Journal articles on the topic 'Xenophon Knowledge Military art and science'

Military-political issues is an important area of research work at MGIMO. The difference in this direction from the classical international specialization is that it is at the intersection of several disciplines: military science, military-technical and military-industrial as well as International Relations. A specialist in military and political issues should not only be an expert in the field of international relations and diplomacy, but also have a deep knowledge of military-technical issues to understand the basic trends in the development of scientific and technological progress and its impact on the balance of forces in the world. Global changes in the balance of power and the nature of the conflict, the emergence of new types of weapons are changing the basic methods and approaches to the art of war, which requires a science-based perspective on problem solving and multi-disciplinary approach in achieving the goals. Military and political studies allow us to understand how the development of military technology and military organization of the state affected by the political situation in the world, the national security of the country and its place in the system of international relations. Military-political research has been developing at MGIMO for a few decades. It laid down the basis for a scientific school of political-military studies. Its founding fathers were such prominent scholars of international affairs, as I.G. Usachyov, A.D. Nikonov, A.G. Arbatov, V.G. Baranovsky, V.M. Kulagin, A.N. Nikitin and other well-known experts. Their work covers a wide range of military and political issues, including the topics of arms control and disarmament, international, and especially European security, military policy, NATO, the Western military-political doctrines and their practical application. Now the lead in the development of this research at MGIMO has taken Center for Military-Political Studies, which became a concentration of relevant information, knowledge and expertise. The center was established in 2012 with the financial support of Air Defense Concern "Almaz-Antey". The Center is headed by Vice-Rector of MGIMO professor A.I.Podberezkin.

It is known that the history of book collections of past centuries’ libraries, including military ones, is tragic: for many reasons, they are often either scattered or preserved in small fragments. Today, when libraries intensively work to digitize their holdings and search out historical book collections, it is very important to identify and attribute books from foreign, as well as from Russian military libraries.For the first time, the article describes the work carried out to identify publications of foreign (and partly Russian) military libraries from the rare books collection of the Library for Natural Sciences of the Russian Academy of Sciences. The article considers the publications as a source of information about scientific knowledge (military libraries were aimed to acquaint their readers with the basics of military art and the latest achievements in military science). There is shown that the content of such libraries’ collections did not exclude thematic diversity, targeted to comprehensively form the officer’s personality: professional, moral and cultural. The article examines the books of the 18th—19th centuries from military libraries of Europe, currently stored in the Library for Natural Sciences of the Russian Academy of Sciences, and the book marks in them proving the publications’ belonging to specific military libraries. There is highlighted the importance of book marks for the attribution of collections (and libraries) that existed in the past, but turned out to be scattered. The results obtained show that the publications and book marks of military book collections are a strong and reliable source in studying the history of military affairs, military science, and the history of military libraries, and confirm the need for further serious work with the library’s rare book collection.

AbstractThis paper explores the efforts and impact of the Society for the Diffusion of Useful Knowledge in China (1834–1839), which existed during the five years before the First Opium War. It contends that the Society represented a third form of British engagement with the Chinese, alongside the diplomatic attempts of 1793 and 1816, and the military conflict of 1839–1842. The Society waged an ‘information war’ to penetrate the information barrier that the Qing had established to contain European trade and missions. The foreigners in Canton believed they were barred from further access to China because the Chinese had no information on the true character of the Europeans. Thus, they prepared ‘intellectual artillery’ in the form of Chinese language publications, especially on world geography, to distribute among the Chinese, in the hope that this effort would familiarize the Chinese with the science and art of Westerners and thereby cultivate respect and a welcoming atmosphere. The war metaphor was conceived, and the information war was waged, in the periphery of the British informal empire in Canton, but it contributed to the conceptualization of war against China, both in Canton and in Britain, in the years before actual military action. Behind the rhetoric of war and knowledge diffusion in Canton, lay a convergence of interests between merchants and missionaries, which drove both to employ information and military power to further their shared aim of opening China up for trade and proselytizing.

The article presents theoretical and practical aspects of the operation of a key engineering category, i.e. technical engineering, and its dominant influence on the level of technical and civilisational development in evolving societies. The introduction discusses the concept, role, and place of technical engineering, and the general methodological framework applied in it. It emphasises the strong links between the scientific theoretical foundations of technical engineering and engineering practice, which stem chiefly from societal needs and utilitarian passions of many researchers involved in the creative art of engineering. The following section presents technical and technological assumptions and practical achievements of selected categories of technical engineering, such as: civil, water, military, mechanical, electrical, process, materials, and extreme engineering. The article is a conceptual review and stresses the synergy between science, knowledge, and technology (mainly technical and applied), as well as competences and skills, against the background of utilitarian societal needs.

The article analyzes the epistemological foundations of the war. According to the authors, the idea of war is the result of previous cognitive and mental activity of a person. War as a form of struggle involves the use of special knowledge and thinking abilities. A field of specialized knowledge appeared, called the art of war, and then military science. War turned out to be one of the most important spheres of human activity, requiring high achievements in the field of science. Abstract thinking made it possible, by introducing generalized concepts and images ("enemy", "homeland", "good", "evil", "bravery", etc.), to create a categorical field that allows waging a war for certain generalized interests that differ from the private ones. War has a rational motive, goal, methods and means, process, result, and implies a reflexive understanding of the warfare results. Planning and waging war requires a person to search for logical connections, identify patterns and cause-and-effect relationships when solving complex creative tasks and organizing activities in a changing environment. The belligerents strive for the efficient use of funds and the conclusion of peace on reasonable terms. In this sense, war can be seen as a form of a rational solution to social problems.

Logical reason for research. The flute art has its own history of development, which is marked by different traditions – the performing, composing, and pedagogical. The mentioned traditions outline the ways of the development of the flute art of the present and the future; they have a certain originality of geographical and cultural orientation. Today, the flute art is the subject of the audience demand, the performing and composing creativity, and has a solid repertoire in various styles and genres of both translations and original compositions in many instrumental compounds, ranging from solo to various ensembles and orchestras. This situation in music practice requires the theoretical understanding and generalization, including those in the projection of national and cultural traditions of different countries and regions. However, we can state that, at the moment, music science addresses the performance on the flute not systematically, mostly in a methodological direction. The Ukrainian flute art is closely related to the traditions of the flute music of Western European and Eastern European music art, but it also has its originality, which exists owing not only to musical (intonation, genre, and repertoire), but also to the historical, national-cultural or human reasons. Kharkiv, as one of the historical and cultural centres of Ukraine, has a rich musical history, and traditions of the flute art are its important component. Innovation. The presented article is devoted to the research of the Kharkiv flute art in the aspect of unity and interaction of the performing and pedagogical traditions. This aspect combines a number of historical, theoretical, and practical questions, and allows finding their answers related to the demands of both music science and music practice. We are talking about a number of aspects of the study of the flute art in the aspect of music regionalism, from organology and common European traditions of the flute art to the peculiar features of its development in Kharkiv in all the directions – the composing, performing, and pedagogical. Objectives. The purpose of the study is to identify the specifics of the performing and pedagogical traditions of the flute art in Kharkiv in the aspects of the continuity from European musical art and the identity of the Ukrainian, in particular, Kharkiv flute school. Methods. The main methods of the presented research are the historical one and the systematic one. The first one is related to the historical factors of the development of the flute art both in the European and Ukrainian historical cultural and artistic context. The second one allows one to represent the performing and pedagogical traditions associated with the flute art in their legacy and cultural and regional specification. Results and Discussion. Kharkiv is one of the most important historical and cultural centres of Ukraine. Its military purpose determined the nature of music playing (the regimental music of the Kharkiv Cossack Regiment), its instruments (primarily the wind instruments) and the genre direction. The relevant performing and pedagogical traditions of the Kharkiv musical culture are still marked today by the significant influence of the Kharkiv Wind Instruments School, known both in Ukraine and abroad. The flute art is an important and illustrative part of this historical process. The regimental music influenced the development of music education and training of musicians in Kharkiv – the opened schools for teaching children also had a "military profile" (from the nature of the student recruitment to instrumentation and repertoire). In the 18th-19th centuries the flute was spreading in the general education system in Ukraine. Many Ukrainian art and culture figures started their musical training with the flute and perfectly mastered the instrument; the spread of the flute in the musical life of the 18th century is mentioned in the writings by M. Zagaykevych, O. Schreyer-Tkachenko, I. Pyaskovsky and others. The musical activity of the national enlightener G. Skovoroda can be considered essential in this sense; the flute was his companion in many years of his legendary travels about Ukraine. The subsequent opening of schools and vocal-instrumental classes at Kharkiv College demonstrated the expansion of the character of the performing and pedagogical foundations of the flute art in Kharkiv, connected not only with military music, but also with the development of noble-house culture and theatrical and amateur practice. Flute performers were one of the first orders to European teachers. The flute was a part of practically all the variants of ensembles and orchestras of Kharkiv and Slobidska Ukraine. This stimulated the development of performing skills, music pedagogy, composing creativity. It is important that the most skilled flute performers in Kharkiv were, as a rule, the leading teachers and educators. In addition, the Kharkiv wind instruments performance and pedagogy were characterized by such a quality as multi-instrumentalism. At different times, the flute art in Kharkiv (both the performing one and the pedagogical one) was glorified by such artists as I. Vitkovsky, I. Lozynsky, K. Kestner, E. Prill, F. Kuchera, A. Boroznin, E. Krychevsky, G. Heck, D. Rykov, F. Prokhachev. Representing various national schools, they ensured the multicultural development of the Kharkiv flute art. In the 20th-21st centuries the activity of the teachers and students of Kharkiv National University of Arts named after I. P. Kotlyarevsky who were putting their forces into the creation of the local ensembles and orchestras played a decisive role in the development of the flute art in Kharkiv. Conclusions. The "genetic memory" of Kharkiv’s history as a city-military frontier was reflected in the performing and pedagogical traditions of wind instruments music, in particular, the flute art, in its performing (genres, repertoire, and performing stylistic) and pedagogical specificity. The further development of the flute music in the Kharkiv region has enriched these traditions of European music with its diverse repertoire in all genres and styles, but the Kharkiv specificity remains its recognizable core. The summarized results of the presented article indicate that the selected aspect of the study, related to the characteristic of the performing and pedagogical traditions of the flute art in Kharkiv through the prisms of continuity and interaction, is the link that integrates the theoretical and practical directions of studying the art of the flute playing into the whole complex of knowledge, that helps to understand the universal and specific in the processes of the development of the flute art in different aspects – the historical, cultural-regional, and artistic, etc.

Knowledge is a form of power, but power for those who deploy it, not create it. New technoscientific programs, such as nanotechnology, are crucial realms for democratizing society since they aren’t ‘locked-in’ through technological momentum and because they are sites of cultural and technological production, which is another important form of power. Science and technology in the early 21st Century are mainly shaped by market (profit) and military priorities. Sometimes within these new areas, resistance to these pressures produces new ways of understanding how science and technology can contribute to a just and sustainable future. In nanotechnology research this tension can be seen in the various codes promulgated for its regulation. It is also clear in such theories and practices as cyborg citizenship, hybrid imagination, scientists’ social responsibility and activism, prefigurative practices such as art and Do-It-Yourself (DIY) and Do-It-Together (DIT) organizing and the democracy and technology movement. They reveal how the development of nanotechnologies and the nanosciences can lead not just to new inventions and medical treatments, but to stronger democracy as well.

Abstract Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.

ABSTRACT Introduction Modafinil is an eugeroic drug that has been examined to maintain or recover wakefulness, alertness, and cognitive performance when sleep deprived. In a nonmilitary context, the use of modafinil as a nootropic or smart drug, i.e., to improve cognitive performance without being sleep deprived, increases. Although cognitive performance is receiving more explicit attention in a military context, research into the impact of modafinil as a smart drug in function of operationality is lacking. Therefore, the current review aimed at presenting a current state-of-the-art and research agenda on modafinil as a smart drug. Beside the question whether modafinil has an effect or not on cognitive performance, we examined four research questions based on the knowledge on modafinil in sleep-deprived subjects: (1) Is there a difference between the effect of modafinil as a smart drug when administered in repeated doses versus one single dose?; (2) Is the effect of modafinil as a smart drug dose-dependent?; (3) Are there individual-related and/or task-related impact factors?; and (4) What are the reported mental and/or somatic side effects of modafinil as a smart drug? Method We conducted a systematic search of the literature in the databases PubMed, Web of Science, and Scopus, using the search terms “Modafinil” and “Cognitive enhance*” in combination with specific terms related to the research questions. The inclusion criteria were studies on healthy human subjects with quantifiable cognitive outcome based on cognitive tasks. Results We found no literature on the impact of a repeated intake of modafinil as a smart drug, although, in users, intake occurs on a regular basis. Moreover, although modafinil was initially said to comprise no risk for abuse, there are now indications that modafinil works on the same neurobiological mechanisms as other addictive stimulants. There is also no thorough research into a potential risk for overconfidence, whereas this risk was identified in sleep-deprived subjects. Furthermore, eventual enhancing effects were beneficial only in persons with an initial lower performance level and/or performing more difficult tasks and modafinil has an adverse effect when used under time pressure and may negatively impact physical performance. Finally, time-on-task may interact with the dose taken. Discussion The use of modafinil as a smart drug should be examined in function of different military profiles considering their individual performance level and the task characteristics in terms of cognitive demands, physical demands, and sleep availability. It is not yet clear to what extent an improvement in one component (e.g., cognitive performance) may negatively affect another component (e.g., physical performance). Moreover, potential risks for abuse and overconfidence in both regular and occasional intake should be thoroughly investigated to depict the trade-off between user benefits and unwanted side effects. We identified that there is a current risk to the field, as this trade-off has been deemed acceptable for sleep-deprived subjects (considering the risk of sleep deprivation to performance) but this reasoning cannot and should not be readily transposed to non-sleep-deprived individuals. We thus conclude against the use of modafinil as a cognitive enhancer in military contexts that do not involve sleep deprivation.

The aim of the article is to analyze the system of Higher Education in the USA. It reviews the kinds of educational institutions and types of education which they provide. The system of Higher education in the United States of America is made up of two levels or stages. The first level is undergraduate education and when students complete it they usually become Bachelors of Art or Bachelors of Science. The second level is called postgraduate education which is completed with acquiring Master or Ph.D. degrees. There are several types of higher educational institutions such as colleges, universities, 2-year community colleges, conservatories, art schools, military academies and others. To be admitted in each level of higher education students have to take some certain standardized tests and prove their ability to manage the educational program. The article describes the system of funding of the USA higher education. The educational institutions can be categorized into public, private and for-profit schools. Private and for-profit colleges and universities are the most expensive schools. Students pay for tuition, room and board with their own money. There is a system of educational loans, scholarships and grants which you can take or receive if you do not have enough of your own finance. Americans are willing to pay for the education of their children as well as their own. It has to do with their belief that education will enable them to achieve success and financial stability. Many Americans follow the lifelong learning for professional growth, new knowledge and skills.

The subject of the study is the conceptual and praxeological theoretical basis for the implementation of measures to prevent corruption during martial law. Methodology: general and special methods of scientific knowledge were used in this study. The comparison method was used to summarize the approaches of various researchers on the main dominants to the definition of the concepts of "restrictions" and "anti-corruption restrictions". The analysis was used to determine quantitative and qualitative parameters that characterize the specifics of applying restrictions on relatives' work in relation to servicemen. The results of the study showed that there is an urgent need in Ukraine to adjust the anti-corruption mechanism so that the existing anti-corruption measures are improved and adapted to the conditions of martial law. Conclusion. It has been established that measures to prevent corruption, such as anti-corruption declarations and special inspections, have been simplified during martial law, which has a positive effect, mediated by the presence of objective reasons for the impossibility of their normal application. Attention is drawn to the fact that some anti-corruption restrictions have been forcibly terminated - there are temporary reservations regarding restrictions on receiving gifts and restrictions on the use of official powers or one's position. It is substantiated that anti-corruption restrictions during the martial law period have gained signs of flexibility, but only for charitable purposes and for the purpose of material support of the defense of Ukraine, which corresponds to the modern national interests. The current order of application of anti-corruption restrictions to servicemen of the Armed Forces of Ukraine and other military formations, formed in accordance with the legislation, was analyzed. It is noted that at the subordinate level was used an expansive interpretation of the restriction of joint work of close persons by applying it to almost all members of the Armed Forces of Ukraine, which is not consistent with the prescriptions of the relevant anti-corruption legislation. Amending Art. 27 of the Law of Ukraine "On Prevention of Corruption" by singling out military officials as subjects who are not subject to the restriction on joint work of relatives.

The author of the article shows that conflicts attract the attention of representatives of various fields of knowledge (philosophy, sociology, conflict studies, psychology, history, political science, jurisprudence, military science, culturology, art, ethnology, pedagogy and etc.), in particular, in order to develop optimal ways to resolve them at various levels of deployment of conflict confrontation between different parties. Emphasizes that conflict should be considered as one of the types of social interaction. Its participants can be individuals, human groups, organizations, institutions, societies, countries, states and so on. Phenomena of conflicts, from ancient times to the present, in various artistic forms reflect the reality of a certain era and features of historical time. Artistic understanding of the phenomena of conflicts complements, strengthens and facilitates the scientific analysis of the problems of conflicts and the dynamics of their course. Analyzes the reasons that, since cinema is one of the most popular art forms of today, combining creativity and production, cinema itself can be actively involved in the processes of deconflict of Ukrainian society. Indicates the specifics of feature film: it affects the deep layers of consciousness, touches all the strings of the human soul and at the same time reflects the current problems of today; forces the viewer to identify with the characters of the film and actively include their ideals, principles, behavior and thinking in their real lives. He concludes that cinema, given its subject matter and plot, plays a significant role in shaping both aggressive and peaceful behavior of people, ie it can contribute to either increasing the level of conflict situations in society, or their leveling. Proves that in order to reduce the level of conflict in society, it is necessary to reduce the number of films that contain open displays of violence, bloody scenes and large-scale plans of terror; it is necessary to increase the number of high-quality Ukrainian films of patriotic orientation.

The article considers the scientific diplomacy — a relatively new phenomenon in international practice — as a type of diplomacy which took shape quite recently, in the 21st century, with the advent of both the term itself, and the corresponding concepts, and the Foreign Ministry units of some countries. However, it is necessary to clarify the terminology and essence of this practice, which has a much more long history. At the present time, there is a reassessment of this historical experience, as well as another attempt to put science in the civil service in one more — diplomatic aspect, as it has already happened with the military, educational and some other areas. At the same time, the scientific community itself in this process has the opportunity to play not only the role of an object or a passive performer. The demand for science is clearly manifested in periods of war and conflict, which in various forms do not stop today. This causes the urgency of the problem. At the same time, the conscious activity of politicians and scientists is combined with objective, independently developing, incl. latently, unobviously, by the processes of political struggle and scientific knowledge, which leads to complex combinations of interrelations between politics and science. The study of such events and processes allows us to draw some conclusions regarding relations between science and diplomacy, to determine the trend of consistent “scientification” of diplomacy, like of any other sphere of society, the transition from diplomacy-mail (communication) through diplomacy-art to diplomacy-science, formulate a hypothesis that diplomacy in general is a scientific project.

In the new issue, our scientific journal offers you nine scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. The issue of the journal opens with an article dedicated to the formation and development of natural history museology in Europe in the 15th–19th centuries. The development of scientific knowledge at that time affects the idea of the world order and the place of man in it, and the combination of knowledge with practical experience leads to the birth of true science. It is shown that one of the most important components of the development of natural sciences, in particular biological sciences, was the collection of naturalia (i.e. objects of natural origin), the rapid surge of interest in which contributed to the Great Geographical Discoveries. In chronological order, the further historical development of museum work from private collections in Italy to the formation of a prototype of a genuine museum, which performs the main museum functions such as amassment, storage and demonstration of collections, is considered. The article by Leonid Griffen and co-authors considers the object and subject of the history of science and technology, its place in the system of sciences. Today, more and more people are turning to the factors that determine the interaction of the society with the environment (productive forces of the society), to study which in the historical aspect and called a special scientific discipline the history of science and technology. The composition and development of the technosphere and noosphere are considered in the article. It is shown that the functioning of the technosphere is based on its interaction with the noosphere, which provides information about the environment and controls the effectiveness of interaction with it. It is formed by combining the mental structures of individuals through sign systems. The production process that ensures the functioning of the society begins with the noosphere, which through individual consciousness controls the actions of each individual, who through the means of production (technosphere) interacts with the natural environment. However, the gradual development of productive forces leads at some point to the fact that the information needed by the individual to perform all necessary actions for the benefit of the society, ceases to fit in his individual consciousness. As a result, there is a new social phenomenon the social division of labor. The cardinal solution to the problem is the prospect of humanity entering infinite space. The article by Jun-Young Oh and Hyesook Han is devoted to the study of what Understanding mathematical abstraction in the formularization of Galileo's law. Galileo's revolution in science introduced an analytical method to science that typifies the overall modern thinking of extracting, abstracting, and grasping only critical aspects of the target phenomena and focusing on “how”, which is a quantitative relationship between variables, instead of “why”. For example, to him, the question of 'why does an object fall' is of no significance; instead, only the quantitative relationship between distance from the falling object and time is important. Yet, the most fundamental aspect of his idea is that he introduced a quantified time t. Because, according to atomic theory, vacuum exists between an atom and an object composed of atoms or between objects – ignoring factors that interfere with motion, such as friction – the space for absolute time, which is a mathematical time, can be geometrically defined. In order to justify this mathematical abstraction strategy, thought experiments were conducted rather than laboratory experiments, which at that time were difficult to perform. The article by Vasyl Andriiashko and co-authors provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. In the next article, the authors Artemii Bernatskyi and Mykola Sokolovskyi is devoted to the study history of military laser technology development in military applications. For better understanding and systematization of knowledge about development of historical applications in the military field, an analysis of publicly known knowledge about their historical applications in the leading world countries was conducted. The study focuses on development that was carried out by the superpowers of the Cold War and the present era, namely the United States, the Soviet Union and the Peoples Republic of China, and were built in metal. Multiple avenues of various applications of laser technology in military applications were studied, namely: military laser rangefinders; ground and aviation target designators; precision ammunition guidance systems; non-lethal anti-personnel systems; systems, designed to disable optoelectronics of military vehicles; as well as strategic and tactical anti-air and missile defense systems. The issues of ethical use of laser weapons and the risks of their use in armed conflicts, which led to an international consensus in the form of conventions of the United Nations and the International Committee of the Red Cross, were also considered. As a result of the analysis, a systematic approach to the classification of applications of laser technology in military products by three main areas of development was proposed: ancillary applications, non-lethal direct action on the human body and optical devices of military equipment, and anti-aircraft and anti-missile defensive systems. The author of the following article considered the front line transporter as the embodiment of the USSR military doctrine in the middle of the 20th century. The paper based on a source analysis of the history of creation, design, and production of LuAZ-967, LuAZ-967M, against the background of the processes of implementing projects of small tactical high mobility wheeled vehicles for the armies of European countries, shows that the developing, testing, and commissioning a front line transporter became a deepening of the process of motorization of the Soviet army. The designs of similar vehicles have been analyzed. An attempt to assess the degree of uniqueness of the front line transporter design and its place in the history of technology, as well as its potential as a reminder of science and technology has been made. An analysis of the front line transporter design, its systems, compared with its foreign counterparts, suggests that it is a Soviet refinement of the concept of a small army vehicle, a more specific means directly for the battlefield. At the same time, it was developed taking into account foreign developments and similar designs, imitating individual designs, adapting to the capabilities of the USSR automotive industry. The next article is devoted to the study, generalization and systematization of scientific knowledge about the history of the establishment, development and operation of the regional railway system in Bukovyna in the second half of XIX – early XX centuries. The authors attempted to analyze the process of creation and operation of railways in Bukovyna during the reign of the Austro-Hungarian Empire based on a wide range of previously unpublished archival documents, periodicals, statistical literature and memoirs. The article studies the development of organizational bases for the construction of railways, the activity of the communication network management, lists a whole range of requirements and tasks set for railway transport in Bukovyna, the progress of their implementation, considers successes and difficulties in this work. The purpose of the article by authors Sana Simou, Khadija Baba and Abderrahman Nounah is to reveal, recreate as accurately as possible the characteristics of an archaeological site or part of it. The restoration and conservation of monuments and archaeological sites is a delicate operation. It requires fidelity, delicacy, precision and archaeological authenticity. Research during the last two decades has proved that 3D modeling, or the digital documentation and visualization of archaeological objects in 3D, is valuable for archaeological research. The study has opted for the technique of terrestrial and aerial photogrammetry by 3D surveys of architectural elements, to develop an archetype of the deteriorated Islamic Marinid site (a dynasty between the 13th and 15th centuries), and the Roman site (25 BC), located at the Chellah archaeological site in Rabat and Salé cities. The data acquired build an architectural database to archive and retrieve the entire existing architecture of monuments. This study has been completed by photogrammetrists, architects, and restorers. The issue of the journal ends with an article devoted to the analyzing the prerequisites and conditions for the foundation of an aircraft engine enterprise in Ukraine. Based on the retrospective analysis, the prerequisites and conditions of the foundation of the aircraft engine enterprise in Aleksandrovsk, Ukraine, were considered. There was a severe gap between the Russian Empire and European countries in the development pace of the aviation industry during World War I. This prompted the Russian Empire to raise foreign capital, as well as attract technologies and specialists to develop aircraft engineering and other industries. By 1917, the plant had gained the status of Russia’s largest engine-building enterprise in terms of building area and one of the best in equipment. It is evident that the beginning of aircraft engine production in Aleksandrovsk relates to the establishment of a branch of Petrograd Joint Stock Company of Electromechanical Structures and the plant’s purchase from the Moznaim brothers. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.

