Journal articles on the topic 'Mechanical mystic'

Parthenium hysterophorus is an invasive weed species that competes aggressively with other plants and is also allelopathic. It poses a significant risk to human health, livestock, the environment, soil, and agriculture. However, given some clinical studies, its potential for antidiabetic, antioxidant, antitumor, herbicidal, pesticidal, and antimalarial therapies should be researched further in attempts to discover more relevant applications. It can be used as a nutrient-dense, readily available, and cheap fertilizer. Parthenium can also be used as an herbicide, an insecticide, and a phyto-remedial mediator to extract metals and dyes from agricultural waste. Here we provide basic information on the morphology, reproduction, environmental impacts, and management of this species. Effects of methanol, ethanol, hexane, acetone, and aqueous (water) Parthenium extracts are described. Because P. hysterophorus is said to be one of the world’s seven worst weeds, some control measures, including mechanical, chemical, cultural, and biological control, are discussed. The allelopathy of this weed is difficult to regulate, and there are both positive and negative interactions between Parthenium and other species due to allelochemical action. Several toxic phenolic compounds produced by P. hysterophorus are responsible for weed suppression, and we discuss details of their mode of action and potential applications.

In his work Matter and Memory, Henri Bergson asserts the existence of two forms of memory: mechanical, based on repetition and spontaneous-figurative, in which the activity of the spirit manifests itself. Similar thoughts about the con­nection of figurative memory with the activity of the spirit were expressed at one time by the Central Asian outstanding thinker, founder of the Sufi Tariqa Najm ad-Din Kubra and the famous Persian mystic poet Jalal ad-Din Rumi. According to Kubra, spontaneous-figurative memory is located in the depths of a person’s spiritual heart and the path to it is reached through various spiritual states that have different colors for inner vision, these colors symbolize the levels of spiri­tual development and are called in Kubra’s teaching by the word “latoif”. At the highest stage of spiritual development, a treasure trove of memory opens for the seeker. It stores not just beautiful images that were a source of inspiration for po­ets, but this memory has a huge psychic power with which the spirit manifests its active activity. He materializes these images, thanks to the spontaneous-figura­tive memory, the connection of matter and spirit occurs. Spiritual love and intu­ition help the seeker to go through various stages of spiritual evolution and reach the treasury of spontaneous-imaginative memory.

Mystical powers of consciousness, including the direct vision of truth and management a reality, are believed to exist. Various directions of spiritual knowledge, including world religions, deal with these phenomena. Many people are persuaded that mystical events cannot be explained by scientific methods, that they contradict to science. Suggested by the present author Quantum Concept of Consciousness, or Extended Everett Concept, proves that mystical powers have their origin from what is known in quantum mechanics as quantum reality, and therefore are inherent part of science. Therefore, the “mystical” aspect in the sphere of consciousness is a common part of science and spiritual knowledge.

We study the meditative states of human beings from the conceptual framework provided by the fractaquantum hypothesis : analogously to an atom, Man can from his ``quiet'' base state explores various states of higher energy as loving or mystical state. We then look what energy states are explored during meditation: is it the ``hyperfine'' structure of its base state? is there a love ecstatic state? a very high energy structure mystical state? On one hand we illustrate these hypothesis from the experience of a large part of mystical traditions such as Hinduism or Buddhism and on another hand from contemporary cognitive sciences. In addition, quantum mechanics indicates that any interaction between energy levels is mediated by a boson of exchange. So we aim to identify the nature of this boson linking the various human being energy levels.

Indentation is widely used to extract material elastoplastic properties from measured force-displacement curves. Many previous studies argued or implied that such a measurement is unique and the whole material stress-strain curve can be measured. Here we show that first, for a given indenter geometry, the indentation test cannot effectively probe material plastic behavior beyond a critical strain, and thus the solution of the reverse analysis of the indentation force-displacement curve is nonunique beyond such a critical strain. Secondly, even within the critical strain, pairs of mystical materials can exist that have essentially identical indentation responses (with differences below the resolution of published indentation techniques) even when the indenter angle is varied over a large range. Thus, fundamental elastoplastic behaviors, such as the yield stress and work hardening properties (functions), cannot be uniquely determined from the force-displacement curves of indentation analyses (including both plural sharp indentation and deep spherical indentation). Explicit algorithms of deriving the mystical materials are established, and we qualitatively correlate the sharp and spherical indentation analyses through the use of critical strain. The theoretical study in this paper addresses important questions of the application range, limitations, and uniqueness of the indentation test, as well as providing useful guidelines to properly use the indentation technique to measure material constitutive properties.

The prevalence of at least one episode of unconsciousness during childhood due to a mechanical impact to the skull was inferred by the response to one item embedded within a questionnaire of 140 items. 50% of the 633 university men and 33% of the 863 university women reported such unconsciousness; the prevalence did not change significantly between samples over a 15-yr. period. Multiple regression analysis indicated that the 10 items most strongly associated with the report of childhood unconsciousness did not explain more than about 10% of the variance. The majority of the items were those associated with complex partial epileptic-like signs and included (adult) episodes of memory blanks, mystical experiences, dissociation, and sudden meaningfulness.

This study will question some of the mystical traditions surrounding the ancient Qur’an manuscriptsin the wali’s grave of BismoBatang Central Java Indonesia. This research takes the form of field research by completing the Living Qur’an studywhich aims to find the mystical views of the Bismo community on the existence of the Qur’anic manuscripts and the factors underlying them.The results of the study found that the Bismo community believes that the Manuscripts of Al-Qur’an in the Bismo tomb area are a relic of some wali’s who used to spread Islam in the area. Consequently, the historic site was finally accepted mystically by the public and marked by the emergence of a ritual called “istikharah” by opening the Al-Qur’an and the haul program depending on the results of the ritual istikharah by opening the Qur’an. Bismo mystical belief in the existence of Qur’anic manuscripts is influenced by myths about tradition called by “Nyunggi Qur’an”(carrying the qur’an) which is believed to have existed in the wali’s era. This phenomenon proves the occult tradition of the Bismo community in their respond to the Qur’an. The Qur’anic text which lives in the midst of society is mystically received through various ascetic rituals, so this practice can be said to be a Mystical Living Qur’anic phenomenon that develops in rural communities.

Sirenomelia is a rare form of caudal dysgenesis generally incompatible with life due to the severe renal malformations associated. In Africa, it is associated with mystico-religious considerations and witchcraft and sometimes exposes the family to a violent stigmatization. The transgressions of socio-cultural prohibitions by parents would be the cause of the occurrence of this malformation. Its etiology is still very controversial. We report the observation of a case born at the University Teaching Hospital ‘Pr BSS’ of Kati, this is the first Malian case reported in the literature.

Language is easy to capture, but hard to read.—John Cayley, “Terms of Reference and Vectoralist Transgressions,”Amodern 2: Network ArchaeologyIf Reading were used exclusively to designate human engagement with symbolic codes, then it would be relatively easy to dismiss distant reading as an oxymoron—unless it were referring to mystical scrying from dizzying heights or deciphering printed matter from across a room. Debates about what constitutes human reading are as varied as the many hermeneutic traditions and pedagogical or cognitive approaches on which they draw (Bruns). But reading has been used to describe many mechanical processes and sorting techniques. Punch-card rods, slotted light triggers, Jacquard looms, and many other devices were reading encoded information long before the standard MARC (machine-readable cataloguing) records became ubiquitous in library systems in the 1970s. Outmoded mechanical reading devices have a seductive, steampunk fascination. Many mimicked human actions and behaviors. In addition, these older technologies were embedded in human social systems and exchanges whose processes the machines' operators could partly read. The machines' actions were encoded and decoded by individuals' cognitive intelligence even if the machines functioned automatically.

Abstract. In this paper I decentre the drone from a different kind of vertical figure that has its own prehistory and parallel history of being aloft and particular sets of aesthetic geographies we might productively deploy to reorder what we think about drones, and especially the human's place in or outside of them. The paper explores in what ways we might examine the drone from other points of view that are technical and political, but also theological, magical, artistic and aesthetic. The prehistoric or parallel aerial figure to be considered is the levitator, the subject or thing that floats without any attributable mechanical force, visible or physical energy source. The paper draws on notions of aesthetics and politics in order for the levitator not to be compared with the drone, but to enable its very different visual and aesthetic regimes to begin to redistribute quite a different set of drone geographies that are ambiguous, mystical, gendered and sexed.

With the dramatically improving fidelity of electric sound recording in the 1920s, aural spatiality – traces of room ambience and reverberation – became a factor in record production. Drawing on prior radio broadcast practice, a split occurred whereby ‘fine’ orchestral musics were recorded with relatively high levels of ambient or atmospheric sound while dance music, popular songs, humorous recitations and other ‘low’ forms were generally recorded with little or no reverberation. Through the 1930s and 1940s, popular recording occasionally, though increasingly, made use of mechanically fabricated echo and reverb to present a kind of sonic pictorialism, especially on singing cowboy and popular ‘Hawaiian’ recordings. Hollywood film sound practice in this period employed similar sonic space-making devices to denote states of terror, mystical revelation and supernatural transformations. The coming of rock ‘n’ roll in the 1950s, with its characteristic big echo and reverb production sounds, may be seen as the radical recombining of these contradictory antecedents, effected in such a way as to allow (and promote) disordered, non-pictorial sound spatialities.

This article presents and discusses alchemy and cybernetics as fields in interaction through a conversation model. The starting point for establishing this relationship is the distinction between communication and conversation as pointed out by authors such as Gordon Pask, Ranulph Glanville and Vilém Flusser. Alchemy was the field of knowledge that best managed to unify Europe’s technological, philosophical and mystical world-view in the late Middle Ages. From an experimental basis, alchemy dealt with the transformation processes mirrored both in a particular understanding of the dynamics of nature as in the connection between man and universe. Cybernetics, like alchemy, was a field developed from an interdisciplinary view of knowledge associated with a particular historical context, being, since its origin, the field that relates and operationalizes complexity and unpredictability in mechanical, biological and social systems. Cybernetics and alchemy are, from a constructivist perspective, models for structuring the world and collective systems of communication within cultural processes. Both are taken here as co-participants in an elliptical dialogue based on three main concepts: distinction, dialogue and emergence. The elliptical conversation model can be understood as a map of the complexity of the interactive field that is established between alchemy and cybernetics, generating a new entity while encapsulating two others, it is the distinction that accommodates two others, a dialogue between black boxes.

The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.

