Academic literature on the topic 'Operative Builders Union'

The attempt to analyze and show the important role of Lviv printers and to describe their role in the development of Galician society has been made in the article. This attempt has been made on the basis of documents, the principle of historicism, scientific and objective approach. The importance and problematic of the comprehensive study of the oldest history of the creation, formation and development of Lviv printers’ professional co-operation of mutual assistance has been highlighted, and the history and activities of this organization in stages have been described. In general, trade unions emerged as an independent united self-defense organizations and they were formed in the form of workers’ associations and mutual assistance funds. During the first half of the nineteenth century the crystallization of the activities of trade unions happened under the influence of various measures, hold by the administrations, the police and the authorities. This contributed to the further unification of labor and the creation of all-city union of printers in Lviv. It is quite logical that the basis of their actions was their desire to achieve and get the working solidarity, mutual support and assistance. The activities of the trade union were regulated by the statutes. First of all, the purpose of the establishment and operation of the organization was socio-economic, cultural and educational ones. Those purposes were approved by the relevant state authorities and, thus, prevented trade unions from participating in political life.The short period of the 1860-1880s can be considered to be a separate stage in the process of the formation of the mass trade union movement in Galicia. Together with the trade unions of printers, settlers, brokers, masons, carpenters, builders, tanneries, metal workers, doctors, pharmacists, tradesmen, postmen, civil servants, lawyers and many others united and became active partners of the region.The problem, which has been investigated in the article, has a valuable scientific significance as it allows to solve one of the most important issues: to get the historical understanding of activities of Lviv trade union organizations, which have not been thoroughly studied yet.

Category: Ankle; Trauma Introduction/Purpose: For unstable ankle fractures, surgeons typically employ the long-time standard of care; that is, open reduction and internal fixation with plate and screws. For patients with increased risk of soft tissue complications, a relatively newer construct includes intramedullary distal fibula fixation offering a viable option providing similar union rates, fracture alignment, and theoretical lower infection rate. Our study examines an intramedullary system with a novel design featuring fixation by proximal talons ensuring maintenance of alignment, rotation, and prevention of fracture settling. Our research builds on recent published work evaluating this intramedullary device. However, our study is the largest case-series, to our knowledge to assess time to weightbearing, fracture union and union rate as well as the first to assess safety and reproducibility of percutaneous reduction. Methods: A retrospective case-series was conducted on all skeletally mature patients with unstable ankle fractures treated with the same intramedullary distal fibular fixation. Surgeries were performed by a single surgeon between September 2015 and August 2019. Patient post-operative imaging was carefully assessed for quality of reduction, classifying reductions as ‘good,’ ‘acceptable,’ or ‘poor,’ also assessing for union and fracture settling. Patient charts were also assessed for comorbidities, injury pattern, fracture classification, associated injuries, fracture reduction method, perioperative complications, tourniquet time, characteristics of fracture union, time to weight bearing, and need for additional surgery. Results: Fifty-one patients were included in the study. Mean follow-up time was 32.2 weeks. Four fractures were bimalleolar (7.8%), 44 were isolated distal fibula fractures (86.3%), and 3 were trimalleolar fractures (5.9%). Two percent were Weber A, 77% Weber B, and 11% Weber C. Thirty-five (69%) reductions were achieved closed or percutaneously without complications. Based on reduction classification system, 47 fracture reductions (92%) were classified as ‘good’ and 4 (8%) were ‘acceptable’. All but one fracture (98%) went on to union. Average time to union was 10.3 weeks. Average weightbearing in a walking boot was at 6.8 weeks and 11.2 weeks without immobilization. One patient (2%) had a superficial wound infection, and there were no deep infections. Diabetes, smoking, and neuropathy were not predictive of complications. Conclusion: Our study strengthens the growing body of evidence supporting the safety and efficacy for a novel intramedullary device with unique proximal fixation. To our knowledge, this is currently the largest retrospective case-series in the literature evaluating this device. Fracture union and union rates were found to be acceptable for unstable ankle fracture patterns and infections rates were found to be very low, consistent with previous research. Percutaneous reduction of the lateral malleolus did not result in any injury to nearby anatomic structures or unsatisfactory fracture alignment. Lastly, consistent time to weight bearing following surgery could safely be achieved without consequence.