The subject of the study is the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and scientific assessment of organizational, publishing and trade activities of publishing cooperatives in the context of the new economic policy (NEP). The purpose of the scientific article is to study the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and, through the prism of studying the problems of economic history, to give a scientific assessment of organizational, publishing and trade activities of the NEP. Methods of research. All components of the study are based on fundamental principles – scientific, historicism, objectivity, system, development, priority of concrete verity, pluralism; and also the methods of knowledge of social and economic processes of social development – analysis, synthesis, problem-chronological, comparative analytical, archaeological, retrospective, statistical, a systematic and integrated approach. Research methodology. In the process of the study, the fundamental principles were based on Economic History and History of Economic Thought, the Ukrainian and foreign scientists’ works and experts in this area. Results of work. In the context of this issue, we explored the role and place of cooperative publishing houses in the formation of the domestic consumer market of book products and, through the prism of studying the problems of economic history, gave a scientific assessment of organizational, publishing and trade activities of the NEP. The field of application of results. The results of this research can be applied to study the issues of Economic History and History of Economic Thought, History of the Publishing Industry. Conclusions. Thus, cooperative publishing houses were business-type societies, organizationally and functionally belonged to cooperative societies, and on the other hand - were public associations with editorial, production, economic and socio-cultural functions. Examining the activities of cooperative publishing houses, it can be stated that they occupied an important place in the distribution and printing of various literature: socio-economic, socio-political, agricultural, artistic, children's books, textbooks, natural, military. Consumers of book products of cooperative publishing houses were the most various social and professional groups of the population: workers, peasants, employees, women, youth, military, children. By distributing literature in a country where almost two-thirds of the population was illiterate, publishing houses contributed to the full operation of educational institutions, raising the intellectual and spiritual level of society, creating conditions for the development of science, art, culture and education. There was a completely organic connection between publishers' cooperatives, cultural, educational, and scientific institutions, and a kind of intellectual and spiritual dependence developed due to the high demand for books, as publishers published literature from all fields of knowledge. The activities of cooperative publishing houses of the NEP period, especially the formation of the organizational structure and the implementation of advertising and propaganda work should be taken into account when developing the legal framework of the national program of book publishing in Ukraine.

It is important to study and find out the transformations in education during the transition from the last periods of the Ottoman Empire to the Turkish Republic. Education was not only contributing to the still lifestyle of the Ottoman society until the end of the 18th century, but it was also affected by that lifestyle. The most common educational institutes of the period were elementary schools and madrassas. In Ottomans, the function of education as a transformer of the society was preceded by the education itself being transformed. In this process, the military and political events had been influential. To this end, starting with 1776, first the military schools were started to be opened. Until the period which commenced with the proclamation of the Tanzimat in 1839, the view in the Ottoman society toward the child, youngster and their education had a feature of being religious and traditional. For example, in Sultan Mahmut the Second's edict which made elementary education mandatory, the reason to make elementary education mandatory was cited as children's need to first learn their religion. In the Tanzimat (Reformation) period which started in 1839, the views that see the families' and the state's educational duties as only religious and traditional started to weaken, and these duties were started to be considered from the aspect of their responsibility toward children and the society. This development was rooted on several statesmen's, authors' and educationists' self-criticism and recognition of societies' lack of knowledge and having stayed backward, and seeing this traditional view of education as a primary reason for the state's decline. From the political aspect, in this period, the ideal of being "Ottoman" was attempted to be infused in children and youngsters of the day. This was to be achieved in schools. Namık Kemal's following thoughts in this topic are of utmost importance: "If children from various races and ethnicities are educated together in schools, in time, the desired fusion of peoples in the nation can be achieved. This may be resembled to the impossibility of separating out trees whose saplings have grown together embracing each other..." A very important transformation toward children and teenagers in the pre-republic period was seen in the second Mesrutiyet period which started in 1908. The central aspect of this transformation, which was especially caused by defeat in the Balkan Wars in 1912-1913, was: The defeat of the Ottomans against smaller Balkan countries was attributed to the prevalent ignorance in the Ottoman society and the high value placed at being civil servants for the state. According to the intellectuals who violently criticized the society as well as themselves, education should stop pursuing the goal of developing civil servants; it should instead focus on science, art, technology, trade ... and produce specialists and entrepreneurs who can be successful in these areas. However, as a result of wars and social tragedies in this period new regulations in education could not be realized. Despite this, the second Mesrutiyet period, due to various ideological discussions and arguments became a laboratory for the Republic era. Since the Ottomans, some state administrators have been very influential in transformations in education as well as transformations in society through education. The foremost of these is Atatürk. Having spent his entire educational life in the last period of the Ottoman Empire, he keenly observed the educational roots of the collapse of the Ottoman state. Atatürk attributed this collapse primarily to the education system which trained non-nationalistic, passive individuals, and that which did not aim to develop knowledge and behaviors necessary for life. He desired the Republic to have a completely different system of education and he gave the responsibility of upbringing virtuous, hardworking, active, nationalistic generations to the teachers. He wanted education to be national as well as scientific. With the Unification of Education Law in 1924, revolution of the alphabet in 1928, and revolutions of mixed education and women's rights in those years, very significant transformations transpired in both educational and social life. Atatürk also set a goal for all of us to advance our nation to a level above the western civilization.

Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.

e4488149This paper discusses the role of the Universities in defense of life, democracy and rule of the law, and science as a generator of spaces of resistance in day-to-day and as powerful tool for unmasking of authoritarianism. In this context, it presents the results of the research on the role of perpetrators of human rights violations during Brazilian military dictatorship. The investigation was carried out at the Federal University of Paraíba, by the Interdisciplinary Network for the Study of Violence–RIEV, with the participation of the University of València, in Spain. For this study, 31 Federal Public Prosecution Service’ criminal prosecutions filed between 2012 and 2018 were selected. It sought the concepts that emerge from the data that help to understand how the process of violations of human rights occurs. The Straussian Grounded Theory was the methodology used in this study. The analysis had three stages: open coding, axial coding and selective coding. From the analyzed data, three relevant conceptual categories emerged to support human rights education: banality of evil/cruelty, discipline of the body and suffering. The study contributes to actions to incorporate into the school curriculum the comprehension that human dignity should constitute the basic value of the democratic rule of law. It allows the recognition that the human being must be the center and the end of law and education. In this context, the educational process must contribute to the protection of the dignity of the human being.ResumoO presente artigo trata sobre o papel das universidades na defesa da vida, da democracia e do estado de direito, e o papel da ciência como geradora de espaços de resistência no cotidiano bem como poderosa ferramenta no desmascaramento do autoritarismo. Nesse contexto, apresenta os resultados da pesquisa sobre a atuação dos perpetradores de violações aos direitos humanos durante a ditadura militar brasileira. A investigação foi realizada pela Rede Interdisciplinar de Estudos da Violência–RIEV, na Universidade Federal da Paraíba, com participação da Universidade de València, na Espanha. Para a análise, foram selecionadas 31 ações penais ajuizadas pelo Ministério Público Federal entre os anos de 2012 e 2018. O objetivo foi averiguar os conceitos que emergem dos dados e que ajudam a compreender o processo de violações aos direitos humanos naquele período. A metodologia do estudo atendeu aos três estágios preconizados pela Teoria Fundamentada Straussiana: a codificação aberta, a codificação axial e a codificação seletiva. Dos dados analisados emergiram três categorias conceituais relevantes para fundamentar a educação para os direitos humanos: banalidade do mal/crueldade, disciplina dos corpos e sofrimento. O estudo vem contribuir para ações de incorporação no currículo escolar do entendimento de que a dignidade humana deve se constituir como valor básico do Estado Democrático de Direito. Permite o reconhecimento de que o ser humano deva ser o centro e o fim do direito e da educação. Neste sentido, o processo educativo deve contribuir para a proteção da dignidade da pessoa humana.ResumenEste artículo aborda el papel de las universidades en la defensa de la vida, la democracia y el estado de derecho, y de la ciencia como generador de espacios de resistencia en la vida cotidiana, así como una herramienta poderosa para desenmascarar el autoritarismo. En este contexto, presenta los resultados de la investigación sobre el desempeño de los autores de violaciones de derechos humanos en el contexto de la dictadura militar brasileña. La investigación fue realizada por la Red Interdisciplinaria para el Estudio de la Violencia - RIEV, en la Universidad Federal de Paraíba con la participación de la Universidad de València, en España. Fueron seleccionados 31 acciones penales presentadas por el Ministerio Público Federal entre 2012 y 2018. El objetivo era investigar los conceptos que emergen de los datos y que ayudan a comprender el proceso de violaciones de derechos humanos. La metodología utilizó las tres etapas recomendadas por la Teoría Fundamentada Straussiana: codificación abierta, codificación axial y codificación selectiva. Tres categorías conceptuales relevantes surgieron para apoyar la educación en derechos humanos: banalidad del mal/crueldad, disciplina de los cuerpos y sufrimiento. El estudio contribuye a las acciones para incorporar al currículo escolar la comprensión de que la dignidad humana debe constituirse como un valor básico del Estado de derecho democrático. Permite el reconocimiento de que el ser humano debe ser el centro y el fin de la ley y la educación. En este sentido, el proceso educativo debe contribuir a la protección de la dignidad de la persona humana.Palavras-chave: Direitos humanos. Ditadura. Dignidade humana.Keywords: Dictatorship. Human dignity. 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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.

Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.

Command, Control, Communication, and Intelligence (C3I) systems are increasingly used in critical civil and military domains for achieving information superiority, operational efficacy, and greater situational awareness. The critical civil and military domains include, but are not limited to battlefield, healthcare, transportation, and rescue missions. Given the sensitive nature and modernization of tactical domains, the security of C3I systems has recently become a critical concern. This is because cyber-attacks on C3I systems have catastrophic consequences including loss of human lives. Despite the increasing number of cyber-attacks on C3I systems and growing concerns about C3I systems’ security, there is a paucity of a comprehensive review to systematize the body of knowledge on the security of C3I systems. Therefore, in this paper, we have gathered, analyzed, and synthesized the body of knowledge on the security of C3I systems. We have identified and reported security vulnerabilities, attack vectors, and countermeasures/defenses for C3I systems. In particular, this paper has enabled us to (i) propose a taxonomy for security vulnerabilities, attack vectors, and countermeasures; (ii) interrelate attack vectors with security vulnerabilities and countermeasures; and (iii) propose future research directions for advancing the state-of-the-art on the security of C3I systems. We believe that our findings will serve as a guideline for practitioners and researchers to advance the state-of-the-practice and state-of-the-art on the security of C3I systems.

This article offers a theoretical overview of the connection between accumulation and educational change in the capitalist periphery. Civilizational dynamics, educational structure, transformation, and overcoming of cultural-religious radical discontinuities in modernity are determined by "vital redundancy" localization mechanisms and human existence crisis form neutralization, possibilities of their removal in rationalization, everyday asceticism, law and "serving" science. Unlike traditional culture, where the vital energy of man was poured into religious and festive rituals (carnival acts, dances, mystical ecstasy, etc.), in the culture of modernity, "anthropological redundancy" is displaced into the asceticism of labor and sublimated into the energy of capital accumulation, including symbolic capital (knowledge, status, etc.), into mass secular art. based on the results, there is a rigid appropriation of vital and social redundancy of human existence in production, administrative, education, military, judicial, mass-cultural and other practices.

Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.

This year, the General Staff of the Slovenian Armed Forces issued the monograph Vojaška strategija (Military Strategy) by Branimir Furlan, PhD, a retired Brigadier General . After the Nacionalna (varnostna) strategija (National (Security) Strategy), issued last year under the collection Teorija in praksa strategije (The Theory and Practice of Strategy), this is his second monograph issued under the same collection. It is a continuation of the discussed theory and practice of strategy. Both monographs can serve as science-based tools for the better work of theoreticians and practitioners. The monograph Vojaška strategija was written almost in parallel with the process of military strategic consideration and the drafting of Slovenian military strategy within the Slovenian Armed Forces. Once the results of this process are issued, the monograph will be an excellent tool for a better understanding and assessment of their content, and their implementation in theory and practice. The monograph is a comprehensive scientific work with a logical structure: an introduction, five chapters and a conclusion. In the first chapter following the introduction, which acquaints us with the theory of military strategy, the author states the required bases for the study of this scientific field. In the second chapter on war and warfare, the author presents the different views on war and the legal, ethical and moral aspects of war and of armed conflict, and indicates how and where to carry out research and what future wars will look like. The author writes about warfare in general, selected means of warfare, the warfare of the future, and the theory of victory. In the third chapter, in which he addresses the military as an instrument of national power, the author writes about the use of military power and the characteristics and effectiveness of the military. In the Slovenian environment, this is the first time that a military instrument of power has been addressed at a scientific level. In the fourth chapter, on the formation of military strategy, he presents his view on strategists, strategic leaders and strategic thinking, on the process of developing military strategy, on the strategic concept, and on the impact of technology on the strategic concept. He also presents certain challenges in the process of developing military strategy. In the fifth chapter, which addresses the implementation of military strategy, the author presents the different concepts of and views on military operation, defence planning, operational skill, and military doctrine. In the conclusion, the author underlines the importance of the military instrument of power and the need as well as the necessity for military strategy, especially in times of crisis, and supports his statements with examples from history. He stresses that these examples should serve as a reminder that peace must not be taken for granted and that we should thus not neglect the development of strategic thought, the anticipation of the development of the future security environment, the assessment of the likelihood of the risk posed to vital Slovenian interests in the future, and the preparation of relevant strategies, including the military strategy. We owe this to our successors who rightfully expect it. The book provides a comprehensive view of the development and the fundamental concepts of military strategy. It explains the significance of the developmental and operational dimension of military strategy. It is informative and a good tool for strategic military operation, including for the developers of other strategies, especially the defence strategy, as well as of military and strategic documents. It helps the understanding of the military as a national instrument of power, which is also important for other stakeholders in the national security system or for the holders of the instruments of national power. At the same time, the book affords relevant attention to the relationship between military strategy and politics. The author notes that it is the civilian authorities who are the final decision-makers in the civil-military dialogue, which usually includes the authorization of military strategy even though the strategy is a professional military document. This is especially important because, in the modern world, we tend to connect the use of military force with the use of different instruments of national power. Military strategy must therefore be a product of civil-military interaction. The work is challenging; it contains citations of numerous important and intertwining concepts by different authors, which the author, more often than not, neither comments on nor assesses. The work thus represents a good research starting point for future theoreticians and researchers. The author establishes that not all military strategies are necessarily publically recognized or formalized. This may be the reason why the book does not offer explicit solutions, but rather requires the reader’s strategic thinking in trying to apply the different concepts. It therefore seems that the author's ambition is to contribute to the critical thinking of the developers of actual strategies. Such an approach demands a great deal of knowledge on the side of the user, which is also reflected in this book. Although the author claims that the work is application-oriented, it mainly supports the strategic process and requires an in-depth study approach from the reader. The reader can obtain answers primarily to the following questions: What is military strategy?; What is its purpose and why do we need it?; Who develops the military strategy?; How do we obtain it?; What makes it successful?; Which challenges appear during the development of the strategy?; and What is required for the strategy to be implemented? The monograph suggests how and where to gain competencies for good military strategists, but at the same time opens more questions than it provides answers to, especially for the operation of a military such as the Slovenian Armed Forces. It encourages the study of theory and practice through which it can also contribute to the strategic reinforcement of military thought. The author strives to use Slovenian terminology and substantiates concepts and terms that are relevant to the military and the scientific field of military strategy. The monograph includes a lot of Slovenian terms. Some, such as vojska (military)/vojaška sila (military force)/oborožena sila (armed forces), moč vojske (military power)/vojskovalna moč (fighting power)/instrumenti moči (instrument of power), vojskovanje (warfare)/bojevanje (conduct of battle), and operativna veščina (operational skill)/(operational art) are not fully explained. In spite of this, the monograph fills not only content gaps but also terminological gaps, thus encouraging the use of Slovenian terminology in the field of military strategy. With scientific justification and the intertwining of theory and reality, Dr Furlan has shown a direction, to military officers among others, for the reinforcement of strategic thought and the formation and implementation of military strategy. The book will be reference material for Slovenian soldiers, in particularly those officers who are responsible for the development and use of the military at a strategic level. At the same time, it is no less welcome to all those who are involved in the national security strategy, including the political decision-makers. Generally speaking, a strategy is a path of development of a favourable military strategic position, for small states or the military, while on the other hand, it is a path of searching for a favourable strategic military position. For officers and generals at the strategic level, this search is one of the basic missions for which this monograph can be of great use. We hope that Dr Furlan will be able to support us in this also in the future.

This article examines the activities of Mykhailo Bernov as one of the founders of hiking tourism in the Russian Empire and Europe, his travels through Southern Ukraine, and then through the Crimea in the summer of 1895, the public updating of knowledge about the region and publishing activity. In the first part of this research, M. Bernov's travel route is reconstructed based on his travel notes «From Odessa on foot to Crimea. Letters of a Russian Pedestrian» (St. Petersburg, 1896) and his impressions of his journey through Southern Ukraine are detailed. The source research potential of notes is analyzed. It was concluded that M. Bernov created a wide and colorful picture of the life of the polyethnic population of the region at the end of the 19th century, recorded the peculiarities of their national culture and character, prospects for economic development and social inequality of different strata of the population. The main focus of M. Bernov's attention is concentrated on a person and his everyday, living observation sometimes leads to dispelling stereotypes about certain ethnic groups. He also communicated with ordinary people, but he tried to meet with the local administration, officials, military personnel, famous persons, and scientists. M. Bernov left interesting descriptions of visits to the estates of the wealthiest landowning families of Southern Ukraine – the Skadovskys and the Falz-Feyns. Among other things, the traveler notes the Ukrainian (including Cossack) component in the culture, history and population of the region. In general, M. Bernov is characterized by an imperial style of thinking, the use of derogatory names of ethnic groups and territories, which was common in the Russian Empire at the end of the 19th century. The traveler often compares the natural beauty of Southern Ukraine with the landscapes of various parts of Europe, North Africa and other («Russian») provinces. He also wanted to see local monuments of architecture, history, archeology, art, museums, theaters. In general, the traveler considered the South of Ukraine to be an unattractive region for tourists due to the summer heat, dust, undeveloped infrastructure, etc.

The new scientific journal, Miscellanea Hadriatica et Mediterranea, published by the Department of History at the University of Zadar, is focused on multidisciplinary scientific analysis of the historical processes occurring in the Adriatic and Mediterranean and spanning from prehistory to the modern age. Accordingly, even though the first number has predominantly historical papers, this journal is opened to all scientific art-historian, archaeological, linguistic and architectural essays as well as politological and juridical reviews and scientific analyses of numerous other cognate topics dealing with Adriatic and Mediterranean. At the same time, scholarly papers are not limited to the expanse of those important seas but similarly should extend their interest to the coastal and deep hinterland areas with ties to the Adriatic and Mediterranean. Hence, this new journal, in collaboration with similar publications by other departments at the University of Zadar, is a worthy successor of the previous scientific journal Radovi Filozofskog fakulteta u Zadru. Razdio povijesnih znanosti, which was, under that name, published for the last time in its fortieth issue (no. 27), published in Zadar in 2001 [2003]. The scientific historical research and the results achieved through the creation of scholarly papers have been attested in this journal to be multidisciplinary, even when the author of the paper was by its vocation “only” a historian. Global tendencies, especially in modern times, have proven that a branch of science cannot remain in the “traditional” thematic-methodological boundaries; to clarify, modern history and its research are inconceivable without the multidisciplinary approach. Therefore, recognition of other scientific research in relatively cognate sciences and scientific disciplines is in touch with modern tendencies within the historical science, which can only prosper in knowledge, content and methodology through that interaction. The Adriatic-Mediterranean connection is not coincidental; on the contrary, it is intended to draw attention on the fact that the history of the Adriatic is difficult to comprehend unless it is seen in the context of the Mediterranean. The Adriatic has been for millennia, either through culture, trade or knowledge and science, one of the shortest routes between Europe and Africa or Asia, both with their developed cultures, and with trading centres dealing in, for the Europeans, extremely sought out merchandise. New ideas and new knowledge circulated on that route, along with the numerous military forces and empires, which held it under their control for shorter or longer periods of time. Quite often the process was reversed: Greek colonisation of the Mediterranean and Adriatic in one direction was followed by later expansion of Venice and Normans in the other direction. Unfortunately, despite the continued research by scientists from different countries, a lot still remains undiscovered. In example, how much do we truly know about the grandiose Arab achievements during the Middle Ages or perhaps about the actual Norman influence in the Mediterranean and the Adriatic? This journal is therefore dedicated to this and many other clusters of various historical problems, which can be identified, at least to some degree, in the current populations inhabiting the coastal and deep hinterland areas of the Adriatic and the Mediterranean. In order to reach international readers, the journal is from the start published in two languages, Croatian and one international language, and accordingly welcomes associates from all sides of the world.

