Artículos de revistas sobre el tema "Conception de visualisation"

Les technologies immersives ont fait leur apparition dans bon nombre d’outils de modélisation architecturale. Néanmoins, leur usage se limite bien souvent à des fins de visualisation, par exemple pour valider un design auprès d’un client muni d’un casque de réalité virtuelle. Notre travail vise à permettre une utilisation de ce medium immersif durant l’activité de conception architecturale elle-même. Nous présentons dès lors un outil de modélisation paramétrique en réalité virtuelle permettant de combiner, en immersion, l’édition de modèles Grasshopper et la visualisation des géométries générées. Nous validerons notre approche auprès d’architectes et d’étudiants formés à ce paradigme de conception.

Abstract. The goal of an interdisciplinary team of scientists at the Climate Service Center Germany (GERICS) was to make the findings of the special report IPCC SR1.5 more accessible to the citizens of Hamburg. Therefore, a flyer was created that is understandable to non-climate scientists, visually attractive and generates interest. It contains up-to-date climate information, readily understandable texts and several graphical visualisations. The team has been working intensively on analysing and processing further the consequences of a 1.5 ∘C global warming for the Hamburg metropolitan region. While the team's natural scientists elaborated the impacts on specific climate indices, other team members focused on the visualisation and communication of the results.

L'ANR ECLATS est un projet transdisciplinaire qui réunit des équipes de géomaticiens, d'informaticiens et de dialectologues autour de la conception d'un outillage logiciel et méthodologique afin de faciliter l'extraction, l'analyse, la visualisation et la diffusion des données contenues dans l'Atlas Linguistique de la France. Chaque objectif donnera lieu à une application en cours de développement : 1) l’extraction de contenus des cartes s'effectue par vectorisation et permettra l'annotation 2) le stockage des cartes numérisées sont mises à disposition dans le site CartoDialect, 3) l'application ShinyDialect facilite la visualisation des données linguistiques, 4) ShinyClass permet la production de cartes interprétatives, enfin 5) DialectoLOD fera la promotion d'une démarche collaborative.

RÉSUMÉ L'alimentation demeure une des activités de la vie quotidienne les plus importantes pour l'humain. Afin de mieux visualiser les composantes de la déglutition et d'en comprendre la physiologie, un modèle dynamique de déglutition a été conçu par trois étudiantes en ergothérapie à l'Université Laval. Le but de ce prototype en trois dimensions est de simplifier la compréhension et la visualisation du processus de déglutition. Présentement, très peu de matériels pédagogiques permettent de voir d'une façon dynamique les mouvements survenant lors de la déglutition. Dans un premier temps, le présent article décrit brièvement les trois phases de la déglutition. Par la suite, il fournit des informations techniques quant à la fabrication du modèle de déglutition afin de permettre aux lecteurs de le reproduire. Pour terminer, des suggestions se rapportant à l'application pédagogique et clinique du modèle sont proposées.

" Globally, the use of visuo-semiotic models (VSMs) in the mathematics classroom is called for across levels and topics. Literature confirms that visual cognition/literacy in teachers is limited and that their capabilities in visual representation is low. The aim of this study was therefore to explore pre-service teachers’ (PSTs) conception of VSMs as a process in doing mathematics in the context of coordinate geometry. A survey with qualitative data was used to collect data from mathematics pre-service teachers taking the geometry module. The PSTs answered open ended questions that comprised coordinate geometry test items. Mnguni’s (2014) cognitive process of visualisation was used to analyse visualisation skills portrayed in the test. The study found that different pre-service teachers operate at different levels of visual literacy. The teacher education curriculum should therefore be systematically designed to cater for the skills lacking in the PSTs. It is also recommended that teacher training programmes sharpen their attention on bringing awareness of mathematical visual literacy among PSTs during training. "

Background: Inefficient use of public funds can have a negative impact on the lives of citizens. The development of machine learning-based technologies for data visualisation and prediction has opened the possibility of evaluating the accountability of publicly funded projects. Methods: This study describes the conception and evaluation of the architecture of a system that can be utilised for project profile definition and prediction. The system was used to analyse data from 20,942 System of Management of Agreements and Transfer Contracts (SICONV) projects in Brazil, which are government-funded projects. SICONV is a Brazilian Government initiative that records the entire life cycle of agreements, transfer contracts, and partnership terms, from proposal formalisation to final accountability. The projects were represented by seven variables, all of which were related to the timeline and budget of the project. Data statistics and clustering in a lower-dimensional space calculated using t-SNE were used to generate project profiles. Performance measures were used to test and compare several project-profile prediction models based on classifiers. Results: Data clustering was achieved, and ten project profiles were defined as a result. Among 25 prediction models, k-Nearest-Neighbor (kknn) was the one that yielded the highest accuracy (0.991±0.002). Conclusions: The system predicted SICONV project profiles accurately. This system can help auditors and citizens evaluate new and ongoing project profiles, identifying inappropriate public funding.

La conception de cartes à des fins de communication ou, de manière plus générale, la visualisation de données est un champ de recherches relativement ancien qui a subi de profonds changements au cours de ces dernières années. Si de nombreuses recherches y sont consacrées, très peu d’entre elles s’intéressent à une autre tendance forte du moment : l’emploi ou le détournement du jeu à des fins de communication. Ce papier traite de cette question en abordant le cas d’un support informationnel rappelant un jeu de stratégie sur plateau développé dans un but d’information à propos d’un nouveau procédé de lutte contre le cancer : la thérapie photodynamique.

The phenomenon of the sense of distraction and the feature of figurativeness in it are analysed with the help of phenomenological description, the concept of sense of Juozas Mureika and the conception of imagination of Kristupas Sabolius. The position is followed that the acts of sense and the being of those existing found in them cannot be known in a purely rational way. Knowing is reached with intuitive insights. The experiencing of distraction is approached as one of the norms or intentions of consciousness. The sense of distraction is acknowledged to be a basic value becoming more and more important in a modern stressful life. The article indicates that the intentional beings of the sense of distraction are expressed in really various human activities and are distinguished with mono-subjectivity and unrepeatable feeling. Figurativeness is perceived as the result of imaginary, creative activity of the imagination and aesthetical quality. The peculiarities of the formation of figurativeness are revealed through the phenomenological description of imagination by Sabolius. Four features of the act of visualisation, determining the quality of figurativeness, are emphasized: intentionality, power of transformation, relation with emotions and the symbolism of the image. The conclusion is made that figurativeness, being the result of the creative act (visualisation) of imagination, appears as aesthetical quality or the ensemble of qualities. Figurativeness sharpens the sense of distraction and calls the wave of new experiences.

Purpose – This lack of knowledge and experience meant that students often found it difficult to engage with this very complex, conceptual and controversial area of health and social care. The use of visual methodologies in learning mental health and illness was being examined here with a view to its potential for overcoming this obstacle in the students’ learning and further assisting students in their conceptual understanding of the subject. The paper aims to discuss these issues. Design/methodology/approach – In total, 30 participants were recruited from a student population of 44 undergraduates studying a module at level three on mental health. Ethics and consent were secured by giving students full information to decide whether to be part of the study group. The methodology of interpretative phenomenological analysis was the philosophical framework used for the study and this was directed using a five-staged process. Data were collected through group discussions and collation of the students analysis of their visualisations. Findings – Students in the study were encouraged to think about mental health and illness in a non-traditional way of learning. Visualisation of their own perceptions or pre-conceived ideas of MH were explored. This led to some very insightful learning which included not only learning about the subject from a holistic perspective but also a continual reframing of students’ conception of mental health and an enhancement of their understanding. They demonstrated this by developing skills in “self-reflection and professional values development” which are key skills of a mental health practitioner. Research limitations/implications – The findings have implications for further research into how this type of learning can actually influence practitioners when they do work with people with mental health challenges and illness. This study was limited to a fundamentally theoretical plan for how the learning contributes to professional practice. It is also important to note that the students were also benefitting from the evidence, experience and value of the teaching and learning in a traditional sense so it is not completely clear of that influence of the innovative methodology. Therefore another aspect of study which could enhance the understanding of the influence of visualisation in mental health is to compare practitioners practice who use this technique to learn and develop and those who use a more traditional educational approach. Practical implications – This research will inform the use of a pedagogy approach in education, learning and teaching about concepts of mental health and illness and contribute to professional practice in health and social care education. Social implications – This paper makes contributions to mental health practice, visualisation, mental health education. Originality/value – Overall, the study offers an opening into the value of visual methodology in mental health awareness, education and practice and a contribution to professional practice in mental health education.

Nous présentons dans cet article un système de numérisation mobile 3D hybride laser-image qui permet d'acquérir des infrastructures de données spatiales répondant aux besoins d'applications diverses allant de navigations multimédia immersives jusqu'à de la métrologie 3D à travers le web. Nous détaillons la conception du système, ses capteurs, son architecture et sa calibration, ainsi qu'un service web offrant la possibilité de saisir en 3D via un outil de type SaaS (Software as a Service), permettant à tout un chacun d'enrichir ses propres bases de données à hauteur de ses besoins.Nous abordons également l'anonymisation des données, à savoir la détection et le floutage de plaques d'immatriculation, qui est est une étape inévitable pour la diffusion de ces données sur Internet via des applications grand public.

Les défis associés au monde de l’ingénierie sont complexes et en évolution rapide. Ils nécessitent la capacité de mobilisation de processus cognitifs d’ordre supérieur, comme la pensée analytique, la créativité et l’évaluation critique. C’est pourquoi la résolution de problèmes complexes de conception constitue le cœur de la formation initiale des ingénieurs au Canada. Dans ce contexte, les personnes étudiantes en génie sont confrontées à des problèmes qui exigent bien plus que la simple application de formules préétablies. Pour ce, elles sont encouragées à faire usage de processus cognitifs d'ordre supérieur, grâce notamment à une implication active lors de l’apprentissage par projet, une méthode d’enseignement privilégiée en génie. L’objectif de cet article est d’analyser les processus cognitifs mis en œuvre par les personnes étudiantes lorsqu’elles se trouvent en situation de résolution de problèmes complexes. Pour y parvenir, des entretiens d’explicitation ont été menés auprès de dix participants. Les résultats montrent que plusieurs aspects semblent être communs à l’ensemble des répondants en ce qui a trait aux opérations mentales mobilisées en début de processus de conception. Il s’agit de la considération de l’objectif et du but du projet, de la considération des connaissances préalables ou des données connues, ainsi que le repérage de solutions existantes en lien avec le projet de conception. D’autres processus cognitifs partagés par l’ensemble des répondants peuvent survenir à d’autres moments, c’est le cas pour la visualisation mentale et la capacité de se poser des questions. Certains aspects différencient les répondants, notamment la stratégie de l’essai et erreur ainsi que l’anticipation des problèmes et la prévision des conséquences des choix.

AbstractOwing to increased access to the Internet and the development of electronic commerce, e-commerce has become a common method of shopping in all countries. The purpose of this study is more precisely to research e-commerce diversity in Europe at the regional level and develop the conception of “E-commerce Supply Chain Management”. Statistical data derived from the European Statistical Office were applied to analyse the spatial diversity of e-retailing. Assessments of the regional diversity of e-retailing applied geographic information systems and exploratory spatial data analysis methods such us global and local spatial autocorrelation statistics. Clusters of regions with similar household preferences related to online shopping were identified. A spatial visualisation of the e-retailing diversity phenomenon may be utilised for the reconfiguration of supply chains and to adapt them to actual household preferences related to shopping methods.

