Journal articles on the topic 'Leeuwin Complex'

Surface circulation associated with the Leeuwin Current System off the southern coast of Western Australia was simulated using the Regional Ocean Model Systems (ROMS). The Leeuwin current (LC) and Flinders current (FC) were reproduced in two simulation: with and without wind stress. The inclusion of wind resulted in a strong LC during autumn and winter months with the LC flowing close to the shelf, accelerating after reaching the south-west corner at Cape Leeuwin. The geopotential gradient was present through all seasons, indicating that it is the major driving force of the currents. At the subsurface, continuation of the opposing undercurrent present at the southwest corner. Interchanging of strength and transport between LC and FC can be seen between seasons, where LC strength drops significantly in autumn and winter when the wind stress is low and this subsequently increases the FC transport. The FC strength declines in summer when there is no wind stress, which during this time LC is stronger. Meanwhile, the analysis shows an inshore presence of Cresswell current is evident along the coast when there is south-easterly wind in summer. The study provides comprehensive overview of the complex currents system where wind influence proves to be determining factors to the current system.

Abstract. The Pliocene sedimentary record provides a window into Earth's climate dynamics under warmer-than-present boundary conditions. However, the Pliocene cannot be considered a stable warm climate that constitutes a solid baseline for middle-of-the-road future climate projections. The increasing availability of time-continuous sedimentary archives (e.g., marine sediment cores) reveals complex temporal and spatial patterns of Pliocene ocean and climate variability on astronomical timescales. The Perth Basin is particularly interesting in that respect because it remains unclear if and how the Leeuwin Current sustained the comparably wet Pliocene climate in Western Australia, as well as how it influenced Southern Hemisphere paleoclimate variability. To constrain Leeuwin Current dynamics in time and space, this project obtained eight clumped-isotope Δ47 paleotemperatures and constructed a new orbitally resolved planktonic foraminifera (Trilobatus sacculifer) stable isotope record (δ18O) for the Plio-Pleistocene (4–2 Ma) interval of International Ocean Discovery Program (IODP) Site U1459. These new data complement an existing TEX86 record from the same site and similar planktonic isotope records from the Northern Carnarvon Basin (Ocean Drilling Program (ODP) Site 763 and IODP Site U1463). The comparison of TEX86 and Δ47 paleothermometers reveals that TEX86 likely reflects sea surface temperatures (SSTs) with a seasonal warm bias (23.8–28.9 ∘C), whereas T. sacculifer Δ47 calcification temperatures probably echo mixed-layer temperatures at the studied Site U1459 (18.9–23.2 ∘C). The isotopic δ18O gradient along a 19–29∘ S latitudinal transect, between 3.9 and 2.2 Ma, displays large variability, ranging between 0.5 ‰ and 2.0 ‰. We use the latitudinal δ18O gradient as a proxy for Leeuwin Current strength, with an inverse relationship between both. The new results challenge the interpretation that suggested a tectonic event in the Indonesian Throughflow as the cause for the rapid steepening of the isotopic gradient (0.9 ‰ to 1.5 ‰) around 3.7 Ma. The tectonic interpretation appears obsolete as it is now clear that the 3.7 Ma steepening of the isotopic gradient is intermittent, with flat latitudinal gradients (∼0.5 ‰) restored in the latest Pliocene (2.9–2.6 Ma). Still, the new analysis affirms that a combination of astronomical forcing of wind patterns and eustatic sea level controlled Leeuwin Current intensity. On secular timescales, a period of relatively weak Leeuwin Current is observed between 3.7 and 3.1 Ma. Notably, this interval is marked by cooler conditions throughout the Southern Hemisphere. In conclusion, the intensity of the Leeuwin Current and the latitudinal position of the subtropical front are both long-range effects of the same forcing: heat transport through the Indonesian Throughflow (ITF) valve and its propagation through Indian Ocean poleward heat transport. The common ITF forcing explains the observed coherence of Southern Hemisphere ocean and climate records.

Data from a research vessel cruise in late 1994 and several years of satellite observations revealed complex interactions of ocean features off south-western Australia. The ship measurements showed that the Leeuwin Current (LC) commonly ran at 0.5 m s–1 above the upper continental slope and extended down to approximately 250 m. South of the continent, a 200-km diameter anticyclonic eddy depressed the ocean structure in the upper 1000 m. The eddy showed influences of the LC, deep mixing in winter and summer heating. The sub-Antarctic water around the eddy was cooler, fresher and richer in nutrients and oxygen than both the eddy and the LC. Satellite thermal and topographic measurements showed that cyclonic eddies accelerated the LC along the southern upper continental slope, whereas anticyclonic eddies diverted it out to sea and then back again. The images suggested that weak eddies originating east of the Great Australian Bight migrate westward, first encountering the continental slope off the Recherche Archipelago. There, the anticyclonic eddies take on warm water from the LC and strengthen. Several anticyclonic eddies were followed westward beyond the archipelago for 18 months as they drifted at up to 5 km day–1 and interacted with the LC and with one another.

Rock lobster species are found worldwide and have a life history that includes development through a planktonic phyllosoma followed by a nektonic non-feeding puerulus that relies on stored energy during recruitment into near-shore habitats. Recruitment to adult populations of western rock lobster (Panulirus cygnus) is highly variable and is likely to be strongly influenced by shelf width and oceanic conditions affecting cross-shelf transport and nutrition. Since the nutritional status of newly settled pueruli will reflect the phyllosoma feeding environment and distance swum, we studied levels of lipid, fatty acid (FA) and protein of 422 pueruli and 79 first instar juveniles from four Western Australian locations. Lipid levels generally were inversely related to shelf width but were variable, suggesting pueruli may travel complex trajectories to coastal settlement. Lipid and FA composition of pueruli were consistent with spatial and seasonal variation in Leeuwin Current and coastal productivity regimes. Seasonal differences in FA composition occurred regardless of the year of settlement. Pueruli had lower lipid levels during ENSO years, when recruitment tends to be lower also. Measures of puerulus nutritional status appear to provide valuable insights into the processes underpinning recruitment in Panulirus cygnus and other commercially and ecologically important species.

Changes in the physical environment of aquatic systems consistent with climate change have been reported across Australia, with impacts on many marine and freshwater species. The future state of aquatic environments can be estimated by extrapolation of historical trends. However, because the climate is a complex non-linear system, a more process-based approach is probably required, in particular the use of dynamical projections using climate models. Because global climate models operate on spatial scales that typically are too coarse for aquatic biologists, statistical or dynamical downscaling of model output is proposed. Challenges in using climate projections exist; however, projections for some marine and freshwater systems are possible. Higher oceanic temperatures are projected around Australia, particularly for south-eastern Australia. The East Australia Current is projected to transport greater volumes of water southward, whereas the Leeuwin Current on the western coast may weaken. On land, projections suggest that air temperatures will rise and rainfall will decline across much of Australia in coming decades. Together, these changes will result in reduced runoff and hence reduced stream flow and lake storage. Present climate models are particularly limited with regard to coastal and freshwater systems, making the models challenging to use for biological-impact and adaptation studies.