The Heteronomy of architecture «is understood as the condition to be pursued if one sets one’s goal of producing buildings that belong to one’s own time, to the complex interweaving of values and needs that characterise it, to the place where they arise»1. Heteronomy in architecture allows us to break the boundaries still linked to the concept of the now obsolete scientific sector. The breaking of these boundaries makes a trans-disciplinary contribution possible and consequently leads us to having a transversal vision. One of the people who recently successfully pursued the road of the Heteronomy of architecture and art through a borderline path is Edoardo Tresoldi, an Italian sculptor who «investigates the poetics of the dialogue between man and landscape using architectural language as an expressive tool and key to reading space». The artist plays with the transparency of the metal mesh to transcend the space-time dimension and narrate a dialogue between Art and World, a visual synthesis that reveals itself in the fading of the physical limits of his works2. Five themes were taken into consideration to address the issue of the heteronomy of architecture with the Sculptor Tresoldi. The first one concerns the PLACE, because architecture, as materially utilitarian, is completely conditioned by the material and immaterial context of which it is part. Tresoldi’s works, in the sense of public art, are to be considered the expression of a heteronomous discipline. In fact, his work is strongly linked to this concept already in the initial choice of material and in the desire to express transparency by encountering paths, languages and transversal dialogues between the elements of the work and those of the landscape. «Inserting an element within a context builds relationships and intertwining dynamics that dialogue in a game of cross-references. The physical elements reconnect us to the archetypes we have built in our experiential journey and then become cultural. The moment we see a tree, for example, the relationship between us and the tree is the one we have built by coming into contact with trees in our lives. Automatically the tree, as well as a house, the sky or other basic elements is already an experience that determines a sort of automatism in relating to that or any other element already experienced. Then there are other elements that are part of our cultural heritage, which preserve and hold within themselves different languages». Working with archaeology, Tresoldi associated the sacredness of the classical language with the transparency and elements of the landscape, constructing images, languages and narratives of the surrounding space. For the sculptor, the Lombardy farmsteads have had an important relevance in the development of his sensitivity to the landscape. Places that at a young age escaped from his everyday life, the abandoned farmhouses are ruins full of poetry characterized by a dimension of transience today. They are the places that inspire the artist because it is here that anyone can go and allow themselves a moment of suspension with themselves and with the place. The second theme tackled is the PROJECT, understood as an action of prefiguration, of casting ahead, beyond cultural, social and historical influences. According to Tresoldi, an author can be compared to an organism that absorbs certain concepts, lives them and finally releases them through the creative act. When the artist finds himself creating a work, he prefers to go to the place to try to intercept the dynamics of the place in which he can find himself and express himself. When he connects with a place and sees the key to intercept certain elements, he lives this process in a partially selfish way, while in the phase of elaboration of the installation the artist expresses himself through recognizable languages common to all. From here the goal is to intercept and work with simple archetypes that make his works as direct as possible: «the process is similar to that of composing a love song that, most of the time, is written by the author in a specific moment lived with a specific person. In that case, the experience is extremely personal but the moment it is told, it becomes a choral experience». A project is therefore nothing more than a work that can build, transcend, or transport from an intimate experience to a collective one. The sculptor also argues that as human beings we construct our knowledge based on personal experiences and we learn about hate, love or a range of feelings often through the same experiences. «Even just talking as human beings we possess a common alphabet that allows us to structure a series of collective experiences. All of this is the synthesis that allows us to connect deeply with what is around us». Beginning with “Opera”, Tresoldi’s latest installation consisting of a colonnade of forty-six wire mesh elements up to eight meters high, located in Reggio Calabria, the third theme can be introduced: TIME. Tresoldi’s forty-six columns, according to the architect Maria Pilar Vettori, recall the “Danteum” project by Giuseppe Terragni and Pietro Lingeri designed in 1939 (never built) and the fresco present in “Sala del Bacio” of Bertoja, realized between 1570 and 1573, in Parma (where Terragni did his military service). Between these three works there seems to be an interweaving, a kind of mechanism of trace, of memory, as if there is a kind continuity in the creative process influenced by the times and by innovation. On this proposal of continuity Tresoldi argues that when an artist no longer works for references, but for necessity of expression, it becomes fascinating to imagine that both he and Terragni, as well as Bertoja, felt the need to use the column element and transparency to tell their essential concept linked to their own time and perception. His choice to use columns in Reggio Calabria is linked to the idea of being able to mark that area with a transparent colonnade that was an open space of crossing and that created perspective corridors both towards the sea and towards the sky: this was for Tresoldi the best way to tell the dimension of the Strait of Messina. «The use of the column as an element refers to a classical archetype and as such is recognized as a pure element for the narrative of a place, of an architectural space». By working with transparency, the sculptor has tried to translate his idea into the language of contemporaneity. This pure relationship with the elements is also what allows us to understand how the meanings of certain archetypes (the column, transparency) have evolved over time. Time, in Tresoldi, has made his idea of transparency change, transforming it into the concept of Absent Matter. Starting from a concept, from an instinct towards a material, one can see how his work on absence has transformed over time. Although today many people associate his work with wireframe drawings, in reality Tresoldi’s work arises from a strongly real, material, analogue action. In fact, his work is based on “sewing” the net, an act that physically would have been conceivable even in the past. However, in ‘65, for example, nobody could have connected it to the wireframe. So, his work, compared to that of Terragni and Bertoja, has also been added to the idea of virtual space constructed in the last twenty years. In addition to this, Tresoldi said that he realized that most of the time he himself does not decide the themes of a work, but they are built by instinct, then translated into a story. For example, when at the beginning of his career he created human figures that lived in the landscape, while building a storytelling around them, these were often defined by the newspapers as “Tresoldi’s fanstasms”. Even if the work had a concept behind it, it was often summarized with this expression. In the image of transparency, the figure of the ghost and the discourse of absence are already intrinsic. This is due, in part, to the fact that it is a visual construction derived from the cinematic world, where a transparent image was used to render the idea of ghosts. Therefore, the evolution of the visual narrative of man has led to narrate the absence through transparency. All this implies that in the moment in which codes are used, images already narrate a value, a story that can vary in time. Another theme, already introduced by transparency, is the one related to MATTER and to Tresoldi’s relationship with materiality, with constructability, with the body, with gravity and with the technical part that approaches the artistic one. The use of the net as an instrument is due to the desire to represent transparency by working on the tensions of the structure. The first works, as stated by the sculptor, were all drawn by hand and built starting from the roll of wire mesh, as if it were a puzzle in which the individual elements were drawn, made, cut and assembled. Over time, however, one learns to know a material and therefore to know, without scientific calculations, where problems of static tightness may arise. In this way, experience has made Tresoldi learn real know-how. However, for large projects it is necessary to interface with engineers for a specific and scientific analysis of the works. It follows that behind each work there is a process in which the artist draws the idea that will subsequently be realized by the team and where the choral action often involves a contamination of languages; a path, an ancestral experience. In this way Tresoldi decides to remain in the artistic dimension linked to the sensibility and the poetics of meeting places rather than flowing into the architectural sphere. Therefore, the building site is no longer intended as a place of work but becomes a means by which to know the place itself, implying a social responsibility linked to the presence of a community that revolves around it. In fact, the sculptor’s artistic training, coming from the world of film set design, still influences his approach characterized by a dimension of collective work in which everyone is part of a process that will be carried out by the “community”. It is precisely from the concept of community and the sculptor’s desire to make a construction site such that his desire to give life, together with YAC - Young Architects Competitions, to TRAC - Tresoldi Academy, a school where, moving from the design phase to the execution phase, a construction is built within a construction site that is a fundamental element of the experience itself, was created. In this case, the construction site is not intended only as a place of construction but as an opportunity in which the complexity of a work is perceived by noting how much what has been imagined really corresponds to reality. Theory must therefore be accompanied by practice, since if a student is given responsibility, he or she becomes an integral part of what is being built and of the project. Designing something in a given place and then building it also allows for the consolidation of “points in the place” that are part of the training experience of designing, understanding and realizing. Training also, according to Tresoldi, should not stop at designers but should concern all stakeholders in the cultural sphere. «In artistic training, the practical approach to the works and experiencing their realization at 360° is also fundamental. For this reason, the goal of TRAC is also to make young people experience all the phases of the installation. The fact that they themselves realize a work from design to production also means letting them deal with all the related needs: from business trips to finding construction services». Another goal of TRAC - Tresoldi Academy is that of a return to the rituality of the past, to the secular sacredness of certain moments lived on site linked to the love of things that, even today, are considered a foundation of both making art and making architecture. According to Tresoldi, a perfect example of training in the field concerns festivals as events capable of creating temporary dimensions and, at the same time, of putting into action an experimentation of a futuristic project. In fact, before building a permanent work, the festival allows to have an effect on the temporary not only in terms of structure but also at the level of imaginable society: «When for a week several people inhabit a place, that place becomes a city. From this point of view, festivals are a very formative experience where practice manages to have – compared to theory – a gap that is the dirt of humanity». The last topic discussed is WHAT’S NEXT, Tresoldi’s future projects. As he himself announced, another project to which he is dedicating himself is STUDIO STUDIO STUDIO. His team is in fact formed, to this day, by different departments – from design to management to communication – that have been formed through the realization of his artistic projects. The idea is to enlarge this structure to the works of other authors so that they can develop and realize large-scale projects in order to enter the world of public works.

The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: an interruption, a corruption, a rupture of communication. Was the noise really a message? Wasn’t it, rather, static, a parasite? Michael Serres, 1982. Since, ordinarily, channels have a certain amount of noise, and therefore a finite capacity, exact transmission is impossible. Claude Shannon, 1948. Reading Information At their most simplistic, there are two means for shifting information around – analogue and digital. Analogue movement depends on analogy to perform computations; it is continuous and the relationships between numbers are keyed as a continuous ordinal set. The digital set is discrete; moving one finger at a time results in a one-to-one correspondence. Nevertheless, analogue and digital are like the two companions in Serres’ tale. Each suffers the relationship of noise to information as internal rupture and external interference. In their examination of historical constructions of information, Hobart and Schiffman locate the noise of the analogue within its physical materials; they write, “All analogue machines harbour a certain amount of vagueness, known technically as ‘noise’. Which describes the disturbing influences of the machine’s physical materials on its calculations” (208). These “certain amounts of vagueness” are essential to Claude Shannon’s articulation of a theory for information transfer that forms the basis for this paper. In transforming the structures and materials through which it travels, information has left its traces in digital art installation. These traces are located in installation’s systems, structures and materials. The usefulness of information theory as a tool to understand these relationships has until recently been overlooked by a tradition of media art history that has grouped artworks according to the properties of the artwork and/or tied them into the histories of representation and perception in art theory. Throughout this essay I use the productive dual positioning of noise and information to address the errors and impurity inherent within the viewing experiences of digital installation. Information and Noise It is not hard to see why the fractured spaces of digital installation are haunted by histories of information science. In his 1948 essay “The Mathematical Theory of Communication” Claude Shannon developed a new model for communications technologies that articulated informational feedback processes. Discussions of information transmission through phone lines were occurring alongside the development of technology capable of computing multiple discrete and variable packets of information: that is, the digital computer. And, like art, information science remains concerned with the material spaces of transmission – whether conceptual, social or critical. In the context of art something is made to be seen, understood, viewed, or presented as a series of relationships that might be established between individuals, groups, environments, and sensations. Understood this way art is an aesthetic relationship between differing material bodies, images, representations, and spaces. It is an event. Shannon was adamant that information must not be confused with meaning. To increase efficiency he insisted that the message be separated from its components; in particular, those aspects that were predictable were not to be considered information (Hansen 79). The problem that Shannon had to contend with was noise. Unwanted and disruptive, noise became symbolic of the struggle to control the growth of systems. The more complex the system, the more noise needed to be addressed. Noise is both the material from which information is constructed, as well as being the matter which information resists. Weaver (Shannon’s first commentator) writes: In the process of being transmitted, it is unfortunately characteristic that certain things are added to the signal which were not intended by the information source. These unwanted additions may be distortions of sound (in telephony, for example) or static (in radio), or distortions in shape or shading of picture (television), or errors in transmission (telegraphy or facsimile), etc. All of these changes in the transmitted signal are called noise. (4). To enable more efficient message transmission, Shannon designed systems that repressed as much noise as possible, while also acknowledging that without some noise information could not be transmitted. Shannon’s conception of information meant that information would not change if the context changed. This was crucial if a general theory of information transmission was to be plausible and meant that a methodology for noise management could be foregrounded (Pask 123). Without meaning, information became a quantity, a yes or no decision, that Shannon called a “bit” (1). Shannon’s emphasis on separating signal or message from both predicability and external noise appeared to give information an identity where it could float free of a material substance and be treated independently of context. However, for this to occur information would have to become fixed and understood as an entity. Shannon went to pains to demonstrate that the separation of meaning and information was actually to enable the reverse. A fluidity of information and the possibilities for encoding it would mean that information, although measurable, did not have a finite form. Tied into the paradox of this equation is the crucial role of noise or error. In Shannon’s communication model information is not only complicit with noise; it is totally dependant upon it for understanding. Without noise, either encoded within the original message or present from sources outside the channel, information cannot get through. The model of sender-encoder-channel-signal (message)-decoder-receiver that Shannon constructed has an arrow inserting noise. Visually and schematically this noise is a disruption pointing up and inserting itself in the nice clean lines of the message. This does not mean that noise was a last minute consideration; rather noise was the very thing Shannon was working with (and against). It is present in every image we have of information. A source, message, transmitter, receiver and their attendant noises are all material infrastructures that serve to contextualise the information they transmit, receive, and disrupt. Figure 1. Claude Shannon “The Mathematical Theory of Communication” 1948. In his analytical discussion of the diagram, Shannon actually locates noise in two crucial places. The first position accorded noise is external, marked by the arrow that demonstrates how noise is introduced to the message channel whilst in transit. External noise confuses the purity of the message whilst equivocally adding new information. External noise has a particular materiality and enters the equation as unexplained variation and random error. This is disruptive presence rather than entropic coded pattern. Shannon offers this equivocal definition of noise to be everything that is outside the linear model of sender-channel-receiver; hence, anything can be noise if it enters a channel where it is unwelcome. Secondly, noise was defined as unpredictability or entropy found and encoded within the message itself. This for Shannon was an essential and, in some ways, positive role. Entropic forces invited continual reorganisation and (when engaging the laws of redundancy) assisted with the removal of repetition enabling faster message transmission (Shannon 48). Weaver calls this shifting relationship between entropy and message “equivocation” (11). Weaver identified equivocation as central to the manner in which noise and information operated. A process of equivocation identified the receiver’s knowledge. For Shannon, a process of equivocation mediated between useful information and noise, as both were “measured in the same units” (Hayles, Chaos 55). To eliminate noise completely is to sacrifice information. Information understood in this way is also about relationships between differing material bodies, representations, and spaces, connected together for the purposes of transmission. It, like the artwork, is an event. This would appear to suggest a correlation between information transmission and viewing in galleries. Far from it. Although, the contemporary information channel is essentially a tube with fixed walls, (it is still constrained by physical properties, bandwidth and so on) and despite the implicit spatialisation of information models, I am not proposing a direct correlation between information channels and installation spaces. This is because I am not interested in ‘reading’ the information of either environment. What I am suggesting is that both environments share this material of noise. Noise is present in four places. Firstly noise is within the media errors of transmission, and secondly, it is within the media of the installation, (neither of which are one way flows). Thirdly, the viewer or listener introduces noise as interference, and lastly, it is present in the very materials thorough which it travels. Noise layered on noise. Redundancy and Modulation So far in this paper I have discussed the relationship of information to noise. For the remainder, I want to address some particular processes or manifestations of noise in New Zealand artists’ collective, et al.’s maintenance of social solidarity–instance 5 (2006, exhibited as part of the SCAPE Biennal of Art in Public Space, Christchurch Art Gallery). The installation occupies a small alcove that is partially blocked by a military-style portable table stacked with newspapers. Inside the space are three grey wooden chairs, some headphones, and a modified data projection of Google Earth. It is not immediately clear if the viewer is allowed within the spaces of the alcove to listen to the headphones as monotonous voices fill the whole space intoning political, social, and religious platitudes. The headphones might be a tool to block out the noise. In the installation it is as if multiple messages have been sent but their source, channel, and transmitter are unintelligible to the receiver. All that is left is information divorced from meaning. As other works by et al. have demonstrated, social solidarity is not a fundamentalism with directed positions and singular leaders. For example, in rapture (2004) noise disrupts all presence as a portable shed quivers in response to underground nuclear explosions 40,000km away. In the fundamental practice (2005) the viewer is left attempting to decode the un-encoded, as again sound and large steel barriers control and determine only certain movements (see http://www.etal.name/ for some documentation of these projects) . maintenance of social solidarity–instance 5 is a development of the fundamental practice. To enter its spaces viewers slip around the table and find themselves extremely close to the projection screen. Despite the provision of copious media the viewer cannot control any aspect of the environment. On screen, and apparently integral to the Google Earth imagery, are five animated and imposing dark grey monolith forms. Because of their connection to the monotonous voices in the headphones, the monoliths seem to map the imposition of narrative, power, and force in various disputed territories. Like their sudden arrival in Kubrick’s 2001: A Space Odyssey (1968) it is the contradiction of the visibility and improbability of the monoliths that renders them believable. On the video landscape the five monoliths apparently house the dispassionate voices of many different media and political authorities. Their presence is both redundant and essential as they modulate the layering of media forces – and in between, error slips in. In a broad discussion of information Gilles Deleuze and Felix Guattari highlight the necessary role of redundancy commenting that: redundancy has two forms, frequency and resonance; the first concerns the significance of information, the second (I=I) concerns the subjectivity of communication. It becomes apparent that information and communication, and even significance and subjectification, are subordinate to redundancy (79). In maintenance of social solidarity–instance 5 patterns of frequency highlight the necessary role of entropy where it is coded into gaps in the vocal transmission. Frequency is a structuring of information tied to meaningful communication. Resonance, like the stack of un-decodable newspapers on the portable table, is the carrier of redundancy. It is in the gaps between the recorded voices that connections between the monoliths and the texts are made, and these two forms of redundancy emerge. As Shannon says, redundancy is a problem of language. This is because redundancy and modulation do not equate with relationship of signal to noise. Signal to noise is a representational relationship; frequency and resonance are not representational but relational. This means that an image that might be “real-time” interrupts our understanding that the real comes first with representation always trailing second (Virilio 65). In maintenance of social solidarity–instance 5 the monoliths occupy a fixed spatial ground, imposed over the shifting navigation of Google Earth (this is not to mistake Google Earth with the ‘real’ earth). Together they form a visual counterpoint to the texts reciting in the viewer’s ears, which themselves might present as real but again, they aren’t. As Shannon contended, information cannot be tied to meaning. Instead, in the race for authority and thus authenticity we find interlopers, noisy digital images that suggest the presence of real-time perception. The spaces of maintenance of social solidarity–instance 5 meld representation and information together through the materiality of noise. And across all the different modalities employed, the appearance of noise is not through formation, but through error, accident, or surprise. This is the last step in a movement away from the mimetic obedience of information and its adherence to meaning-making or representational systems. In maintenance of social solidarity–instance 5 we are forced to align real time with virtual spaces and suspend our disbelief in the temporal truths that we see on the screen before us. This brief introduction to the work has returned us to the relationship between analogue and digital materials. Signal to noise is an analogue relationship of presence and absence. No signal equals a break in transmission. On the other hand, a digital system, due to its basis in discrete bits, transmits through probability (that is, the transmission occurs through pattern and randomness, rather than presence and absence (Hayles, How We Became 25). In his use of Shannon’s theory for the study of information transmission, Schwartz comments that the shift in information theory from analogue to digital is a shift from an analogue relationship of signal to noise to one of the probability of error (318). As I have argued in this paper, if it is measured as a quantity, noise is productive; it adds information. In both digital and analogue systems it is predictability and repetition that do not contribute information. Von Neumann makes the distinction clear saying that to some extent the “precision” of the digital machine “is absolute.” Even though, error as a matter of normal operation and not solely … as an accident attributable to some definite breakdown, nevertheless creeps in (294). Error creeps in. In maintenance of social solidarity–instance 5, et al. disrupts signal transmission by layering ambiguities into the installation. Gaps are left for viewers to introduce misreadings of scale, space, and apprehension. Rather than selecting meaning out of information within nontechnical contexts, a viewer finds herself in the same sphere as information. Noise imbricates both information and viewer within a larger open system. When asked about the relationship with the viewer in her work, et al. collaborator p.mule writes: To answer the 1st question, communication is important, clarity of concept. To answer the 2nd question, we are all receivers of information, how we process is individual. To answer the 3rd question, the work is accessible if you receive the information. But the question remains: how do we receive the information? In maintenance of social solidarity–instance 5 the system dominates. Despite the use of sound engineering and sophisticated Google Earth mapping technologies, the work appears to be constructed from discarded technologies both analogue and digital. The ominous hovering monoliths suggest answers: that somewhere within this work are methodologies to confront the materialising forces of digital error. To don the headphones is to invite a position that operates as a filtering of power. The parameters for this power are in a constant state of flux. This means that whilst mapping these forces the work does not locate them. Sound is encountered and constructed. Furthermore, the work does not oppose digital and analogue, for as von Neumann comments “the real importance of the digital procedure lies in its ability to reduce the computational noise level to an extent which is completely unobtainable by any other (analogy) procedure” (295). maintenance of social solidarity–instance 5 shows how digital and analogue come together through the productive errors of modulation and redundancy. et al.’s research constantly turns to representational and meaning making systems. As one instance, maintenance of social solidarity–instance 5 demonstrates how the digital has challenged the logics of the binary in the traditions of information theory. Digital logics are modulated by redundancies and accidents. In maintenance of social solidarity–instance 5 it is not possible to have information without noise. If, as I have argued here, digital installation operates between noise and information, then, in a constant disruption of the legacies of representation, immersion, and interaction, it is possible to open up material languages for the digital. Furthermore, an engagement with noise and error results in a blurring of the structures of information, generating a position from which we can discuss the viewer as immersed within the system – not as receiver or meaning making actant, but as an essential material within the open system of the artwork. References Barr, Jim, and Mary Barr. “L. Budd et al.” Toi Toi Toi: Three Generations of Artists from New Zealand. Ed. Rene Block. Kassel: Museum Fridericianum, 1999. 123. Burke, Gregory, and Natasha Conland, eds. et al. the fundamental practice. Wellington: Creative New Zealand, 2005. Burke, Gregory, and Natasha Conland, eds. Venice Document. et al. the fundamental practice. Wellington: Creative New Zealand, 2006. Daly-Peoples, John. Urban Myths and the et al. Legend. 21 Aug. 2004. The Big Idea (reprint) http://www.thebigidea.co.nz/print.php?sid=2234>. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: The Athlone Press, 1996. Hansen, Mark. New Philosophy for New Media. Cambridge, MA and London: MIT Press, 2004. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago and London: U of Chicago P, 1999. Hayles, N. Katherine. Chaos Bound: Orderly Disorder in Contemporary Literature and Science. Ithaca and London: Cornell University, 1990. Hobart, Michael, and Zachary Schiffman. Information Ages: Literacy, Numeracy, and the Computer Revolution. Baltimore: Johns Hopkins UP, 1998. p.mule, et al. 2007. 2 Jul. 2007 http://www.etal.name/index.htm>. Pask, Gordon. An Approach to Cybernetics. London: Hutchinson, 1961. Paulson, William. The Noise of Culture: Literary Texts in a World of Information. Ithaca and London: Cornell University, 1988. Schwartz, Mischa. Information Transmission, Modulation, and Noise: A Unified Approach to Communication Systems. 3rd ed. New York: McGraw-Hill, 1980. Serres, Michel. The Parasite. Trans. Lawrence R. Schehr. Baltimore: John Hopkins UP, 1982. Shannon, Claude. A Mathematical Theory of Communication. July, October 1948. Online PDF. 27: 379-423, 623-656 (reprinted with corrections). 13 Jul. 2004 http://cm.bell-labs.com/cm/ms/what/shannonday/paper.html>. Virilio, Paul. The Vision Machine. Trans. Julie Rose. Bloomington and Indianapolis: Indiana UP, British Film Institute, 1994. Von Neumann, John. “The General and Logical Theory of Automata.” Collected Works. Ed. A. H. Taub. Vol. 5. Oxford: Pergamon Press, 1963. Weaver, Warren. “Recent Contributions to the Mathematical Theory of Communication.” The Mathematical Theory of Commnunication. Eds. Claude Shannon and Warren Weaver. paperback, 1963 ed. Urbana and Chicago: U of Illinois P, 1949. 1-16. Work Discussed et al. maintenance of social solidarity–instance 5 2006. Installation, Google Earth feed, newspapers, sound. Exhibited in SCAPE 2006 Biennial of Art in Public Space Christchurch Art Gallery, Christchurch, September 30-November 12. Images reproduced with the permission of et al. Photographs by Lee Cunliffe. Acknowledgments Research for this paper was conducted with the support of an Otago Polytechnic Resaerch Grant. Photographs of et al. maintenance of social solidarity–instance 5 by Lee Cunliffe. Citation reference for this article MLA Style Ballard, Su. "Information, Noise and et al." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/02-ballard.php>. APA Style Ballard, S. (Oct. 2007) "Information, Noise and et al.," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/02-ballard.php>.