Reducing carbon emissions from the building sector is an international policy priority, as a consequence of the Paris Climate Accord obligations. The challenge for policy makers is to identify and deploy effective policy instruments targeting this sector. Examining the mechanics of policy operation in the residential sector is particularly instructive, because of the high level of building activity, diverse stakeholders, and complex policy considerations—involving both consumers and industry stakeholders. Energy policy initiatives undertaken by the European Union provide pertinent case studies; as does the operation of Australia’s national building code. The paper builds upon earlier research examining the application of socio-economic transition theory to the regulation of the building sector. Here, building policy options are examined from a behavioral economics perspective, where stakeholder actions in response to strategic initiatives are considered in socio-psychological terms. The application of behavioral economics principles to building policy has the potential to impact all of the stages of the building lifecycle, from design through construction to operation. The analysis reveals how decision-making by building industry stakeholders diverges substantially from the assumptions of conventional economics. Significant implications then arise for the framing of building sector climate and energy policies, because behavioral economics has the potential to both contribute to the critical re-appraisal of current policies, and also to provide innovative options for refining interventions at key stages in the building lifecycle.

The author of the article reconstructs the shift, which occurred in the model and disciplinary structure of «commercial» education towards «economic» one. The research is based on disciplinary approach in the history of education, which builds on subject-oriented character of knowledge and empirical analysis of Irkutsk Financial and Economic Institute case. Although the shift was being discreetly prepared for several decades and included many attempts to integrate commercial functions of education with economic field, its real start was caused by external to science and education factors. The subject area of a business economics became the point of intersection for economic and commercial disciplines. The area appeared mainly due to political and ideological campaign aimed at making the enterprises’ party core groups aware of economic knowledge. The 18th All-Union Conference of Communist Party initiated the campaign in 1941. The outbreak of war forced people to view the business economics as a scientific and practical field of study, which applies many techniques and methods of economic analysis in order to ensure effective operation and reveal its potential reserves. After obtaining the right to operate beyond the scientific and practical environment, the subject area of business economics entered the higher education area, transforming its educational and research programs and integrating the disciplinary models and structures of economic and commercial education.

The author of the article reconstructs the shift, which occurred in the model and disciplinary structure of «commercial» education towards «economic» one. The research is based on disciplinary approach in the history of education, which builds on subject-oriented character of knowledge and empirical analysis of Irkutsk Financial and Economic Institute case. Although the shift was being discreetly prepared for several decades and included many attempts to integrate commercial functions of education with economic field, its real start was caused by external to science and education factors. The subject area of a business economics became the point of intersection for economic and commercial disciplines. The area appeared mainly due to political and ideological campaign aimed at making the enterprises’ party core groups aware of economic knowledge. The 18th All-Union Conference of Communist Party initiated the campaign in 1941. The outbreak of war forced people to view the business economics as a scientific and practical field of study, which applies many techniques and methods of economic analysis in order to ensure effective operation and reveal its potential reserves. After obtaining the right to operate beyond the scientific and practical environment, the subject area of business economics entered the higher education area, transforming its educational and research programs and integrating the disciplinary models and structures of economic and commercial education.

In the Soviet Union, a unique worldwide industry was created for the serial production of forging equipment. Currently, even these machines that have served their design life are in working or maintainable condition. This has led to the fact that there is now a large market for the secondary sale of such machines, including in the countries of Southeast Asia and India. However, with the secondary sale of such equipment, some inevitable damage builds up in the basic parts. In addition, the first copies of such models, put up for secondary sale, were produced at a time when non-destructive testing methods were not developed. Some defects could be undetected. When buying a machine dismantle, transport, install and test. Cases were recorded when defects were strained during installation and testing in the base parts, which made it difficult or impossible to use such equipment. Sometimes this type of equipment (during modernization) is used to carry out technological operations that require more power than previously declared. Therefore, when buying/selling (or upgrading), it is necessary to draw up cards of permissible defects, which, when superimposed on the cards of the detected defects, will allow to reject/determine the remaining life/limit the technological strength of the crank machine so that defects during further operation are not affectted and do not lead to emergency situation. The methodology for determining the permissible parameters of subsurface elliptical cracks is shown on the example of a press bed KD2130 (BZMP).