Abstract This study presents the characteristics and spatiotemporal structure of near-inertial waves and their interaction with Leeuwin Current eddies in the eastern south Indian Ocean as observed by Electromagnetic Autonomous Profiling Explorer (EM-APEX) floats. The floats sampled the upper ocean during July–October 2013 with a frequency of eight profiles per day down to 1200 m. Near-inertial waves (NIWs) are found to be the dominant signal in the frequency spectra. Complex demodulation is used to estimate the amplitude and phase of the NIWs from the velocity profiles. The NIW energy propagated from the base of the mixed layer downward into the ocean interior, following beam characteristics of linear wave theory. We visually identified a total of 15 near-inertial internal wave packets from the wave amplitudes and phases with a mean vertical wavelength of 89 ± 63 m, a mean horizontal wavelength of 69 ± 85 km, a mean horizontal group velocity of 3 ± 2 cm s−1, and a mean vertical group velocity of 9 ± 7 m day−1. A strong near-inertial packet with a kinetic energy of 20–30 J m−3 found propagating below 700 m suggests that the NIWs can contribute to deep ocean mixing. A blue shift of 10%–15% in the energy spectrum of the NIWs is observed in the upper 1200 m as the floats move toward the equator. The impacts of mesoscale eddies on the characteristics and propagation of the observed NIWs are also investigated. The elevated near-inertial shear variance in anticyclonic eddies suggests trapping of NIWs near the surface. Cyclonic eddies, in contrast, were associated with weak near-inertial shear variance in the upper 400 m.

The application of the name Indigofera monophylla is clarified by reference to the type held in the Geneva herbarium and a revised description provided. The name has been widely applied to plants with rounded, unifoliolate leaves and some workers have suggested that there are multiple species within this broadly defined group. One of these, with restricted distribution within the Pilbara bioregion, has previously been given the phrase name Indigofera sp. Bungaroo Creek (S. van Leeuwen 4301) and is formally named here as Indigofera rivularis Peter G.Wilson. Two additional species in this complex are also described: Indigofera deserticola Peter G.Wilson & Rowe, is a species of sandplains occurring within the Great Sandy Desert and Dampierland Bioregions, and Indigofera rotula Peter G.Wilson, which is a species with smaller leaves and flowers that occurs primarily in areas south of the Pilbara. A key to these species is provided.

Environmental Context. The theoretical basis on which Town and van Leeuwen (Environ. Chem. 2005, 2, 80) dispute current ideas on the speciation of iron in seawater is valid only for the simplified condition of the binding of ionic Fe3+ with an ionic organic ligand. The possibilities of different pathways for complex formation and dissociation involving mixed hydroxide–organic species, or of different redox states, were not considered. The mismatch with experimental reality shows that the simplification is incorrect.

This paper discusses the multimodal analysis of Energen advertising. Print media advertisements and electronic media advertisements are texts that have a complex meaning. The complexity of meaning occurs because to convey messages in advertisements, not only language elements are used but also nonverbal language elements and other visual means. Therefore, to understand the complexity of meaning, it is necessary to do a multimodal analysis in the advertisement. The multimodal analysis discussed in this paper uses the theory of functional systemic linguistics (LSF). The multimodal analysis model was developed from a combination of multimodal theory (Anstey & Bull, 2010), and multimodal analysis by Kress and Van Leeuwen (1996-2006). From the analysis of Energen's advertisements, it is found that Energen's advertisements have a multimodal semiotic system which includes linguistic, visual, audio, gestural, and spatial elements. Keywords: multimodal, advertising

Important as religion is to behave socially, its complex nature has remained the staple concern of literary narratives. The enigma of religion is particularly evident in the life narratives of Malala Yousafzai (I Am Malala, 2013) and Ziauddin Yousafzai (Let Her Fly 2018). The selected texts have been studied using the Theory of Representation (1997) to investigate there presentation of Islam by applying the legitimation strategies proposed by Theo Van Leeuwen in his book Discourse and Practice (2008). Islam and its practices have been exploited by detailing specific practices related to Muslim women with lesser consideration of Islamic injunctions that benefits its adherents. This study concludes that in there presentation of religion, the selected authors have misrepresented the ideologies, belief systems, and values of Islam by reinforcing negative stereotypes of Muslim women as subject to religious practices that use the body as a site of patriarchal domination and religious constraints.

Abstract The new dialogic, conversational nature of television broadcast news (Hamo, 2009) poses a challenge to traditional commentators, who are forced to move from an authoritative monologue to a confrontational dialogue that requires additional flexibility and conversational skills. The paper focuses on an Israeli case study which presents a confrontational dialogue in which one of the discussants is an experienced military correspondent and commentator. We demonstrate the various resources he uses in order to cope with a complex discursive challenge by using multimodal tools, both verbal and visual (Kress 2010; Kress and Van Leeuwen 2001; Jewitt and Oyama 2001). Besides interrupting his interlocutor’s eloquent discourse in any possible way, demonstrating his well-known direct and involved television persona, the military correspondent employs institutional discursive resources such as using authoritative voice and taking the role of the mediator. Concession structures (Anscombre 1985) reflect his inner moral conflict toward the issue (Livnat 2012).

This research discusses the multimodal analysis in the advertisement of Lemonilo Healthy Instant Noodles. Advertising is a promotional medium that has the aim of promoting or introducing a product to a wide audience. Advertisements in print and electronic media are also texts that have a complex meaning. The complexity of meaning occurs because in conveying messages in advertisements not only use language elements but also nonverbal language elements and other visual means. Therefore, to understand the complexity of meaning it is necessary to do multimodal analysis in the advertisement. The multimodal analysis discussed in this paper uses functional systemic linguistic theory (LSF). The multimodal analysis model was developed from a combination of multimodal theory by Anstey & Bull (2010), and multimodal analysis by Kress and Van Leeuwen (1996-2006). From the analysis of the Lemonilo Healthy Instant Noodle advertisement, the results show that the Lemonilo Instant Noodle advertisement has a multimodal semiotic system which includes linguistic, visual, audio, gestural, and spatial elements. Keywords: Multimodal Research, Advertisement

Tão complexo quanto o texto verbal, o texto visual também possui estruturas e funções específicas que requerem o letramento. Nos meios de comunicação, o predomínio da linguagem visual destaca a importância da compreensão dos aspectos multimodais dos gêneros midiáticos. O objetivo deste trabalho é analisar os recursos multimodais presentes em um anúncio publicitário impresso. Para esse propósito, foi selecionado um anúncio de Gatorade publicado na revista Boa Forma, cujos significados são descritos para cada elemento visual que compõe o texto com base na Gramática Visual de Kress e van Leeuwen (1996). Os resultados apontam que as escolhas feitas na composição do texto tendem a evidenciar o produto anunciado e a facilitar a interação com o leitor. Assim, a análise demonstra que cada aspecto coopera na construção dos sentidos no texto multimodal, reconhecimento que pode favorecer a compreensão e a produção de mensagens de maneira mais cuidadosa.

A partir da perspectiva sociossemiótica sobre a individuação (MARTIN, 2010), da Gramática do Design Visual de Kress e van Leeuwen (2006) e, mais globalmente, dos princípios da Análise do Discurso Mediado por Computador propostos por Herring (2004, 2019), propomos um procedimento metodológico que permite a investigação de estratégias de individuação em suas dimensões verbo-pictórica e interacional, expondo de que maneira significados ideacionais e atitudinais acoplam-se para formar vínculos semântico-discursivos que servem de fundamento para movimentos de alocação e afiliação. Tal procedimento foi aplicado a um corpus composto por três postagens instanciadas no grupo de Facebook LDRV, que se revelou um espaço simbólico complexo em relação à dinâmica afiliativa, com manifestações de distintas estratégias multimodais de individuação. Ao final do estudo, discutimos quatro continua que permitem uma caracterização mais holística do espaço em questão ao abarcar a dinâmica télica, semântico-discursiva, afiliativa e verbo-pictórica de diferentes interações, fornecendo categorias potencialmente úteis para a análise contrastiva de textos internos e externos ao Facebook.