As the ball dropped on 1999, is it any wonder that No Doubt played, “It’s the End of the World as We Know It” by R.E.M. live on MTV? Any discussion of the Nineties—and its pinnacle moment, Y2K—requires a discussion of both the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine that has, twenty years later, become normalised in today’s Post Internet culture. By staging failure and inviting the audience to participate, the glitch and the cover call into question the original and the origin story. This breakdown of normative borders has prompted the convergence of previously demarcated media, genres, and cultures, a constellation from which to recognise a stochastic hybrid form. The Cover as a Revelation of Collaborative MurmurBefore Sean Parker collaborated with Shawn Fanning to launch Napster on 1 June 1999, networked file distribution existed as cumbersome text-based programs like Internet Relay Chat and Usenet, servers which resembled bulletin boards comprising multiple categories of digitally ripped files. Napster’s simple interface, its advanced search filters, and its focus on music and audio files fostered a peer-to-peer network that became the fastest growing website in history, registering 80 million users in less than two years.In harnessing the transgressive power of the Internet to force a new mode of content sharing, Napster forced traditional providers to rethink what constitutes “content” at a moment which prefigures our current phenomena of “produsage” (Bruns) and the vast popularity of user-generated content. At stake is not just the democratisation of art but troubling the very idea of intellectual property, which is to say, the very concept of ownership.Long before the Internet was re-routed from military servers and then mainstreamed, Michel Foucault understood the efficacy of anonymous interactions on the level of literature, imagining a culture where discourse would circulate without any need for an author. But what he was asking in 1969 is something we can better answer today, because it seems less germane to call into question the need for an author in a culture in which everyone is writing, producing, and reproducing text, and more effective to think about re-evaluating the notion of a single author, or what it means to write by yourself. One would have to testify to the particular medium we have at our disposal, the Internet’s ultimate permissibility, its provocations for collaboration and co-creation. One would have to surrender the idea that authors own anything besides our will to keep producing, and our desire for change; and to modulate means to resist without negating, to alter without omitting, to enable something new to come forward; the unfolding of the text into the anonymity of a murmur.We should remind ourselves that “to author” all the way down to its Latin roots signifies advising, witnessing, and transferring. We should be reminded that to author something means to forget the act of saying “I,” to forget it or to make it recede in the background in service of the other or others, on behalf of a community. The de-centralisation of Web development and programming initiated by Napster inform a poetics of relation, an always-open structure in which, as Édouard Glissant said, “the creator of a text is effaced, or rather, is done away with, to be revealed in the texture of his creation” (25). When a solid melts, it reveals something always underneath, something at the bottom, something inside—something new and something that was always already there. A cover, too, is both a revival and a reworking, an update and an interpretation, a retrospective tribute and a re-version that looks toward the future. In performing the new, the original as singular is called into question, replaced by an increasingly fetishised copy made up of and made by multiples.Authorial Effacement and the Exigency of the ErrorY2K, otherwise known as the Millennium Bug, was a coding problem, an abbreviation made to save memory space which would disrupt computers during the transition from 1999 to 2000, when it was feared that the new year would become literally unrecognisable. After an estimated $300 billion in upgraded hardware and software was spent to make computers Y2K-compliant, something more extraordinary than global network collapse occurred as midnight struck: nothing.But what if the machine admits the possibility of accident? Implicit in the admission of any accident is the disclosure of a new condition—something to be heard, to happen, from the Greek ad-cadere, which means to fall. In this drop into non-repetition, the glitch actualises an idea about authorship that necessitates multi-user collaboration; the curtain falls only to reveal the hidden face of technology, which becomes, ultimately, instructions for its re-programming. And even as it deviates, the new form is liable to become mainstreamed into a new fashion. “Glitch’s inherently critical moment(um)” (Menkman 8) indicates this potential for technological self-insurgence, while suggesting the broader cultural collapse of generic markers and hierarchies, and its ensuing flow into authorial fluidity.This feeling of shock, this move “towards the ruins of destructed meaning” (Menkman 29) inherent in any encounter with the glitch, forecasted not the immediate horror of Y2K, but the delayed disasters of 9/11, Hurricane Katrina, Deepwater Horizon Oil Spill, Indian Ocean tsunami, Sichuan Province earthquake, global financial crisis, and two international wars that would all follow within the next nine years. If, as Menkman asserts, the glitch, in representing a loss of self-control “captures the machine revealing itself” (30), what also surfaces is the tipping point that edges us toward a new becoming—not only the inevitability of surrender between machine and user, but their reversibility. Just as crowds stood, transfixed before midnight of the new millennium in anticipation of the error, or its exigency, it’s always the glitch I wait for; it’s always the glitch I aim to re-create, as if on command. The accidental revelation, or the machine breaking through to show us its insides. Like the P2P network that Napster introduced to culture, every glitch produces feedback, a category of noise (Shannon) influencing the machine’s future behaviour whereby potential users might return the transmission.Re-Orienting the Bizarre in Fantasy and FictionIt is in the fantasy of dreams, and their residual leakage into everyday life, evidenced so often in David Lynch’s Twin Peaks, where we can locate a similar authorial agency. The cult Nineties psycho-noir, and its discontinuous return twenty-six years later, provoke us into reconsidering the science of sleep as the art of fiction, assembling an alternative, interactive discourse from found material.The turning in and turning into in dreams is often described as an encounter with the “bizarre,” a word which indicates our lack of understanding about the peculiar processes that normally happen inside our heads. Dreams are inherently and primarily bizarre, Allan J. Hobson argues, because during REM sleep, our noradrenergic and serotonergic systems do not modulate the activated brain, as they do in waking. “The cerebral cortex and hippocampus cannot function in their usual oriented and linear logical way,” Hobson writes, “but instead create odd and remote associations” (71). But is it, in fact, that our dreams are “bizarre” or is it that the model itself is faulty—a precept premised on the normative, its dependency upon generalisation and reducibility—what is bizarre if not the ordinary modulations that occur in everyday life?Recall Foucault’s interest not in what a dream means but what a dream does. How it rematerialises in the waking world and its basis in and effect on imagination. Recall recollection itself, or Erin J. Wamsley’s “Dreaming and Offline Memory Consolidation.” “A ‘function’ for dreaming,” Wamsley writes, “hinges on the difficult question of whether conscious experience in general serves any function” (433). And to think about the dream as a specific mode of experience related to a specific theory of knowledge is to think about a specific form of revelation. It is this revelation, this becoming or coming-to-be, that makes the connection to crowd-sourced content production explicit—dreams serve as an audition or dress rehearsal in which new learning experiences with others are incorporated into the unconscious so that they might be used for production in the waking world. Bert O. States elaborates, linking the function of the dream with the function of the fiction writer “who makes models of the world that carry the imprint and structure of our various concerns. And it does this by using real people, or ‘scraps’ of other people, as the instruments of hypothetical facts” (28). Four out of ten characters in a dream are strangers, according to Calvin Hall, who is himself a stranger, someone I’ve never met in waking life or in a dream. But now that I’ve read him, now that I’ve written him into this work, he seems closer to me. Twin Peak’s serial lesson for viewers is this—even the people who seem strangers to us can interact with and intervene in our processes of production.These are the moments that a beginning takes place. And even if nothing directly follows, this transfer constitutes the hypothesised moment of production, an always-already perhaps, the what-if stimulus of charged possibility; the soil plot, or plot line, for freedom. Twin Peaks is a town in which the bizarre penetrates the everyday so often that eventually, the bizarre is no longer bizarre, but just another encounter with the ordinary. Dream sequences are common, but even more common—and more significant—are the moments in which what might otherwise be a dream vision ruptures into real life; these moments propel the narrative.Exhibit A: A man who hasn’t gone outside in a while begins to crumble, falling to the earth when forced to chase after a young girl, who’s just stolen the secret journal of another young girl, which he, in turn, had stolen.B: A horse appears in the middle of the living room after a routine vacuum cleaning and a subtle barely-there transition, a fade-out into a fade-in, what people call a dissolve. No one notices, or thinks to point out its presence. Or maybe they’re distracted. Or maybe they’ve already forgotten. Dissolve.(I keep hitting “Save As.” As if renaming something can also transform it.)C: All the guests at the Great Northern Hotel begin to dance the tango on cue—a musical, without any music.D: After an accident, a middle-aged woman with an eye patch—she was wearing the eye patch before the accident—believes she’s seventeen again. She enrolls in Twin Peaks High School and joins the cheerleading team.E: A woman pretending to be a Japanese businessman ambles into the town bar to meet her estranged husband, who fails to recognise his cross-dressing, race-swapping wife.F: A girl with blond hair is murdered, only to come back as another girl, with the same face and a different name. And brown hair. They’re cousins.G: After taking over her dead best friend’s Meals on Wheels route, Donna Hayward walks in to meet a boy wearing a tuxedo, sitting on the couch with his fingers clasped: a magician-in-training. “Sometimes things can happen just like this,” he says with a snap while the camera cuts to his grandmother, bed-ridden, and the appearance of a plate of creamed corn that vanishes as soon as she announces its name.H: A woman named Margaret talks to and through a log. The log, cradled in her arms wherever she goes, becomes a key witness.I: After a seven-minute diegetic dream sequence, which includes a one-armed man, a dwarf, a waltz, a dead girl, a dialogue played backward, and a significantly aged representation of the dreamer, Agent Cooper wakes up and drastically shifts his investigation of a mysterious small-town murder. The dream gives him agency; it turns him from a detective staring at a dead-end to one with a map of clues. The next day, it makes him a storyteller; all the others, sitting tableside in the middle of the woods become a captive audience. They become readers. They read into his dream to create their own scenarios. Exhibit I. The cycle of imagination spins on.Images re-direct and obfuscate meaning, a process of over-determination which Foucault says results in “a multiplication of meanings which override and contradict each other” (DAE 34). In the absence of image, the process of imagination prevails. In the absence of story, real drama in our conscious life, we form complex narratives in our sleep—our imaginative unconscious. Sometimes they leak out, become stories in our waking life, if we think to compose them.“A bargain has been struck,” says Harold, an under-5 bit player, later, in an episode called “Laura’s Secret Diary.” So that she might have the chance to read Laura Palmer’s diary, Donna Hayward agrees to talk about her own life, giving Harold the opportunity to write it down in his notebook: his “living novel” the new chapter which reads, after uncapping his pen and smiling, “Donna Hayward.”He flips to the front page and sets a book weight to keep the page in place. He looks over at Donna sheepishly. “Begin.”Donna begins talking about where she was born, the particulars of her father—the lone town doctor—before she interrupts the script and asks her interviewer about his origin story. Not used to people asking him the questions, Harold’s mouth drops and he stops writing. He puts his free hand to his chest and clears his throat. (The ambient, wind-chime soundtrack intensifies.) “I grew up in Boston,” he finally volunteers. “Well, actually, I grew up in books.”He turns his head from Donna to the notebook, writing feverishly, as if he’s begun to write his own responses as the camera cuts back to his subject, Donna, crossing her legs with both hands cupped at her exposed knee, leaning in to tell him: “There’s things you can’t get in books.”“There’s things you can’t get anywhere,” he returns, pen still in his hand. “When we dream, they can be found in other people.”What is a call to composition if not a call for a response? It is always the audience which makes a work of art, re-framed in our own image, the same way we re-orient ourselves in a dream to negotiate its “inconsistencies.” Bizarreness is merely a consequence of linguistic limitations, the overwhelming sensory dream experience which can only be re-framed via a visual representation. And so the relationship between the experience of reading and dreaming is made explicit when we consider the associations internalised in the reader/audience when ingesting a passage of words on a page or on the stage, objects that become mental images and concept pictures, a lens of perception that we may liken to another art form: the film, with its jump-cuts and dissolves, so much like the defamiliarising and dislocating experience of dreaming, especially for the dreamer who wakes. What else to do in that moment but write about it?Evidence of the bizarre in dreams is only the evidence of the capacity of our human consciousness at work in the unconscious; the moment in which imagination and memory come together to create another reality, a spectrum of reality that doesn’t posit a binary between waking and sleeping, a spectrum of reality that revels in the moments where the two coalesce, merge, cross-pollinate—and what action glides forward in its wake? Sustained un-hesitation and the wish to stay inside one’s self. To be conscious of the world outside the dream means the end of one. To see one’s face in the act of dreaming would require the same act of obliteration. Recognition of the other, and of the self, prevents the process from being fulfilled. Creative production and dreaming, like voyeurism, depend on this same lack of recognition, or the recognition of yourself as other. What else is a dream if not a moment of becoming, of substituting or sublimating yourself for someone else?We are asked to relate a recent dream or we volunteer an account, to a friend or lover. We use the word “seem” in nearly every description, when we add it up or how we fail to. Everything seems to be a certain way. It’s not a place but a feeling. James, another character on Twin Peaks, says the same thing, after someone asks him, “Where do you want to go?” but before he hops on his motorcycle and rides off into the unknowable future outside the frame. Everything seems like something else, based on our own associations, our own knowledge of people and things. Offline memory consolidation. Seeming and semblance. An uncertainty of appearing—both happening and seeing. How we mediate—and re-materialise—the dream through text is our attempt to re-capture imagination, to leave off the image and better become it. If, as Foucault says, the dream is always a dream of death, its purpose is a call to creation.Outside of dreams, something bizarre occurs. We call it novelty or news. We might even bestow it with fame. A man gets on the wrong plane and ends up halfway across the world. A movie is made into the moment of his misfortune. Years later, in real life and in movie time, an Iranian refugee can’t even get on the plane; he is turned away by UK immigration officials at Charles de Gaulle, so he spends the next sixteen years living in the airport lounge; when he departs in real life, the movie (The Terminal, 2004) arrives in theaters. Did it take sixteen years to film the terminal exile? How bizarre, how bizarre. OMC’s eponymous refrain of the 1996 one-hit wonder, which is another way of saying, an anomaly.When all things are counted and countable in today’s algorithmic-rich culture, deviance becomes less of a statistical glitch and more of a testament to human peculiarity; the repressed idiosyncrasies of man before machine but especially the fallible tendencies of mankind within machines—the non-repetition of chance that the Nineties emblematised in the form of its final act. The point is to imagine what comes next; to remember waiting together for the end of the world. There is no need to even open your eyes to see it. It is just a feeling. ReferencesBruns, Axel. “Towards Produsage: Futures for User-Led Content Production.” Cultural Attitudes towards Technology and Communication 2006: Proceedings of the Fifth International Conference, eds. Fay Sudweeks, Herbert Hrachovec, and Charles Ess. Murdoch: School of Information Technology, 2006. 275-84. <https://eprints.qut.edu.au/4863/1/4863_1.pdf>.Foucault, Michel. “Dream, Imagination and Existence.” Dream and Existence. Ed. Keith Hoeller. Pittsburgh: Review of Existential Psychology & Psychiatry, 1986. 31-78.———. “What Is an Author?” The Foucault Reader: An Introduction to Foucault’s Thought. Ed. Paul Rainbow. New York: Penguin, 1991.Glissant, Édouard. Poetics of Relation. Trans. Betsy Wing. Ann Arbor: U of Michigan P, 1997.Hall, Calvin S. The Meaning of Dreams. New York: McGraw Hill, 1966.Hobson, J. Allan. The Dream Drugstore: Chemically Altered State of Conscious­ness. Cambridge: MIT Press, 2001.Menkman, Rosa. The Glitch Moment(um). Amsterdam: Network Notebooks, 2011.Shannon, Claude Elwood. “A Mathematical Theory of Communication.” The Bell System Technical Journal 27 (1948): 379-423.States, Bert O. “Bizarreness in Dreams and Other Fictions.” The Dream and the Text: Essays on Literature and Language. Ed. Carol Schreier Rupprecht. Albany: SUNY P, 1993.Twin Peaks. Dir. David Lynch. ABC and Showtime. 1990-3 & 2017. Wamsley, Erin. “Dreaming and Offline Memory Consolidation.” Current Neurology and Neuroscience Reports 14.3 (2014): 433. “Y2K Bug.” Encyclopedia Britannica. 18 July 2018. <https://www.britannica.com/technology/Y2K-bug>.

