Journal articles on the topic 'Inference Without Moments'

Inspired by the development in modern data science, a shift is increasingly visible in the foundation of statistical inference, away from a real space, where random variables reside, toward a nonmetrized and nonordinal alphabet, where more general random elements reside. While statistical inferences based on random variables are theoretically well supported in the rich literature of probability and statistics, inferences on alphabets, mostly by way of various entropies and their estimation, are less systematically supported in theory. Without the familiar notions of neighborhood, real or complex moments, tails, et cetera, associated with random variables, probability and statistics based on random elements on alphabets need more attention to foster a sound framework for rigorous development of entropy-based statistical exercises. In this article, several basic elements of entropic statistics are introduced and discussed, including notions of general entropies, entropic sample spaces, entropic distributions, entropic statistics, entropic multinomial distributions, entropic moments, and entropic basis, among other entropic objects. In particular, an entropic-moment-generating function is defined and it is shown to uniquely characterize the underlying distribution in entropic perspective, and, hence, all entropies. An entropic version of the Glivenko–Cantelli convergence theorem is also established.

Shape restrictions have played a central role in economics as both testable implications of theory and sufficient conditions for obtaining informative counterfactual predictions. In this paper, we provide a general procedure for inference under shape restrictions in identified and partially identified models defined by conditional moment restrictions. Our test statistics and proposed inference methods are based on the minimum of the generalized method of moments (GMM) objective function with and without shape restrictions. Uniformly valid critical values are obtained through a bootstrap procedure that approximates a subset of the true local parameter space. In an empirical analysis of the effect of childbearing on female labor supply, we show that employing shape restrictions in linear instrumental variables (IV) models can lead to shorter confidence regions for both local and average treatment effects. Other applications we discuss include inference for the variability of quantile IV treatment effects and for bounds on average equivalent variation in a demand model with general heterogeneity.

Two recent strands of the structural vector autoregression literature use higher moments for identification, exploiting either non-Gaussianity or heteroskedasticity. These approaches achieve point identification without exclusion or sign restrictions. We review this work critically and contrast its goals with the separate research program that has pushed for macroeconometrics to rely more heavily on credible economic restrictions. Identification from higher moments imposes stronger assumptions on the shock process than second-order methods do. We recommend that these assumptions be tested. Since inference from higher moments places high demands on a finite sample, weak identification issues should be given priority by applied users.

Purpose Studies investigating the ability of children with language impairment (LI) to infer emotions rely on verbal responses (which can be challenging for these children) and/or the selection of a card representing an emotion (which limits the response range). In contrast, a drawing task might allow a broad spectrum of responses without involving language. This study used a drawing task to compare the ability to make emotional inferences in children with and without LI. Method Twenty-two children with LI and 22 typically developing children ages 6 to 10 years were assessed in school during 3 sessions. They were asked to listen to audio stories. At specific moments, the experimenter stopped the recording and asked children to complete the drawing of a face to depict the emotion felt by the story's character. Three adult study-blind judges were subsequently asked to evaluate the expressiveness of the drawings. Results Children with LI had more difficulty than typically developing children making emotional inferences. Children with LI also made more errors of different valence than their typically developing peers. Conclusion Our findings confirm that children with LI show difficulty in producing emotional inferences, even when performing a drawing task—a relatively language-free response mode.

The coupling of individual models in terms of end-to-end calculations for unit operations in manufacturing processes is a challenging task. We present a probability distribution-based approach for the combined outcomes of parametric and non-parametric models. With this so-called Bayesian predictive ensemble, the statistical moments such as mean value and standard deviation can be accurately computed without any further approximation. It is shown that the ensemble of different model predictions leads to an uninformed prior distribution, which can be transformed into a predictive posterior distribution using Bayesian inference and numerical Markov Chain Monte Carlo calculations. We demonstrate the advantages of our method using several numerical examples. Our approach is not restricted to certain unit operations, and can also be used for the more robust interpretation and assessment of model predictions in general.

The accessibility of high-performance computing power has always influenced theoretical and applied econometrics. Gouriéroux and Monfort begin their recent offering, Simulation-Based Econometric Methods, with a stylized three-stage classification of the history of statistical econometrics. In the first stage, lasting through the 1960's, models and estimation methods were designed to produce closed-form expressions for the estimators. This spurred thorough investigation of the standard linear model, linear simultaneous equations with the associated instrumental variable techniques, and maximum likelihood estimation within the exponential family. During the 1970's and 1980's the development of powerful numerical optimization routines led to the exploration of procedures without closed-form solutions for the estimators. During this period the general theory of nonlinear statistical inference was developed, and nonlinear micro models such as limited dependent variable models and nonlinear time series models, e.g., ARCH, were explored. The associated estimation principles included maximum likelihood (beyond the exponential family), pseudo-maximum likelihood, nonlinear least squares, and generalized method of moments. Finally, the third stage considers problems without a tractable analytic criterion function. Such problems almost invariably arise from the need to evaluate high-dimensional integrals. The idea is to circumvent the associated numerical problems by a simulation-based approach. The main requirement is therefore that the model may be simulated given the parameters and the exogenous variables. The approach delivers simulated counterparts to standard estimation procedures and has inspired the development of entirely new procedures based on the principle of indirect inference.

Abstract This article considers the problem of testing many moment inequalities where the number of moment inequalities, denoted by $p$, is possibly much larger than the sample size $n$. There is a variety of economic applications where solving this problem allows to carry out inference on causal and structural parameters; a notable example is the market structure model of Ciliberto and Tamer (2009) where $p=2^{m+1}$ with $m$ being the number of firms that could possibly enter the market. We consider the test statistic given by the maximum of $p$ Studentized (or $t$-type) inequality-specific statistics, and analyse various ways to compute critical values for the test statistic. Specifically, we consider critical values based upon (1) the union bound combined with a moderate deviation inequality for self-normalized sums, (2) the multiplier and empirical bootstraps, and (3) two-step and three-step variants of (1) and (2) by incorporating the selection of uninformative inequalities that are far from being binding and a novel selection of weakly informative inequalities that are potentially binding but do not provide first-order information. We prove validity of these methods, showing that under mild conditions, they lead to tests with the error in size decreasing polynomially in $n$ while allowing for $p$ being much larger than $n$; indeed $p$ can be of order $\exp (n^{c})$ for some $c > 0$. Importantly, all these results hold without any restriction on the correlation structure between $p$ Studentized statistics, and also hold uniformly with respect to suitably large classes of underlying distributions. Moreover, in the online supplement, we show validity of a test based on the block multiplier bootstrap in the case of dependent data under some general mixing conditions.

This paper considers inference for parameters defined by moment inequalities and equalities. The parameters need not be identified. For a specified class of test statistics, this paper establishes the uniform asymptotic validity of subsampling,mout ofnbootstrap, and “plug-in asymptotic” tests and confidence intervals for such parameters. Establishing uniform asymptotic validity is crucial in moment inequality problems because the pointwise asymptotic distributions of the test statistics of interest have discontinuities as functions of the true distribution that generates the observations.The size results are quite general because they hold without specifying the particular form of the moment conditions—only 2 +δmoments finite are required. The results allow for independent and identically distributed (i.i.d.) and dependent observations and for preliminary consistent estimation of identified parameters.

Hahn and Ridder (2013, Econometrica 81, 315–340) formulated influence functions of semiparametric three-step estimators where generated regressors are computed in the first step. This class of estimators covers several important examples for empirical analysis, such as production function estimators by Olley and Pakes (1996, Econometrica 64, 1263–1297) and propensity score matching estimators for treatment effects by Heckman, Ichimura, and Todd (1998, Review of Economic Studies 65, 261–294). The present article studies a nonparametric likelihood-based inference method for the parameters in such three-step estimation problems. In particular, we apply the general empirical likelihood theory of Bravo, Escanciano, and van Keilegom (2018, Annals of Statistics, forthcoming) to modify semiparametric moment functions to account for influences from plug-in estimates into the above important setup, and show that the resulting likelihood ratio statistic becomes asymptotically pivotal without undersmoothing in the first and second step nonparametric estimates.

We examined the attention and inference accounts of audiovisual perception using the stream/bounce display, a visual stimulus wherein two identical objects move toward each other, completely superimpose, then move apart. This display has two candidate percepts: stream past each other or bounce off each other. Presented without additional visual or auditory transients, the motion sequence tends to yield the streaming percept, but when coupled with a tone or flash at the point of coincidence, the response bias flips toward bouncing. We explored two competing accounts of this effect: the attentional hypothesis and the inference hypothesis. Participants watched a series of motion sequences where a transient, when present, occurred at the moment of coincidence either colocalised with the motion sequence (congruent presentation) or on the opposite side of the display (incongruent presentation). Assuming the spotlight or zoom lens metaphor, an attentional account predicts that incongruent presentations should be associated with a higher percentage of bouncing responses than congruent presentations, while the inferential account predicts the opposite effect. No effect was found for tone-only trials. However, in trials containing a visual transient, results showed higher proportions of bounce responses within congruent over incongruent presentations, favouring the inference hypothesis over a spotlight or zoom lens attentional account.

The cantilever concrete beam is a beam made of concrete that is only supported or clamped at one end and the other end free or without the pedestal. The measure to which a structural member gets deviated from the initial position is called deflection. All the internal forces of cantilever beam serve to hold all the external forces due to the load so that the structure remains balanced. While the beam gets deflected under the loads, bending occurs in the same plane due to which stresses are developed. From the moment balance formula after integrated and solved with required boundary conditions, we get the downward deflection of beam. Fuzzy logic provides an inference structure that enables appropriate human reasoning capabilities. FIS (Fuzzy Inference System) is a system that processes the mapping formulation of a given input to produce an output using Fuzzy Logic. By using randomized data for all the variables of deflection formula within their respective ranges as training data, the FIS will be able to predict deflection of cantilever concrete beam after going through the training process adaptively.

Sudden death (SD) is defined as the unexpected natural death occurred within an hour after the onset of symptoms or from the last moment the subject has been seen in a healthy condition. Brugada syndrome (BrS) is one of the most remarkable cardiac causes of SD among young people. We report the case of a 20-year-old man who suddenly died after reportedly having smoked cannabis. Autopsy, toxicology, and genetic testing were performed. Autopsy found a long and thick myocardial bridging (MB) at 2 cm from the beginning of the left anterior descending coronary artery. Furthermore, at the histopathological examination, fibrosis and disarray in myocardial area above the MB, fatty tissue in the right ventricle and fibrosis of the sino-atrial node area were found. Toxicology testing was inconclusive, while genetic testing found a rare missense variant of the TTN gene, classified as likely benign, and a variant of unknown significance in the SLMAP gene (a gene that can be associated with BrS). Hence, despite several atypical features were found, no inference on the cause of the death could be made under current evidence.

A comprehensive methodology for semiparametric probability density estimation is introduced and explored. The probability density is modelled by sequences of mostly regular or steep exponential families generated by flexible sets of basis functions, possibly including boundary terms. Parameters are estimated by global maximum likelihood without any roughness penalty. A statistically orthogonal formulation of the inference problem and a numerically stable and fast convex optimization algorithm for its solution are presented. Automatic model selection over the type and number of basis functions is performed with the Bayesian information criterion. The methodology can naturally be applied to densities supported on bounded, infinite or semi-infinite domains without boundary bias. Relationships to the truncated moment problem and the moment-constrained maximum entropy principle are discussed and a new theorem on the existence of solutions is contributed. The new technique compares very favourably to kernel density estimation, the diffusion estimator, finite mixture models and local likelihood density estimation across a diverse range of simulation and observation data sets. The semiparametric estimator combines a very small mean integrated squared error with a high degree of smoothness which allows for a robust and reliable detection of the modality of the probability density in terms of the number of modes and bumps.

Mobile Ad Hoc Network is an easily deployable wireless network without any need of centralized infrastructure. The change of position by wireless devicesleadstolinkfailuresandroutefailures.The mobile nodes sent hello messages at regular intervals to update the status of their neighbors. Increasing the number of periodical notifications such as hello messages will give an idea about the topology and at the same moment consumes more network resources. Reducing these periodic notifications results in discovering the neighbors at veryslowrate.Thereforetherateofhellomessages has most significant role while considering the performance of MANETs. Routing Protocols such as AODV in MANETs performs the operation basing on static hello interval. In this paper an adaptive hello interval approach is proposed based on a soft computing technique “Adaptive Neuro Fuzzy Inference system” for in MANETs. The result states that the proposed solution yields a great improvement over the traditional protocol “AODV”.

This paper discusses the direct perception of an unknown object and the action decision to grasp an unknown object using depth sensor for social robots. Conventional methods estimate the accurate physical parameters when a robot wants to grasp an unknown object. Therefore, we propose a perceptual system based on an invariant concept in ecological psychology, which perceives the information relevant to the action of the robot. Firstly, we proposed the plane detection based approach for perceiving an unknown object. In this paper, we propose the sensation of grasping which is expressed by using inertia tensor, and applied with fuzzy inference using the relation between principle moment of inertia. The sensation of grasping encourages the decision for the grasping action directly without inferring from physical value such as size, posture and shape. As experimental results, we show that the sensation of grasping expresses the relative position and posture between the robot and the object, and the embodiment of the robot arm by one parameter. And, we verify the validity of the action decision from the sensation of grasping.

An asymptotic theory is developed for multivariate regression in cointegrated systems whose variables are moderately integrated or moderately explosive in the sense that they have autoregressive roots of the form ρni = 1 + ci/nα, involving moderate deviations from unity when α ∈ (0, 1) and ci ∈ ℝ are constant parameters. When the data are moderately integrated in the stationary direction (with ci < 0), it is shown that least squares regression is consistent and asymptotically normal but suffers from significant bias, related to simultaneous equations bias. In the moderately explosive case (where ci > 0) the limit theory is mixed normal with Cauchy-type tail behavior, and the rate of convergence is explosive, as in the case of a moderately explosive scalar autoregression (Phillips and Magdalinos, 2007, Journal of Econometrics 136, 115–130). Moreover, the limit theory applies without any distributional assumptions and for weakly dependent errors under conventional moment conditions, so an invariance principle holds, unlike the well-known case of an explosive autoregression. This theory validates inference in cointegrating regression with mildly explosive regressors. The special case in which the regressors themselves have a common explosive component is also considered.

Abstract BACKGROUND Perfusion MRI (pMRI) is widely used for differentiation between progressive disease and pseudoprogression in patients with treated glioma. Although pMRI has long been available, its clinical relevance and utilization are not well known. We investigate the role of pMRI in clinical management decisions and its association with overall survival (OS) in patients with glioma under surveillance after focal radiotherapy. MATERIALS AND METHODS We performed a retrospective multicenter cohort study of patients treated for glioma between 2008 and 2021. At the moment of first substantial abnormalities on follow-up MRI, both with or without pMRI, we collected the management decisions, information about the (p)MRI and clinical parameters from the patient records. Causal inference methods were used to design a model predicting the probability of a management change with or without pMRI at first scan after radiotherapy (baseline), during chemotherapy (on-treatment) and after treatment. A multivariable Cox-proportional hazards model was used for OS analysis (adjusted for age, clinical performance, surgery type, histopathological diagnosis). Subgroup analyses were performed for patients with glioblastoma only. RESULTS 976 patients (mean age 57.2 ±12.4 years; 649 men) were included in 7 neuro-oncological referral centers (4 academic), 548 with and 428 without pMRI. Eighty percent of pMRI scans were of sufficient quality. Eighty percent of patients had glioblastoma and in this group, during the “on-treatment” phase, there was a 16% lower probability of change in clinical management in patients with pMRI, which was more pronounced (37%) in academic hospitals. OS was longer in patients with versus without pMRI with a hazard ratio of 0.77 (95%CI: 0.67,0.89, p&lt;0.001). These findings were similar when only considering patients with glioblastoma. CONCLUSION pMRI was associated with fewer management changes while patients were on treatment, and with longer OS. This latter result must be interpreted with caution due to possible confounding.:

This paper for the first time leverages multi-modal videos for weakly-supervised temporal video grounding. As labeling the video moment is labor-intensive and subjective, the weakly-supervised approaches have gained increasing attention in recent years. However, these approaches could inherently compromise performance due to inadequate supervision. Therefore, to tackle this challenge, we for the first time pay attention to exploiting complementary information extracted from multi-modal videos (e.g., RGB frames, optical flows), where richer supervision is naturally introduced in the weaklysupervised context. Our motivation is that by integrating different modalities of the videos, the model is learned from synergic supervision and thereby can attain superior generalization capability. However, addressing multiple modalities† would also inevitably introduce additional computational overhead, and might become inapplicable if a particular modality is inaccessible. To solve this issue, we adopt a novel route: building a multi-modal distillation algorithm to capitalize on the multi-modal knowledge as supervision for model training, while still being able to work with only the single modal input during inference. As such, we can utilize the benefits brought by the supplementary nature of multiple modalities, without compromising the applicability in practical scenarios. Specifically, we first propose a cross-modal mutual learning framework and train a sophisticated teacher model to learn collaboratively from the multi-modal videos. Then we identify two sorts of knowledge from the teacher model, i.e., temporal boundaries and semantic activation map. And we devise a local-global distillation algorithm to transfer this knowledge to a student model of single-modal input at both local and global levels. Extensive experiments on large-scale datasets demonstrate that our method achieves state-of-the-art performance with/without multi-modal inputs.

Traffic flow forecasting is an important function of intelligent transportation systems. With the rise of deep learning, building traffic flow prediction models based on deep neural networks has become a current research hotspot. Most of the current traffic flow prediction methods are designed from the perspective of model architectures, using only the traffic features of future moments as supervision signals to guide the models to learn the spatiotemporal dependence in traffic flow. However, traffic flow data themselves contain rich spatiotemporal features, and it is feasible to obtain additional self-supervised signals from the data to assist the model to further explore the underlying spatiotemporal dependence. Therefore, we propose a self-supervised traffic flow prediction method based on a spatiotemporal masking strategy. A framework consisting of symmetric backbone models with asymmetric task heads were applied to learn both prediction and spatiotemporal context features. Specifically, a spatiotemporal context mask reconstruction task was designed to force the model to reconstruct the masked features via spatiotemporal context information, so as to assist the model to better understand the spatiotemporal contextual associations in the data. In order to avoid the model simply making inferences based on the local smoothness in the data without truly learning the spatiotemporal dependence, we performed a temporal shift operation on the features to be reconstructed. The experimental results showed that the model based on the spatiotemporal context masking strategy achieved an average prediction performance improvement of 1.56% and a maximum of 7.72% for longer prediction horizons of more than 30 min compared with the backbone models.

Abstract In many Present-Day Germanic languages, reflexes of Proto-Germanic *nu have developed pragmatic and grammatical uses: in such uses, the earlier, lexical meaning of the word (“now”, “presently”) has been weakened or lost while new meanings have appeared. Pragmatic (especially connective) uses of nu have been identified in several ancient Germanic languages, but in such corpora, it can be difficult to distinguish between a genuine discourse marker and mere pragmatic inferences based on the lexical meaning of a given word. Such is certainly the case for Old Saxon, where nu seems to be used as a discourse marker in some cases, but where it is hard to determine whether such uses ever truly supplant nu’s temporal meaning. This paper systematically examines nu’s patterns of co-occurrence to determine whether nu is showing any sign of having undergone semantic bleaching. Examination of the data shows no evidence of semantic bleaching. There is a very strong connection between nu and markers referring to the moment of utterance or the situation of utterance more generally. Conversely, there are no cases of co-occurrence with markers whose meaning is strictly incompatible with nu’s lexical meaning and few instances of co-occurrence with markers expressing distance (temporal or otherwise) from the situation of utterance. Some patterns hint at the possibility of pragmatic uses of nu having already started to conventionalize to a limited extent, but such uses seem to have co-existed with nu’s temporal meaning without ever supplanting it.

The history of humanity is, in a way, the history of the chaos that is immanent in society. People have endless desires that could never be satisfied since they lived in society. The demand for a better life is one of the foremost desires. This quest, which has been lasting since the beginning of social life has been tried to be met with a wide variety of solutions throughout history. Perhaps the most striking of these propositions is Utopia, which took the stage with the Renaissance. It emphasizes the reality of the moment, criticizes it, and replaces it with an alternative that never comes true. Utopia is one of the ideal order proposals which is put forward in response to the desire for an "ideal life without chaos" for "now". It embodies hope and change. It promises hope even when the prospect of changing the facts seems impossible. It also feeds and reproduces the optimistic desire for the realization possibility of a better life. This is what keeps it alive at all times, even though it will not be realized and inaccessible. Therefore, there is always a need to review utopias to redesign the world we live in with a critical eye. Observing and understanding these experiences and trying to put new designs over them could be promising. Because utopias are an important means of stimulating socioeconomic changes. For this reason, even if it does not come true, the utopia that makes an impact with its thoughts will always continue to be a hope. So, it will exist forever and ever. To clarify this approach, the relations between scientific texts have been examined by using the literature review method. And relevant analyzes and inferences have been made in the light of the data obtained by this method.