The importance of evaluation to demonstrate the effectiveness of policies, programmes and interventions is widely recognised. Evaluation in the context of public health and healthcare is viewed as a complicated exercise, particularly when dealing with complex interventions involving multiple partners, multiple components and multiple outcomes. Eliciting the programme theory is an important starting point of an evaluation process to enable the link between theory and action to be articulated. This article gives a pragmatic account of the practicalities of working with stakeholders as they embark on a formative evaluation of a complex public health initiative, using a using a theory-based approach. Drawing on the principles of Leeuw’s strategic assessment, we planned a workshop to reflect the four stages of this approach–group formation, assumption surfacing, dialectical debate and synthesis. Stakeholders took part in four activities–Free Listing, Sphere of Influence, Beattie’s Theoretical Framework and Programme Concept Mapping. We found that our elicitation approach was particularly suited to reconstructing the programme theory in a non-threatening and playful environment, bringing about an alignment of programme theories by consensus and reducing anxiety.

Neste artigo, apresentaremos uma análise preliminar das produções iniciais e finais de tutoriais em vídeo produzidos por alunos adolescentes. A partir dessa análise, tínhamos por finalidade saber se, a partir da sequência didática trabalhada, os alunos desenvolveram as capacidades de linguagem em francês como língua estrangeira (FLE). Parte de uma pesquisa de mestrado em andamento, esse estudo tem por objetivo investigar o gênero multimodal tutorial em vídeo e suas contribuições para o ensino-aprendizagem de francês como língua estrangeira por adolescentes. Para realizá-lo, nos baseamos, no quadro teórico-metodológico do Interacionismo Sociodiscursivo (ISD) proposto por Bronckart (1999, 2006, 2008), nos estudos de Schneuwly e Dolz (2004/2010), em relação à utilização de gêneros textuais em sala de aula e no quadro da Semiótica Sociointeracional (LEAL, 2010), em que se é proposta a junção do modelo de análise textual do ISD e as funções da Gramática do Design Visual (KRESS et VAN LEEUWEN, 2006). Ainda que o gênero trabalhado seja complexo, por articular aspectos verbais e não verbais na sua construção, essa análise preliminar mostrará que, a partir da sequência didática trabalhada, houve um significativo desenvolvimento das capacidades de linguagem dos alunos.

γ1-Herpesviruses such as Epstein-Barr virus (EBV) have a unique ability to amplify virus loads in vivo through latent growth-transforming infection. Whether they, like α- and β-herpesviruses, have been driven to actively evade immune detection of replicative (lytic) infection remains a moot point. We were prompted to readdress this question by recent work (Pudney, V.A., A.M. Leese, A.B. Rickinson, and A.D. Hislop. 2005. J. Exp. Med. 201:349–360; Ressing, M.E., S.E. Keating, D. van Leeuwen, D. Koppers-Lalic, I.Y. Pappworth, E.J.H.J. Wiertz, and M. Rowe. 2005. J. Immunol. 174:6829–6838) showing that, as EBV-infected cells move through the lytic cycle, their susceptibility to EBV-specific CD8+ T cell recognition falls dramatically, concomitant with a reductions in transporter associated with antigen processing (TAP) function and surface human histocompatibility leukocyte antigen (HLA) class I expression. Screening of genes that are unique to EBV and closely related γ1-herpesviruses of Old World primates identified an early EBV lytic cycle gene, BNLF2a, which efficiently blocks antigen-specific CD8+ T cell recognition through HLA-A–, HLA-B–, and HLA-C–restricting alleles when expressed in target cells in vitro. The small (60–amino acid) BNLF2a protein mediated its effects through interacting with the TAP complex and inhibiting both its peptide- and ATP-binding functions. Furthermore, this targeting of the major histocompatibility complex class I pathway appears to be conserved among the BNLF2a homologues of Old World primate γ1-herpesviruses. Thus, even the acquisition of latent cycle genes endowing unique growth-transforming ability has not liberated these agents from evolutionary pressure to evade CD8+ T cell control over virus replicative foci.

When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.

O Atlas Linguístico do Brasil é um projeto complexo, contando com diversasequipes e núcleos por todo o território brasileiro. Ao longo de sua execução, as equipesregionais e estaduais contaram com vários voluntários, estudantes de graduação e depós-graduação interessados em contribuir com o projeto. Esse projeto rendeu, além dapublicação da primeira parte do Atlas Linguístico do Brasil, referente aos dados dascapitais brasileiras, algumas pesquisas sobre territórios que não estão na lista de pontosdo projeto nacional, bem como de aspectos linguísticos revelados a partir dos dados doAtlas. Assumindo que as cartas léxicas são textos lexicográficos (HAENSCH, 1997) e,portanto, multimodais (PONTES, 2009), neste trabalho, vamos analisar, a partir da Teoriada Multimodalidade, dez cartas léxicas produzidas em duas pesquisas de pós-graduação(MONTEIRO, 2011; SARAIVA, 2019). As cartas foram analisadas a partir das categoriasda função composicional da Gramática do Design Visual (KRESS; VAN LEEUWEN,2014): valor de informação, saliência e enquadramento. Os resultados encontrados dãoindícios de que existem tanto regularidades quanto divergências nas três categoriasanalisadas, tendo em vista que, embora de maneiras diferentes, os dois atlas apresentamuma organização dos elementos do texto em um eixo vertical de leitura, a utilização dacor como recurso de Saliência e o uso de espaços em branco para estabelecer blocosinformações no texto.

Tendo como base as teorias em torno da multimodalidade discursiva, com destaque para Kress & van Leeuwen (2006), buscamos analisar os elementos visuais utilizados em editoriais de revistas de grande circulação nacional, ou seja, a Época, a Veja e a Istoé, tentando perceber de que maneira tais elementos compõem o arranjo genérico desses textos e corroboram na consolidação de seus propósitos comunicativos. O corpus compreende um total de 18 editoriais, sendo 6 de cada uma das revistas supracitadas. Os resultados mostram que os suportes investigados, ou seja, Época, Veja e Istoé, constituem para seus respectivos editoriais uma espécie de padronização no uso dos recursos multimodais que os compõem. Esses modelos diferem de uma revista para outra e podem ser mais rígidos (como na Veja e na Istoé) ou mais plásticos (como na Época). Observa-se também que, apesar de seguirem modelos distintos, os editoriais dos diferentes suportes pesquisados apresentam muitos recursos multimodais comuns entre si, o que pode evidenciar a existência de um padrão multimodal global do gênero editorial de revista. O uso de signos não-linguísticos atrelados ao texto escrito torna esse gênero, a nosso ver, mais informativo e atraente, além de fazer com que o processo de leitura se transforme em uma atividade cognitiva mais complexa e desafiadora para o leitor.