The article explores the historiosophical aspect of the problem of progress in the consciousness of freedom. Hegel’s understanding of the perfect state is described. It is noted that, the philosophy of state and law is a system of morality, where the victory of the general over the particular is obligatory. The essence of the entire system is optimistic, no matter what disturbing contradictions they try to destroy this system. In this monarchy of the spirit, in an ideal state, as a system of freedom, the contradictions of civil society are overcome. The article also describes the experience of Marxism, in which the opposition of the genus and the individual is overcome by the purely mechanical destruction of one of the opposing sides, by the qualitative transformation of society, that is, a total social revolution, the victory over capital and the emergence of a new socialized humanity. The authors emphasize that the philosophy of politics stems not only from Hegelian philosophy, but also from theological thought. The authors conclude that history is the territory of an apocapyptic collision, as well as the eternal process of the fallen world. According to the authors, for a contemporary Russian person, the correlation with the Truth becomes not only a matter of freedom, but a choice between life and death, and, therefore, the territory of war, which takes place primarily in the heart. He perceives his involvement in the Truth not as following a civil religion, but as a mystical communion with Christ as a constant source of Truth and freedom.

Mushrooms are mostly saprophytic and grow in soil, on dead wood or are found on grass, lawns, pitches and golf courses. There are about 400 species of Lepiota typically gilled; some are edible and other forming fairy rings in the field. Two Lepiota species were studied in the Greater Accra Region during the rainy season (May-July) of 2016-2018. Their morphological development, anatomy and ring-forming capacity during the 3yr cycle. Lepiota procera (Pers) Grays is edible and is typically without volva. The fairy ring was made up of 6 - 9 mushrooms in circle along the periphery of the circle with slight shift in the positions of the fruiting body. period. L. procera emerged directly from the soil without any change in the topography or color of soil in about 28 days. The second Lepiota sp. is not edible and completed morphological development in 2 - 3 weeks and formed full to semi-circle fairy rings. There was a distinct greening of grass (Chrysopogon aciculatus) along the periphery of the ring. These findings underscore the fact that fairy ring formation is not mystical but a natural phenomenon among the Basidiomycota. This is the first reported account of fairy ring formation in Ghana.

The image of a mechanical (artificial) creature constructed thanks to the achievements of mankind in the field of science and technology has been present in literature since its inception, since the first oral myths and legends. Only towards the end of the 19th — beginning of the 20th century, the emphasis in the image of the robot in the literature shifted from religious-mystical to philosophic-technical. The purpose of this study is to assess the legitimacy of the statement that the work of the American science fiction writer Isaac Asimov was a turning point in the development of the image of a robot in world literature. For this purpose, the following research was done: a comparative historical overview of the development of the image of a robot in literary works; the analysis of the scientific literature on the issue; a thorough analysis of several key works of Isaac Asimov (particularly, stories from the “I, Robot” collection), in which the robot character plays a central role and participates in the formation of the main idea of the work revealing the theme and the construction of the plot. Being a supporter of the idea of the humanistic role of science fiction, Isaac Asimov abandoned the established tradition of a monster robot, endowed it with Three Laws so that humanity could overcome the Frankenstein complex and look at the achievements of technology from a new perspective. This new approach of Isaac Asimov to the robot character and to the question of the relationship between human being and technology, which initially caused a negative response from literary critics, subsequently became one of the components of the reform of American science fiction and the advent of the Golden Age of science fiction. The concept of “robotics” of Isaac Asimov became the cornerstone of not only modern science fiction but also other branches of human activity, including information technology and robotics industry.

In the article the author seeks to answer the question — suggested by Romantic accounts — about whether the most colourful feature of mountain landscape is its religious nature or whether its most evident characteristics are those that turn it into a land of death. Drawing on biblical arguments, Romantic culture assigned to the mountains attributes of sacred a space inspiring strong religious experiences verging on mystical experiences (Ludwik Zejszner). Thus in the Romantic way of thinking the mountains became witnesses to the creation of the world (Antoni Czajkowski), while the natural landscape began to be viewed as hypostasis of divinity. That is why a homage paid to nature became a religious experience and a tribute to the greatness of God. Hierophanies turning the mountains into a sacred space generated strong religious responses in Romantic subjects; they encouraged prayer and prayerful ritualisation of behaviour. A Romantic wanderer felt a sense of unity with God both on top of a mountain and by the Morskie Oko lake. However, the mountains were also presented many times as a space of death, a fact stemming from the terror of their landscape. Romantic tourists were made aware of this omnipresence of death in the mountains by crosses placed in the mountains as well as graves scattered across them. Victims of the mountains included highlanders, tourists, treasure hunters and poachers. That is why in some literary visions various places in the mountains appeared as a big graveyard (“Czarny Staw as the capital of death”, Łucja Rautenstrauchowa). In the article the author points to various causes of death and characteristic ways of dying in the mountains.

ABSTRACT This paper proposes a new Multi-Objective Equilibrium Optimizer (MOEO) to handle complex optimization problems, including real-world engineering design optimization problems. The Equilibrium Optimizer (EO) is a recently reported physics-based metaheuristic algorithm, and it has been inspired by the models used to predict equilibrium state and dynamic state. A similar procedure is utilized in MOEO by combining models in a different target search space. The crowding distance mechanism is employed in the MOEO algorithm to balance exploitation and exploration phases as the search progresses. In addition, a non-dominated sorting strategy is also merged with the MOEO algorithm to preserve the population diversity and it has been considered as a crucial problem in multi-objective metaheuristic algorithms. An archive with an update function is used to uphold and improve the coverage of Pareto with optimal solutions. The performance of MOEO is validated for 33 contextual problems with 6 constrained, 12 unconstrained, and 15 practical constrained engineering design problems, including non-linear problems. The result obtained by the proposed MOEO algorithm is compared with other state-of-the-art multi-objective optimization algorithms. The quantitative and qualitative results indicate that the proposed MOEO provides more competitive outcomes than the different algorithms. From the results obtained for all 33 benchmark optimization problems, the efficiency, robustness, and exploration ability to solve multi-objective problems of the MOEO algorithm are well defined and clarified. The paper is further supported with extra online service and guideline at https://premkumarmanoharan.wixsite.com/mysite.

QUANTUM LEGACIES: Dispatches from an Uncertain World by David Kaiser (with a Foreword by Alan Lightman). Chicago, IL: University of Chicago Press, 2020. 360 pages, 47 halftones. Hardcover; $26.00. ISBN: 9780226698052. *The stories of real humans involved in the discovery of secrets of the quantum realm are highlighted by David Kaiser's book Quantum Legacies: Dispatches from an Uncertain World. Kaiser is both an accomplished theoretical physicist and a historian of science, holding a dual professorship at MIT. The book is a collection of his essays written for a popular audience knit into a theme of how discovery of quantum ideas has taken place in a changing world by intriguing personalities. *Scientific discovery never takes place in a vacuum, but rather is guided and spurred on by the very pressures experienced by its human discoverers, including personal family tragedies such as the suicide of Paul Dirac's brother and societal upheavals such as the Nazi takeover in Germany leading to World War II. Kaiser describes his own journey and how it was affected by the politics and pressures of the Cold War. Indeed, as a particle physicist who also grew up during the Cold War, I could relate to many of the dynamics described by Kaiser. He notes that funding for the Superconducting Super Collider project in the 1990s was canceled partly because the Cold War ended, and the US funding for "world prestige" projects was cut, in favor of more "world collaborative" projects, such as the International Space Station. Given that my own career trajectory was influenced by this decision, reading this book certainly caused some personal reflections. *The book is divided into four sections: Quanta, Calculating, Matter, and Cosmos. The essays in Quanta include the early years of quantum mechanics, highlighting the lives of Paul Dirac, the Briton who discovered the equation describing electrons; Erwin Schrödinger, the Austrian who used a half-dead, half-alive cat in a box to describe the bizarre idea of quantum mechanical superposition; and Bruno Pontecorvo, the Italian who applied Schrödinger's idea to the ghostly neutrino particle to predict its spontaneously changing identity. The interesting personal lives of these men and the historical context in which their scientific pursuits took place provide a dramatic reading. Indeed, the probabilistic aspects of the quantum mechanics they studied reflected the uncertainty of the world they lived in. The final essay in Quanta describes an experiment that Kaiser personally participated in, proving that entangled photons obey the probabilistic predictions of quantum mechanics, and not deterministic laws proposed by Isaac Newton (1600s) through Albert Einstein (twenieth century). Enriching the story, Kaiser connects quasars from the remote edges of our visible universe to the Roque de los Muchachos Observatory on the Canary island of La Palma to show that the world of physics involves interesting physical settings. *Calculating is an interesting collection of essays on how national defense priorities from the end of World War II through the Cold War drove university physics enrollments, the development of atomic bombs and computers, and even the personal lives of the contributing physicists. For example, David Bohm, whose textbook Quantum Theory took great pains to explain its conceptual and philosophical foundations, was forced to flee the US to Brazil during the Communist purges. No updated editions of his textbook were published, a rather unusual history for an initially very popular textbook. Nearly all other textbooks on quantum mechanics emphasized its calculational properties, relegating subtle conceptual points to lie outside the domain of physics. Kaiser finds this rather unfortunate, since these very points are where several key questions in quantum theory remain unanswered. And this is what draws students to physics. Kaiser ends this discussion with an essay on Fritjof Capra's The Tao of Physics, a bestselling popular book on physics and Eastern philosophy, showing that the mystical elements of quantum theory are precisely what many people find so fascinating about it. *Matter is a collection of stories on the discovery of elementary particles with a focus on the Higgs particle. The Standard Model of elementary particles grew out of Murray Gell-Mann's idea from symmetry arguments that fundamental particles lie inside the neutrons and protons of the atomic nucleus. He gave them the name quarks. The quark model quickly became very successful at predicting the existence of other quark bound states. However, the theoretical model worked only if the quarks and all other particles in nature were massless. This quandary could be resolved, claimed several physicists including the Scotsman Peter Higgs, if there existed a field permeating all of space which caused particles to become massive. Higgs also predicted that this field would have its own associated particle. Since the Standard Model successfully met every other test, the search for the Higgs particle became the driving force behind new experimental designs, including the Superconducting Super Collider project that was ultimately canceled in 1993. However, the Large Hadron Collider at CERN (the European Organization for Nuclear Research), located in Geneva, would be the project that successfully found the Higgs particle in 2012. Kaiser uses this as a bridge to his final set of essays on the cosmos, since the Higgs field itself leads naturally to an idea that explains the weakness of gravity compared to other fundamental forces, and how one might understand the earliest moments of the cosmos. *Cosmos is an appropriate final set of essays for Kaiser's book, since the quantum ideas prove to have profound implications for the entire history of the universe. This is also the most colorful set of essays from Kaiser, since he includes discussions on the search for extraterrestrial life, gravitation and black holes, the big bang theory, and even creation and evolution. The chapter, "The Other Evolution Wars," is particularly interesting in its descriptions of the interactions between science and religious faith. While Kaiser points out that some cosmologists, beginning with the Belgian priest Georges Lemaître, found a satisfying fit between their growing scientific view of an evolving cosmos and their theology, the situation soon and unfortunately changed to an acrimonious one with the advent of the modern creation science movement. Kaiser discusses the resurgent biblical literalism that denies an older cosmos and the big bang theory, and then briefly mentions "intelligent design." Unfortunately, Kaiser seems to lump the critics together rather haphazardly. Concerning his internet perusal of critiques from creationist web sites, he writes: "I found plenty of sites eager to sell the recent anti-big-bang books, along with DVDs such as The Privileged Planet, proffering ‘evidence' of supernatural intelligent design" (pp. 248-49). *This statement implies that Kaiser assumes that the authors of The Privileged Planet are anti-big-bang adherents, which they are not. The issues of purpose, design, and intentionality are certainly at stake. It is noteworthy to me that the book by Peter Ward and Donald Brownlee (Rare Earth), and that by Guillermo Gonzales & Jay Richards (The Privileged Planet), are very similar in thrust, emphasizing aspects of planet Earth that appear rather unique in the cosmos, but because they diverge on the question of purpose, design, and intentionality, one is considered mainstream science (Rare Earth) and the other, creationist literature (The Privileged Planet). Although I personally do not promote apparent design in nature as an argument for supernatural design, I am saddened by all the harsh critiques, whether it is leveled against those who hold that science is in support of faith or whether it is leveled against good science in order to protect doctrinal positions. There do not need to be combative relationships between scientists and Christians, but scientists such as Kaiser are very much aware that they exist. *Cosmos includes a chapter on the amazing developments in modern cosmology. Since I did a book review of Roger Penrose's Fashion, Faith, and Fantasy in the New Physics of the Universe [PSCF 69, no. 3 (2017): 187-89], I was happy to see a discussion of his Conformal Cyclical Cosmology (CCC). Theoretical physicists respect the contributions of Roger Penrose, given his and Stephen Hawking's contributions to our understanding of space-time from general relativity. But the elegant ideas offered by Penrose in his CCC appear to not withstand the exacting toll of precision data in modern cosmology, and we await further ideas that will. *The book wraps up with some recent noteworthy events: the discovery of gravitational waves in 2015 and the death of Stephen Hawking in 2018. While the former heralded a new age in modern multimessenger astronomy, the latter has brought us to the end of an era in which one of the most brilliant minds took on the challenge of understanding the universe, overcoming incredible odds and challenges. Again, the experience of personal struggles of one person did not prevent great accomplishments in scientific thought, and, in fact, may have contributed to it. Quantum Legacies ends with a positive note. Overall, despite the sometimes-awkward collection of essays, the book is an enriching read. *Reviewed by Steven Ball, Professor of Physics, LeTourneau University, Longview, TX 75607