In recent academic and urban policy writings the term urban diversity is usually understood, or discussed within the context of, increasing ‘socio-cultural’ diversity in cities or is explicitly connected to debates over immigration and demographic change. Although policy agendas follow certain common trends ‘to deal with’ the consequences of diversity, there is a lack of evidence-based research on how representations of diversity are mobilised and implemented by institutions of governance operating at multiple scales and how these narratives relate to each other. Policy-makers are faced with new dilemmas over how to govern and manage cities that are becoming increasingly diverse, on the one hand, and increasingly ‘sensitive’ to certain channels of flows of people (such as refugees), on the other. In some cases, city authorities promote the idea of inclusive diversity as a mark of modernisation and tolerance. In others, its recognition may be seen as a threat to an imagined social order and is perceived to be fuelling neo-assimilationist policies in many European Union cities. This special issue aims to fill this gap by providing evidence-based research outcomes that tackle different dimensions of the governance of diversity in cities. The principal aim of the research project, named DIVERCITIES, that underpins this collection was to critically assess evidence concerning the range of socio-economic outcomes that may emerge from the presence of greater urban diversity. DIVERCITIES has shown that city policy agendas across Europe are often more ‘positive’ towards diversity than national policies and media reports. Moreover, local policy initiatives, mostly formed at the bottom-up scale, sometimes as a cooperation between state and civic actors and sometimes as purely private or even individual arrangements, address the actual needs of certain population groups by acting as bridge-builders between public authorities and target groups. This collection aims to provide a clear understanding of how diversity is understood, operationalised and dealt with at different scales of policy-making. In focusing on European examples, it provides an important addition to a literature that has become Anglo-American focused, both in terms of the concepts and policy interventions.

The Development of Grundtvig ’s Theology until about the Time of the Composition of .The Land of the Living. About the Eschatological Tension in the Understanding of the Kingdom of GodBy Elisabeth Albinus GlenthøjIn order to characterize briefly Grundtvig’s ideas about the Kingdom of God, the following statements are crucial: The Kingdom of God will break through visibly at the Second Coming of Christ. Until then the Kingdom is present to Faith and Hope through the Holy Spirit.The tension between the eschatological, visible Kingdom of God and the presence of the Kingdom now is a common theme in Grundtvig’s hymns. This study seeks to trace the development of Grundtvig’s theology towards his fully developed view of the Kingdom of God. The subject of the study is the great hymn, .The Land of the Living., from 1824, which contains beginnings of Grundtvig’s more elaborated view. The basic texts of the study are sermons by Grundtvig from 1821 to 1824, the period in which the eschatological tension emerges.Sections I to II.A. bring a chronological outline of the development of Grundtvig’s theology during the period until and including the year 1824. Section II.B. examines »The Land of the Living« in the light of this outline. Throughout the study the emphasis is on the emergence of the eschatological tension.From his parents Grundtvig inherits a belief in a Kingdom of God hereafter, but as Grundtvig experiences the presence of the Lord through the Holy Spirit - in his own life and in the Church - the theology develops towards an understanding of the Kingdom of God as already present to Faith and Hope through the Holy Spirit. The future visible Kingdom illuminates the life of the Church already. Thus the eschatological tension emerges.The continuity between the future and the present Kingdom of God is found in the union with Christ through the Holy Spirit. This union is granted in Baptism and is nourished first and foremost through the Eucharist, and, next, through prayer and words of praise. Grundtvig’s experience of Pentecost underlies »The Land of the Living«: The Holy Spirit builds up the heart of man to become a temple for the Father and Son (stanza 12). Stanzas 7 to 11 elaborate the content of this unity with the Trinity. From here originates the life of the Church in the love of God and of one’s neighbour, a life which, through the Holy Spirit, takes man closer to the likeness to Christ; the goal is reached in Eternity. Wherever the love of God prevails, the Kingdom of God is present (stanza 13); that is where men are »co-operating witnesses to the divine struggle of the Spirit against the flesh«, against everything »which seeks to ... wipe out His image, destroy His temple within us« (Eighth Sunday after Trinity, 1824).