Na sociedade contemporânea híbrida (Chouliaraki, Fairclough, 1999), os gêneros estão cada vez mais multimodais (Kress, 2010) e presentes em todas as esferas, dentre essas: a escolar, a midiática, e a cinematográfica. As produções audiovisuais, tanto de longas quanto de curtas-metragens, cumprem importante papel no ensino, estabelecendo diálogo intermitente entre os processos de multiletramento, auxiliando no desenvolvimento de competências que vão além do letramento verbal. Contudo, ainda se verificam dificuldades quanto à interpretação dessas narrativas em sua composição global, um complexo de imagem, som, movimento, cor, grafismos, entre outros modos semiótico-discursivos. Este trabalho tem como objetivo analisar o curta-metragem Os Fantásticos livros voadores do Sr. Morris Lessmore à luz da Teoria da Transcrição Multimodal (Baldry, Thibault, 2006) em diálogo com a Análise de Discurso Crítica (Fairclough, 2001). Enfatizamos, ainda, questões de intertextualidade, de ideologias, de prática discursiva, além de utilizarmos a Teoria Multimodal (Kress, van Leeuwen, 2006) para referência a participantes, ângulo, cores, distância, valores informativos e a Teoria Narrativa de Van Dijk (1992), desvelando práticas e ampliando perspectivas já existentes. O curta-metragem se utiliza de jogos semiótico-discursivos para estruturar sua narrativa e se encadeia a metáforas e práticas intertextuais, revelando e (des)construindo o tema de sua trama, o ato de ler e de escrever. Mais do que meramente o assistir, faz-se necessário desvelar, de forma crítico-reflexiva, as práticas sociais e discursivas.

Considerando-se que o estudo de textos literários multimodais pode contribuir para uma maior compreensão das possibilidades interpretativas, o presente artigo apresenta a análise visual do livro Room on the Broom (Donaldson, Scheffler, 2012), comparando-a com a versão do filme (Lang e Lachauer, 2012) de mesmo nome. O estudo toma por base uma abordagem sócio semiótica, mais especificamente a Gramática Visual (Kress e van Leeuwen, 2006) e o estudo da narrativa visual de livros infantis (Painter, Martin, Unsworth, 2013). Dessa forma, partindo-se do pressuposto que, conforme Jenkins (2003), a narrativa transmídia sustenta uma experiência mais profunda e que ela cria uma narrativa mais complexa, o presente estudo busca identificar como isso se dá a respeito da construção das relações dos personagens, bem como das relações desses com os leitores e espectadores. Os resultados demonstram que, embora o texto verbal seja o mesmo em ambos os modos, mudanças significativas relativas ao afeto visual conferem personalidade a um dos personagens no filme. Tal característica influencia na construção de um tema mais profundo, bem como em uma possível identificação do espectador com o personagem. Essa identificação é reforçada pela sutil aproximação da audiência, realizada pelo enquadramento dos personagens e de imagens de contato visual. Conclui-se com essa análise, que o estudo das relações interpessoais pode elucidar como diferentes escolhas culminam na criação de narrativas com temas mais complexos e mais envolventes. Dessa forma, elas se tornam um importante aspecto a ser abordado nas aulas de línguas a fim de desenvolver o letramento multimodal.

The author considers a sketch the phenomenological study model of religion proposed by N. Smart. According to N. Smart, the phenomenology of religion should differ from the history of religion in the statement focusing on the structural description of religion not in its dynamics, but in statics, and should proceed from the fact that at different stages of the development of religion there are different normative pictures. N. Smart reduces all the variety of methods used by phenomenologists to two basic ones: an epoch and a neutral but evocative bracketing. Under the "epoch" of N. Smart understands psychological abstinence from value judgments, and defining "bracketing" he means putting the question of the reality of religious phenomena and their supernatural nature out of brackets. At the same time, the phenomenologist must simultaneously take into account both the fact that there is something real in religion and the fact that there is nothing except human actions, i.e. take into account both the reductive and non-reductive description of the phenomenon. Separately, the author considers the question of the influence of classical phenomenologists on N. Smart, since he was convinced that on the basis of individual developments of G. van der Leeuw, R. Otto and M. Eliade can create a discipline that would complement the general religious complex. The researcher shows that G. van der Leeuw influenced N. Smart most of all: with the help of the category of Force developed by him, N. Smart describes the process of the phenomenon interpolation into people's lives. The category of the numinous developed by R. Otto plays a significant role in N. Smart's model. N. Smart even creates the neologism "numinous forces" and speaks of "numinous charge". From M. Eliade N. Smart borrows the concepts of "illudtempus" and the dialectic of order and chaos.

The study of animal movement is an important aspect of functional morphological research. The three-dimensional movements of (parts of) animals are usually recorded on two-dimensional film frames. For a quantitative analysis, the real movements should be reconstructed from their projections. If movements occur in one plane, their projection is distorted only if this plane is not parallel to the film plane. Provided that the parallel orientation of the movement with respect to the film plane is checked accurately, a two-dimensional method of analysis (ignoring projection errors) can be justified for quantitative analysis of planar movements. Films of movements of skeletal elements of the fish head have generally been analyzed with the two-dimensional method (e.g. Sibbing, 1982; Hoogenboezem et al. 1990; Westneat, 1990; Claes and de Vree, 1991), which is justifiable for planar movements. Unfortunately, the movements of the head bones of fish are often strongly non-planar, e.g. the movement of the pharyngeal jaws and the gill arches. The two-dimensional method is inappropriate for studying such complex movements (Sibbing, 1982; Hoogenboezem et al. 1990). For a qualitative description of movement patterns, the conditions for the use of the two-dimensional method may be somewhat relaxed. When two (or more) views of a movement are recorded simultaneously, the three-dimensional movements can readily be reconstructed using two two-dimensional images (e.g. Zarnack, 1972; Nachtigall, 1983; van Leeuwen, 1984; Drost and van den Boogaart, 1986). However, because of technical (and budget) limitations, simultaneous views of a movement cannot always be shot. In this paper, a method is presented for reconstructing the three-dimensional orientation and rotational movement of structures using single-view films and for calculating rotation in an object-bound frame. Ellington (1984) presented a similar method for determining three-dimensional wing movements from single-view films of flying insects. Ellington's method is based upon the bilateral symmetry of the wing movements. The present method does not depend on symmetry and can be applied to a variety of kinematic investigations. It eliminates a systematic error: the projection error. The measuring error is not discussed; it is the same in the two-dimensional and three-dimensional method of analysis.

Innovation is not just a technology, but it is rather a comprehensive vision of what the future should look like and which requires changes in many ambits. Innovation is driven by people’s needs, ambitions and dreams, and it is necessary that people at different positions in the society change the way they work and live. Innovation, as a result of human interactions, often fails because people do not understand each other, as they belong to different worlds which have their own languages and cultures. While innovation system-like thinking recognizes that the needs are a good mix of factors for innovation, it is hard to establish the perfect mix beforehand: innovation systems and policies need to be adaptive” (Klerkx, Mierlo & Leeuwis 2012). I tried to bring this complex vision to our future. The actuality of the topic is provided by the fact that we are in the period of the development of digital industrial revolution, on the peak of the technology innovations, slowly resulting in the revolutions of the machines. These technological innovations, trends, equipment or new technological achievements often make our work easier, or they may replace us, and will bring changes transforming the world with them. At present era, the availability and use of the relevant knowledge is essential. In Western Europe and in other more developed countries different spaces provide places for evolving various trends, applying the acquired knowledge, e.g. development of Silicon Valley, polices, clusters, co-workings. These innovative spaces may form a bridge for evolving a global, international or regional technology and knowledge transfer, sharing our knowledge and developing our competitiveness. They may be the engine of a “new world”. The entrepreneurship ecosystem in Debrecen was investigated regarding the presence of open innovation spaces. Though Debrecen has already had open innovation spaces, it does not have space operating as HUB. „HUB is a global platform, where people from all corners of the planet connect and engage in collaborative action to realize enterprising ideas for a better world” (HUB GMBH 2012). Furthermore, I studied the fact that why the creation of HUB in Debrecen is reasonable concerning every sector, and what characteristics this space may have. In order to analyze my hypotheses, I used questionnaires made by Delphi survey. During the process experts of this field were asked in two turns. Selecting the experts occurred on the basis of Helix model.