La réalité virtuelle, qui implique un environnement généré par un système informatique donnant une impression de réalité, de présence et d'engagement (Pellas et al., 2020), a connu des développements dans le domaine de l’éducation (Freina et Ott, 2015; Jensen et Konradsen, 2018). Les avantages qu’elle présente, notamment pour la visualisation des concepts abstraits, pour la réalisation de tâches expérimentales difficiles ou impossibles à réaliser dans la réalité ainsi que pour la motivation, l’engagement et le transfert des apprentissages la rendent particulièrement utile pour l’apprentissage des sciences (Dalgarno et Lee, 2010; Lewis et al., 2021; Shin, 2017). En nous ancrant dans une démarche adaptée de l’analyse de la valeur pédagogique (Rocque et al., 1998), du modèle ADDIE, de l’art de la conception des jeux sérieux (Ryerson University, 2018) et d’un modèle de conception d’applications en réalité virtuelle (Vergara et al., 2017), nous avons développé de manière itérative différents jeux sérieux en réalité virtuelle en sciences au collégial (biologie, chimie et physique) pour finalement les mettre à l’essai en classe à l’automne 2022. Cet article vise à partager le processus expérimenté pour le développement, les résultats de chacune des étapes de ce processus ainsi que les principes qui en sont ressortis. Le tout sera utile aux acteurs du milieu de l’éducation désirant développer des jeux sérieux en réalité virtuelle.

This study dissected the costume contained in skin KDA Popstar on Ahri’s Champion in League of Legends game to find represenation of sensuality that adapted imagery from girlband Kpop. League of Legends is a game that offers player an arena to fight, survive and win the game. This studies on skin KDA Popstar of champion Ahri, which adapted from Korean girlband, the visual that can intrigue emotion, desire and addiction from players. The study is a qualitative research by describing skin KDA Popstar weared by champion Ahri then dissect the skin character based on costume matrix, analysis on similarity or relations among theories as well as element that formed perception, and interpretation to the skin KDA Popstar on champion Ahri. lastly design theory about visual culture to understand the general conception of skin character as a visual product. The analysis shows that Ahri’s skin KDA Popstar contains sensual concept in it’s each elements that adapted from Korean girlband image. The costume is focused on featuring her charm and sexiness. Ahri’s skin KDA Popstar represent sensuality evidenced by the form and visualisation of it’s costume.

Goal and theses: The article aims to check the applicability of methods based on processing large sets of information in research in social sciences. Conception/research methods: The dynamic development of new research methods based on the automated processing of large data sets using artificial intelligence (AI) means that they are used in an increasingly wide range of disciplines, going beyond the field of exact and natural sciences. Text mining was combined with available CLARIN web applications and keyword extraction and analysis strategy, a combination of the YAKE! written in Python with the VOSViewer program for the visualisation of bibliometric networks. Results and conclusions: The study showed how automatic keyword extraction creates opportunities in social science research. The use of CLARIN and Google Pinpoint web tools in the analysis significantly facilitates working with a large body of texts and accelerates its analysis. Cognitive value/originality: The study indicates new research methods that can contribute to the development of social sciences. The perspectives for the implementation of the ways of dealing with large data sets are presented in work in research on society, and conclusions regarding the development of digital social sciences are formulated.

SummaryThe recently reported human pregnancies and births after fertilising oocytes with round spermatids recovered from the ejaculate of men with non-obstructive azoospermia have underscored the need for a more accurate evaluation of the nuclear and cytoplasmic maturation status of ejaculated germ cells. In this study we describe our first experience with a method combining the immunocytochemical visualisation of proacrosin with autosomal DNA fluorescencein situhybridisation (FISH) to assess ejaculated germ cells from patients with a spermiogenesis defect. The proacrosin immunoreactivity, analysed with the use of the monoclonal antibody 4D4, has been detected in cells of round spermatid size presenting a haploid FISH figure as well as in larger cells whose ploidy corresponds to primary and secondary spermatocytes. These observations are in agreement with previously published results obtained, with the use of the same antibody, by immunocytochemical analysis of histological sections of testicular tissue. All the cells of round spermatid size possessing proacrosin immunoreactivity were found to be haploid by FISH. On the other hand, some of the haploid cells of round spermatid size did not possess proacrosin immunoreactivity. The structural pattern of proacrosin immunoreactivity was highly variable both in spermatids and in younger spermatogenic cells. These data show that cell size is the main criterion to be used for the identification of ejaculated round spermatids, whereas the presence of the developing acrosome represents only an auxiliary criterion. The scoring of acrosomal development in ejaculated spermatids may be useful as part of pre-treatment diagnosis before the inclusion of infertile couples in a spermatid conception programme.

Defined digital Facilities’ Management (FM) systems will contribute to the realisation of the United Nations’ Sustainable Development Goal (SDG) 11. Of the available digital FM systems, Building Information Modelling (BIM) for FM, herein referred to as BIM-FM, is the least developed. Where BIM-FM varies from existing digital FM tools is its advanced 3D visualisation capabilities. A semi-structured literature review is undertaken to assess the current implementation of BIM-FM and identify opportunities to engender its increased adoption. This paper is part of an ongoing piece of research aimed at defining a standard methodology for the application of BIM to historically significant structures, otherwise known as Historic BIM (HBIM). Two existing approaches to BIM-FM, current and developing, are outlined. The potential value BIM-FM can provide according to the literature is discussed but there exists minimal practical evidence to justify these claims. Barriers to its adoption are discussed, with a key underlying barrier found to be a lack of defined user requirements. Consequently, functional, modelling and information requirements established within the literature are identified, and existing attempts at realising the requirements are discussed. Six information categories and two functional requirements are identified. It is theorised that the tendency to utilise simplified geometric models for FM is primarily due to software and practical limitations as opposed to actual end user needs, and it is suggested that this should be investigated further in future work. Attempts at realising BIM-FM user requirements using other advanced technologies, primarily Digital Twins, are investigated and found to be an area of increasing commonality. A new conception of BIM-FM is proposed.

In the wide scenario of heritage documentation and conservation, the multi-scale nature of digital models is able to twin the real object, as well as to store information and record investigation results, in order to detect and analyse deformation and materials deterioration, especially from a structural point of view. The contribution proposes an integrated approach for the generation of an n-D enriched model, also called a digital twin, able to support the interdisciplinary investigation process conducted on the site and following the processing of the collected data. Particularly for 20th Century concrete heritage, an integrated approach is required in order to adapt the more consolidated approaches to a new conception of the spaces, where structure and architecture are often coincident. The research plans to present the documentation process for the halls of Torino Esposizioni (Turin, Italy), built in the mid-twentieth century and designed by Pier Luigi Nervi. The HBIM paradigm is explored and expanded in order to fulfil the multi-source data requirements and adapt the consolidated reverse modelling processes based on scan-to-BIM solutions. The most relevant contributions of the research reside in the study of the chances of using and adapting the characteristics of the IFC (Industry Foundation Classes) standard to the archiving needs of the diagnostic investigations results so that the digital twin model can meet the requirements of replicability in the context of the architectural heritage and interoperability with respect to the subsequent intervention phases envisaged by the conservation plan. Another crucial innovation is a proposal of a scan-to-BIM process improved by an automated approach performed by VPL (Visual Programming Languages) contribution. Finally, an online visualisation tool enables the HBIM cognitive system to be accessible and shareable by stakeholders involved in the general conservation process.

<p>The role of epicardial adipose tissue (EAT) in the pathogenesis and prognosis of cardiovascular diseases has been actively discussed. This review provides information regarding the main mechanisms by which EAT influences the pathophysiology of rhythm disturbances, such as atrial fibrillation and ventricular arrhythmias, as well as their relationship with chronic heart failure. The pathogenesis of cardiac arrhythmias is exceedingly complex. As such, the mechanism by which EAT influences arrhythmias and heart failure can vary according to the anatomy and type of arrhythmia, one of which involves the autonomic nervous system (ANS). Some studies have shown a good treatment effects by targeting EAT in atrial fibrillation, whereas others have found that EAT volume can be used to predict the efficacy of radiofrequency ablation, a method for treating atrial fibrillation and ventricular arrhythmias. However, no standards have yet been established for the use of EAT visualisation. Fundamental, translational and clinical research are needed to study the role of EAT and ANS in the pathogenesis of cardiovascular diseases.</p><p>Received 15 March 2021. Revised 25 April 2021. Accepted 26 April 2021.</p><p><strong>Funding:</strong> The work is supported by a grant of the Russian Science Foundation (project No. 17-75-20118).</p><p><strong>Conflict of interest:</strong> The authors declare no conflicts of interests.</p><p><strong>Contribution of the authors</strong><br />Conception and study design: D.V. Losik, N.A. Nikitin, S.M. Minin, A.B. Romanov, A.M. Chernyavskiy<br />Drafting the article: D.V. Losik, I.L. Mikheenko, E.V. Fisher, N.A. Nikitin<br />Critical revision of the article: D.V. Losik, I.L. Mikheenko, E.V. Fisher, N.A. Nikitin<br />Final approval of the version to be published: D.V. Losik, N.A. Nikitin, S.M. Minin, E.V. Fisher, I.L. Mikheenko, A.M. Chernyavskiy, A.B. Romanov</p>

<p>Myocardial perfusion imaging is considered one of the leading non-invasive diagnostic tools for the assessment of patients with known or suspected coronary artery disease and other cardiac pathologies. The technical improvement of the currently used gamma-tomographic devices has increased the diagnostic capability of this technique. In recent years, the use of dedicated cardiac SPECT cameras with solid-state cadmium–zinc–telluride (CZT) technology has increased in nuclear imaging. These new CZT technologies have several advantages over existing scanner models. The development of new CZT detectors and their collimator configuration has increased scanning sensitivity and spatial resolution values. Also, due to the significantly higher sensitivity of new CZT detectors and new methods of data processing, radiologists have already introduced new scanning protocols and methods for radionuclide assessment of myocardial blood flow, reserve and non-invasive visualisation of the functioning of the sympathetic nervous system into clinical practice. The purpose of this review is to provide data on the main technical characteristics of gamma cameras equipped CZT detectors as well as the current possibilities of using CZT cameras for examining patients with various cardiovascular diseases.</p><p>Received 1 April 2020. Revised 22 April 2020. Accepted 30 April 2019.</p><p><strong>Funding:</strong> The work is supported by a grant of the Russian Science Foundation No. 17-75-20118.</p><p><strong>Conflict of interest:</strong> Authors declare no conflict of interest.</p><p><strong>Author contributions</strong><br />Conception and study design: S.M. Minin, K.V. Zavadovky, A.B. Romanov<br />Drafting the article: S.M. Minin, K.V. Zavadovky, N.A. Nikitin, A.V. Mochula, A.B. Romanov<br />Critical revision of the article: S.M. Minin, K.V. Zavadovky<br />Final approval of the version to be published: S.M. Minin, K.V. Zavadovky, N.A. Nikitin, A.V. Mochula, A.B. Romanov</p>

The paper focuses on associative verbal potential of the lexeme Rozhdestvo (‘Christmas’) in contemporary Russian youth’s linguistic worldview. The research is based on findings of an associative linguistic experiment. The experiment allowed explicating culture codes unconsciously reproduced by respondents, and produced easily calculable results. Each of the respondents had to write down five linguistic units associated with the stimulus word Rozhdestvo (‘Christmas’). Linguoculturological approach is used to interpret the obtained data as it allows analysing how cultural phenomena are represented in linguistic consciousness. The authors discover certain mobility of the linguistic means that verbalise Christmas semantics, as well as certain heterogeneity of people’s conceptions of the feast. The study reveals contemporary cultural context and discourses significant for the youth environment. The experiment’s primary result can be considered our visualisation of the cultural syncretism reflected in the perception of the lexeme Rozhdestvo. The findings can help when developing projects in education, communications, advertising that exploit cultural images and/or elements of cultural context, and serve as basis for further studies.