Abstract This study considers the challenge of operating a regional association that includes combatants and adversaries as members, and the response to such challenges. Conflict type, defined by intensity and duration, is located on the vertical axis, and engagement level (international, regional and bilateral) is fixed along the horizontal axis, to distinguish the conditions supporting confidence-building (one of many peacebuilding approaches). The utility of this framework is examined by applying it to the Union for the Mediterranean – a 42-member association operating in a region where conflict is prevalent (Syrian war, Arab – Israeli conflict, Greece – Turkey conflict, and Algeria – Morocco conflict). The study concludes that confidence-building has relevance to hot and cold intractable conflict but not to contemporary war. Curiously, the intractable conflict literature rarely discusses confidence-building and the Euromed literature does not characterize EU behavior in a confidence-building context. The study builds a research agenda to further examine the confidence-building framework.

In the age of digital transformations of images, communications, and storytelling, Marshall McLuhan's insight that "the medium is the message" can be augmented with the corollary that the media is the mix. Digital forms of narrative are not only characterized by their mixed, hybrid forms and content, but their recombinations 1 draw the spectator into the mix in unforeseen ways. By mixing varying degrees of non-linearity and interactivity in what are ultimately animations, digital narratives create new kinds of digital spectatorship. The examples I'll explore here are three films, Conceiving Ada, Gamer, and Time Code. In different yet interconnected ways, each privileges the mix of media over content, or rather, foregrounds the mix as content. These digital narratives divert the reader/spectator/ participant from the traditional ways of making meaning--or at least sense--of narrative. One way to illuminate the examples is to explore how they mix linearity and interactivity. In teaching The Theory and Practice of Digital Narrative, my students and I developed a model for analyzing how different works create new modes of storytelling, and fresh relations of looking at and within the frame.2 Extending some of the terms that Janet Murray develops in Hamlet on the Holodeck: The Future of Narrative in Cyberspace, the diagram posits an x axis of linearity and a y axis of agency.3 Click here for an animated version of this graph. The linearity axis spans narratives from most linear (one plot line that progresses chronologically through time and space to one outcome through a series of cause and effect occurrences represented from a singular point of view) to non-linear (narratives that could be circular, rhizome-shaped, achronological, synchronic, multiple plotlines, multiple points of view, multidimensional).4 The agency axis spans media that call for very little active participation from the reader/spectator/listener to media that demands a high level of interaction. Of course, all "reading" is in some way active, both in the physical acts of seeing and turning pages/clicking a mouse 5 and in comprehending, imagining, remembering, and making meaning. Nevertheless, there is a distinction between page-turning and making choices in a hypermedia work, and Murray uses the term agency to suggest an "active creation of belief" (as opposed to Coleridge's "willing suspension of belief"). Digital environments require that belief be created and reinforced; as William Gibson posited in Neuromancer, the imagined place of cyberspace is a "consensual hallucination," a social agreement to act as if the places in cyberspace exist. The willing creation of belief is a social agreement that relies on a like-minded community. The more self-reflexive and unconventional the narrative, the more it calls for the will to believe. These examples of digital cinema "interpellate," or hail, their spectators as willing agents in the common project of the creation of belief. The subjectivity that these films seek to create for their viewers is one of being an active, technologically-savvy spectator. Instead of encouraging participation in, to use Guy Debord's phrase, the society of the spectacle, these digital narratives perform a Brechtian function in a distinctly technological manner that derives from the mix of media that is digital cinema. The term "digital cinema" has acquired many meanings, ranging from movies shot on digital video in a manner we associate with film (i.e.: single camera) to digital exhibition of media in digitally-equipped movie theaters and streaming video on the web. Lev Manovich defines digital cinema as "a particular case of animation which uses live action footage as one of its many elements."6 Manovich's historical argument suggests commonalities between the earliest moving images and current developments in digital media; animation was marginalized in the development of cinema, and although some of its techniques were adopted by the avant garde, only now animation returns at the very center of digital cinema.7 Lynn Hershman Leeson's film Conceiving Ada explores digital media in both form and content. In the film Emmy, a contemporary computer software engineer, uses technology to make contact with Ada Lovelace, who invented the first computer language in Victorian England. The narrative moves between Emmy in the present day and Ada in the past as Emmy figures out how to send a software agent into the past to retrieve information. Although the plot doesn't really make sense scientifically, it resonates emotionally; despite the 150 years separating