BackgroundPathomechanisms of degenerative joint diseases such as osteoarthritis (OA) ultimately result in the breakdown of cartilage tissue. To date, the exact underlying mechanisms of both cause and progression of OA remain unclear. Therefore, developing complex and long-lasting in vitro components of a human joint including cartilage, subchondral bone, synovial membrane and tendons that simulate the 3D architecture and the metabolic, humoral and cellular interplay of the joint components is needed to study the long-lasting course of OA pathogenesis. Beside the impact of metabolic components and 3D architecture, mechanical forces are well-known to be important modulators of joint health, while aberrant forces are primary etiological factors leading to cartilage degeneration.ObjectivesHere, we aimed to (i) develop a long-lasting human in vitro 3D cartilage model using alternated perfused cultivation and (ii) simulate TNFα-mediated cartilage degradation. As a mechanical force we used the perfusion-mediated fluid shear stress (FSS) to enhance chondrogenesis and mimic FSS during joint movement.MethodsHuman bone marrow-derived mesenchymal stromal cells (MSC) were used to develop an in vitro 3D cartilage model incubated in a bioreactor with a perfusion cycle that facilitates mechanical stimulation via FSS and daily sampling. Within the bioreactor, MSC mass cultures were subjected to FSS at 10 dyn/cm2 by medium circulation three times a day for 1.5 hours. The approach of using optimized FSS rate, cycles and cultivation period of 18 days for MSC mass cultures was compared to a non-perfused control based on cell viability (live-dead- and viability-assay), apoptosis (TUNEL-assay, caspase-3/7-activity, BCL2/BAX), metabolic activity (oxygen and glucose consumption, lactate production), chondrogenic gene expression (ACAN, COMP, COL2A1, COL1A1, COL2A1/COL1A1) and matrix metalloproteinase expression (MMP-1, -3, -13).ResultsAlternate perfused long-term cultivation at 10 dyn/cm2 did not affect cell survival; it rather reduced apoptosis, did not affect oxygen consumption but reduced glucose consumption and lactate production and enhanced chondrogenic gene expression with reduced MMP13 and COMP gene expression compared with non-perfused conditions. Mimicking pathophysiology of OA we stimulated the 3D cartilage model with 100 ng/mL TNFα for 6 hours under non-perfused and perfused long-term cultivation with FSS at 10 dyn/cm2 as a mechanical stimulus. Compared to untreated perfused conditions, TNFα stimulation (i) did not affect overall cell survival but enhanced apoptosis (demonstrating efficacy of stimulation), (ii) did not affect oxygen consumption and glycolysis, and (iii) enhanced COMP and MMP1 expression as markers of matrix protein turnover. In comparison to TNFα treated cells under non-perfused conditions, TNF stimulation under perfused conditions (i) did not affect cell survival but reduced apoptosis, (ii) did not affect oxygen consumption but reduced glucose consumption and lactate production as a measure of glycolysis, and (iii) reduced the expression of IL6 and soluble amounts of IL-6 but not of TNFA whereas soluble amounts of TNFα were enhanced. Furthermore, TNFα stimulation (iv) reduced the expression of matrix degrading enzymes but (v) enhanced anabolic chondrogenic matrix proteins on mRNA.ConclusionIn a 3D model that mimics OA, FSS as a mechanical stimulus provides a metabolic “feel-good” niche that reduces chondrocyte apoptosis, metabolic activity, and matrix metalloproteinase expression, increases matrix protein expression and protects against TNFα-mediated cartilage degradation.AcknowledgementsThis project is funded by Sanofi-Aventis Deutschland GmbH.Disclosure of InterestsDuc Ha Do Nguyen: None declared, Christina Lubahn: None declared, Thomas Leeuw Employee of: Thomas Leeuw is a Sanofi employee and may hold shares and/or stock options in the company., Frank Buttgereit: None declared, Timo Gaber: None declared, Alexandra Damerau: None declared