<p><strong>Aim</strong>. To assess the results of carotid angioplasty with stenting (CAS) performed in the first 3 h after the onset of ischaemic stroke (the most acute period of acute cerebrovascular accident).</p><p><strong>Methods</strong>. This retrospective study included 312 patients from January 2008 to August 2020 with hemodynamically significant stenosis of the internal carotid arteries (ICA) who underwent CAS within 3 h of stroke onset. After a patient was hospitalised in our emergency department, stroke development was assessed by a neurologist. The level of neurological deficit was determined according to the National Institutes of Health Stroke Scale (NIHSS), the modified Rankin scale, the Barthel scale and the Rivermead Mobility Index. Multispiral computed tomography (MSCT) of the brain was then performed. On condition of visualisation of the ischaemic focus, the patient was sent for screening colour duplex scanning of the brachiocephalic arteries (BCA), arteries of the lower extremities, aortic arch and heart. If hemodynamically significant stenosis in the ICA was visualised, the patient underwent MSCT angiography of the BCA. The degree of stenosis was determined using the North American Symptomatic Trial Collaborators (NASCET) classifications. The on-duty ultidisciplinary council determined the tactics of the patient's treatment. Decisions regarding surgical correction and the choice of revascularisation strategy (CAS or carotid endarterectomy) were made based on stratification of the risk of postoperative complications according to the EuroSCORE II scale and the severity of coronary lesions according to the SYNTAX Score (in the presence of a history of coronary angiography). The time between admission to the emergency department and admission to the operating room was 84.5 ± 9.3 minutes. The inclusion criteria were 1. mild neurological disorders from 3 to 8 points on the NIHSS scale, no more than 2 points on the Rankin modification scale and more than 61 points on the Barthel scale; 2. Indication for CAS according to the current national recommendations; 3. Ischaemic focus in the brain no more than 2.5 cm in diameter according to MSCT; 4. Absence of pronounced calcification of the ICA. The exclusion criteria were: 1. Contraindications for CAS; 2. The presence of thrombosis of the ICA requiring the introduction of fibrinolytics (Alteplase), thromboextraction and thromboaspiration.</p><p><strong>Results</strong>. In the hospital postoperative period, 6 (1.92%) patients had lethal outcomes, 5 (1.6%) had myocardial infarctions, 5 (1.6%) had nonfatal stroke, 7 (2.2%) had asymptomatic ‘silent’ stroke, 2 (0.64%) had haemorrhagic transformations and 1 (0.32%) had ICA thrombosis. The combined endpoint (death + stroke + myocardial infarction) was reached in 7.05% of patients (n = 22).</p><p><strong>Conclusion</strong>. CAS is a safe and effective method of brain revascularisation in the first hours after the onset of ischaemic stroke. Interventional correction of hemodynamically significant stenoses of the ICA had permissible levels of ‘stroke + mortality from stroke’ and lethal outcomes, which reached 3.84% and 1.92%, respectively. Urgent implementation of CAS allows a significant regression of neurological deficit which is stable throughout the entire postoperative period.</p><p>Received 21 September 2020. Revised 1 October 2020. Accepted 10 October 2020.</p><p><strong>Funding:</strong> The study did not have sponsorship.</p><p><strong>Conflict of interest:</strong> Authors declare no conflict of interest.</p><p><strong>Author contributions</strong><br />Conception and design: R.A. Vinogradov, M.A. Chernyavsky, V.A. Porkhanov, E.Yu. Kachesov, G.G. Khubulava<br />Data collection and analysis: V.V. Matusevich, K.P. Chernykh, A.B. Zakeryaev. Drafting the article: A.N. Kazantsev<br />Statistical analysis: G.Sh. Bagdavadze, R.Yu. Leader. Critical revision of the article: <br />Final approval of the version to be published: A.N. Kazantsev, R.A. Vinogradov, M.A. Chernyavsky, V.V. Matusevich, <br />K.P. Chernykh, A.B. Zakeryaev, G.Sh. Bagdavadze, R.Yu. Leader, E.Yu. Kachesov, V.A. Porkhanov, G.G. Khubulava</p>

<p><strong>Aim.</strong> Analysis of the results of hospital and medium-long-term results obtained using a new method of glomus-saving carotid endarterectomy (CEE) according to A. N. Kazantsev.</p><p><strong>Methods.</strong> This prospective study was conducted during January 2018 to April 2020 on 214 patients who were operated for occlusive stenotic lesions of the internal carotid artery (ICA) using holomus-saving CEE as per the method described by <br />A.N. Kazantsev. The average observation duration was 17.2 ± 6.5 months.<br />Glomus-saving CEE as per the method by A. N. Kazantsev is performed as follows. Arteriotomy is performed along the inner edge of the external carotid artery (ECA) adjacent to the carotid sinus, 2–3 cm above the mouth, depending on the distribution of atherosclerotic plaque, with a transition to the common carotid artery (also 2–3 cm below the ECA mouth). The ICA was cut off at the site formed by the wall sections of the ECA and the common carotid artery. Thereafter, an endarterectomy from the ICA was performed using the eversion technique. The next step was an open endarterectomy from the ECA and OCA. Then, the ICA at the saved site was implanted in the previous position. A 6-0 Prolene thread was used as the suture material for performing a vascular anastomosis.</p><p><strong>Results.</strong> The average ICA clamping time was 33.1 ± 3.4 min. Considering the intraoperative visualisation of an extended atherosclerotic plaque in the ICA, in some cases, there was a need to transform the operation. In 4.7% (n = 10) cases, autologous ICA transplantation was performed as per E. V. Rosseykinu. During the hospitalisation, the observation of cardiovascular complications was not recorded. When analysing the dynamics graph of systolic blood pressure, it was revealed that after glomus-saving CEE as per the method by A. N. Kazantsev, stable numbers are maintained during preoperative antihypertensive therapy and do not rise above 137.9 ± 7.5 mm Hg. In the mid-long-term follow-up, 1 (0.46 %) death was recorded, 1 (0.46%) due to myocardial infarction, 1 (0.46%) due to non-lethal ischaemic stroke, and 2 (0.9%) due to hemodynamically significant restenosis 12 mon after CEE. The combined endpoint (death + myocardial infarction + stroke) was reached in 3 (1.4%) patients. The cause of the lethal outcome was circular myocardial infarction that developed, given the patient's refusal to follow double disaggregant therapy (2 stents were previously implanted in the anterior descending and right coronary arteries). The cause of ischaemic stroke was the development of ICA restenosis (12 mon after CEE) owing to neointimal hyperplasia, as shown by histological examination after repeated surgery.</p><p><strong>Conclusion.</strong> CEE as per the method by A. N. Kazantsev is the simplest method of operation for known glomus-preserving reconstructions. The absence of complex arteriotomy, the preservation of carotid bifurcation structures, and the possibility of transformation of the intervention into autologous autologous transplantation with prolonged lesion is preferred over other methods. An additional opportunity for high-quality endarterectomy from ЕCA also creates preventive conditions in the prevention of cerebral haemodynamics. Stable blood pressure indicators in the hospital and mid-term follow-up periods demonstrate the importance of the preservation of the carotid glomus during reconstructive surgery on the carotid arteries. Thus, the presented type of CEE meets all the requirements of modern carotid surgery and can be an elective operation in the personalised treatment of patients with occlusal-stenotic lesions of the carotid arteries.</p><p>Received 10 May 2020. Revised 25 May 2020. Accepted 26 May 2020.</p><p><strong>Funding:</strong> The study did not have sponsorship.</p><p><strong>Conflict of interest:</strong> Authors declare no conflict of interest.</p><p><strong>Author contributions</strong><br />Method development and testing: A.N. Kazantsev<br />Conception and design: T.E. Zaitseva, A.E. Chikin, A.N. Kazantsev<br />Drafting the article: A.N. Kazantsev<br />Drawing up tables: E.Yu. Kalinin<br />Statistical analysis: K.P. Chernykh<br />Literature review: R.Yu. Leader, G.Sh. Bagdavadze<br />Critical revision of the article: N.E. Zarkua, K.G. Kubachev<br />Final approval of the version to be published: A.N. Kazantsev, K.P. Chernykh, R.Yu. Leader, N.E. Zarkua, K.G. Kubachev, <br />G.Sh. Bagdavadze, E.Yu. Kalinin, T.E. Zaitseva, A.E. Chikin, Yu.P. Linets</p>