Abstract Rationale Pre-clinical and autopsy studies have fueled the hypothesis that a dysregulated vascular endothelium might play a central role in the pathogenesis of ARDS and multi-organ failure in COVID-19. Objectives To comprehensively characterize and quantify microvascular alterations in patients with COVID-19. Methods Hospitalized adult patients with moderate-to-severe or critical COVID-19 (n = 23) were enrolled non-consecutively in this prospective, observational, cross-sectional, multi-center study. Fifteen healthy volunteers served as controls. All participants underwent intravital microscopy by sidestream dark field imaging to quantify vascular density, red blood cell velocity (VRBC), and glycocalyx dimensions (perfused boundary region, PBR) in sublingual microvessels. Circulating levels of endothelial and glycocalyx-associated markers were measured by multiplex proximity extension assay and enzyme-linked immunosorbent assay. Measurements and main results COVID-19 patients showed an up to 90% reduction in vascular density, almost exclusively limited to small capillaries (diameter 4–6 µm), and also significant reductions of VRBC. Especially, patients on mechanical ventilation showed severe glycocalyx damage as indicated by higher PBR values (i.e., thinner glycocalyx) and increased blood levels of shed glycocalyx constituents. Several markers of endothelial dysfunction were increased and correlated with disease severity in COVID-19. PBR (AUC 0.75, p = 0.01), ADAMTS13 (von Willebrand factor-cleaving protease; AUC 0.74, p = 0.02), and vascular endothelial growth factor A (VEGF-A; AUC 0.73, p = 0.04) showed the best discriminatory ability to predict 60-day in-hospital mortality. Conclusions Our data clearly show severe alterations of the microcirculation and the endothelial glycocalyx in patients with COVID-19. Future therapeutic approaches should consider the importance of systemic vascular involvement in COVID-19.

La religion est le plus grand besoin de la nature humaine. Tout comme le corps a besoin de nourriture pour se maintenir et la connaissance de l’esprit pour se développer, l’âme a besoin d’une expérience mystico-philosophico-religieuse pour son amélioration. Dans cette brève analyse, l’hindouisme, l’une des plus grandes religions ancestrales, née dans les contreforts de l’Himalaya, en Inde, il y a plus de 10 000 ans sera abordée, et une brève analyse sera faite de ces bases philosophico-spirituelles très riches qui ont influencé et continue d’influencer profondément la foi de l’humanité.

AbstractToday I will focus on telecommunications technology for the first decade of the 21st century. Few things incite speculation about the future more than a year ending in the numeral “zero.” With the approaching millennium and its near-mystical three zeroes, everyone everywhere hungers for a glimpse into the future. My vision of the telecommunications future shows a collective of universal capabilities made possible by limitless digital networks with ubiquitous access and functionality. Mobile communications, the Internet, video, telephony and a broad array of end-user services will be the major drivers moving network providers to fuse capability with transparency. Integration of the full spectrum of communication possibilities will be the trend of the 21st century.

Background: In controlled, clinical studies of the impact of psilocybin on patients with life-threatening cancers, Johns Hopkins and NYU researchers found that the “intensity of the mystical experience” induced by psychedelic-assisted psychotherapy was directly correlated with the alleviation of cancer-related mental distress. Objective: The purpose of this article is to explore the proposition that the combination of psychotherapeutic guided imagery and psychedelic-assisted psychotherapy could not only alleviate cancer-related psychological distress but also reduce or eliminate physiological tumors. Methods: The literature surrounding “mystical experience” is discussed; the modalities of psychedelic-assisted psychotherapy and guided imagery psychotherapy with cancer patients are compared; and the anecdotal outcomes of cancer remission among private therapy guided imagery patients are presented.

Resumo Criação e fruição: os interesses jurídicos na produção intelectual. O sistema de produção de criações intelectuais. Os pressupostos da criação intelectual: originador e criação. O estatuto jurídico do originador. O estatuto jurídico das criações não objetivizadas. A manutenção das ideias em estado não apropriável. A oposição corpus mysticum e corpus mechanicum. O bem imaterial antes da propriedade. A autonomia da criação em face do criador. Hipóteses do bem incorpóreo fora da propriedade. A historicidade da transformação do bem incorpóreo em propriedade concorrencial. Criação intelectual fora da economia de mercado. A produção intelectual sem indutores artificiais.Uma noção essencial: a Propriedade intelectual é apenas uma das formas de incentivo à produção intelectual. Criação intelectual voltada para o mercado. O remédio e seus efeitos secundários. O direito centrado no titular e o direito centrado na obra. Uma rápida conclusão. Palavra chave criação intelectual. direitos autorais. indutores à criação Abstract Creation and enjoyment: the legal interests in intellectual production. The production system for intellectual creations. The assumptions of intellectual creation: originator and creation. The legal status of the originator. The legal status of creations not objectified. The maintenance of the ideas in a non-appropriated status. The opposition between mysticum corpus and corpus mechanicum. The intangible property before the property. The autonomy of creation in face of the creator. Assumptions of intangible property outside the property. The historicity of the transformation of intangible property in competition. Intellectual creation out of the market economy. The intellectual production without artificial inductors.A key concept: the Intellectual property is just one way to encourage intellectual production. Market-oriented intellectual creation . The drug and its side effects. The right holder-centered and the right centered on the work. A terseconclusionKeywords intellectual creation. copyright law. inductors to creation.

Religion is the greatest need of human nature. Just as the body needs food to sustain itself and the mind knowledge to develop, the soul needs mystical-philosophical-religious experience for its perfection. In this brief analysis, Hinduism, one of the greatest ancestral religions, born in the foothills of the Himalayas, India, more than 10,000 years ago will be discussed, and a brief analysis will be made of these very rich philosophical-spiritual bases that have influenced and continue to influence profoundly. the faith of humanity.

Along with the development of the market and the increasingly diverse products or services offered, giving rise to competition between producers in order to meet customer needs and provide maximum customer satisfaction. One effort that can be done to satisfy customers is to provide the best service to customers. The best services include providing fast services so that customers are not left to wait too long. The game is a system where players are involved in artificial conflicts, determined by rules, which produce measurable results. The service of selling socks requires experience, accuracy, and skills so that the customer feels satisfied. The media is needed to convey the method of selling socks so that the material presented is clear and understood by the players. Games can be a medium that provides information on how to sell socks, but making a game so that the material delivered is right and can be understood by players is not easy. The aim of this research is to create a media in the form of game design that can provide information to users, especially for beginners who want to know how to sell socks to customers packaged in the form of games using the Mechanics-Dynamics-Aesthetics (MDA) framework approach. In previous research, MDA was used to make the Mystical Weapon of Nusantara game. So this study made a game design service selling socks with the result that each MDA component can be applied to a game selling socks services obtained from the results of tests conducted on 25 respondents with 80.4% results in accordance with game design.

