potential worldwide repercussions including hell temperatures and apocalyptic extreme events10 , 11, 12. Melting of continental glaciers As a direct result of the global warming, melting of continental glaciers has been recently noticed13. There are approximately 198,000 mountain glaciers in the world; they cover an area of approximately 726,000 km2. If they all melted, the sea level would rise by about 40 cm. Since the late 1960s, global snow cover has declined by around 10 to 15%. Winter cold spells in much of the northern half of the northern hemisphere are two weeks shorter than 100 years ago. Glaciers of mountains have been declining all over the world by an average of 50 m per decade for 150 years. However, they are also subject to strong multi-temporal variations which make forecasts on this point difficult according to some specialists. In the Alps, glaciers have been losing 1 meter per year for 30 years. Polar glaciers like those of Spitsbergen (about a hundred km from the North Pole) have been retreating since 1880, releasing large quantities of water. The Arctic has lost about 10% of its permanent ice cover every ten years since 1980. In this region, average temperatures have increased at twice the rate of elsewhere in the world in recent decades. The melting of the Arctic Sea ice has resulted in a loss of 15% of its surface area and 40% of its thickness since 1979. The record for melting arctic sea ice was set in 2017. All models predict the disappearance of the Arctic Sea ice in summer within a few decades, which will not be without consequences for the climate in Europe. The summer melting of arctic sea ice accelerated far beyond climate model predictions. Added to its direct repercussions of coastal regions flooding, melting of continental ice leads to radical climatic modifications in favour of the apocalyptic scenario. Fig.1 Evolution of temperature anomaly from 1880 to 2020: the apocalyptic scenario Sea level rise As a direct result of the melting of continental glaciers, sea level rise has been worldwide recorded14 ,15. The average level of the oceans has risen by 22 cm since 1880 and 2 cm since the year 2000 because of the melting of the glaciers but also with the thermal expansion of the water. In the 20th century, the sea level rose by around 2 mm per year. From 1990 to 2017, it reached the relatively constant rate of just over 3mm per year. Several sources contributed to sea level increase including thermal expansion of water (42%), melting of continental glaciers (21%), melting Greenland glaciers (15%) and melting Antarctic glaciers (8%). Since 2003, there has always been a rapid rise (around 3.3 mm / year) in sea level, but the contribution of thermal expansion has decreased (0.4 mm / year) while the melting of the polar caps and continental glaciers accelerates. Since most of the world’s population is living on coastal regions, sea level rise represents a real threat for the humanity, not excluding the apocalyptic scenario. Multiplication of extreme phenomena and climatic anomalies On a human scale, an average of 200 million people is affected by natural disasters each year and approximately 70,000 perish from them. Indeed, as evidenced by the annual reviews of disasters and climatic anomalies, we are witnessing significant warning signs. It is worth noting that these observations are dependent on meteorological survey systems that exist only in a limited number of countries with statistics that rarely go back beyond a century or a century and a half. In addition, scientists are struggling to represent the climatic variations of the last two thousand years which could serve as a reference in the projections. Therefore, the exceptional nature of this information must be qualified a little. Indeed, it is still difficult to know the return periods of climatic disasters in each region. But over the last century, the climate system has gone wild. Indeed, everything suggests that the climate is racing. Indeed, extreme events and disasters have become more frequent. For instance, less than 50 significant events were recorded per year over the period 1970-1985, while there have been around 120 events recorded since 1995. Drought has long been one of the most worrying environmental issues. But while African countries have been the main affected so far, the whole world is now facing increasingly frequent and prolonged droughts. Chile, India, Australia, United States, France and even Russia are all regions of the world suffering from the acceleration of the global drought. Droughts are slowly evolving natural hazards that can last from a few months to several decades and affect larger or smaller areas, whether they are small watersheds or areas of hundreds of thousands of square kilometres. In addition to their direct effects on water resources, agriculture and ecosystems, droughts can cause fires or heat waves. They also promote the proliferation of invasive species, creating environments with multiple risks, worsening the consequences on ecosystems and societies, and increasing their vulnerability. Although these are natural phenomena, there is a growing understanding of how humans have amplified the severity and impacts of droughts, both on the environment and on people. We influence meteorological droughts through our action on climate change, and we influence hydrological droughts through our management of water circulation and water processes at the local scale, for example by diverting rivers or modifying land use. During the Anthropocene (the present period when humans exert a dominant influence on climate and environment), droughts are closely linked to human activities, cultures, and responses. From this scientific overview, it may be concluded apocalyptic scenario is not only a literature genre inspired from the pure imagination. Instead, many scientific arguments are in favour of this dramatic destiny of Homo Sapiens Sapiens. Fig.2. Sea level rise from 1880 to 2020: a possible apocalyptic scenario (www.globalchange.gov, 2021) Apocalyptic genre in recent writing As the original landmark of apocalyptic writing, we must place the destruction of the Temple of Jerusalem in 587 BC and the Exile in Babylon. Occasion of a religious and cultural crossing with imprescriptible effects, the Exile brought about a true rebirth, characterized by the maintenance of the essential ethical, even cultural, of a national religion, that of Moses, kept as pure as possible on a foreign land and by the reinterpretation of this fundamental heritage by the archaic return of what was very old, both national traditions and neighbouring cultures. More precisely, it was the place and time for the rehabilitation of cultures and the melting pot for recasting ancient myths. This vast infatuation with Antiquity, remarkable even in the vocabulary used, was not limited to Israel: it even largely reflected a general trend. The long period that preceded throughout the 7th century BC and until 587, like that prior to the edict of Cyrus in 538 BC, was that of restorations and rebirths, of returns to distant sources and cultural crossings. In the biblical literature of this period, one is struck by the almost systematic link between, on the one hand, a very sustained mythical reinvestment even in form and, on the other, the frequent use of biblical archaisms. The example of Shadday, a word firmly rooted in the Semites of the Northwest and epithet of El in the oldest layers of the books of Genesis and Exodus, is most eloquent. This term reappears precisely at the time of the Exile as a designation of the divinity of the Patriarchs and of the God of Israel; Daily, ecological catastrophes now describe the normal state of societies exposed to "risks", in the sense that Ulrich Beck gives to this term: "the risk society is a society of catastrophe. The state of emergency threatens to become a normal state there1”. Now, the "threat" has become clearer, and catastrophic "exceptions" are proliferating as quickly as species are disappearing and climate change is accelerating. The relationship that we have with this worrying reality, to say the least, is twofold: on the one hand, we know very well what is happening to us; on the other hand, we fail to draw the appropriate theoretical and political consequences. This ecological duplicity is at the heart of what has come to be called the “Anthropocene”, a term coined at the dawn of the 21st century by Eugene Stoermer (an environmentalist) and Paul Crutzen (a specialist in the chemistry of the atmosphere) in order to describe an age when humanity would have become a "major geological force" capable of disrupting the climate and changing the terrestrial landscape from top to bottom. If the term “Anthropocene” takes note of human responsibility for climate change, this responsibility is immediately attributed to overpowering: strong as we are, we have “involuntarily” changed the climate for at least two hundred and fifty years. Therefore, let us deliberately change the face of the Earth, if necessary, install a solar shield in space. Recognition and denial fuel the signifying machine of the Anthropocene. And it is precisely what structures eco-apocalyptic cinema that this article aims to study. By "eco-apocalyptic cinema", we first mean a cinematographic sub-genre: eco-apocalyptic and post-eco-apocalyptic films base the possibility (or reality) of the end of the world on environmental grounds and not, for example, on damage caused by the possible collision of planet Earth with a comet. Post-apocalyptic science fiction (sometimes abbreviated as "post-apo" or "post-nuke") is a sub-genre of science fiction that depicts life after a disaster that destroyed civilization: nuclear war, collision with a meteorite, epidemic, economic or energy crisis, pandemic, alien invasion. Conclusion Climate and politics have been linked together since Aristotle. With Montesquieu, Ibn Khaldûn or Watsuji, a certain climatic determinism is attributed to the character of a nation. The break with modernity made the climate an object of scientific knowledge which, in the twentieth century, made it possible to document, despite the controversies, the climatic changes linked to industrialization. Both endanger the survival of human beings and ecosystems. Climate ethics are therefore looking for a new relationship with the biosphere or Gaia. For some, with the absence of political agreements, it is the beginning of inevitable catastrophes. For others, the Anthropocene, which henceforth merges human history with natural history, opens onto technical action. The debate between climate determinism and human freedom is revived. The reference to the biblical Apocalypse was present in the thinking of thinkers like Günther Anders, Karl Jaspers or Hans Jonas: the era of the atomic bomb would mark an entry into the time of the end, a time marked by the unprecedented human possibility of 'total war and annihilation of mankind. The Apocalypse will be very relevant in describing the chaos to come if our societies continue their mad race described as extra-activist, productivist and consumerist. In dialogue with different theologians and philosophers (such as Jacques Ellul), it is possible to unveil some spiritual, ethical, and political resources that the Apocalypse offers for thinking about History and human engagement in the Anthropocene. What can a theology of collapse mean at a time when negative signs and dead ends in the human situation multiply? What then is the place of man and of the cosmos in the Apocalypse according to Saint John? Could the end of history be a collapse? How can we live in the time we have left before the disaster? Answers to such questions remain unknown and no scientist can predict the trajectory of this Great Acceleration taking place at the Late Anthropocene. When science cannot give answers, Man tries to infer his destiny for the legend, religion and the fiction. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Aware of the prospect of ecological collapse additionally as our apparent inability to avert it, we tend to face geology changes of forceful proportions that severely challenge our ability to imagine the implications. Climate fiction ought to be considered an important supplement to climate science, as a result, climate fiction makes visible and conceivable future modes of existence inside worlds not solely deemed seemingly by science, however that area unit scientifically anticipated. Hence, this chapter, as part of the book itself, aims to contribute to studies of ecocriticism, the environmental humanities, and literary and culture studies. References David P.G. Bondand Stephen E. Grasby. "Late Ordovician mass extinction caused by volcanism, warming, and anoxia, not cooling and glaciation: REPLY." Geology 48, no. 8 (Geological Society of America2020): 510. Cyril Langlois.’Vestiges de l'apocalypse: ‘le site de Tanis, Dakota du Nord 2019’. Accessed June, 6, 2021, https://planet-terre.ens-lyon.fr/pdf/Tanis-extinction-K-Pg.pdf NajouaGharsalli,ElhoucineEssefi, Rana Baydoun, and ChokriYaich. ‘The Anthropocene and Great Acceleration as controversial epoch of human-induced activities: case study of the Halk El Menjel wetland, eastern Tunisia’. Applied Ecology and Environmental Research 18(3) (Corvinus University of Budapest 2020): 4137-4166 Elhoucine Essefi, ‘On the Geochemistry and Mineralogy of the Anthropocene’. International Journal of Water and Wastewater Treatment, 6(2). 1-14, (Sci Forschen2020): doi.org/10.16966/2381-5299.168 Elhoucine Essefi. ‘Record of the Anthropocene-Great Acceleration along a core from the coast of Sfax, southeastern Tunisia’. Turkish journal of earth science, (TÜBİTAK,2021). 1-16. Chiara Xausa. ‘Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book’. Exchanges: The Interdisciplinary Research Journal 8(2), (WARWICK 2021): 99-119. Akyol, Özlem. "Climate Change: An Apocalypse for Urban Space? An Ecocritical Reading of “Venice Drowned” and “The Tamarisk Hunter”." Folklor/Edebiyat 26, no. 101 (UluslararasıKıbrısÜniversitesi 2020): 115-126. Boswell, Suzanne F. "The Four Tourists of the Apocalypse: Figures of the Anthropocene in Caribbean Climate Fiction.". Paradoxa 31, (Academia 2020): 359-378. Ayt Ougougdal, Houssam, Mohamed YacoubiKhebiza, Mohammed Messouli, and Asia Lachir. "Assessment of future water demand and supply under IPCC climate change and socio-economic scenarios, using a combination of models in Ourika Watershed, High Atlas, Morocco." Water 12, no. 6 (MPDI 2020): 1751.DOI:10.3390/w12061751. Wu, Jia, Zhenyu Han, Ying Xu, Botao Zhou, and Xuejie Gao. "Changes in extreme climate events in China under 1.5 C–4 C global warming targets: Projections using an ensemble of regional climate model simulations." Journal of Geophysical Research: Atmospheres 125, no. 2 (Wiley2020): e2019JD031057.https://doi.org/10.1029/2019JD031057 Khan, Md Jamal Uddin, A. K. M. Islam, Sujit Kumar Bala, and G. M. Islam. "Changes in climateextremes over Bangladesh at 1.5° C, 2° C, and 4° C of global warmingwith high-resolutionregionalclimate modeling." Theoretical&AppliedClimatology 140 (EBSCO2020). Gudoshava, Masilin, Herbert O. Misiani, Zewdu T. Segele, Suman Jain, Jully O. Ouma, George Otieno, Richard Anyah et al. "Projected effects of 1.5 C and 2 C global warming levels on the intra-seasonal rainfall characteristics over the Greater Horn of Africa." Environmental Research Letters 15, no. 3 (IOPscience2020): 34-37. Wang, Lawrence K., Mu-Hao Sung Wang, Nai-Yi Wang, and Josephine O. Wong. "Effect of Global Warming and Climate Change on Glaciers and Salmons." In Integrated Natural Resources Management, ed.Lawrence K. Wang, Mu-Hao Sung Wang, Yung-Tse Hung, Nazih K. Shammas(Springer 2021), 1-36. Merschroth, Simon, Alessio Miatto, Steffi Weyand, Hiroki Tanikawa, and Liselotte Schebek. "Lost Material Stock in Buildings due to Sea Level Rise from Global Warming: The Case of Fiji Islands." Sustainability 12, no. 3 (MDPI 2020): 834.doi:10.3390/su12030834 Hofer, Stefan, Charlotte Lang, Charles Amory, Christoph Kittel, Alison Delhasse, Andrew Tedstone, and Xavier Fettweis. "Greater Greenland Ice Sheet contribution to global sea level rise in CMIP6." Nature communications 11, no. 1 (Nature Publishing Group 2020): 1-11.