their lives, Emmy and Ada face some of the same issues as women working with technology. Instead of building sets, Leeson developed a technique of blending live action footage shot against a blue screen with digitized photographs of Victorian inns. As she explains in the technical notes of the DVD of the film (and also on the Conceiving Ada website): I felt it important to use the technology Ada pioneered. Virtual sets and digital sound . . . provided environments in which she moves freely through time, becomes liberated and, ultimately, moves into visibility. The actors and filmmaker collaborated in what amounts to a consensual hallucination: On the set, these images were maneuvered through several computers where mattes were added and images were put into perspective or enlarged. They were then laid onto digital videotape while the actors were performing. Actors could reference their location through a monitor that showed them their "virtual" environment. . . . The immediacy of shooting live action while simultaneously manipulating digitized backgrounds in real time was, remarkably, exhilarating. By mixing past and present, fact and fiction, personal and professional, digital and analog, live action and animation, Conceiving Ada tells its powerful story in both form and content. Although it is not immediately obvious that the sets are virtual rather than actual, much of the story takes place in front of and inside Emmy's computer equipment. There are many shots of Emmy gazing into the computer, trying to make her programs work, and when she does make contact with Ada, she can see her memories and talk with her on the computer screen. The film frame often encompasses the computer screen, so we too see the graphic interfaces Emmy designs and animates. By mixing some of the techniques of video art with film style and the malleability of the digital image, Leeson extends her trailblazing career in many directions at once in a work that is a mix about mix. A representation of intense digital interactivity, Conceiving Ada's heroines, creators, and spectators use technology, and specifically digital imaging technology, to create agency. Like Conceiving Ada, Time Code is also an example of digital cinema that calls attention to the digital techniques used in its production, and enlists its spectators as accomplices in creating the narrative. Time Code is itself the product of improvisation, and uses digital technology to capture "real time." Director Mike Figgis divides the screen into four frames; each quadrant contains a continuous 90-minute take of an unscripted, improvised performance, all shot simultaneously with four Sony Dvcam DSR-130s; the film was blocked out on music paper. Figgis describes his movie as a "black comedy about a 90-minute slice of life in Hollywood," and it takes filmmaking as one of its subjects along with jealousy, infidelity, and a fin-de-siecle philosophical and artistic exhaustion. The audio mix of the theatrical release of the film shifts its emphasis between the quadrants, thus directing the spectator's attention to a certain quadrant. Choosing to focus on a quadrant is a kind of spectator-editing. Looking at the entire frame means seeing a new kind of animation, created by multiple screens, encompassing multiple points of view. (See Time Code clip here.) The film folds in on itself self-reflexively. The plot centers around the intersecting lives of four characters involved personally and/or professionally with Red Mullet, Inc., a movie studio (which is the real-life name of Figgis's production company; see www.red-mullet.com), and becomes increasingly Brechtian as the movie builds to the climactic scene in which a hot young independent filmmaker pitches a movie that, like the one we are watching, splits the screen and follows the interactions between four characters. In what could be taken as a manifesto for digital cinema that counters the "chastity" of DOGME 95 with the passionate embrace of technology, the filmmaker announces, "Montage has created a fake reality. . . . Technology has arrived, digital video has arrived, and is demanding new expressions, new sensations. . . . It's time to say again: Art, Technology: a new union." She shows the studio executives storyboards of how four cameras will follow four characters, who are really four aspects of the same character at different points in their lives. But the filmmaker's passionate and theoretical speech is undercut by the context of black comedy that infuses the film: artistic praxis clashes with business practice, and all the plotlines peak as Stellan Skarsgard's Alex bursts into laughter and exclaims, "This is the most pretentious crap I've ever heard. . . . Do you think anybody around this table has a clue about what you're talking about?" Figgis assumes his audience does, that Bauhaus, Soviet montage, and Guy Debord are not as foreign to his spectators as they are to the executives; the filmmakers both within and outside the frames show their theoretical orientation. Time Code is the first major work of digital cinema. It creates a new kind of animation based on subjectivity and point of view, and calls for an active creation of belief from the spectator-editor who takes in and ultimately creates the narrative of the film. The DVD extends the spectator's agency even further. Among its special features is a documentary about how the film was shot 15 times, all four cameras operating simultaneously around the actors' improvisation. Figgis chose the fifteenth version for the theatrical release, but also includes the first version on the DVD. Because the making of the film, and how it uses digital technology, is so central to the spectator's