PurposeThe pandemic-induced global shift to remote learning calls for rethinking the foundations of design for higher education. This watershed moment in global health and human interaction has accelerated changes in higher education that were long emergent and amplified specific deficiencies and strengths in pedagogical models, causing institutions to reevaluate current structures and operations of learning and campus life as they question their vision and purpose. Since physical space has largely been taken out of the equation of university life, it is evident that fresh design research related to this new normal is required.Design/methodology/approachThis qualitative research study speculates on new possibilities for the future of campus, based upon insights and inferences gained from one-on-one interviews with faculty and students in multiple countries about their personal experiences with the sudden shift to the virtual classroom. The longer the mode of physical distancing stretched through Spring 2020, these phone and web-enabled dialogues – first with faculty (teachers) and then with students (learners) – lead to a deeper, more nuanced understanding of how the notion of the campus for higher education was itself morphing in ways expected and unexpected.FindingsAt the heart of this study lies the question – Has COVID-19 killed the campus? This study suggests that it has not. However, campuses are now on a path of uneven evolution, and risk shedding the good with the extraneous without eyes-wide-open rethinking and responsive planning. This two-part qualitative analysis details the experiments and strategies followed by educators and students as the pandemic changed their ways of teaching and learning. It then speculates out-of-the-norm possibilities which campuses could explore as they navigate the uncertainty of future terms and address paradigm shifts questioning what defines a post-secondary education.Research limitations/implicationsThis paper draws inferences from discussions limited to the first 100 days of the pandemic. This on-the-ground aspect as the pandemic continues is its strength and its limitation. As Fall 2020 progresses across global campuses, new ideas and perspectives are already reinforcing or upending some of this paper's speculations. This researcher is already engaged in new, currently-ongoing research, following up with interviewees from Spring 2020, as well as bringing in new voices to delve deeper into the possibilities discussed in this paper. This follow-up research is shaping new thinking which is not reflected in this paper.Originality/valueDesign practitioners have long-shaped campuses on the belief that the built “environment is the third teacher” and that architecture fosters learning and shapes collective experience. Educators recognize that a multiplicity of formal and informal interactions occur frequently and naturally across campus, supporting cognitive and social development, collegiality and well-being. Even today's digital-native-students perceive the inherent value of real interpersonal engagement for meaningful experiences. This research study offers new planning and design perspectives as institutional responses to the pandemic continue to evolve, to discover how design can support what lies at the core of the campus experience.

Abstract.PSYCHOLOGICAL CONTRACT: FORMALIZATION OF LANGUAGEConceptual Framework: A fundamental aspect in the study of the psychological contract it to provide a broad model of analysis, by understanding the individual’s perceptions, emotions and behaviour, as well as the moment and context in which they occur with the aim of intervening in relationships that promote a major commitment between the parties.Objectives: The current literature, in particular authors such as Rousseau and Guest, presents some models of psychological contract which are applicable in specific contexts as well as methodological instruments for the access to data which are applicable in contexts considered for this purpose. Without disregarding the conformity of each one, it is important to develop a model which registers, reads, interprets and provides an information system that considers all the means of communication and which is not dependent on time or space to collect data, i.e., a system that registers any of the individual’s means of expression at all times.Method: Within a Project which we aim to carry out, this paper in particular is of an essentially qualitative nature and studies the requirements of formal language, with primary focus on Chomsky, for the development of a unique grammar which is associated to a generic model of psychological contract through the systematisation of information.Results: We based this study on the proposition that a language is composed of a set of symbols (lexis) which uses a set of rules (syntax) so that it can be understood by a specific group. The analysis and interpretation of formal semantics may include a set of transformation rules which can be interpreted as valid rules of inference, a set of axioms or the coexistence of both.Conclusion: This study aims to establish an informal communication protocol through the formal structure of a language which interprets and gives semantic meaning to the symbology of the language of the psychological contract with the aid of an information system.Keywords: Psychological Contract, Perception, Formal Languages.Resumo.Marco Conceptual: Um aspeto fundamental no estudo do contrato psicológico é proporcionar um amplo modelo de análise, pela compreensão das perceções, emoções e comportamentos dos indivíduos, bem como o momento e contextos em que aqueles ocorrem, com o propósito de intervir em relacionamentos que promovam um alto comprometimento entre as partes.Objetivos: A literatura corrente, de onde se destacam autores como Rousseau e Guest, apresenta alguns modelos do contrato psicológico aplicáveis em contextos específicos, assim como instrumentos metodológicos de acesso aos dados aplicáveis em contextos considerados para o efeito. Não descurando a conformidade de cada um importa desenvolver um modelo que registe, leia, interprete e devolva um sistema de informação que considere todas as formas de comunicação e não esteja dependente do tempo ou espaço para recolha de dados, ou seja, um sistema que registo qualquer forma de expressão do indivíduo a todo o tempo.Método: No âmbito de um Projeto que nos propomos desenvolver, este trabalho, em particular, é essencialmente de cariz qualitativo que estuda os requisitos da linguagem formal, com principal incidência de Chomsky, pelo desenvolvimento de uma gramática própria associada a um modelo de genérico de contrato psicológico pela sistematização da informação.Resultados: Tomamos como proposição que uma linguagem é composta por um conjunto de símbolos (léxico) que usa um conjunto de regras (sintaxe) para que seja percebida por uma determinado grupo. A análise e interpretação da semântica formal pode integrar um conjunto de regras de transformação que possam ser interpretados como regras válidas de inferência, um conjunto de axiomas ou a coexistência de ambos. Conclusão: Esta investigação procura enraizar um protocolo informal de comunicação através de uma estrutura formal de uma linguagem que interprete e dê significado semântico à simbologia da linguagem do contrato psicológico com o apoio de um sistema de informação.Palavras-chave: Contrato Psicológico, Perceção, Linguagens Formais.

Abstract. 1 Facts about the Workshop This workshop was convened on November 13-15 1995 by E. Falgarone and D. Schertzer within the framework of the Groupe de Recherche Mecanique des Fluides Geophysiques et Astrophysiques (GdR MFGA, Research Group of Geophysical and Astrophysical Fluid Mechanics) of Centre National de la Recherche Scientifique (CNRS, (French) National Center for Scientific Research). This Research Group is chaired by A. Babiano and the meeting was held at Ecole Normale Superieure, Paris, by courtesy of its Director E. Guyon. More than sixty attendees participated to this workshop, they came from a large number of institutions and countries from Europe, Canada and USA. There were twenty-five oral presentations as well as a dozen posters. A copy of the corresponding book of abstracts can be requested to the conveners. The theme of this meeting is somewhat related to the series of Nonlinear Variability in Geophysics conferences (NVAG1, Montreal, Aug. 1986; NVAG2, Paris, June 1988; NVAG3, Cargese (Corsica), September, 1993), as well as seven consecutive annual sessions at EGS general assemblies and two consecutive spring AGU meeting sessions devoted to similar topics. One may note that NVAG3 was a joint American Geophysical Union Chapman and European Geophysical Society Richardson Memorial conference, the first topical conference jointly sponsored by the two organizations. The corresponding proceedings were published in a special NPG issue (Nonlinear Processes in Geophysics 1, 2/3, 1994). In comparison with these previous meetings, MFGA-IDT2 is at the same time specialized to fluid turbulence and its intermittency, and an extension to the fields of astrophysics. Let us add that Nonlinear Processes in Geophysics was readily chosen as the appropriate journal for publication of these proceedings since this journal was founded in order to develop interdisciplinary fundamental research and corresponding innovative nonlinear methodologies in Geophysics. It had an appropriate editorial structure, in particular a large number of editors covering a wide range of methodologies, expertises and schools. At least two of its sections (Scaling and Multifractals, Turbulence and Diffusion) were directly related to the topics of the workshop, in any case contributors were invited to choose their editor freely. 2 Goals of the Workshop The objective of this meeting was to enhance the confrontation between turbulence theories and empirical data from geophysics and astrophysics fluids with very high Reynolds numbers. The importance of these data seems to have often been underestimated for the evaluation of theories of fully developed turbulence, presumably due to the fact that turbulence does not appear as pure as in laboratory experiments. However, they have the great advantage of giving access not only to very high Reynolds numbers (e.g. 1012 for atmospheric data), but also to very large data sets. It was intended to: (i) provide an overview of the diversity of potentially available data, as well as the necessary theoretical and statistical developments for a better use of these data (e.g. treatment of anisotropy, role of processes which induce other nonlinearities such as thermal instability, effect of magnetic field and compressibility ... ), (ii) evaluate the means of discriminating between different theories (e.g. multifractal intermittency models) or to better appreciate the relevance of different notions (e.g. Self-Organized Criticality) or phenomenology (e.g. filaments, structures), (iii) emphasise the different obstacles, such as the ubiquity of catastrophic events, which could be overcome in the various concerned disciplines, thanks to theoretical advances achieved. 3 Outlines of the Workshop During the two days of the workshop, the series of presentations covered many manifestations of turbulence in geophysics, including: oceans, troposphere, stratosphere, very high atmosphere, solar wind, giant planets, interstellar clouds... up to the very large scale of the Universe. The presentations and the round table at the end of the workshop pointed out the following: - the necessity of this type of confrontation which makes intervene numerical simulations, laboratory experiments, phenomenology as well as a very large diversity of geophysical and astrophysical data, - presumably a relative need for new geophysical data, whereas there have been recent astrophysical experiments which yield interesting data and exciting questions; - the need to develop a closer intercomparison between various intermittency models (in particular Log-Poisson /Log Levy models). Two main questions were underlined, in particular during the round table: - the behaviour of the extremes of intermittency, in particular the question of divergence or convergence of the highest statistical moments (equivalently, do the probability distributions have algebraic or more rapid falloffs?); - the extension of scaling ranges; in other words do we need to divide geophysics and astrophysics in many small (nearly) isotropic subranges or is it sufficient to use anisotropic scaling notions over wider ranges? 4 The contributions in this special issue Recalling that some of the most useful insights into the nature of turbulence in fluids have come from observations of geophysical flows, Van Atta gives a review of the impacts of geophysical turbulence data into theories. His paper starts from Taylor's inference of the nearly isotropy of atmospheric turbulence and the corresponding elegant theoretical developments by von Karman of the theory of isotropic turbulence, up to underline the fact that the observed extremely large intermittency in geophysical turbulence also raised new fundamental questions for turbulence theory. The paper discusses the potential contribution to theoretical development from the available or currently being made geophysical turbulence measurements, as well as from some recent laboratory measurements and direct numerical simulations of stably stratified turbulent shear flows. Seuront et al. consider scaling and multiscaling properties of scalar fields (temperature and phytoplankton concentration) advected by oceanic turbulence in both Eulerian and Lagrangian frameworks. Despite the apparent complexity linked to a multifractal background, temperature and fluorescence (i.e. phytoplankton biomass surrogate) fields are expressed over a wide range of scale by only three universal multifractal parameters, H, \\alpha and C_l. On scales smaller than the characteristic scale of the ship, sampling is rather Eulerian. On larger scales, the drifting platform being advected by turbulent motions, sampling may be rather considered as Lagrangian. Observed Eulerian and Lagrangian universal multifractal properties of the physical and biological fields are discussed. Whereas theoretical models provide different scaling laws for fluid and MHD turbulent flows, no attempt has been done up to now to experimentally support evidence for these differences. Carbone et al. use measurements from the solar wind turbulence and from turbulence in ordinary fluid flows, in order to assess these differences. They show that the so-called Extended Self-Similarity (ESS) is evident in the solar wind turbulence up to a certain scale. Furthermore, up to a given order of the velocity structure functions, the scaling laws of MHD and fluids flows axe experimentally indistinguishable. However, differences can be observed for higher orders and the authors speculate on their origin. Dudok de Wit and Krasnosel'skikh present analysis of strong plasma turbulence in the vicinity of the Earth's bow shock with the help of magnetometer data from the AMPTE UKS satellite. They demonstrate that there is a departure from Gaussianity which could be a signature of multifractality. However, they point out that the complexity of plasma turbulence precludes a more quantitative understanding. Finally, the authors emphasise the fact that the duration of records prevents to obtain any reliable estimate of structure functions beyond the fourth order. Sylos Labini and Pietronero discuss the problem of galaxy correlations. They conclude from all the recently available three dimensional catalogues that the distribution of galaxies and clusters is fractal with dimension D ~ 2 up to the present observational limits without any tendency towards homogenization. This result is discussed in contrast to angular data analysis. Furthermore, they point out that the galaxy-cluster mismatch disappears when considering a multifractal distribution of matter. They emphasise that a new picture emerges which changes the standard ideas about the properties of the universe and requires a corresponding change in the related theoretical concepts. Chilla et al. investigate with the help of a laboratory experiment the possible influence of the presence of a large scale structure on the intermittency of small scale structures. They study a flow between coaxial co-rotating disks generating a strong axial vortex over a turbulent background. They show that the cascade process is preserved although strongly modified and they discuss the relevance of parameters developed for the description of intermittency in homogeneous turbulence to evaluate this modification.

In this paper, I attempted to explore the historical and geographical specificity of the space represented in Kim Si-seup’s novel Playing Jeopo at Manboksa Temple. The spatial setting of this novel is Namwon-si, Jeollabuk-do. Kim Si-seup actually traveled to Honam in 1462 when he was 28 years old and reflected his experience of exploring the Namwon area, including Manboksa Temple, in the creation of the novel space. Therefore, the place names mentioned in this novel serve as an important clue to the historical and geographical approach as actual places in Namwon town. The work of specifically defining the novel’s space in this way is expected to help understand the meaning of the novel’s narrative and the author’s creative consciousness. Places worth mentioning in connection with the narrative of this novel include Manboksa Temple, Jiri Mountain, Gaeryeong-dong, and Boryeonsa Temple. Manboksa Temple maintains its sense of place through Manboksa Temple Site in Wangjeong-dong, Namwon-si, Jeollabuk-do. What is noteworthy about Manboksa Temple’s location is that it is located near a densely populated area of private houses near Namwon Eupseong Fortress and has existed as a temple for a long time, granting the wishes of the people of the town. And Jiri Mountain is the last place where the novel’s male protagonist, Yangsaeng, was seen, and is closely connected to the ending of the novel. Yangsaeng goes missing after saying he was going to Mt. Jiri to dig up medicinal herbs. From this ending, we can read his desire to protect his one and only love. Meanwhile, the fact that the ridge of Jiri Mountain can be seen in the distance from the grounds of Manboksa Temple implies that the starting point of this novel also encompasses the space that hints at its lonely ending. Boryeonsa Temple is a temple located at the foot of Boryeon Mountain, and its location is presumed to be Bangchon-ri, Geumji-myeon, Namwon-si, Jeollabuk-do. This place contains the climactic moment of the novel when Yangsaeng, who was immersed in love with the heroine despite her many suspicious circumstances, was ultimately forced to accept that the heroine did not belong to the human world. Gaeryeong-dong is a space where the anonymous heroine mainly belongs, and Yangsaeng came to fully trust and love the woman during the three days he spent there. This is also the temporary burial place of the female protagonist who was sacrificed during the Japanese invasion of Namwon in 1379 or 1380. I was the first to raise the inference that this Gaeryeong-dong is the valley below Gaeryeongamji in Deokdong-ri, Sannae-myeon, Namwon-si, Jeollabuk-do. Gaeryeongam was a temple near Jeongnyeongchi on Jiri Mountain, located on the road from Namwon, Jeolla Province, to Hamyang, Gyeongsang Province. The temple, built during the Goryeo Dynasty, no longer exists, leaving behind only a few traces. Kim Si-seup passed through this place in 1462 on his way from Namwon to Gyeongju via Hamyang. What is noteworthy about the location of Gaeryeong-dong is that it is located within the area of Jiri Mountain. This helps us understand the movements of the ending, where Yangsaeng enters Jiri Mountain and goes missing. For Yangsaeng, Gaeryeong-dong was a place engraved in his heart as it was the place where he spent the longest time with the heroine. When Yangsaeng, who valued one love more than Buddhist liberation, went to Gaeryeong-dong to check for traces of the woman, he had already entered Jiri Mountain. When he disappeared into Jiri Mountain, he had only gone a little deeper from where he originally was. Gaeryeong-dong, located at the starting point of Jiri Mountain, becomes an important coordinate in the movement of Yangsaeng who disappeared without having lost his one and only love.

In GARCH-mixed-data sampling models, the volatility is decomposed into the product of two factors which are often interpreted as “short-run” (high-frequency) and “long-run” (low-frequency) components. While two-component volatility models are widely used in applied works, some of their theoretical properties remain unexplored. We show that the strictly stationary solutions of such models do not admit any small-order finite moment, contrary to classical GARCH. It is shown that the strong consistency and the asymptotic normality of the quasi-maximum likelihood estimator hold despite the absence of moments. Tests for the presence of a long-run volatility relying on the asymptotic theory and a bootstrap procedure are proposed. Our results are illustrated via Monte Carlo experiments and real financial data.

Abstract This study aims to predict the magnetic moments of nuclei with odd-A numbers in a certain region of which magnetic moment has not yet been calculated, using the Adaptive Neuro-Fuzzy Inference System (Anfis) method. In our Anfis model, the proton number (Z), neutron number (N), and spin value (I) are used as inputs for nuclei with 1≤Z≤88. With these input data, 526 odd-A nuclei are trained, and 124 nuclei are tested. The fact that the Anfis model was closer to the experimental data in the training and testing processes than the theoretical methods encouraged us to make inferences about the nuclei of which experimental nuclear magnetic moment is unknown. To that end, inferences have been made for 165 nuclei without experimental magnetic moments in regions 1≤Z≤28. In this region, Na, F, and P isotopes have been specifically studied. Magnetic moment value inferences made for these isotopes using Anfis have also been compared with the theoretical results of the Quasiparticle-Phonon Nuclear Method (QPNM) and with the Shell Model calculations. There is a satisfactory agreement between our predictions and the results of these two theories. Besides, the values obtained from the test and train operations are within the minimum error limits (~%0.03-0.04), the reliability of our system has been proven and a study that has not yet been done in the literature has been conducted. Since the Neuro-Fuzzy system will be a first in the field of nuclear technologies, we believe that the outputs of our study will be a good reference for future studies.&#xD;

This paper analyses aspects of generalized method of moments (GMM) inference in moment equality models in settings where standard regularity conditions may break down. Explicit analytic formulations for the asymptotic distributions of estimable functions of the GMM estimator and statistics based on the GMM criterion function are derived under relatively mild assumptions. The moment Jacobian is allowed to be rank deficient, so first order identification may fail, the values of the Jacobian singular values are not constrained, thereby allowing for varying levels of identification strength, the long-run variance of the moment conditions can be singular, and the GMM criterion function weighting matrix may also be chosen sub-optimally. The large-sample properties are derived without imposing a specific structure on the functional form of the moment conditions. Closed-form expressions for the distributions are presented that can be evaluated using standard software without recourse to bootstrap or simulation methods. The practical operation of the results is illustrated via examples involving instrumental variables estimation of a structural equation with endogenous regressors and a common CH features model.

This paper proposes a novel method of algorithmic subsampling (data sketching) for multiway cluster-dependent data. We establish a new uniform weak law of large numbers and a new central limit theorem for multiway algorithmic subsample means. We show that algorithmic subsampling allows for robustness against potential degeneracy, and even non-Gaussian degeneracy, of the asymptotic distribution under multiway clustering at the cost of efficiency and power loss due to algorithmic subsampling. Simulation studies support this novel result, and demonstrate that inference with algorithmic subsampling entails more accuracy than that without algorithmic subsampling. We derive the consistency and the asymptotic normality for multiway algorithmic subsampling generalized method of moments estimator and for multiway algorithmic subsampling M-estimator. We illustrate with an application to scanner data for the analysis of differentiated products markets.

Abstract I propose to identify an SVAR, up to shock ordering, using the autocovariance structure of the squared innovations implied by an arbitrary stochastic process for the shock variances. These higher moments are available without parametric assumptions on the variance process. In contrast, previous approaches exploiting heteroskedasticity rely on the path of innovation covariances, which can only be recovered from the data under specific parametric assumptions on the variance process. The conditions for identification are testable. I compare the identification scheme to existing approaches in simulations and provide guidance for estimation and inference. I use the methodology to estimate fiscal multipliers peaking at 0.86 for tax cuts and 0.75 for government spending. I find that tax shocks explain more variation in output at longer horizons. The empirical implications of my estimates are more consistent with theory and the narrative record than those based on some leading approaches.