The expansion of Arkansas River Basin Caddoans westward along the Canadian River remains an intriguing subject of study. This paper examines the presence of Caddoans living in the Ada vicinity, Pontotoc County, Oklahoma. The focus is on the Pickett Switch site excavated by Herbert Antle from 1930-1934. This paper examines the work of Herbert Antle, the history of his excavations as well as others at the Pickett Switch site, and describes a collection from the Pickett Switch site at the Sam Noble Oklahoma Museum of Natural History. Concluding comments continue to seek refinement in our understanding of the settlement practices of Arkansas River Basin Caddoans living on the western frontier.

This article examines Andrew Lang’s anthropological writings on magic and religion in relation to a broader network of literary and sociological discourses. Lang’s work, along with that of others, highlights the labors nineteenth-century anthropologists expended to segregate magic from science, religion, and utilitarian action in the capitalist public sphere. Despite such efforts at segregation, however, nineteenth-century anthropological writings expose the genealogical continuities between magic, science, religion, and self-interest. These continuities, the essay contends, also surface in anthropology’s sibling discourses: literature and political economy. Lang’s contemporaries, such as H. Rider Haggard and Thomas Hardy, drew on anthropological findings in their fictional representations of magical rites and beliefs either in rural Britain or at the colonial periphery. Magic’s proximity to science, religion, and capitalist self-interest also undergirds Herbert Spencer’s systems theories and reverberates in the political economists that drew on Spencer’s work. The essay thus demonstrates not only how Lang functions as a node within a broad disciplinary network, but also how the concept of magic traverses numerous discursive fields.

This consideration of British poet, novelist, and critic Iain Sinclair’s ‘bad’ writing begins at the summit of Beckton Alp, a pile of waste in London’s east that has been reconstituted as recreational space. For Sinclair, Beckton Alp functions as a totem signifying the pervasive regulatory influence of Panopticism in contemporary urban culture. It shares the Panopticon’s ‘see/being seen dyad’, which is delineated thus by Michel Foucault in Discipline and Punish: In the peripheric ring [which in this case acts as an analogue for London] one is seen, without ever seeing; in the central tower [for our purposes, Beckton Alp], one sees everything without being seen. (201) In his most recent novel, Dining on Stones (or, The Middle Ground), the prospect from Beckton Alp offers Sinclair the following image of London: Leaning on a creosoted railing London makes sense. There is a pattern, a working design. And there’s a word for it too: Obscenery. Blight. Stuttering movement. The distant river. The time membrane dissolves, in such a way that the viewer becomes the thing he is looking at. (190) The city, following Michel de Certeau, can be read as a text from Beckton Alp, one that appears intelligible, one that ‘makes sense’ (92). But what “sense” is the reader to make of Sinclair’s vision of London, a London characterised by this intriguing (and typically Sinclairean) neologism, obscenery? Obscenery’s etymological origins in the word ‘obscene’ suggest that it is indecent, unruly, offensive. It would seem to encompass everything that hegemonic culture would prefer to keep off-stage and unseen, everything that it considers ‘bad.’ Yet as Sinclair makes clear, it is hardly hidden—it can be seen from the Alp. By all accounts, obscenery proves to be the completely visible manifestation of what is normally segregated, managed and disposed of by disciplinary apparatuses, such as the Panoptic schema, which organise and supervise urban space. In summary, obscenery contends the regulatory power of Panopticism by being visible, obscenely so. Sinclair is careful to avoid a dialectic positing obscenery as the disordered antinomy to the pattern of hegemonic order. Instead, obscenery problematises the differentiations demarcating ‘good’ and ‘bad’ culture. Sinclair’s poiesis also blurs the boundaries between divergent spheres of culture as it oscillates between small press publishing and the mass market. His mimeographed chapbooks and limited edition hardcovers have for the major part of his career been conceived, produced, and disseminated outside the parameters of mainstream culture. An affiliation with the avant-garde British Poetry Revival indicates Sinclair’s dedication to alternative publishing, as does the existence of his own imprints: the punningly named horz commerz, and the Albion Village Press. But his mainstream publications (including Dining on Stones, which was released by multinational publishing house Penguin) complicate this position because although he is published and circulated within the sights of hegemonic literary culture, and therefore subject to the gaze of the Panopticon, Sinclair rejects hegemonic expectations about what comprises literature. He exploits written language, a tool licensed by the Panopticon, for unlicensed praxis. Identifying Sinclair’s cultural production as a type of textual obscenery, or ‘bad’ writing proposes an alternative model of cultural production, one that enables the creative practitioner to loosen the panoptic bonds with which Foucault pinions the individual and productively negotiate the archetypal struggle faced in a capitalist political economy: the conflict between artistic integrity and commercial imperative. In a sense, Sinclair and his circle of collaborators constitute a modern day la bohème—a league of artistic and literary putschists conspiring against the established order of cultural production, distribution, and consumption. As Sinclair commented in an interview: There’s no anxiety. Most of the stuff I have done didn’t have to win anybody’s approval. For me, there wasn’t that question of ‘How do I get published?’ that seems to preoccupy writers now. I used to publish myself. (Jeffries) For Sinclair, hegemonic culture is marching acquiescently, mindlessly to the ‘military/industrial two-step. That old standard… YES was the word.’ (Sinclair, London Orbital 4) If ‘yes’ is the mantra of this type of (false) consciousness, then Sinclair’s contrary creations are asserting a politics of ‘no.’ Sinclair’s refusal to accede to hegemonic attitudes regarding what is ‘good’ writing points to a deliberate decision to preserve what Herbert Marcuse terms ‘artistic alienation’ (Sinclair 63). According to Marcuse, artistic alienation, as distinct from traditional Marxist notions of alienation, should be encouraged in order to preserve the integrity of the work of art as something that has the power to rupture reality. In late era capitalism, reality is the totality of commodity culture, thus art must remain antagonistic to the ubiquity of the commodity form. Or, in Marcuse’s words, ‘art has …magic power only as the power of negation. It can speak its own language only as long as the images are alive which refuse and refute the established order’ (65). Within the panoptic schema, the disciplinary apparatus of capitalism, refusal, or refuse, is equivalent to obscenery. Like raw sewage washing up on the beach, or a split garbage bag lying uncollected in the street, Sinclair’s writing is matter out-of-place. If Panopticism, as Foucault theorises, is to efficiently and effectively implement discipline via real and imagined networks of surveillance that shift constantly between operations extrinsic and intrinsic to the subject, it does not necessarily prevent heterogeneous, transgressive, or subversive practice from emerging. However, it will, by means of this surveillance, draw attention to these practices, classify and segregate them, apply pejorative labels such as ‘bad’, ‘useless’, ‘harmful’, and relegate them to a social or spatial sphere outside the realm of the normative tastes and standards. In this process lies the Panopticon’s vast potential to devise, standardise, and regulate patterns of production and consumption. Practices and production that do not conform to hegemonic conventions are deemed aberrant, and rendered invisible. In a capitalist political economy, where governing institutions and operations function as extensions of systems predicated upon the fetishism of commodities, regulating patterns of consumption—by deciding what can and can’t be seen—imposes control. According to the logic of scopophilic culture, to be ‘unseen,’ by choice or otherwise, necessarily restricts consumption. In this manner, the Panopticon reinforces its role as arbiter of public taste. Obscenery’s visibility, however, rejects panoptic classification. It resists the panoptic systems that police cultural production, not by remaining hidden, or Other, but by declaring its presence. Unlike the commodity, which in its conformity is seamlessly assimilated into consumer culture, obscenery draws attention. Beckton Alp, a sanitised pile of waste rendered useful, palatable, is, in contrast, an example of obscenery averted (see endnote). As Marx explains, for a product to exist fully it must be consumed (91). A book becomes a product only when it is read. Writing that is designed to refuse the act of reading is perverse according to any schema of cultural logic, but particularly according to the logic of an economy driven by consumption. This refusal resonates with particular force within a capitalist schema of cultural production because it is fundamentally contrary to the process of commodification. Sinclair’s texts deny easy, uncritical consumption and subsequently cause a blockage in the process of commodification. In this manner, Sinclair contends the logos of capitalist alchemy. A book that resists being easily read, but is still visible to mainstream culture, constitutes a type of obscenery. Situating Sinclair’s poiesis within the domain of obscenery enables an understanding of why his texts have been judged by some critics and readers as ‘bad,’ difficult, inaccessible, impenetrable, even ‘unreadable’. Practitioners of counter-cultural and sub-cultural art and literature traditionally protect their minoritarian status and restrict access to their work by consciously constructing texts which might be considered ‘shit’; in other words, creating something that is deemed excremental, or ‘bad’ according to hegemonic tastes and standards. They create something that inhibits smooth digestion, something that causes a malfunction in the order of consumption. Stylistically, Sinclair employs a number of linguistic and formal devices to repulse the reader. Unrelenting verbiage and extreme parataxis are two such contrivances, as this exemplary excerpt from Dining on Stones illustrates: HEALTHY BOWELS? No problem in that department. Quite the reverse. Eyes: like looking out of week-old milk bottles. Ears clogged and sticky nose broken. But bowels ticked like a German motor: Stephen X, age unknown: writer. Marine exile. His walk, the colonnade. Wet suits for scuba divers. Yellowed wedding dresses. Black god franchises. Fast food. NO CASH KEPT ON PREMISES. The shops, beneath the hulk of the Ocean Queen flats, dealt in negatives, prohibitions – fear. They kept no stock beyond instantly forgotten memorabilia, concrete floors. Stephen releases a clutch of bad wind. (Sinclair 308) Sinclair’s writing constructs linguistic heterotopias that ‘desiccate speech, stop words in their tracks, contest the very possibility of grammar’ (Foucault, Archaeology xix). His language is clipped, elliptical, arrhythmic. In fact, Sinclair’s prose often doesn’t resemble prose; formally and syntactically, it is more aligned with poetry. It is peppered with paradoxical conceits—‘forgotten memorabilia’—which negate meaning and amplify the inscrutability of his words. His imagery is unexpected, discordant, frequently unsettling, as is his unpredictable register which veers from colloquialisms (‘No problem in that department’; Sinclair 308) to more formal, literary modes of expression (‘Stephen X, age unknown: writer’; Sinclair 308). Sinclair also alienates the reader through the use of digressive narrative, which in its Blakean insistence on cyclical shapes resists the linear structure associated with the shape of rational imagination. In terms of the economy of a teleological narrative, Sinclair’s storytelling in novels like Dining on Stones is wasteful in its diversions. His fictions and non-fictions contain characters and events that are incidental to what only occasionally resembles a plot. The apotheosis of the urge to contend linear forms of narrative is chronicled in Sinclair’s 2002 book London Orbital, a navigation of the M25 that as a circuitous journey has neither defined point of origin nor a locatable terminus. Sinclair’s novels, criticism, poetry, films constitute a hermeneutic circle, insisting that you have a working knowledge of the other texts in order to decipher the single text, and the body of work gives meaning to each discrete text. Acquiring Sinclair’s recondite code—which those who are cognisant with his style are well aware—is not a task for the uncommitted. The reader must assume the role of detective tracking down his poetry in second-hand bookshops. Obscure references that saturate the page must be researched. To read and understand Sinclair requires what sociologist Pierre Bourdieu has called ‘cultural competence’ (2). Bourdieu’s ideas on taste and consumption provide a framework for understanding Sinclair’s textual allegiances, his affinity for other types of textual obscenery—unsanctioned graffiti, small magazine poetry—which are also derided as ‘shit’, as ‘bad’ writing by those who have not acquired the cultural competence necessary to understand their coded information. There is a self-reflexive joke contained in the title Dining on Stones. After all, it is a novel that constantly urges the reader to swallow indigestible text and unsavoury subject matter. Sinclair’s writing continually forces our attentions back to the purlieus of urban culture, to everything that the centrifugal forces of Panopticism have driven to the periphery: social inequality, marginal spatial practice, refuse, shit. Sinclair’s textual obscenery is perceived as ‘bad’, as excremental because it denies mainstream literary audiences the satisfaction of uncomplicated, uncritical consumption. According to the restrictive logic of late era capitalism, Sinclair’s slippery, complex, inaccessible narratives are perverse. But they are also the source of perverse pleasure for those who refuse the inhibitions of conformity. Endnote Visual technology in the service of surveillance has been steadily integrated into the everyday, and, by virtue of its ubiquity, has become ‘unseen.’ Similar to the panoptic technologies described by Foucault, Beckton Alp, ‘a considerable event that nobody notices,’ (Sinclair, Dining on Stones, 179) is also assimilated into the urban landscape. References Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. London: Routledge, 2003. De Certeau, Michel. The Practice of Everyday Life. Berkeley: U of California P, 1988. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. London: Penguin, 1977. The Order of Things: An Archaeology of the Human Sciences. London and New York: Routledge, 2002. Jeffries, Stuart. “On the Road.” The Guardian Online 24 Apr. 2004. 28 Apr. 2004 http://books.guardian.co.uk/departments/generalfiction/story/0,,1201856,00.html>. Marcuse, Herbert. One-Dimensional Man. London & New York: Routledge, 2002. Marx, Karl. Grundrisse: Foundations of the Critique of Political Economy (Rough Draft). Trans. Martin Nicolaus. Harmondsworth: Penguin, 1973. Sinclair, Iain. Dining on Stones (or, the Middle Ground). London: Hamish Hamilton, 2004. Sinclair, Iain. London Orbital. London: Granta, 2002. Citation reference for this article MLA Style Seale, Kirsten. "Iain Sinclair's Excremental Narratives." M/C Journal 8.1 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0502/03-seale.php>. APA Style Seale, K. (Feb. 2005) "Iain Sinclair's Excremental Narratives," M/C Journal, 8(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0502/03-seale.php>.

This research was aimed to find out wether or not the useof small group discussion could activate the second year students of Machine Department of SMK Negeri 2 Payakumbuh to speak English. This research employed a pre experimental method, and it used one group pre test and post test design. Treatment (X) was given between pre-test (T1) and post-test (T2). The population of this study was the second year students of Machine Department of SMK Negeri 2 Payakumbuh, and the number of sample was 30 students. The instruments used in this study were observation checklist and speaking test. The finding of this study showed the use of small goup discussion could activate the students to speak English. It was indicated by the improvement of activities done by students from meeting to meeting as much as 93.19%. It was also indicated with the fact that the t-test value (10.740) was higher than the t-table value at significant level of 0.05 and degree of freedom n-1 (1.711). In other words, the use of small group discussion technique was able to give greater contributionin teaching and learning speaking. REFERENCES Aleen, D. E. (2001) Mimimizing the Perils of Small Group Discussion. Center for Teaching Excelent. Online (http://www.vcu.edu/cte/resources/nfrg/14_04minizing_peril_of.htm) Brown, Douglas (1994) Teaching by Principles: An Interactive Approach to Language Pedagogy. London: Prentice Hall International Ltd. Byrne, Donn (1995) Teaching Oral English. Harlow: Longman Group UK Limited. Canal in Richards and Schmidt (2002 Chastain, Kenneth (1976 ) Developing Second Language Skills. Third Edition. New York: McNally College Publishing. Clark, Herbert H. and Eve V. Clark (1977) Psychology and Language: An Introduction to Psycholingustics. San Diego: Kascourt Brace Jovanich. De Boer, John (1987) Basic Language: Message and Meaning. New York: Haper Row Publisher. Drekurs, Rudolf and B. Gunawan (1982) Maintaning Sanity in the Classroom: Management Technique. New York: Haper Collins Publishing. Frederick, E. (1993) A Plan for Small Group Discussion. Online (http://extension.missouri.edu/explore/common/dm0460.htm) Glistrap, Robert L. and Willian R. Martin (1975) Current Strategies for Teachers: A Resoruce for Personalizing Instruction. Santa Monica, California: Goodyear Publishing Company, Inc. Harmer, Jeremy (1998) How to Teach English. New York: Longman. Hatch, Evelyn and Anne Lazaraton (1991) The Research Manual. New York: Newbury House Publisher. Jabu, Baso (2000) Upaya Peningkatan Kemampuan Menyimak Siswa Kelas 1 SMU N2 Makassar melalui Teknik LWS (Listening-Writing-Speaking). Makassar: FBS Universitas Negeri Makassar. McKeachie, W. J.(1999) Teaching Tips: Strategies, Research, and Theory for College and University Teachers. Boston, Massachusetts: Houghton Mifflin Company. Mikundan (2008) Active Speaking. Online (http://www.mikundan.com/portofolio/winstaru/wvcontents/jobaids/aecr/speak.html Muttakin, M. (1992) Activating the Students to Speak English through Pair Tasks in SMU 3 Ujung Pandang. Unpublished Thesis. Ujung Pandang: FPBS IKIP Ujung Pandang. Noni, Nurdin (2003) A Hybrid of Face to Face Teaching and Computer Assisted language Learning in ELT Based on Individual References. Unpublished Dissertation. Makassar: Pastgraduate Program of Hasanuddin University. Nunan, David (1993) Designing Tasks for Communication Classroom. New York: Cambridge University Press. O’driscoll, Nina and Adrian Pilbeam (1987). Meetings and Discussions. London: Longman Group UK Ltd. Rivers, M. W. (1981) Teaching Foreign Langauge Skills. Chicago: University of Michigan Press. Rosma.(2002) Improving Students’ Communicaive Competence through Group Discussion in the Second Year Students of SMUN 2 Maros. Unpublished Thesis. Makassar: FBS Universitas Negeri Makassar. Steven, Runnebohn, M. Jospeh Mazza, and B. Dan Curtis (1979) Communication for Problem Solving. New York: Wiley and Sons, Inc. Publisher. Ur, Penny (1996) A Course in Language Teaching Practice and Theory. Sydney: The Press Syndicate of the University of Cambridge.

Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Architecture were contested on pragmatic grounds, such as cost, brief and particularly concerning issues of suitability and effectiveness in relation to climate and weather. A number of famed cases resulted in legal action between clients and architects, and in many more examples historians have critically framed these accounts to highlight alternate issues and agendas. “Complaints about the weather,” in relation to architecture, inevitably raise issues regarding a work’s “success,” particularly in view of the tensions between artistry and functionality inherent in the discipline of architecture. While in more recent decades these ideas have been framed around ideas of sustainability—particularly in relation to contemporary buildings—more traditionally they have been engaged through discussions of an architect’s ethical responsibility to deliver a habitable building that meets the client’s needs. This paper suggests these complaints often raise a broader range of issues and are used to highlight tensions inherent in the discipline. In the history of Modern Architecture, these complaints are often framed through gender studies, ethics and, more recently, artistic asceticism. Accounts of complaints and disputes are often invoked in the social construction (or deconstruction) of artistic genius – whether in a positive or negative light. Through its discussion of a number of famed examples, this paper will discuss the framing of climate in relation to the figure of the Modern Architect and the reception of the architectural “masterpiece.” Dear Monsieur Le Corbusier … In June 1930 Mme Savoye, the patron of the famed Villa Savoye on the outskirts of Paris, wrote to her architect, Le Corbusier, stating: “it is still raining in our garage” (Sbriglio 144)—a persistent theme in their correspondence. This letter followed another sent in March after discovering leaks in the garage and several bedrooms following a visit during inclement weather. While sent prior to the building’s completion, she also noted that rainfall on the bathroom skylight “makes a terrible noise […] which prevents us from sleeping in bad weather” (Sbriglio 142). Claiming to have warned Le Corbusier about the concern, the contractor refused to accept responsibility, prompting some rather fiery correspondence between the two. This problem, compounded by issues with the heating system, resulted in the house feeling, as Sbriglio notes, “cold and damp” and subject to “substantial heat loss due to the large glazing”—a cause for particular concern given the health problems of the clients’ only child, Roger Savoye, that saw him spend time in a French Sanatorium (Sbriglio 145). While the cause of Roger’s illness is not clear, at least one writer (albeit with a noticeable lack of footnotes or supporting evidence) has linked this directly to the villa (de Botton 65). Mme Savoye’s complaints about dampness, humidity, condensation and leaking in her home persisted in subsequent years, prompting Benton to summarise in 1987, “every autumn […] there were cries of distress from the Savoye family with the first rains” (Villas 204). These also extended to discussion of the heating system, which while proving insufficient was also causing flooding (Benton, "Villa" 93). In 1935 Savoye again wrote to Le Corbusier, wearily stating: It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked [….] it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through. (Sbriglio 146-7) Savoye’s understandable vexation with waterproofing problems in her home continued to escalate. With a mixture of gratitude and frustration, a letter sent two years later stated: “After innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…. Please render it inhabitable immediately. I sincerely hope that I will not have to take recourse to legal action” (Sbriglio 147). Paradoxically, Le Corbusier was interested in the potential of architecture and urban planning to facilitate health and well-being, as well as the effects that climate may play in this. Early twentieth century medical thought advocated heliotherary (therapeutic exposure to sunlight) for a diverse range of medical conditions, ranging from rickets to tuberculosis. Similarly the health benefits of climate, such as the dryness of mountain air, had been recognised for much longer, and had led to burgeoning industries associated with health, travel and climate. The dangers of damp environments had also long been medically recognised. Le Corbusier’s awareness of the health benefits of sunshine led to the inclusion of a solarium in the villa that afforded both framed and unframed views of the surrounding countryside, such as those that were advocated in the seventeenth century as an antidote to melancholy (Burton 65-66). Both Benton and Sbriglio present Mme Savoye’s complaints as part of their comprehensive histories of an important and influential work of Modern Architecture. Each reproduce excerpts from archival letters that are not widely translated or accessible, and Benton’s 1984 essay is the source other authors generally cite in discussing these matters. In contrast, for example, Murphy’s 2002 account of the villa’s conversion from “house” to “historical monument” cites the same letters (via Benton) as part of a broader argument that highlights the “undomestic” or “unhomely” nature of the work by cataloguing such accounts of the client’s experience of discomfort while residing in the space – thus revisiting a number of common criticisms of Modern Architecture. Le Corbusier’s reputation for designing buildings that responded poorly to climate is often referenced in popular accounts of his work. For example, a 1935 article published in Time states: Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in.” Reference to these issues are usually made rather minimally in academic accounts of his work, and few would agree with this article’s assertion that Le Corbusier’s influence as a phrasemaker would rival the impact of his architecture. In contrast, such issues, in relation to other architects, are often invoked more rhetorically as part of a variety of historical agendas, particularly in constructing feminist histories of architecture. While Corbusier and his work have often been the source of intellectual contention from feminist scholars—for example in regard to authorial disputes and fractious relationships with the likes of Eileen Gray or Charlotte Perriand – discussion of the functional failures in the Villa Savoye are rarely addressed from this perspective. Rather, feminist scholars have focussed their attention on a number of other projects, most notably the case of the Farnsworth House, another canonical work of Modernism. Dear Herr Mies van der Rohe … Mies van der Rohe’s Farnsworth House, completed in 1951 in Plano Illinois, was commissioned as a country weekend residence by an unmarried female doctor, a brief credited with freeing the architect from many of the usual pragmatic requirements of a permanent city residence. In response Mies designed a rectilinear steel and glass pavilion, which hovered (to avoid the flood levels) above the landscape, sheltered by maple trees, in close proximity to the Fox River. The refined architectural detail, elegant formal properties, and poetic relationship with the surrounding landscape – whether in its autumnal splendour or covered in a thick blanket of snow – captivated architects seeing it become, like the Villa Savoye, one of the most revered architectural works of the twentieth century. Prior to construction a model was exhibited in the Museum of Modern Art in New York and, upon completion the building became a pilgrimage site for architects and admirers. The exhibition of the design later fuelled debate about whether Dr Farnsworth constituted a patron or a client (Friedman 134); a distinction generating very different expectations for the responsibilities of the architect, particularly regarding the production of a habitable home that met the client’s brief versus producing a design of architectural merit. The house was intended as a frame for viewing and contemplating nature, thus seeing nature and climate aligned with the transcendental qualities of the design. Following a visit during construction, Farnsworth described the building’s relationship to the elements, writing: “the two horizontal planes of the unfinished building, floating over the meadows, were unearthly beautiful under a sun which glowed like a wild rose” (5). Similarly, in 1951, Arthur Drexler described the building as “a quantity of air caught between a floor and a roof” (Vandenberg 6). Seven years later the architect himself asserted that nature “gained a more profound significance” when viewed from within the house (Friedman 139). While the transparency of the house was “forgiven” by its isolated location and the lack of visibility from neighbouring properties, the issues a glass and steel box might pose for the thermal comfort of its occupant are not difficult to imagine. Following the house’s completion, Farnsworth fitted windows with insect screens and blinds (although Mies intended for curtains to be installed) that clumsily undermined the refined and minimalistic architectural details. Controversy surrounding the house was, in part, the result of its bold new architectural language. However, it was also due to the architect-client relationship, which turned acrimonious in a very public manner. A dispute between Mies and Farnsworth regarding unpaid fees was fought both in the courtroom and the media, becoming a forum for broader debate as various journals (for example, House Beautiful), publicly took sides. The professional female client versus the male architect and the framing of their dispute by historians and the media has seen this project become a seminal case-study in feminist architectural histories, such as Friedman’s Women and the Making of the Modern House of 1998. Beyond the conflict and speculation about the individuals involved, at the core of these discussions were the inadequacies of the project in relation to comfort and climate. For example, Farnsworth describes in her journal finding the house awash with several inches of water, leading to a court session being convened on the rooftop in order to properly ascertain the defects (14). Written retrospectively, after their relationship soured, Farnsworth’s journal delights in recounting any errors or misjudgements made by Mies during construction. For example, she described testing the fireplace to find “the house was sealed so hermetically that the attempt of a flame to go up the chimney caused an interior negative pressure” (2). Further, her growing disenchantment was reflected in bleak descriptions aligning the building with the weather. Describing her first night camping in her home, she wrote: “the expanses of the glass walls and the sills were covered with ice. The silent meadows outside white with old and hardened snow reflected the bleak [light] bulb within, as if the glass house itself were an unshaded bulb of uncalculated watts lighting the winter plains” (9). In an April 1953 article in House Beautiful, Elizabeth Gordon publicly sided with Farnsworth as part of a broader campaign against the International Style. She condemned the home, and its ‘type’ as “unlivable”, writing: “You burn up in the summer and freeze in the winter, because nothing must interfere with the ‘pure’ form of their rectangles” (250). Gordon included the lack of “overhanging roofs to shade you from the sun” among a catalogue of “human qualities” she believed architects sacrificed for the expression of composition—a list that also included possessions, children, pets and adequate kitchen facilities (250). In 1998 excerpts from this article were reproduced by Friedman, in her seminal work of feminist architectural history, and were central in her discussion of the way that debates surrounding this house were framed through notions of gender. Responding to this conflict, and its media coverage, in 1960 Peter Blake wrote: All great houses by great architects tend to be somewhat impractical; many of Corbu’s and Wright’s house clients find that they are living in too expensive and too inefficient buildings. Yet many of these clients would never exchange their houses for the most workable piece of mediocrity. (88) Far from complaining about the weather, the writings of its second owner, Peter Palumbo, poetically meditate the building’s relationship to the seasons and the elements. In his foreword to a 2003 monograph, he wrote: life inside the house is very much a balance with nature, and an extension of nature. A change in the season or an alteration of the landscape creates a marked change in the mood inside the house. With an electric storm of Wagnerian proportions illuminating the night sky and shaking the foundations of the house to their very core, it is possible to remain quite dry! When, with the melting snows of spring, the Fox River becomes a roaring torrent that bursts its banks, the house assumes a character of a house-boat, the water level sometimes rising perilously close to the front door. On such occasions, the approach to the house is by canoe, which is tied to the steps of the upper terrace. (Vandenberg 5) Palumbo purchased the house from Farnsworth and commissioned Mies’s grandson to restore it to its original condition, removing the blinds and insect screens, and installing an air-conditioning system. The critical positioning of Palumbo has been quite different from that of Farnsworth. His restoration and writings on the project have in some ways seen him positioned as the “real” architectural patron. Furthermore, his willingness to tolerate some discomfort in his inhabitation has seen him in some ways prefigure the type of resident that will be next be discussed in reference to recent owners of Wright properties. Dear Mr Wright … Accounts of weatherproofing problems in buildings