experience, the director's commentary and interviews with the cast reinforce the spectator as an active creator of belief and meaning in the film. Moreover, by including a special audio mixing feature, the DVD gives the medium a new level of interactivity. Using the remote control of a DVD player, the spectator/participant can switch between the audio of the different quadrants. Because the audio is a major aspect of directing the spectator's attention (in addition to visual elements such as movement and stasis), being able to make choices in the audio mix is, to use the music metaphor that the film is based on conceptually, to become the conductor of the film.8 The medium is the mix. Like Time Code and Conceiving Ada, the new French film Gamer is also a particularly digital mix. Gamer moves between live action and digital environments as its main character Tony gets the idea for, designs, and then is swindled out of a computer game. The first time the film environment switches to the game environment is when the hero is in a car chase and his car morphs into a game graphic of a car. The shift between a reality created by conventional film style and the unconventional use of game graphics style reveals the main character's subjectivity, for his reality (and other characters' as well) are constructed through their interaction in the playing and making of games. Gamer is aesthetically and viscerally ambitious in the range of live action and computer graphic interfaces it moves between. The adrenalized state of game-playing mixes with a fictionalized account of game design. Gamer succeeds in creating an immersive text about two differently immersive mediums, film and computer games. When the film depicts how live action can be made digital, and both shows and denies the indexicality of the digital image, it explores the nature of digital cinema in a way that is complementary to the projects of Conceiving Ada and Time Code. In addition to fostering new relations of looking, these digital narratives make forays into nonlinearity. Conceiving Ada and Gamer both have discursive plots that revise the conventions of the linear plot, moving between nested narrative frames in time, space, and subjectivity. Time Code is in one way relentlessly linear, but its synchronic depiction of multiple physical and emotional points of view ruptures the cinematic conventions of time and space constructed by the dominant style of continuity editing. Taken separately, these three films hover around the center point of my diagram, raising the issues of agency and linearity that will continue to be at the center of digital narrative. Taken together the films offer a model of digital transformation that points the way to what is bound to be a medium that increasingly involves its audience in thinking about and then participating in increasingly immersive, nonlinear, and interactive experiences. Notes 1. In the “renew” issue of M/C, David Marshall suggests that one of the areas Cultural Studies can look to is how the culture industries that produce “recombinant culture,” make efforts “to incorporate new technologies into different forms in order to reconstitute audiences in ways that in their distinctiveness produce value that is exchangeable as capital.” This essay is part of a larger work that attempts to open up some of the avenues suggested by Marshall. P. David Marshall. "Renewing Cultural Studies." M/C: A Journal of Media and Culture 3.6 (2000). [22 February 2001] . 2. This diagram is a work in progress. My students and I have had much discussion about what to term the bottom of the agency axis. “Passive” seems too simple, yet other terms we’ve come up with such as structured, controlled, limited, voyeuristic, or (my favorite) enslaved don’t seem to work. Special thanks to my students Elliott Davis, Tom Mannino, and John O’Connell, for such discussions. 3. Janet H. Murray, Hamlet on the Holodeck: The Future of Narrative in Cyberspace, MIT Press, 1999, esp. 128. 4. For an interesting discussion and diagramming of story shapes, see Katherine Phelps, “Story Shapes for Digital Media.” [3/7/01] < http://www.glasswings.com.au/modern/shapes/>. Steven Johnson’s assertion that the hyperlink is the “first significant new form of punctuation to emerge in centuries” is an intriguing one for thinking about the connections possible in hypermedia. (Interface Culture: How New Technology Transforms the Way We Create and Communicate (San Francisco: HarperEdge, 1997), 110-111). 6. Lev Manovich, “What Is Digital Cinema?” http://jupiter.ucsd.edu/~manovich/text/digital-cinema.html 7. In a footnote, Manovich makes an interesting point on avant-garde strategies such as collage, painting on film, combining print with animation and live action footage, and combining many images in a single frame: “what used to be exceptions for traditional cinema became the normal, intended techniques of digital filmmaking, embedded in technology design itself.” Innovative forays into the mix of digital media like my examples illuminate not only the emergence of exceptional techniques but also of innovative narrative and spectatorial strategies. 8. Figgis is using the quadrant method once again in a new film, Hotel, which recently finished production in Florence. During the filming, there was a brilliant site that every day had a new page with the four-quadrant split. In addition to quicktimes of footage of the shoot and the actors in the hotel where the film is set, there were some of the cleverest animations I have ever seen on the web. Unfortunately the site shut down after the shoot finished, but it will be up again in May, most likely at www.filmfour.com/hotel, but check www.red-mullet.com as well.