Abstract Childhood is the moment in every man’s life when they learn the rules governing the society to which they belong. This process of learning certain principles usually ends when the individual reaches the appropriate age. In primitive communities it was necessary to undergo complex and sometimes painful initiation processes. These moments could be different from one another depending on the community and gender, and what is more, it was often multi-stage. It usually occurred at the age of 14/15 for boys and even a little earlier for girls. It is assumed that up to 60 % of people in the prehistoric populations were under 18 years of age, so it should be assumed that the very moment of initiation could have occurred particularly early. As part of this study, which is the result of NSC grant implemented by the author concerning age and gender determinants in the graves of Tarnobrzeg Lusatian Culture, the author has developed a logit mathematical model that allows to determine on the basis of two variables (vessel size and amount of remains) whether an adult or a child was buried in a given burial. In the case of adults, this model shows very high effectiveness reaching almost 90 %. However, for children, we record ‘only’ 70 % of the correct determinations. There are some indications to believe that among these 30 % false indications there are burials of children who have undergone the initiation process. Confirmation of this thesis and a thorough investigation of this phenomenon are very important because, in a broader source perspective, they can contribute to the discussion on the cultural and biological age in prehistoric populations. It would also create additional opportunities for cooperation between anthropologists and archaeologists, as it is impossible to identify child burials wrongly qualified by the model without the help of the former. In order to verify this regularity, three groups obtained thanks to the model have been assessed in this paper: adults, children correctly indicated by the model and the ones who had been erroneously identified. The tools in the analytical process were various methods of statistical inference, such as: correspondence table, odds ratio chart and chi^2 test. On the basis of the analyses carried out, it was possible to establish that there had been numerous similarities (including similar dimensions and form of urns) between burials of adults and those of children indicated by the model as adults.

In recent years, Neural Machine Translation (NMT), which harnesses the power of neural networks, has achieved astonishing achievements. Despite its promise, NMT models can still not model prior external knowledge. Recent investigations have necessitated the adaptation of past expertise to both training and inference methods, resulting in translation inference issues. This paper proposes an extension of the moment matching framework that incorporates advanced prior knowledge without interfering with the inference process by using a matching mechanism between the model and empirical distributions. Our tests show that the suggested expansion outperforms the baseline and effectively over various language combinations.

AbstractThis paper deals with higher order asymptotic properties for three indirect inference estimators. We provide conditions that ensure the validity of locally uniform, with respect to the parameter, Edgeworth approximations. When these are of sufficiently high order they also form integrability conditions that validate locally uniform moment approximations. We derive the relevant second order bias and MSE approximations for the three estimators as functions of the respective approximations for the auxiliary estimator. We confirm that in the special case of deterministic weighting and affinity of the binding function, one of them is second order unbiased. The other two estimators do not have this property under the same conditions. Moreover, in this case, the second order approximate MSEs imply the superiority of the first estimator. We generalize to multistep procedures that provide recursive indirect inference estimators which are locally uniformly unbiased at any given order. Furthermore, in a particular case, we manage to validate locally uniform Edgeworth expansions for one of the estimators without any differentiability requirements for the estimating equations. We examine the bias-MSE results in a small Monte Carlo exercise.

ABSTRACTMicrobes are present in high abundances in the environment and in human-associated microbiomes, often exceeding 1 million per ml. Viruses of microbes are present in even higher abundances and are important in shaping microbial populations, communities, and ecosystems. Given the relative specificity of viral infection, it is essential to identify the functional linkages between viruses and their microbial hosts, particularly given dynamic changes in virus and host abundances. Multiple approaches have been proposed to infer infection networks from time series ofin situcommunities, among which correlation-based approaches have emerged as thede factostandard. In this work, we evaluate the accuracy of correlation-based inference methods using anin silicoapproach. In doing so, we compare predicted networks to actual networks to assess the self-consistency of correlation-based inference. At odds with assumptions underlying its widespread use, we find that correlation is a poor predictor of interactions in the context of viral infection and lysis of microbial hosts. The failure to predict interactions holds for methods that leverage product-moment, time-lagged, and relative-abundance-based correlations. In closing, we discuss alternative inference methods, particularly model-based methods, as a means to infer interactions in complex microbial communities with viruses.IMPORTANCEInferring interactions from population time series is an active and ongoing area of research. It is relevant across many biological systems—particularly in virus-microbe communities, but also in gene regulatory networks, neural networks, and ecological communities broadly. Correlation-based inference—using correlations to predict interactions—is widespread. However, it is well-known that “correlation does not imply causation.” Despite this, many studies apply correlation-based inference methods to experimental time series without first assessing the potential scope for accurate inference. Here, we find that several correlation-based inference methods fail to recover interactions withinin silicovirus-microbe communities, raising questions on their relevance when appliedin situ.

AbstractAiming at the problem of poor transient performance of the control system caused by the control uncertainty of the undertrained neural network, a neural network compensation control method based on fuzzy inference is proposed in this paper. The method includes three control substructures: fuzzy inference block, neural network control block and basic control block. The fuzzy inference block adaptively adjusts the neural network compensation control quantity according to the control error and the error rate of change, and adds a dynamic adjustment factor to ensure the control quality at the initial stage of network learning or at the moment of signal transition. The neural network control block is composed of an identifier and a controller with the same network structure. After the identifier learns the dynamic inverse model of the controlled object online, its training parameters are dynamically copied to the controller for real-time compensation control. The basic control block uses a traditional PID controller to provide online learning samples for the neural network control block. The simulation and experimental results of the position control of the magnetic levitation ball show that the proposed method significantly reduces the overshoot and settling time of the control system without sacrificing the steady-state accuracy of neural network compensation control, and has good transient and steady-state performance and strong robustness simultaneously.

As in real life, cinema viewers rely on spontaneous theory of mind (SToM) to interpret characters' mental states. Thus, analyzing cinematic structures offers a unique opportunity to examine ecologically valid sociocognitive processes. We conducted a proof-of-concept study (N = 42) to explore how SToM inferences impact film event comprehension in dramatic irony scenes, where knowledge divergence exists between the audience and characters. We hypothesized that spectators would focus more on characters' mental states in such false-belief inducing scenarios compared to scenarios without such disparity. We used six Harold Lloyd silent comedy clips in a narrative comprehension and spontaneous mental state attribution study with a between-subject (Knowledge Manipulation: Installation vs. Control) and within-subject (Phase: Context vs. Exploitation) comparisons. We provided critical information unknown to the characters only to the Installation group and withheld it from the Control group. By comparing differences in participants' descriptions of the clips during the Context phase (varying across groups) and Exploitation phase (same across groups), we evaluated viewers' processing of the same scenes based on their false- or true-belief representations. Our findings indicate that the Installation group used more cognitive mental state words during the Exploitation phase relative to the Context phase, suggesting that exposure to undisclosed critical information enhances the frequency of spontaneous epistemic state inferences and integration into event models of the exploitation. This research advances neurocinematics by highlighting spontaneous sociocognitive processes in event perception and comprehension and provides a novel dramatic irony film corpus and measures for future moment-to-moment SToM processing studies across cognitive-behavioral, physiological, and neural levels.

This article proposes a vector linear double autoregressive (VLDAR) model with the constant conditional correlation specification, which can capture the co‐movement of multiple series and jointly model their conditional means and volatilities. The strict stationarity of the new model is discussed, and a self‐weighted Gaussian quasi‐maximum likelihood estimator (SQMLE) is proposed for estimation. To reduce the computational cost, especially when the series dimension is large, a block coordinate descent (BCD) algorithm is provided to calculate the SQMLE. Moreover, a Bayesian information criterion is introduced for order selection, and a multi‐variate mixed portmanteau test is constructed for checking the adequacy of fitted models. All asymptotic properties for estimation, model selection, and portmanteau test are established without any moment restrictions imposed on the data process, which makes the new model and its inference tools applicable for heavy‐tailed data. Simulation experiments are conducted to evaluate the finite‐sample performance of the proposed methodology, and an empirical example on analyzing S&P 500 sector indices is presented to illustrate the usefulness of the new model in contrast with competitors.

Parameters related to earthquake origins can be broken down into two broad classes: source location and source dimension. Scientists use distance curves versus average slowness to approximate the epicentre of an earthquake. The shape of curves is the complex function to the epicentral distance, the geological structures of Earth, and the path taken by seismic waves. Brune’s model for source is fitted to the measured seismic wave’s displacement spectrum in order to estimate the source’s size by optimising spectral parameters. The use of ANFIS to determine earthquake magnitude has the potential to significantly alter the playing field. ANFIS can learn like a person using only the data that has already been collected, which improves predictions without requiring elaborate infrastructure. For this investigation’s FIS development, we used a machine with Python 3x running on a core i5 from the 11th generation and an NVIDIA GEFORCE RTX 3050ti GPU processor. Moreover, the research demonstrates that presuming a large number of inputs to the membership function is not necessarily the best option. The quality of inferences generated from data might vary greatly depending on how that data is organised. Subtractive clustering, which does not necessitate any type of normalisation, can be used for prediction of earthquakes magnitude with a high degree of accuracy. This study has the potential to improve our ability to foresee quakes larger than magnitude 5. A solution is not promised to the practitioner, but the research is expected to lead in the right direction. Using Brune’s source model and high cut-off frequency factor, this article suggests using machine learning techniques and a Brune Based Application (BBA) in Python. Application accept input in the Sesame American Standard Code for Information Interchange Format (SAF). An application calculates the spectral level of low frequency displacement (Ω 0), the corner frequency at which spectrum decays with a rate of 2(f c ), the cut-off frequency at which spectrum again decays (f max ), and the rate of decay above f max on its own (N). Seismic moment, stress drop, source dimension, etc. have all been estimated using spectral characteristics, and scaling laws. As with the maximum frequency, fmax, its origin can be determined through careful experimentation and study. At some sites, the moment magnitude was 4.7 0.09, and the seismic moment was in the order of (107 0.19) 1023. (dyne.cm). The stress reduction is 76.3 11.5 (bars) and the source-radius is (850.0 38.0) (m). The ANFIS method predicted pretty accurately as the residuals were distributed uniformly near to the centrelines. The ANFIS approach made fairly accurate predictions, as evidenced by the fact that the residuals were distributed consistently close to the centerlines. The R2, RMSE, and MAE indices demonstrate that the ANFIS accuracy level is superior to that of the ANN.

Abstract This study proposed a method to enable a humanoid robot to step up onto a stair by imitating the step-up motion of a human and to accomplish a lift and carry event in HuroCup of Federation of International RoboSports Association. The step-up motion, divided into five states, was captured by a Kinect sensor, and the human joints corresponded to the humanoid robot joints. Selected servomotors and their angle variation were matched with that of human joint numbers by a designed fuzzy inference system on the basis between the human and the humanoid robot joints. Then, the rest of the robot motors were adjusted by the zero moment point obtained from force-sensing registers to maintain stability. Next, two intermediate transition states were added between each state of the humanoid robot step-up to maintain its balance and reduce motor damage. Finally, to be applied in a real lift and carry event, a vision system was integrated to recognize the edge of a color board and determine a suitable site for the step-up. With these functions integrated, the robot under the proposed method was verified to successfully achieve the task of the lift and carry event without losing its balance or falling.

SummaryRegression models that ignore measurement error in predictors may produce highly biased estimates leading to erroneous inferences. It is well known that it is extremely difficult to take measurement error into account in Gaussian non‐parametric regression. This problem becomes even more difficult when considering other families such as binary, Poisson and negative binomial regression. We present a novel method aiming to correct for measurement error when estimating regression functions. Our approach is sufficiently flexible to cover virtually all distributions and link functions regularly considered in generalised linear models. This approach depends on approximating the first and the second moment of the response after integrating out the true unobserved predictors in any semi‐parametric generalised regression model. By the latter is meant a model with both linear and non‐parametric effects that are connected to the mean response by a link function and with a response distribution in an exponential family or quasi‐likelihood model. Unlike previous methods, the method we now propose is not restricted to truncated splines and can utilise various basis functions. Moreover, it can operate without making any distributional assumption about the unobserved predictor. Through extensive simulation studies, we study the performance of our method under many scenarios.

Orientation: Measurement invariance is one of the most precarious aspects of the scale development process without which the interpretation of research findings on population subgroups may be ambiguous and even invalid. Besides tests for validity and reliability, measurement invariance represents the hallmark for psychometric compliance of a new measuring instrument and provides the basis for inference of research findings across a range of relevant population sub-groups.Research purpose: This study tested the measurement invariance of a Learning Programme Management and Evaluation (LPME) scale across levels of academic achievement.Motivation for the study: It is important for any researcher involved in new scale development to ensure that the measurement instrument and its underlying constructs have proper structural alignment and that they both have the same level of meaning and significance across comparable heterogeneous groups.Research design, approach and method: A quantitative, non-experimental, cross-sectional survey design was used, and data were obtained from 369 participants who were selected from three public sector organisations using a probabilistic simple random sampling technique. The Statistical Package for Social Sciences and Analysis of Moment Structures software (versions 21.0.0) were used to analyse the data.Main findings: The findings show that all the four invariance models tested have achieved acceptable goodness-of-fit indices. Furthermore, the findings show that the factorial structure of the LPME scale and the meaning of its underlying constructs are invariant across different levels of academic achievement for human resource development (HRD) practitioners and learners or apprentices involved in occupational learning programmes.Practical implications: The findings of this study suggest practical implications for HRD scholars as they are enabled to make informed decisional balance comparisons involving educational attainment sub-groups.Contributions and value addition: This study contributes methodologically to the sub-field of HRD by enabling scholars to make comparisons of mean differences or other structural parameters across sub-groups.

To obtain an accurate cosmological inference from upcoming weak lensing surveys such as the one conducted by the shear measurement requires calibration using galaxy image simulations. As it typically requires millions of simulated galaxy images and consequently a substantial computational effort, seeking methods to speed the calibration up is valuable. We study the efficiency of different noise cancellation methods that aim at reducing the simulation volume required to reach a given precision in the shear measurement. The more efficient a method is, the faster we can estimate the relevant biases up to a required precision level. Explicitly, we compared fit methods with different noise cancellations and a method based on responses. We used to simulate galaxies both on a grid and at random positions in larger scenes. Placing the galaxies at random positions requires their detection, which we performed with On the grid, we neglected the detection step and, therefore, the potential detection bias arising from it. The shear of the simulated images was measured with the fast moment-based method for which we note deviations from purely linear shear measurement biases. For the estimation of uncertainties, we used bootstrapping as an empirical method. We extended the response-based approach to work on a wider range of shears and provide accurate estimates of selection biases. We find that each method we studied on top of shape noise cancellation can further increase the efficiency of calibration simulations. The improvement depends on the considered shear amplitude range and the type of simulations (grid-based or random positions). The response method on a grid for small shears provides the biggest improvement. Here the runtime for the estimation of multiplicative biases can be lowered by a factor of $145$ compared to the benchmark simulations without any cancellation. In the more realistic case of randomly positioned galaxies, we still find an improvement factor of $70$ for small shears using the response method. Alternatively, the runtime can be lowered by a factor of 7 already using pixel noise cancellation on top of shape noise cancellation. Furthermore, we demonstrate that the efficiency of shape noise cancellation can be enhanced in the presence of blending if entire scenes are rotated instead of individual galaxies.