designed by Frank Lloyd Wright have become the basis of mythology in the architectural discipline. For example, in 1936 Herbert Johnson and J. Vernon Steinle visited Wright’s Richard Lloyd Jones house in Oklahoma. As Jonathan Lipman wrote, “Steinle’s most prominent recollection of the house was that there were scores of tubs and canning jars in the house catching water leaking through the roof” (45). While Lipman notes the irony that both the house and office Wright designed for Johnson would suffer the same problem, it is the anecdotal accounts of the former that have perhaps attracted the most interest. An oft-recounted story tells of Johnson telephoning Wright, during a dinner party, with regard to water dripping from the ceiling into his guest-of-honour’s soup; the complaint was reportedly rebuffed unsympathetically by Wright who suggested the lady should move her chair (Farr 272). Wright himself addressed his reputation for designing buildings that leaked in his Autobiography. In reference to La Miniatura in Pasadena, of 1923, he contextualised difficulties with the local climate, which he suggested was prone to causing leaks, writing: “The sun bakes the roof for eleven months, two weeks and five days, shrinking it to a shrivel. Then giving the roof no warning whatever to get back to normal if it could, the clouds burst. Unsuspecting roof surfaces are deluged by a three inch downpour.” He continued, stating: I knew all this. And I know there are more leaking roofs in Southern California than in all the rest of the world put together. I knew that the citizens come to look upon water thus in a singularly ungrateful mood. I knew that water is all that enables them to have their being there, but let any of it through on them from above, unexpectedly, in their houses and they go mad. It is a kind of phobia. I knew all this and I have taken seriously precautions in the details of this little house to avoid such scenes as a result of negligible roofs. This is the truth. (250) Wright was quick to attribute blame—directed squarely at the builder. Never one for quiet diplomacy, he complained that the “builder had lied to [him] about the flashing under and within the coping walls” (250) and he was ignorant of the incident because the client had not informed him of the leak. He suggested the client’s silence was undoubtedly due to her “not wishing to hurt [his] feelings”. Although given earlier statements it might be speculated that she did not wish to be accused of pandering to a phobia of leaks. Wright was dismissive of the client’s inconvenience, suggesting she would be able to continue as normal until the next rains the following year and claiming he “fixed the house” once he “found out about it” (250). Implicit in this justification was the idea that it was not unreasonable to expect the client to bear a few days of “discomfort” each year in tolerance of the local climate. In true Wright style, discussions of these problems in his autobiography were self-constructive concessions. While Wright refused to take responsibility for climate-related issues in La Minatura, he was more forthcoming in appreciating the triumphs of his Imperial Hotel in Japan—one of the only buildings in the vicinity to survive the 1923 earthquake. In a chapter of his autobiography titled “Building against Doomsday (Why the Great Earthquake did not destroy the Imperial Hotel),” Wright reproduced a telegram sent by Okura Impeho stating: “Hotel stands undamaged as monument of your genius hundreds of homeless provided perfectly maintained service. Congratulations” (222). Far from unconcerned by nature or climate, Wright’s works celebrated and often went to great effort to accommodate the poetic qualities of these. In reference to his own home, Taliesin, Wright wrote: I wanted a home where icicles by invitation might beautify the eaves. So there were no gutters. And when the snow piled deep on the roofs […] icicles came to hang staccato from the eaves. Prismatic crystal pendants sometimes six feet long, glittered between the landscape and the eyes inside. Taliesin in winter was a frosted palace roofed and walled with snow, hung with iridescent fringes. (173) This description was, in part, included as a demonstration of his “superior” understanding and appreciation of nature and its poetic possibilities; an understanding not always mirrored by his clients. Discussing the Lloyd Lewis House in Libertyville, Illinois of 1939, Wright described his endeavours to keep the house comfortable (and avoid flooding) in Spring, Autumn and Summer months which, he conceded, left the house more vulnerable to winter conditions. Utilising an underfloor heating system, which he argued created a more healthful natural climate rather than an “artificial condition,” he conceded this may feel inadequate upon first entering the space (495). Following the client’s complaints that this system and the fireplace were insufficient, particularly in comparison with the temperature levels he was accustomed to in his workplace (at The Daily News), Wright playfully wrote: I thought of various ways of keeping the writer warm, I thought of wiring him to an electric pad inside his vest, allowing lots of lead wire so he could get around. But he waved the idea aside with contempt. […] Then I suggested we appeal to Secretary Knox to turn down the heat at the daily news […] so he could become acclimated. (497) Due to the client’s disinclination to bear this discomfort or use any such alternate schemes, Wright reluctantly refit the house with double-glazing (at the clients expense). In such cases, discussion of leaks or thermal discomfort were not always negative, but were cited rhetorically implying that perfunctory building techniques were not yet advanced enough to meet the architect’s expectations, or that their creative abilities were suppressed by conservative or difficult clients. Thus discussions of building failures have often been invoked in the social construction of the “architect-genius.” Interestingly accounts of the permeability of Wright’s buildings are more often included in biographical rather that architectural writings. In recent years, these accounts of weatherproofing problems have transformed from accusing letters or statements implying failure to a “badge of honour” among occupants who endure discomfort for the sake of art. This changing perspective is usually more pronounced in second generation owners, like Peter Palumbo (who has also owned Corbusier and Wright designed homes), who are either more aware of the potential problems in owning such a house or are more tolerant given an understanding of the historical worth of these projects. This is nowhere more evident than in a profile published in the real estate section of the New York Times. Rather than concealing these issues to preserve the resale value of the property, weatherproofing problems are presented as an endearing quirk. The new owners of Wright’s Prefab No. 1 of 1959, on Staten Island declared they initially did not have enough pots to place under the fifty separate leaks in their home, but in December 2005 proudly boasted they were ‘down to only one leak’ (Bernstein, "Living"). Similarly, in 2003 the resident of a Long Island Wright-designed property, optimistically claimed that while his children often complained their bedrooms were uncomfortably cold, this encouraged the family to spend more time in the warmer communal spaces (Bernstein, "In a House"). This client, more than simply optimistic, (perhaps unwittingly) implies an awareness of the importance of “the hearth” in Wright’s architecture. In such cases complaints about the weather are re-framed. The leaking roof is no longer representative of gender or power relationships between the client and the uncompromising artistic genius. Rather, it actually empowers the inhabitant who rises above their circumstances for the sake of art, invoking a kind of artistic asceticism. While “enlightened” clients of famed architects may be willing to suffer the effects of climate in the interiors of their homes, their neighbours are less tolerant as suggested in a more recent example. Complaints about the alteration of the micro-climate surrounding Frank Gehry’s Walt Disney Concert Hall in Los Angeles prompted the sandblasting of part of the exterior cladding to reduce glare. In 2004, USA Today reported that reflections from the stainless steel cladding were responsible for raising the temperature in neighbouring buildings by more than 9° Celsius, forcing neighbours to close their blinds and operate their air-conditioners. There were also fears that the glare might inadvertently cause traffic problems. Further, one report found that average ground temperatures adjacent to the building peaked at approximately 58° Celsius (Schiler and Valmont). Unlike the Modernist examples, this more recent project has not yet been framed in aid of a critical agenda, and has seemingly been reported simply for being “newsworthy.” Benign Conversation Discussion of the suitability of Modern Architecture in relation to climate has proven a perennial topic of conversation, invoked in the course of recurring debates and criticisms. The fascination with accounts of climate-related problems—particularly in discussing the work of the great Modernist Architects like Le Corbusier, Mies van der Rohe and Frank Lloyd Wright—is in part due to a certain Schadenfreude in debunking the esteem and authority of a canonical figure. This is particularly the case with one, such as Wright, who was characterised by significant self-confidence and an acerbic wit often applied at the expense of others. Yet these accounts have been invoked as much in the construction of the figure of the architect as a creative genius as they have been in the deconstruction of this figure—as well as the historical construction of the client and the historians involved. In view of the growing awareness of the threats and realities of climate change, complaints about the weather are destined to adopt a new significance and be invoked in support of a different range of agendas. While it may be somewhat anachronistic to interpret the designs of Frank Lloyd Wright or Mies van der Rohe in terms of current discussions about sustainability in architecture, these topics are often broached when restoring, renovating or adapting the designs of such architects for new or contemporary usage. In contrast, the climatic problems caused by Gehry’s concert hall are destined to be framed according to a different set of values—such as the relationship of his work to the time, or perhaps in relation to contemporary technology. While discussion of the weather is, in the conversational arts, credited as benign topic, this is rarely the case in architectural history. References Benton, Tim. The Villas of Le Corbusier 1920-1930. New Haven: Yale UP, 1987. ———. “Villa Savoye and the Architects’ Practice (1984).” Le Corbusier: The Garland Essays. Ed. H. Allen Brooks. New York: Garland, 1987. 83-105. Bernstein, Fred A. “In a House That Wright Built.” New York Times 21 Sept. 2003. 3 Aug. 2009 < http://www.nytimes.com/2003/09/21/nyregion/in-a-house-that-wright-built.html >. ———. “Living with Frank Lloyd Wright.” New York Times 18 Dec. 2005. 30 July 2009 < http://www.nytimes.com/2005/12/18/realestate/18habi.html >. Blake, Peter. Mies van der Rohe: Architecture and Structure. Harmondsworth: Penguin, 1963 (1960). Burton, Robert. The Anatomy of Melancholy, vol. II. Eds. Nicolas K. Kiessling, Thomas C. Faulkner and Rhonda L. Blair. Oxford: Clarendon, 1995 (1610). Campbell, Margaret. “What Tuberculosis Did for Modernism: The Influence of a Curative Environment on Modernist Design and Architecture.” Medical History 49 (2005): 463–488. “Corbusierismus”. Art. Time 4 Nov. 1935. 18 Aug. 2009 < http://www.time.com/time/magazine/article/0,9171,755279,00.html >. De Botton, Alain. The Architecture of Happiness. London: Penguin, 2006. Farnsworth, Edith. ‘Chapter 13’, Memoirs. Unpublished journals in three notebooks, Farnsworth Collection, Newberry Library, Chicago, unpaginated (17pp). 29 Jan. 2009 < http://www.farnsworthhouse.org/pdf/edith_journal.pdf >. Farr, Finis. Frank Lloyd Wright: A Biography. New York: Charles Scribner’s Sons, 1961. Friedman, Alice T. Women and the Making of the Modern House: A Social and Architectural History. New York: Harry N. Abrams, 1998. Gordon, Elizabeth. “The Threat to the Next America.” House Beautiful 95.4 (1953): 126-30, 250-51. Excerpts reproduced in Friedman. Women and the Making of the Modern House. 140-141. Hardarson, Ævar. “All Good Architecture Leaks—Witticism or Word of Wisdom?” Proceedings of the CIB Joint Symposium 13-16 June 2005, Helsinki < http://www.metamorfose.ntnu.no/Artikler/Hardarson_all_good_architecture_leaks.pdf >. Huck, Peter. “Gehry’s Hall Feels Heat.” The Age 1 March 2004. 22 Aug. 2009 < http://www.theage.com.au/articles/2004/02 /27/1077676955090.html >. Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax Buildings. Introduction by Kenneth Frampton. London: Architectural Press, 1984. Murphy, Kevin D. “The Villa Savoye and the Modernist Historic Monument.” Journal of the Society of Architectural Historians 61.1 (2002): 68-89. “New L.A. Concert Hall Raises Temperatures of Neighbours.” USA Today 24 Feb. 2004. 24 Aug. 2009 < http://www.usatoday.com/news/nation/2004-02-24-concert-hall_x.htm >. Owens, Mitchell. “A Wright House, Not a Shrine.” New York Times 25 July 1996. 30 July 2009 . Sbriglio, Jacques. Le Corbusier: La Villa Savoye, The Villa Savoye. Paris: Fondation Le Corbusier; Basel: Birkhäuser, 1999. Schiler, Marc, and Elizabeth Valmont. “Microclimatic Impact: Glare around the Walt Disney Concert Hall.” 2005. 24 Aug. 2009 < http://www.sbse.org/awards/docs/2005/1187.pdf >. Vandenberg, Maritz. Farnsworth House. Ludwig Mies van der Rohe. Foreword by Lord Peter Palumbo. London: Phaidon Press, 2003. Wright, Frank Lloyd. An Autobiography. New York: Duell, Sloan and Pearce, 1943.