L’agriculture, et plus particulièrement les productions animales, sont depuis quelques années au cœur des préoccupations mondiales, si l’on en juge par les nombreux rapports que les institutions internationales, ainsi que l’INRA et le CIRAD, leur ont récemment consacré (Millenium Ecosystem Assessment 2005, IPCC 2006, Steinfeld et al 2006, World Bank 2008, FAO 2009, Steinfeld et al 2010, Dorin et al 2011). Deux points forts ressortent de ces exercices de prospective : 1/ Le poids économique et social de l'élevage dans l'agriculture mondiale est considérable :- La planète compte, toutes catégories confondues, 19 milliards d’animaux d'élevage dont 70% sont détenus par des éleveurs hors pays industrialisés ; - On comptait en 2000 : 1 porcin pour 7 habitants, 1 bovin pour 4 habitants, 1 petit ruminant pour 3 habitants, et plus de 2 volailles par habitant ; - Environ 250 millions d'animaux de trait apportent la force de travail pour près de la moitié des cultures vivrières dans les agricultures familiales des pays en développement ;- L’élevage mobilise environ 4 milliards d’ha de surfaces en herbe (soit près de 30% des terres émergées non gelées), fournit le tiers des protéines pour l’alimentation humaine et représente 40% de la valeur de la production agricole brute mondiale ;- On prévoit d’ici à 2050 le doublement des productions animales, essentiellement par une forte expansion des activités d’élevage dans les pays du Sud ;- Quant à l’approvisionnement futur en produits aquatiques, il repose sur l’essor de l’aquaculture (50% déjà du marché mondial), qui est le secteur de l’élevage lato sensu ayant la plus forte croissance surtout dans la zone AsiePacifique ;- L’élevage contribue aux moyens de vie d’un milliard de pauvres dans les pays du Sud et emploie au total 1,3 milliard de personnes dans le monde. 2/ Les productions animales doivent faire face, plus que les productions végétales, à de nombreuses interrogationset remises en cause qui interpellent la recherche et le développement. On peut les résumer de la façon suivante :comment répondre à l’augmentation considérable de la demande en produits animaux, notamment dans les pays du Sud, dans un contexte de compétition forte sur les ressources pour l’alimentation humaine et de la nécessite d’une prise en compte des impacts environnementaux de l’élevage, qu’ils soient positifs (services environnementaux rendus par les systèmes de productions animales) ou négatifs (contribution au changement climatique liées aux émissions de GES, dégradation de la biodiversité, consommation importante d’eau et d'énergie, détérioration de la qualité des eaux par les effluents d’élevage). Ces interrogations ne se déclinent pas de la même façon dans les pays du Nord et du Sud, parce que la place de l’élevage dans la société et les enjeux de son développement y sont différents. Les productions animales au Sud se trouvent ainsi dans une situation paradoxale : elles doivent faire face à une évolution importante de la demande à moyen terme, dans un contexte nouveau, marqué notamment par les tensions sur les disponibilités et les coûts des intrants et par la prise en compte impérative tant des contributions que des effets liés au changement climatique. C’est dans ce contexte particulier, et en prolongement de la réflexion menée par l’INRA et le CIRAD dans le cadre du chantier PARC rappelé dans la préface, que la Rédaction de la revue INRA Productions animales a décidé de consacrer un numéro complet au thème de l’Elevage en régions chaudes (Coulon et al 2011). Les contributions rassemblées dans ce numéro spécial ont pour ambition de faire une synthèse approfondie de l’état connaissances et des expériences acquises en termes d’élevage en régions chaudes. Les productions animales sont analysées à différents niveaux d’organisation, tenant compte de leur spécificité et des interrelations entre les diverses échelles, permettant une visualisation à la fois circonstanciée et large de la situation de l’élevage dans le monde. Les auteurs fournissent ainsi un panel de résultats, d’illustrations, de solutions et d’alternatives innovantes, ainsi que de nouvelles pistes et priorités de recherche. Celles-ci peuvent réellement contribuer à mieux appréhender la multifonctionnalité de l’élevage, la durabilité de son développement et ses évolutions à venir. Après une présentation des éléments d’évolution des productions animales au niveau mondial (Gerber et al), le deuxième article synthétise les nombreuses connaissances acquises concernant les ressources alimentaires tropicales (diversité, disponibilité et valeur nutritive), utilisables en hors-sol ou au pâturage (Archimède et al). Pour les animaux, ruminants et monogastriques, les caractères majeurs d’adaptation aux effets directs du climat, à la sous-nutrition ou aux maladies parasitaires sont développés, et des options d’optimisation de la productivité et de la résilience sont proposées (Mandonnet et al). Dans le domaine de la santé, les maladies infectieuses animales constituent des contraintes économiques fortes ainsi que des risques pour la santé humaine ; des stratégies pour faire face à cette situation sont formulées, concernant à la fois la conduite des systèmes d’élevage et l’organisation de réseaux de surveillance à l’échelle régionale (Lancelot et al). L’article suivant insiste sur la nécessaire prise en compte de la qualité des produits par les producteurs et les transformateurs et l’importance des règles de caractérisation et de gestion de cette qualité, dans un contexte spécifique aux pays du Sud en termes de conditions climatiques, économiques et sociologiques (Faye et al). Les interactions entre l’environnement et les systèmes d’élevage diversifiés sont décrites et illustrées tant en termes d’impacts que de services agro-écologiques, et diverses pistes sont suggérées pour une gestion plus durable de ces systèmes en régions chaudes (Blanfort et al). En sus de la composante environnementale, et au vu de la diversité des systèmes d’élevage et de leur multifonctionnalité, une démarche essentielle de conception-évaluation de systèmes durables est explicitée, illustrée d’exemples géographiques contrastés (Dedieu et al). A une échelle plus large, les auteurs examinent les interactions entre les territoires ou espaces de production et les filières et proposent un modèle d’analyse appliqué à quatre territoires représentatifs du Sud (Poccard et al). Enfin l’élevage, marqueur socioculturel de nombreuses sociétés du Sud, est analysé comme contributeur culturel et capital social, pour son rôle économique majeur à l’échelle des familles, mais également en faveur de la sécurité alimentaire et le développement local (Alary et al). Souhaitons que ces articles de synthèse et les pistes de recherche évoquées dans ce numéro thématique incitent les chercheurs de l’INRA et du CIRAD à renforcer leur collaboration et à proposer de nouvelles approches de la conception et de l’évaluation des systèmes d’élevage en régions chaudes.

The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non-trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter. The article focuses on how the ‘non-trivial’ drawings of Frank Gehry enhance a kinaesthetic relationship between action and thought. It pays special attention to the ways in which Frank Gehrys’ sketches function as instantaneous concretisations of a continuous process of transformation. Its main argument is that the affective capacity of Gehry’s ‘drawdlings’ lies in their interpretation as successive concretisations of a reiterative process. The affectivity of their abstract and single-gesture pictoriality is closely connected to their interpretation as components of a single dynamic system. As key issues of Frank Gehry’s use of uninterrupted line, the article identifies: the enhancement of a straightforward relationship between the gesture and the decision-making regarding the form of the building; its capacity to render possible the perception of the evolution of the process of form-making; and the way the use of uninterrupted line is related to the function of Gehry’s sketches as indexes referring to Charles Sanders Peirce’s conception of the notion of ‘index’.

Data visualisation techniques are effectively beneficial to for data streaming in a significant way. Graphical representation is also measured with help of this data visualisation process. Several types of graphs, images, charts and maps are used to maintain data visualisation process. Decisions making process and problem-solving ability is also enhanced with help of these data visualisation procedures. Pie charts, bar charts, waterfall charts, Gantt chart and heat map are used to maintain the data visualisation process. Bullet graphs are also useful for this conception about data visualisation process. Researcher uses “interpretivism” research philosophy, “inductive” research approach and “qualitative” research method to gather information related to this study. Creative and innovative ideas and thoughts related to data are also used with help of this particular data stream mining in a significant way. Data visualisation market value and big data market size is also mentioned in this study. Constant cycles of news and entertainment are also gathered with help of this data visualisation techniques including data stream mining.

Cet article se positionne dans le contexte d’une recherche sur l’activité de conception architecturale collaborative visant à comprendre comment évoluent les informations caractérisant le projet et au travers de quels objets médiateurs s’effectue cette évolution. L’originalité de notre recherche est d’effectuer un changement de paradigme en plaçant les informations caractérisant le projet au cœur du questionnement. Nous adressons ici la problématique de la traçabilité de ces informations tout au long de la conception et de la visualisation de cette évolution d’information dans l’activité. Pour cela, nous mettons en place un protocole d’observation présentant l’originalité de permettre la caractérisation en temps réel d’activités de conception de natures et de temporalités différentes. Nous proposons ensuite de nouveaux formalismes pour visualiser ces données et représenter l’activité.

PurposeThe surging cost of living and shortage of affordable and sustainable homes fuel the global housing crisis. Earthship buildings are marketed as the epitome of affordable and sustainable alternative housing. This paper aimed to elicit the perception of Earthship buildings among youngsters in the United Kingdom using immersive virtual reality technology. Additionally, the impact of virtual reality on perception compared with two-dimensional drawings was investigated in the study.Design/methodology/approachA three-phase, experiment-based survey was adopted: Phase 1: literature review, Earthship house model conception and the virtual environment creation; Phase 2: two-dimensional drawing-based pre-visualisation survey; Phase 3: virtual reality–based post-visualisation survey.FindingsThe findings indicated that youngsters had a remarkable, positive change in attitude towards the uptake of the Earthship houses after virtual reality visualisation. In contrast, sustainability experts shared more concerns regarding the concept's viability in the United Kingdom, even after the virtual reality visualisation. However, both youngsters and experts agreed with the pre-eminence of virtual reality over two-dimensional drawings.Originality/valueThe lack of awareness about Earthship buildings for posterity was noted in previous studies, which could be attributed to there being very few Earthship buildings in the United Kingdom. The importance of this awareness among youngsters cannot be over-emphasised since youngsters are affected most by the shortage of affordable and sustainable homes. This gap was addressed by enlightening the youth about Earthship houses and imparting awareness through near-real-life virtual reality visualisation.

We explore how the common elements of serendipity identified in previous models may be used to identify different approaches to the design of digital environments to support serendipity. Three approaches are examined: social search, recommender systems, and visualization. Nous explorons la façon dont les éléments communs de la sérendipité identifiés dans des modèles précédents peuvent être utilisés pour identifier des approches différentes de la conception d'environnements numériques afin d’appuyer la sérendipité. Trois approches sont étudiées: la recherche sociale, les systèmes de recommandation, et la visualisation.

Reports of information visualization user testing show they are performed when the design is mature and no longer able to change significantly. This communication presents preliminary results from a novel user evaluation method which controls for novelty and learning effects, and is applicable early in the design process.Les résultats de l’expérience de visualisation de l’information des usagers montrent ce qui se produit lorsque le projet est arrivé à maturité et n’est plus susceptible de changer de manière significative. Cette communication présente les résultats préliminaires d’une nouvelle méthode d’évaluation de l’usager. Cette méthode contrôle la nouveauté et l’effet d’apprentissage, et peut être appliquée à un stade précoce du processus de conception.

Elementary students use the Web to find information, but can encounter problems with keyword searching. An alternative is to choose terms from a taxonomy (subject directory), but students may then encounter problems in locating a term within the taxonomy. This paper reports on a comparative analysis of a conventional, hierarchically displayed taxonomy with a display of the same taxonomy using information visualization techniques. The evaluations were undertaken by students from grade-six (11 to 12 years’ old) and are part of a larger study on the application of information visualization techniques to interfaces targeted at children.Les élèves du primaire utilisent le Web pour trouver de l'information, mais peuvent avoir des difficultés avec la recherche par mots-clés. Une possibilité serait de choisir des termes à partir d'une taxonomie (liste de sujets), mais dans ces circonstances, ils pourraient avoir de la difficulté à localiser le terme voulu. Cet article présente l'analyse comparative d'une taxonomie hiérarchique conventionnelle et de la même taxonomie présentée en utilisant des techniques de visualisation de l'information. Les évaluations ont été effectuées par des élèves de 6e année (11 et 12 ans) et font partie intégrante d'une étude plus vaste sur l'application de techniques de visualisation de l'information dans la conception d'interfaces ciblant les enfants.

L’objectif du présent travail consiste en l’élaboration d’un logiciel de calcul de l’éclairement solaire destiné aux systèmes thermiques à concentration en Algérie. Le logiciel réalisé ‘CESAL2011’ permet une visualisation de l’énergie solaire numériquement et graphiquement pour les différents cas de poursuite appliqués à ces systèmes. Pour une meilleure exploitation du logiciel, nous avons réalisé une interface graphique avec le langage de programmation Delphi, les calculs ont été effectués à l’aide du modèle de ‘Capderou’. Une comparaison entre des valeurs de l’éclairement solaire mesurées et des valeurs calculées sur le site de Ghardaïa a été effectuée afin de valider le logiciel. Les résultats obtenus des tests et de la validation ont révélé que l’utilisation du modèle de ‘Capderou’, pour les systèmes à concentration, s’avère acceptable en adoptant quelques modifications. Le logiciel réalisé est un outil d’aide satisfaisant permettant le choix du meilleur type de poursuite solaire.

We herein introduce voyAGEr, an online graphical interface to explore age-related gene expression alterations in 49 human tissues. voyAGEr offers a visualisation and statistical toolkit for the finding and functional exploration of sex- and tissue-specific transcriptomic changes with age. In its conception, we developed a novel bioinformatics pipeline leveraging RNA sequencing data, from the GTEx project, encompassing more than 900 individuals. voyAGEr reveals transcriptomic signatures of the known asynchronous ageing between tissues, allowing the observation of tissue-specific age periods of major transcriptional changes, associated with alterations in different biological pathways, cellular composition, and disease conditions. Notably, voyAGEr was created to assist researchers with no expertise in bioinformatics, providing a supportive framework for elaborating, testing and refining their hypotheses on the molecular nature of human ageing and its association with pathologies, thereby also aiding in the discovery of novel therapeutic targets. voyAGEr is freely available at https://compbio.imm.medicina.ulisboa.pt/app/voyAGEr.