The evolution and functions of the idea of the nation in Serbia from the twilight of eighteenth centuryThis article represents an attempt to describe the functionalisation of the notion of the nation – as an ideological category and theoretical factor which justifies the integrative mechanics in Serbian sociocultural life. It constitutes an elementary point of reference for the historical, philosophical, theological and cultural considerations from the end of eighteenth century. Its understanding, depending on circumstances, can deal with ethnic identity (linguistic-territorial and religious), or have a mystical-nationalistic or socioeconomic dimension. The examples presented herein, taken from the texts of the Serbian thinkers of these various orientations demonstrate that emphasising the biological, ideological or spatial‑linguistic components often results in their inaccurate application and ideologisation. Among the manifestations of national auto-identification presented as characteristically Serbian are the confessional (with an Orthodox distinguishing feature), Slavonic-romantic, folkloristic‑ethnographic, naturalistic-ethical, organic‑organicistic, as well as messianic‑missionist conceptions. Many of them have an eclectic nature and are marked with historical mythology (also nationalistic ethnopsychology), therefore only some are socioculturally objective. Ewolucja i funkcje idei narodu w Serbii od schyłku XVIII wieku W artykule rozpatrywana jest problematyka funkcjonalizacji pojęcia narodu jako kategorii ideowej oraz czynnika teoretycznego uzasadniającego mechanizmy integracyjne w serbskim życiu społeczno-kulturalnym. Stanowi ono elementarny semantyczny punkt odniesienia dla refleksji historycznej, filozoficznej, teologicznej i kulturowej od końca XVIII wieku. Jego rozumienie w zależności od okoliczności może mieć wymiar tożsamości etnicznej (językowo-terytorialnej i religijnej), mistyczno-nacjonalistyczny lub socjoekonomiczny. Analizowane przykłady pochodzą z tekstów serbskich myślicieli tych rozmaitych orientacji (aż do współczesności) i pokazują, że akcent stawiany na składniki biologiczne, ideologiczne lub lingwistyczno-przestrzenne często wiąże się z niedokładnym ich zastosowaniem i ideologizacją. Jako charakterystyczne dla Serbii manifestacje autoidentyfikacji narodowej przedstawia się między innymi takie koncepcje, jak: wyznaniowa z wyróżnikiem prawosławia oraz romantyczno-słowiańska, folklorystyczno‑etnograficzna, naturalistyczno-etyczna, organiczno-organicystyczna, mesjanistyczno-misjonistyczna. Wiele z nich ma naturę eklektyczną i zabarwioną mitologią historyczną (także nacjonalistyczną etnopsychologią) i tylko niektóre cechuje socjokulturowy obiektywizm.

Abstract Background Regenerative Medicine and Tissue Engineering are the grounds on which multidisciplinary teams aspire to obtain the perfect valvular substitute, which overcomes shortcomings of the present prostheses. Purpose Was to obtain a tissue engineered heart valve (TEHV) by repopulating with valvular resident cells – endothelial (EC) and fibroblasts (FB) a decellularized heart valve scaffold. Then their functionality and behavior was assessed in vitro and in vivo. Methods This study is part of a research grant approved by the Ethics Committee of the University. Six ovine pulmonary valves underwent a perfusion based decellularization protocol. Using a sequence of chemical and enzymatic treatment under a pressure gradient, cell removal was achieved and attested by histological investigations (DAPI nuclear staining –4',6-diamidino-2-phenylindol and haematoxylin-eosin) and DNA extraction. Ovine sub-dermal adipose tissue was harvested followed by stem cells isolation and culture. Using Endothelial Cell Growth Supplement and mechanical stimuli EC were differentiated and with Transforming Growth Factor-B1, FB were obtained. FB were internally seeded into cuspis bases using a 22 gauge needle and externally on the adventitia by using a rotator allowing a uniform distribution and seeding of cells. EC were seeded into leaflets pockets and intra-luminal also using the rotator. The repopulated valves were preconditionated in a bioreactor by gradually exposing them to the pulmonary hemodynamic regimen. By using a high speed camera, their behavior was examined when exposed to in vivo conditions. The in vivo testing was performed by surgical implantation in the gold model considered animal – the sheep. By transesophageal ultrasound (TEE US) and epicardic US, their intra-operatory function was evaluated. Post-procedure, evaluation was performed by periodic trans-thoracic (TTE US). Results Six TEHV were obtained. The decellularization histology assessment revealed acellular scaffolds and non-detectable nucleic material at the DNA extraction. Six adipose derived stem cells cultures were obtained and subsequently specialized towards EC and FB lines. The repopulation procedures underwent without incidents. During the bioreactor preconditioning, the TEHV showed complete opening and competent central coaptation. Leaflets presented physiological movement and absence of damage of valvular apparatus. The TEE US evaluation in vivo revealed normal valvular function without signs of stenosis or regurgitation. The periodic TTE US showed preserved valvular function. Conclusions Our preliminary results point out a manufactured TEHV with physiological behavior when tested in vitro and in vivo. Their interaction with a living body will be pointed out only in the explant phase, after histology analysis. The present results appear optimistic but only extended studies and follow-ups will certify their superiority in terms of performances and behavior. Funding Acknowledgement Type of funding source: Public grant(s) – EU funding. Main funding source(s): This paper was financed by a grant from the Competitiveness Operational Programme 2014-2020, Tissue engineering technologies for cardiac valve regeneration, valve-regen, id P_37_673, Mysmis code: 103431, contract 50/05.09.2016.

Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of the gameplay experience. In doing so I propose that an understanding of aesthetic spatial issues as an element of player interactivity and engagement is important for understanding the cultural practice of adventure gameplay. In approaching these questions, I am focussing on the single-player exploration adventure game in particular Myst and The Crystal Key. In describing these games as adventures I am drawing on Chris Crawford's The Art of Computer Game Design, which although a little dated, focusses on game design as a distinct activity. He brings together a theoretical approach with extensive experience as a game designer himself (Excalibur, Legionnaire, Gossip). Whilst at Atari he also worked with Brenda Laurel, a key theorist in the area of computer design and dramatic structure. Adventure games such as Myst and The Crystal Key might form a sub-genre in Chris Crawford's taxonomy of computer game design. Although they use the main conventions of the adventure game -- essentially a puzzle to be solved with characters within a story context -- the main focus and source of pleasure for the player is exploration, particularly the exploration of worlds or cosmologies. The main gameplay of both games is to travel through worlds solving clues, picking up objects, and interacting with other characters. In Myst the player has to solve the riddle of the world they have entered -- as the CD-ROM insert states "Now you're here, wherever here is, with no option but to explore." The goal, as the player must work out, is to release the father Atrus from prison by bringing magic pages of a book to different locations in the worlds. Hints are offered by broken-up, disrupted video clips shown throughout the game. In The Crystal Key, the player as test pilot has to save a civilisation by finding clues, picking up objects, mending ships and defeating an opponent. The questions foregrounded by a focus on the aesthetics of navigation are: What types of representational context are being set up? What choices have designers made about representational context? How are the players positioned within these spaces? What are the implications for the player's sense of orientation and navigation? Architectural Fabrication For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. The creation of a digital architecture in adventure games mimics the Pompeii wall paintings with their interplay of extruded and painted features. In visualising the space of a cosmology, the environment starts to be coded like the urban or built environment with underlying geometry and textured surface or dressing. In The Making of Myst (packaged with the CD-ROM) Chuck Carter, the artist on Myst, outlines the process of creating Myst Island through painting the terrain in grey scale then extruding the features and adding textural render -- a methodology that lends itself to a hybrid of architectural and painted geometry. Examples of external architecture and of internal room design can be viewed online. In the spatial organisation of the murals of Pompeii and later Rome, orthogonals converged towards several vertical axes showing multiple points of view simultaneously. During the high Renaissance, notions of perspective developed into a more formal system known as the construzione legittima or legitimate construction. This assumed a singular position of the on-looker standing in the same place as that occupied by the artist when the painting was constructed. In Myst there is an exaggeration of the underlying structuring technique of the construzione legittima with its emphasis on geometry and mathematics. The player looks down at a slight angle onto the screen from a fixed vantage point and is signified as being within the cosmological expanse, either in off-screen space or as the cursor. Within the cosmology, the island as built environment appears as though viewed through an enlarging lens, creating the precision and coldness of a Piero della Francesca painting. Myst mixes flat and three-dimensional forms of imagery on the same screen -- the flat, sketchy portrayal of the trees of Myst Island exists side-by-side with the monumental architectural buildings and landscape design structures created in Macromodel. This image shows the flat, almost expressionistic trees of Myst Island juxtaposed with a fountain rendered in high detail. This recalls the work of Giotto in the Arena chapel. In Joachim's Dream, objects and buildings have depth, but trees, plants and sky -- the space in-between objects -- is flat. Myst Island conjures up the realm of a magic, realist space with obsolete artefacts, classic architectural styles (the Albert Hall as the domed launch pad, the British Museum as the library, the vernacular cottage in the wood), mechanical wonders, miniature ships, fountains, wells, macabre torture instruments, ziggurat-like towers, symbols and odd numerological codes. Adam Mates describes it as "that beautiful piece of brain-deadening sticky-sweet eye-candy" but more than mere eye-candy or graphic verisimilitude, it is the mix of cultural ingredients and signs that makes Myst an intriguing place to play. The buildings in The Crystal Key, an exploratory adventure game in a similar genre to Myst, celebrate the machine aesthetic and modernism with Buckminster Fuller style geodesic structures, the bombe shape, exposed ducting, glass and steel, interiors with movable room partitions and abstract expressionist decorations. An image of one of these modernist structures is available online. The Crystal Key uses QuickTime VR panoramas to construct the exterior and interior spaces. Different from the sharp detail of Myst's structures, the focus changes from sharp in wide shot to soft focus in close up, with hot-spot objects rendered in trompe l'oeil detail. The Tactility of Objects "The aim of trompe l'oeil -- using the term in its widest sense and applying it to both painting and objects -- is primarily to puzzle and to mystify" (Battersby 19). In the 15th century, Brunelleschi invented a screen with central apparatus in order to obtain exact perspective -- the monocular vision of the camera obscura. During the 17th century, there was a renewed interest in optics by the Dutch artists of the Rembrandt school (inspired by instruments developed for Dutch seafaring ventures), in particular Vermeer, Hoogstraten, de Hooch and Dou. Gerard Dou's painting of a woman chopping onions shows this. These artists were experimenting with interior perspective and trompe l'oeil in order to depict the minutia of the middle-class, domestic interior. Within these luminous interiors, with their receding tiles and domestic furniture, is an elevation of the significance of rhyparography. In the Girl Chopping Onions of 1646 by Gerard Dou the small things are emphasised -- the group of onions, candlestick holder, dead fowl, metal pitcher, and bird cage. Trompe l'oeil as an illusionist strategy is taken up in the worlds of Myst, The Crystal Key and others in the adventure game genre. Traditionally, the fascination of trompe l'oeil rests upon the tension between the actual painting and the scam; the physical structures and the faux painted structures call for the viewer to step closer to wave at a fly or test if the glass had actually broken in the frame. Mirian Milman describes trompe l'oeil painting in the following manner: "the repertory of trompe-l'oeil painting is made up of obsessive elements, it represents a reality immobilised by nails, held in the grip of death, corroded by time, glimpsed through half-open doors or curtains, containing messages that are sometimes unreadable, allusions that are often misunderstood, and a disorder of seemingly familiar and yet remote objects" (105). Her description could be a scene from Myst with in its suggestion of theatricality, rich texture and illusionistic play of riddle or puzzle. In the trompe l'oeil painterly device known as cartellino, niches and recesses in the wall are represented with projecting elements and mock bas-relief. This architectural trickery is simulated in the digital imaging of extruded and painting elements to give depth to an interior or an object. Other techniques common to trompe l'oeil -- doors, shadowy depths and staircases, half opened cupboard, and paintings often with drapes and curtains to suggest a layering of planes -- are used throughout Myst as transition points. In the trompe l'oeil paintings, these transition points were often framed with curtains or drapes that appeared to be from the spectator space -- creating a painting of a painting effect. Myst is rich in this suggestion of worlds within worlds through the framing gesture afforded by windows, doors, picture frames, bookcases and fireplaces. Views from a window -- a distant landscape or a domestic view, a common device for trompe l'oeil -- are used in Myst to represent passageways and transitions onto different levels. Vertical space is critical for extending navigation beyond the horizontal through the terraced landscape -- the tower, antechamber, dungeon, cellars and lifts of the fictional world. Screen shots show the use of the curve, light diffusion and terracing to invite the player. In The Crystal Key vertical space is limited to the extent of the QTVR tilt making navigation more of a horizontal experience. Out-Stilling the Still Dutch and Flemish miniatures of the 17th century give the impression of being viewed from above and through a focussing lens. As Mastai notes: "trompe l'oeil, therefore is not merely a certain kind of still life painting, it should in fact 'out-still' the stillest of still lifes" (156). The intricate detailing of objects rendered in higher resolution than the background elements creates a type of hyper-reality that is used in Myst to emphasise the physicality and actuality of objects. This ultimately enlarges the sense of space between objects and codes them as elements of significance within the gameplay. The obsessive, almost fetishistic, detailed displays of material artefacts recall the curiosity cabinets of Fabritius and Hoogstraten. The mechanical world of Myst replicates the Dutch 17th century fascination with the optical devices of the telescope, the convex mirror and the prism, by coding them as key signifiers/icons in the frame. In his peepshow of 1660, Hoogstraten plays with an enigma and optical illusion of a Dutch domestic interior seen as though through the wrong end of a telescope. Using the anamorphic effect, the image only makes sense from one vantage point -- an effect which has a contemporary counterpart in the digital morphing widely used in adventure games. The use of crumbled or folded paper standing out from the plane surface of the canvas was a recurring motif of the Vanitas trompe l'oeil paintings. The highly detailed representation and organisation of objects in the Vanitas pictures contained the narrative or symbology of a religious or moral tale. (As in this example by Hoogstraten.) In the cosmology of Myst and The Crystal Key, paper contains the narrative of the back-story lovingly represented in scrolls, books and curled paper messages. The entry into Myst is through the pages of an open book, and throughout the game, books occupy a privileged position as holders of stories and secrets that are used to unlock the puzzles of the game. Myst can be read as a Dantesque, labyrinthine journey with its rich tapestry of images, its multi-level historical associations and battle of good and evil. Indeed the developers, brothers Robyn and Rand Miller, had a fertile background to draw on, from a childhood spent travelling to Bible churches with their nondenominational preacher father. The Diorama as System Event The diorama (story in the round) or mechanical exhibit invented by Daguerre in the 19th century created a mini-cosmology with player anticipation, action and narrative. It functioned as a mini-theatre (with the spectator forming the fourth wall), offering a peek into mini-episodes from foreign worlds of experience. The Musée Mechanique in San Francisco has dioramas of the Chinese opium den, party on the captain's boat, French execution scenes and ghostly graveyard episodes amongst its many offerings, including a still showing an upper class dancing party called A Message from the Sea. These function in tandem with other forbidden pleasures of the late 19th century -- public displays of the dead, waxwork museums and kinetescope flip cards with their voyeuristic "What the Butler Saw", and "What the Maid Did on Her Day Off" tropes. Myst, along with The 7th Guest, Doom and Tomb Raider show a similar taste for verisimilitude and the macabre. However, the pre-rendered scenes of Myst and The Crystal Key allow for more diorama like elaborate and embellished details compared to the emphasis on speed in the real-time-rendered graphics of the shoot-'em-ups. In the gameplay of adventure games, animated moments function as rewards or responsive system events: allowing the player to navigate through the seemingly solid wall; enabling curtains to be swung back, passageways to appear, doors to open, bookcases to disappear. These short sequences resemble the techniques used in mechanical dioramas where a coin placed in the slot enables a curtain or doorway to open revealing a miniature narrative or tableau -- the closure of the narrative resulting in the doorway shutting or the curtain being pulled over again. These repeating cycles of contemplation-action-closure offer the player one of the rewards of the puzzle solution. The sense of verisimilitude and immersion in these scenes is underscored by the addition of sound effects (doors slamming, lifts creaking, room atmosphere) and music. Geographic Locomotion Static imagery is the standard backdrop of the navigable space of the cosmology game landscape. Myst used a virtual camera around a virtual set to create a sequence of still camera shots for each point of view. The use of the still image lends itself to a sense of the tableauesque -- the moment frozen in time. These tableauesque moments tend towards the clean and anaesthetic, lacking any evidence of the player's visceral presence or of other human habitation. The player's navigation from one tableau screen to the next takes the form of a 'cyber-leap' or visual jump cut. These jumps -- forward, backwards, up, down, west, east -- follow on from the geographic orientation of the early text-based adventure games. In their graphic form, they reveal a new framing angle or point of view on the scene whilst ignoring the rules of classical continuity editing. Games such as The Crystal Key show the player's movement through space (from one QTVR node to another) by employing a disorientating fast zoom, as though from the perspective of a supercharged wheelchair. Rather than reconciling the player to the state of movement, this technique tends to draw attention to the technologies of the programming apparatus. The Crystal Key sets up a meticulous screen language similar to filmic dramatic conventions then breaks its own conventions by allowing the player to jump out of the crashed spaceship through the still intact window. The landscape in adventure games is always partial, cropped and fragmented. The player has to try and map the geographical relationship of the environment in order to understand where they are and how to proceed (or go back). Examples include selecting the number of marker switches on the island to receive Atrus's message and the orientation of Myst's tower in the library map to obtain key clues. A screenshot shows the arrival point in Myst from the dock. In comprehending the landscape, which has no centre, the player has to create a mental map of the environment by sorting significant connecting elements into chunks of spatial elements similar to a Guy Debord Situationist map. Playing the Flaneur The player in Myst can afford to saunter through the landscape, meandering at a more leisurely pace that would be possible in a competitive shoot-'em-up, behaving as a type of flaneur. The image of the flaneur as described by Baudelaire motions towards fin de siècle decadence, the image of the socially marginal, the dispossessed aristocrat wandering the urban landscape ready for adventure and unusual exploits. This develops into the idea of the artist as observer meandering through city spaces and using the power of memory in evoking what is observed for translation into paintings, writing or poetry. In Myst, the player as flaneur, rather than creating paintings or writing, is scanning the landscape for clues, witnessing objects, possible hints and pick-ups. The numbers in the keypad in the antechamber, the notes from Atrus, the handles on the island marker, the tower in the forest and the miniature ship in the fountain all form part of a mnemomic trompe l'oeil. A screenshot shows the path to the library with one of the island markers and the note from Atrus. In the world of Myst, the player has no avatar presence and wanders around a seemingly unpeopled landscape -- strolling as a tourist venturing into the unknown -- creating and storing a mental map of objects and places. In places these become items for collection -- cultural icons with an emphasised materiality. In The Crystal Key iconography they appear at the bottom of the screen pulsing with relevance when active. A screenshot shows a view to a distant forest with the "pick-ups" at the bottom of the screen. This process of accumulation and synthesis suggests a Surrealist version of Joseph Cornell's strolls around Manhattan -- collecting, shifting and organising objects into significance. In his 1982 taxonomy of game design, Chris Crawford argues that without competition these worlds are not really games at all. That was before the existence of the Myst adventure sub-genre where the pleasures of the flaneur are a particular aspect of the gameplay pleasures outside of the rules of win/loose, combat and dominance. By turning the landscape itself into a pathway of significance signs and symbols, Myst, The Crystal Key and other games in the sub-genre offer different types of pleasures from combat or sport -- the pleasures of the stroll -- the player as observer and cultural explorer. References Battersby, M. Trompe L'Oeil: The Eye Deceived. New York: St. Martin's, 1974. Crawford, C. The Art of Computer Game Design. Original publication 1982, book out of print. 15 Oct. 2000 <http://members.nbci.com/kalid/art/art.php>. Darley Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Lunenfeld, P. Digital Dialectic: New Essays on New Media. Cambridge, Mass.: MIT P 1999. Mates, A. Effective Illusory Worlds: A Comparative Analysis of Interfaces in Contemporary Interactive Fiction. 1998. 15 Oct. 2000 <http://www.wwa.com/~mathes/stuff/writings>. Mastai, M. L. d'Orange. Illusion in Art, Trompe L'Oeil: A History of Pictorial Illusion. New York: Abaris, 1975. Miller, Robyn and Rand. "The Making of Myst." Myst. Cyan and Broderbund, 1993. Milman, M. Trompe-L'Oeil: The Illusion of Reality. New York: Skira Rizzoli, 1982. Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Simon and Schuster, 1997. Wertheim, M. The Pearly Gates of Cyberspace: A History of Cyberspace from Dante to the Internet. Sydney: Doubleday, 1999. Game References 7th Guest. Trilobyte, Inc., distributed by Virgin Games, 1993. Doom. Id Software, 1992. Excalibur. Chris Crawford, 1982. Myst. Cyan and Broderbund, 1993. Tomb Raider. Core Design and Eidos Interactive, 1996. The Crystal Key. Dreamcatcher Interactive, 1999. Citation reference for this article MLA style: Bernadette Flynn. "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/navigation.php>. Chicago style: Bernadette Flynn, "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]). APA style: Bernadette Flynn. (2000) Towards an aesthetics of navigation -- spatial organisation in the cosmology of the adventure game. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]).