The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway (1976). In these films, maps, charts, or tableaux (the three-dimensional models upon which are plotted the movements of battalions, fleets, and so on) emerge as an expression of both martial and cinematic strategy. As a rear-view representation of the relative movements of personnel and materiel in particular battle arenas, the map and its accessories (pins, tape, markers, and so forth) trace the broad military dispositions of Patton’s 2nd Corp (Africa), Seventh Army (Italy) and Third Army (Western Europe) and the relative position of American and Japanese fleets in the Pacific. In both Patton and Midway, the map also emerges as a simple mode of narrative plotting: as the various encounters in the two texts play out, the battle-map more or less contemporaneously traces the progress of forces. It also serves as a foreshadowing device, not just narratively, but cinematically: that which is plotted in advance comes to pass (even if as preliminary movements before catastrophe), but the audience is also cued for the cinematic chaos and disjuncture that almost inevitably ensues in the battle scenes proper.On one hand, then, this essay proposes that at the fundamental level of fabula (seen through either the lens of historical hindsight or through the eyes of the novice who knows nothing of World War II), the annotated map is engaged both strategically and cinematically: as a stage upon which commanders attempt to act out (either in anticipation, or retrospectively) the intricate, but grotesque, ballet of warfare — and as a reflection of the broad, sequential, sweeps of conflict. While, in War and Cinema, Paul Virilio offers the phrase ‘the logistics of perception’ (1), in this this essay we, on the other hand, consider that, for those in command, the battle-map is a representation of the perception of logistics: the big picture of war finds rough indexical representation on a map, but (as Clausewitz tells us) chance, the creative agency of individual commanders, and the fog of battle make it far less probable (than is the case in more specific mappings, such as, say, the wedding rehearsal) that what is planned will play out with any degree of close correspondence (On War 19, 21, 77-81). Such mapping is, of course, further problematised by the processes of abstraction themselves: indexicality is necessarily a reduction; a de-realisation or déterritorialisation. ‘For the military commander,’ writes Virilio, ‘every dimension is unstable and presents itself in isolation from its original context’ (War and Cinema 32). Yet rehearsal (on maps, charts, or tableaux) is a keying activity that seeks to presage particular real world patterns (Goffman 45). As suggested above, far from being a rhizomatic activity, the heavily plotted (as opposed to thematic) business of mapping is always out of joint: either a practice of imperfect anticipation or an equally imperfect (pared back and behind-the-times) rendition of activity in the field. As is argued by Tolstoj in War and Peace, the map then presents to the responder a series of tensions and ironies often lost on the masters of conflict themselves. War, as Tostoj proposes, is a stochastic phenomenon while the map is a relatively static, and naive, attempt to impose order upon it. Tolstoj, then, pillories Phull (in the novel, Pfuhl), the aptly-named Prussian general whose lock-stepped obedience to the science of war (of which the map is part) results in the abject humiliation of 1806:Pfuhl was one of those theoreticians who are so fond of their theory that they lose sight of the object of that theory - its application in practice. (Vol. 2, Part 1, Ch. 10, 53)In both Patton and Midway, then, the map unfolds not only as an epistemological tool (read, ‘battle plan’) or reflection (read, the near contemporaneous plotting of real world affray) of the war narrative, but as a device of foreshadowing and as an allegory of command and its profound limitations. So, in Deleuzian terms, while emerging as an image of both time and perception, for commanders and filmgoers alike, the map is also something of a seduction: a ‘crystal-image’ situated in the interstices between the virtual and the actual (Deleuze 95). To put it another way, in our films the map emerges as an isomorphism: a studied plotting in which inheres a counter-text (Goffman 26). As a simple device of narrative, and in the conventional terms of latitude and longitude, in both Patton and Midway, the map, chart, or tableau facilitate the plotting of the resources of war in relation to relief (including island land masses), roads, railways, settlements, rivers, and seas. On this syntagmatic plane, in Greimasian terms, the map is likewise received as a canonical sign of command: where there are maps, there are, after all, commanders (Culler 13). On the other hand, as suggested above, the battle-map (hereafter, we use the term to signify the conventional paper map, the maritime chart, or tableau) materialises as a sanitised image of the unknown and the grotesque: as apodictic object that reduces complexity and that incidentally banishes horror and affect. Thus, the map evolves, in the viewer’s perception, as an ironic sign of all that may not be commanded. This is because, as an emblem of the rational order, in Patton and Midway the map belies the ubiquity of battle’s friction: that defined by Clausewitz as ‘the only concept which...distinguishes real war from war on paper’ (73). ‘Friction’ writes Clausewitz, ‘makes that which appears easy in War difficult in reality’ (81).Our work here cannot ignore or side-step the work of others in identifying the core cycles, characteristics of the war film genre. Jeanine Basinger, for instance, offers nothing less than an annotated checklist of sixteen key characteristics for the World War II combat film. Beyond this taxonomy, though, Basinger identifies the crucial role this sub-type of film plays in the corpus of war cinema more broadly. The World War II combat film’s ‘position in the evolutionary process is established, as well as its overall relationship to history and reality. It demonstrates how a primary set of concepts solidifies into a story – and how they can be interpreted for a changing ideology’ (78). Stuart Bender builds on Basinger’s taxonomy and discussion of narrative tropes with a substantial quantitative analysis of the very building blocks of battle sequences. This is due to Bender’s contention that ‘when a critic’s focus [is] on the narrative or ideological components of a combat film [this may] lead them to make assumptions about the style which are untenable’ (8). We seek with this research to add to a rich and detailed body of knowledge by redressing a surprising omission therein: a conscious and focussed analysis of the use of battle-maps in war cinema. In Patton and in Midway — as in War and Peace — the map emerges as an emblem of an intergeneric dialogue: as a simple storytelling device and as a paradigmatic engine of understanding. To put it another way, as viewer-responders with a synoptic perspective we perceive what might be considered a ‘double exposure’: in the map we see what is obviously before us (the collision of represented forces), but an Archimedean positioning facilitates the production of far more revelatory textual isotopies along what Roman Jakobson calls the ‘axis of combination’ (Linguistics and Poetics 358). Here, otherwise unconnected signs (in our case various manifestations and configurations of the battle-map) are brought together in relation to particular settings, situations, and figures. Through this palimpsest of perspective, a crucial binary emerges: via the battle-map we see ‘command’ and the sequence of engagement — and, through Greimasian processes of axiological combination (belonging more to syuzhet than fabula), elucidated for us are the wrenching ironies of warfare (Culler 228). Thus, through the profound and bound motif of the map (Tomashevsky 69), are we empowered to pass judgement on the map bearers who, in both films, present as the larger-than-life heroes of old. Figure 1.While we have scope only to deal with the African theatre, Patton opens with a dramatic wide-shot of the American flag: a ‘map’, if you will, of a national history forged in war (Fig. 1). Against this potent sign of American hegemony, as he slowly climbs up to the stage before it, the general appears a diminutive figure -- until, via a series of matched cuts that culminate in extreme close-ups, he manifests as a giant about to play his part in a great American story (Fig. 2).Figure 2.Some nineteen minutes into a film, having surveyed the carnage of Kasserine Pass (in which, in February 1943, the Germans inflicted a humiliating defeat on the Americans) General Omar Bradley is reunited with his old friend and newly-nominated three-star general, George S. Patton Jr.. Against a backdrop of an indistinct topographical map (that nonetheless appears to show the front line) and the American flag that together denote the men’s authority, the two discuss the Kasserine catastrophe. Bradley’s response to Patton’s question ‘What happened at Kasserine?’ clearly illustrates the tension between strategy and real-world engagement. While the battle-plan was solid, the Americans were outgunned, their tanks were outclassed, and (most importantly) their troops were out-disciplined. Patton’s concludes that Rommel can only be beaten if the American soldiers are fearless and fight as a cohesive unit. Now that he is in command of the American 2nd Corp, the tide of American martial fortune is about to turn.The next time Patton appears in relation to the map is around half an hour into the two-and-three-quarter-hour feature. Here, in the American HQ, the map once more appears as a simple, canonical sign of command. Somewhat carelessly, the map of Europe seems to show post-1945 national divisions and so is ostensibly offered as a straightforward prop. In terms of martial specifics, screenplay writer Francis Ford Coppola apparently did not envisage much close scrutiny of the film’s maps. Highlighted, instead, are the tensions between strategy as a general principle and action on the ground. As British General Sir Arthur Coningham waxes lyrical about allied air supremacy, a German bomber drops its payload on the HQ, causing the map of Europe to (emblematically) collapse forward into the room. Following a few passes by the attacking aircraft, the film then cuts to a one second medium shot as a hail of bullets from a Heinkel He 111 strike a North African battle map (Fig. 3). Still prone, Patton remarks: ‘You were discussing air supremacy, Sir Arthur.’ Dramatising a scene that did take place (although Coningham was not present), Schaffner’s intention is to allow Patton to shoot holes in the British strategy (of which he is contemptuous) but a broader objective is the director’s exposé of the more general disjuncture between strategy and action. As the film progresses, and the battle-map’s allegorical significance is increasingly foregrounded, this critique becomes definitively sharper.Figure 3.Immediately following a scene in which an introspective Patton walks through a cemetery in which are interred the remains of those killed at Kasserine, to further the critique of Allied strategy the camera cuts to Berlin’s high command and a high-tech ensemble of tableaux, projected maps, and walls featuring lights, counters, and clocks. Tasked to research the newly appointed Patton, Captain Steiger walks through the bunker HQ with Hitler’s Chief of Staff, General Jodl, to meet with Rommel — who, suffering nasal diphtheria, is away from the African theatre. In a memorable exchange, Steiger reveals that Patton permanently attacks and never retreats. Rommel, who, following his easy victory at Kasserine, is on the verge of total tactical victory, in turn declares that he will ‘attack and annihilate’ Patton — before the poet-warrior does the same to him. As Clausewitz has argued, and as Schaffner is at pains to point out, it seems that, in part, the outcome of warfare has more to do with the individual consciousness of competing warriors than it does with even the most exquisite of battle-plans.Figure 4.So, even this early in the film’s runtime, as viewer-responders we start to reassess various manifestations of the battle-map. To put it as Michelle Langford does in her assessment of Schroeter’s cinema, ‘fragments of the familiar world [in our case, battle-maps] … become radically unfamiliar’ (Allegorical Images 57). Among the revelations is that from the flag (in the context of close battle, all sense of ‘the national’ dissolves), to the wall map, to the most detailed of tableau, the battle-plan is enveloped in the fog of war: thus, the extended deeply-focussed scenes of the Battle of El Guettar take us from strategic overview (Patton’s field glass perspectives over what will soon become a Valley of Death) to what Boris Eichenbaum has called ‘Stendhalian’ scale (The Young Tolstoi 105) in which, (in Patton) through more closely situated perspectives, we almost palpably experience the Germans’ disarray under heavy fire. As the camera pivots between the general and the particular (and between the omniscient and the nescient) the cinematographer highlights the tension between the strategic and the actual. Inasmuch as it works out (and, as Schaffner shows us, it never works out completely as planned) this is the outcome of modern martial strategy: chaos and unimaginable carnage on the ground that no cartographic representation might capture. As Patton observes the destruction unfold in the valley below and before him, he declares: ‘Hell of a waste of fine infantry.’ Figure 5.An important inclusion, then, is that following the protracted El Guettar battle scenes, Schaffner has the (symbolically flag-draped) casket of Patton’s aide, Captain Richard N. “Dick” Jenson, wheeled away on a horse-drawn cart — with the lonely figure of the mourning general marching behind, his ironic interior monologue audible to the audience: ‘I can't see the reason such fine young men get killed. There are so many battles yet to fight.’ Finally, in terms of this brief and partial assessment of the battle-map in Patton, less than an hour in, we may observe that the map is emerging as something far more than a casual prop; as something more than a plotting of battlelines; as something more than an emblem of command. Along a new and unexpected axis of semantic combination, it is now manifesting as a sign of that which cannot be represented nor commanded.Midway presents the lead-up to the eponymous naval battle of 1942. Smight’s work is of interest primarily because the battle itself plays a relatively small role in the film; what is most important is the prolonged strategising that comprises most of the film’s run time. In Midway, battle-tables and fleet markers become key players in the cinematic action, second almost to the commanders themselves. Two key sequences are discussed here: the moment in which Yamamoto outlines his strategy for the attack on Midway (by way of a decoy attack on the Aleutian Islands), and the scene some moments later where Admiral Nimitz and his assembled fleet commanders (Spruance, Blake, and company) survey their own plan to defend the atoll. In Midway, as is represented by the notion of a fleet-in-being, the oceanic battlefield is presented as a speculative plane on which commanders can test ideas. Here, a fleet in a certain position projects a radius of influence that will deter an enemy fleet from attacking: i.e. ‘a fleet which is able and willing to attack an enemy proposing a descent upon territory which that force has it in charge to protect’ (Colomb viii). The fleet-in-being, it is worth noting, is one that never leaves port and, while it is certainly true that the latter half of Midway is concerned with the execution of strategy, the first half is a prolonged cinematic game of chess, with neither player wanting to move lest the other has thought three moves ahead. Virilio opines that the fleet-in-being is ‘a new idea of violence that no longer comes from direct confrontation and bloodshed, but rather from the unequal properties of bodies, evaluation of the number of movements allowed them in a chosen element, permanent verification of their dynamic efficiency’ (Speed and Politics 62). Here, as in Patton, we begin to read the map as a sign of the subjective as well as the objective. This ‘game of chess’ (or, if you prefer, ‘Battleships’) is presented cinematically through the interaction of command teams with their battle-tables and fleet markers. To be sure, this is to show strategy being developed — but it is also to prepare viewers for the defamiliarised representation of the battle itself.The first sequence opens with a close-up of Admiral Yamamoto declaring: ‘This is how I expect the battle to develop.’ The plan to decoy the Americans with an attack on the Aleutians is shown via close-ups of the conveniently-labelled ‘Northern Force’ (Fig. 6). It is then explained that, twenty-four hours later, a second force will break off and strike south, on the Midway atoll. There is a cut from closeups of the pointer on the map to the wider shot of the Japanese commanders around their battle table (Fig. 7). Interestingly, apart from the opening of the film in the Japanese garden, and the later parts of the film in the operations room, the Japanese commanders are only ever shown in this battle-table area. This canonically positions the Japanese as pure strategists, little concerned with the enmeshing of war with political or social considerations. The sequence ends with Commander Yasimasa showing a photograph of Vice Admiral Halsey, who the Japanese mistakenly believe will be leading the carrier fleet. Despite some bickering among the commanders earlier in the film, this sequence shows the absolute confidence of the Japanese strategists in their plan. The shots are suitably languorous — averaging three to four seconds between cuts — and the body language of the commanders shows a calm determination. The battle-map here is presented as an index of perfect command and inevitable victory: each part of the plan is presented with narration suggesting the Japanese expect to encounter little resistance. While Yasimasa and his clique are confident, the other commanders suggest a reconnaissance flight over Pearl Harbor to ascertain the position of the American fleet; the fear of fleet-in-being is shown here firsthand and on the map, where the reconnaissance planes are placed alongside the ship markers. The battle-map is never shown in full: only sections of the naval landscape are presented. We suggest that this is done in order to prepare the audience for the later stages of the film: as in Patton (from time to time) the battle-map here is filmed abstractly, to prime the audience for the abstract montage of the battle itself in the film’s second half.Figure 6.Figure 7.Having established in the intervening running time that Halsey is out of action, his replacement, Rear Admiral Spruance, is introduced to the rest of the command team. As with all the important American command and strategy meetings in the film, this is done in the operations room. A transparent coordinates board is shown in the foreground as Nimitz, Spruance and Rear Admiral Fletcher move through to the battle table. Behind the men, as they lean over the table, is an enormous map of the world (Fig. 8). In this sequence, Nimitz freely admits that while he knows each Japanese battle group’s origin and heading, he is unsure of their target. He asks Spruance for his advice:‘Ray, assuming what you see here isn’t just an elaborate ruse — Washington thinks it is, but assuming they’re wrong — what kind of move do you suggest?’This querying is followed by Spruance glancing to a particular point on the map (Fig. 9), then a cut to a shot of models representing the aircraft carriers Hornet, Enterprise & Yorktown (Fig. 10). This is one of the few model/map shots unaccompanied by dialogue or exposition. In effect, this shot shows Spruance’s thought process before he responds: strategic thought presented via cinematography. Spruance then suggests situating the American carrier group just northeast of Midway, in case the Japanese target is actually the West Coast of the United States. It is, in effect, a hedging of bets. Spruance’s positioning of the carrier group also projects that group’s sphere of influence around Midway atoll and north to essentially cut off Japanese access to the US. The fleet-in-being is presented graphically — on the map — in order to, once again, cue the audience to match the later (edited) images of the battle to these strategic musings.In summary, in Midway, the map is an element of production design that works alongside cinematography, editing, and performance to present the notion of strategic thought to the audience. In addition, and crucially, it functions as an abstraction of strategy that prepares the audience for the cinematic disorientation that will occur through montage as the actual battle rages later in the film. Figure 8.Figure 9.Figure 10.This essay has argued that the battle-map is a simulacrum of the weakest kind: what Baudrillard would call ‘simulacra of simulation, founded on information, the model’ (121). Just as cinema itself offers a distorted view of history (the war film, in particular, tends to hagiography), the battle-map is an over-simplification that fails to capture the physical and psychological realities of conflict. We have also argued that in both Patton and Midway, the map is not a ‘free’ motif (Tomashevsky 69). Rather, it is bound: a central thematic device. In the two films, the battle-map emerges as a crucial isomorphic element. On the one hand, it features as a prop to signify command and to relay otherwise complex strategic plottings. At this syntagmatic level, it functions alongside cinematography, editing, and performance to give audiences a glimpse into how military strategy is formed and tested: a traditional ‘reading’ of the map. But on the flip side of what emerges as a classic structuralist binary, is the map as a device of foreshadowing (especially in Midway) and as a depiction of command’s profound limitations. Here, at a paradigmatic level, along a new axis of combination, a new reading of the map in war cinema is proposed: the battle-map is as much a sign of the subjective as it is the objective.ReferencesBasinger, Jeanine. The World War II Combat Film: Anatomy of a Genre. Middletown, CT: Columbia UP, 1986.Baudrillard, Jean. Simulacra and Simulation. Ann Arbour: U of Michigan Press, 1994.Bender, Stuart. Film Style and the World War II Combat Genre. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.Clausewitz, Carl. On War. Vol. 1. London: Kegan Paul, 1908.Colomb, Philip Howard. Naval Warfare: Its Ruling Principles and Practice Historically Treated. 3rd ed. London: W.H. Allen & Co, 1899.Culler, Jonathan. Structuralist Poetics. London: Routledge & Kegan Paul, 1975.Deleuze, Gilles. Cinema 2: The Time-Image. London: Continuum, 2005.Eichenbaum, Boris. The Young Tolstoi. Ann Arbor: Ardis, 1972.Goffman, Erving. Frame Analysis. Cambridge, MA: Harvard UP, 1976.Jakobson, Roman. "Linguistics and Poetics." Style in Language. Ed. T. Sebebeok. Cambridge, MA: MIT, 1960. 350—77.Langford, Michelle. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006.Midway. Jack Smight. Universal Pictures, 1976. Film.Patton. Franklin J. Schaffner. 20th Century Fox, 1970. Film.Schulten, Susan. World War II Led to a Revolution in Cartography. New Republic 21 May 2014. 16 June 2017 <https://newrepublic.com/article/117835/richard-edes-harrison-reinvented-mapmaking-world-war-2-americans>.Tolstoy, Leo. War and Peace. Vol. 2. London: Folio, 1997.Tomashevsky, Boris. "Thematics." Russian Formalist Criticism: Four Essays. Eds. L. Lemon and M. Reis, Lincoln: U. Nebraska Press, 2012. 61—95.Tzu, Sun. The Art of War. San Diego: Canterbury Classics, 2014.Virilio, Paul. Speed and Politics. Paris: Semiotext(e), 2006.Virilio, Paul. War and Cinema: The Logistics of Perception. London: Verso, 1989.