‘Bitzer,’ said Thomas Gradgrind. ‘Your definition of a horse.’‘Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by marks in mouth.’ Thus (and much more) Bitzer.‘Now girl number twenty,’ said Mr. Gradgrind. ‘You know what a horse is.’— Charles Dickens, Hard Times (1854)Dickens’s famous pedant, Thomas Gradgrind, was not an anomaly. He is the pedagogical manifestation of the rise of quantification in modernism that was the necessary adjunct to massive urbanisation and industrialisation. His classroom caricatures the dominant epistemic modality of modern global democracies, our unwavering trust in numbers, “data”, and reproductive predictability. This brief quotation from Hard Times both presents and parodies the 19th century’s displacement of what were previously more commonly living and heterogeneous existential encounters with events and things. The world had not yet been made predictably repetitive through industrialisation, standardisation, law, and ubiquitous codes of construction. Theirs was much more a world of unique events and not the homogenised and orthodox iteration of standardised knowledge. Horses and, by extension, all entities and events gradually were displaced by their rote definitions: individuals of a so-called natural kind were reduced to identicals. Further, these mechanical standardisations were and still are underwritten by mapping them into a numerical and extensive characterisation. On top of standardised objects and procedures appeared assigned numerical equivalents which lent standardisation the seemingly apodictic certainty of deductive demonstrations. The algebraic becomes the socially enforced criterion for the previously more sensory, qualitative, and experiential encounters with becoming that were more likely in pre-industrial life. Here too, we see that the function of this reproductive protocol is not just notational but is the sine qua non for, in Althusser’s famous phrase, the manufacture of citizens as “subject subjects”, those concrete individuals who are educated to understand themselves ideologically in an imaginary relation with their real position in any society’s self-reproduction. Here, however, ideology performs that operation through that nominally least political of cognitive modes, the supposed friend of classical Marxism’s social science, the mathematical. The historical onset of this social and political reproductive hegemony, this uniform supplanting of time’s ineluctable differencing with the parasite of its associated model, can partial be found in the formation of metrics. Before the 19th century, the measures of space and time were local. Units of length and weight varied not just between nations but often by municipality. These parochial standards reflected indigenous traditions, actualities, personalities, and needs. This variation in measurement standards suggested that every exchange or judgment of kind and value relied upon the specificity of that instance. Every evaluation of an instance required perceptual acuity and not the banality of enumeration constituted by commodification and the accounting practices intrinsic to centralised governance. This variability in measure was complicated by similar variability in the currencies of the day. Thus, barter presented the participants with complexities and engagements of skills and discrete observation completely alien to the modern purchase of duplicate consumer objects with stable currencies. Almost nothing of life was iterative: every exchange was, more or less, an anomaly. However, in 1790, immediately following the French Revolution and as a central manifestation of its movement to rational democratisation, Charles Maurice de Talleyrand proposed a metrical system to the French National Assembly. The units of this metric system, based originally on observable features of nature, are now formally codified in all scientific practice by seven physical constants. Further, they are ubiquitous now in almost all public exchanges between individuals, corporations, and states. These units form a coherent and extensible structure whose elements and rules are subject to seemingly lossless symbolic exchange in a mathematic coherence aided by their conformity to decimal representation. From 1960, their basic contemporary form was established as the International System of Units (SI). Since then, all but three of the countries of the world (Myanmar, Liberia, and the United States), regardless of political organisation and individual history, have adopted these standards for commerce and general measurement. The uniformity and rational advantage of this system is easily demonstrable in just the absurd variation in the numeric bases of the Imperial / British system which uses base 16 for ounces/pounds, base 12 for inches/feet, base three for feet/yards, base 180 for degrees between freezing and cooling, 43,560 square feet per acre, eights for division of inches, etc. Even with its abiding antagonism to the French, Britain officially adopted the metric system as was required by its admission to the EU in 1973. The United States is the last great holdout in the public use of the metric system even though SI has long been the standard wanted by the federal government. At first, the move toward U.S. adoption was promising. Following France and rejecting England’s practice, America was founded on a decimal currency system in 1792. In 1793, Jefferson requested a copy of the standard kilogram from France in a first attempt to move to the metric system: however, the ship carrying the copy was captured by pirates. Indeed, The Metric Conversion Act of 1975 expressed a more serious national intention to adopt SI, but after some abortive efforts, the nation fell back into the more archaic measurements dominant since before its revolution. However, the central point remains that while the U.S. is unique in its public measurement standard among dominant powers, it is equally committed to the hegemonic application of a numerical rendition of events.The massive importance of this underlying uniformity is that it supplies the central global mechanism whereby the world’s chaotic variation is continuously parsed and supplanted into comparable, intelligible, and predictable units that understand individuating difference as anomaly. Difference, then, is understood in this method not as qualitative and intensive, which it necessarily is, but quantitative and extensive. Like Gradgrind’s “horse”, the living and unique thing is rendered through the Apollonian dream of standardisation and enumeration. While differencing is the only inherent quality of time’s chaotic flow, accounting and management requite iteration. To order the reproduction of modern society, the unique individuating differences that render an object as “this one”, what the Medieval logicians called haecceities, are only seen as “accidental” and “non-essential” deviations. This is not just odd but illogical since these very differences allow events to be individuated items so to appear as countable at all. As Leibniz’s principle, the indiscernibility of identicals, suggests, the application of the metrical same to different occasions is inherently paradoxical: if each unit were truly the same, there could only be one. As the etymology of “anomaly” suggests, it is that which is unexpected, irregular, out of line, or, going back to the Greek, nomos, at variance with the law. However, as the only “law” that always is at hand is the so-called “Second Law of Thermodynamics”, the inconsistently consistent roiling of entropy, the evident theoretical question might be, “how is anomaly possible when regularity itself is impossible?” The answer lies not in events “themselves” but exactly in the deductive valorisations projected by that most durable invention of the French Revolution adumbrated above, the metric system. This seemingly innocuous system has formed the reproductive and iterative bias of modern post-industrial perceptual homogenisation. Metrical modeling allows – indeed, requires – that one mistake the metrical changeling for the experiential event it replaces. Gilles Deleuze, that most powerful French metaphysician (1925-1995) offers some theories to understand the seminal production (not reproduction) of disparity that is intrinsic to time and to distinguish it from its homogenised representation. For him, and his sometime co-author, Felix Guattari, time’s “chaosmosis” is the host constantly parasitised by its symbolic model. This problem, however, of standardisation in the face of time’s originality, is obscured by its very ubiquity; we must first denaturalise the seemingly self-evident metrical concept of countable and uniform units.A central disagreement in ancient Greece was between the proponents of physis (often translated as “nature” but etymologically indicative of growth and becoming, process and not fixed form) and nomos (law or custom). This is one of the first ethical and so political debates in Western philosophy. For Heraclitus and other pre-Socratics, the emphatic character of nature was change, its differencing dynamism, its processual but not iterative character. In anticipation of Hume, Sophists disparaged nomos (νόμος) as simply the habituated application of synthetic law and custom to the fluidity of natural phenomena. The historical winners of this debate, Plato and the scientific attitudes of regularity and taxonomy characteristic of his best pupil, Aristotle, have dominated ever since, but not without opponents.In the modern era, anti-enlightenment figures such as Hamann, Herder, and the Schlegel brothers gave theoretical voice to romanticism’s repudiation of the paradoxical impulses of the democratic state for regulation and uniformity that Talleyrand’s “revolutionary” metrical proposal personified. They saw the correlationalism (as adumbrated by Meillassoux) between thought and thing based upon their hypothetical equitability as a betrayal of the dynamic physis that experience presented. Variable infinity might come either from the character of God or nature or, as famously in Spinoza’s Ethics, both (“deus sive natura”). In any case, the plenum of nature was never iterative. This rejection of metrical regularity finds its synoptic expression in Nietzsche. As a classicist, Nietzsche supplies the bridge between the pre-Socratics and the “post-structuralists”. His early mobilisation of the Apollonian, the dream of regularity embodied in the sun god, and the Dionysian, the drunken but inarticulate inexpression of the universe’s changing manifold, gives voice to a new resistance to the already dominate metrical system. His is a new spin of the mythic representatives of Nomos and physis. For him, this pair, however, are not – as they are often mischaracterised – in dialectical dialogue. To place them into the thesis / antithesis formulation would be to give them the very binary character that they cannot share and to, tacitly, place both under Apollo’s procedure of analysis. Their modalities are not antithetical but mutually exclusive. To represent the chaotic and non-iterative processes of becoming, of physis, under the rubric of a common metrics, nomos, is to mistake the parasite for the host. In its structural hubris, the ideological placebo of metrical knowing thinks it non-reductively captures the multiplicity it only interpellates. In short, the polyvalent, fluid, and inductive phenomena that empiricists try to render are, in their intrinsic character, unavailable to deductive method except, first, under the reductive equivalence (the Gradgrind pedagogy) of metrical modeling. This incompatibility of physis and nomos was made manifest by David Hume in A Treatise of Human Nature (1739-40) just before the cooptation of the 18th century’s democratic revolutions by “representative” governments. There, Hume displays the Apollonian dream’s inability to accurately and non-reductively capture a phenomenon in the wild, free from the stringent requirements of synthetic reproduction. His argument in Book I is succinct.Now as we call every thing custom, which proceeds from a past repetition, without any new reasoning or conclusion, we may establish it as a certain truth, that all the belief, which follows upon any present impression, is deriv'd solely from that origin. (Part 3, Section 8)There is nothing in any object, consider'd in itself, which can afford us a reason for drawing a conclusion beyond it; ... even after the observation of the frequent or constant conjunction of objects, we have no reason to draw any inference concerning any object beyond those of which we have had experience. (Part 3, Section 12)The rest of mankind ... are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement. (Part 4, Section 6)In sum, then, nomos is nothing but habit, a Pavlovian response codified into a symbolic representation and, pragmatically, into a reproductive protocol specifically ordered to exclude anomaly, the inherent chaotic variation that is the hallmark of physis. The Apollonian dream that there can be an adequate metric of unrestricted natural phenomena in their full, open, turbulent, and manifold becoming is just that, a dream. Order, not chaos, is the anomaly. Of course, Kant felt he had overcome this unacceptable challenge to rational application to induction after Hume woke him from his “dogmatic slumber”. But what is perhaps one of the most important assertions of the critiques may be only an evasion of Hume’s radical empiricism: “there are only two ways we can account for the necessary agreement of experience with the concepts of its objects: either experience makes these concepts possible or these concepts make experience possible. The former supposition does not hold of the categories (nor of pure sensible intuition) ... . There remains ... only the second—a system ... of the epigenesis of pure reason” (B167). Unless “necessary agreement” means the dictatorial and unrelenting insistence in a symbolic model of perception of the equivalence of concept and appearance, this assertion appears circular. This “reading” of Kant’s evasion of the very Humean crux, the necessary inequivalence of a metric or concept to the metered or defined, is manifest in Nietzsche.In his early “On Truth and Lies in a Nonmoral Sense” (1873), Nietzsche suggests that there is no possible equivalence between a concept and its objects, or, to use Frege’s vocabulary, between sense or reference. We speak of a "snake" [see “horse” in Dickens]: this designation touches only upon its ability to twist itself and could therefore also fit a worm. What arbitrary differentiations! What one-sided preferences, first for this, then for that property of a thing! The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise, there would not be so many languages. The "thing in itself" (which is precisely what the pure truth, apart from any of its consequences, would be) is likewise something quite incomprehensible to the creator of language and something not in the least worth striving for. This creator only designates the relations of things to men, and for expressing these relations he lays hold of the boldest metaphors.The literal is always already a reductive—as opposed to literature’s sometimes expansive agency—metaphorisation of events as “one of those” (a token of “its” type). The “necessary” equivalence in nomos is uncovered but demanded. The same is reproduced by the habitual projection of certain “essential qualities” at the expense of all those others residing in every experiential multiplicity. Only in this prison of nomos can anomaly appear: otherwise all experience would appear as it is, anomalous. With this paradoxical metaphor of the straight and equal, Nietzsche inverts the paradigm of scientific expression. He reveals as a repressive social and political obligation the symbolic assertion homology where actually none can be. Supposed equality and measurement all transpire within an Apollonian “dream within a dream”. The concept captures not the manifold of chaotic experience but supplies its placebo instead by an analytic tautology worthy of Gradgrind. The equivalence of event and definition is always nothing but a symbolic iteration. Such nominal equivalence is nothing more than shifting events into a symbolic frame where they can be commodified, owned, and controlled in pursuit of that tertiary equivalence which has become the primary repressive modality of modern societies: money. This article has attempted, with absurd rapidity, to hint why some ubiquitous concepts, which are generally considered self-evident and philosophically unassailable, are open not only to metaphysical, political, and ethical challenge, but are existentially unjustified. All this was done to defend the smaller thesis that the concept of anomaly is itself a reflection of a global misrepresentation of the chaos of becoming. This global substitution expresses a conservative model and measure of the world in the place of the world’s intrinsic heterogenesis, a misrepresentation convenient for those who control the representational powers of governance. In conclusion, let us look, again too briefly, at a philosopher who neither accepts this normative world picture of regularity nor surrenders to Nietzschean irony, Gilles Deleuze.Throughout his career, Deleuze uses the word “pure” with senses antithetical to so-called common sense and, even more, Kant. In its traditional concept, pure means an entity or substance whose essence is not mixed or adulterated with any other substance or material, uncontaminated by physical pollution, clean and immaculate. The pure is that which is itself itself. To insure intelligibility, that which is elemental, alphabetic, must be what it is itself and no other. This discrete character forms the necessary, if often tacit, precondition to any analysis and decomposition of beings into their delimited “parts” that are subject to measurement and measured disaggregation. Any entity available for structural decomposition, then, must be pictured as constituted exhaustively by extensive ones, measurable units, its metrically available components. Dualism having established as its primary axiomatic hypothesis the separability of extension and thought must now overcome that very separation with an adequacy, a one to one correspondence, between a supposedly neatly measurable world and ideological hegemony that presents itself as rational governance. Thus, what is needed is not only a purity of substance but a matching purity of reason, and it is this clarification of thought, then, which, as indicated above, is the central concern of Kant’s influential and grand opus, The Critique of Pure Reason.Deleuze heard a repressed alternative to the purity of the measured self-same and equivalent that, as he said about Plato, “rumbled” under the metaphysics of analysis. This was the dark tradition he teased out of the Stoics, Ockham, Gregory of Rimini, Nicholas d’Autrecourt, Spinoza, Meinong, Bergson, Nietzsche, and McLuhan. This is not the purity of identity, A = A, of metrical uniformity and its shadow, anomaly. Rather than repressing, Deleuze revels in the perverse purity of differencing, difference constituted by becoming without the Apollonian imposition of normalcy or definitional identity. One cannot say “difference in itself” because its ontology, its genesis, is not that of anything itself but exactly the impossibility of such a manner of constitution: universal anomaly. No thing or idea can be iterative, separate, or discrete.In his Difference and Repetition, the idea of the purely same is undone: the Ding an sich is a paradox. While the dogmatic image of thought portrays the possibility of the purely self-same, Deleuze never does. His notions of individuation without individuals, of modulation without models, of simulacra without originals, always finds a reflection in his attitudes toward, not language as logical structure, but what necessarily forms the differential making of events, the heterogenesis of ontological symptoms. His theory has none of the categories of Pierce’s triadic construction: not the arbitrary of symbols, the “self-representation” of icons, or even the causal relation of indices. His “signs” are symptoms: the non-representational consequences of the forces that are concurrently producing them. Events, then, are the symptoms of the heterogenetic forces that produce, not reproduce them. To measure them is to export them into a representational modality that is ontologically inapplicable as they are not themselves themselves but the consequences of the ongoing differences of their genesis. Thus, the temperature associated with a fever is neither the body nor the disease.Every event, then, is a diaphora, the pure consequent of the multiplicity of the forces it cannot resemble, an original dynamic anomaly without standard. This term, diaphora, appears at the conclusion of that dialogue some consider Plato’s best, the Theaetetus. There we find perhaps the most important discussion of knowledge in Western metaphysics, which in its final moments attempts to understand how knowledge can be “True Judgement with an Account” (201d-210a). Following this idea leads to a theory, usually known as the “Dream of Socrates”, which posits two kinds of existents, complexes and simples, and proposes that “an account” means “an account of the complexes that analyses them into their simple components … the primary elements (prôta stoikheia)” of which we and everything else are composed (201e2). This—it will be noticed—suggests the ancient heritage of Kant’s own attempted purification of mereological (part/whole relations) nested elementals. He attempts the coordination of pure speculative reason to pure practical reason and, thus, attempts to supply the root of measurement and scientific regularity. However, as adumbrated by the Platonic dialogue, the attempted decompositions, speculative and pragmatic, lead to an impasse, an aporia, as the rational is based upon a correspondence and not the self-synthesis of the diaphorae by their own dynamic disequilibrium. Thus the dialogue ends inconclusively; Socrates rejects the solution, which is the problem itself, and leaves to meet his accusers and quaff his hemlock. The proposal in this article is that the diaphorae are all that exists in Deleuze’s world and indeed any world, including ours. Nor is this production decomposable into pure measured and defined elementals, as such decomposition is indeed exactly opposite what differential production is doing. For Deleuze, what exists is disparate conjunction. But in intensive conjunction the same cannot be the same except in so far as it differs. The diaphorae of events are irremediably asymmetric to their inputs: the actual does not resemble the virtual matrix that is its cause. Indeed, any recourse to those supposedly disaggregate inputs, the supposedly intelligible constituents of the measured image, will always but repeat the problematic of metrical representation at another remove. This is not, however, the traditional postmodern trap of infinite meta-shifting, as the diaphoric always is in each instance the very presentation that is sought. Heterogenesis can never be undone, but it can be affirmed. In a heterogenetic monism, what was the insoluble problem of correspondence in dualism is now its paradoxical solution: the problematic per se. What manifests in becoming is not, nor can be, an object or thought as separate or even separable, measured in units of the self-same. Dogmatic thought habitually translates intensity, the differential medium of chaosmosis, into the nominally same or similar so as to suit the Apollonian illusions of “correlational adequacy”. However, as the measured cannot be other than a calculation’s placebo, the correlation is but the shadow of a shadow. Every diaphora is an event born of an active conjunction of differential forces that give rise to this, their product, an interference pattern. Whatever we know and are is not the correlation of pure entities and thoughts subject to measured analysis but the confused and chaotic confluence of the specific, material, aleatory, differential, and unrepresentable forces under which we subsist not as ourselves but as the always changing product of our milieu. In short, only anomaly without a nominal becomes, and we should view any assertion that maps experience into the “objective” modality of the same, self-evident, and normal as a political prestidigitation motivated, not by “truth”, but by established political interest. ReferencesDella Volpe, Galvano. Logic as a Positive Science. London: NLB, 1980.Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP, 1994.———. The Logic of Sense. Trans. Mark Lester. New York: Columbia UP, 1990.Guenon, René. The Reign of Quantity. New York: Penguin, 1972.Hawley, K. "Identity and Indiscernibility." Mind 118 (2009): 101-9.Hume, David. A Treatise of Human Nature. Oxford: Clarendon, 2014.Kant, Immanuel. Critique of Pure Reason. Trans. Norman Kemp Smith. London: Palgrave Macmillan, 1929.Meillassoux, Quentin. After Finitude: An Essay on the Necessity of Contingency. Trans. Ray Brassier. New York: Continuum, 2008.Naddaf, Gerard. The Greek Concept of Nature. Albany: SUNY, 2005. Nietzsche, Friedrich. The Birth of Tragedy. Trans. Douglas Smith. Oxford: Oxford UP, 2008.———. “On Truth and Lies in a Nonmoral Sense.” Trans. Walter Kaufmann. The Portable Nietzsche. New York: Viking, 1976.Welch, Kathleen Ethel. "Keywords from Classical Rhetoric: The Example of Physis." Rhetoric Society Quarterly 17.2 (1987): 193–204.