To use the overworked metaphor of the movie reviewers, Adaptation (2002)—directed by Spike Jonze and written by Charlie Kaufman—is that rare Hollywood flower, a “literary” film that succeeds both with the critics and at the box office. But Kaufman’s literary colleagues, his fellow screenwriters whose opinions are rarely noticed by movie reviewers or the public, express their support in more interesting terms. Robert McKee, the real-life screenwriter and teacher played by Brian Cox in the movie, writes about Kaufman as one of the few to “step out of screenwriting anonymity to gain national recognition as an artist—without becoming a director” (131). And the screenwriter Stephen Schiff (Lolita [Adrian Lyne, 1997], The Deep End of the Ocean [Ulu Grosbard, 1999]) embraces the film as a manifesto, claiming that Kaufman’s work offers “redemption” to him and his fellow screenwriters who are “struggling to adapt to the world’s dismissive view of adaptation.” The comments by Kaufman’s colleagues suggest that new respect for the work of adaptation, and the role of the screenwriter go hand in hand. The director—whom auteur theory, the New Wave, and film schools helped to establish as the primary creative agent behind a film—has long overshadowed the screenwriter, but Kaufman’s acclaim as a screenwriter reflects a new sensibility. This was illustrated by the controversy among Academy Award voters in 2002. They found that year’s nominees, including Adaptation, unsettled the Academy’s traditional distinction between “original screenplay” and “adapted screenplay”, debating whether a nominee for best original screenplay, such as My Big Fat Greek Wedding (Joel Zwik, 2002), was more like an adaptation, while Adaptation, a nominee for best adapted screenplay, was more like an original screenplay. The Academy’s confusion on this score is not without precedents; nonetheless, as Rick Lyman of The New York Times reports, it led some to wonder, “in an age of narrative deconstruction and ‘reality television’,” whether the distinction between original and adaptation was still valid. If, as the famed critic Alexandre Astruc claimed, the director should be seen as someone who uses the camera as a pen to “write” the movie, then the screenwriter, in Ben Stoltzfus’s words, is increasingly seen as someone who uses the pen to “shoot” the movie. While this appreciation of the screenwriter as an “adaptor” who directs the movie opens new possibilities within Hollywood filmmaking, it also occurs in a Hollywood where TV shows, video games, and rides at Disneyland are adapted to film as readily as literary works once were. Granted, some stand to gain, but who or what is lost in this new hyper-adaptive environment? While there is much to be said for Kaufman’s movie, I suggest its optimistic account of adaptation—both as an existential principle and cinematic practice—is one-sided. Part of the dramatic impact of the movie’s one word title is the way it shoves the act of adaptation out from the wings and places it front and center in the filmmaking process. An amusing depiction of the screenwriter’s marginalisation occurs at the movie’s beginning, immediately following Charlie’s (Nicholas Cage) opening monologue delivered against a black screen. It is presented as a flashback to the making of Being John Malkovich (Spike Jonze, 1999), the movie for which Kaufman wrote his first screenplay, making him “a name” in Hollywood. Although scripted, the scene is shot with a hand-held video camera and looks as though it is occurring in real time. The central character is John Malkovich in costume as a woman who shouts orders at everyone on the set—deftly illustrating how the star’s power in the new Hollywood enables him or her to become “the director” of the movie. His directions are then followed by ones from the first assistant director and the cinematographer. Meanwhile, Charlie stands silently and awkwardly off to the side, until he is chased away by the first assistant director—not even the director or the cinematographer—who tells him, “You. You’re in the eyeline. Can you please get off the stage?” (Kaufman and Kaufman, 3). There are other references that make the movie’s one-word title evocative. It forces one to think about the biological and literary senses of the word—evolution as a narrative process and narrative as an evolutionary process—lifting the word’s more colloquial meaning of “getting along” to the level of an existential principle. Or, as Laroche (Chris Cooper) explains to Orlean (Meryl Streep), “Adaptation’s a profound process. It means you figure out how to thrive in the world” (Kaufman and Kaufman, 35). But Laroche’s definition of adaptation, which the movie endorses and dramatises, is only half the story. In fact evolutionary science shows that nature’s “losers” vastly outnumber nature’s “winners.” As Peter Bowler expresses it in his historical account of the theory of natural selection, “Evolution becomes a process of trial and error based on massive wastage and the death of vast numbers of unfit creatures”(6). Turning the “profound process” of adaptation into a story about the tiny fraction who “figure out how to thrive in the world” has been done before. It manifested itself in Herbert Spencer’s late-nineteenth-century philosophical “adaptation” of Charles Darwin’s work on natural selection, coining the phrase, “survival of the fittest.” Both the scientist Darwin and the philosopher Spencer, as Bowler points out, would have been horrified at how their work was used to justify the rapacious capitalism and harsh social policies of American industry (301). Nonetheless, although by now largely discredited in the academy, the ideology of social Darwinism persists within the broader culture in various watered-down or subterranean forms. Perhaps in the movie’s violent climax when Laroche is killed by an alligator—a creature that represents one of the more impressive examples of adaptation in the natural world—Kaufman is suggesting the darker side to the story of natural selection in which adaptation is not only a story about the mutable and agile orchid that “figure[s] out how to thrive in the world.” There are no guarantees for the tiny fraction of species that do survive, whether they are as perfectly adapted to their environment as orchids and alligators or, for that matter, individuals like Laroche with his uncanny ability to adapt to whatever life throws at him. But after the movie’s violent eruption, which does away not only with Laroche but also Donald (Nicholas Cage) and in effect Orlean, Charlie emerges as the sole survivor, reassuring the viewer that the story of adaptation is about nature’s winners. The darker side to the story of natural selection is subsumed within the movie’s layers of meta-commentary, which make the violence at the movie’s end an ironic device within Charlie’s personal and artistic evolution—a way for him to maintain a critical distance on the Hollywood conventions he has resisted while simultaneously incorporating them into his art. A cinematically effective montage dramatically represents the process of evolution. However, as with the movie’s one-sided account of adaptation, as a story about those who “figure out how to thrive in the world,” this depiction of evolution is framed, both figuratively and literally, by Charlie’s personal growth—as though the logical and inevitable endpoint of the evolutionary process is the human individual. The montage is instigated by Charlie’s questions to himself, “Why am I here? How did I get here?” and concludes with a close-up on the bawling face of a newborn baby, whom the viewer assumes is Charlie (Kaufman and Kaufman, 3). This assumption is reinforced by the next scene, which begins with a close-up on the face of the adult Charlie who is sweating profusely as he struggles to survive a business luncheon with the attractive studio executive Valerie (Tilda Swinton). Although Orlean’s novel doesn’t provide a feminist reading of Darwin, she does alert her readers to the fact that he was a Victorian man and, as such, his science might reflect the prejudices of his day. In discussing Darwin’s particular fondness for his “‘beloved Orchids’” (47), she recounts his experiments to determine how they release their pollen: “He experimented by poking them with needles, camel-hair brushes, bristles, pencils, and his fingers. He discovered that parts were so sensitive that they released pollen upon the slightest touch, but that ‘moderate degrees of violence’ on the less sensitive parts had no effect ….” (48). In contrast to this humorous view of Darwin as the historically situated man of science, the movie depicts Darwin (Bob Yerkes) as the stereotypical Man of Science. Kaufman does incorporate some of Orlean’s discussion of Darwin’s study of orchids, but the portion he uses advances the screenplay’s sexualisation/romanticisation of Orlean’s relationship with Laroche. At an orchid show, Laroche lectures to Orlean about Darwin’s theory that a particular orchid, Angraecum sesquipedale, is pollinated by a moth with a twelve-inch proboscis. When Orlean takes exception to Laroche for telling her that proboscis means “nose,” he chides her, “Hey, let’s not get off the subject. This isn’t a pissing contest” (23). After this scene bristling with phallic imagery—and with his female pupil sufficiently chastised—Laroche proceeds to wax poetic about pollination as a “little dance” (24) between flower and insect. “[The] only barometer you have is your heart …” (24) he tells Orlean, who is clearly impressed by the depth of his soliloquy. On the literary and social level, a one-sided reading of adaptation as a positive process may be more justified, although here too one may question what the movie slights or ignores. What about the human ability to adapt to murderous and dehumanising social systems: slavery, fascism, colonialism, and so on? Or, more immediately, even if one acknowledges the writer’s “maturity,” as T.S. Eliot famously phrased it, in “stealing” from his or her source, what about the element of compromise implicit in the concept of adaptation? Several critics question whether the film’s ending, despite the movie’s self-referential ironies, ultimately reinforces the Hollywood formulas it sets out to critique. But only Stuart Klawans of The Nation connects it to the movie’s optimistic, one-sided view of adaptation. “Still,” he concludes, “I’m disappointed by that crashing final act. I wonder about the environmental pressure that must bear down on today’s filmmakers as they struggle to adapt, even when they’re as prodigious as Charlie Kaufman.” Oddly, for a self-reflexive movie about the creative process, it has little to say about the “environmental pressure” of the studio system and its toll on the artist. There are incisive character sketches of studio types, such as the attractive and painfully earnest executive, Valerie, who hires Charlie to write the screenplay for Orlean’s book, or Charlie’s sophomoric agent, Marty (Ron Livingston), who daydreams about anal sex with the women in his office while talking to his client. And, of course, a central plot line of the movie is the competition, at least as one of them sees it, between Charlie and his twin brother Donald. Charlie, the self-conscious Hollywood screenwriter who is stymied by his success and notions of artistic integrity, suffers defeat after humiliating defeat as Donald, the screenwriting neophyte who will stoop to any cliché or cheap device to advance his screenplay, receives a six-figure contract for his first effort: a formulaic and absurd serial-killer movie, The Three, that their mother admires as a cross between Psycho (Alfred Hitchcock, 1960) and Silence of the Lambs (Jonathan Demme, 1991). Because of the emotional arc of the brothers’ personal relationship, however, any qualms about Donald selling out look churlish at best. When Donald excitedly tells his brother about his good fortune, Charlie responds approvingly, rather than with one of the snide putdowns the viewer has grown to expect from him, signaling not only Charlie’s acceptance of his brother but the new awareness that will enable him to overcome his writer’s block. While there is a good deal of satire directed at the filmmaking process—as distinct from the studio system—it is ultimately a cherishing sort of satire. It certainly doesn’t reach the level of indictment found in Robert Altman’s The Player (1992) or Joel and Ethan Cohen’s Barton Fink (1991) for example. But the movie most frequently compared to Adaptation is Frederico Fellini’s masterpiece of auteurist self-reflexivity, 8 ½ (1963). This is high praise indeed, although the enthusiastic endorsements of some film critics do not stop there. Writing for the Observer, Philip French cites such New Wave movies as Jean-Luc Godard’s Le Mepris (1963), Francois Truffaut’s La Nuit Americaine (1973), and Alain Robbe-Grillet’s Trans-Europ-Express (1966). However, in passing, he qualifies the comparison by pointing out that, unlike the French auteurs, “Kaufman and Jonze are concerned with turning someone else’s idea into a piece of commercial cinema.” Some would argue the filmmakers’ ability to playfully adapt Orlean’s artistry to the commercial environment of Hollywood is what saves Adaptation’s meta-commentary from the didactic and elitist seriousness of many of its literary and cinematic precursors (Miller). This is a valid preference, but it slights the “environmental pressure” of the new studio system and how it sets the terms for success and failure. While Fellini and the New Wave auteurs were not entirely free of commercial cinema, they could claim an opposition to it that Kaufman, even if he wanted to, cannot. Film scholar Timothy Corrigan argues that the convergence of the new media, in particular television and film, radically alters the meaning and function of “independent” cinema: a more flexible and varied distribution network has responded to contemporary audiences, who now have the need and the power to pick and choose among the glut of images in contemporary television and film culture. Within this climate and under these conditions, the different, the more peculiar, the controversial enter the marketplace not as an opposition but as a revision and invasion of an audience market defined as too large and diverse by the dominant blockbusters. (25-6) Corrigan’s argument explains the qualitative differences between the sense of adaptation employed by the older auteurs and the new sense of adaptation required by contemporary auteurs fully incorporated within the new studio system and its new distribution technologies. Not everyone is disturbed by this state of affairs. A. O. Scott, writing for the New York Times, notes a similar “two-tier system” in Hollywood—with studios producing lavish “critic- and audience-proof franchise pictures” on the one hand and “art” or “independent” movies on the other—which strikes him as “a pretty good arrangement.” Based on what Adaptation does and does not say about the studio system, one imagines that Kaufman would, ultimately, concur. In contrast, however, a comment by Michel Gondry, the director Kaufman worked with on Human Nature (2001), gives a better indication of the costs incurred by adapting to the current system when he expresses his frustration with the delayed release of the picture by New Line Cinema: ‘First they were, like, “O.K. if Rush Hour 2 [Brett Ratner, 2001] does good business, then we’re in a good position,”’ Mr. Gondry said. ‘You fight to do something original and then you depend on Rush Hour 2 for the success of your movie? It’s like you are the last little thing on the bottom of the scale and you’re looking up watching the planets colliding. It’s been so frustrating.’ (Rochlin) No doubt, when Fellini and Godard thought about doing “something original” they also had considerable obstacles to face. But at least the success of 8 ½ or Le Mepris wasn’t dependent upon the success of films like Rush Hour 2. Given this sort of environmental pressure, as Klawans and Corrigan remind us, we need to keep in mind what might be lost as the present system’s winners adapt to what is generally understood as “a pretty good arrangement.” Another indication of the environmental pressure on artists in Hollywood’s present arrangement comes from Adaptation’s own story of adaptation—not the one told by Kaufman or his movie, but the one found in Susan Orlean’s account of how she and her novel were “adapted” by the filmmakers. Although Orlean is an enthusiastic supporter of the movie, when she first read the screenplay, she thought, “the whole thing ‘seemed completely nuts’” and wondered whether she wanted “that much visibility” (Boxer). She decided to give her consent on the condition they not use her name. This solution, however, wouldn’t work because she didn’t want her book “in a movie with someone else’s name on it” (Boxer). Forced to choose between an uncomfortable visibility and the loss of authorship, she chose the former. Of course, her predicament is not Kaufman’s fault; nonetheless, it is important to stress that the process of adaptation did not enforce a similar “choice” upon him. Her situation, like that of Gondry, indicates that successful adaptation to any system is a story of losing as well as winning. References Astruc, Alexandre. “The Birth of a New Avant-Garde: Le Camera-Stylo.” Film and Literature: An Introduction and Reader. Ed. Timothy Corrigan. Saddle River, NJ: Prentice Hall, 1999, 158-62. Bowler, Peter J. Evolution: The History of an Idea. 3rd ed. Berkeley, CA: U of California P, 2003. Boxer, Sarah. “New Yorker Writer Turns Gun-Toting Floozy? That’s Showbiz.” The New York Times 9 Dec. 2002, sec. E. Corrigan, Timothy. A Cinema without Walls. New Brunswick, NJ: Rutgers UP, 1991. Eliot, T.S. “Philip Massinger.” The Sacred Wood: Essays on Poetry and Criticism. 1922. http://www.bartleby.com/> French, Philip. “The Towering Twins.” The Observer 2 Mar. 2003. Guardian Unlimited. 12 Feb. 2007. http://film.guardian.co.uk/News_Story/Critic_Review>. Kaufman, Charlie and Donald Kaufman. Adaptation: The Shooting Script. New York: Newmarket Press, 2002. Klawans, Stuart. “Adeptations.” The Nation 23 Dec. 2002. 12 Febr. 2007. http://www.thenation.com/doc/20021223/klawans>. Lyman, Rick. “A Jumble of Categories for Screenwriter Awards.” The New York Times 21 Feb. 2003. McKee, Robert. “Critical Commentary.” Adaptation: The Shooting Script. New York: Newmarket Press, 2002. 131-5. Miller, Laura. “This Is the Way We Live Now.” The New York Times Magazine 17 Nov. 2002. Orlean, Susan. The Orchid Thief. New York: Ballantine Books, 1998. Rochlin, Margy. “From an Untamed Mind Springs an Ape Man.” The New York Times 7 Apr. 2002. Schiff, Stephen. “All Right, You Try: Adaptation Isn’t Easy.” The New York Times 1 Dec. 2002. Scott, A. O. “As Requested My Thoughts on the Oscars.” The New York Times 9 Feb. 2003. Stoltzfus, Ben. “Shooting with the Pen.” Writing in a Film Age. Ed. Keith Cohen. Niwot, CO: UP of Colorado, 1991. 246-63. Citation reference for this article MLA Style Rizzo, Sergio. "Adaptation and the Art of Survival." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/02-rizzo.php>. APA Style Rizzo, S. (May 2007) "Adaptation and the Art of Survival," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/02-rizzo.php>.