IntroductionBallarat’s Theatre Royal was the first permanent theatre built in inland Australia. Upon opening in 1858, it was acclaimed as having “the handsomest theatrical exterior in the colony” (Star, “Editorial” 7 Dec. 1889) and later acknowledged as “the grandest playhouse in all Australia” (Spielvogel, Papers Vol. 1 160). Born of Gold Rush optimism, the Royal was loved by many, yet the over-arching story of its ill-fated existence has failed to surface, in any coherent fashion, in official history. This article takes some first steps toward retrieving lost knowledge from fragmented archival records, and piecing together the story of why this purpose-built theatre ceased operation within a twenty-year period. A short history of the venue will be provided, to develop context. It will be argued that while a combination of factors, most of which were symptomatic of unfortunate timing, destroyed the longevity of the Royal, the principal problem was one of stigmatisation. This was an era in which the societal pressure to visibly conform to conservative values was intense and competition in the pursuit of profits was fierce.The cultural silence that befell the story of the Royal, after its demise, is explicable in relation to history being written by the victors and a loss of spokespeople since that time. As theatre arts historiographer McConachie (131) highlights, “Theatres, like places for worship and spectator sports, hold memories of the past in addition to providing a practical and cognitive framework for performance events in the present.” When that place, “a bounded area denoted by human agency and memory” (131), is lost in time, so too may be the socio-cultural lessons from the period, if not actively recalled and reconsidered. The purpose of this article is to present the beginning of an investigation into the disjointed narrative of Ballarat’s Theatre Royal. Its ultimate failure demonstrates how dominant community based entertainment became in Ballarat from the 1860s onwards, effectively crushing prospects for mid-range professional theatre. There is value in considering the evolution of the theatre’s lifespan and its possible legacy effects. The connection between historical consciousness and the performing arts culture of by-gone days offers potential to reveal specks of cross-relevance for regional Australian theatrical offerings today.In the BeginningThe proliferation of entertainment venues in Ballarat East during the 1850s was a consequence of the initial discovery of surface alluvial gold and the ongoing success of deep-lead mining activities in the immediate area. This attracted extraordinary numbers of people from all over the world who hoped to strike it rich. Given the tough nature of life on the early gold diggings, most disposable income was spent on evening entertainment. As a result, numerous venues sprang into operation to cater for demand. All were either canvas tents or makeshift wooden structures: vibrant in socio-cultural activity, however humble the presentation values. It is widely agreed (Withers, Bate and Brereton) that noteworthy improvements occurred from 1856 onwards in the artistry of the performers, audience tastes, the quality of theatrical structures and living standards in general. Residents began to make their exit from flood and fire prone Ballarat East, moving to Ballarat West. The Royal was the first substantial entertainment venture to be established in this new, affluent, government surveyed township area. Although the initial idea was to draw in some of the patronage which had flourished in Ballarat East, Brereton (14) believed “There can be no doubt that it was [primarily] intended to attract those with good taste and culture”. This article will contend that how society defined ‘good taste’ turned out to be problematic for the Royal.The tumultuous mid-1850s have attracted extensive academic and popular attention, primarily because they were colourful and politically significant times. The period thereafter has attracted little scholarly interest, unless tied to the history of surviving organisations. Four significant structures designed to incorporate theatrical entertainment were erected and opened in Ballarat from 1858 onwards: The Royal was swiftly followed by the Mechanics Institute 1859, Alfred Hall 1867 and Academy of Music 1874-75. As philosopher Albert Borgmann (41) highlighted, the erection of “magnificent settings in which the public could gather and enjoy itself” was the dominant urban aspiration for cultural consumption in the nineteenth century. Men of influence in Victorian cities believed strongly in progress and grand investments as a conscious demonstration of power, combined with Puritan vales, teetotalism and aggressive self-assertiveness (Briggs 287-88). At the ceremonial laying of the foundation stone for the Royal on 20 January 1858, eminent tragedian, Gustavos Brooke, announced “… may there be raised a superstructure perfect in all its parts, and honourable to the builder.” He proclaimed the memorial bottle to be “a lasting memento of the greatness of Ballarat in erecting such a theatre” and philosophised that “the stage not only refines the manners, but it is the best teacher of morals, for it is the truest and most intelligible picture of life. It stamps the image of virtue on the mind …” (Star, “Laying” 21 Jan. 1858). These initial aspirations seem somewhat ambitious when viewed with the benefit of hindsight. Ballarat’s Theatre Royal opened in December 1858, ironically with Jerrold’s comedy ‘Time Works Wonders’. The large auditorium holding around 1500 people “was crowded to overflowing and was considered altogether brilliant in its newness and beauty” by all in attendance (Star, “Local and General” 30 Dec. 1858). Generous descriptions abound of how splendid it was, in architectural terms, but also in relation to scenery, decorations and all appointments. Underneath the theatre were two shops, four bars, elegant dining rooms, a kitchen and 24 bedrooms. A large saloon was planned to be attached soon-after. The overall cost of the build was estimated at a substantial 10,000 pounds.The First Act: 1858-1864In the early years, the Royal was deemed a success. The pleasure-seeking public of Ballarat came en masse and the glory days seemed like they might continue unabated. By the early 1860s, Ballarat was known as a great theatrical centre for performing arts, its population was famous both nationally and internationally for an appreciation of good acting, and the Royal was considered the home of the best dramatic art in Ballarat (Withers 260). Like other theatres of the 1850s diggings, it had its own resident company of actors, musicians, scenic artists and backstage crew. Numerous acclaimed performers came to visit and these were prosperous and happy times for the Royal’s lively theatrical community. As early as 1859, however, there was evident rivalry between the Royal and the Mechanics Institute, as suggested on numerous occasions in the Ballarat Star. As a multi-purpose venue for education and the betterment of the working classes, the latter venue had the distinct advantage of holding the moral high ground. Over time this competition increased as audiences decreased. As people shifted to family-focussed entertainments, these absorbed their time and attention. The transformation of a transient population into a township of families ultimately suffocated prospects for professional entertainment in Ballarat. Consumer interest turned to the growth of strong amateur societies with the establishment of the Welsh Eisteddfod 1863; Harmonic Society 1864; Bell Ringers’ Club 1866 and Glee and Madrigal Union 1867 (Brereton 38). By 1863, the Royal was reported to have “scanty patronage” and Proprietor Symonds was in financial trouble (Star, “News and Notes” 15 Sep. 1864). It was announced that the theatre would open for the last time on Saturday, 29 October 1864 (Australasian). On that same date, the Royal was purchased by Rowlands & Lewis, the cordial makers. They promptly on-sold it to the Ballarat Temperance League, who soon discovered that there was a contract in place with Bouchier, the previous owner, who still held the hotel next door, stating that “all proprietors … were bound to keep it open as a theatre” (Withers 260-61). Having invested immense energy into the quest to purchase it, the Temperance League backed out of the deal. Prominent Hotelier Walter Craig bought it for less than 3,000 pounds. It is possible that this stymied effort to quell the distribution of liquor in the heart of the city evoked the ire of the Protestant community, who were on a dedicated mission “to attack widespread drunkenness, profligacy, licentiousness and agnosticism,” and forming an interdenominational Bible and Tract Society in 1866 (Bate 176). This caused a segment of the population to consider the Royal a ‘lost cause’ and steer clear of it, advising ‘respectable’ families to do the same, and so the stigma grew. Social solidarity of this type had significant impact in an era in which people openly demonstrated their morality by way of unified public actions.The Second Act: 1865-1868The Royal closed for renovations until May 1865. Of the various alterations made to the interior and its fittings, the most telling was the effort to separate the ladies from the ‘town women’, presumably to reassure ‘respectable’ female patrons. To this end, a ladies’ retiring room was added, in a position convenient to the dress circle. The architectural rejuvenation of the Royal was cited as an illustration of great progress in Sturt Street (Ballarat Star, “News and Notes” 27 May 1865). Soon after, the Royal hosted the Italian Opera Company.However, by 1866 there was speculation that the Royal may be converted into a dry goods store. References to what sort of impression the failing of theatre would convey to the “old folks at home” in relation to “progress in civilisation'' and "social habits" indicated the distress of loyal theatre-goers. Impassioned pleas were written to the press to help preserve the “Temple of Thespus” for the legitimate use for which it was intended (Ballarat Star, “Messenger” and “Letters to the Editor” 30 Aug. 1866). By late 1867, a third venue materialised. The Alfred Hall was built for the reception of Ballarat’s first Royal visitor, the Duke of Edinburgh. On the night prior to the grand day at the Alfred, following a private dinner at Craig’s Hotel, Prince Alfred was led by an escorted torchlight procession to a gala performance at Craig’s very own Theatre Royal. The Prince’s arrival caused a sensation that completely disrupted the show (Spielvogel, Papers Vol. 1 165). While visiting Ballarat, the Prince laid the stone for the new Temperance Hall (Bate 159). This would not have been required had the League secured the Royal for their use three years earlier.Thereafter, the Royal was unable to reach the heights of what Brereton (15) calls the “Golden Age of Ballarat Theatre” from 1855 to 1865. Notably, the Mechanics Institute also experienced financial constraints during the 1860s and these challenges were magnified during the 1870s (Hazelwood 89). The late sixties saw the Royal reduced to the ‘ordinary’ in terms of the calibre of productions (Brereton 15). Having done his best to improve the physical attributes and prestige of the venue, Craig may have realised he was up against a growing stigma and considerable competition. He sold the Royal to R.S. Mitchell for 5,500 pounds in 1868.Another New Owner: 1869-1873For the Saturday performance of Richard III in 1869, under the new Proprietor, it was reported that “From pit to gallery every seat was full” and for many it was standing room only (Ballarat Star, “Theatre Royal” 1 Feb. 1869). Later that year, Othello attracted people with “a critical appreciation of histrionic matters” (Ballarat Star, “News and Notes” 19 July 1869). The situation appeared briefly promising. Unfortunately, larger economic factors were soon at play. During 1869, Ballarat went ‘mad’ with mine share gambling. In 1870 the economic bubble burst, and hundreds of people in Ballarat were financially ruined. Over the next ten years the population fell from 60,000 to less than 40,000 (Spielvogel, Papers Vol. 3 39). The last surviving theatre in Ballarat East, the