-Gesa Mackenthun, Stephen Greenblatt, Marvelous Possessions: The wonder of the New World. Chicago: University of Chicago Press, 1991. ix + 202 pp.-Peter Redfield, Peter Hulme ,Wild majesty: Encounters with Caribs from Columbus to the present day. An Anthology. Oxford: Oxford University Press, 1992. x + 369 pp., Neil L. Whitehead (eds)-Michel R. Doortmont, Philip D. Curtin, The rise and fall of the plantation complex: Essays in Atlantic history. New York: Cambridge University Press, 1990. xi + 222 pp.-Roderick A. McDonald, Hilary McD.Beckles, A history of Barbados: From Amerindian settlement to nation-state. Cambridge: Cambridge University Press, 1990. xv + 224 pp.-Gertrude J. Fraser, Hilary McD.Beckles, Natural rebels; A social history of enslaved black women in Barbados. New Brunswick NJ and London: Rutgers University Press and Zed Books, 1990 and 1989. ix + 197 pp.-Bridget Brereton, Thomas C. Holt, The problem of freedom: Race, labor, and politics in Jamaica and Britain, 1832-1938. Baltimore: John Hopkins University Press, 1991. xxxi + 517 pp.-Peter C. Emmer, A. Meredith John, The plantation slaves of Trinidad, 1783-1816: A mathematical and demographic inquiry. Cambridge: Cambridge University Press, 1988. xvi + 259 pp.-Richard Price, Robert Cohen, Jews in another environment: Surinam in the second half of the eighteenth century. Leiden: E.J. Brill, 1991. xv + 350 pp.-Russell R. Menard, Nigel Tattersfield, The forgotten trade: comprising the log of the Daniel and Henry of 1700 and accounts of the slave trade from the minor ports of England, 1698-1725. London: Jonathan Cape, 1991. ixx + 460 pp.-John D. Garrigus, James E. McClellan III, Colonialism and science: Saint Domingue in the old regime. Baltimore: John Hopkins University Press, 1992. xviii + 393 pp.-Lowell Gudmundson, Richard H. Collin, Theodore Roosevelt's Caribbean: The Panama canal, the Monroe doctrine, and the Latin American context. Baton Rouge: Louisiana State University Press, 1990. xviii + 598 pp.-Andrés Serbin, Ivelaw L. Griffith, Strategy and security in the Caribbean. New York : Praeger, 1991. xv + 208 pp.-W.E. Renkema, M.J. van den Blink, Olie op de golven: de betrekkingen tussen Nederland/Curacao en Venezuela gedurende de eerste helft van de twintigste eeuw. Amsterdam: De Bataafsche Leeuw, 1989. 119 pp.-Horatio Williams, Obika Gray, Radicalism and social change in Jamaica, 1960-1972. Knoxville: University of Tennessee Press, 1991. xiv + 289 pp.-Daniel A. Segal, Brackette F. Williams, Stains on my name, war in my veins: Guyana and the politics of cultural struggle. Durham: Duke University Press, 1991. xix + 322 pp.-A. Lynn Bolles, Olive Senior, Working miracles: Women's lives in the English-speaking Caribbean. Bloomington: Indiana University Press (and Bridgetown, Barbados: ISER),1991. xiii + 210 pp.-Teresita Martínez Vergne, Margarita Ostolaza Bey, Política sexual en Puerto Rico. Río Piedras PR: Ediciones Huracán, 1989. 203 pp.-David J. Dodd, Dora Nevares ,Delinquency in Puerto Rico: The 1970 birth cohort study. With the collaboration of Steven Aurand. Westport CT: Greenwood, 1990. x + 232 pp., Marvin E. Wolfgang, Paul E. Tracy (eds)-Karen E. Richman, Paul Farmer, AIDS and accusation: Haiti and the geography of blame. Berkeley: University of California Press, 1992. xiv + 338 pp.-Alex Stepick, Robert Lawless, Haiti: A research handbook. (With contributions by Ilona Maria Lawless, Paul F. Monaghan, Florence Etienne Sergile & Charles A. Woods). New York: Garland, 1990. ix + 354 pp.-Lucien Taylor, Richard Price ,Equatoria. With sketches by Sally Price. New York & London: Routledge, 1992. 295 pp., Sally Price (eds)-Edward L. Cox, Kai Schoenhals, Grenada. World bibliographical series volume 119. Oxford: Clio Press, 1990. xxxviii + 181 pp.-Henry Wells, Kai Schoenhals, Dominican Republic. World bibliographical series volume 111. Oxford: Clio Press, 1990. xxx + 211 pp.-Stuart H. Surlin, John A. Lent, Mass communications in the Caribbean. Ames: Iowa State University Press. 1990. xviii + 398 pp.-Ellen M. Schnepel, Max Sulty ,La migration de l'Hindouisme vers les Antilles au XIXe siècle, après l'abolition de l'esclavage. Paris: Librairie de l'Inde, 1989. 255 pp., Jocelyn Nagapin (eds)-Viranjini Munasinghe, Steven Vertovec, Hindu Trinidad: Religion, ethnicity and socio-economic change.-Alvina Ruprecht, Selwyn R. Cudjoe, Caribbean women writers: Essays from the first international conference. Amherst: University of Massachusetts Press, 1990. xv + 382 pp.-J. van Donselaar, Michiel van Kempen et al, Nieuwe Surinaamse verhalen. Paramaribo: De Volksboekwinkel, 1986. 202 pp.''Suriname. De Gids 153:791-954. Amsterdam: Meulenhoff, 1990.-J. van Donselaar, Literatuur in Suriname: nieuwe, nog niet eerder gepubliceerde verhalen en gedichten van Surinaamse auteurs. Preludium 5(3): 1-80. Michiel van Kempen (compiler). Breda: Stichting Preludium, 1988.''Verhalen van Surinaamse schrijvers. Michiel van Kempen (compiler). Amsterdam: De Arbeiderspers. 1989. 248 pp.''Hoor die tori! Surinaamse vertellingen. Michiel van Kempen (compiler). Amsterdam: In de Knipscheer, 1990. 267 pp.-Beth Craig, Francis Byrne ,Development and structures of creole languages: Essays in honor of Derek Bickerton. Amsterdam/Philadelphia: John Benjamins, 1991. x + 222 pp., Thom Huebner (eds)-William W. Megenney, John M. Lipski, The speech of the negros congos of Panama. Amsterdam/Philadelphia: John Benjamins, 1989. vii + 159 pp.-Hein D. Vruggink, Clare Wolfowitz, Language, style and social space: Stylistic choice in Suriname Javanese. Champaign; University of Illinois Press, 1992. viii + 265 pp.-Keith A.P. Sandiford, Brian Douglas Tennyson, Canadian-Caribbean relations: Aspects of a relationship. Sydney, Nova Scotia: Centre for international studies, 1990. vii + 379 pp.-Gloria Cumper, Philip Sherlock ,The University of the West Indies: A Caribbean response to the challenge of change. London: Macmillan Caribbean, 1990. viii + 315 pp., Rex Nettleford (eds)

The trend in ensuring adequate consumer representation across diverse activities and sectors, not least in healthcare, has been speedily implemented, sometimes at the expense of strategy. This commentary explores the concept of the consucrat as a consumer representative, presented by de Leeuw, which raised important questions regarding the way in which individuals and health services interact and collaborate. Adopting a complex services marketing lens, the position of the consucrat is discussed in relation to agency underpinning three tensions identified by de Leeuw: designation; professionalization, and; representation. For equality, professional service providers are referred to as ‘profecrats.’ Supporting de Leeuw, challenges are made to the underlying assumptions implicit in terms used around representation, the perspective that it is the consucrat only who needs to adapt, and the discourse around the competence of the consucrat. We should not be too cautious in our approach to consumer representation. Consucrats have agency – what next for the profecrat?

Tendo em vista os pressupostos teóricos da Gramática do Design Visual de Kress e van Leeuwen (2006) e as noções sistemáticas da Gramática Sistêmico-Funcional de Halliday e Matthiessen (2004), este trabalho tem como objetivo analisar, a partir das funções de representação e de interação visual, a linguagem não verbal usada para manifestar representações para a mulher, na capa do livro “Doidas e santas”, de Martha Medeiros. O primeiro passo da análise consiste na identificação dos participantes representados na imagem. O segundo passo busca analisar os significados representacionais. O terceiro passo, por sua vez, consiste na análise dos significados interacionais entre o participante representado e o espectador. O último passo busca verificar as representações manifestadas visualmente para a mulher partindo da interpretação dos resultados obtidos. A análise da linguagem visual evidenciou, quanto aos significados representacionais, que a imagem configura-se como uma estrutura conceitual complexa, e, quanto aos significados interativos, caracteriza-se como demanda.