About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of arable land. Caught in the vice of overpopulation but with rapidly dwindling basic resources and no trees to build canoes, they were trapped on the island and watched helplessly as their society fell into disarray. The sequence ends with the narrator’s biting remark: “The real mystery of the Easter Islands is not how its strange statues got there, we know now; it's why the Rapa Nui didn't react in time.” In their unrelenting desire for development, the Rapa Nui appear to have overlooked the role the environment plays in maintaining a society. The island’s Moai accompanying the sequence appear as memento mori, a lesson in the mortality of human cultures brought about by their own misguided and short-sighted practices. Arthus-Bertrand’s Home, a film composed almost entirely of aerial photographs, bears witness to present-day environmental degradation and climate change, constructing society as a fragile structure built upon and sustained by the environment. Home is a call to recognise how contemporary practices of post-industrial societies have come to shape the environment and how they may impact the habitability of Earth in the near future. Through reflexivity and a ritualised structure the text invites spectators to look at themselves in a new light and remake their self-image in the wake of global environmental risk by embracing new, alternative core practices based on balance and interconnectedness. Arthus-Bertrand frames climate change not as a burden, but as a moment of profound realisation of the potential for change and humans ability to create a desirable future through hope and our innate capacity for renewal. This article examines how Arthus-Bertrand’s ritualised construction of climate change aims to remake viewers’ perception of present-day environmental degradation and investigates Home’s place in contemporary climate change communication discourse. Climate change, in its capacity to affect us globally, is considered a world risk. The most recent peer-reviewed Synthesis Report of the Intergovernmental Panel on Climate Change suggests that the concentration of atmospheric greenhouse gases has increased markedly since human industrialisation in the 18th century. Moreover, human activities, such as fossil fuel burning and agricultural practices, are “very likely” responsible for the resulting increase in temperature rise (IPPC 37). The increased global temperatures and the subsequent changing weather patterns have a direct and profound impact on the physical and biological systems of our planet, including shrinking glaciers, melting permafrost, coastal erosion, and changes in species distribution and reproduction patterns (Rosenzweig et al. 353). Studies of global security assert that these physiological changes are expected to increase the likelihood of humanitarian disasters, food and water supply shortages, and competition for resources thus resulting in a destabilisation of global safety (Boston et al. 1–2). Human behaviour and dominant practices of modernity are now on a path to materially impact the future habitability of our home, Earth. In contemporary post-industrial societies, however, climate change remains an elusive, intangible threat. Here, the Arctic-bound species forced to adapt to milder climates or the inhabitants of low-lying Pacific islands seeking refuge in mainland cities are removed from the everyday experience of the controlled and regulated environments of homes, offices, and shopping malls. Diverse research into the mediated and mediatised nature of the environment suggests that rather than from first-hand experiences and observations, the majority of our knowledge concerning the environment now comes from its representation in the mass media (Hamilton 4; Stamm et al. 220; Cox 2). Consequently the threat of climate change is communicated and constructed through the news media, entertainment and lifestyle programming, and various documentaries and fiction films. It is therefore the construction (the representation of the risk in various discourses) that shapes people’s perception and experience of the phenomenon, and ultimately influences behaviour and instigates social response (Beck 213). By drawing on and negotiating society’s dominant discourses, environmental mediation defines spectators’ perceptions of the human-nature relationship and subsequently their roles and responsibilities in the face of environmental risks. Maxwell Boykoff asserts that contemporary modern society’s mediatised representations of environmental degradation and climate change depict the phenomena as external to society’s primary social and economic concerns (449). Julia Corbett argues that this is partly because environmental protection and sustainable behaviour are often at odds with the dominant social paradigms of consumerism, economic growth, and materialism (175). Similarly, Rowan Howard-Williams suggests that most media texts, especially news, do not emphasise the link between social practices, such as consumerist behaviour, and their environmental consequences because they contradict dominant social paradigms (41). The demands contemporary post-industrial societies make on the environment to sustain economic growth, consumer culture, and citizens’ comfortable lives in air-conditioned homes and offices are often left unarticulated. While the media coverage of environmental risks may indeed have contributed to “critical misperceptions, misleading debates, and divergent understandings” (Boykoff 450) climate change possesses innate characteristics that amplify its perception in present-day post-industrial societies as a distant and impersonal threat. Climate change is characterised by temporal and spatial de-localisation. The gradual increase in global temperature and its physical and biological consequences are much less prominent than seasonal changes and hence difficult to observe on human time-scales. Moreover, while research points to the increased probability of extreme climatic events such as droughts, wild fires, and changes in weather patterns (IPCC 48), they take place over a wide range of geographical locations and no single event can be ultimately said to be the result of climate change (Maibach and Roser-Renouf 145). In addition to these observational obstacles, political partisanship, vested interests in the current status quo, and general resistance to profound change all play a part in keeping us one step removed from the phenomenon of climate change. The distant and impersonal nature of climate change coupled with the “uncertainty over consequences, diverse and multiple engaged interests, conflicting knowledge claims, and high stakes” (Lorenzoni et al. 65) often result in repression, rejection, and denial, removing the individual’s responsibility to act. Research suggests that, due to its unique observational obstacles in contemporary post-industrial societies, climate change is considered a psychologically distant event (Pawlik 559), one that is not personally salient due to the “perceived distance and remoteness [...] from one’s everyday experience” (O’Neill and Nicholson-Cole 370). In an examination of the barriers to behaviour change in the face of psychologically distant events, Robert Gifford argues that changing individuals’ perceptions of the issue-domain is one of the challenges of countering environmental inertia—the lack of initiative for environmentally sustainable social action (5). To challenge the status quo a radically different construction of the environment and the human-nature relationship is required to transform our perception of global environmental risks and ultimately result in environmentally consequential social action. Yann Arthus-Bertrand’s Home is a ritualised construction of contemporary environmental degradation and climate change which takes spectators on a rite of passage to a newfound understanding of the human-nature relationship. Transformation through re-imagining individuals’ roles, responsibilities, and practices is an intrinsic quality of rituals. A ritual charts a subjects path from one state of consciousness to the next, resulting in a meaningful change of attitudes (Deflem 8). Through a lifelong study of African rituals British cultural ethnographer Victor Turner refined his concept of rituals in a modern social context. Turner observed that rituals conform to a three-phased processural form (The Ritual Process 13–14). First, in the separation stage, the subjects are selected and removed from their fixed position in the social structure. Second, they enter an in-between and ambiguous liminal stage, characterised by a “partial or complete separation of the subject from everyday existence” (Deflem 8). Finally, imbued with a new perspective of the outside world borne out of the experience of reflexivity, liminality, and a cathartic cleansing, subjects are reintegrated into the social reality in a new, stable state. The three distinct stages make the ritual an emotionally charged, highly personal experience that “demarcates the passage from one phase to another in the individual’s life-cycle” (Turner, “Symbols” 488) and actively shapes human attitudes and behaviour. Adhering to the three-staged processural form of the ritual, Arthus-Bertrand guides spectators towards a newfound understanding of their roles and responsibilities in creating a desirable future. In the first stage—the separation—aerial photography of Home alienates viewers from their anthropocentric perspectives of the outside world. This establishes Earth as a body, and unearths spectators’ guilt and shame in relation to contemporary world risks. Aerial photography strips landscapes of their conventional qualities of horizon, scale, and human reference. As fine art photographer Emmet Gowin observes, “when one really sees an awesome, vast place, our sense of wholeness is reorganised [...] and the body seems always to diminish” (qtd. in Reynolds 4). Confronted with a seemingly infinite sublime landscape from above, the spectator’s “body diminishes” as they witness Earth’s body gradually taking shape. Home’s rushing rivers of Indonesia are akin to blood flowing through the veins and the Siberian permafrost seems like the texture of skin in extreme close-up. Arthus-Bertrand establishes a geocentric embodiment to force spectators to perceive and experience the environmental degradation brought about by the dominant social practices of contemporary post-industrial modernity. The film-maker visualises the maltreatment of the environment through suggested abuse of the Earth’s body. Images of industrial agricultural practices in the United States appear to leave scratches and scars on the landscape, and as a ship crosses the Arctic ice sheets of the Northwest Passage the boat glides like the surgeon’s knife cutting through the uppermost layer of the skin. But the deep blue water that’s revealed in the wake of the craft suggests a flesh and body now devoid of life, a suffering Earth in the wake of global climatic change. Arthus-Bertrand’s images become the sublime evidence of human intervention in the environment and the reflection of present-day industrialisation materially altering the face of Earth. The film-maker exploits spectators’ geocentric perspective and sensibility to prompt reflexivity, provide revelations about the self, and unearth the forgotten shame and guilt in having inadvertently caused excessive environmental degradation. Following the sequences establishing Earth as the body of the text Arthus-Bertrand returns spectators to their everyday “natural” environment—the city. Having witnessed and endured the pain and suffering of Earth, spectators now gaze at the skyscrapers standing bold and tall in the cityscape with disillusionment. The pinnacles of modern urban development become symbols of arrogance and exploitation: structures forced upon the landscape. Moreover, the images of contemporary cityscapes in Home serve as triggers for ritual reflexivity, allowing the spectator to “perceive the self [...] as a distanced ‘other’ and hence achieve a partial ‘self-transcendence’” (Beck, Comments 491). Arthus-Bertrand’s aerial photographs of Los Angeles, New York, and Tokyo fold these distinct urban environments into one uniform fusion of glass, metal, and concrete devoid of life. The uniformity of these cultural landscapes prompts spectators to add the missing element: the human. Suddenly, the homes and offices of desolate cityscapes are populated by none other than us, looking at ourselves from a unique vantage point. The geocentric sensibility the film-maker invoked with the images of the suffering Earth now prompt a revelation about the self as spectators see their everyday urban