much-loved Charles Napier, put on its final show in September 1869 (Brereton 15). By 1870 the Royal was referred to as a “second-class theatre” and was said to be such bad repute that “it would be most difficult to draw respectable classes” (Ballarat Star, “News and Notes” 17 Jan. 1870). It seems the remaining theatre patrons from the East swung over to support the Royal, which wasn’t necessarily in the best interests of its reputation. During this same period, family-oriented crowds of “the pleasure-seeking public of Ballarat” were attending events at the newly fashionable Alfred Hall (Ballarat Courier, “Theatre Royal” June 1870). There were occasional high points still to come for the Royal. In 1872, opera drew a crowded house “even to the last night of the season” which according to the press, “gave proof, if proof were wanting, that the people of Ballarat not only appreciate, but are willing to patronise to the full any high-class entertainment” (Ballarat Courier, “Theatre Royal” 26 Aug. 1872). The difficulty, however, lay in the deterioration of the Royal’s reputation. It had developed negative connotations among local temperance and morality movements, along with their extensive family, friendship and business networks. Regarding collective consumption, sociologist John Urry wrote “for those engaged in the collective tourist gaze … congregation is paramount” (140). Applying this socio-cultural principle to the behaviour of Victorian theatre-going audiences of the 1870s, it was compelling for audiences to move with the masses and support popular events at the fresh Alfred Hall rather than the fading Royal. Large crowds jostling for elbow room was perceived as the hallmark of a successful event back then, as is most often the case now.The Third Act: 1874-1878An additional complication faced by the Royal was the long-term effect of the application of straw across the ceiling. Acoustics were initially poor, and straw was intended to rectify the problem. This caused the venue to develop a reputation for being stuffy and led to the further indignity of the Royal suffering an infestation of fleas (Jenkins 22); a misfortune which caused some to label it “The Royal Bug House” (Reid 117). Considering how much food was thrown at the stage in this era, it is not surprising that rotten debris attracted insects. In 1873, the Royal closed for another round of renovations. The interior was redesigned, and the front demolished and rebuilt. This was primarily to create retail store frontage to supplement income (Reid 117). It was reported that the best theatrical frontage in Australasia was lost, and in its place was “a modestly handsome elevation” for which all play-goers of Ballarat should be thankful, as the miracle required of the rebuild was that of “exorcising the foul smells from the old theatre and making it bright and pretty and sweet” (Ballarat Star, “News and Notes” 26 Jan. 1874). The effort at rejuvenation seemed effective for a period. A “large and respectable audience” turned out to see the Fakir of Oolu, master of the weird, mystical, and strange. The magician’s show “was received with cheers from all parts of the house, and is certainly a very attractive novelty” (Ballarat Courier, “Theatre Royal” 29 Mar. 1875). That same day, the Combination Star Company gave a concert at the Mechanics Institute. Indicating the competitive tussle, the press stated: “The attendance, however, doubtless owing to attractions elsewhere, was only moderately large” (Courier, “Concert at the Mechanics’” 29 Mar. 1875). In the early 1870s, there had been calls from sectors of society for a new venue to be built in Ballarat, consistent with its status. The developer and proprietor, Sir William Clarke, intended to offer a “higher class” of entertainment for up to 1700 people, superior to the “broad farces” at the Royal (Freund n.p.) In 1875, the Academy of Music opened, at a cost of twelve thousand pounds, just one block away from the Royal.As the decade of decreasing population wore on, it is intriguing to consider an unprecedented “riotous” incident in 1877. Levity's Original Royal Marionettes opened at the Royal with ‘Beauty and the Beast’ to calamitous response. The Company Managers, Wittington & Lovell made clear that the performance had scarcely commenced when the “storm” arose and they believed “the assault to be premeditated” (Wittington and Lovell in Argus, “The Riot” 6 Apr. 1877). Paid thuggery, with the intent of spooking regular patrons, was the implication. They pointed out that “It is evident that the ringleaders of the riot came into the theatre ready armed with every variety of missiles calculated to get a good hit at the figures and scenery, and thereby create a disturbance.” The mob assaulted the stage with “head-breaking” lemonade bottles, causing costly damage, then chased the frightened puppeteers down Sturt Street (Mount Alexander Mail, “Items of News” 4 Apr. 1877). The following night’s performance, by contrast, was perfectly calm (Ballarat Star, “News and Notes” 7 Apr. 1877). Just three months later, Webb’s Royal Marionette pantomimes appeared at the Mechanics’ Institute. The press wrote “this is not to be confounded, with the exhibition which created something like a riot at the Theatre Royal last Easter” (Ballarat Star, “News and Notes” 5 July 1877).The final performance at the Royal was the American Rockerfellers’ Minstrel Company. The last newspaper references to the Royal were placed in the context of other “treats in store” at The Academy of Music, and forthcoming offerings at the Mechanics Institute (Star, “Advertising” 3 July 1878). The Royal had experienced three re-openings and a series of short-term managements, often ending in loss or even bankruptcy. When it wound up, investors were left to cover the losses, while the owner was forced to find more profitable uses for the building (Freund n.p.). At face value, it seemed that four performing arts venues was one too many for Ballarat audiences to support. By August 1878 the Royal’s two shop fronts were up for lease. Thereafter, the building was given over entirely to retail drapery sales (Withers 260). ReflectionsThe Royal was erected, at enormous expense, in a moment of unbridled optimism, after several popular theatres in Ballarat East had burned to the ground. Ultimately the timing for such a lavish investment was poor. It suffered an inflexible old-fashioned structure, high overheads, ongoing staffing costs, changing demographics, economic crisis, increased competition, decreased population, the growth of local community-based theatre, temperance agitation and the impact of negative rumour and hear-say.The struggles endured by the various owners and managers of, and investors in, the Royal reflected broader changes within the larger community. The tension between the fixed nature of the place and the fluid needs of the public was problematic. Shifting demographics meant the Royal was negatively affected by conservative values, altered tastes and competing entertainment options. Built in the 1850s, it was sound, but structurally rigid, dated and polluted with the bacterial irritations of the times. “Resident professional companies could not compete with those touring from Melbourne” by whom it was considered “… hard to use and did not satisfy the needs of touring companies who required facilities equivalent to those in the metropolitan theatres” (Freund n.p.). Meanwhile, the prevalence of fund-raising concerts, created by charitable groups and member based community organisations, detracted from people’s interest in supporting professional performances. After-all, amateur concerts enabled families to “embrace the values of British middle class morality” (Doggett 295) at a safe distance from grog shops and saloons. Children aged 5-14 constituted only ten percent of the Ballarat population in 1857, but by 1871 settler families had created a population in which school aged children comprised twenty-five of the whole (Bate 146). This had significant ramifications for the type of theatrical entertainments required. By the late sixties, as many as 2000 children would perform at a time, and therefore entrance fees were able to be kept at affordable levels for extended family members. Just one year after the demise of the Royal, a new secular improvement society became active, holding amateur events and expanding over time to become what we now know as the Royal South Street Society. This showed that the appetite for home-grown entertainment was indeed sizeable. It was a function that the Royal was unable to service, despite several ardent attempts. Conclusion The greatest misfortune of the Royal was that it became stigmatised, from the mid 1860s onwards. In an era when people were either attempting to be pure of manners or were considered socially undesirable, it was hard for a cultural venue to survive which occupied the commercial middle ground, as the Royal did. It is also conceivable that the Royal was ‘framed’, by one or two of its competitor venues, or their allies, just one year before its closure. The Theatre Royal’s negative stigma as a venue for rough and intemperate human remnants of early Ballarat East had proven insurmountable. The Royal’s awkward position between high-class entrepreneurial culture and wholesome family-based community values, both of which were considered tasteful, left it out-of-step with the times and vulnerable to the judgement of those with either vested interests or social commitments elsewhere. This had long-term resonance for the subsequent development of entertainment options within Ballarat, placing the pendulum of favour either on elite theatre or accessible community based entertainments. The cultural middle-ground was sparse. The eventual loss of the building, the physical place of so much dramatic energy and emotion, as fondly recalled by Withers (260), inevitably contributed to the Royal fading from intergenerational memory. The telling of the ‘real story’ behind the rise and fall of the Ballarat Theatre Royal requires further exploration. If contemporary cultural industries are genuinely concerned “with the re-presentation of the supposed history and culture of a place”, as Urry believed (154), then untold stories such as that of Ballarat’s Theatre Royal require scholarly attention. This article represents the first attempt to examine its troubled history in a holistic fashion and locate it within a context ripe for cultural analysis.ReferencesBate, Weston. Lucky City: The First Generation at Ballarat 1851–1901. Carlton South: Melbourne UP, 1978.Brereton, Roslyn. Entertainment and Recreation on the Victorian Goldfields in the 1850s. BA (Honours) Thesis. Melbourne: University of Melbourne, 1967.Borgmann, Albert. Crossing the Postmodern Divide. Chicago: University of Chicago Press, 1992. Briggs, Asa. Victorian Cities: Manchester, Leeds, Birmingham, Middlesbrough, Melbourne. London: Penguin, 1968.Doggett, Anne. “And for Harmony Most Ardently We Long”: Musical Life in Ballarat, 1851-187. PhD Thesis. Ballarat: Ballarat University, 2006.Freund, Peter. Her Maj: A History of Her Majesty's Theatre. Ballarat: Currency Press, 2007.Hazelwood, Jennifer. A Public Want and a Public Duty: The Role of the Mechanics Institute in the Cultural, Social and Educational Development of Ballarat from 1851 to 1880. PhD Thesis. Ballarat: University of Ballarat 2007.Jenkins, Lloyd. Another Five Ballarat Cameos. Ballarat: Lloyd Jenkins, 1989.McConachie, Bruce. Engaging Audiences: A Cognitive Approach to Spectating in the Theatre. New York: Palgrave MacMillan, 2008.Reide, John, and John Chisholm. Ballarat Golden City: A Pictorial History. Bacchus Marsh: Joval Publications, 1989.Spielvogel, Nathan. Spielvogel Papers, Volume 1. 4th ed. Bakery Hill: Ballarat Historical Society, 2016.Spielvogel, Nathan. Spielvogel Papers, Volume 3. 4th ed. Bakery Hill: Ballarat Historical Society, 2016.Urry, John. Consuming Places. London: Routledge, 1995.Withers, William. History of Ballarat (1870) and some Ballarat Reminiscences (1895/96). Ballarat: Ballarat Heritage Services, 1999.NewspapersThe Age.The Argus (Melbourne).The Australasian.The Ballarat Courier.The Ballarat Star.Coolgardie Miner.The Malcolm Chronicle and Leonora Advertiser.Mount Alexander Mail.The Star (Ballarat).