Master of Philosophy
Australian government policy today aims to ‘deregulate’ industrial relations. A fractured system has ensued where uncontrolled market forces disrupt both business and unions. The building industry is particularly affected by uncertainty and industrial barbarism. Precisely one hundred years ago government policy was to create order, becoming directly involved in industrial regulation. This thesis aims to understand how building unions maintained their rates and conditions in the pre-arbitration era when there were no legislative minimums, and it seeks to place their labour relations within a political and ideological context. The thesis criticises historical scholarship surrounding artisan unionism in Britain and Australia, in particular the role of building tradesmen. Positive relations between employers and employed in the industry are often described in pejorative terms with tradesmen labelled ‘aristocrats of labour’ – apolitical, middle class and lacking class-awareness. The thesis argues this view does not adequately describe the qualities of building operatives, or place their motives within a ‘deregulated’ industrial context. To demonstrate nineteenth century building industry unionism in NSW had a broader nature, the thesis looks at British trade union radicalism. It examines both changes in structure and ideology caused by growing industrialisation and competitive organisation affecting building tradesmen known as general contracting, as well as continuity and differences in ideas of social change and progress. The thesis connects the ideology of British and colonial building unions in this regard. It then turns to the lives, work and society of nineteenth century building workers in Sydney and the make-up of their organisations. The thesis seeks to understand the political and ideological aspects of Australian building unionism and the effects of general contracting and competition. Central to the discussion is the influence of the Co-operative movement, and the significance of the struggle for the eight-hour day to the labour movement. Both were progressive responses to unfettered market forces on the trade. It argues that the challenges faced by operatives in maintaining conditions led them to develop politically, creating ‘modern’ class representation and ideology. The thesis ends with a chapter that examines the evidence before the 1891 NSW Royal Commission into Strikes showing the building industry to be characterised by conflict, co-operation, and radicalism. Unionists expressed progressive ideology and industrial militancy but maintained positive relationships with certain employers for whom they provided market security. The trade-off for efforts in this respect was recognition that union rules would be the primary form of industrial regulation. Their system, however, was ultimately unsustainable because of competitive pressures, and industrial militancy against builders outside the system flourished. In conclusion, the thesis suggests that nineteenth century building workers improved and maintained industrial standards by militant unionism, and yet, at the same time, by forming co-operative relations with employers. In dealing with the corrosive effect of market deregulation that undermined control over their trade, operatives also built progressive organisations which forged working class unity and developed politically advanced ideologies of social change. Their ideas and practices were at times unsuccessful or contradictory, but building unionists were not inward-looking ‘labour aristocrats’.

This chapter investigates Nazi Germany's efforts to acquire American mass production technology in order to create their own version of Fordism in the Thirties. Unlike the Soviet Union, Germany boasted a highly developed industrial base in its own right, centered around classic producer goods, such as coal, steel, machine tools, and instruments. Though Germany's machine tool builders were a proud and venerable branch with considerable export clout, they were unequipped to supply mass production factories. Acquiring automotive mass production was of neuralgic significance: it not only harbored the potential of a growth-generating consumer and export sector, but it was also — more immediately urgent to the Nazi regime — of primary military-strategic significance. Accordingly, the Nazi regime did not purchase bulk machinery and entire technological systems wholesale, Soviet-style. Instead, it resorted to targeted industrial reconnaissance and the recruitment of American specialists — that is, to Detroit missions such as those of Ferdinand Porsche, Otto Dyckhoff, and William Werner. The Nazi regime ensnared the American multinationals operating in Germany in a web of political pressure and economic incentives, and in doing so found ways to appropriate the Americans' technology without spending significant amounts of US dollars.