environments in a new light. Their homes and offices become blemishes on the face of the Earth: its inhabitants, including the spectators themselves, complicit in the excessive mistreatment of the planet. The second stage of the ritual allows Arthus-Bertrand to challenge dominant social paradigms of present day post-industrial societies and introduce new, alternative moral directives to govern our habits and attitudes. Following the separation, ritual subjects enter an in-between, threshold stage, one unencumbered by the spatial, temporal, and social boundaries of everyday existence. Turner posits that a subjects passage through this liminal stage is necessary to attain psychic maturation and successful transition to a new, stable state at the end of the ritual (The Ritual Process 97). While this “betwixt and between” (Turner, The Ritual Process 95) state may be a fleeting moment of transition, it makes for a “lived experience [that] transforms human beings cognitively, emotionally, and morally.” (Horvath et al. 3) Through a change of perceptions liminality paves the way toward meaningful social action. Home places spectators in a state of liminality to contrast geocentric and anthropocentric views. Arthus-Bertrand contrasts natural and human-made environments in terms of diversity. The narrator’s description of the “miracle of life” is followed by images of trees seemingly defying gravity, snow-covered summits among mountain ranges, and a whale in the ocean. Grandeur and variety appear to be inherent qualities of biodiversity on Earth, qualities contrasted with images of the endless, uniform rectangular greenhouses of Almeria, Spain. This contrast emphasises the loss of variety in human achievements and the monotony mass-production brings to the landscape. With the image of a fire burning atop a factory chimney, Arthus-Bertrand critiques the change of pace and distortion of time inherent in anthropocentric views, and specifically in contemporary modernity. Here, the flames appear to instantly eat away at resources that have taken millions of years to form, bringing anthropocentric and geocentric temporality into sharp contrast. A sequence showing a night time metropolis underscores this distinction. The glittering cityscape is lit by hundreds of lights in skyscrapers in an effort, it appears, to mimic and surpass daylight and thus upturn the natural rhythm of life. As the narrator remarks, in our present-day environments, “days are now the pale reflections of nights.” Arthus-Bertrand also uses ritual liminality to mark the present as a transitory, threshold moment in human civilisation. The film-maker contrasts the spectre of our past with possible visions of the future to mark the moment of now as a time when humanity is on the threshold of two distinct states of mind. The narrator’s descriptions of contemporary post-industrial society’s reliance on non-renewable resources and lack of environmentally sustainable agricultural practices condemn the past and warn viewers of the consequences of continuing such practices into the future. Exploring the liminal present Arthus-Bertrand proposes distinctive futurescapes for humankind. On the one hand, the narrator’s description of California’s “concentration camp style cattle farming” suggests that humankind will live in a future that feeds from the past, falling back on frames of horrors and past mistakes. On the other hand, the example of Costa Rica, a nation that abolished its military and dedicated the budget to environmental conservation, is recognition of our ability to re-imagine our future in the face of global risk. Home introduces myths to imbue liminality with the alternative dominant social paradigm of ecology. By calling upon deep-seated structures myths “touch the heart of society’s emotional, spiritual and intellectual consciousness” (Killingsworth and Palmer 176) and help us understand and come to terms with complex social, economic, and scientific phenomena. With the capacity to “pattern thought, beliefs and practices,” (Maier 166) myths are ideal tools in communicating ritual liminality and challenging contemporary post-industrial society’s dominant social paradigms. The opening sequence of Home, where the crescent Earth is slowly revealed in the darkness of space, is an allusion to creation: the genesis myth. Accompanied only by a gentle hum our home emerges in brilliant blue, white, and green-brown encompassing most of the screen. It is as if darkness and chaos disintegrated and order, life, and the elements were created right before our eyes. Akin to the Earthrise image taken by the astronauts of Apollo 8, Home’s opening sequence underscores the notion that our home is a unique spot in the blackness of space and is defined and circumscribed by the elements. With the opening sequence Arthus-Bertrand wishes to impart the message of interdependence and reliance on elements—core concepts of ecology. Balance, another key theme in ecology, is introduced with an allusion to the Icarus myth in a sequence depicting Dubai. The story of Icarus’s fall from the sky after flying too close to the sun is a symbolic retelling of hubris—a violent pride and arrogance punishable by nemesis—destruction, which ultimately restores balance by forcing the individual back within the limits transgressed (Littleton 712). In Arthus-Bertrand’s portrayal of Dubai, the camera slowly tilts upwards on the Burj Khalifa tower, the tallest human-made structure ever built. The construction works on the tower explicitly frame humans against the bright blue sky in their attempt to reach ever further, transgressing their limitations much like the ill-fated Icarus. Arthus-Bertrand warns that contemporary modernity does not strive for balance or moderation, and with climate change we may have brought our nemesis upon ourselves. By suggesting new dominant paradigms and providing a critique of current maxims, Home’s retelling of myths ultimately sees spectators through to the final stage of the ritual. The last phase in the rite of passage “celebrates and commemorates transcendent powers,” (Deflem 8) marking subjects’ rebirth to a new status and distinctive perception of the outside world. It is at this stage that Arthus-Bertrand resolves the emotional distress uncovered in the separation phase. The film-maker uses humanity’s innate capacity for creation and renewal as a cathartic cleansing aimed at reconciling spectators’ guilt and shame in having inadvertently exacerbated global environmental degradation. Arthus-Bertrand identifies renewable resources as the key to redeeming technology, human intervention in the landscape, and finally humanity itself. Until now, the film-maker pictured modernity and technology, evidenced in his portrayal of Dubai, as synonymous with excess and disrespect for the interconnectedness and balance of elements on Earth. The final sequence shows a very different face of technology. Here, we see a mechanical sea-snake generating electricity by riding the waves off the coast of Scotland and solar panels turning towards the sun in the Sahara desert. Technology’s redemption is evidenced in its ability to imitate nature—a move towards geocentric consciousness (a lesson learned from the ritual’s liminal stage). Moreover, these human-made structures, unlike the skyscrapers earlier in the film, appear a lot less invasive in the landscape and speak of moderation and union with nature. With the above examples Arthus-Bertrand suggests that humanity can shed the greed that drove it to dig deeper and deeper into the Earth to acquire non-renewable resources such as oil and coal, what the narrator describes as “treasures buried deep.” The incorporation of principles of ecology, such as balance and interconnectedness, into humanity’s behaviour ushers in reconciliation and ritual cleansing in Home. Following the description of the move toward renewable resources, the narrator reveals that “worldwide four children out of five attend school, never has learning been given to so many human beings” marking education, innovation, and creativity as the true inexhaustible resources on Earth. Lastly, the description of Antarctica in Home is the essence of Arthus-Bertrand’s argument for our innate capacity to create, not simply exploit and destroy. Here, the narrator describes the continent as possessing “immense natural resources that no country can claim for itself, a natural reserve devoted to peace and science, a treaty signed by 49 nations has made it a treasure shared by all humanity.” Innovation appears to fuel humankind’s transcendence to a state where it is capable of compassion, unification, sharing, and finally creating treasures. With these examples Arthus-Bertrand suggests that humanity has an innate capacity for creative energy that awaits authentic expression and can turn humankind from destroyer to creator. In recent years various risk communication texts have explicitly addressed climate change, endeavouring to instigate environmentally consequential social action. Home breaks discursive ground among them through its ritualistic construction which seeks to transform spectators’ perception, and in turn roles and responsibilities, in the face of global environmental risks. Unlike recent climate change media texts such as An Inconvenient Truth (2006), The 11th Hour (2007), The Age of Stupid (2009), Carbon Nation (2010) and Earth: The Operator’s Manual (2011), Home eludes simple genre classification. On the threshold of photography and film, documentary and fiction, Arthus-Bertrand’s work is best classified as an advocacy film promoting public debate and engagement with a universal concern—the state of the environment. The film’s website, available in multiple languages, contains educational material, resources to organise public screenings, and a link to GoodPlanet.info: a website dedicated to environmentalism, including legal tools and initiatives to take action. The film-maker’s approach to using Home as a basis for education and raising awareness corresponds to Antonio Lopez’s critique of contemporary mass-media communications of global risks. Lopez rebukes traditional forms of mediatised communication that place emphasis on the imparting of knowledge and instead calls for a participatory, discussion-driven, organic media approach, akin to a communion or a ritual (106). Moreover, while texts often place a great emphasis on the messenger, for instance Al Gore in An Inconvenient Truth, Leonardo DiCaprio in The 11th Hour, or geologist Dr. Richard Alley in Earth: The Operator’s Manual, Home’s messenger remains unseen—the narrator is only identified at the very end of the film among the credits. The film-maker’s decision to forego a central human character helps dissociate the message from the personality of the messenger which aids in establishing and maintaining the geocentric sensibility of the text. Finally, the ritual’s invocation and cathartic cleansing of emotional distress enables Home to at once acknowledge our environmentally destructive past habits and point to a hopeful, environmentally sustainable future. While The Age of Stupid mostly focuses on humanity’s present and past failures to respond to an imminent environmental catastrophe, Carbon Nation, with the tagline “A climate change solutions movie that doesn’t even care if you believe in climate change,” only explores the potential future business opportunities in turning towards renewable resources and environmentally sustainable practices. The three-phased processural form of the ritual allows for a balance of backward and forward-looking, establishing the possibility of change and renewal in the face of world risk. The ritual is a transformative experience. As Turner states, rituals “interrupt the flow of social life and force a group to take cognizance of its behaviour in relation to its own values, and even question at times the value of those values” (“Dramatic Ritual” 82). Home, a ritualised media text, is an invitation to look at our world, its dominant social paradigms, and the key element within that world—ourselves—with new eyes. It makes explicit contemporary post-industrial society’s dependence on the environment, highlights our impact on Earth, and reveals our complicity in bringing about a contemporary world risk. The ritual structure and the self-reflexivity allow Arthus-Bertrand to transform climate change into a personally salient issue. This bestows upon the spectator the responsibility to act and to reconcile the spectre of the past with the vision of the future.Acknowledgments The author would like to thank Dr. Angi Buettner whose support, guidance, and supervision has been invaluable in preparing this article. 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