L’image scientifique se donne à comprendre intuitivement comme le résultat d’un processus d’exploration de la matière et des corps, reposant sur une expérience globale, qui combine des dimensions sensibles et des dimensions technologiques. Mais cette intuition pose immédiatement une question, qui a trait au statut d’énonciation de ces images : elles n’énoncent à l’évidence que par la médiation de ce dispositif d’exploration, mais en est-il autrement pour les autres types d’images? En effet, l’hypothèse selon laquelle les sémiotiques du visible résulteraient d’un processus d’exploration spécifique des corps, conduisant de l’invisible au visible, puis du visible au visuel, conduirait à reconsidérer le concept de débrayage, en le rapportant à une expérience des corps et à des interactions entre corps et énergie. Elle offrirait ainsi un prolongement à la réflexion sur le rôle de la lumière dans les images, et elle permettrait également d’articuler plus clairement le processus d’exploration visuelle avec celui de l’expérience sémiotique en général. A partir du cas particulier et problématique de l’image scientifique nous serions alors conduits à réviser notre conception de l’énonciation, à la rapporter plus explicitement à une structure d’expérience, et à lui trouver une place et un sens dans l’exploration de notre monde, intérieur autant qu’extérieur. Toutes les étapes qui conduisent de l’expérience figurative du visible à la manifestation visuelle sont des phases de l’interaction entre l’énergie et la matière, qui fournissent en somme l’isotopie thématique générale et le support pour toute la séquence de transformation que nous cherchons à caractériser et établir ici-même, et qui s’analyse dans la série : excitation – signal-réponse – transduction – visualisation.

The application of wind tunnel for visualizing flow over any bluff or streamline body plays an indispensable role in concepting various aerodynamical phenomenon such as formation of vortices, generating lift and drag, calculation of velocity vector and pressure profiles etc. Flow visualization through smoke and laser optics in a subsonic wind tunnel to capture vortex formation over airfoils, cylindrical and conical bodies is the experimental approach which has been studied and manifested elaborately in the article. Using smoke as a seeding material, the flow of the same is allowed to pass over the model which is illuminated via a double pulse laser beam to visualize the formation of vortex and capture the same for future references. The experimentation of the above models is carried out in a Honeycomb subsonic wind tunnel in the Aerodynamics Lab of Aerospace Engineering in the university. The article will cover Computational Fluid Dynamics (CFD) performed on ANSYS for the particular NACA series, Cross correlation PIV for plotting velocity vector for the captured images of the seed particles and the respective images of the entire experimental set-up. The images captured during this experiment can be later used by the aerodynamicists for optimizing aerodynamic efficiency of the experimented models depending on the vortex formation and flow pattern. The images can also be used for advance calculations required in Particle Image Velocimetry (PIV) for calculating velocity of every speed particle.

Abstract Quantum mechanics (QM) is one of the core subject areas in undergraduate physics curriculum and it is usually taught in an abstract framework. Visualization of concepts such as energy eigenfunctions and its spatial dependence probability density etc. helps students to have a deeper and more comprehensive understanding of QM. The role played by ‘boundary-conditions’ in a given quantum system primarily governs the energy eigenvalues as well as eigenfunctions. Therefore, visualization of the impact of boundary conditions on the eigenvalues and eigenfunctions are of immense significance in building a coherent cognitive structure. In this study, we attempt to explore the challenges faced by undergraduate students in visualizing the eigenfunctions when the potential distribution is well-defined. The research was carried out in a qualitative framework which involved interaction with a group of undergraduate students and critical analysis of the responses from a constructivist viewpoint. The outcomes pointed towards prevalent alternate conceptions in the understanding of eigenfunctions. Specifically, the results showed difficulties students face in associating eigenfunctions with prescribed boundary conditions for a potential distribution. The qualitative method allows us to ascertain the exact bottleneck which obstructs the creation of a coherent model and subsequently, provides a route to selectively address such issues.

Copyright is under contest in Australia amid growing digital cultures of sharing. Using metaphor as a frame for analysis, this study applies internet search data (Google Trends) methods to visualise Australian online information-seeking patterns for metaphors related to copyright and sharing. An overview of legal metaphors of online copyright (‘piracy’, ‘war on copyright’) and metaphors of digital sharing (‘sharing is caring’, ‘sharing economy’) leads to a critical examination of the ‘metaphor struggles’ between the rhetoric of copyright infringement and sharing cultures promoted by social media. Key findings presented are of decreased information seeking for copyright metaphors and increased information seeking for sharing metaphors. Online information-seeking patterns, as visualised by internet search data, represent a form of public mobilisation. Visualisation of these patterns of public information seeking for metaphors of copyright and sharing demonstrates shifting conceptions of copyright in contemporary digital cultures. This article concludes by raising a potential relationship between rising ethics of online sharing norms and diminishing legitimacy of online copyright, as the legal metaphor of copyright appears to transition through the metaphor cycle.

The COVID-19 pandemic has brought into sharp focus the shifting role of healthcare evidence in public health presentations. This article investigates the rhetoric of those presentations as a phenomenon indicating both the commitment to evidence-based public health messaging and its political loading in three interlinked case studies: computer-generated imagery ; ‘podium’ presentation and the NSO Fleming leak of COVID-19 contact tracing data. The pandemic has seen healthcare evidence attain ever-greater visibility in public forums, and those forums have themselves undergone rapid transformation. ‘Podium’ presentations such as press conferences have featured colourful imagery, and the manifold visualisations of SARS-CoV-2 which have accompanied television broadcasts and web pages display an insistent internal rhetoric. I analyse both forms of rhetoric for what they say about the ‘forensic’ moment created by COVID-19, and evaluate each in relation to Weizman’s conception of the forum, which enables both ‘frontstage’ corporate and governmental image-building and public scrutiny. This paper evaluates the politics of the presentational strategies which have arisen around COVID-19 and the ethical potential of the forum.