There is an expression, in recent Marvel superhero films, of a social anxiety about genetic science that, in part, replaces the social anxieties about nuclear weapons that can be detected in the comic books on which these films are based (Rutherford). Much of the analysis of superhero comics – and the films on which they are based – has focussed its attention on the anxieties contained within them about gender, sexuality, race, politics, and the nation. Surprisingly little direct critique is applied to the most obvious point of difference within those texts, namely the acquisition, display, and use of extra-ordinary abilities. These superhero films represent some of the ways that audiences come to understand genetics. I am interested in this essay in considering how the representation of genetic mutation, as an error in a bio-chemical code, is a key narrative device. Moreover, mutation is central to the way the films explore the social exclusion of characters who acquire super-abilities. My contention is that, in these Marvel comic films, extra-ordinary ability, and the anxieties expressed about those abilities, parallels some of the social and cultural beliefs about the disabled body. The impaired body thus becomes a larger trope for any deviation from the “normal” body and gives rise to the anxieties about deviation and deviance explored in these films. Impairment and illness have historically been represented as either a blessing or a curse – the source of revelation and discovery, or the site of ignominy. As Western culture developed, the confluence of Greek and Judeo-Christian stories about original sin and inherited punishment for parental digression resulted in the entrenchment of beliefs about bent and broken bodies as the locus of moral questions (and answers) about the abilities and use of the human body (Sontag 47). I want to explore, firstly, in the film adaptations of the Marvel comics X-Men, Spiderman, Fantastic Four, and The Hulk, the representation of changes to the body as the effect of invisible bio-chemical states and processes. It has been impossible to see DNA, whether with the human eye or with technical aid; the science of genetics is largely based on inference from other observations. In these superhero films, the graphic display of DNA and genetic restructuring is strikingly large. This overemphasis suggests both that the genetic is a key narrative impetus of the films and that there is something uncertain or disturbing about genetic science. One such concern about genetic science is identifying the sources of oppression that might underlie the, at times understandable, desire to eliminate disease and congenital defect through changes to the genetic code or elimination of genetic error. As Adrienne Asch states, this urge to eliminate disease and impairment is problematic: Why should it be acceptable to avoid some characteristics and not others? How can the society make lists of acceptable and unacceptable tests and still maintain that only disabling traits, and not people who live with those traits, are to be avoided? (339) Asch’s questioning ends with the return to the moral concerns that have always circulated around the body, and in particular a body that deviates from a norm. The maxim “hate the sin, not the sinner” is replaced by “eradicate the impairment, not the impaired”: it is some kind of lack of effort or resourcefulness on the part of the impaired that is detectable in the presence of the impairment. This replacement of sin by science is yet another example of the trace of the body as the site of moral arguments. As Bryan Turner argues, categories of disease, and by association impairment, are intrinsic to the political discourse of Western societies about otherness and exclusion (Turner 216). It is not surprising then, that characters that experience physical changes caused by genetic mutation may take on for themselves the social shame that is part of the exclusion process. As genetic science has increasingly infiltrated the popular imagination and thus finds expression in cinema, so too has this concern of shame and guilt become key to the narrative tension of films that link changes in the genetic code to the acquisition of super-ability. In the X-Men franchise, the young female character Rogue (Anna Paquin), acquires the ability to absorb another’s life force (and abilities), and she seeks to have her genetic code resequenced in order to be able to touch others, and thus by implication have a “normal” life. In X2 (Bryan Singer, 2003), Rogue’s boyfriend, Iceman (Shawn Ashmore), who has been largely excluded from her touch, returns home with other mutants. After having hidden his mutant abilities from his family, he finally confesses to them the truth about himself. His shocked mother turns to him and asks: “Have you tried not being a mutant?” Whilst this moment has been read as an expression of anxiety about homosexuality (“Pop Culture: Out Is In”; Vary), it also marks a wider social concern about otherness, including disability, and its attendant social exclusion. Moreover, this moment reasserts the paradigm of effort that underlies anxieties about deviations from the norm: Iceman could have been normal if only he had tried harder, had a different girlfriend, remained at home, sought more knowledge, or had better counsel. Science, and more specifically genetic science, is suggested in many of these films as the site of bad counsel. The narratives of these superhero stories, almost without exception, begin or hinge on some kind of mistake by scientists – the escaped spider, the accident in the laboratory, the experiment that gets out of control. The classic image of the mad scientist or Doctor Frankenstein type, locked away in his laboratory is reflected in the various scenes in all these films, in which the scientists are separated from wider society. In Fantastic 4 (Tim Story, 2005), the villain, Dr Von Doom (Julian McMahon), is located at the top of a large multi-story building, as too are the heroes. Their separation from the rest of society is made even more dramatic by placing the site of their exposure to cosmic radiation, the source of the genetic mutation, in a space station that is empty of anyone else except the five main characters whose bodies will be altered. In Spiderman (Sam Raimi, 2002), the villain is a scientist whose experiments are kept secret by the military, emphasising the danger inherent in his work. The mad-scientist imagery dominates the representation of Bruce Bannor’s father in Hulk (Ang Lee, 2003), whose experiments have altered his genetic code, and that alteration in genetic structure has subsequently been passed onto his son. The Fantastic 4 storyline returns several times to the link between genetic mutation and the exposure to cosmic radiation. Indeed, it is made explicit that human existence – and by implication the human body and abilities – is predicated on this cosmic radiation as the source of transformations that formed the human genetic code. The science of early biology thus posits this cosmic radiation as the source of what is “normal,” and it is this appeal to the cosmos – derived from the Greek kosmos meaning “order” – that provides, in part, the basis on which to value the current human genetic code. This link to the cosmic is also made in the opening sequence of X-Men in which the following voice-over is heard as we see a ball of light form. This light show is both a reminder of the Big Bang (the supposed beginning of the universe which unleased vast amounts of radiation) and the intertwining of chromosomes seen inside biological nuclei: Mutation, it is the key to our evolution. It has enabled us to evolve from a single celled organism to the dominant species on the planet. This process is slow, normally taking thousands and thousands of years. But every few hundred millennia evolution leaps forward. Whilst mutation may be key to human evolution and the basis for the dramatic narratives of these superhero films, it is also the source of social anxiety. Mutation, whilst derived from the Latin for “change,” has come to take on the connotation of an error or mistake. Richard Dawkins, in his celebrated book The Selfish Gene, compares mutation to “an error corresponding to a single misprinted letter in a book” (31). The language of science is intended to be without the moral overtones that such words as “error” and “misprint” attract. Nevertheless, in the films under consideration, the negative connotations of mutation as error or mistake, are, therefore, the source of the many narrative crises as characters seek to rid themselves of their abilities. Norman Osborn (Willem Dafoe), the villain of Spiderman, is spurred on by his belief that human beings have not achieved their potential, and the implication here is that the presence of physical weakness, illness, and impairment is the supporting evidence. The desire to return the bodies of these superheroes to a “normal” state is best expressed in_ Hulk_, when Banner’s father says: “So you wanna know what’s wrong with him. So you can fix him, cure him, change him.” The link between a mistake in the genetic code and the disablement of the these characters is made explicit when Banner demands from his father an explanation for his transformation into the Hulk – the genetic change is explicitly named a deformity. These films all gesture towards the key question of just what is the normal human genetic code, particularly given the way mutation, as error, is a fundamental tenet in the formation of that code. The films’ focus on extra-ordinary ability can be taken as a sign of the extent of the anxiety about what we might consider normal. Normal is represented, in part, by the supporting characters, named and unnamed, and the narrative turns towards rehabilitating the altered bodies of the main characters. The narratives of social exclusion caused by such radical deviations from the normal human body suggest the lack of a script or language for being able to talk about deviation, except in terms of disability. In Spiderman, Peter Parker (Tobey Maguire) is doubly excluded in the narrative. Beginning as a classic weedy, glasses-wearing, nerdy individual, unable to “get the girl,” he is exposed to numerous acts of humiliation at the commencement of the film. On being bitten by a genetically altered spider, he acquires its speed and agility, and in a moment of “revenge” he confronts one of his tormentors. His super-ability marks him as a social outcast; his tormentors mock him saying “You are a freak” – the emphasis in speech implying that Parker has never left a freakish mode. The film emphasises the physical transformation that occurs after Parker is bitten, by showing his emaciated (and ill) body then cutting to a graphic depiction of genes being spliced into Parker’s DNA. Finally revealing his newly formed, muscular body, the framing provides the visual cues as to the verbal alignment of these bodies – the extraordinary and the impaired bodies are both sources of social disablement. The extreme transformation that occurs to Ben Grimm (Michael Chiklis), in Fantastic 4, can be read as a disability, buying into the long history of the disabled body as freak, and is reinforced by his being named “The Thing.” Socially, facial disfigurement may be regarded as one of the most isolating impairments; for example, films such as The Man without a Face (Mel Gibson, 1993) explicitly explore this theme. As the only character with a pre-existing relationship, Grimm’s social exclusion is reinforced by the rejection of his girlfriend when she sees his face. The isolation in naming Ben Grimm as “The Thing” is also expressed in the naming of Bruce Banner’s (Eric Bana) alter ego “Hulk.” They are grossly enlarged bodies that are seen as grotesque mutations of the “normal” human body – not human, but “thing-like.” The theme of social exclusion is played alongside the idea that those with extra-ordinary ability are also emblematic of the evolutionary dominance of a superior species of which science is an example of human dominance. The Human Genome Project, begun in 1990, and completed in 2003, was in many ways the culmination of a century and a half of work in biochemistry, announcing that science had now completely mapped the human genome: that is, provided the complete sequence of genes on each of the 46 chromosomes in human cells. The announcement of the completed sequencing of the human genome led to, what may be more broadly called, “genomania” in the international press (Lombardo 193). But arguably also, the continued announcements throughout the life of the Project maintained interest in, and raised significant social, legal, and ethical questions about genetics and its use and abuse. I suggest that in these superhero films, whose narratives centre on genetic mutation, that the social exclusion of the characters is based in part on fears about genetics as the source of disability. In these films deviation becomes deviance. It is not my intention to reduce the important political aims of the disability movement by equating the acquisition of super-ability and physical impairment. Rather, I suggest that in the expression of the extraordinary in terms of the genetic within the films, we can detect wider social anxieties about genetic science, particularly as the representations of that science focus the audience’s attention on mutation of the genome. An earlier film, not concerned with superheroes but with the perfectibility of the human body, might prove useful here. Gattaca (Andrew Nicol, 1997), which explores the slippery moral slope of basing the value of the human body in genetic terms (the letters of the title recall the chemicals that structure DNA, abbreviated to G, A, T, C), is a powerful tale of the social consequences of the primacy of genetic perfectibility and reflects the social and ethical issues raised by the Human Genome Project. In a coda to the film, that was not included in the theatrical release, we read: We have now evolved to the point where we can direct our own evolution. Had we acquired this knowledge sooner, the following people may never have been born. The screen then reveals a list of significant people who were either born with or acquired physical or psychological impairments: for example, Abraham Lincoln/Marfan Syndrome, Jackie Joyner-Kersee/Asthma, Emily Dickinson/Manic Depression. The audience is then given the stark reminder of the message of the film: “Of course the other birth that may never have taken place is your own.” The social order of Gattaca is based on “genoism” – discrimination based on one’s genetic profile – which forces characters to either alter or hide their genetic code in order to gain social and economic benefit. The film is an example of what the editors of the special issue of the Florida State University Law Journal on genetics and disability note: how we look at genetic conditions and their relationship to health and disability, or to notions of “normalcy” and “deviance,” is not strictly or even primarily a legal matter. Instead, the issues raised in this context involve ethical considerations and require an understanding of the social contexts in which those issues appear. (Crossley and Shepherd xi) Implicit in these commentators’ concern is the way an ideal body is assumed as the basis from which a deviation in form or ability is measured. These superhero films demonstrate that, in order to talk about super-ability as a deviation from a normal body, they rely on disability scripts as the language of deviation. Scholars in disability studies have identified a variety of ways of talking about disability. The medical model associates impairment or illness with a medical tragedy, something that must be cured. In medical terms an error is any deviation from the norm that needs to be rectified by medical intervention. By contrast, in the social constructivist model, the source of disablement is environmental, political, cultural, or economic factors. Proponents of the social model do not regard impairment as equal to inability (Karpf 80) and argue that the discourses of disability are “inevitably informed by normative beliefs about what it is proper for people’s bodies and minds to be like” (Cumberbatch and Negrine 5). Deviations from the normal body are classification errors, mistakes in social categorisation. In these films aspects of both the medical tragedy and social construction of disability can be detected. These films come at a time when disability remains a site of social and political debate. The return to these superheroes, and their experiences of exclusion, in recent films is an indicator of social anxiety about the functionality of the human body. And as the science of genetics gains increasing public representation, the idea of ability – and disability – that is, what is regarded as “proper” for bodies and minds, is increasingly related to how we regard the genetic code. As the twenty first century began, new insights into the genetic origins of disease and congenital impairments offered the possibility that the previous uncertainty about the provenance of these illnesses and impairments may be eliminated. But new uncertainties have arisen around the value of human bodies in terms of ability and function. This essay has explored the way representations of extra-ordinary ability, as a mutation of the genetic code, trace some of the experiences of disablement. A study of these superhero films suggests that the popular dissemination of genetics has not resulted in an understanding of ability and form as purely bio-chemical, but that thinking about the body as a bio-chemical code occurs within already present moral discourses of the body’s value. References Asch, Adrienne. “Disability Equality and Prenatal Testing: Contradictory or Compatible?” Florida State University Law Review 30.2 (2003): 315-42. Crossley, Mary, and Lois Shepherd. “Genes and Disability: Questions at the Crossroads.” Florida State University Law Review 30.2 (2003): xi-xxiii. Cumberbatch, Guy, and Ralph Negrine. Images of Disability on Television. London: Routledge, 1992. Dawkins, Richard. The Selfish Gene. 30th Anniversary ed. Oxford: Oxford UP, 2006. Karpf, A. “Crippling Images.” Framed: Interrogating Disability in the Media. Eds. A. Pointon and C. Davies. London: British Film Institute, 1997. 79-83. Lombardo, Paul A. “Taking Eugenics Seriously: Three Generations Of ??? Are Enough.” Florida State University Law Review 30.2 (2003): 191-218. “Pop Culture: Out Is In.” Contemporary Sexuality 37.7 (2003): 9. Rutherford, Adam. “Return of the Mutants.” Nature 423.6936 (2003): 119. Sontag, Susan. Illness as Metaphor. London: Penguin, 1988. Turner, Bryan S. Regulating Bodies. London: Routledge, 1992. Vary, Adam B. “Mutant Is the New Gay.” Advocate 23 May 2006: 44-45. Citation reference for this article MLA Style Mantle, Martin. "“Have You Tried Not Being a Mutant?”: Genetic Mutation and the Acquisition of Extra-ordinary Ability." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/10-mantle.php>. APA Style Mantle, M. (Oct. 2007) "“Have You Tried Not Being a Mutant?”: Genetic Mutation and the Acquisition of Extra-ordinary Ability," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/10-mantle.php>.

The loop is one of the primary means of structuration for electronic music from mainstream to avant-garde styles. Indeed, during forums at the recent 2002 AD Analogue 2 Digital event, organised as part of the Adelaide Fringe Festival, many practitioners of electronic music gathered together and, often, quizzed each other about the loop: why does everybody seem to be using it and just how useful is it? With very few exceptions, the loop was considered to be an important if not essential tool for electronic music, and it is perhaps easy to understand why if one considers the "one-man band" nature of the majority of purely electronic music. Moreover, the loop is a trope common in many forms of contemporary music such as disco, minimalism, funk and hip-hop, all of which, as David Toop writes, "explor[e] entrancing elaborations and variations on repetition" (92). While Western musical forms have, for many centuries, been characterised by recurring elements (pedal notes, refrains, choruses, variations and so on are all musical tropes that rely on the recurrence of repetitive elements), there is perhaps a difference in the kind of repetition that is deployed in many of these musical forms and that deployed in consumer-driven and much avant-garde electronic music. When looping elements return in many pre-electronic (or non-electronic) compositions they present an elaborated form of the original iteration of that element, whereas it can be argued that the break in hip-hop or the loop employed by electronic music forms a stable basis on which other changing, shifting, modulating and developing elements are laid. (It should not of course be surmised from this that all hip-hop uses breaks nor that all electronic music uses loops.) Rather than presenting an active repetitive element creating difference in itself, the kind of looping employed in much electronic music proposes a banal, Platonic form of repetition in which, as Deleuze states, "the model is supposed to enjoy an originary superior identity [...] whereas the copy is judged in terms of a derived internal resemblance" (126-127). In the terms of our discussion, then, the sampled fragment of music or break (the "original" which some take endless pleasure in trying to identify) constitutes an originary identity which is repeated or looped in a form identical to itself to create an absolute internal resemblance across a contiguous whole. This reading of looping in electronic music finds extension in Jean-Charles François's criticism that electronic music produces only trigger timbre. François argues that in electronic music, the "performer is reduced to a triggering device, and does not participate in any real physical production of the sound" as opposed to the dynamic timbre of "traditional" acoustic instruments which can be varied by the performer in an interpretation of a work ("Fixed Timbre" 113). Trigger timbre, then, signals the exact reproduction (or, rather, a copy with internal resemblance, for an exact reproduction is an impossibility for a number of reasons, some philosophical, some temporal, some physical) of a prior moment, an originary identity, a movement analogous to that created by the looped element in electronic music. The problem with this in regards to musical production as artistic creation is that such modes of structuration are, according to François and Deleuze, eminently un-artistic or un-musical. For François, trigger timbre "strikes our ears like a symbol and threatens the essence of pure music" ("Fixed Timbre" 116), whilst for Deleuze a model employing banal repetition such as the repetition of a decorative motif "is not how artists proceed in reality. They do not juxtapose instances of the figure, but rather each time combine an element of one instance with another element of a following instance" (19). It might then be argued that electronic music is doubly prone to a Platonic mode of production removed from artistry, devoid of the desire with which, for Deleuze, all artistic creation is necessarily injected. To do so, however, is to propose a technologically determinist argument which maintains that electronic music is shaped by the very technology available to the artist, and emphasises the role of the engineer over the artist (even when the engineer and the artist are one and the same person, as is often the case in such music). That such a technologically determinist view might be levelled against electronic music is, nonetheless, perhaps not surprising since whilst most composers of any genre using acoustic instruments essentially have a set of instruments to draw on that has been relatively stable for a number of years (how many years will depend on the genre), it might be suggested that many electronic artists remain within the bounds of their tools' immediate and obvious possibilities because they do not have time fully to master them because the technology behind electronic music is still developing at an exponential rate. Whilst this is in many respects a gross overgeneralisation that neglects composers from both acoustic genres such as Luigi Russolo and Harry Partch who invented new instruments to broaden their sonic palette as well as electronic artists such as Kraftwerk or Aphex Twin who built or radically modified / deconstructed their own instruments, I do not think it entirely unfair given the technophile nature of many electronic artists, eager to keep abreast of the latest developments and software or hardware releases, and believe that it goes some way towards explaining the rate at which "movements" arise and disappear in contemporary electronic music. None of this would be of the least concern, of course, if this did not imply that the music made by many electronic artists is created as much by the hands of the engineer (and by engineer I refer not simply to a recording engineer but anyone involved in the development or programming of the hardware or software used for electronic) as in those of the artist. Even for those artists who serve as their own engineer, then, it is sometimes the case that their productions' bounds of possibility are determined not only by the artist's imagination but also by the very hardware and software used. Electronic music can, then, fall prey to technological determinism, can function in a Platonic manner, relying on a priori principles encoded in its tools and deploying banal repetition, and can be negatively critiqued in the terms of François's argument. This does not imply by any means, however, that it must be so. Indeed, in both her workshop and performance at the 2002AD conference, Kaffe Matthews proposed ways in which this quandary might be broached. Matthews takes her samples not from pre-existing recordings or intricately programmed "timbre objects" ("Fixed Timbre" 114), but from the "live" environmental sounds of the venue in which she is playing or the surrounding area. In this way, Matthews does not merely produce an exact repetition of an historical or prior moment (the sentimental potential of recorded media and electronic music which, according to François, explains their seductive power and thus popularity (François 1990, 114)), rather ensuring that every performance will indeed be an interpretation, a live performance which has no originary identity to refer back to or repeat. To build a complete musical text from fragments such as this, Matthews does rely on the loop, but one of the primary means that she uses to create her loops does not rely on the pattern of banal repetition observed above. Rather, Matthews places microphones around the venue in which she is playing and into which, therefore, her work is being amplified, so that the work itself is looped back into itself, each successive iteration of the loop being altered by the shifting acoustics of the environment into which it is emitted. In this manner, the entire venue is used as the "resonant cavity", the "giant membrane", the "environment", the "atmosphere" that render possible a discursive structure and that, for François, are the preserve of true timbre which cannot be produced by electronic technology ("Writing" 16). This is not, of course, the first time that such loops have been used in experimental music: the notion of the loop is very frequent in the work from the 1960s and 1970s of Steve Reich, who lets series of loops fall into and out of phase with each other, Terry Riley and Pauline Oliveros. Perhaps the most significant precursor to Kaffe Matthews's approach, however, is Alvin Lucier's I am Sitting in a Room (1969). For this piece, the performer chooses the room whose musical qualities are to be evoked, then reads a text in that room. The recording is played back through a loudspeaker in the room, the playback itself recorded and amplified again with the original recording, the process being repeated over a number of generations. Lucier's piece and, indeed, all of the pieces employing loops by the aforementioned composers, use analogue tape technology in order to create their loops, however, which is to say that a deliberate manipulation of the hardware that rips it from its normalised and intended use is required for that hardware to create loops. This is not to say that the misuse of technology at one's disposal is particularly revolutionary; indeed, one might claim that it is a very common feature among avant-garde or progressive artists of the past and present in all musical genres using both digital, analogue, electro-acoustic and acoustic instruments — should Oval do that to compact disks? isn't that the wrong direction for a record to spin? did anyone really intend Hendrix to play a guitar like that? did Cage actually know how a piano should be played? does Jim Denley actually know how to play the flute? What this does suggest, however, is that the use of loops in the work of these artists in the 60s and 70s was the result of a willed aesthetic decision and not a mode of construction dictated by the bounds of the immediately possible hardwired into the technology being used. If the loop used as one of the primary means of structuration in electronic music is to escape the technologically determinist arguments seen above, then, its coming into being must similarly be the result of a willed aesthetic decision and not merely a symptom of the technology used to produce it; it must, in other words, be infused with an artistic sensibility. Much electronic music being pumped out of bedrooms and studios at an alarming rate, however, is not infused with this kind of artistic sensibility, a situation which, although I oversimplify once more in saying so, would only appear to be aggravated the closer one moves to the mainstream (hence phenomena such as "the Balearic sound"). By its nature more prone to banal Platonic repetition (because of the primacy of the loop) and the a-dynamism (and, by inference, stultification) of trigger timbre, those sections of the electronic music scene who are content merely to remain within the obvious uses of the music-making technology, whether their démarche is born of a desire to pander to market forces or an inability or unwillingness fully to master the technology offered because of the speed at which it is moving, consequently produce songs which are themselves little more than banal copies of each other. Constructing music around loops within a technological domain that no longer requires hardware manipulation for the creation of loops since the loop is encoded within it, Matthews, however, by integrating into this realm the kind of compositional démarche noted in Lucier, liberates electronic music from these pitfalls. More than this, however, her approach also allows for an improvisational and dynamic aesthetic which is uncommon even in the avant-garde of electronic artists who do extend the possibilities of the technology they use. For the majority of artists who can be included in this group generally rely, when processing samples in real time, on a bank of pre-recorded samples, regardless of how these were created, through the use or misuse of technology. In using the very space in or around where she is performing as a live sample bank and processing those samples in real time as they are looped and transformed by the very setup she has defined, Matthews simultaneously surrenders and reclaims her creation, reinstating an authorial presence into the absence around which Cage's 4'33" is based (his "silent" piece in which the ambient sounds of the audience, venue and surrounding space constitute the only sound matter), seeming, like the performer of 4'33" who merely marks off time in three movements, not to be involved in the physical production of sound that François deems necessary for dynamic musical production ("Fixed Timbre" 113), only to reassert her presence in the text as a physical and dynamic entity. Acknowledgement With thanks to Kaffe Matthews and M/C's reviewers and editors. References Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. London: The Athlone Press, 1994. François, Jean-Charles. "Fixed Timbre, Dynamic Timbre." Perspectives of New Music 28.2 (1990): 112-118. François, Jean-Charles. "Writing without Representation." Perspectives of New Music 30.1 (1992): 6-20. Toop, David. "HIPHOP: Iron Needles of Death and a Piece of Wax." Modulations: A History of Electronic Music: Throbbing Words on Sound. Ed. Peter Shapiro. New York: Caipirinha Productions, 2000: 89-101. Citation reference for this article MLA Style Hainge, Greg. "Platonic Relations" M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/platonic.php>. Chicago Style Hainge, Greg, "Platonic Relations" M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/platonic.php> ([your date of access]). APA Style Hainge, Greg. (2002) Platonic Relations. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/platonic.php> ([your date of access]).

Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its lack of comprehension by hearing people, can save the day in a story line. Deaf characters are shown in different eras and in different countries, providing a fictional window into their possible experiences. Films shape and reflect cultural attitudes and can serve as a potent force in influencing the attitudes and assumptions of those members of the hearing world who have had few, if any, encounters with deaf people. This article explores categories of literary function as identified by the author, providing examples and suggestions of other films for readers to explore. Searching for Deaf Characters in Film I am a sign language interpreter. Several years ago, I started noticing how deaf characters are used in films. I made a concerted effort to find as many as I could. I referred to John Shuchman’s exhaustive book about deaf actors and subject matter, Hollywood Speaks; I scouted video rental guides (key words were ‘deaf’ or ‘disabled’); and I also plugged in the key words ‘deaf in film’ on Google’s search engine. I decided to ignore the issue of whether or not the actors were actually deaf—a political hot potato in the Deaf community which has been discussed extensively. Similarly, the linguistic or cultural accuracy of the type of sign language used or super-human lip-reading talent did not concern me. What was I looking for? I noticed that few story lines involving deaf characters provide any discussion or plot information related to that character’s deafness. I was puzzled. Why is there signing in the elevator in Jerry Maguire? Why does the guy in Grand Canyon have a deaf daughter? Why would the psychosomatic response to a trauma—as in Psych Out—be deafness rather than blindness? I concluded that not being able to hear carried some special meaning or fulfilled a particular need intrinsic to the plot of the story. I also observed that the functions of deaf characters seem to fall into several categories. Some deaf characters fit into more than one category, serving two or more symbolic purposes at the same time. By viewing and analysing the representations of deafness and deaf characters in forty-six films, I have come up with the following classifications: Deafness as a plot device Deaf characters as protagonist informants Deaf characters as a parallel to the protagonist Sign language as ‘hero’ Stories about deaf/hearing relationships A-normal-guy-or-gal-who-just-happens-to-be-deaf Deafness as a psychosomatic response to trauma Deafness as metaphor Deafness as a symbolic commentary on society Let your fingers do the ‘talking’ Deafness as Plot Device Every element of a film is a device, but when the plot hinges on one character being deaf, the story succeeds because of that particular character having that particular condition. The limitations or advantages of a deaf person functioning within the hearing world establish the tension, the comedy, or the events which create the story. In Hear No Evil (1993), Jillian learns from her hearing boyfriend which mechanical devices cause ear-splitting noises (he has insomnia and every morning she accidentally wakes him in very loud ways, eg., she burns the toast, thus setting off the smoke detector; she drops a metal spoon down the garbage disposal unit). When she is pursued by a murderer she uses a fire alarm, an alarm/sprinkler system, and a stereo turned on full blast to mask the sounds of her movements as she attempts to hide. Jillian and her boyfriend survive, she learns about sound, her boyfriend learns about deafness, and she teaches him the sign for orgasm. Life is good! The potential comic aspects of deafness may seem in this day and age to be shockingly politically incorrect. While the slapstick aspect is often innocent and means no overt harm or insult to the Deaf as a population, deafness functions as the visual banana peel over which the characters figuratively stumble in the plot. The film, See No Evil, Hear No Evil (1989), pairing Gene Wilder with Richard Pryor as deaf and blind respectively, is a constant sight gag of lip-reading miscues and lack-of-sight gags. Wilder can speak, and is able to speech read almost perfectly, almost all of the time (a stereotype often perpetuated in films). It is mind-boggling to imagine the detail of the choreography required for the two actors to convince the audience of their authenticity. Other films in this category include: Suspect It’s a Wonderful Life Murder by Death Huck Finn One Flew over the Cuckoo’s NestThe Shop on Main StreetRead My Lips The Quiet Deaf Characters as Protagonist Informants Often a deaf character’s primary function to the story is to give the audience more information about, or form more of an affinity with, the hearing protagonist. The deaf character may be fascinating in his or her own right, but generally the deafness is a marginal point of interest. Audience attitudes about the hearing characters are affected because of their previous or present involvement with deaf individuals. This representation of deafness seems to provide a window into audience understanding and appreciation of the protagonist. More inferences can be made about the hearing person and provides one possible explanation for what ensues. It is a subtle, almost subliminal trick. There are several effective examples of this approach. In Gas, Food, Lodging (1992), Shade discovers that tough-guy Javier’s mother is deaf. He introduces Shade to his mother by simple signs and finger-spelling. They all proceed to visit and dance together (mom feels the vibrations on the floor). The audience is drawn to feel ‘Wow! Javier is a sensitive kid who has grown up with a beautiful, exotic, deaf mother!’ The 1977 film, Looking for Mr. Goodbar presents film-goers with Theresa, a confused young woman living a double life. By day, she is a teacher of deaf children. Her professor in the Teacher of the Deaf program even likens their vocation to ‘touching God’. But by night she cruises bars and engages in promiscuous sexual activity. The film shows how her fledgling use of signs begins to express her innermost desires, as well as her ability to communicate and reach out to her students. Other films in this category include: Miracle on 34th Street (1994 version)Nashville (1975, dir. Robert Altman)The Family StoneGrand CanyonThere Will Be Blood Deaf Characters as a Parallel to the Protagonist I Don’t Want to Talk about It (1993) from Argentina, uses a deaf character to establish an implied parallel story line to the main hearing character. Charlotte, a dwarf, is friends with Reanalde, who is deaf. The audience sees them in the first moments of the film when they are little girls together. Reanalde’s mother attempts to commiserate with Charlotte’s mother, establishing a simultaneous but unseen story line somewhere else in town over the course of the story. The setting is Argentina during the 1930s, and the viewer can assume that disability awareness is fairly minimal at the time. Without having seen Charlotte’s deaf counterpart, the audience still knows that her story has contained similar struggles for ‘normalcy’ and acceptance. Near the conclusion of the film, there is one more glimpse of Reanalde, when she catches the bridal bouquet at Charlotte’s wedding. While having been privy to Charlotte’s experiences all along, we can only conjecture as to what Reanalde’s life has been. Sign Language as ‘Hero’ The power of language, and one’s calculated use of language as a means of escape from a potentially deadly situation, is shown in The River Wild (1996). The reason that any of the hearing characters knows sign language is that Gail, the protagonist, has a deaf father. Victor appears primarily to allow the audience to see his daughter and grandson sign with him. The mother, father, and son are able to communicate surreptitiously and get themselves out of a dangerous predicament. Signing takes an iconic form when the signs BOAT, LEFT, I-LOVE-YOU are drawn on a log suspended over the river as a message to Gail so that she knows where to steer the boat, and that her husband is still alive. The unique nature of sign language saves the day– silently and subtly produced, right under the bad guys’ noses! Stories about Deaf/Hearing Relationships Because of increased awareness and acceptance of deafness, it may be tempting to assume that growing up deaf or having any kind of relationship with a deaf individual may not pose too much of a challenge. Captioning and subtitling are ubiquitous in the USA now, as is the inclusion of interpreters on stages at public events. Since the inception of USA Public Law 94-142 and section 504 in 1974, more deaf children are ‘mainstreamed’ into public schools than ever before. The Americans with Disabilities Act was passed in 1993, opening the doors in the US for more access, more job opportunities, more inclusion. These are the external manifestations of acceptance that most viewers with no personal exposure to deafness may see in the public domain. The nuts and bolts of growing up deaf, navigating through opposing philosophical theories regarding deaf education, and dealing with parents, siblings, and peers who can’t communicate, all serve to form foundational experiences which an audience rarely witnesses. Children of a Lesser God (1986), uses the character of James Leeds to provide simultaneous voiced translations of the deaf student Sarah’s comments. The audience is ushered into the world of disparate philosophies of deaf education, a controversy of which general audiences may not have been previously unaware. At the core of James and Sarah’s struggle is his inability to accept that she is complete as she is, as a signing not speaking deaf person. Whether a full reconciliation is possible remains to be seen. The esteemed teacher of the deaf must allow himself to be taught by the deaf. Other films in this category include: Johnny Belinda (1949, 1982)Mr. Holland’s OpusBeyond SilenceThe Good ShepherdCompensation A Normal Guy-or-Gal-Who-Just-Happens-to-Be-Deaf The greatest measure of equality is to be accepted on one's own merits, with no special attention to differences or deviations from whatever is deemed ‘the norm.’ In this category, the audience sees the seemingly incidental inclusion of a deaf or hearing-impaired person in the casting. A sleeper movie titled Crazy Moon (1986) is an effective example. Brooks is a shy, eccentric young hearing man who needs who needs to change his life. Vanessa is deaf and works as a clerk in a shop while takes speech lessons. She possesses a joie de vivre that Brooks admires and wishes to emulate. When comparing the way they interact with the world, it is apparent that Brooks is the one who is handicapped. Other films in this category include: Sympathy for Mr. Vengeance (South Korea, 1992)Liar, LiarRequiem for a DreamKung Fu HustleBangkok DangerousThe Family StoneDeafness as a Psychosomatic Response to Trauma Literature about psychosomatic illnesses enumerates many disconcerting and disruptive physiological responses. However, rarely is there a PTSD response as profound as complete blockage of one of the five senses, ie; becoming deaf as a result of a traumatic incident. But it makes great copy, and provides a convenient explanation as to why an actor needn't learn sign language! The rock group The Who recorded Tommy in 1968, inaugurating an exciting and groundbreaking new musical genre – the rock opera. The film adaptation, directed by Ken Russell, was released in 1975. In an ironic twist for a rock extravaganza, the hero of the story is a ‘deaf, dumb, and blind kid.’ Tommy Johnson becomes deaf when he witnesses the murder of his father at the hands of his step-father and complicit mother. From that moment on, he is deaf and blind. When he grows up, he establishes a cult religion of inner vision and self-discovery. Another film in this category is Psych Out. Deafness as a Metaphor Hearing loss does not necessarily mean complete deafness and/or lack of vocalization. Yet, the general public tends to assume that there is utter silence, complete muteness, and the inability to verbalize anything at all. These assumptions provide a rich breeding ground for a deaf character to personify isolation, disenfranchisement, and/or avoidance of the harsher side of life. The deafness of a character can also serve as a hearing character’s nemesis. Mr. Holland’s Opus (1995) chronicles much of the adult life of a beleaguered man named Glenn Holland whose fondest dream is to compose a grand piece of orchestral music. To make ends meet he must teach band and orchestra to apparently disinterested and often untalented students in a public school. His golden son (named Cole, in honor of the jazz great John Coltrane) is discovered to be deaf. Glenn’s music can’t be born, and now his son is born without music. He will never be able to share his passion with his child. He learns just a little bit of sign, is dismissive of the boy’s dreams, and drifts further away from his family to settle into a puddle of bitterness, regrets, and unfulfilled desires. John Lennon’s death provides the catalyst for Cole’s confrontation with Glenn, forcing the father to understand that the gulf between them is an artificial one, perpetuated by the unwillingness to try. Any other disability could not have had the same effect in this story. Other films in this category include: Ramblin’ RoseBabelThe Heart Is a Lonely HunterA Code Unkown Deafness as a Symbolic Commentary on Society Sometimes films show deafness in a different country, during another era, and audiences receive a fictionalized representation of what life might have been like before these more enlightened times. The inability to hear and/or speak can also represent the more generalized powerlessness that a culture or a society’s disenfranchised experience. The Chinese masterpiece To Live (1994) provides historical and political reasons for Fenxi’s deafness—her father was a political prisoner whose prolonged absence brought hardship and untended illness. Later, the chaotic political situation which resulted in a lack of qualified doctors led to her death. In between these scenes the audience sees how her parents arrange a marriage with another ‘handicapped’ comrade of the town. Those citizens deemed to be crippled or outcast have different overt rights and treatment. The 1996 film Illtown presents the character of a very young teenage boy to represent the powerlessness of youth in America. David has absolutely no say in where he can live, with whom he can live, and the decisions made all around him. When he is apprehended after a stolen car chase, his frustration at his and all of his generation’s predicament in the face of a crumbling world is pounded out on the steering wheel as the police cars circle him. He is caged, and without the ability to communicate. Were he to have a voice, the overall sense of the film and his situation is that he would be misunderstood anyway. Other films in this category include: Stille Liebe (Germany)RidiculeIn the Company of Men Let Your Fingers Do the ‘Talking’ I use this heading to describe films where sign language is used by a deaf character to express something that a main hearing character can’t (or won’t) self-generate. It is a clever device which employs a silent language to create a communication symbiosis: Someone asks a hearing person who knows sign what that deaf person just said, and the hearing person must voice what he or she truly feels, and yet is unable to express voluntarily. The deaf person is capable of expressing the feeling, but must rely upon the hearing person to disseminate the message. And so, the words do emanate from the mouth of the person who means them, albeit self-consciously, unwillingly. Jerry Maguire (1996) provides a signed foreshadowing of character metamorphosis and development, which is then voiced for the hearing audience. Jerry and Dorothy have just met, resigned from their jobs in solidarity and rebellion, and then step into an elevator to begin a new phase of their lives. Their body language identifies them as separate, disconnected, and heavily emotionally fortified. An amorous deaf couple enters the elevator and Dorothy translates the deaf man’s signs as, ‘You complete me.’ The sentiment is strong and a glaring contrast to Jerry and Dorothy’s present dynamic. In the end, Jerry repeats this exact phrase to her, and means it with all his heart. We are all made aware of just how far they have traveled emotionally. They have become the couple in the elevator. Other films in this category include: Four Weddings and a FuneralKnowing Conclusion This has been a cursory glance at examining the narrative raison d’etre for the presence of a deaf character in story lines where no discussion of deafness is articulated. A film’s plot may necessitate hearing-impairment or deafness to successfully execute certain gimmickry, provide a sense of danger, or relational tension. The underlying themes and motifs may revolve around loneliness, alienation, or outwardly imposed solitude. The character may have a subconscious desire to literally shut out the world of sound. The properties of sign language itself can be exploited for subtle, undetectable conversations to assure the safety of hearing characters. Deaf people have lived during all times, in all places, and historical films can portray a slice of what their lives may have been like. I hope readers will become more aware of deaf characters on the screen, and formulate more theories as to where they fit in the literary/narrative schema. ReferencesMaltin, Leonard. Leonard Maltin’s 2009 Movie Guide. Penguin Group, 2008.Shuchman, John S. Hollywood Speaks. Urbana and Chicago: University of Illinois Press, 1988. Filmography Babel. Dir. Alejandro Gonzalez Inarritu. Central Films, 2006. DVD. Bangkok Dangerous. Dir. Pang Brothers. Film Bangkok, 1999. VHS. Beyond Silence. Dir. Caroline Link. Miramax Films, 1998. DVD. Children of a Lesser God. Dir. Randa Haines. Paramount Pictures, 1985. DVD. A Code Unknown. Dir. Michael Heneke. MK2 Editions, 2000. DVD. Compensation. Dir. Zeinabu Irene Davis. Wimmin with a Mission Productions, 1999. VHS. Crazy Moon. Dir. Allan Eastman. Allegro Films, 1987. VHS. The Family Stone. Dir. Mike Bezucha. 20th Century Fox, 2005. DVD. Four Weddings and a Funeral. Dir. Mike Newell. Polygram Film Entertainment, 1994. DVD. Gas, Food, Lodging. Dir. Allison Anders. IRS Media, 1992. DVD. The Good Shepherd. Dir. Robert De Niro. Morgan Creek, TriBeCa Productions, American Zoetrope, 2006. DVD. Grand Canyon. Dir. Lawrence Kasdan, Meg Kasdan. 20th Century Fox, 1991. DVD. Hear No Evil. Dir. Robert Greenwald. 20th Century Fox, 1993. DVD. The Heart Is a Lonely Hunter. Dir. Robert Ellis Miller. Warner Brothers, 1968. DVD. Huck Finn. Stephen Sommers. Walt Disney Pictures, 1993. VHS. I Don’t Want to Talk about It. Dir. Maria Luisa Bemberg. Mojame Productions, 1994. DVD. Knowing. Dir. Alex Proyas. Escape Artists, 2009. DVD. Illtown. Dir. Nick Gomez. 1998. VHS. In the Company of Men. Dir. Neil LaBute. Alliance Atlantis Communications,1997. DVD. It’s a Wonderful Life. Dir. Frank Capra. RKO Pictures, 1947. DVD. Jerry Maguire. Dir. Cameron Crowe. TriSTar Pictures, 1996. DVD. Johnny Belinda. Dir. Jean Nagalesco. Warner Brothers Pictures, 1948. DVD. Kung Fu Hustle. Dir. Stephen Chow. Film Production Asia, 2004. DVD. Liar, Liar. Dir. Tom Shadyac. Universal Pictures, 1997. DVD. Looking for Mr. Goodbar. Dir. Richard Brooks. Paramount Miracle on 34th Street. Dir. Les Mayfield. 20th Century Fox, 1994. DVD. Mr. Holland’s Opus. Dir. Stephen Hereck. Hollywood Pictures, 1996. DVD Murder by Death. Dir. Robert Moore. Columbia Pictures, 1976. VHS. Nashville. Dir. Robert Altman. Paramount Pictures, 1975. DVD. One Flew over the Cuckoo’s Nest. Dir. Milos Forman. United Artists, 1975. DVD. The Perfect Circle. Dir. Ademir Kenovic. 1997. DVD. Psych Out. Dir. Richard Rush. American International Pictures, 1968. DVD. The Quiet. Dir. Jamie Babbit. Sony Pictures Classics, 2005. DVD. Ramblin’ Rose. Dir. Martha Coolidge. Carolco Pictures, 1991. DVD. Read My Lips. Dir. Jacques Audiard. Panthe Films, 2001. DVD. Requiem for a Dream. Dir. Darren Aronofsky. Artisan Entertainment, 2000. DVD. Ridicule. Dir. Patrice Laconte. Miramax Films, 1996. DVD. The River Wild. Dir. Curtis Hanson. Universal Pictures, 1995. DVD. See No Evil, Hear No Evil. Dir. Arthur Hiller. TriSTar Pictures,1989. DVD. The Shop on Main Street. Dir. Jan Kadar, Elmar Klos. Barrandov Film Studio, 1965. VHS. Stille Liebe. Dir. Christoph Schaub. T and C Film AG, 2001. DVD. Suspect. Dir. Peter Yates. Tri-Star Pictures, 1987. DVD. Sympathy for Mr. Vengeance. Dir. Park Chan-wook. CJ Entertainments, Tartan Films, 2002. DVD. There Will Be Blood. Dir. Paul Thomas Anderson. Paramount Vantage, Miramax Films, 2007. DVD. To Live. Dir. Zhang Yimou. Shanghai Film Studio and ERA International, 1994. DVD. What the Bleep Do We Know?. Dir. Willam Arntz, Betsy Chasse, Mark Vicente. Roadside Attractions, 2004. DVD.