Digital culture, as we know it, owes much to space exploration. The technological pursuit of outer space has fuelled innovations in signal processing and automated computing that have left an impact on the hardware and software that make our digital present possible. Developments in satellite technologies, for example, produced far-reaching improvements in digital image processing (Gonzalez and Woods) and the demands of the Apollo missions advanced applications of the integrated circuit – the predecessor to the microchip (Hall). All the inventive digital beginnings in space found their way back to earth and contributed to the development of contemporary formations of culture composed around practices dependent on and driven by digital technologies. Their terrestrial adoption and adaptation supported a revolution in information, mediation and communication technologies, increasing the scope and speed of global production, exchange and use of data and advancing techniques of imaging, mapping, navigation, surveillance, remote sensing and telemetry to a point that could only be imagined before the arrival of the space age. Steadily knotted with contemporary scientific, commercial and military endeavours and the fabric of the quotidian, digital devices and practices now have a bearing upon all aspects of our pursuits, pleasures and politics. Our increasing reliance upon the digital shaped the shared surfaces of human societies and produced cultures in their own right. While aware of the uneasy baggage of the term ‘culture’, we use it here to designate all digitally grounded objects, systems and processes which are materially and socially inflecting our ways of life. In this sense, we consider both what Michael Hardt and Antonio Negri describe as “those results of social production that are necessary for social interaction and further production, such as knowledges, languages, codes, information, affects, and so forth” (viii), and the material contexts of these products of the social. The effects of digital technologies on the socio-material ambits of human life are many and substantial and – as we want to suggest here – evolving through their ‘extraterrestrial’ beginnings. The contemporary courses of digital cultures not only continue to develop through investments in space exploration, they are themselves largely contingent on the technologies that we have placed in outer space, for instance, global telecommunications infrastructure, GPS, Google maps, weather and climate monitoring facilities and missile grids all rely on the constellation of satellites orbiting the earth. However, we have been increasingly witnessing something new: modes of social production that developed on earth from the technical demands of the space age are now being directed, or rather returned back to have new beginnings beyond the globe. Our focus in this paper is this outward momentum of digital cultures. We do not aim to overview the entire history of the digital in outer space, but instead to frame the extraterrestrial extension of human technologies in terms of the socio-material dimensions of extra-planetary digital cultures. Hannah Arendt described how the space age accelerated the already rapid pace of techno-scientific development, denying us pause during which to grasp its effects upon the “human condition”. Our treacherously fast technological conquest of outer space leaves in its wake an aporia in language and “the trouble”, as Arendt puts it, is that we will “forever be unable to understand, that is, to think and speak about the things which nevertheless we are able to do” (3). This crisis in language has at its core a problem of ontology: a failure to recognise that the words we use to describe ourselves are always, and have always been, bound up in our technological modes of being. As thinkers such as Gilbert Simondon and Bernard Stiegler argued and Arendt derided (but could not deny), our technologies are inseparably bound up with the evolutionary continuum of the human and the migration of our digital ways of life into outer space still further complicates articulation of our techno-logic condition. In Stiegler’s view the technical is the primordial supplement to the human into which we have been “exteriorising” our “interiors” of social memory and shared culture to alter, assert and advance the material-social ambits of our living milieu and which have been consequently changing the idea of what it is to be human (141). Without technologies – what Stiegler terms “organised inorganic matter” (17), which mediate our relationships to the world – there is no human in the inhuman extraterrestrial environment and so, effectively, it is only through the organisation of inert matter that culture or social life can exist outside the earth. Offering the possibility of digitally abstracting and processing the complexities and perils of outer space, space technologies are not only a means of creating a human milieu ‘out there’, but of expediting potentially endless extra-planetary progress. The transposition of digital culture into outer space occasions a series of beginnings (and returns). In this paper, we explore extra-planetary digital culture as a productive trajectory in broader discussions of the ontological status of technologies that are socially and materially imbricated in the idea of the human. We consider the digital facilitation of exchanges between earth and outer space and assign them a place in an evolving discourse concerned with expressing the human in relation to the technological. We suggest that ontological questions occasioned by the socio-material effects of technologies require consideration of the digital in outer space and that the inhuman milieu of the extraterrestrial opens up a unique perspective from which to consider the nascent shape of what might be the emerging extra-planetary beginnings of the post human. Digital Exurbias The unfolding of extra-planetary digital cultures necessitates the simultaneous exteriorisation of our production of the social into outer space and the domestication of our extraterrestrial activities here on earth. Caught in the processes of mediated exploration, the moon, Mars, Pluto and other natural or human-made celestial bodies such as the International Space Station are almost becoming remote outer suburbs – exurbias of earth. Digital cultures are reaching toward and expanding into outer space through the development of technologies, but more specifically through advancing the reciprocal processes of social exchanges between terrestrial and extraterrestrial space. Whether it be through public satellite tracking via applications such as Heavens-Above or The High Definition Earth Viewing system’s continuous video feed from the camera attached to the ISS (NASA, "High Definition") – which streams us back an image of our planetary habitat from an Archimedean point of view – we are being encouraged to embrace a kind of digital enculturation of extraterrestrial space. The production of social life outside our own planet has already had many forms, but perhaps can be seen most clearly aboard the International Space Station, presently the only extraterrestrial environment physically occupied by humans. Amongst its many landmark events, the ISS has become a vigorous node of social media activity. For example, in 2013 Chris Hadfield became a Twitter phenomenon while living aboard the ISS; the astronaut gathered over a million Twitter followers, he made posts on Facebook, Tumblr and Reddit, multiple mini-vids, and his rendition of David Bowie’s Space Oddity on YouTube (Hadfield) has thus far been viewed over 26 million times. His success, as has been noted, was not merely due to his use of social media in the unique environment of outer space, but rather that he was able to make the highly technical lives of those in space familiar by revealing to a global audience “how you make a sandwich in microgravity, how you get a haircut” (Potter). This techno-mediation of the everyday onboard ISS is, from a Stieglerian perspective, a gesture toward the establishment of “the relation of the living to its milieu” (49). As part of this process, the new trends and innovations of social media on earth are, for example, continuously replayed and rehearsed in the outer space, with a litany of ‘digital firsts’ such as the first human-sent extraterrestrial ‘tweet’, first Instagram post, first Reddit AMA and first Pinterest ‘pin’ (Knoblauch), betraying our obsessions with serial digital beginnings. The constitution of an extra-planetary milieu progresses with the ability to conduct real-time interactions between those on and outside the earth. This, in essence, collapses all social aspects of the physical barrier and the ISS becomes merely a high-tech outer suburb of the globe. Yet fluid, uninterrupted, real-time communications with the station have only just become possible. Previously, the Iinternet connections between earth and the ISS were slow and troublesome, akin to the early dial-up, but the recently installed Optical Payload for Lasercomm Science (OPAL), a laser communications system, now enables the incredible speeds needed to effortlessly communicate with the human orbital outpost in real-time. After OPAL was affixed to the ISS, it was first tested using the now-traditional system test, “hello, world” (NASA, "Optical Payload"); referencing the early history of digital culture itself, and in doing so, perhaps making the most apt use of this phrase, ever. Open to Beginnings Digital technologies have become vital in sustaining social life, facilitating the immaterial production of knowledge, information and affects (Hardt and Negri), but we have also become increasingly attentive to their materialities; or rather, the ‘matter of things’ never went away, it was only partially occluded by the explosion of social interactivities sparked by the ‘digital revolution’. Within the ongoing ‘material turn’, there have been a gamut of inquiries into the material contexts of the ‘digital’, for example, in the fields of digital anthropology (Horst and Miller), media studies (Kirschenbaum, Fuller, Parikka) and science and technology studies (Gillespie, Boczkowski, and Foot) – to mention only a very few of these works. Outside the globe material things are again insistent, they contain and maintain the terrestrial life from which they were formed. Outer space quickens our awareness of the materiality underpinning the technical apparatus we use to mediate and communicate and the delicate support that it provides for the complex of digital practices built upon it. Social exchanges between earth and its extra-planetary exurbias are made possible through the very materiality of digital signals within which these immaterial interactions can take place. In the pared down reality of contemporary life in outer space, the sociality of the digital is also harnessed to bring forth forms of material production. For example, when astronauts in space recently needed a particular wrench, NASA was able to email them a digital file from which they were then able print the required tool (Shukman). Through technologies such as the 3D printer, the line between products of the social and the creation of material objects becomes blurred. In extra-planetary space, the ‘thingness’ of technologies is at least as crucial as it is on earth and yet – as it appears – material production in space might eventually rely on the infrastructures occasioned by the immaterial exchanges of digital culture. As technical objects, like the 3D printer, are evolving so too are conceptions of the relationship that humans have with technologies. One result of this is the idea that technologies themselves are becoming capable of producing social life; in this conception, the relationships and interrelationships of and with technologies become a potential field of study. We suggest here that the extra-planetary extension of digital cultures will not only involve, but help shape, the evolution of these relationships, and as such, our conceptions and articulations of a future beyond the globe will require a re-positioning of the human and technical objects within the arena of life. This will require new beginnings. Yet beginnings are duplicitous, as Maurice Blanchot wrote – “one must never rely on the word beginning”; technologies have always been part of the human, our rapport is in some sense what defines the human. To successfully introduce the social in outer space will involve an evolution in both the theory and practice of this participation. And it is perhaps through the extra-planetary projection of digital culture that this will come about. In outer space the human partnership with the objects of technology, far from being a utopian promise or dystopian end, is not only a necessity but also a productive force shaping the collective beginnings of our historical co-evolution. Objects of technology that migrate into space appear designed to smooth the ontological misgivings that might arise from our extra-planetary progress. While they are part of the means for producing the social in outer space and physical fortifications against human frailty, they are perhaps also the beginnings of the extraterrestrial enculturation of technologies, given form. One example of such technologies is the anthropomorphic robots currently developed by the Dextrous Robotics Laboratory for NASA. The latest iteration of these, Robotnaut 2 was the first humanoid robot in space; it is a “highly dexterous” robot that works beside astronauts performing a wide range of manual and sensory activities (NASA, "Robonaut"). The Robonaut 2 has recorded its own series of ‘firsts’, including being the “first robot inside a human space vehicle operating without a cage, and first robot to work with human-rated tools in space” (NASA, "Robonaut"). One of the things which mark it as a potential beginning is this ability to use the same tools as astronauts. This suggests the image of a tool using a tool – at first glance, something now quite common in the operation of machines – however, in this case the robot is able to manipulate a tool that was not designed for it. This then might also include the machine itself in our own origins, in that evolutionary moment of grasping a tool or stealing fire from the gods. As an exteriorisation of the human, these robots also suggest that a shared extra-planetary culture would involve acknowledging the participation of technologic entities, recognising that they share these beginnings with us, and thus are participating in the origins of our potential futures beyond the globe – the prospects of which we can only imagine now. Identifiably human-shaped, Robonauts are created to socialise with, and labour together with, astronauts; they share tools and work on the same complex tasks in the same environment aboard the International Space Station. In doing so, their presence might break down the separation between the living and the nonliving, giving form to Stiegler’s hypothesis regarding the ontology of technical objects, and coming to represent a mode of “being” described as “organized inert matter” (49). The robonaut is not dominated by the human, like a hand-held tool, nor is it dominating like a faceless system; it is engineered to be conducted, ‘organised’ rather than controlled. In addition to its anthropomorphic tendencies – which among other things, makes them appear more human than astronauts wearing space suits – is the robonaut’s existence as part of an assemblage of networked life that links technical objects with wet bodies into an animate system of information and matter. While this “heralds the possibility of making the technical being part of culture” (Simondon 16), it also suggests that extra-planetary digital cultures will harness what Simondon formulates as an “ensemble” of “open machines” – a system of sensitive technologies toward which the human acts as “organizer and as a living interpreter” (13). In the design of our extra-planetary envoys we are evolving toward this openness; the Robonaut, a technical object that shares in digital culture and its social and material production, might be the impetus through which the human and technological acquire a language that expresses a kind of evolutionary dialectic. As a system of inclusions that uses technologies to incorporate/socialise everything it can, including its own relationship with technical objects, digital culture in outer space clarifies how technologies might relate and “exchange information with each other through the intermediacy of the human interpreter” (Simondon 14). The Robonaut, like the tweeting astronaut, provides the test signals for what might eventually become points of communication between different modes of being. In this context, culture is collective cumulative memory; the ‘digital’ form of culture suggests an evolution of both technologic life and human life because it incorporates the development of more efficient means of storing and transmitting memory as cultural knowledge, while recognising the experience of both. Social learning and memory will first define the evolution of the Robonaut. Digital culture and the social expressed through technology – toward a shared social life and cultural landscape established in outer space – will involve the conservation, transmission and setting of common patterns that pool a composite interplay of material, neurobiologic and technologic variables. This will in turn require new practices of enculturation, conviviality with technologies, a sharing, incorporation and care. Only then might this transform into a discussion concerning the ontologies of the ‘we’. (Far from) Conclusions Hannah Arendt wrote that technologic progress could not find full expression in “normal” (3) language and that we must constantly be aware that our knowledge, politics, ethics and interactions with regard to technologies are incomplete, unformulated or unexpressed. It could be said then that our relationship with technologies is constantly beginning, that this need to keep finding new language to grasp it means that it actually progresses through its rehearsal of beginnings, through the need to maintain the productive inquisitive force of a pleasant first meeting. Yet Arendt’s idea emerges from a kind of contempt for technology and her implied separation between ‘normal’ and what could be called ‘technical’ language suggests that she privileges the lay ‘human’ tongue as the only one in which meaningful ideas can be properly expressed. What this fails to acknowledge is an appreciation of the potential richness of technical language and Arendt instead establishes a hierarchy that privileges one’s ‘natural’ language. The invocation of the term ‘normal’ is itself an admission of unequal relations with technologies. For a language to develop in which we can truly begin to express and understand the human relationship with ever-changing but ever-present technologies,, we must first allow the entrance of the language of technology into social life – it must be incorporated, learnt or translated. In the future, this might ultimately give technology a voice in a dialogue that might be half-composed of binary code. Digital culture is perhaps a forerunner of such a conversation and perhaps it is in the milieu of outer space that it could be possible to see advances in our ideas about the mutually co-constitutive relationship between the human and technical. The ongoing extra-planetary extension of the digital cultures have the productive potential to sculpt the material and social ambits of our world, and it is this capacity that may precipitate beginnings which will leave lasting imprints upon the prospects of our shared post-human futures. References Arendt, Hannah. The Human Condition. 2nd ed. Chicago: University of Chicago Press, 1958. Blanchot, Maurice. Friendship. Trans. Elizabeth Rottenberg. Stanford: Stanford University Press, 1997. Originally published in French in 1971 under the title L’Amitié. Fuller, Matthew. Media Ecologies: Materialist Energies in Art and Technoculture. Cambridge, MA: MIT Press, 2005. Gillespie, Tarleton, Pablo J. Boczkowski, and Kirsten A. Foot (eds.). Media Technologies: Essays on Communication, Materiality, and Society. Cambridge, Massachusetts: MIT Press, 2014. Gonzalez, Rafael, and Richard E. Woods. Digital Image Processing. 2nd ed. New Jersey: Prentice Hall, 2002. Hadfield, Chris. “Space Oddity.” YouTube, 12 May 2013. 10 Aug. 2015 ‹https://www.youtube.com/watch?v=KaOC9danxNo›. Hall, Eldon C. Journey to the Moon: The History of the Apollo Guidance Computer. Reston: American Institute of Aeronautics and Astronautics, 1996. Hardt, Michael, and Antonio Negri. Commonwealth. Cambridge, MA: Harvard University Press, 2009. Heavens-Above. ‹http://www.heavens-above.com›. Horst, Heather, and Daniel Miller. Digital Anthropology. London and New York: Berg, 2012. Kirschenbaum, Matthew. Mechanisms: New Media and the Forensic Imagination. Cambridge, MA: MIT Press, 2008. Knoblauch, Max. “The 8 First Social Media Posts from Space.” Mashable 13 Aug. 2013. ‹http://mashable.com/2013/08/13/space-social-media-firsts/›. NASA. “High Definition Earth-Viewing.” ‹http://www.nasa.gov/mission_pages/station/research/experiments/917.html›.NASA. “Optical Payload for Lasercomm Science (OPALS).” 13 May 2015. ‹http://www.nasa.gov/mission_pages/station/research/experiments/861.html›. NASA. “Robonaut Homepage.” ‹http://robonaut.jsc.nasa.gov/default.asp›. Parikka, Jussi. “Dust and Exhaustion: The Labour of New Materialism.” C-Theory 2 Oct. 2013. ‹http://www.ctheory.net/articles.aspx?id=726›. Potter, Ned. “How Chris Hadfield Conquered Social Media from Outer Space.” Forbes 28 Jul. 2013. ‹http://www.forbes.com/sites/forbesleadershipforum/2013/06/28/how-chris-hadfield-conquered-social-media-from-outer-space›. Shukman, David. “NASA Emails Spanner to Space Station - Analysis.” BBC News 19 Dec. 2014. ‹http://www.bbc.com/news/science-environment-30549341›. Simondon, Gilbert. On the Mode of Existence of Technical Objects. Paris: Aubier, Editions Montaigne, 1958. Trans. Ninian Mellamphy. University of Western Ontario, 1980. Stiegler, Bernard. Technics and Time 1: The Fault of Epimetheus. Stanford: Stanford University Press, 1998.