In March 2002, I was visiting the University of Southern California. One night, as sometimes happens on a vibrant campus, two interesting but very different public lectures were scheduled against one another. The first was by the co-chairman and co-founder of Adobe Systems Inc., Dr. John E. Warnock, talking about books. The second was a lecture by acclaimed video artist Bill Viola. The first event was clearly designed as a networking forum for faculty and entrepreneurs. The general student population was conspicuously absent. Warnock spoke of the future of Adobe, shared stories of his love of books, and in an embodiment of the democratising potential of Adobe software (and no doubt to the horror of archivists in the room) he invited the audience to handle extremely rare copies of early printed works from his personal library. In the lecture theatre where Viola was to speak the atmosphere was different. Students were everywhere; even at the price of ten dollars a head. Viola spoke of time and memory in the information age, of consciousness and existence, to an enraptured audience—and showed his latest work. The juxtaposition of these two events says something about our cultural moment, caught between a paradigm modelled on reverence toward the page, and a still emergent sense of medium, intensity and experimentation. But, the juxtaposition yields more. At one point in Warnock’s speech, in a demonstration of the ultra-high resolution possible in the next generation of Adobe products, he presented a scan of a manuscript, two pages, two columns per page, overflowing with detail. Fig. 1. Dr John E. Warnock at the Annenberg Symposium. Photo courtesy of http://www.annenberg.edu/symposia/annenberg/2002/photos.php Later, in Viola’s presentation, a fragment of a video work, Silent Mountain (2001) splits the screen in two columns, matching Warnock’s text: inside each a human figure struggles with intense emotion, and the challenges of bridging the relational gap. Fig. 2. Images from Bill Viola, Silent Mountain (2001). From Bill Viola, THE PASSIONS. The J. Paul Getty Museum, Los Angeles in Association with The National Gallery, London. Ed. John Walsh. p. 44. Both events are, of course, lectures. And although they are different in style and content, a ‘columnular’ scheme informs and underpins both, as a way of presenting and illustrating the lecture. Here, it is worth thinking about Pierre de la Ramée or Petrus (Peter) Ramus (1515-1572), the 16th century educational reformer who in the words of Frances Yates ‘abolished memory as a part of rhetoric’ (229). Ramus was famous for transforming rhetoric through the introduction of his method or dialectic. For Walter J. Ong, whose discussion of Ramism we are indebted to here, Ramus produced the paradigm of the textbook genre. But it is his method that is more noteworthy for us here, organised through definitions and divisions, the distribution of parts, ‘presented in dichotomized outlines or charts that showed exactly how the material was organised spatially in itself and in the mind’ (Ong, Orality 134-135). Fig. 3. Ramus inspired study of Medicine. Ong, Ramus 301. Ong discusses Ramus in more detail in his book Ramus: Method, and the Decay of Dialogue. Elsewhere, Sutton, Benjamin, and I have tried to capture the sense of Ong’s argument, which goes something like the following. In Ramus, Ong traces the origins of our modern, diagrammatic understanding of argument and structure to the 16th century, and especially the work of Ramus. Ong’s interest in Ramus is not as a great philosopher, nor a great scholar—indeed Ong sees Ramus’s work as a triumph of mediocrity of sorts. Rather, his was a ‘reformation’ in method and pedagogy. The Ramist dialectic ‘represented a drive toward thinking not only of the universe but of thought itself in terms of spatial models apprehended by sight’ (Ong, Ramus 9). The world becomes thought of ‘as an assemblage of the sort of things which vision apprehends—objects or surfaces’. Ramus’s teachings and doctrines regarding ‘discoursing’ are distinctive for the way they draw on geometrical figures, diagrams or lecture outlines, and the organization of categories through dichotomies. This sets learning up on a visual paradigm of ‘study’ (Ong, Orality 8-9). Ramus introduces a new organization for discourse. Prior to Ramus, the rhetorical tradition maintained and privileged an auditory understanding of the production of content in speech. Central to this practice was deployment of the ‘seats’, ‘images’ and ‘common places’ (loci communes), stock arguments and structures that had accumulated through centuries of use (Ong, Orality 111). These common places were supported by a complex art of memory: techniques that nourished the practice of rhetoric. By contrast, Ramism sought to map the flow and structure of arguments in tables and diagrams. Localised memory, based on dividing and composing, became crucial (Yates 230). For Ramus, content was structured in a set of visible or sight-oriented relations on the page. Ramism transformed the conditions of visualisation. In our present age, where ‘content’ is supposedly ‘king’, an archaeology of content bears thinking about. In it, Ramism would have a prominent place. With Ramus, content could be mapped within a diagrammatic page-based understanding of meaning. A container understanding of content arises. ‘In the post-Gutenberg age where Ramism flourished, the term “content”, as applied to what is “in” literary productions, acquires a status which it had never known before’ (Ong, Ramus 313). ‘In lieu of merely telling the truth, books would now in common estimation “contain” the truth, like boxes’ (313). For Ramus, ‘analysis opened ideas like boxes’ (315). The Ramist move was, as Ong points out, about privileging the visual over the audible. Alongside the rise of the printing press and page-based approaches to the word, the Ramist revolution sought to re-work rhetoric according to a new scheme. Although spatial metaphors had always had a ‘place’ in the arts of memory—other systems were, however, phonetically based—the notion of place changed. Specific figures such as ‘scheme’, ‘plan’, and ‘table’, rose to prominence in the now-textualised imagination. ‘Structure’ became an abstract diagram on the page disconnected from the total performance of the rhetor. This brings us to another key aspect of the Ramist reformation: that alongside a spatialised organisation of thought Ramus re-works style as presentation and embellishment (Brummett 449). A kind of separation of conception and execution is introduced in relation to performance. In Ramus’ separation of reason and rhetoric, arrangement and memory are distinct from style and delivery (Brummett 464). While both dialectic and rhetoric are re-worked by Ramus in light of divisions and definitions (see Ong, Ramus Chs. XI-XII), and dialectic remains a ‘rhetorical instrument’ (Ramus 290), rhetoric becomes a unique site for simplification in the name of classroom practicality. Dialectic circumscribes the space of learning of rhetoric; invention and arrangement (positioning) occur in advance (289). Ong’s work on the technologisation of the word is strongly focused on identifying the impact of literacy on consciousness. What Ong’s work on Ramus shows is that alongside the so-called printing revolution the Ramist reformation enacts an equally if not more powerful transformation of pedagogic space. Any serious consideration of print must not only look at the technologisation of the word, and the shifting patterns of literacy produced alongside it, but also a particular tying together of pedagogy and method that Ong traces back to Ramus. If, as is canvassed in the call for papers of this issue of M/C Journal, ‘the transitions in print culture are uneven and incomplete at this point’, then could it be in part due to the way Ramism endures and is extended in electronic and hypermedia contexts? Powerpoint presentations, outlining tools (Heim 139-141), and the scourge of bullet points, are the most obvious evidence of greater institutionalization of Ramist knowledge architecture. Communication, and the teaching of communication, is now embedded in a Ramist logic of opening up content like a box. Theories of communication draw on so-called ‘models’ that draw on the representation of the communication process through boxes that divide and define. Perhaps in a less obvious way, ‘spatialized processes of thought and communication’ (Ong, Ramus 314) are essential to the logic of flowcharting and tracking new information structures, and even teaching hypertext (see the diagram in Nielsen 7): a link puts the popular notion that hypertext is close to the way we truly think into an interesting perspective. The notion that we are embedded in print culture is not in itself new, even if the forms of our continual reintegration into print culture can be surprising. In the experience of printing, of the act of pressing the ‘Print’ button, we find ourselves re-integrated into page space. A mini-preview of the page re-assures me of an actuality behind the actualizations on the screen, of ink on paper. As I write in my word processing software, the removal of writing from the ‘element of inscription’ (Heim 136) —the frictionless ‘immediacy’ of the flow of text (152) — is conditioned by a representation called the ‘Page Layout’, the dark borders around the page signalling a kind of structures abyss, a no-go zone, a place, beyond ‘Normal’, from which where there is no ‘Return’. At the same time, however, never before has the technological manipulation of the document been so complex, a part of a docuverse that exists in three dimensions. It is a world that is increasingly virtualised by photocopiers that ‘scan to file’ or ‘scan to email’ rather than good old ‘xeroxing’ style copying. Printing gives way to scanning. In a perverse extension of printing (but also residually film and photography), some video software has a function called ‘Print to Video’. That these super-functions of scanning to file or email are disabled on my department photocopier says something about budgets, but also the comfort with which academics inhabit Ramist space. As I stand here printing my lecture plan, the printer stands defiantly separate from the photocopier, resisting its colonizing convergence even though it is dwarfed in size. Meanwhile, the printer demurely dispenses pages, one at a time, face down, in a gesture of discretion or perhaps embarrassment. For in the focus on the pristine page there is a Puritanism surrounding printing: a morality of blemishes, smudges, and stains; of structure, format and order; and a failure to match that immaculate, perfect argument or totality. (Ong suggests that ‘the term “method” was appropriated from the Ramist coffers and used to form the term “methodists” to designate first enthusiastic preachers who made an issue of their adherence to “logic”’ (Ramus 304).) But perhaps this avoidance of multi-functionality is less of a Ludditism than an understanding that the technological assemblage of printing today exists peripherally to the ideality of the Ramist scheme. A change in technological means does not necessarily challenge the visile language that informs our very understanding of our respective ‘fields’, or the ideals of competency embodied in academic performance and expression, or the notions of content we adopt. This is why I would argue some consideration of Ramism and print culture is crucial. Any ‘true’ breaking out of print involves, as I suggest, a challenge to some fundamental principles of pedagogy and method, and the link between the two. And of course, the very prospect of breaking out of print raises the issue of its desirability at a time when these forms of academic performance are culturally valued. On the surface, academic culture has been a strange inheritor of the Ramist legacy, radically furthering its ambitions, but also it would seem strongly tempering it with an investment in orality, and other ideas of performance, that resist submission to the Ramist ideal. Ong is pessimistic here, however. Ramism was after all born as a pedagogic movement, central to the purveying ‘knowledge as a commodity’ (Ong, Ramus 306). Academic discourse remains an odd mixture of ‘dialogue in the give-and-take Socratic form’ and the scheduled lecture (151). The scholastic dispute is at best a ‘manifestation of concern with real dialogue’ (154). As Ong notes, the ideals of dialogue have been difficult to sustain, and the dominant practice leans towards ‘the visile pole with its typical ideals of “clarity”, “precision”, “distinctness”, and “explanation” itself—all best conceivable in terms of some analogy with vision and a spatial field’ (151). Assessing the importance and after-effects of the Ramist reformation today is difficult. Ong describes it an ‘elusive study’ (Ramus 296). Perhaps Viola’s video, with its figures struggling in a column-like organization of space, structured in a kind of dichotomy, can be read as a glimpse of our existence in or under a Ramist scheme (interestingly, from memory, these figures emote in silence, deprived of auditory expression). My own view is that while it is possible to explore learning environments in a range of ways, and thus move beyond the enclosed mode of study of Ramism, Ramism nevertheless comprises an important default architecture of pedagogy that also informs some higher level assumptions about assessment and knowledge of the field. Software training, based on a process of working through or mimicking a linked series of screenshots and commands is a direct inheritor of what Ong calls Ramism’s ‘corpuscular epistemology’, a ‘one to one correspondence between concept, word and referent’ (Ong, Orality 168). My lecture plan, providing an at a glance view of my presentation, is another. The default architecture of the Ramist scheme impacts on our organisation of knowledge, and the place of performance with in it. Perhaps this is another area where Ong’s fascinating account of secondary orality—that orality that comes into being with television and radio—becomes important (Orality 136). Not only does secondary orality enable group-mindedness and communal exchange, it also provides a way to resist the closure of print and the Ramist scheme, adapting knowledge to new environments and story frameworks. Ong’s work in Orality and Literacy could thus usefully be taken up to discuss Ramism. But this raises another issue, which has to do with the relationship between Ong’s two books. In Orality and Literacy, Ong is careful to trace distinctions between oral, chirographic, manuscript, and print culture. In Ramus this progression is not as prominent— partly because Ong is tracking Ramus’ numerous influences in detail —and we find a more clear-cut distinction between the visile and audile worlds. Yates seems to support this observation, suggesting contra Ong that it is not the connection between Ramus and print that is important, but between Ramus and manuscript culture (230). The interconnections but also lack of fit between the two books suggests a range of fascinating questions about the impact of Ramism across different media/technological contexts, beyond print, but also the status of visualisation in both rhetorical and print cultures. References Brummett, Barry. Reading Rhetorical Theory. Fort Worth: Harcourt, 2000. Heim, Michael. Electric Language: A Philosophical Study of Word Processing. New Haven: Yale UP, 1987. Maras, Steven, David Sutton, and with Marion Benjamin. “Multimedia Communication: An Interdisciplinary Approach.” Information Technology, Education and Society 2.1 (2001): 25-49. Nielsen, Jakob. Multimedia and Hypertext: The Internet and Beyond. Boston: AP Professional, 1995. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London: Methuen, 1982. —. Ramus: Method, and the Decay of Dialogue. New York: Octagon, 1974. The Second Annual Walter H. Annenberg Symposium. 20 March 2002. http://www.annenberg.edu/symposia/annenberg/2002/photos.php> USC Annenberg Center of Communication and USC Annenberg School for Communication. 22 March 2005. Viola, Bill. Bill Viola: The Passions. Ed. John Walsh. London: The J. Paul Getty Museum, Los Angeles in Association with The National Gallery, 2003. Yates, Frances A. The Art of Memory. Harmondsworth: Penguin, 1969. Citation reference for this article MLA Style Maras, Steven. "Reflections on Adobe Corporation, Bill Viola, and Peter Ramus while Printing Lecture Notes." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/05-maras.php>. APA Style Maras, S. (Jun. 2005) "Reflections on Adobe Corporation, Bill Viola, and Peter Ramus while Printing Lecture Notes," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/05-maras.php>.