One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decadence of the age. Dr Laura had been told that a disgusting video clip, called 'Rock DJ', had been televised at 2:30pm on MTV. Children could have been watching. The footage that so troubled our doyenne of daytime featured the British performer Robbie Williams not only stripping in front of disinterested women, but then removing skin, muscle and tissue in a desperate attempt to claim their gaze. This was too much for Dr Laura. She was horrified: her strident tone became piercing. She screeched, "this is si-ee-ck." . My paper is drawn to this sick masculinity, not to judge - but to laugh and theorise. Robbie Williams, the deity of levity, holds a pivotal role in theorising the contemporary 'crisis' of manhood. To paraphrase Austin Powers, Williams returned the ger to singer. But Williams also triumphed in a captivatingly original way. He is one of the few members of a boy band who created a successful solo career without regurgitating the middle of the road mantras of boys, girls, love, loss and whining about it. Williams' journey through post-war popular music, encompassing influences from both Sinatra and Sonique, forms a functional collage, rather than patchwork, of masculinity. He has been prepared to not only age in public, but to discuss the crevices and cracks in the facade. He strips, smokes, plays football, wears interesting underwear and drinks too much. My short paper trails behind this combustible masculinity, focussing on his sorties with both masculine modalities and the rock discourse. My words attack the gap between text and readership, beat and ear, music and men. The aim is to reveal how this 'sick masculinity' problematises the conservative rendering of men's crisis. Come follow me I'm an honorary Sean Connery, born '74 There's only one of me … Press be asking do I care for sodomy I don't know, yeah, probably I've been looking for serial monogamy Not some bird that looks like Billy Connolly But for now I'm down for ornithology Grab your binoculars, come follow me. 'Kids,' Robbie Williams Robbie Williams is a man for our age. Between dating supermodels and Geri 'Lost Spice' Halliwell [1], he has time to "love … his mum and a pint," (Ansen 85) but also subvert the Oasis cock(rock)tail by frocking up for a television appearance. Williams is important to theories of masculine representation. As a masculinity to think with, he creates popular culture with a history. In an era where Madonna practices yoga and wears cowboy boots, it is no surprise that by June 2000, Robbie Williams was voted the world's sexist man [2]. A few months later, in the October edition of Vogue, he posed in a British flag bikini. It is reassuring in an era where a 12 year old boy states that "You aren't a man until you shoot at something," (Issac in Mendel 19) that positive male role models exist who are prepared to both wear a frock and strip on national television. Reading Robbie Williams is like dipping into the most convincing but draining of intellectual texts. He is masculinity in motion, conveying foreignness, transgression and corruption, bartering in the polymorphous economies of sex, colonialism, race, gender and nation. His career has spanned the boy bands, try-hard rock, video star and hybrid pop performer. There are obvious resonances between the changes to Williams and alterations in masculinity. In 1988, Suzanne Moore described (the artist still known as) Prince as "the pimp of postmodernism." (165-166) Over a decade later, the simulacra has a new tour guide. Williams revels in the potency of representation. He rarely sings about love or romance, as was his sonic fodder in Take That. Instead, his performance is fixated on becoming a better man, glancing an analytical eye over other modes of masculinity. Notions of masculine crisis and sickness have punctuated this era. Men's studies is a boom area of cultural studies, dislodging the assumed structures of popular culture [3]. William Pollack's Real Boys has created a culture of changing expectations for men. The greater question arising from his concerns is why these problems, traumas and difficulties are emerging in our present. Pollack's argument is that boys and young men invest energy and time "disguising their deepest and most vulnerable feelings." (15) This masking is difficult to discern within dance and popular music. Through lyrics and dancing, videos and choreography, masculinity is revealed as convoluted, complex and fragmented. While rock music is legitimised by dominant ideologies, marginalised groups frequently use disempowered genres - like country, dance and rap genres - to present oppositional messages. These competing representations expose seamless interpretations of competent masculinity. Particular skills are necessary to rip the metaphoric pacifier out of the masculine mouth of popular culture. Patriarchal pop revels in the paradoxes of everyday life. Frequently these are nostalgic visions, which Kimmel described as a "retreat to a bygone era." (87) It is the recognition of a shared, simpler past that provides reinforcement to heteronormativity. Williams, as a gaffer tape masculinity, pulls apart the gaps and crevices in representation. Theorists must open the interpretative space encircling popular culture, disrupting normalising criteria. Multiple nodes of assessment allow a ranking of competent masculinity. From sport to business, drinking to sex, masculinity is transformed into a wired site of ranking, judgement and determination. Popular music swims in the spectacle of maleness. From David Lee Roth's skied splits to Eminem's beanie, young men are interpellated as subjects in patriarchy. Robbie Williams is a history lesson in post war masculinity. This nostalgia is conservative in nature. The ironic pastiche within his music videos features motor racing, heavy metal and Bond films. 'Rock DJ', the 'sick text' that vexed Doctor Laura, is Williams' most elaborate video. Set in a rollerdrome with female skaters encircling a central podium, the object of fascination and fetish is a male stripper. This strip is different though, as it disrupts the power held by men in phallocentralism. After being confronted by Williams' naked body, the observing women are both bored and disappointed at the lack-lustre deployment of masculine genitalia. After this display, Williams appears embarrassed, confused and humiliated. As Buchbinder realised, "No actual penis could every really measure up to the imagined sexual potency and social or magical power of the phallus." (49) To render this banal experience of male nudity ridiculous, Williams then proceeds to remove skin and muscle. He finally becomes an object of attraction for the female DJ only in skeletal form. By 'going all the way,' the strip confirms the predictability of masculinity and the ordinariness of the male body. For literate listeners though, a higher level of connotation is revealed. The song itself is based on Barry White's melody for 'It's ecstasy (when you lay down next to me).' Such intertextuality accesses the meta-racist excesses of a licentious black male sexuality. A white boy dancer must deliver an impotent, but ironic, rendering of White's (love unlimited) orchestration of potent sexuality. Williams' iconography and soundtrack is refreshing, emerging from an era of "men who cling … tightly to their illusions." (Faludi 14) When the ideological drapery is cut away, the male body is a major disappointment. Masculinity is an anxious performance. Fascinatingly, this deconstructive video has been demeaned through its labelling as pornography [4]. Oddly, a man who is prepared to - literally - shave the skin of masculinity is rendered offensive. Men's studies, like feminism, has been defrocking masculinity for some time. Robinson for example, expressed little sympathy for "whiny men jumping on the victimisation bandwagon or playing cowboys and Indians at warrior weekends and beating drums in sweat lodges." (6) By grating men's identity back to the body, the link between surface and depth - or identity and self - is forged. 'Rock DJ' attacks the new subjectivities of the male body by not only generating self-surveillance, but humour through the removal of clothes, skin and muscle. He continues this play with the symbols of masculine performance throughout the album Sing when you're winning. Featuring soccer photographs of players, coaches and fans, closer inspection of the images reveal that Robbie Williams is actually every character, in every role. His live show also enfolds diverse performances. Singing a version of 'My Way,' with cigarette in tow, he remixes Frank Sinatra into a replaying and recutting of masculine fabric. He follows one dominating masculinity with another: the Bond-inspired 'Millennium.' Some say that we are players Some say that we are pawns But we've been making money Since the day we were born Robbie Williams is comfortably located in a long history of post-Sinatra popular music. He mocks the rock ethos by combining guitars and drums with a gleaming brass section, hailing the lounge act of Dean Martin, while also using rap and dance samples. Although carrying fifty year's of crooner baggage, the spicy scent of homosexuality has also danced around Robbie Williams' career. Much of this ideology can be traced back to the Take That years. As Gary Barlow and Jason Orange commented at the time, Jason: So the rumour is we're all gay now are we? Gary: Am I gay? I am? Why? Oh good. Just as long as we know. Howard: Does anyone think I'm gay? Jason: No, you're the only one people think is straight. Howard: Why aren't I gay? What's wrong with me? Jason: It's because you're such a fine figure of macho manhood.(Kadis 17) For those not literate in the Take That discourse, it should come as no surprise that Howard was the TT equivalent of The Beatle's Ringo Starr or Duran Duran's Andy Taylor. Every boy band requires the ugly, shy member to make the others appear taller and more attractive. The inference of this dialogue is that the other members of the group are simply too handsome to be heterosexual. This ambiguous sexuality has followed Williams into his solo career, becoming fodder for those lads too unappealing to be homosexual: Oasis. Born to be mild I seem to spend my life Just waiting for the chorus 'Cause the verse is never nearly Good enough Robbie Williams "Singing for the lonely." Robbie Williams accesses a bigger, brighter and bolder future than Britpop. While the Gallagher brothers emulate and worship the icons of 1960s British music - from the Beatles' haircuts to the Stones' psychedelia - Williams' songs, videos and persona are chattering in a broader cultural field. From Noel Cowardesque allusions to the ordinariness of pub culture, Williams is much more than a pretty-boy singer. He has become an icon of English masculinity, enclosing all the complexity that these two terms convey. Williams' solo success from 1999-2001 occurred at the time of much parochial concern that British acts were not performing well in the American charts. It is bemusing to read Billboard over this period. The obvious quality of Britney Spears is seen to dwarf the mediocrity of British performers. The calibre of Fatboy Slim, carrying a smiley backpack stuffed with reflexive dance culture, is neither admitted nor discussed. It is becoming increasing strange to monitor the excessive fame of Williams in Britain, Europe, Asia and the Pacific when compared to his patchy career in the United States. Even some American magazines are trying to grasp the disparity. The swaggering king of Britpop sold a relatively measly 600,000 copies of his U.S. debut album, The ego has landed … Maybe Americans didn't appreciate his songs about being famous. (Ask Dr. Hip 72) In the first few years of the 2000s, it has been difficult to discuss a unified Anglo-American musical formation. Divergent discursive frameworks have emerged through this British evasion. There is no longer an agreed centre to the musical model. Throughout 1990s Britain, blackness jutted out of dance floor mixes, from reggae to dub, jazz and jungle. Plied with the coldness of techno was an almost too hot hip hop. Yet both were alternate trajectories to Cool Britannia. London once more became swinging, or as Vanity Fair declared, "the nerve centre of pop's most cohesive scene since the Pacific Northwest grunge explosion of 1991." (Kamp 102) Through Britpop, the clock turned back to the 1960s, a simpler time before race became 'a problem' for the nation. An affiliation was made between a New Labour, formed by the 1997 British election, and the rebirth of a Swinging London [5]. This style-driven empire supposedly - again - made London the centre of the world. Britpop was itself a misnaming. It was a strong sense of Englishness that permeated the lyrics, iconography and accent. Englishness requires a Britishness to invoke a sense of bigness and greatness. The contradictions and excesses of Blur, Oasis and Pulp resonate in the gap between centre and periphery, imperial core and colonised other. Slicing through the arrogance and anger of the Gallaghers is a yearning for colonial simplicity, when the pink portions of the map were the stable subjects of geography lessons, rather than the volatile embodiment of postcolonial theory. Simon Gikandi argues that "the central moments of English cultural identity were driven by doubts and disputes about the perimeters of the values that defined Englishness." (x) The reason that Britpop could not 'make it big' in the United States is because it was recycling an exhausted colonial dreaming. Two old Englands were duelling for ascendancy: the Oasis-inflected Manchester working class fought Blur-inspired London art school chic. This insular understanding of difference had serious social and cultural consequences. The only possible representation of white, British youth was a tabloidisation of Oasis's behaviour through swearing, drug excess and violence. Simon Reynolds realised that by returning to the three minute pop tune that the milkman can whistle, reinvoking parochial England with no black people, Britpop has turned its back defiantly on the future. (members.aol.com/blissout/Britpop.html) Fortunately, another future had already happened. The beats per minute were pulsating with an urgent affirmation of change, hybridity and difference. Hip hop and techno mapped a careful cartography of race. While rock was colonialisation by other means, hip hop enacted a decolonial imperative. Electronic dance music provided a unique rendering of identity throughout the 1990s. It was a mode of musical communication that moved across national and linguistic boundaries, far beyond Britpop or Stateside rock music. While the Anglo American military alliance was matched and shadowed by postwar popular culture, Brit-pop signalled the end of this hegemonic formation. From this point, English pop and American rock would not sail as smoothly over the Atlantic. While 1995 was the year of Wonderwall, by 1996 the Britpop bubble corroded the faces of the Gallagher brothers. Oasis was unable to complete the American tour. Yet other cultural forces were already active. 1996 was also the year of Trainspotting, with "Born Slippy" being the soundtrack for a blissful journey under the radar. This was a cultural force that no longer required America as a reference point [6]. Robbie Williams was able to integrate the histories of Britpop and dance culture, instigating a complex dialogue between the two. Still, concern peppered music and entertainment journals that British performers were not accessing 'America.' As Sharon Swart stated Britpop acts, on the other hand, are finding it less easy to crack the U.S. market. The Spice Girls may have made some early headway, but fellow purveyors of pop, such as Robbie Williams, can't seem to get satisfaction from American fans. (35 British performers had numerous cultural forces working against them. Flat global sales, the strength of the sterling and the slow response to the new technological opportunities of DVD, all caused problems. While Britpop "cleaned house," (Boehm 89) it was uncertain which cultural formation would replace this colonising force. Because of the complex dialogues between the rock discourse and dance culture, time and space were unable to align into a unified market. American critics simply could not grasp Robbie Williams' history, motives or iconography. It's Robbie's world, we just buy tickets for it. Unless, of course you're American and you don't know jack about soccer. That's the first mistake Williams makes - if indeed one of his goals is to break big in the U.S. (and I can't believe someone so ambitious would settle for less.) … Americans, it seems, are most fascinated by British pop when it presents a mirror image of American pop. (Woods 98 There is little sense that an entirely different musical economy now circulates, where making it big in the United States is not the singular marker of credibility. Williams' demonstrates commitment to the international market, focussing on MTV Asia, MTV online, New Zealand and Australian audiences [7]. The Gallagher brothers spent much of the 1990s trying to be John Lennon. While Noel, at times, knocked at the door of rock legends through "Wonderwall," he snubbed Williams' penchant for pop glory, describing him as a "fat dancer." (Gallagher in Orecklin 101) Dancing should not be decried so summarily. It conveys subtle nodes of bodily knowledge about men, women, sex and desire. While men are validated for bodily movement through sport, women's dancing remains a performance of voyeuristic attention. Such a divide is highly repressive of men who dance, with gayness infiltrating the metaphoric masculine dancefloor [8]. Too often the binary of male and female is enmeshed into the divide of rock and dance. Actually, these categories slide elegantly over each other. The male pop singers are located in a significant semiotic space. Robbie Williams carries these contradictions and controversy. NO! Robbie didn't go on NME's cover in a 'desperate' attempt to seduce nine-year old knickerwetters … YES! He used to be teenybopper fodder. SO WHAT?! So did the Beatles the Stones, the Who, the Kinks, etc blah blah pseudohistoricalrockbollocks. NO! Making music that gurlz like is NOT a crime! (Wells 62) There remains an uncertainty in his performance of masculinity and at times, a deliberate ambivalence. He grafts subversiveness into a specific lineage of English pop music. The aim for critics of popular music is to find a way to create a rhythm of resistance, rather than melody of credible meanings. In summoning an archaeology of the archive, we begin to write a popular music history. Suzanne Moore asked why men should "be interested in a sexual politics based on the frightfully old-fashioned ideas of truth, identity and history?" (175) The reason is now obvious. Femininity is no longer alone on the simulacra. It is impossible to separate real men from the representations of masculinity that dress the corporeal form. Popular music is pivotal, not for collapsing the representation into the real, but for making the space between these states livable, and pleasurable. Like all semiotic sicknesses, the damaged, beaten and bandaged masculinity of contemporary music swaddles a healing pedagogic formation. Robbie Williams enables the writing of a critical history of post Anglo-American music [9]. Popular music captures such stories of place and identity. Significantly though, it also opens out spaces of knowing. There is an investment in rhythm that transgresses national histories of music. While Williams has produced albums, singles, video and endless newspaper copy, his most important revelations are volatile and ephemeral in their impact. He increases the popular cultural vocabulary of masculinity. [1] The fame of both Williams and Halliwell was at such a level that it was reported in the generally conservative, pages of Marketing. The piece was titled "Will Geri's fling lose its fizz?" Marketing, August 2000: 17. [2] For poll results, please refer to "Winners and Losers," Time International, Vol. 155, Issue 23, June 12, 2000, 9 [3] For a discussion of this growth in academic discourse on masculinity, please refer to Paul Smith's "Introduction," in P. Smith (ed.), Boys: Masculinity in contemporary culture. Colorado: Westview Press, 1996. [4] Steve Futterman described Rock DJ as the "least alluring porn video on MTV," in "The best and worst: honour roll," Entertainment Weekly 574-575 (December 22-December 29 2000): 146. [5] Michael Bracewell stated that "pop provides an unofficial cartography of its host culture, charting the national mood, marking the crossroads between the major social trends and the tunnels of the zeitgeist," in "Britpop's coming home, it's coming home." New Statesman .(February 21 1997): 36. [6] It is important to make my point clear. The 'America' that I am summoning here is a popular cultural formation, which possesses little connection with the territory, institution or defence initiatives of the United States. Simon Frith made this distinction clear, when he stated that "the question becomes whether 'America' can continue to be the mythical locale of popular culture as it has been through most of this century. As I've suggested, there are reasons now to suppose that 'America' itself, as a pop cultural myth, no longer bears much resemblance to the USA as a real place even in the myth." This statement was made in "Anglo-America and its discontents," Cultural Studies 5 1991: 268. [7] To observe the scale of attention paid to the Asian and Pacific markets, please refer to http://robbiewilliams.com/july13scroll.html, http://robbiewilliams.com/july19scroll.html and http://robbiewilliams.com/july24scroll.html, accessed on March 3, 2001 [8] At its most naïve, J. Michael Bailey and Michael Oberschneider asked, "Why are gay men so motivated to dance? One hypothesis is that gay men dance in order to be feminine. In other words, gay men dance because women do. An alternative hypothesis is that gay men and women share a common factor in their emotional make-up that makes dancing especially enjoyable," from "Sexual orientation in professional dance," Archives of Sexual Behaviour. 26.4 (August 1997). Such an interpretation is particularly ludicrous when considering the pre-rock and roll masculine dancing rituals in the jive, Charleston and jitterbug. Once more, the history of rock music is obscuring the history of dance both before the mid 1950s and after acid house. [9] Women, gay men and black communities through much of the twentieth century have used these popular spaces. For example, Lynne Segal, in Slow Motion. London: Virago, 1990, stated that "through dancing, athletic and erotic performance, but most powerfully through music, Black men could express something about the body and its physicality, about emotions and their cosmic reach, rarely found in white culture - least of all in white male culture,": 191 References Ansen, D., Giles, J., Kroll, J., Gates, D. and Schoemer, K. "What's a handsome lad to do?" Newsweek 133.19 (May 10, 1999): 85. "Ask Dr. Hip." U.S. News and World Report 129.16 (October 23, 2000): 72. Bailey, J. Michael., and Oberschneider, Michael. "Sexual orientation in professional dance." Archives of Sexual Behaviour. 26.4 (August 1997):expanded academic database [fulltext]. Boehm, E. "Pop will beat itself up." Variety 373.5 (December 14, 1998): 89. Bracewell, Michael. "Britpop's coming home, it's coming home." New Statesman.(February 21 1997): 36. Buchbinder, David. Performance Anxieties .Sydney: Allen and Unwin, 1998. Faludi, Susan. Stiffed. London: Chatto and Windus, 1999. Frith, Simon. "Anglo-America and its discontents." Cultural Studies. 5 1991. Futterman, Steve. "The best and worst: honour roll." Entertainment Weekly, 574-575 (December 22-December 29 2000): 146. Gikandi, Simon. Maps of Englishness. New York: Columbia University Press, 1996. Kadis, Alex. Take That: In private. London: Virgin Books, 1994. Kamp, D. "London Swings! Again!" Vanity Fair ( March 1997): 102. Kimmel, Michael. Manhood in America. New York: The Free Press, 1996. Mendell, Adrienne. How men think. New York: Fawcett, 1996. Moore, Susan. "Getting a bit of the other - the pimps of postmodernism." In Rowena Chapman and Jonathan Rutherford (ed.) Male Order .London: Lawrence and Wishart, 1988. 165-175. Orecklin, Michele. "People." Time. 155.10 (March 13, 2000): 101. Pollack, William. Real boys. Melbourne: Scribe Publications, 1999. Reynolds, Simon. members.aol.com/blissout/britpop.html. Accessed on April 15, 2001. Robinson, David. No less a man. Bowling Green: Bowling Green State University, 1994. Segal, Lynne. Slow Motion. London: Virago, 1990. Smith, Paul. "Introduction" in P. Smith (ed.), Boys: Masculinity in contemporary culture. Colorado: Westview Press, 1996. Swart, S. "U.K. Showbiz" Variety.(December 11-17, 2000): 35. Sexton, Paul and Masson, Gordon. "Tips for Brits who want U.S. success" Billboard .(September 9 2000): 1. Wells, Steven. "Angst." NME.(November 21 1998): 62. "Will Geri's fling lose its fizz?" Marketing.(August 2000): 17. Woods, S. "Robbie Williams Sing when you're winning" The Village Voice. 45.52. (January 2, 2001): 98.