OPSOMMING Visuele kunstenaars, uitvoerende kunstenaars en literêre kunstenaars het mekaar oor die eeue heen geïnspireer. Jonckheere (1989) noem dit 'n oeroue verbintenis en Vanbrussel (1972) is van mening dat die produk wat geskep word vanweë die inspirasie as 'n tipe vertaling, transponering en ondersoek na dieper betekenis beskou moet word. Die poësiefilm as 'n vorm van 'n vertaling van die woordteks na 'n beeldteks, kan benader word as 'n hibriede, trans-dissiplinêre en multimodale kunsvorm wat die poësie en film met mekaar verbind. In die besonder geanimeerde poësiefilms bied 'n vrugbare ontdekkingsveld vir die verkenning van multimodale metafore. Die draai van die millennium het 'n toename in die belangstelling in die ondersoek van multimodale kommunikasie met betrekking tot die onderskeie semiotiese modusse teweeggebring. Forceville (2015) is van mening dat animasiefilms ideaal is vir die ondersoek van beeldskemas wat op multimodale metafore betrekking het. Die keuse van die poësiefilm as toepassingsdomein stel in die vooruitsig dat kennis ontwikkel word met betrekking tot multimodale metafore in Jac en Wessel Hamman se poësiefilm van DJ Opperman se "Stad in die mis". Trefwoorde: Poësiefilm, geanimeerde poësiefilm, poësiemetafoor, konseptuele metafoor, monomodale metafoor, multimodale metafoor, semiotiese metafoor, multimodaliteit ABSTRACT Visual artists, performing artists and literary artists have been inspiring one another since time immemorial. Simonides of Keos (c. 556-468 BC) confirmed this in his "poema pictura loquens" - "a poem is a talking picture" or in a more modern expression, "a picture is worth a thousand words". Jonckheere (1989) calls this an ancient relationship, and Vanbrussel (1972) holds the opinion that imitating one art form to create another art form is a form of translation, transposition, contemplation, and discovery of artistic impressions, showing parallel interpretations rather than physical comparison. Kress and Van Leeuwen (2001) define multimodality as "[t]he use of several semiotic modes in the design of a semiotic product or event". It is this kind of research (see Kress & Van Leeuwen (2001), Jewitt (2009) and O'Halloran & Smith (2010) in the field of multimodal studies in the social semantic tradition that forms the nucleus of multimodality). O'Halloran and Smith (2010) note that cross-pollination between disciplines increased during the 21st century, and that interdisciplinary and transdisciplinary cooperation are at the core of research and social challenges. Jewitt (2013) adds to this by defining multimodality as "an interdisciplinary approach that understands communication and representation to be more than about language". The poetry film as a transposed verbal text to a multimodal text can be viewed as a hybrid, transdisciplinary and multimodal artform, combining poetry and film. Cook (2017) emphasised the fact that poetry film is an intertwined entity of word, sound, and visual image. It is an attempt to transpose and transform a poem to become a new artwork that makes the poem more accessible to people who are not necessarily open to the written word and will in effect attract a larger audience to a genre that usually has a limited market. Animated poetry film is a goldmine for discovering, amongst others, multimodal metaphors, particularly because it uses a vast variety of creative modes of meaning-making modes. It is well-known that conventional researchers of the Conceptual Metaphor Theory (CMT) limit their studies mainly to the conceptual metaphor as a verbal-linguistic expression. Little to no attention is paid to the nonverbal manifestations of metaphors as such (Jacobs et al., 2013: 490). Forceville (1996, 2002, 2006, 2008, 2009) and other researchers (Carrol, 1994; Cienki & Müller, 2006; Zbikowski, 2008; Koller, 2009; El Refaie, 2009; Urios-Aparisi, 2009 among others) use the CMT as a conceptual framework for the research of multimodal metaphors. Forceville (2002) defines multimodal metaphor as follows: "A phenomenon that is experienced as a unified object or gestalt is represented in its entirety in such a manner that it resembles another object or gestalt even without contextual cues." Various source- and target domains in verbal language are used, as well as domains in nonverbal communication, sounds and music to irrefutably form a complex network through which meaning is created. This article explores poetryfilm as a multimodal translation/transposition of a poem text into an animated poetry film with specific reference to Jac and Wessel Hamman's poetry film by DJ Opperman, "Stad in die Mis", and the extent to which multimodal metaphors are present in the transposed version. Keywords: Poetry film, animated poetry film, poetic metaphor, conceptual metaphor, monomodal metaphor, multimodal metaphor, semiotic metaphor, multimodality

On April 13, 2019, Professor Gérard Seguin passed away at the age of 82. Professor Seguin was a creative and enlightened researcher and a much respected professor in soil and terroir sciences at Bordeaux University. Encouraged by his mentor, the late Emile Peynaud, he developed a whole new field of research on the influence of soil and climate on vine development, grape composition and wine quality, referred to as “terroir”. As early as 1969 he published a paper in which restricted but regular water supply to the vines was shown to be a key factor in wine quality, a result which has been confirmed by many researchers ever since (Seguin, 1969). In this study, the water uptake of the vines was quantified with a neutron moisture probe, a highly innovative technique for that time. Unfortunately, this ground-breaking paper came out in a period when most European researchers published in their own language. Only in 1986 Seguin published a review paper about the effect of terroir in viticulture in English (Seguin, 1986). Seguin was also convinced that high terroir expression is only possible when grapes ripen at the end of the growing season, in relatively cool conditions (van Leeuwen and Seguin, 2006). This concept is gaining importance as the climate warms up. Seguin was one of the first researchers to study terroir on a scientific basis and certainly the very first to understand that its effect can only be understood by a multi-disciplinary approach, considering interactions between the climate and the vine and the soil and the vine. After his retirement in 1998, he was happy to see that terroir is gaining international recognition as an important aspect in winegrowing, as shown by terroir conferences organized all around the world, in Davis California in 2006, in Oregon in 2016 and one scheduled in Adelaide in 2020.Gérard Seguin was also a highly respected professor, unanimously appreciated by his students. He took his teaching mission very seriously, spending hours on fine tuning his lectures. He was able to explain complex issues in soil science in a perfectly clear way. He was close to his students and always ready to take their defense. In the management of his lab, he left as much freedom as necessary to his staff and doctoral students to develop innovative research, but he imposed everyone to be present at the coffee break of 9 am. This was not only a moment to discuss private matters and share impressions about last night’s good bottles, but also a place where many good research ideas emerged. This is certainly a point to consider in our ever busier schedules, where time for social interactions is more and more limited. We are sad to say farewell to Professor Seguin but we are grateful for his tremendous legacy.