Data becomes something of a mirror in which people see themselves reflected. (Sorapure 270)In a 2014 essay for The New Yorker, the humourist David Sedaris recounts an obsession spurred by the purchase of a Fitbit, a wearable activity-tracker that sends a celebratory “tingle” to his wrist every 10, 000 steps. He starts “stepping out” modestly but is soon working hard, steadily improving on the manufacturer’s recommended baseline. “But why?” asks Sedaris’ partner Hugh: “Why isn’t twelve thousand enough?” “Because,” I told him, “my Fitbit thinks I can do better” (n.p.).The record of daily, incidental activity that the Fitbit collects and visualises is important to Sedaris as a record of his (increasing) bodily fitness but it is also evidence in another way, a testament to virtue and a correlate of self-improvement: “The tingle feels so good,” Sedaris says, “not just as a sensation but also as a mark of accomplishment” (n.p.). Improvement is presented as both traceable and quantifiable; data and self are inextricably, though also ironically, linked. With his Fitbit, Sedaris accesses new and precise degrees of bodily information and he connects himself to a visible community of wearers. At first, Sedaris is smug and optimistic; by the time he begins “rambling” compulsively, however, and achieving his “first sixty-thousand-step day,” he has also had an epiphany: “I staggered home with my flashlight knowing that I’d advance to sixty-five thousand, and that there will be no end to it until my feet snap off at the ankles. Then it’ll just be my jagged bones stabbing into the soft ground” (n.p.). When the device finally “dies,” Sedaris experiences an immediate feeling of freedom; within five hours he has “ordered a replacement, express delivery” (n.p.).In their book Self-Tracking, Gina Neff and Dawn Nafus note that both digital technology and a turn to biomedicalisation in the broader culture have amplified the capacity and reach of quantification practices in everyday life. Wearable activity trackers, of which the Fitbit is arguably the most iconic, offer individuals the ability to track minute or previously imperceptible permutations of bodily sensation within an everyday and non-medical context. It is a technological capacity, however, thoroughly embedded in a mobilising rhetoric of “health,” a term which itself has “become a loaded word, not merely a description of a bodily state but also a euphemism for what the speaker believes is desirable” (Neff and Nafus 19). The Fitbit measures movement, but it also signals something about the wearer’s identity that is framed, in the device’s marketing at least, in positive and desirable terms as an indication of character, as a highly desirable aspect of self.In a recent discussion of new forms of online life writing, Madeline Sorapure argues that acts of interpretation and representation in relation to biometric data are “something very similar to autobiographical practice. As in autobiography, subject and object, measurer and measured, are collapsed” (270). In its capacity to track and document over time and its affective role in forming a particular experience of self, the Fitbit bears a formal resemblance to autobiographical practice and specifically to modes of serial self-representation like diaries, journals, or almanacs. The discursive context is crucial here too. Early self-trackers use the pre-formatted almanac diary or calendar to better organise their time and to account for expenditure or gain. The pocket calendar was an innovation that had mass-market appeal and its rapid circulation in the early twentieth century directly shaped diary and account-keeping habits amongst historical populations, and to this day (McCarthy). Such forms are not simply passive repositories but bear cultural ideology. As popular templates for practices of accounting, self-documentation, and affecting, pocket calendars shape what content an individual across their individual day or week is coaxed to attend to or record, and effects what might then be relegated “marginal” or less consequential in relation.How do the technological affordances of the Fitbit similarly coax and shape self-knowledge or ideas of value and worth in relation to personal experience? What kinds of formal and discursive and resonance might there be drawn between wearable personal devices like the Fitbit and historical forms of tracking self-experience, like the diary? Is a Fitbit a diary? In this discussion, I consider pre-formatted diaries, like the almanac or pocket calendar, as discursive and technological precursors or adjuncts to wearable personal trackers like the Fitbit and I explore some assertions around the kinds of subject that digital forms and modes of self-tracking and personal data might then seem to coax or imagine.Tracking SelvesSelf-tracking is a human activity, one far more interesting than the gadgets that have made it easier and far more widespread. (Neff and Nafus 2)In 1726, at the age of 20, the inventor and polymath Benjamin Franklin recorded in his journal the inception of a plan to improve his character. In a chart created to track goals of virtue and progress in character, “black marks” are literal and symbolic, denoting when he has failed to live up to his expectations—two black marks represent a particularly bad effort (Rettberg 438). At age 79, Franklin was still tracking his progress when he wrote about the project in his Autobiography:It was about this time I conceived the bold and arduous project of arriving at moral perfection. I wished to live without committing any fault at any time; I would conquer all that either natural inclination, custom, or company might lead me into. (89)Franklin’s desire to document and chronicle the self-conscious development of his character drives his interest in the form. He was as an almanac devotee and an innovative publisher of the form, which gained immense popularity at this time. Franklin added blank pages to the almanacs he helped produce in the mid eighteenth century and this addition expanded the possibilities for the kinds of data that might be recorded, particularly personal and anecdotal material. The innovation also earned the publishers a good deal more money (McCarthy 49). The mass production of printed almanacs thus had a profound effect on how individuals engaged in various kinds of daily and temporal and social regulation and documentation, including of the self:At the same time as it kept readers aware of the outside world, the almanac could also direct them to the state of their own being. Almanacs were all about regulation, inside and out. Almanacs displayed a regulated universe governed by the laws of planetary motion, by the church calendar, by the zodiac. It seemed natural, then, that some readers might turn to an almanac to regulate themselves. What better way to do that than in a text that already possessed its own system? All one had to do was insert one’s own data in that printed form, like connecting the dots. (McCarthy 53)Mass-market forms that engender habits of accounting are also cultural templates: pre-formatted journals are systems for private documentation that reflect broader cultural and social ideologies. Rebecca Connor observes that historical gender assumptions in relation to time “well-spent” are frequently visible in eighteenth-century mass-market journals explicitly aimed at women, which tended to allocate more space for “social” engagements versus, for example, financial accounting (18).In the twenty-first century, technologies like the Fitbit promise access to data in relation to personal experience but they also reveal dominant cultural and social attitudes to bodies and selves. Deborah Lupton argues that self-tracking as a phenomenon is essentially connected to specific ideological imperatives: “Underlying many accounts of self-tracking is a barely hidden discourse of morality, which takes the form of championing those who take action to improve themselves” (74). Within these influential discourses, acts of self-tracking, no less than Franklin’s virtue chart, acquire significance as moral activities and as the outward sign of good character.Neither self-tracking nor the ideology of virtue that underwrites it are new phenomena. In their cultural study of weight measurement devices, Kate Crawford, Jessa Lingl, and Tero Karpii have explored how both weight scales and wearable devices “emphasize self-knowledge and control through external measurements” (479). Similarly, Lupton has noted that, the “metrics” generated by personal self-tracking devices are “invested with significance” because “data visualisation” is “viewed as more credible and accurate by participants than the ‘subjective’ assessments of their bodily sensations” ("Personal Data" 345).In various historical cultures, objectivity about one’s self is seen as a desire (if not a fact) in relation to conscious self-examination; externalisation, through written or oral confession, is both a virtue and a discipline. While diary writing is, particularly in popular culture, often derided as an overly subjective and narcissistic mode, the diary is also framed within contexts of therapy, or spiritual development, as a possible methodology for self-improvement. For Puritans, though, the act was also understood to entail risks; recording one’s thoughts into a written journal could enable the individual to see patterns or faults in everyday behaviour, and so to identify and rectify habits of mind holding back personal spiritual development. In the twentieth century, “how-to write a diary” self-help guidebooks remediate the discourse of self-knowledge as self-improvement, and promised to refine the method, advising adherents on the kinds of writing practices that might best circumvent problems of individual bias or subjectivity (a claim of an ever-more objective methodology that reverberates to the current moment). Invariably, the more “unconscious” the diary writing practice, the greater the assumed potential for “objective” knowledge (Cardell 34).Contemporary practices of self-tracking extend the prioritisation of external, objective measurement in relation to documenting personal experience. Crawford, Lingel, and Karppi observe that “the discourse around wearable devices gives the impression of radical new technology offering precise and unambiguous physical assessment: devices that reflect back the ‘real’ state of the body” (480). The technology, of course, is not new but it is “improved.” The ideal of a better, more accurate (because externalised and so auditable by the community) self-knowledge sought by Puritans in their journals, or by Benjamin Franklin in his charts and almanacs, resurfaces in the contemporary context, in which wearables like the Fitbit assume powerful discursive status in relation to ideals of truth and objectivity and where the individual is decentred from the position of as “the most authoritative source of data about themselves” (Crawford, Lingel, and Karppi 479).Data SelvesWhat kind of selves do people develop in relation to the technology they use to record or visualise their experience? “There is no doubt,” writes Jill Walker Rettberg, in Seeing Our Selves through Technology, “that people develop ‘affective ties’ to the data they track, just as diaries, blogs, photo albums and other material archives are meaningful to those who keep them” (87). That the data is numerical, or digital, does not lessen this connection:Apps which allow us to see our data allow us to see ourselves. We look at our data doubles as we gazed into the mirror as teenagers wondering who we were and who we might be. We look at our data in much the same way as you might flick through your selfies to find the one that shows you the way you want to be seen. (Rettberg 87)Crucially, Rettberg sees data as both affective and agential and she observes that data can also be edited and shaped by the individual. Some of this practice is deliberate, taking the form of an engagement with narrative as a “story” of self that underpins the practice of writing autobiography, for example. However, the representation of self can also be more oblique. “The first writing” says Rettberg, “was developed not to record words and sentences but to keep accounts. Arguably, recording quantities of grain or other valuables can be a form of self-representation, or at least representation of what belongs to the self” (10).Like log-books or field notebooks, like calendars or almanacs—prosaic forms of daily sequential recording that are understood to prioritise information capture over self-reflection—the Fitbit is usually presented as a method for accruing and representing personal data. In contemporary digital culture, “data” is a complex and fraught term and recent debates around “big data,” which describes the capacity of machines to make connections and perform calculations that a human might not necessarily notice or be able to perform, has crystallised this. What Melissa Gregg calls the power and “spectacle” of data is an ideological pivot in digital cultures of the twenty-first century, one that turns in conjunction to discourses of evidence and authority that emerge in relation to the visual: “sharing the same root as ‘evidence,’ vision is the word that aligns truth and knowledge in different historical moments” (3).For autobiography scholars exploring how formal modes of capture might also be genres, or how a Fitbit might coax a narrative of self, these questions are formative. Sorapure says: Information graphics that visually represent personal data; collaboratively constructed and template-based self-representations in social media and networking sites; the non-narrative nature of aggregated life writing: in these and other new practices we see selves emerging and being represented through interactions with technologies. (271)In the twenty-first century, self-quantification and tracking technologies like the Fitbit are ever more present in individual spheres of everyday activity. These devices prompt behaviour, affect self-knowledge, and signal identity: I am a fit person, or trying to be, or was. A Fitbit cannot record how it feels to spend 34 minutes in the “peak zone,” but it can prompt recollection, it is a mnemonic, and it provides an account of time spent, how, and by whom. Is a Fitbit a diary? The diary in the twenty-first century is already vastly different to many of its formal historical counterparts, yet there are discursive resonances. The Fitbit is a diary if we think of a diary as a chronological record of data, which it can be. However, contemporary uses of the diary, just like their historical antecedents, are also far more diverse and complex than this.Crucially, the Fitbit, like the diary, signals identity in relation to experience and so it reflects various and shifting cultural values or anxieties over what is worth measuring or documenting, and conversely, over what is not. “The private diary,” as Lejeune asserts, is a way of life: “the text itself is a mere by-product, a residue” (31). Historical diary keeping practices unfold from and emerge within cultures that position self-expression and its documentation of this as a means to self-improvement. Seeing the Fitbit within this tradition draws attention to the discursive ideology behind self-tracking as a personal practice that nonetheless positions itself in relation to cultural norms and to ideals (such as health, or fitness, or conscientiousness, or goodness).ConclusionWhat kind of self-representation is produced by practices of self-quantification, where personal data is amassed continuously and contiguously to individual experience? The legacy of centuries of historical diary-practice has been evident to various scholars exploring the cultures of self-tracking that are evolving in response to wearable technologies like the Fitbit. In her book length study of self-tracking cultures, The Quantified Self, Lupton observes that “self-tracking tools” are inevitably “biographical and personal” and that “contemporary self-tracking tools and records are the latter-day versions of the paper diary or journal, photo album, keepsake and memento box or personal dossier” (73). While, in Self-Tracking, Neff and Nafus argue that new technologies “intersect with the way that people have self-tracked for centuries like keeping diaries or logs. The growth of these digital traces raises new questions about this old practice” (2).What does it mean to think of wearable technology like Fitbits in relation to diaries, and what are the implications of such a conception? Privacy settings allow the Fitbit to comply with popular stereotypes of diaries that exist in popular culture; that is, as a locked or secret record. However, in the case of wearable technology the content is in the form of data. While data often poses as neutral and objective information, seeing this instead as diaristic can draw valuable attention to dominant cultural ideals that shape value in relation to self and technology in the twenty-first century. Crucially, “while self-knowledge may be the rhetoric of wearable device advertising, it is just as much a technology of being known by others” (Crawford, Lingel, and Karppi 493-494).Is my Fitbit a diary? It tracks my body’s movements and gestures and reports them to the conscious self. It stores chronologically accumulated data over time. It enables self-reflection and the visualisation of a set of daily habits, and it may produce or coax new behaviour. Diaries have long performed this function: tracking, recording and, documenting for making sense of later, on reflection, or after enough time has passed. Contemporary advances in technology related to self-tracking and personal data collection make possible a new range of previously unimaginable information in relation to individual experience. However, the diary’s cultural status as a “confessional” form intersects with exigencies around “health” and “self-improvement” that corporations producing devices like Fitbit promote to their customers in ways that will demand further attention.ReferencesCardell, Kylie. Dear World: Contemporary Uses of the Diary. Wisconsin UP, 2014.Connor, Rebecca Elisabeth. Women, Accounting and Narrative: Keeping Books in Eighteenth-Century England. London: Routledge, 2011.Crawford, Kate, Jessa Lingel, and Tero Karppi. “Our Metrics, Ourselves: A Hundred Years of Self-Tracking From the Weight Scale to the Wrist Wearable Device.” European Journal of Cultural Studies 18.4-5 (2015): 470-96.Franklin, Benjamin. The Autobiography of Benjamin Franklin: The Complete Illustrated History. Minneapolis: MN Voyageur Press, 2016.Gregg, Melissa. “Inside the Data Spectacle.” Television & New Media 16.1 (2014): 1-15.Lejeune, Philippe. On Diary. Eds. Jeremy D. Popkin and Julie Rak. Trans. Katherine Durnin. Honolulu: U of Hawai’i P, 2009.Lupton, Deborah. “Personal Data Practices in the Age of Lively Data.” Digital Sociologies. Eds. Jessie Daniels, Tressie McMillan Cottom, and Karen Gregory. Bristol: Policy P, 2016. 339-54.———. The Quantified Self. Cambridge: Polity, 2016.McCarthy, Molly A. The Accidental Diarist: A History of the Daily Planner in America. Chicago: U of Chicago P, 2013.Neff, Gina, and Dawn Nafus. Self-Tracking. Cambridge: The MIT P, 2016.Rettberg, Jill Walker. Seeing Our Selves through Technology: How We Use Selfies, Blogs and Wearable Technology to Shape Ourselves. Basingstoke: Palgrave Macmillan, 2014.———. “Self-Representation in Social Media.” The Sage Handbook of Social Media, Eds. Jean Burgess, Alice E. Marwick, and Thomas Poell. London: Sage, 2017. 429-43.Sedaris, David. “Stepping Out.” The New Yorker 30 Jun. 2014. 18 Apr. 2018 <https://www.newyorker.com/magazine/2014/06/30/stepping-out-3>.Sorapure, Madeleine. “Autobiography Scholarship 2.0?: Understanding New Forms of Online Life Writing.” Biography 38.2 (2015): 267-72.