Computer and video games are one of the primary uses of personal computer technologies, and yet despite an increasing interest in cultural practices that are organised around computer and information technologies cultural studies has paid very little attention to this phenomenon. In the War of Desire and Technology Allucquére Roseanne Stone comments "that there seems no question that a significant proportion of young people will spend a significant and increasing proportion of their waking hours playing computer-based games in one form or another, and so far the implications of this trend have yet to be fully addressed in academic forums" (26). This Christmas will undoubtedly follow the trend of the last few years, with video game consoles and software being the biggest toy sellers. In the lead-up to this Christmas Nintendo shipped 5,000,000 units of the much-anticipated Shigeru Miyamoto-designed game, The Legend of Zelda: Ocarina of Time. The Zelda series of adventure games made its first appearance in 1987 on the Nintendo Entertainment System (NES) with The Legend of Zelda (which sold 6.5 million units worldwide). It is increasingly evident that whether it is in games arcades, on console systems such as the Nintendo 64, or on personal computers, the playing of computer games is a crucial component of the popular cultural terrain. In The Legend of Zelda: Ocarina of Time, the fifth installment in the series, the player controls a young boy, Link, through his adventures in the 3D-rendered fantasy world of Hyrule. By defeating various monsters, solving puzzles, and discovering magical items the player progresses through the game with the aim of saving Hyrule and rescuing Princess Zelda by defeating the evil Ganondorf. Yup, once you get past all of the 3D polygon graphics enabled by the Nintendo 64 platform this game is your basic rescue-the-princess quest with all of the troubling gender implications that this raises. Cultural theorists such as Stone and Dan Fleming raise the concern that this rapidly expanding industry that is an increasingly significant component of many young people's cultural lives is limited to the problems associated with a narrowly defined masculine identity. Stone asks should things like computer games, which are so terrifically absorbing and which take up so much waking time -- so much precious, irreplaceable waking time -- be expected to possess a modicum of invention, to be able to stretch players' imaginations and skills beyond the ability to hit targets and dodge obstacles? (163-64) Fleming observes that "this remarkable technology could support a much richer play space and with it a position less rigidly tied to a simplistically projected male identity" (57). But the narrative content of The Legend of Zelda: Ocarina of Time does not come even close to explaining what it is about playing the game that hooks the gamer into this 30-50 hour experience, and keeps us coming back for more -- just one more session until I finish that Dungeon. Fleming makes the important point that an analysis of the symbolic content of games tells us very little about what it is actually like to play them. He takes the step of shifting our attention from the meanings of cultural objects to their status as events (11-16). The criticism that computer and video game content is dominated by a constraining masculine identity is important, but is no more than a starting point. Is this all that can be said about games such as Zelda? I would argue that the activity of playing computer games cannot simply be approached through a textual analysis of the symbolic content of games. If we tentatively accept that gaming is not simply a content, but an activity, then, how can we analyse or describe this activity? Does cultural studies provide us with the tools necessary to describe it as a cultural experience? How is this experience organised, and what ramifications does it have for cultural studies' understanding of contemporary cultural technologies? An initial avenue of inquiry is provided by the term gameplay. Gameplay is a term that constantly emerges in my discussions with both gamers and game designers. It is a quite ephemeral and at moments incoherent concept that is used to describe the experience of a player's visceral immersion in and interactive engagement with a particular game's environment. It is an aspect of computer gaming that resists or at least would seem to be excessive to representation or symbolising. The very ephemeral and rather vague ways in which it is used have made it tempting to reject any serious analysis of it as an incoherence which may well function to simply side-step or avoid criticism of games' very obvious problem with representations of gender. However, as a player of computer games I recognise the experience that gamers are attempting to describe with the term gameplay and find it difficult to reject it out of hand simply because my theoretical vocabulary as a cultural analyst has difficulties in accommodating it. Where is the problem -- with the cultural experience or the theoretical vocabulary? In many of my discussions with gamers the term gameplay functions as something of a shared horizon or assumed knowledge. If I ask what gameplay is or does I will often receive a response such as the following: "Gameplay is what makes a game fun. It is the fun factor". If I then query what elements or features in particular make a game fun the response will invariably be, "well good gameplay is what is important. Graphics and stuff can be good, but often are just eye-candy". The discussion will generally end with a comment such as "you've played [Game X], you know what I mean, it has great gameplay". This term seems to function as something of a marker for how the cultural experience of gameplay exceeds our symbolic vocabulary. It opens out onto the event status of playing. (But I think exchanges such as the above are also about the event of a research relation.) In email discussions Cameron Brown, a lead game designer employed by Auran (a Brisbane, Australia based game software company -- Auran and Activision co-developed the real-time strategy game Dark Reign) described gameplay in the following terms: I was made 'lead tester' for 'Radical Rex', a SNES [Super Nintendo Entertainment System] platformer.... It got to the point where I could finish the game (10 levels plus bonus 8 levels) in 27 minutes -- about 40 minutes if I held the controller upside down. I could literally play the first level with my eyes closed, using only muscle memory! Anyway, Mario Kart: sometimes, playing it, I lost all sense of everything except the game. My hands moved without conscious intervention on my part.... I believe the MK 'trance state' short circuits this delay not requiring the brain to be aware of something before the hands have responded." The term gameplay appears throughout gamers' discussions of The Legend of Zelda: Ocarina of Time on newsgroups (rec.games.video.nintendo) and fan WWW sites, for example Nintendojo. The Next-Generation review of Zelda describes a gaming experience "beyond the superficialities of graphics, sound, and controls (which are all excellent) ... that sucks the player into a mystical world that has never been seen or felt before". Eric Enrico Mattei, a reviewer on Nintendojo, asserts that the quality of gameplay in Zelda is such "that you are COMPLETELY IMMERSED in Zelda's world". Writing in anticipation of Zelda's release Mikey Veroni comments that "ease of control is important in Zelda 64 (not to mention any game) because only then can the player feel like Link is acting and responding exactly to the player's actions. Perfect gameplay is so simple yet terribly crucial at the same time". Miyamoto, the designer of Zelda, said in a recent interview that in creating game environments such as Zelda he is concerned with "how players feel when they are touching the controller, so that is the way I'm always making the video game. I'm always thinking of the player's feelings". These various ways of talking about and describing the experience of playing computer and video games are not exactly new or mysterious. They draw on well-established conventions and metaphors for understanding the human interface with technology or equipment in general. When I asked Cameron about his use of the phrase "muscle memory", for example, he responded that it came from a guitar player magazine and was used in the context of explaining exercises to teach your fingers how to play a scale. Other sources for this technological sublime relation include science fiction texts such as William Gibson's descriptions of the experience of jacking into the matrix of cyberspace in Neuromancer. Dan Fleming's careful distinction between the symbolic content of games and the experience of playing them would seem to apply to the above descriptions of gameplay. He asserts that playing a game like Nintendo's platform adventure Mario Brothers is an intriguing experience that involves "the replacement of the gameworld's thematics by its geometry, which is where the fully engaged action really is" (191). Fleming sums up by commenting that "at their best computer games simply operate elsewhere for much of the time" (193). Although I have reservations about the tendency to position gameplay and representation in an almost strict opposition the foregrounding of this elsewhere of playability is useful in that it suggests the status of computer gaming as an event rather than a text or content to be interpreted. In his recent essay, "The Being of Culture, Beyond Representation", Alec McHoul argues, against representationalist understandings of cultural objects, for an approach that takes into account the movements and dynamics of "event-ness or eventality" (2). This shift away from a representational framework towards what McHoul calls "eventalistic experiencing" is where I head in my engagement with gameplay. This spectral dynamic of computer gaming calls us to change our modes of engaging with research objects. The issues of control and controllers appear in many of the gamers' discussions of playing Zelda. Fleming refers to this experience: "the player feels the responsiveness of the controller, the forward momentum, the onset of a relaxed energy, a feeling of competence" (192). Entering into the world of the game is also a skill or competence; it involves the ability to effectively use the game control system or interface to navigate through the play environment. This game control would seem to function within the terms of a traditional controlling masculine subjectivity. It appears to be about enjoying a sense of ease, empowerment and control in a technologically mediated environment. Relations between the human and the technological are from the outset caught up in fantasies of control. But the event of playing, the elsewhere of gameplay, exceeds the limits of our stories about an autonomous self in control of and using technology. When we play games like Zelda we are being positioned in those regions of cultural experience that involve a transformation in the mode of our relation to technological equipment. Our assumptions regarding the relation and separation between the human and the technological -- and perhaps also the gender implications of these relations -- are increasingly transformed, subverted, and questioned. Computer gaming is at least in part about the enjoyment gamers derive from the blurring and confusion of the boundaries between the technological and the self: techno-enjoyment. This element of enjoyment exceeds both the symbolic and the corporeal. But it should not be understood as some kind of more real or immediate bodily experience posited outside of and in opposition to the representational. It invokes another materiality of the technological object that is other than a reduction to technics or the human. It is a spectral interspace: the relation between the human and nonhuman. This relation with technology is not simply or only at the level of representation, nor at the materiality of the technological object or the bodily experience and sensations of the gamer. Gaming opens onto this domain of materialised techno-enjoyment. And in this region of cultural experience it is no longer clearly decidable who or what is in control. This experience of gameplay radically undermines notions of equipmentality grounded in a controlling human subject. Cultural Studies academics -- and I include myself in this group -- should be cautious about rushing to reduce the experience of gameplay to a problem or issue of representation. This is not to argue that representational effects are not operative in the practices of computer gaming. It is to argue the careful consideration of other important effects and processes. References Fleming, Dan. Powerplay: Toys as Popular Culture. Manchester: Manchester UP, 1996. Gamecenter.com. "An Interview with Shigeru Miyamoto." 1998. 10 Dec. 1998 <http://www.gamecenter.com/News/Item/0,3,0-2305,00.html?st.gc.ttn.si.gn>. The Legend of Zelda: Ocarina of Time. Game cartridge. Nintendo. 1998. McHoul, Alec. "The Being of Culture, Beyond Representation." 1998. 15 Oct. 1998 <http://kali.murdoch.edu.au/~mchoul/being.php>. Mattei, Eric Enrico. "Review of Zelda 64." 1998. 12 Dec. 1998 <http://www.nintendojo.com/reviews/staff/zeldaem.htm>. Next Generation. "Review of The Legend of Zelda: Ocarina of Time." 24 Nov. 1998. 13 Dec. 1998 <http://www.next-generation.com/jsmid/reviews/437.php>. Stone, Allucquére Roseanne. The War of Desire and Technology at the Close of the Mechanical Age. Cambridge, Mass.: MIT P, 1995. Veroni, Mikey. "Legendary." 1998. 10 Dec. 1998 <http://www.nintendojo.com/specials/zelda2/index.htm>. Zelda-related WWW sites -- Nintendojo -- Zelda Central -- Zelda 64 Central -- Zelda 64 Headquarters -- Zelda Headquarters -- Zelda's Shrine -- Hyrule: The Land of Zelda Citation reference for this article MLA style: John Banks. "Controlling Gameplay." M/C: A Journal of Media and Culture 1.5 (1998). [your date of access] <http://www.uq.edu.au/mc/9812/game.php>. Chicago style: John Banks, "Controlling Gameplay," M/C: A Journal of Media and Culture 1, no. 5 (1998), <http://www.uq.edu.au/mc/9812/game.php> ([your date of access]). APA style: John Banks. (1998) Controlling gameplay. M/C: A Journal of Media and Culture 1(5). <http://www.uq.edu.au/mc/9812/game.php> ([your date of access]).