Ubiquitous in airports, border checkpoints, and other securitised spaces throughout the world, full-body imaging scanners claim to read bodies in order to identify if they pose security threats. Millimetre-wave body imaging machines—the most common type of body scanner—display to the operating security agent a screen with a generic body outline. If an anomaly is found or if an individual does not align with the machine’s understanding of an “average” body, a small box is highlighted and placed around the “problem” area, prompting further inspection in the form of pat-downs or questioning. In this complex security regime governed by such biometric, body-based technologies, it could be argued that nonalignment with bodily normativity as well as an attendant failure to reveal oneself—to become “transparent” (Hall 295)—marks a body as dangerous. As these algorithmic technologies become more pervasive, so too does the imperative to critically examine their purported neutrality and operative logic of revelation and readability.Biometric technologies are marketed as excavators of truth, with their optic potency claiming to demask masquerading bodies. Failure and bias are, however, an inescapable aspect of such technologies that work with narrow parameters of human morphology. Indeed, surveillance technologies have been taken to task for their inherent racial and gender biases (Browne; Pugliese). Facial recognition has, for example, been critiqued for its inability to read darker skin tones (Buolamwini and Gebru), while body scanners have been shown to target transgender bodies (Keyes; Magnet and Rodgers; Quinan). Critical security studies scholar Shoshana Magnet argues that error is endemic to the technological functioning of biometrics, particularly since they operate according to the faulty notion that bodies are “stable” and unchanging repositories of information that can be reified into code (Magnet 2).Although body scanners are presented as being able to reliably expose concealed weapons, they are riddled with incompetencies that misidentify and over-select certain demographics as suspect. Full-body scanners have, for example, caused considerable difficulties for transgender travellers, breast cancer patients, and people who use prosthetics, such as artificial limbs, colonoscopy bags, binders, or prosthetic genitalia (Clarkson; Quinan; Spalding). While it is not in the scope of this article to detail the workings of body imaging technologies and their inconsistencies, a growing body of scholarship has substantiated the claim that these machines unfairly impact those identifying as transgender and non-binary (see, e.g., Beauchamp; Currah and Mulqueen; Magnet and Rogers; Sjoberg). Moreover, they are constructed according to a logic of binary gender: before each person enters the scanner, transportation security officers must make a quick assessment of their gender/sex by pressing either a blue (corresponding to “male”) or pink (corresponding to “female”) button. In this sense, biometric, computerised security systems control and monitor the boundaries between male and female.The ability to “reveal” oneself is henceforth predicated on having a body free of “abnormalities” and fitting neatly into one of the two sex categorisations that the machine demands. Transgender and gender-nonconforming individuals, particularly those who do not have a binary gender presentation or whose presentation does not correspond to the sex marker in their documentation, also face difficulties if the machine flags anomalies (Quinan and Bresser). Drawing on a Foucauldian analysis of power as productive, Toby Beauchamp similarly illustrates how surveillance technologies not only identify but also create and reshape the figure of the dangerous subject in relation to normative configurations of gender, race, and able-bodiedness. By mobilizing narratives of concealment and disguise, heightened security measures frame gender nonconformity as dangerous (Beauchamp, Going Stealth). Although national and supranational authorities market biometric scanning technologies as scientifically neutral and exact methods of identification and verification and as an infallible solution to security risks, such tools of surveillance are clearly shaped by preconceptions and prejudgements about race, gender, and bodily normativity. Not only are they encoded with “prototypical whiteness” (Browne) but they are also built on “grossly stereotypical” configurations of gender (Clarkson).Amongst this increasingly securitised landscape, creative forms of artistic resistance can offer up a means of subverting discriminatory policing and surveillance practices by posing alternate visualisations that reveal and challenge their supposed objectivity. In his 2018 audio-video artwork installation entitled SANCTUM, UK-based American artist Zach Blas delves into how biometric technologies, like those described above, both reveal and (re)shape ontology by utilising the affectual resonance of sexual submission. Evoking the contradictory notions of oppression and pleasure, Blas describes SANCTUM as “a mystical environment that perverts sex dungeons with the apparatuses and procedures of airport body scans, biometric analysis, and predictive policing” (see full description at https://zachblas.info/works/sanctum/).Depicting generic mannequins that stand in for the digitalised rendering of the human forms that pass through body scanners, the installation transports the scanners out of the airport and into a queer environment that collapses sex, security, and weaponry; an environment that is “at once a prison-house of algorithmic capture, a sex dungeon with no genitals, a weapons factory, and a temple to security.” This artistic reframing gestures towards full-body scanning technology’s germination in the military, prisons, and other disciplinary systems, highlighting how its development and use has originated from punitive—rather than protective—contexts.In what follows, we adopt a methodological approach that applies visual analysis and close reading to scrutinise a selection of scenes from SANCTUM that underscore the sadomasochistic power inherent in surveillance technologies. Analysing visual and aural elements of the artistic intervention allows us to complicate the relationship between transparency and recognition and to problematise the dynamic of mandatory complicity and revelation that body scanners warrant. In contrast to a discourse of visibility that characterises algorithmically driven surveillance technology, Blas suggests opacity as a resistance strategy to biometrics' standardisation of identity. Taking an approach informed by critical security studies and queer theory, we also argue that SANCTUM highlights the violence inherent to the practice of reducing the body to a flat, inert surface that purports to align with some sort of “core” identity, a notion that contradicts feminist and queer approaches to identity and corporeality as fluid and changing. In close reading this artistic installation alongside emerging scholarship on the discriminatory effects of biometric technology, this article aims to highlight the potential of art to queer the supposed objectivity and neutrality of biometric surveillance and to critically challenge normative logics of revelation and readability.Corporeal Fetishism and Body HorrorThroughout both his artistic practice and scholarly work, Blas has been critical of the above narrative of biometrics as objective extractors of information. Rather than looking to dominant forms of representation as a means for recognition and social change, Blas’s work asks that we strive for creative techniques that precisely queer biometric and legal systems in order to make oneself unaccounted for. For him, “transparency, visibility, and representation to the state should be used tactically, they are never the end goal for a transformative politics but are, ultimately, a trap” (Blas and Gaboury 158). While we would simultaneously argue that invisibility is itself a privilege that is unevenly distributed, his creative work attempts to refuse a politics of visibility and to embrace an “informatic opacity” that is attuned to differences in bodies and identities (Blas).In particular, Blas’s artistic interventions titled Facial Weaponization Suite (2011-14) and Face Cages (2013-16) protest against biometric recognition and the inequalities that these technologies propagate by making masks and wearable metal objects that cannot be detected as human faces. This artistic-activist project contests biometric facial recognition and their attendant inequalities by, as detailed on the artist’s website,making ‘collective masks’ in workshops that are modelled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies. The masks are used for public interventions and performances.One mask explores blackness and the racist implications that undergird biometric technologies’ inability to detect dark skin. Meanwhile another mask, which he calls the “Fag Face Mask”, points to the heteronormative underpinnings of facial recognition. Created from the aggregated facial data of queer men, this amorphous pink mask implicitly references—and contests—scientific studies that have attempted to link the identification of sexual orientation through rapid facial recognition techniques.Building on this body of creative work that has advocated for opacity as a tool of social and political transformation, SANCTUM resists the revelatory impulses of biometric technology by turning to the use and abuse of full-body imaging. The installation opens with a shot of a large, dark industrial space. At the far end of a red, spotlighted corridor, a black mask flickers on a screen. A shimmering, oscillating sound reverberates—the opening bars of a techno track—that breaks down in rhythm while the mask evaporates into a cloud of smoke. The camera swivels, and a white figure—the generic mannequin of the body scanner screen—is pummelled by invisible forces as if in a wind tunnel. These ghostly silhouettes appear and reappear in different positions, with some being whipped and others stretched and penetrated by a steel anal hook. Rather than conjuring a traditional horror trope of the body’s terrifying, bloody interior, SANCTUM evokes a new kind of feared and fetishized trope that is endemic to the current era of surveillance capitalism: the abstracted body, standardised and datafied, created through the supposedly objective and efficient gaze of AI-driven machinery.Resting on the floor in front of the ominous animated mask are neon fragments arranged in an occultist formation—hands or half a face. By breaking the body down into component parts— “from retina to fingerprints”—biometric technologies “purport to make individual bodies endlessly replicable, segmentable and transmissible in the transnational spaces of global capital” (Magnet 8). The notion that bodies can be seamlessly turned into blueprints extracted from biological and cultural contexts has been described by Donna Haraway as “corporeal fetishism” (Haraway, Modest). In the context of SANCTUM, Blas illustrates the dangers of mistaking a model for a “concrete entity” (Haraway, “Situated” 147). Indeed, the digital cartography of the generic mannequin becomes no longer a mode of representation but instead a technoscientific truth.Several scenes in SANCTUM also illustrate a process whereby substances are extracted from the mannequins and used as tools to enact violence. In one such instance, a silver webbing is generated over a kneeling figure. Upon closer inspection, this geometric structure, which is reminiscent of Blas’s earlier Face Cages project, is a replication of the triangulated patterns produced by facial recognition software in its mapping of distance between eyes, nose, and mouth. In the next scene, this “map” breaks apart into singular shapes that float and transform into a metallic whip, before eventually reconstituting themselves as a penetrative douche hose that causes the mannequin to spasm and vomit a pixelated liquid. Its secretions levitate and become the webbing, and then the sequence begins anew.In another scene, a mannequin is held upside-down and force-fed a bubbling liquid that is being pumped through tubes from its arms, legs, and stomach. These depictions visualise Magnet’s argument that biometric renderings of bodies are understood not to be “tropic” or “historically specific” but are instead presented as “plumbing individual depths in order to extract core identity” (5). In this sense, this visual representation calls to mind biometrics’ reification of body and identity, obfuscating what Haraway would describe as the “situatedness of knowledge”. Blas’s work, however, forces a critique of these very systems, as the materials extracted from the bodies of the mannequins in SANCTUM allude to how biometric cartographies drawn from travellers are utilised to justify detainment. These security technologies employ what Magnet has referred to as “surveillant scopophilia,” that is, new ways and forms of looking at the human body “disassembled into component parts while simultaneously working to assuage individual anxieties about safety and security through the promise of surveillance” (17). The transparent body—the body that can submit and reveal itself—is ironically represented by the distinctly genderless translucent mannequins. Although the generic mannequins are seemingly blank slates, the installation simultaneously forces a conversation about the ways in which biometrics draw upon and perpetuate assumptions about gender, race, and sexuality.Biometric SubjugationOn her 2016 critically acclaimed album HOPELESSNESS, openly transgender singer, composer, and visual artist Anohni performs a deviant subjectivity that highlights the above dynamics that mark the contemporary surveillance discourse. To an imagined “daddy” technocrat, she sings:Watch me… I know you love me'Cause you're always watching me'Case I'm involved in evil'Case I'm involved in terrorism'Case I'm involved in child molestersEvoking a queer sexual frisson, Anohni describes how, as a trans woman, she is hyper-visible to state institutions. She narrates a voyeuristic relation where trans bodies are policed as threats to public safety rather than protected from systemic discrimination. Through the seemingly benevolent “daddy” character and the play on ‘cause (i.e., because) and ‘case (i.e., in case), she highlights how gender-nonconforming individuals are predictively surveilled and assumed to already be guilty. Reflecting on daddy-boy sexual paradigms, Jack Halberstam reads the “sideways” relations of queer practices as an enactment of “rupture as substitution” to create a new project that “holds on to vestiges of the old but distorts” (226). Upending power and control, queer art has the capacity to both reveal and undermine hegemonic structures while simultaneously allowing for the distortion of the old to create something new.Employing the sublimatory relations of bondage, discipline, sadism, and masochism (BDSM), Blas’s queer installation similarly creates a sideways representation that re-orientates the logic of the biometric scanners, thereby unveiling the always already sexualised relations of scrutiny and interrogation as well as the submissive complicity they demand. Replacing the airport environment with a dark and foreboding mise-en-scène allows Blas to focus on capture rather than mobility, highlighting the ways in which border checkpoints (including those instantiated by the airport) encourage free travel for some while foreclosing movement for others. Building on Sara Ahmed’s “phenomenology of being stopped”, Magnet considers what happens when we turn our gaze to those “who fail to pass the checkpoint” (107). In SANCTUM, the same actions are played out again and again on spectral beings who are trapped in various states: they shudder in cages, are chained to the floor, or are projected against the parameters of mounted screens. One ghostly figure, for instance, lies pinned down by metallic grappling hooks, arms raised above the head in a recognisable stance of surrender, conjuring up the now-familiar image of a traveller standing in the cylindrical scanner machine, waiting to be screened. In portraying this extended moment of immobility, Blas lays bare the deep contradictions in the rhetoric of “freedom of movement” that underlies such spaces.On a global level, media reporting, scientific studies, and policy documents proclaim that biometrics are essential to ensuring personal safety and national security. Within the public imagination, these technologies become seductive because of their marked ability to identify terrorist attackers—to reveal threatening bodies—thereby appealing to the anxious citizen’s fear of the disguised suicide bomber. Yet for marginalised identities prefigured as criminal or deceptive—including transgender and black and brown bodies—the inability to perform such acts of revelation via submission to screening can result in humiliation and further discrimination, public shaming, and even tortuous inquiry – acts that are played out in SANCTUM.Masked GenitalsFeminist surveillance studies scholar Rachel Hall has referred to the impetus for revelation in the post-9/11 era as a desire for a universal “aesthetics of transparency” in which the world and the body is turned inside-out so that there are no longer “secrets or interiors … in which terrorists or terrorist threats might find refuge” (127). Hall takes up the case study of Umar Farouk Abdulmutallab (infamously known as “the Underwear Bomber”) who attempted to detonate plastic explosives hidden in his underwear while onboard a flight from Amsterdam to Detroit on 25 December 2009. Hall argues that this event signified a coalescence of fears surrounding bodies of colour, genitalia, and terrorism. News reports following the incident stated that Abdulmutallab tucked his penis to make room for the explosive, thereby “queer[ing] the aspiring terrorist by indirectly referencing his willingness … to make room for a substitute phallus” (Hall 289). Overtly manifested in the Underwear Bomber incident is also a desire to voyeuristically expose a hidden, threatening interiority, which is inherently implicated with anxieties surrounding gender deviance. Beauchamp elaborates on how gender deviance and transgression have coalesced with terrorism, which was exemplified in the wake of the 9/11 attacks when the United States Department of Homeland Security issued a memo that male terrorists “may dress as females in order to discourage scrutiny” (“Artful” 359). Although this advisory did not explicitly reference transgender populations, it linked “deviant” gender presentation—to which we could also add Abdulmutallab’s tucking of his penis—with threats to national security (Beauchamp, Going Stealth). This also calls to mind a broader discussion of the ways in which genitalia feature in the screening process. Prior to the introduction of millimetre-wave body scanning technology, the most common form of scanner used was the backscatter imaging machine, which displayed “naked” body images of each passenger to the security agent. Due to privacy concerns, these machines were replaced by the scanners currently in place which use a generic outline of a passenger (exemplified in SANCTUM) to detect possible threats.It is here worth returning to Blas’s installation, as it also implicitly critiques the security protocols that attempt to reveal genitalia as both threatening and as evidence of an inner truth about a body. At one moment in the installation a bayonet-like object pierces the blank crotch of the mannequin, shattering it into holographic fragments. The apparent genderlessness of the mannequins is contrasted with these graphic sexual acts. The penetrating metallic instrument that breaks into the loin of the mannequin, combined with the camera shot that slowly zooms in on this action, draws attention to a surveillant fascination with genitalia and revelation. As Nicholas L. Clarkson documents in his analysis of airport security protocols governing prostheses, including limbs and packies (silicone penis prostheses), genitals are a central component of the screening process. While it is stipulated that physical searches should not require travellers to remove items of clothing, such as underwear, or to expose their genitals to staff for inspection, prosthetics are routinely screened and examined. This practice can create tensions for trans or disabled passengers with prosthetics in so-called “sensitive” areas, particularly as guidelines for security measures are often implemented by airport staff who are not properly trained in transgender-sensitive protocols.ConclusionAccording to media technologies scholar Jeremy Packer, “rather than being treated as one to be protected from an exterior force and one’s self, the citizen is now treated as an always potential threat, a becoming bomb” (382). Although this technological policing impacts all who are subjected to security regimes (which is to say, everyone), this amalgamation of body and bomb has exacerbated the ways in which bodies socially coded as threatening or deceptive are targeted by security and surveillance regimes. Nonetheless, others have argued that the use of invasive forms of surveillance can be justified by the state as an exchange: that citizens should willingly give up their right to privacy in exchange for safety (Monahan 1). Rather than subscribing to this paradigm, Blas’ SANCTUM critiques the violence of mandatory complicity in this “trade-off” narrative. Because their operationalisation rests on normative notions of embodiment that are governed by preconceptions around gender, race, sexuality and ability, surveillance systems demand that bodies become transparent. This disproportionally affects those whose bodies do not match norms, with trans and queer bodies often becoming unreadable (Kafer and Grinberg). The shadowy realm of SANCTUM illustrates this tension between biometric revelation and resistance, but also suggests that opacity may be a tool of transformation in the face of such discriminatory violations that are built into surveillance.ReferencesAhmed, Sara. “A Phenomenology of Whiteness.” Feminist Theory 8.2 (2007): 149–68.Beauchamp, Toby. “Artful Concealment and Strategic Visibility: Transgender Bodies and U.S. State Surveillance after 9/11.” Surveillance & Society 6.4 (2009): 356–66.———. Going Stealth: Transgender Politics and U.S. Surveillance Practices. Durham, NC: Duke UP, 2019.Blas, Zach. “Informatic Opacity.” The Journal of Aesthetics and Protest 9 (2014). <http://www.joaap.org/issue9/zachblas.htm>.Blas, Zach, and Jacob Gaboury. 2016. “Biometrics and Opacity: A Conversation.” Camera Obscura: Feminism, Culture, and Media Studies 31.2 (2016): 154-65.Buolamwini, Joy, and Timnit Gebru. “Gender Shades: Intersectional Accuracy Disparities in Commercial Gender Classification.” Proceedings of Machine Learning Research 81 (2018): 1-15.Browne, Simone. Dark Matters: On the Surveillance of Blackness. Durham, NC: Duke UP, 2015.Clarkson, Nicholas L. “Incoherent Assemblages: Transgender Conflicts in US Security.” Surveillance & Society 17.5 (2019): 618-30.Currah, Paisley, and Tara Mulqueen. “Securitizing Gender: Identity, Biometrics, and Transgender Bodies at the Airport.” Social Research 78.2 (2011): 556-82.Halberstam, Jack. The Queer Art of Failure. Durham: Duke UP, 2011.Hall, Rachel. “Terror and the Female Grotesque: Introducing Full-Body Scanners to U.S. Airports.” Feminist Surveillance Studies. Eds. Rachel E. Dubrofsky and Shoshana Amielle Magnet. Durham, NC: Duke UP, 2015. 127-49.Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14.3 (1988): 575-99.———. Modest_Witness@Second_Millennium. FemaleMan_Meets_OncoMouse: Feminism and Technoscience. New York: Routledge, 1997.Kafer, Gary, and Daniel Grinberg. “Queer Surveillance.” Surveillance & Society 17.5 (2019): 592-601.Keyes, O.S. “The Misgendering Machines: Trans/HCI Implications of Automatic Gender Recognition.” Proceedings of the ACM on Human-Computer Interaction 2. CSCW, Article 88 (2018): 1-22.Magnet, Shoshana Amielle. When Biometrics Fail: Gender, Race, and the Technology of Identity. Durham: Duke UP, 2011.Magnet, Shoshana, and Tara Rodgers. “Stripping for the State: Whole Body Imaging Technologies and the Surveillance of Othered Bodies.” Feminist Media Studies 12.1 (2012): 101–18.Monahan, Torin. Surveillance and Security: Technological Politics and Power in Everyday Life. New York: Routledge, 2006.Packer, Jeremy. “Becoming Bombs: Mobilizing Mobility in the War of Terror.” Cultural Studies 10.5 (2006): 378-99.Pugliese, Joseph. “In Silico Race and the Heteronomy of Biometric Proxies: Biometrics in the Context of Civilian Life, Border Security and Counter-Terrorism Laws.” Australian Feminist Law Journal 23 (2005): 1-32.Pugliese, Joseph. Biometrics: Bodies, Technologies, Biopolitics New York: Routledge, 2010.Quinan, C.L. “Gender (In)securities: Surveillance and Transgender Bodies in a Post-9/11 Era of Neoliberalism.” Eds. Stef Wittendorp and Matthias Leese. Security/Mobility: Politics of Movement. Manchester: Manchester UP, 2017. 153-69.Quinan, C.L., and Nina Bresser. “Gender at the Border: Global Responses to Gender Diverse Subjectivities and Non-Binary Registration Practices.” Global Perspectives 1.1 (2020). <https://doi.org/10.1525/gp.2020.12553>.Sjoberg, Laura. “(S)he Shall Not Be Moved: Gender, Bodies and Travel Rights in the Post-9/11 Era.” Security Journal 28.2 (2015): 198-215.Spalding, Sally J. “Airport Outings: The Coalitional Possibilities of Affective Rupture.” Women’s Studies in Communication 39.4 (2016): 460-80.

IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer ability to choose among countless objects which make the creative process a creative activity in itself. Writing from within the framework of “curate” as a creative process, this article discusses how the state banquet for Queen Elizabeth II, hosted by Irish President Mary McAleese at Dublin Castle in May 2011, was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity. The paper will focus in particular on how the menu for the banquet was created and how the banquet’s brief, “Ireland on a Plate”, was fulfilled.History and BackgroundFood has been used by nations for centuries to display wealth, cement alliances, and impress foreign visitors. Since the feasts of the Numidian kings (circa 340 BC), culinary staging and presentation has belonged to “a long, multifaceted and multicultural history of diplomatic practices” (IEHCA 5). According to the works of Baughman, Young, and Albala, food has defined the social, cultural, and political position of a nation’s leaders throughout history.In early 2011, Ross Lewis, Chef Patron of Chapter One Restaurant in Dublin, was asked by the Irish Food Board, Bord Bía, if he would be available to create a menu for a high-profile banquet (Mahon 112). The name of the guest of honour was divulged several weeks later after vetting by the protocol and security divisions of the Department of the Taoiseach (Prime Minister) and the Department of Foreign Affairs and Trade. Lewis was informed that the menu was for the state banquet to be hosted by President Mary McAleese at Dublin Castle in honour of Queen Elizabeth II’s visit to Ireland the following May.Hosting a formal banquet for a visiting head of state is a key feature in the statecraft of international and diplomatic relations. Food is the societal common denominator that links all human beings, regardless of culture (Pliner and Rozin 19). When world leaders publicly share a meal, that meal is laden with symbolism, illuminating each diner’s position “in social networks and social systems” (Sobal, Bove, and Rauschenbach 378). The public nature of the meal signifies status and symbolic kinship and that “guest and host are on par in terms of their personal or official attributes” (Morgan 149). While the field of academic scholarship on diplomatic dining might be young, there is little doubt of the value ascribed to the semiotics of diplomatic gastronomy in modern power structures (Morgan 150; De Vooght and Scholliers 12; Chapple-Sokol 162), for, as Firth explains, symbols are malleable and perfectly suited to exploitation by all parties (427).Political DiplomacyWhen Ireland gained independence in December 1921, it marked the end of eight centuries of British rule. The outbreak of “The Troubles” in 1969 in Northern Ireland upset the gradually improving environment of British–Irish relations, and it would be some time before a state visit became a possibility. Beginning with the peace process in the 1990s, the IRA ceasefire of 1994, and the Good Friday Agreement in 1998, a state visit was firmly set in motion by the visit of Irish President Mary Robinson to Buckingham Palace in 1993, followed by the unofficial visit of the Prince of Wales to Ireland in 1995, and the visit of Irish President Mary McAleese to Buckingham Palace in 1999. An official invitation to Queen Elizabeth from President Mary McAleese in March 2011 was accepted, and the visit was scheduled for mid-May of the same year.The visit was a highly performative occasion, orchestrated and ordained in great detail, displaying all the necessary protocol associated with the state visit of one head of state to another: inspection of the military, a courtesy visit to the nation’s head of state on arrival, the laying of a wreath at the nation’s war memorial, and a state banquet.These aspects of protocol between Britain and Ireland were particularly symbolic. By inspecting the military on arrival, the existence of which is a key indicator of independence, Queen Elizabeth effectively demonstrated her recognition of Ireland’s national sovereignty. On making the customary courtesy call to the head of state, the Queen was received by President McAleese at her official residence Áras an Uachtaráin (The President’s House), which had formerly been the residence of the British monarch’s representative in Ireland (Robbins 66). The state banquet was held in Dublin Castle, once the headquarters of British rule where the Viceroy, the representative of Britain’s Court of St James, had maintained court (McDowell 1).Cultural DiplomacyThe state banquet provided an exceptional showcase of Irish culture and design and generated a level of preparation previously unseen among Dublin Castle staff, who described it as “the most stage managed state event” they had ever witnessed (Mahon 129).The castle was cleaned from top to bottom, and inventories were taken of the furniture and fittings. The Waterford Crystal chandeliers were painstakingly taken down, cleaned, and reassembled; the Killybegs carpets and rugs of Irish lamb’s wool were cleaned and repaired. A special edition Newbridge Silverware pen was commissioned for Queen Elizabeth and Prince Philip to sign the newly ordered Irish leather-bound visitors’ book. A new set of state tableware was ordered for the President’s table. Irish manufacturers of household goods necessary for the guest rooms, such as towels and soaps, hand creams and body lotions, candle holders and scent diffusers, were sought. Members of Her Majesty’s staff conducted a “walk-through” several weeks in advance of the visit to ensure that the Queen’s wardrobe would not clash with the surroundings (Mahon 129–32).The promotion of Irish manufacture is a constant thread throughout history. Irish linen, writes Kane, enjoyed a reputation as far afield as the Netherlands and Italy in the 15th century, and archival documents from the Vaucluse attest to the purchase of Irish cloth in Avignon in 1432 (249–50). Support for Irish-made goods was raised in 1720 by Jonathan Swift, and by the 18th century, writes Foster, Dublin had become an important centre for luxury goods (44–51).It has been Irish government policy since the late 1940s to use Irish-manufactured goods for state entertaining, so the material culture of the banquet was distinctly Irish: Arklow Pottery plates, Newbridge Silverware cutlery, Waterford Crystal glassware, and Irish linen tablecloths. In order to decide upon the table setting for the banquet, four tables were laid in the King’s Bedroom in Dublin Castle. The Executive Chef responsible for the banquet menu, and certain key personnel, helped determine which setting would facilitate serving the food within the time schedule allowed (Mahon 128–29). The style of service would be service à la russe, so widespread in restaurants today as to seem unremarkable. Each plate is prepared in the kitchen by the chef and then served to each individual guest at table. In the mid-19th century, this style of service replaced service à la française, in which guests typically entered the dining room after the first course had been laid on the table and selected food from the choice of dishes displayed around them (Kaufman 126).The guest list was compiled by government and embassy officials on both sides and was a roll call of Irish and British life. At the President’s table, 10 guests would be served by a team of 10 staff in Dorchester livery. The remaining tables would each seat 12 guests, served by 12 liveried staff. The staff practiced for several days prior to the banquet to make sure that service would proceed smoothly within the time frame allowed. The team of waiters, each carrying a plate, would emerge from the kitchen in single file. They would then take up positions around the table, each waiter standing to the left of the guest they would serve. On receipt of a discreet signal, each plate would be laid in front of each guest at precisely the same moment, after which the waiters would then about foot and return to the kitchen in single file (Mahon 130).Post-prandial entertainment featured distinctive styles of performance and instruments associated with Irish traditional music. These included reels, hornpipes, and slipjigs, voice and harp, sean-nόs (old style) singing, and performances by established Irish artists on the fiddle, bouzouki, flute, and uilleann pipes (Office of Public Works).Culinary Diplomacy: Ireland on a PlateLewis was given the following brief: the menu had to be Irish, the main course must be beef, and the meal should represent the very best of Irish ingredients. There were no restrictions on menu design. There were no dietary requirements or specific requests from the Queen’s representatives, although Lewis was informed that shellfish is excluded de facto from Irish state banquets as a precautionary measure. The meal was to be four courses long and had to be served to 170 diners within exactly 1 hour and 10 minutes (Mahon 112). A small army of 16 chefs and 4 kitchen porters would prepare the food in the kitchen of Dublin Castle under tight security. The dishes would be served on state tableware by 40 waiters, 6 restaurant managers, a banqueting manager and a sommélier. Lewis would be at the helm of the operation as Executive Chef (Mahon 112–13).Lewis started by drawing up “a patchwork quilt” of the products he most wanted to use and built the menu around it. The choice of suppliers was based on experience but also on a supplier’s ability to deliver perfectly ripe goods in mid-May, a typically black spot in the Irish fruit and vegetable growing calendar as it sits between the end of one season and the beginning of another. Lewis consulted the Queen’s itinerary and the menus to be served so as to avoid repetitions. He had to discard his initial plan to feature lobster in the starter and rhubarb in the dessert—the former for the precautionary reasons mentioned above, and the latter because it featured on the Queen’s lunch menu on the day of the banquet (Mahon 112–13).Once the ingredients had been selected, the menu design focused on creating tastes, flavours and textures. Several draft menus were drawn up and myriad dishes were tasted and discussed in the kitchen of Lewis’s own restaurant. Various wines were paired and tasted with the different courses, the final choice being a Château Lynch-Bages 1998 red and a Château de Fieuzal 2005 white, both from French Bordeaux estates with an Irish connection (Kellaghan 3). Two months and two menu sittings later, the final menu was confirmed and signed off by state and embassy officials (Mahon 112–16).The StarterThe banquet’s starter featured organic Clare Island salmon cured in a sweet brine, laid on top of a salmon cream combining wild smoked salmon from the Burren and Cork’s Glenilen Farm crème fraîche, set over a lemon balm jelly from the Tannery Cookery School Gardens, Waterford. Garnished with horseradish cream, wild watercress, and chive flowers from Wicklow, the dish was finished with rapeseed oil from Kilkenny and a little sea salt from West Cork (Mahon 114). Main CourseA main course of Irish beef featured as the pièce de résistance of the menu. A rib of beef from Wexford’s Slaney Valley was provided by Kettyle Irish Foods in Fermanagh and served with ox cheek and tongue from Rathcoole, County Dublin. From along the eastern coastline came the ingredients for the traditional Irish dish of smoked champ: cabbage from Wicklow combined with potatoes and spring onions grown in Dublin. The new season’s broad beans and carrots were served with wild garlic leaf, which adorned the dish (Mahon 113). Cheese CourseThe cheese course was made up of Knockdrinna, a Tomme style goat’s milk cheese from Kilkenny; Milleens, a Munster style cow’s milk cheese produced in Cork; Cashel Blue, a cow’s milk blue cheese from Tipperary; and Glebe Brethan, a Comté style cheese from raw cow’s milk from Louth. Ditty’s Oatmeal Biscuits from Belfast accompanied the course.DessertLewis chose to feature Irish strawberries in the dessert. Pat Clarke guaranteed delivery of ripe strawberries on the day of the banquet. They married perfectly with cream and yoghurt from Glenilen Farm in Cork. The cream was set with Irish Carrageen moss, overlaid with strawberry jelly and sauce, and garnished with meringues made with Irish apple balsamic vinegar from Lusk in North Dublin, yoghurt mousse, and Irish soda bread tuiles made with wholemeal flour from the Mosse family mill in Kilkenny (Mahon 113).The following day, President McAleese telephoned Lewis, saying of the banquet “Ní hé go raibh sé go maith, ach go raibh sé míle uair níos fearr ná sin” (“It’s not that it was good but that it was a thousand times better”). The President observed that the menu was not only delicious but that it was “amazingly articulate in terms of the story that it told about Ireland and Irish food.” The Queen had particularly enjoyed the stuffed cabbage leaf of tongue, cheek and smoked colcannon (a traditional Irish dish of mashed potatoes with curly kale or green cabbage) and had noted the diverse selection of Irish ingredients from Irish artisans (Mahon 116). Irish CuisineWhen the topic of food is explored in Irish historiography, the focus tends to be on the consequences of the Great Famine (1845–49) which left the country “socially and emotionally scarred for well over a century” (Mac Con Iomaire and Gallagher 161). Some commentators consider the term “Irish cuisine” oxymoronic, according to Mac Con Iomaire and Maher (3). As Goldstein observes, Ireland has suffered twice—once from its food deprivation and second because these deprivations present an obstacle for the exploration of Irish foodways (xii). Writing about Italian, Irish, and Jewish migration to America, Diner states that the Irish did not have a food culture to speak of and that Irish writers “rarely included the details of food in describing daily life” (85). Mac Con Iomaire and Maher note that Diner’s methodology overlooks a centuries-long tradition of hospitality in Ireland such as that described by Simms (68) and shows an unfamiliarity with the wealth of food related sources in the Irish language, as highlighted by Mac Con Iomaire (“Exploring” 1–23).Recent scholarship on Ireland’s culinary past is unearthing a fascinating story of a much more nuanced culinary heritage than has been previously understood. This is clearly demonstrated in the research of Cullen, Cashman, Deleuze, Kellaghan, Kelly, Kennedy, Legg, Mac Con Iomaire, Mahon, O’Sullivan, Richman Kenneally, Sexton, and Stanley, Danaher, and Eogan.In 1996 Ireland was described by McKenna as having the most dynamic cuisine in any European country, a place where in the last decade “a vibrant almost unlikely style of cooking has emerged” (qtd. in Mac Con Iomaire “Jammet’s” 136). By 2014, there were nine restaurants in Dublin which had been awarded Michelin stars or Red Ms (Mac Con Iomaire “Jammet’s” 137). Ross Lewis, Chef Patron of Chapter One Restaurant, who would be chosen to create the menu for the state banquet for Queen Elizabeth II, has maintained a Michelin star since 2008 (Mac Con Iomaire, “Jammet’s” 138). Most recently the current strength of Irish gastronomy is globally apparent in Mark Moriarty’s award as San Pellegrino Young Chef 2015 (McQuillan). As Deleuze succinctly states: “Ireland has gone mad about food” (143).This article is part of a research project into Irish diplomatic dining, and the author is part of a research cluster into Ireland’s culinary heritage within the Dublin Institute of Technology. The aim of the research is to add to the growing body of scholarship on Irish gastronomic history and, ultimately, to contribute to the discourse on the existence of a national cuisine. If, as Zubaida says, “a nation’s cuisine is its court’s cuisine,” then it is time for Ireland to “research the feasts as well as the famines” (Mac Con Iomaire and Cashman 97).ConclusionThe Irish state banquet for Queen Elizabeth II in May 2011 was a highly orchestrated and formalised process. From the menu, material culture, entertainment, and level of consultation in the creative content, it is evident that the banquet was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity.The effects of the visit appear to have been felt in the years which have followed. Hennessy wrote in the Irish Times newspaper that Queen Elizabeth is privately said to regard her visit to Ireland as the most significant of the trips she has made during her 60-year reign. British Prime Minister David Cameron is noted to mention the visit before every Irish audience he encounters, and British Foreign Secretary William Hague has spoken in particular of the impact the state banquet in Dublin Castle made upon him. Hennessy points out that one of the most significant indicators of the peaceful relationship which exists between the two countries nowadays was the subsequent state visit by Irish President Michael D. Higgins to Britain in 2013. This was the first state visit to the United Kingdom by a President of Ireland and would have been unimaginable 25 years ago. The fact that the President and his wife stayed at Windsor Castle and that the attendant state banquet was held there instead of Buckingham Palace were both deemed to be marks of special favour and directly attributed to the success of Her Majesty’s 2011 visit to Ireland.As the research demonstrates, eating together unites rather than separates, gathers rather than divides, diffuses political tensions, and confirms alliances. It might be said then that the 2011 state banquet hosted by President Mary McAleese in honour of Queen Elizabeth II, curated by Ross Lewis, gives particular meaning to the axiom “to eat together is to eat in peace” (Taliano des Garets 160).AcknowledgementsSupervisors: Dr Máirtín Mac Con Iomaire (Dublin Institute of Technology) and Dr Michael Kennedy (Royal Irish Academy)Fáilte IrelandPhotos of the banquet dishes supplied and permission to reproduce them for this article kindly granted by Ross Lewis, Chef Patron, Chapter One Restaurant ‹http://www.chapteronerestaurant.com/›.Illustration ‘Ireland on a Plate’ © Jesse Campbell BrownRemerciementsThe author would like to thank the anonymous reviewers for their feedback and suggestions on an earlier draft of this article.ReferencesAlbala, Ken. The Banquet: Dining in the Great Courts of Late Renaissance Europe. 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About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of arable land. Caught in the vice of overpopulation but with rapidly dwindling basic resources and no trees to build canoes, they were trapped on the island and watched helplessly as their society fell into disarray. The sequence ends with the narrator’s biting remark: “The real mystery of the Easter Islands is not how its strange statues got there, we know now; it's why the Rapa Nui didn't react in time.” In their unrelenting desire for development, the Rapa Nui appear to have overlooked the role the environment plays in maintaining a society. The island’s Moai accompanying the sequence appear as memento mori, a lesson in the mortality of human cultures brought about by their own misguided and short-sighted practices. Arthus-Bertrand’s Home, a film composed almost entirely of aerial photographs, bears witness to present-day environmental degradation and climate change, constructing society as a fragile structure built upon and sustained by the environment. Home is a call to recognise how contemporary practices of post-industrial societies have come to shape the environment and how they may impact the habitability of Earth in the near future. Through reflexivity and a ritualised structure the text invites spectators to look at themselves in a new light and remake their self-image in the wake of global environmental risk by embracing new, alternative core practices based on balance and interconnectedness. Arthus-Bertrand frames climate change not as a burden, but as a moment of profound realisation of the potential for change and humans ability to create a desirable future through hope and our innate capacity for renewal. This article examines how Arthus-Bertrand’s ritualised construction of climate change aims to remake viewers’ perception of present-day environmental degradation and investigates Home’s place in contemporary climate change communication discourse. Climate change, in its capacity to affect us globally, is considered a world risk. The most recent peer-reviewed Synthesis Report of the Intergovernmental Panel on Climate Change suggests that the concentration of atmospheric greenhouse gases has increased markedly since human industrialisation in the 18th century. Moreover, human activities, such as fossil fuel burning and agricultural practices, are “very likely” responsible for the resulting increase in temperature rise (IPPC 37). The increased global temperatures and the subsequent changing weather patterns have a direct and profound impact on the physical and biological systems of our planet, including shrinking glaciers, melting permafrost, coastal erosion, and changes in species distribution and reproduction patterns (Rosenzweig et al. 353). Studies of global security assert that these physiological changes are expected to increase the likelihood of humanitarian disasters, food and water supply shortages, and competition for resources thus resulting in a destabilisation of global safety (Boston et al. 1–2). Human behaviour and dominant practices of modernity are now on a path to materially impact the future habitability of our home, Earth. In contemporary post-industrial societies, however, climate change remains an elusive, intangible threat. Here, the Arctic-bound species forced to adapt to milder climates or the inhabitants of low-lying Pacific islands seeking refuge in mainland cities are removed from the everyday experience of the controlled and regulated environments of homes, offices, and shopping malls. Diverse research into the mediated and mediatised nature of the environment suggests that rather than from first-hand experiences and observations, the majority of our knowledge concerning the environment now comes from its representation in the mass media (Hamilton 4; Stamm et al. 220; Cox 2). Consequently the threat of climate change is communicated and constructed through the news media, entertainment and lifestyle programming, and various documentaries and fiction films. It is therefore the construction (the representation of the risk in various discourses) that shapes people’s perception and experience of the phenomenon, and ultimately influences behaviour and instigates social response (Beck 213). By drawing on and negotiating society’s dominant discourses, environmental mediation defines spectators’ perceptions of the human-nature relationship and subsequently their roles and responsibilities in the face of environmental risks. Maxwell Boykoff asserts that contemporary modern society’s mediatised representations of environmental degradation and climate change depict the phenomena as external to society’s primary social and economic concerns (449). Julia Corbett argues that this is partly because environmental protection and sustainable behaviour are often at odds with the dominant social paradigms of consumerism, economic growth, and materialism (175). Similarly, Rowan Howard-Williams suggests that most media texts, especially news, do not emphasise the link between social practices, such as consumerist behaviour, and their environmental consequences because they contradict dominant social paradigms (41). The demands contemporary post-industrial societies make on the environment to sustain economic growth, consumer culture, and citizens’ comfortable lives in air-conditioned homes and offices are often left unarticulated. While the media coverage of environmental risks may indeed have contributed to “critical misperceptions, misleading debates, and divergent understandings” (Boykoff 450) climate change possesses innate characteristics that amplify its perception in present-day post-industrial societies as a distant and impersonal threat. Climate change is characterised by temporal and spatial de-localisation. The gradual increase in global temperature and its physical and biological consequences are much less prominent than seasonal changes and hence difficult to observe on human time-scales. Moreover, while research points to the increased probability of extreme climatic events such as droughts, wild fires, and changes in weather patterns (IPCC 48), they take place over a wide range of geographical locations and no single event can be ultimately said to be the result of climate change (Maibach and Roser-Renouf 145). In addition to these observational obstacles, political partisanship, vested interests in the current status quo, and general resistance to profound change all play a part in keeping us one step removed from the phenomenon of climate change. The distant and impersonal nature of climate change coupled with the “uncertainty over consequences, diverse and multiple engaged interests, conflicting knowledge claims, and high stakes” (Lorenzoni et al. 65) often result in repression, rejection, and denial, removing the individual’s responsibility to act. Research suggests that, due to its unique observational obstacles in contemporary post-industrial societies, climate change is considered a psychologically distant event (Pawlik 559), one that is not personally salient due to the “perceived distance and remoteness [...] from one’s everyday experience” (O’Neill and Nicholson-Cole 370). In an examination of the barriers to behaviour change in the face of psychologically distant events, Robert Gifford argues that changing individuals’ perceptions of the issue-domain is one of the challenges of countering environmental inertia—the lack of initiative for environmentally sustainable social action (5). To challenge the status quo a radically different construction of the environment and the human-nature relationship is required to transform our perception of global environmental risks and ultimately result in environmentally consequential social action. Yann Arthus-Bertrand’s Home is a ritualised construction of contemporary environmental degradation and climate change which takes spectators on a rite of passage to a newfound understanding of the human-nature relationship. Transformation through re-imagining individuals’ roles, responsibilities, and practices is an intrinsic quality of rituals. A ritual charts a subjects path from one state of consciousness to the next, resulting in a meaningful change of attitudes (Deflem 8). Through a lifelong study of African rituals British cultural ethnographer Victor Turner refined his concept of rituals in a modern social context. Turner observed that rituals conform to a three-phased processural form (The Ritual Process 13–14). First, in the separation stage, the subjects are selected and removed from their fixed position in the social structure. Second, they enter an in-between and ambiguous liminal stage, characterised by a “partial or complete separation of the subject from everyday existence” (Deflem 8). Finally, imbued with a new perspective of the outside world borne out of the experience of reflexivity, liminality, and a cathartic cleansing, subjects are reintegrated into the social reality in a new, stable state. The three distinct stages make the ritual an emotionally charged, highly personal experience that “demarcates the passage from one phase to another in the individual’s life-cycle” (Turner, “Symbols” 488) and actively shapes human attitudes and behaviour. Adhering to the three-staged processural form of the ritual, Arthus-Bertrand guides spectators towards a newfound understanding of their roles and responsibilities in creating a desirable future. In the first stage—the separation—aerial photography of Home alienates viewers from their anthropocentric perspectives of the outside world. This establishes Earth as a body, and unearths spectators’ guilt and shame in relation to contemporary world risks. Aerial photography strips landscapes of their conventional qualities of horizon, scale, and human reference. As fine art photographer Emmet Gowin observes, “when one really sees an awesome, vast place, our sense of wholeness is reorganised [...] and the body seems always to diminish” (qtd. in Reynolds 4). Confronted with a seemingly infinite sublime landscape from above, the spectator’s “body diminishes” as they witness Earth’s body gradually taking shape. Home’s rushing rivers of Indonesia are akin to blood flowing through the veins and the Siberian permafrost seems like the texture of skin in extreme close-up. Arthus-Bertrand establishes a geocentric embodiment to force spectators to perceive and experience the environmental degradation brought about by the dominant social practices of contemporary post-industrial modernity. The film-maker visualises the maltreatment of the environment through suggested abuse of the Earth’s body. Images of industrial agricultural practices in the United States appear to leave scratches and scars on the landscape, and as a ship crosses the Arctic ice sheets of the Northwest Passage the boat glides like the surgeon’s knife cutting through the uppermost layer of the skin. But the deep blue water that’s revealed in the wake of the craft suggests a flesh and body now devoid of life, a suffering Earth in the wake of global climatic change. Arthus-Bertrand’s images become the sublime evidence of human intervention in the environment and the reflection of present-day industrialisation materially altering the face of Earth. The film-maker exploits spectators’ geocentric perspective and sensibility to prompt reflexivity, provide revelations about the self, and unearth the forgotten shame and guilt in having inadvertently caused excessive environmental degradation. Following the sequences establishing Earth as the body of the text Arthus-Bertrand returns spectators to their everyday “natural” environment—the city. Having witnessed and endured the pain and suffering of Earth, spectators now gaze at the skyscrapers standing bold and tall in the cityscape with disillusionment. The pinnacles of modern urban development become symbols of arrogance and exploitation: structures forced upon the landscape. Moreover, the images of contemporary cityscapes in Home serve as triggers for ritual reflexivity, allowing the spectator to “perceive the self [...] as a distanced ‘other’ and hence achieve a partial ‘self-transcendence’” (Beck, Comments 491). Arthus-Bertrand’s aerial photographs of Los Angeles, New York, and Tokyo fold these distinct urban environments into one uniform fusion of glass, metal, and concrete devoid of life. The uniformity of these cultural landscapes prompts spectators to add the missing element: the human. Suddenly, the homes and offices of desolate cityscapes are populated by none other than us, looking at ourselves from a unique vantage point. The geocentric sensibility the film-maker invoked with the images of the suffering Earth now prompt a revelation about the self as spectators see their everyday urban environments in a new light. Their homes and offices become blemishes on the face of the Earth: its inhabitants, including the spectators themselves, complicit in the excessive mistreatment of the planet. The second stage of the ritual allows Arthus-Bertrand to challenge dominant social paradigms of present day post-industrial societies and introduce new, alternative moral directives to govern our habits and attitudes. Following the separation, ritual subjects enter an in-between, threshold stage, one unencumbered by the spatial, temporal, and social boundaries of everyday existence. Turner posits that a subjects passage through this liminal stage is necessary to attain psychic maturation and successful transition to a new, stable state at the end of the ritual (The Ritual Process 97). While this “betwixt and between” (Turner, The Ritual Process 95) state may be a fleeting moment of transition, it makes for a “lived experience [that] transforms human beings cognitively, emotionally, and morally.” (Horvath et al. 3) Through a change of perceptions liminality paves the way toward meaningful social action. Home places spectators in a state of liminality to contrast geocentric and anthropocentric views. Arthus-Bertrand contrasts natural and human-made environments in terms of diversity. The narrator’s description of the “miracle of life” is followed by images of trees seemingly defying gravity, snow-covered summits among mountain ranges, and a whale in the ocean. Grandeur and variety appear to be inherent qualities of biodiversity on Earth, qualities contrasted with images of the endless, uniform rectangular greenhouses of Almeria, Spain. This contrast emphasises the loss of variety in human achievements and the monotony mass-production brings to the landscape. With the image of a fire burning atop a factory chimney, Arthus-Bertrand critiques the change of pace and distortion of time inherent in anthropocentric views, and specifically in contemporary modernity. Here, the flames appear to instantly eat away at resources that have taken millions of years to form, bringing anthropocentric and geocentric temporality into sharp contrast. A sequence showing a night time metropolis underscores this distinction. The glittering cityscape is lit by hundreds of lights in skyscrapers in an effort, it appears, to mimic and surpass daylight and thus upturn the natural rhythm of life. As the narrator remarks, in our present-day environments, “days are now the pale reflections of nights.” Arthus-Bertrand also uses ritual liminality to mark the present as a transitory, threshold moment in human civilisation. The film-maker contrasts the spectre of our past with possible visions of the future to mark the moment of now as a time when humanity is on the threshold of two distinct states of mind. The narrator’s descriptions of contemporary post-industrial society’s reliance on non-renewable resources and lack of environmentally sustainable agricultural practices condemn the past and warn viewers of the consequences of continuing such practices into the future. Exploring the liminal present Arthus-Bertrand proposes distinctive futurescapes for humankind. On the one hand, the narrator’s description of California’s “concentration camp style cattle farming” suggests that humankind will live in a future that feeds from the past, falling back on frames of horrors and past mistakes. On the other hand, the example of Costa Rica, a nation that abolished its military and dedicated the budget to environmental conservation, is recognition of our ability to re-imagine our future in the face of global risk. Home introduces myths to imbue liminality with the alternative dominant social paradigm of ecology. By calling upon deep-seated structures myths “touch the heart of society’s emotional, spiritual and intellectual consciousness” (Killingsworth and Palmer 176) and help us understand and come to terms with complex social, economic, and scientific phenomena. With the capacity to “pattern thought, beliefs and practices,” (Maier 166) myths are ideal tools in communicating ritual liminality and challenging contemporary post-industrial society’s dominant social paradigms. The opening sequence of Home, where the crescent Earth is slowly revealed in the darkness of space, is an allusion to creation: the genesis myth. Accompanied only by a gentle hum our home emerges in brilliant blue, white, and green-brown encompassing most of the screen. It is as if darkness and chaos disintegrated and order, life, and the elements were created right before our eyes. Akin to the Earthrise image taken by the astronauts of Apollo 8, Home’s opening sequence underscores the notion that our home is a unique spot in the blackness of space and is defined and circumscribed by the elements. With the opening sequence Arthus-Bertrand wishes to impart the message of interdependence and reliance on elements—core concepts of ecology. Balance, another key theme in ecology, is introduced with an allusion to the Icarus myth in a sequence depicting Dubai. The story of Icarus’s fall from the sky after flying too close to the sun is a symbolic retelling of hubris—a violent pride and arrogance punishable by nemesis—destruction, which ultimately restores balance by forcing the individual back within the limits transgressed (Littleton 712). In Arthus-Bertrand’s portrayal of Dubai, the camera slowly tilts upwards on the Burj Khalifa tower, the tallest human-made structure ever built. The construction works on the tower explicitly frame humans against the bright blue sky in their attempt to reach ever further, transgressing their limitations much like the ill-fated Icarus. Arthus-Bertrand warns that contemporary modernity does not strive for balance or moderation, and with climate change we may have brought our nemesis upon ourselves. By suggesting new dominant paradigms and providing a critique of current maxims, Home’s retelling of myths ultimately sees spectators through to the final stage of the ritual. The last phase in the rite of passage “celebrates and commemorates transcendent powers,” (Deflem 8) marking subjects’ rebirth to a new status and distinctive perception of the outside world. It is at this stage that Arthus-Bertrand resolves the emotional distress uncovered in the separation phase. The film-maker uses humanity’s innate capacity for creation and renewal as a cathartic cleansing aimed at reconciling spectators’ guilt and shame in having inadvertently exacerbated global environmental degradation. Arthus-Bertrand identifies renewable resources as the key to redeeming technology, human intervention in the landscape, and finally humanity itself. Until now, the film-maker pictured modernity and technology, evidenced in his portrayal of Dubai, as synonymous with excess and disrespect for the interconnectedness and balance of elements on Earth. The final sequence shows a very different face of technology. Here, we see a mechanical sea-snake generating electricity by riding the waves off the coast of Scotland and solar panels turning towards the sun in the Sahara desert. Technology’s redemption is evidenced in its ability to imitate nature—a move towards geocentric consciousness (a lesson learned from the ritual’s liminal stage). Moreover, these human-made structures, unlike the skyscrapers earlier in the film, appear a lot less invasive in the landscape and speak of moderation and union with nature. With the above examples Arthus-Bertrand suggests that humanity can shed the greed that drove it to dig deeper and deeper into the Earth to acquire non-renewable resources such as oil and coal, what the narrator describes as “treasures buried deep.” The incorporation of principles of ecology, such as balance and interconnectedness, into humanity’s behaviour ushers in reconciliation and ritual cleansing in Home. Following the description of the move toward renewable resources, the narrator reveals that “worldwide four children out of five attend school, never has learning been given to so many human beings” marking education, innovation, and creativity as the true inexhaustible resources on Earth. Lastly, the description of Antarctica in Home is the essence of Arthus-Bertrand’s argument for our innate capacity to create, not simply exploit and destroy. Here, the narrator describes the continent as possessing “immense natural resources that no country can claim for itself, a natural reserve devoted to peace and science, a treaty signed by 49 nations has made it a treasure shared by all humanity.” Innovation appears to fuel humankind’s transcendence to a state where it is capable of compassion, unification, sharing, and finally creating treasures. With these examples Arthus-Bertrand suggests that humanity has an innate capacity for creative energy that awaits authentic expression and can turn humankind from destroyer to creator. In recent years various risk communication texts have explicitly addressed climate change, endeavouring to instigate environmentally consequential social action. Home breaks discursive ground among them through its ritualistic construction which seeks to transform spectators’ perception, and in turn roles and responsibilities, in the face of global environmental risks. Unlike recent climate change media texts such as An Inconvenient Truth (2006), The 11th Hour (2007), The Age of Stupid (2009), Carbon Nation (2010) and Earth: The Operator’s Manual (2011), Home eludes simple genre classification. On the threshold of photography and film, documentary and fiction, Arthus-Bertrand’s work is best classified as an advocacy film promoting public debate and engagement with a universal concern—the state of the environment. The film’s website, available in multiple languages, contains educational material, resources to organise public screenings, and a link to GoodPlanet.info: a website dedicated to environmentalism, including legal tools and initiatives to take action. The film-maker’s approach to using Home as a basis for education and raising awareness corresponds to Antonio Lopez’s critique of contemporary mass-media communications of global risks. Lopez rebukes traditional forms of mediatised communication that place emphasis on the imparting of knowledge and instead calls for a participatory, discussion-driven, organic media approach, akin to a communion or a ritual (106). Moreover, while texts often place a great emphasis on the messenger, for instance Al Gore in An Inconvenient Truth, Leonardo DiCaprio in The 11th Hour, or geologist Dr. Richard Alley in Earth: The Operator’s Manual, Home’s messenger remains unseen—the narrator is only identified at the very end of the film among the credits. The film-maker’s decision to forego a central human character helps dissociate the message from the personality of the messenger which aids in establishing and maintaining the geocentric sensibility of the text. Finally, the ritual’s invocation and cathartic cleansing of emotional distress enables Home to at once acknowledge our environmentally destructive past habits and point to a hopeful, environmentally sustainable future. While The Age of Stupid mostly focuses on humanity’s present and past failures to respond to an imminent environmental catastrophe, Carbon Nation, with the tagline “A climate change solutions movie that doesn’t even care if you believe in climate change,” only explores the potential future business opportunities in turning towards renewable resources and environmentally sustainable practices. The three-phased processural form of the ritual allows for a balance of backward and forward-looking, establishing the possibility of change and renewal in the face of world risk. The ritual is a transformative experience. As Turner states, rituals “interrupt the flow of social life and force a group to take cognizance of its behaviour in relation to its own values, and even question at times the value of those values” (“Dramatic Ritual” 82). Home, a ritualised media text, is an invitation to look at our world, its dominant social paradigms, and the key element within that world—ourselves—with new eyes. It makes explicit contemporary post-industrial society’s dependence on the environment, highlights our impact on Earth, and reveals our complicity in bringing about a contemporary world risk. The ritual structure and the self-reflexivity allow Arthus-Bertrand to transform climate change into a personally salient issue. This bestows upon the spectator the responsibility to act and to reconcile the spectre of the past with the vision of the future.Acknowledgments The author would like to thank Dr. Angi Buettner whose support, guidance, and supervision has been invaluable in preparing this article. 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