In Seminar.net's first year we published two issues, and we received recognition from fellow electronic publishers for our innovative use of short video clips offering authors the opportunity to introduce their contributions. There are some challenges when entering the world of digital communication, and one of them is certainly to take innovative steps towards multimodal ways of presenting academic knowledge. We would like our readers to forward their ideas and suggestions on how to make this journal’s communication of academic knowledge more inspired, vivid and helpful. We are planning three issues this year, and we are in the favourable position of continually receiving contributions that address the purpose of mediation and communication. The current issue of Seminar.net, the first of Volume 2., is a cross-disciplinary accomplishment gathering together papers written by scholars from different disciplines, and they all contribute in significant ways to frame the field of “Media, technology and lifelong learning”. “Our” field is definitely not mono-cultural. Historically it has attracted the interest of scholars from many areas. Lifelong learning, or rather distance education, has engaged researchers from a wide academic spectrum, specialists in chemistry, history, linguistics, economics…etc. Technology and educational technology has had a close relation to this field, but only occasionally managed to recruit media researchers. The enterprise of our journal is to bring them together and develop a discourse about the relationship between teaching and learning, communication and mediation. The importance of technology in communication and mediation is a core concern in the four articles we proudly present here. A Swedish educationalist asked us why Norwegian teachers normally are so attentive to philosophical discourses. In his opinion they were a lot more patient with philosophical speakers than in the neighbouring countries. They accepted more reasoning, doubt and logical argumentation, than he was used to from his national context. Lars Løvlie, our first contributor, is a key national and international exponent of the philosophical essay and his philosophical style provides an answer to why this might be the case. Løvlie has played a significant role as provider of philosophical thinking in education the last three and a half decades, in articles, books, as well as in his teaching; for twenty years he held permanent tenure at Lillehammer University College, and has been at the University of Oslo for the last fifteen. His essay on “Technocultural education” was published in an anthology in Norwegian and in a much longer version three years ago. The essay takes us through reasoning about the relation between man and technology, with Donna Haraway’s notion of the cyborg introduced at the outset. Løvlie offers us an understanding of how and why the critique of educational technology in the 1960-ies in some way led to a misunderstanding of technology per se, and it took two decades to revive a notion of technology that was not conceived of as anti-human. Løvlie suggests that the interface between man and society, man and computers, man and the virtual network of knowledge can supplement or replace the concept of bildung. His contribution is a very challenging one, and will, hopefully, give rise to significant debate. Wenche M. Rønning and Gunnar Grepperud write about student's actual use of ICT in their studies. They conducted a national survey in Norway on how adult students in flexible education made us of their available technologies. They found that even if the access to Internet is widespread and the potential for using ICT in advanced ways is obvious, this potential has been exploited to a lesser extent than expected. The basic functions used are e-mailing, exchange of files etc. Similarly, the use of ICT for discussions with fellow students and to collaborate in projects are features with flexible learning that are used less than expected. These are important and valuable insights, and based on solid empirical material. The authors provide us with evidence that on-line learning still has a way to go when it comes to surpassing conventional teaching on campus in terms of innovative methods. Jens E. Kjeldsen provides us with fundamental critique of the PowerPoint software. For years this software has supplied the world of education, instruction and business communication with a transparent sort of media, without generating much else than admiration and astonishment, at least when successful users amaze novices. But over the years a growing suspicion has emerged, saying that, in spite of its transparency, it still has a profound effect on the message. Kjeldsen, whose research speciality is the political use of rhetoric, has aired this criticism in a keynote speech to the “Didactics and Technology” conference at Lillehammer University College in 2005. He has developed his address into an essay and we think it represents one of the most coherent and comprehensive contributions to date in its attempt to critique PowerPoint delivery. His essay is written in an overtly rhetorical style, which also underlines his message that any teacher or communicator needs to investigate the rhetorical situation first, before considering what kind of support a set of slides can provide for the understanding of the learner. His final point is that “media rhetoracy” is a dimension that needs to be employed to make communication useful and successful. From the last article in this issue by Martin Engebretsen we learn that the correspondence between text and video is a complex matter, and that it challenges our common conceptions of multimodality. In essence, it addresses the matter of how texts and video can interact in the service of effective and purposeful communication. Martin Engebretsen argues, largely in the spirit of Kress and Leeuwen, that we are entering the era of semi-dynamic texts, in which our ability to read texts, both written and filmed, are harmonised. Inspired by his theoretically well developed views, and yet with good practical advice, we have taken practical steps to let the video that introduces all our articles take on a more transparent form. In practical terms this means that we will insert the videos in a Flash-format, that unlike Windows Media Player does not jump to the front and generate a new frame for the video display.

While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. References Brown, Neil. “The Myth of Visual Literacy.” Australian Art Education 13.2 (1989): 28-32. Calhoun, Craig. “Cosmopolitanism in the Modern Social Imaginary.” Daedalus 137.3 (2008): 105–114. Cronin, Paul. “Recovering and Rendering Vital Blueprint for Counter Education at the California Institute for the Arts.” Blueprint for Counter Education. Inventory Press, 2016. 36-58. Dondis, Donis A. A Primer of Visual Literacy. MIT P, 1973. Dworkin, M.S. “Toward an Image Curriculum: Some Questions and Cautions.” Journal of Aesthetic Education 4.2 (1970): 129–132. Eisner, Elliot. Cognition and Curriculum: A Basis for Deciding What to Teach. Longmans, 1982. Farocki, Harun. “Film Courses in Art Schools.” Trans. Ted Fendt. Grey Room 79 (Apr. 2020): 96–99. Fransecky, Roger B. Visual Literacy: A Way to Learn—A Way to Teach. Association for Educational Communications and Technology, 1972. Gardner, Howard. Frames Of Mind. Basic Books, 1983. Hawkins, Stephanie L. “Training the ‘I’ to See: Progressive Education, Visual Literacy, and National Geographic Membership.” American Iconographic. U of Virginia P, 2010. 28–61. Jaworski, Adam. “Globalese: A New Visual-Linguistic Register.” Social Semiotics 25.2 (2015): 217-35. Kant, Immanuel. Anthropology from a Pragmatic Point of View. Cambridge UP, 2006. Kant, Immanuel. “Perpetual Peace.” Political Writings. Ed. H. Reiss. Cambridge UP, 1991 [1795]. 116–130. Kress, G., and T. van Leeuwen. Reading images: The Grammar of Visual Design. Routledge, 1996. Literacy Teaching Toolkit: Visual Literacy. Department of Education and Training (DET), State of Victoria. 29 Aug. 2018. 30 Sep. 2020 <https://www.education.vic.gov.au:443/school/teachers/teachingresources/discipline/english/literacy/ readingviewing/Pages/litfocusvisual.aspx>. Lee, Jae Young. “Otto Neurath's Isotype and the Rhetoric of Neutrality.” Visible Language 42.2: 159-180. Little, D., et al. Looking and Learning: Visual Literacy across the Disciplines. Wiley, 2015. Messaris, Paul. “Visual Literacy vs. Visual Manipulation.” Critical Studies in Mass Communication 11.2: 181-203. DOI: 10.1080/15295039409366894 ———. “A Visual Test for Visual ‘Literacy.’” The Annual Meeting of the Speech Communication Association. 31 Oct. to 3 Nov. 1991. Atlanta, GA. <https://files.eric.ed.gov/fulltext/ED347604.pdf>. McLuhan, Marshall. Understanding Media: The Extensions of Man. McGraw-Hill, 1964. McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium Is the Massage, Bantam Books, 1967. McLuhan, Marshall, Kathryn Hutchon, and Eric McLuhan. City as Classroom: Understanding Language and Media. Agincourt, Ontario: Book Society of Canada, 1977. McTigue, Erin, and Amanda Flowers. “Science Visual Literacy: Learners' Perceptions and Knowledge of Diagrams.” Reading Teacher 64.8: 578-89. Miller, Sarah. “The Secret History of the Paella Emoji.” Food & Wine, 20 June 2017. <https://www.foodandwine.com/news/true-story-paella-emoji>. Munari, Bruno. Square, Circle, Triangle. Princeton Architectural Press, 2016. Newfield, Denise. “From Visual Literacy to Critical Visual Literacy: An Analysis of Educational Materials.” English Teaching-Practice and Critique 10 (2011): 81-94. Neurath, Otto. International Picture Language: The First Rules of Isotype. K. Paul, Trench, Trubner, 1936. Schor, Esther. Bridge of Words: Esperanto and the Dream of a Universal Language. Henry Holt and Company, 2016. Sloboda, Stacey. “‘The Grammar of Ornament’: Cosmopolitanism and Reform in British Design.” Journal of Design History 21.3 (2008): 223-36. Study of Communication Problems: Implementation of Resolutions 4/19 and 4/20 Adopted by the General Conference at Its Twenty-First Session; Report by the Director-General. UNESCO, 1983. Tanchis, Aldo, and Bruno Munari. Bruno Munari: Design as Art. MIT P, 1987. Warren, Gwendolyn, Cindi Katz, and Nik Heynen. “Myths, Cults, Memories, and Revisions in Radical Geographic History: Revisiting the Detroit Geographical Expedition and Institute.” Spatial Histories of Radical Geography: North America and Beyond. Wiley, 2019. 59-86.