Cyborgs already walk among us. (“Cures to Come” 76) This essay was begun as a reaction to a Hallmark Hall of Fame television movie called Sweet Nothing in My Ear (2008), which follows the lives of two parents, Dan, who is hearing (played by Jeff Daniels), and Laura, who is deaf (Marlee Matlin), as they struggle to make a decision about whether or not to give their 11-year-old son, Adam (late-deafened), a cochlear implant. Dan and Laura represent different perspectives, hearing and deaf perspectives. The film dramatizes the parents’ conflict and negotiation, exposing audiences to both sides of the cochlear implant debate, albeit in a fairly simplistic way. Nevertheless, it represents the lives of deaf people and gives voice to debates about cochlear implants with more accuracy and detail than most film and television dramas. One of the central scenes in the film is what I call the “activation scene”, quite common to cochlear implant narratives. In the scene, the protagonists witness a child having his implant activated or turned on. The depiction is reminiscent of the WATER scene in the film about Helen Keller, The Miracle Worker, employing a sentimental visual rhetoric. First, the two parents are shown seated near the child, clasping their hands as if in prayer. The audiologist, wielder of technology and therefore clearly the authority figure in the scene, types away furiously on her laptop. At the moment of being “turned on,” the child suddenly “hears” his father calling “David! David!” He gazes angelically toward heaven as piano music plays plaintively in the background. The parents all but fall to their knees and the protagonist of the film, Dan, watching through a window, weeps. It is a scene of cure, of healing, of “miracle,” a hyper-sentimentalised portrait of what is in reality often a rather anti-climactic event. It was certainly anti-climactic in my son, Michael’s case. I was taken aback by how this scene was presented and dismayed overall at some of the inaccuracies, small though they were, in the portrayal of cochlear implants in this film. It was, after all, according to the Nielsen ratings, seen by 8 million people. I began to wonder what kinds of misconceptions my son was going to face when he met people whose only exposure to implants was through media representations. Spurred by this question, I started to research other recent portrayals of people with implants on U.S. television in the past ten years, to see how cochlear implant (hereafter referred to as CI) identity has been portrayed by American media. For most of American history, deaf people have been portrayed in print and visual media as exotic “others,” and have long been the subject of an almost morbid cultural fascination. Christopher Krentz suggests that, particularly in the nineteenth century, scenes pairing sentimentality and deafness repressed an innate, Kristevan “abject” revulsion towards deaf people. Those who are deaf highlight and define, through their ‘lack’, the “unmarked” body. The fact of their deafness, understood as lack, conjures up an ideal that it does not attain, the ideal of the so-called “normal” or “whole” body. In recent years, however, the figure of the “deaf as Other” in the media, has shifted from what might be termed the “traditionally” deaf character, to what Brenda Jo Brueggeman (in her recent book Deaf Subjects: Between Identities and Places), calls “the new deaf cyborg” or the deaf person with a cochlear implant (4). N. Katharine Hailes states that cyborgs are now “the stage on which are performed contestations about the body boundaries that have often marked class, ethnic, and cultural differences” (85). In this essay, I claim that the character with a CI, as portrayed in the media, is now not only a strange, “marked” “Other,” but is also a screen upon which viewers project anxieties about technology, demonstrating both fascination fear. In her book, Brueggeman issues a call to action, saying that Deaf Studies must now begin to examine what she calls “implanting rhetorics,” or “the rhetorical relationships between our technologies and our identity” and therefore needs to attend to the construction of “the new deaf cyborg” (18). This short study will serve, I hope, as both a response to that injunction and as a jumping-off point for more in-depth studies of the construction of the CI identity and the implications of these constructions. First, we should consider what a cochlear implant is and how it functions. The National Association of the Deaf in the United States defines the cochlear implant as a device used to help the user perceive sound, i.e., the sensation of sound that is transmitted past the damaged cochlea to the brain. In this strictly sensorineural manner, the implant works: the sensation of sound is delivered to the brain. The stated goal of the implant is for it to function as a tool to enable deaf children to develop language based on spoken communication. (“NAD Position”) The external portion of the implant consists of the following parts: a microphone, which picks up sound from the environment, which is contained in the behind-the-ear device that resembles the standard BTE hearing aid; in this “hearing aid” there is also a speech processor, which selects and arranges sounds picked up by the microphone. The processor transmits signals to the transmitter/receiver, which then converts them into electric impulses. Part of the transmitter sits on the skin and attaches to the inner portion of the transmitter by means of a magnet. The inner portion of the receiver/stimulator sends the impulses down into the electrode array that lies inside the cochlea, which in turn stimulates the auditory nerve, giving the brain the impression of sound (“Cochlear Implants”). According to manufacturer’s statistics, there are now approximately 188,000 people worldwide who have obtained cochlear implants, though the number of these that are in use is not known (Nussbaum). That is what a cochlear implant is. Before we can look at how people with implants are portrayed in the media, before we examine constructions of identity, perhaps we should first ask what constitutes a “real” CI identity? This is, of course, laughable; pinning down a homogeneous CI identity is no more likely than finding a blanket definition of “deaf identity.” For example, at this point in time, there isn’t even a word or term in American culture for someone with an implant. I struggle with how to phrase it in this essay - “implantee?” “recipient?” - there are no neat labels. In the USA you can call a person deaf, Deaf (the “D” representing a specific cultural and political identity), hearing impaired, hard of hearing, and each gradation implies, for better or worse, some kind of subject position. There are no such terms for a person who gets an implant. Are people with implants, as suggested above, just deaf? Deaf? Are they hard of hearing? There is even debate in the ASL community as to what sign should be used to indicate “someone who has a cochlear implant.” If a “CI identity” cannot be located, then perhaps the rhetoric that is used to describe it may be. Paddy Ladd, in Understanding Deaf Culture, does a brilliant job of exploring the various discourses that have surrounded deaf culture throughout history. Stuart Blume borrows heavily from Ladd in his “The Rhetoric and Counter-Rhetoric of a 'Bionic' Technology”, where he points out that an “essential and deliberate feature” of the history of the CI from the 60s onward, was that it was constructed in an overwhelmingly positive light by the mass media, using what Ladd calls the “medical” rhetorical model. That is, that the CI is a kind of medical miracle that promised to cure deafness. Within this model one may find also the sentimental, “missionary” rhetoric that Krentz discusses, what Ladd claims is a revival of the evangelism of the nineteenth-century Oralist movement in America. Indeed, newspaper articles in the 1980s and 90s hailed the implant as a “breakthrough”, a “miracle”; even a quick survey of headlines shows evidence of this: “Upton Boy Can Hear at Last!”, “Girl with a New Song in Her Heart”, “Children Head Queue for Bionic Ears” (Lane). As recently as January 2010, an issue of National Geographic featured on its cover the headline Merging Man and Machine: The Bionic Age. Sure enough, the second photograph in the story is of a child’s bilateral cochlear implant, with the caption “within months of the surgery (the child) spoke the words his hearing parents longed for: Mama and Dada.” “You’re looking at a real bionic kid,” says Johns Hopkins University surgeon John Niparko, proudly (37). To counter this medical/corporate rhetoric of cure, Ladd and Blume claim, the deaf community devised a counter-rhetoric, a discourse in which the CI is not cast in the language of miracle and life, but instead in terms of death, mutilation, and cultural oppression. Here, the implant is depicted as the last in a long line of sadistic experiments using the deaf as guinea pigs. Often the CI is framed in the language of Nazism and genocide as seen in the title of an article in the British Deaf News: “Cochlear Implants: Oralism’s Final Solution.” So, which of these two “implanting rhetorics” is most visible in the current construction of the CI in American television? Is the CI identity presented by rendering people with CIs impossibly positive, happy characters? Is it delineated using the metaphors of the sentimental, of cure, of miracle? Or is the CI identity constructed using the counter-rhetorical references to death, oppression and cultural genocide? One might hypothesize that television, like other media, cultivating as it does the values of the hearing hegemony, would err on the side of promulgating the medicalised, positivist rhetoric of the “cure” for deafness. In an effort to find out, I conducted a general survey of American television shows from 2000 to now that featured characters with CIs. I did not include news shows or documentaries in my survey. Interestingly, some of the earliest television portrayals of CIs appeared in that bastion of American sentimentality, the daytime soap opera. In 2006, on the show “The Young and the Restless”, a “troubled college student who contracted meningitis” received an implant, and in 2007 “All My Children” aired a story arc about a “toddler who becomes deaf after a car crash.” It is interesting to note that both characters were portrayed as “late-deafened”, or suddenly inflicted with the loss of a sense they previously possessed, thus avoiding any whiff of controversy about early implantation. But one expects a hyper-sentimentalised portrayal of just about everything in daytime dramas like this. What is interesting is that when people with CIs have appeared on several “reality” programs, which purport to offer “real,” unadulterated glimpses into people’s lives, the rhetoric is no less sentimentalized than the soaps (perhaps because these shows are no less fabricated). A good example of this is the widely watched and, I think, ironically named show “True Life” which appears on MTV. This is a series that claims to tell the “remarkable real-life stories of young people and the unusual subcultures they inhabit.” In episode 42, “ True Life: I’m Deaf”, part of the show follows a young man, Chris, born deaf and proud of it (his words), who decides to get a cochlear implant because he wants to be involved in the hearing world. Through an interpreter Chris explains that he wants an implant so he can communicate with his friends, talk with girls, and ultimately fulfill his dreams of having a job and getting married (one has to ask: are these things he can’t do without an implant?). The show’s promo asks “how do you go from living a life in total silence to fully understanding the spoken language?” This statement alone contains two elements common to the “miracle” rhetoric, first that the “tragic” deaf victim will emerge from a completely lonely, silent place (not true; most deaf people have some residual hearing, and if you watch the show you see Chris signing, “speaking” voluminously) to seamlessly, miraculously, “fully” joining and understanding the hearing world. Chris, it seems, will only come into full being when he is able to join the hearing world. In this case, the CI will cure what ails him. According to “True Life.” Aside from “soap opera” drama and so-called reality programming, by far the largest dissemination of media constructions of the CI in the past ten years occurred on top-slot prime-time television shows, which consist primarily of the immensely popular genre of the medical and police procedural drama. Most of these shows have at one time or another had a “deaf” episode, in which there is a deaf character or characters involved, but between 2005 and 2008, it is interesting to note that most, if not all of the most popular of these have aired episodes devoted to the CI controversy, or have featured deaf characters with CIs. The shows include: CSI (both Miami and New York), Cold Case, Law and Order (both SVU and Criminal Intent), Scrubs, Gideon’s Crossing, and Bones. Below is a snippet of dialogue from Bones: Zach: {Holding a necklace} He was wearing this.Angela: Catholic boy.Brennan: One by two forceps.Angela {as Brennan pulls a small disc out from behind the victim’s ear} What is that?Brennan: Cochlear implant. Looks like the birds were trying to get it.Angela: That would set a boy apart from the others, being deaf.(Bones, “A Boy in the Tree”, 1.3, 2005) In this scene, the forensics experts are able to describe significant points of this victim’s identity using the only two solid artifacts left in the remains, a crucifix and a cochlear implant. I cite this scene because it serves, I believe, as a neat metaphor for how these shows, and indeed television media in general, are, like the investigators, constantly engaged in the business of cobbling together identity: in this particular case, a cochlear implant identity. It also shows how an audience can cultivate or interpret these kinds of identity constructions, here, the implant as an object serves as a tangible sign of deafness, and from this sign, or clue, the “audience” (represented by the spectator, Angela) immediately infers that the victim was lonely and isolated, “set apart from the others.” Such wrongheaded inferences, frivolous as they may seem coming from the realm of popular culture, have, I believe, a profound influence on the perceptions of larger society. The use of the CI in Bones is quite interesting, because although at the beginning of the show the implant is a key piece of evidence, that which marks and identifies the dead/deaf body, the character’s CI identity proves almost completely irrelevant to the unfolding of the murder-mystery. The only times the CI character’s deafness is emphasized are when an effort is made to prove that the he committed suicide (i.e., if you’re deaf you are therefore “isolated,” and therefore you must be miserable enough to kill yourself). Zak, one of the forensics officers says, “I didn’t talk to anyone in high school and I didn’t kill myself” and another officer comments that the boy was “alienated by culture, by language, and by his handicap” (odd statements, since most deaf children with or without implants have remarkably good language ability). Also, in another strange moment, the victim’s ambassador/mother shows a video clip of the child’s CI activation and says “a person who lived through this miracle would never take his own life” (emphasis mine). A girlfriend, implicated in the murder (the boy is killed because he threatened to “talk”, revealing a blackmail scheme), says “people didn’t notice him because of the way he talked but I liked him…” So at least in this show, both types of “implanting rhetoric” are employed; a person with a CI, though the recipient of a “miracle,” is also perceived as “isolated” and “alienated” and unfortunately, ends up dead. This kind of rather negative portrayal of a person with a CI also appears in the CSI: New York episode ”Silent Night” which aired in 2006. One of two plot lines features Marlee Matlin as the mother of a deaf family. At the beginning of the episode, after feeling some strange vibrations, Matlin’s character, Gina, checks on her little granddaughter, Elizabeth, who is crying hysterically in her crib. She finds her daughter, Alison, dead on the floor. In the course of the show, it is found that a former boyfriend, Cole, who may have been the father of the infant, struggled with and shot Alison as he was trying to kidnap the baby. Apparently Cole “got his hearing back” with a cochlear implant, no longer considered himself Deaf, and wanted the child so that she wouldn’t be raised “Deaf.” At the end of the show, Cole tries to abduct both grandmother and baby at gunpoint. As he has lost his external transmitter, he is unable to understand what the police are trying to tell him and threatens to kill his hostages. He is arrested in the end. In this case, the CI recipient is depicted as a violent, out of control figure, calmed (in this case) only by Matlin’s presence and her ability to communicate with him in ASL. The implication is that in getting the CI, Cole is “killing off” his Deaf identity, and as a result, is mentally unstable. Talking to Matlin, whose character is a stand-in for Deaf culture, is the only way to bring him back to his senses. The October 2007 episode of CSI: Miami entitled “Inside-Out” is another example of the counter-rhetoric at work in the form of another implant corpse. A police officer, trying to prevent the escape of a criminal en route to prison, thinks he has accidentally shot an innocent bystander, a deaf woman. An exchange between the coroner and a CSI goes as follows: (Alexx Woods): “This is as innocent as a victim gets.”(Calleigh Duquesne): “How so?”AW: Check this out.”CD: “I don’t understand. Her head is magnetized? Steel plate?”AW: “It’s a cochlear implant. Helps deaf people to receive and process speech and sounds.”(CSI dramatization) AW VO: “It’s surgically implanted into the inner ear. Consists of a receiver that decodes and transmits to an electrode array sending a signal to the brain.”CD: “Wouldn’t there be an external component?”AW: “Oh, she must have lost it before she was shot.”CD: “Well, that explains why she didn’t get out of there. She had no idea what was going on.” (TWIZ) Based on the evidence, the “sign” of the implant, the investigators are able to identify the victim as deaf, and they infer therefore that she is innocent. It is only at the end of the program that we learn that the deaf “innocent” was really the girlfriend of the criminal, and was on the scene aiding in his escape. So she is at first “as innocent” as they come, and then at the end, she is the most insidious of the criminals in the episode. The writers at least provide a nice twist on the more common deaf-innocent stereotype. Cold Case showcased a CI in the 2008 episode “Andy in C Minor,” in which the case of a 17-year-old deaf boy is reopened. The boy, Andy, had disappeared from his high school. In the investigation it is revealed that his hearing girlfriend, Emma, convinced him to get an implant, because it would help him play the piano, which he wanted to do in order to bond with her. His parents, deaf, were against the idea, and had him promise to break up with Emma and never bring up the CI again. His body is found on the campus, with a cochlear device next to his remains. Apparently Emma had convinced him to get the implant and, in the end, Andy’s father had reluctantly consented to the surgery. It is finally revealed that his Deaf best friend, Carlos, killed him with a blow to the back of the head while he was playing the piano, because he was “afraid to be alone.” This show uses the counter-rhetoric of Deaf genocide in an interesting way. In this case it is not just the CI device alone that renders the CI character symbolically “dead” to his Deaf identity, but it leads directly to his being literally executed by, or in a sense, excommunicated from, Deaf Culture, as it is represented by the character of Carlos. The “House Divided” episode of House (2009) provides the most problematic (or I should say absurd) representation of the CI process and of a CI identity. In the show, a fourteen-year-old deaf wrestler comes into the hospital after experiencing terrible head pain and hearing “imaginary explosions.” Doctors Foreman and Thirteen dutifully serve as representatives of both sides of the “implant debate”: when discussing why House hasn’t mocked the patient for not having a CI, Thirteen says “The patient doesn’t have a CI because he’s comfortable with who he is. That’s admirable.” Foreman says, “He’s deaf. It’s not an identity, it’s a disability.” 13: “It’s also a culture.” F: “Anything I can simulate with $3 earplugs isn’t a culture.” Later, House, talking to himself, thinks “he’s going to go through life deaf. He has no idea what he’s missing.” So, as usual, without permission, he orders Chase to implant a CI in the patient while he is under anesthesia for another procedure (a brain biopsy). After the surgery the team asks House why he did it and he responds, “Why would I give someone their hearing? Ask God the same question you’d get the same answer.” The shows writers endow House’s character, as they usually do, with the stereotypical “God complex” of the medical establishment, but in doing also they play beautifully into the Ladd and Blume’s rhetoric of medical miracle and cure. Immediately after the implant (which the hospital just happened to have on hand) the incision has, miraculously, healed overnight. Chase (who just happens to be a skilled CI surgeon and audiologist) activates the external processor (normally a months-long process). The sound is overwhelming, the boy hears everything. The mother is upset. “Once my son is stable,” the mom says, “I want that THING out of his head.” The patient also demands that the “thing” be removed. Right after this scene, House puts a Bluetooth in his ear so he can talk to himself without people thinking he’s crazy (an interesting reference to how we all are becoming cyborgs, more and more “implanted” with technology). Later, mother and son have the usual touching sentimental scene, where she speaks his name, he hears her voice for the first time and says, “Is that my name? S-E-T-H?” Mom cries. Seth’s deaf girlfriend later tells him she wishes she could get a CI, “It’s a great thing. It will open up a whole new world for you,” an idea he rejects. He hears his girlfriend vocalize, and asks Thirteen if he “sounds like that.” This for some reason clinches his decision about not wanting his CI and, rather than simply take off the external magnet, he rips the entire device right out of his head, which sends him into shock and system failure. Ultimately the team solves the mystery of the boy’s initial ailment and diagnoses him with sarcoidosis. In a final scene, the mother tells her son that she is having them replace the implant. She says it’s “my call.” This show, with its confusing use of both the sentimental and the counter-rhetoric, as well as its outrageous inaccuracies, is the most egregious example of how the CI is currently being constructed on television, but it, along with my other examples, clearly shows the Ladd/Blume rhetoric and counter rhetoric at work. The CI character is on one hand portrayed as an innocent, infantilized, tragic, or passive figure that is the recipient of a medical miracle kindly urged upon them (or forced upon them, as in the case of House). On the other hand, the CI character is depicted in the language of the counter-rhetoric: as deeply flawed, crazed, disturbed or damaged somehow by the incursions onto their Deaf identity, or, in the worst case scenario, they are dead, exterminated. Granted, it is the very premise of the forensic/crime drama to have a victim, and a dead victim, and it is the nature of the police drama to have a “bad,” criminal character; there is nothing wrong with having both good and bad CI characters, but my question is, in the end, why is it an either-or proposition? Why is CI identity only being portrayed in essentialist terms on these types of shows? Why are there no realistic portrayals of people with CIs (and for that matter, deaf people) as the richly varied individuals that they are? These questions aside, if these two types of “implanting rhetoric”, the sentimentalised and the terminated, are all we have at the moment, what does it mean? As I mentioned early in this essay, deaf people, along with many “others,” have long helped to highlight and define the hegemonic “norm.” The apparent cultural need for a Foucauldian “marked body” explains not only the popularity of crime dramas, but it also could explain the oddly proliferant use of characters with cochlear implants in these particular shows. A person with an implant on the side of their head is definitely a more “marked” body than the deaf person with no hearing aid. The CI character is more controversial, more shocking; it’s trendier, “sexier”, and this boosts ratings. But CI characters are, unlike their deaf predecessors, now serving an additional cultural function. I believe they are, as I claim in the beginning of this essay, screens upon which our culture is now projecting repressed anxieties about emergent technology. The two essentialist rhetorics of the cochlear implant, the rhetoric of the sentimental, medical model, and the rhetoric of genocide, ultimately represent our technophilia and our technophobia. The CI character embodies what Debra Shaw terms a current, “ontological insecurity that attends the interface between the human body and the datasphere” (85). We are growing more nervous “as new technologies shape our experiences, they blur the lines between the corporeal and incorporeal, between physical space and virtual space” (Selfe). Technology either threatens the integrity of the self, “the coherence of the body” (we are either dead or damaged) or technology allows us to transcend the limitations of the body: we are converted, “transformed”, the recipient of a happy modern miracle. In the end, I found that representations of CI on television (in the United States) are overwhelmingly sentimental and therefore essentialist. It seems that the conflicting nineteenth century tendency of attraction and revulsion toward the deaf is still, in the twenty-first century, evident. We are still mired in the rhetoric of “cure” and “control,” despite an active Deaf counter discourse that employs the language of the holocaust, warning of the extermination of yet another cultural minority. We are also daily becoming daily more “embedded in cybernetic systems,” with our laptops, emails, GPSs, PDAs, cell phones, Bluetooths, and the likes. We are becoming increasingly engaged in a “necessary relationship with machines” (Shaw 91). We are gradually becoming no longer “other” to the machine, and so our culturally constructed perceptions of ourselves are being threatened. In the nineteenth century, divisions and hierarchies between a white male majority and the “other” (women, African Americans, immigrants, Native Americans) began to blur. Now, the divisions between human and machine, as represented by a person with a CI, are starting to blur, creating anxiety. Perhaps this anxiety is why we are trying, at least in the media, symbolically to ‘cure’ the marked body or kill off the cyborg. Future examinations of the discourse should, I believe, use these media constructions as a lens through which to continue to examine and illuminate the complex subject position of the CI identity, and therefore, perhaps, also explore what the subject position of the post/human identity will be. References "A Boy in a Tree." Patrick Norris (dir.), Hart Hanson (by), Emily Deschanel (perf.). Bones, Fox Network, 7 Sep. 2005. “Andy in C Minor.” Jeannete Szwarc (dir.), Gavin Harris (by), Kathryn Morris (perf.). Cold Case, CBS Network, 30 March 2008. Blume, Stuart. “The Rhetoric and Counter Rhetoric of a “Bionic” Technology.” Science, Technology and Human Values 22.1 (1997): 31-56. Brueggemann, Brenda Jo. Deaf Subjects: Between Identities and Places. New York: New York UP, 2009. “Cochlear Implant Statistics.” ASL-Cochlear Implant Community. Blog. Citing Laurent Le Clerc National Deaf Education Center. Gallaudet University, 18 Mar. 2008. 29 Apr. 2010 ‹http:/ /aslci.blogspot.com/2008/03/cochlear-implant-statistics.html›. “Cures to Come.” Discover Presents the Brain (Spring 2010): 76. Fischman, Josh. “Bionics.” National Geographic Magazine 217 (2010). “House Divided.” Greg Yaitanes (dir.), Matthew V. Lewis (by), Hugh Laurie (perf.). House, Fox Network, 22 Apr. 2009. “Inside-Out.” Gina Lamar (dir.), Anthony Zuiker (by), David Caruso (perf.). CSI: Miami, CBS Network, 8 Oct. 2007. Krentz, Christopher. Writing Deafness: The Hearing Line in Nineteenth-Century American Literature. Chapel Hill: UNC P, 2007. Ladd, Paddy. Understanding Deaf Culture: In Search of Deafhood. Clevedon, UK: Multilingual Matters Limited, 2002. Lane, Harlan. A Journey Into the Deaf-World. San Diego: DawnSignPress, 1996. “NAD Position Statement on the Cochlear Implant.” National Association of the Deaf. 6 Oct. 2000. 29 April 2010 ‹http://www.nad.org/issues/technology/assistive-listening/cochlear-implants›. Nussbaum, Debra. “Manufacturer Information.” Cochlear Implant Information Center. National Deaf Education Center. Gallaudet University. 29 Apr. 2010 < http://clerccenter.gallaudet.edu >. Shaw, Debra. Technoculture: The Key Concepts. Oxford: Berg, 2008. “Silent Night.” Rob Bailey (dir.), Anthony Zuiker (by), Gary Sinise (perf.). CSI: New York, CBS Network, 13 Dec. 2006. “Sweet Nothing in My Ear.” Joseph Sargent (dir.), Stephen Sachs (by), Jeff Daniels (perf.). Hallmark Hall of Fame Production, 20 Apr. 2008. TWIZ TV scripts. CSI: Miami, “Inside-Out.” “What Is the Surgery Like?” FAQ, University of Miami Cochlear Implant Center. 29 Apr. 2010 ‹http://cochlearimplants.med.miami.edu/faq/index.asp›.