During the years 1970–80’ in the satellite countries of the former Soviet Union more than 24 new reactor builds were started. In the former Czechoslovakia, the new builds were realized with a high degree of input from the local engineers and the local industry. This territory up to today has an indigenous nuclear industry, machinery and nuclear engineering background. Starting with the year 1972, on the territory of Czechoslovakia (now on the territory of the Czech and Slovak Republic) 12 new units of the VVER-440 type of reactors were started to build. Nowadays the 2 oldest units were already shutdown in Slovakia, 4+4 units are still operating in both countries, and 2 units of VVER-440 model V213 are still under construction in Slovakia. The reactors designed lifetime in original configuration are 30 years. During these units’ operation period, wide range of modifications and upgrades were performed to strengthen the nuclear safety and the reactors operability. In 2015/16, activities related to the unit operation licenses extension were carried out in both of countries. In scope of strengthening the reactor’s core monitoring and surveillance, at Dukovany NPP (CZ, 1998) and at Bohunice NPP (SK, 2001) the original Russian VK3 computation system was completely replaced with an alternative advanced Core Monitoring and Surveillance System (CMS) SCORPIO-VVER. In Hungary, a locally developed “Verona”, and on the units under construction in Slovakia the Russian “Kruiz” CMS is used. Nowadays the SCORPIO-VVER CMS presents a nuclear fuel type and fuel vendor independent, advanced computer based reactor core monitoring system with an open and flexible framework, including the latest achievements in the fields of N/F and T/H for reliable and safe reactor operation with high efficiency of fuel cycle. The system’s framework governing the know-how and knowledge of 5 European institutes with proven experiences with reactor operation, fuel pattern and fuel campaign design and with utilizing the existing unit’s project reserves to increase the reactor operation and fuel campaign efficiency. Since the first installation the SCORPIO-VVER CMS system has a remarkable operating history and experience. More than 18 years of experiences at 6 units of VVER-440 type of reactors in two different countries helps to put the system to a very high level of usability and reliability. Even if the SCORPIO-VVER is installed only on VVER-440 reactors, it could be adapted to the needs of other VVER type of reactors and to needs of education and training centers too.

Abstract The clinical and financial impact of breast cancer on the U. S. health care system is great. In addition to the tangible metrics of costs and number of diagnoses, the psychological distress that accompanies a lump found in the breast is compounded by the apparent problems noted with contemporary reconstructive procedures. Currently, breast reconstruction is conducted largely by trial and error and varies with physician experience. For instance, a surgeon today will request three to four different sized implants for the operating room and will try each one, siting the patient up each time, until the desired volume and shape of the breast is achieved. The novel union of surgeons with machines and multi-modality information, made possible by advances in engineering and computing, has enormous potential in overcoming limitations realized with contemporary standard of care. For example, a virtual model of a patient’s breast will assist the surgeon in deciding a priori what implant size to order for the operating room such that desired breast outcomes are achieved. Our long-term goal is to develop novel computer-assisted surgical systems to significantly change breast cancer health care. Our approach builds upon four broad core areas of enabling knowledge and techniques, namely (1) multi-modality imaging, (2) simulation, (3) soft tissue biomechanics, and (4) interface subsystems. Recently, we developed a parametric deformable model of a female breast’s shape that allows the surgeon to manipulate the shape of the breast by varying key shape variables, analogous to the aesthetic and structural elements surgeons inherently vary manually during breast reconstruction [2]. Such a system may enhance the practice of breast surgery at multiple points. It enables the patient to communicate her expectations more clearly to the surgeon. It allows the surgeon to educate the patient with more accurate explanations about what can be accomplished, and after the consultation, it helps the surgeon plan specific aspects of the procedure to achieve the agreed upon goals.