Introduction Almost all industries in Australia today have adopted digital media in some way. However, uses in large scale activities such as mining may seem to be different from others. This article looks at mining practices with a media studies approach, and concludes that, just as many other industries, mining and media have converged. Many Australian mine sites are adopting new media for communication and control to manage communication, explore for ore bodies, simulate forces, automate drilling, keep records, and make transport and command robotic. Beyond sharing similar digital devices for communication and computation, new media in mining employ characteristic digital media operations, such as numerical operation, automation and managed variability. This article examines the implications of finding that some of the most material practices have become mediated by new media. Mining has become increasingly mediated through new media technologies similar to GPS, visualisation, game remote operation, similar to those adopted in consumer home and mobile digital media. The growing and diversified adoption of digital media championed by companies like Rio Tinto aims not only ‘improve’ mining, but to change it. Through remediating practices of digital mining, new media have become integral powerful tools in prospective, real time and analytical environments. This paper draws on two well-known case studies of mines in the Pilbara and Western NSW. These have been documented in press releases and media reports as representing changes in media and mining. First, the West Angelas mines in the Pilbara is an open cut iron ore mine introducing automation and remote operation. This mine is located in the remote Pilbara, and is notable for being operated remotely from a control centre 2000km away, near Perth Airport, WA. A growing fleet of Komatsu 930E haul trucks, which can drive autonomously, traverses the site. Fitted with radars, lasers and GPS, these enormous vehicles navigate through the open pit mine with no direct human control. Introducing these innovations to mine sites become more viable after iron ore mining became increasingly profitable in the mid-2000s. A boom in steel building in China drove unprecedented demand. This growing income coincided with a change in public rhetoric from companies like Rio Tinto. They pointed towards substantial investments in research, infrastructure, and accelerated introduction of new media technologies into mining practices. Rio Tinto trademarked the term ‘Mine of the future’ (US Federal News Service 1), and publicised their ambitious project for renewal of mining practice, including digital media. More recently, prices have been more volatile. The second case study site is a copper and gold underground mine at Northparkes in Western NSW. Northparkes uses substantial sensing and control, as well as hybrid autonomous and remote operated vehicles. The use of digital media begins with prospecting, and through to logistics of transportation. Engineers place explosives in optimal positions using computer modelling of the underground rock formations. They make heavy use of software to coordinate layer-by-layer use of explosives in this advanced ‘box cut’ mine. After explosives disrupt the rock layer a kilometre underground, another specialised vehicle collects and carries the ore to the surface. The Sandvik loader-hauler-dumper (LHD) can be driven conventionally by a driver, but it can also travel autonomously in and out of the mine without a direct operator. Once it reaches a collection point, where the broken up ore has accumulated, a user of the surface can change the media mode to telepresence. The human operator then takes control using something like a games controller and multiple screens. The remote operator controls the LHD to fill the scoop with ore. The fully-loaded LHD backs up, and returns autonomously using laser senses to follow a trail to the next drop off point. The LHD has become a powerful mediator, reconfiguring technical, material and social practices throughout the mine. The Meanings of Mining and Media Are Converging Until recently, mining and media typically operated ontologically separately. The media, such as newspapers and television, often tell stories about mining, following regular narrative scripts. There are controversies and conflicts, narratives of ecological crises, and the economics of national benefit. There are heroic and tragic stories such as the Beaconsfield mine collapse (Clark). There are new industry policies (Middelbeek), which are politically fraught because of the lobbying power of miners. Almost completely separately, workers in mines were consumers of media, from news to entertainment. These media practices, while important in their own right, tell nothing of the approaching changes in many other sectors of work and everyday life. It is somewhat unusual for a media studies scholar to study mine sites. Mine sites are most commonly studied by Engineering (Bellamy & Pravica), Business and labour and cultural histories (McDonald, Mayes & Pini). Until recently, media scholarship on mining has related to media institutions, such as newspapers, broadcasters and websites, and their audiences. As digital media have proliferated, the phenomena that can be considered as media phenomena has changed. This article, pointing to the growing roles of media technologies, observes the growing importance that media, in these terms, have in the rapidly changing domain of mining. Another meaning for ‘media’ studies, from cybernetics, is that a medium is any technology that translates perception, makes interpretations, and performs expressions. This meaning is more abstract, operating with a broader definition of media — not only those institutionalised as newspapers or radio stations. It is well known that computer-based media have become ubiquitous in culture. This is true in particular within the mining company’s higher ranks. Rio Tinto’s ambitious 2010 ‘Mine of the Future’ (Fisher & Schnittger, 2) program was premised on an awareness that engineers, middle managers and senior staff were already highly computer literate. It is worth remembering that such competency was relatively uncommon until the late 1980s. The meanings of digital media have been shifting for many years, as computers become experienced more as everyday personal artefacts, and less as remote information systems. Their value has always been held with some ambivalence. Zuboff’s (387-414) picture of loss, intimidation and resistance to new information technologies in the 1980s seems to have dissipated by 2011. More than simply being accepted begrudgingly, the PC platform (and variants) has become a ubiquitous platform, a lingua franca for information workers. It became an intimate companion for many professions, and in many homes. It was an inexpensive, versatile and generalised convergent medium for communication and control. And yet, writers such as Gregg observe, the flexibility of networked digital work imposes upon many workers ‘unlimited work’. The office boundaries of the office wall break down, for better or worse. Emails, utility and other work-related behaviours increasingly encroach onto domestic and public space and time. Its very attractiveness to users has tied them to these artefacts. The trail that leads the media studies discipline down the digital mine shaft has been cleared by recent work in media archaeology (Parikka), platform studies (Middelbeek; Montfort & Bogost; Maher) and new media (Manovich). Each of these redefined Media Studies practices addresses the need to diversify the field’s attention and methods. It must look at more specific, less conventional and more complex media formations. Mobile media and games (both computer-based) have turned out to be quite different from traditional media (Hjorth; Goggin). Kirschenbaum’s literary study of hard drives and digital fiction moves from materiality to aesthetics. In my study of digital mining, I present a reconfigured media studies, after the authors, that reveals heterogeneous media configurations, deserving new attention to materiality. This article also draws from the actor network theory approach and terminology (Latour). The uses of media / control / communications in the mining industry are very complex, and remain under constant development. Media such as robotics, computer modelling, remote operation and so on are bound together into complex practices. Each mine site is different — geologically, politically, and economically. Mines are subject to local and remote disasters. Mine tunnels and global prices can collapse, rendering active sites uneconomical overnight. Many technologies are still under development — including Northparkes and West Angelas. Both these sites are notable for their significant use of autonomous vehicles and remote operated vehicles. There is no doubt that the digital technologies modulate all manner of the mining processes: from rocks and mechanical devices to human actors. Each of these actors present different forms of collusion and opposition. Within a mining operation, the budgets for computerised and even robotic systems are relatively modest for their expected return. Deep in a mine, we can still see media convergence at work. Convergence refers to processes whereby previously diverse practices in media have taken on similar devices and techniques. While high-end PCs in mining, running simulators; control data systems; visualisation; telepresence, and so on may be high performance, ruggedised devices, they still share a common platform to the desktop PC. Conceptual resources developed in Media Ecology, New Media Studies, and the Digital Humanities can now inform readings of mining practices, even if their applications differ dramatically in size, reliability and cost. It is not entirely surprising that some observations by new media theorists about entertainment and media applications can also relate to features of mining technologies. Manovich argues that numerical representation is a distinctive feature of new media. Numbers have always already been key to mining engineering. However, computers visualise numerical fields in simulations that extend out of the minds of the calculators, and into visual and even haptic spaces. Specialists in geology, explosives, mechanical apparatuses, and so on, can use plaftorms that are common to everyday media. As the significance of numbers is extended by computers in the field, more and more diverse sources of data provide apparently consistent and seamless images of multiple fields of knowledge. Another feature that Manovich identifies in new media is the capacity for automation of media operations. Automation of many processes in mechanical domains clearly occurred long before industrial technologies were ported into new media. The difference with new media in mine sites is that robotic systems must vary their performance according to feedback from their extra-system environments. For our purposes, the haul trucks in WA are software-controlled devices that already qualify as robots. They sense, interpret and act in the world based on their surroundings. They evaluate multiple factors, including the sensors, GPS signals, operator instructions and so on. They can repeat the path, by sensing the differences, day after day, even if the weather changes, the track wears away or the instructions from base change. Automation compensates for differences within complex and changing environments. Automation of an open-pit mine haulage system… provides more consistent and efficient operation of mining equipment, it removes workers from potential danger, it reduces fuel consumption significantly reducing greenhouse gas (GHG) emissions, and it can help optimize vehicle repairs and equipment replacement because of more-predictable and better-controlled maintenance. (Parreire and Meech 1-13) Material components in physical mines tend to become modular and variable, as their physical shape lines up with the logic of another of Manovich’s new media themes, variability. Automatic systems also make obsolete human drivers, who previously handled those environmental variations, for better or for worse, through the dangerous, dull and dirty spaces of the mine. Drivers’ capacity to control repeat trips is no longer needed. The Komatsu driverless truck, introduced to the WA iron ore mines from 2008, proved itself to be almost as quick as human drivers at many tasks. But the driverless trucks have deeper advantages: they can run 23 hours each day with no shift breaks; they drive more cautiously and wear the equipment less than human drivers. There is no need to put up workers and their families up in town. The benefit most often mentioned is safety: even the worst accident won’t produce injuries to drivers. The other advantage less mentioned is that autonomous trucks don’t strike. Meanwhile, managers of human labour also need to adopt certain strategies of modulation to support the needs and expectations of their workers. Mobile phones, televisions and radio are popular modes of connecting workers to their loved ones, particularly in the remote and harsh West Angelas site. One solution — regular fly-in-fly out shifts — tends also to be alienating for workers and locals (Cheshire; Storey; Tonts). As with any operations, the cost of maintaining a safe and comfortable environment for workers requires trade-offs. Companies face risks from mobile phones, leaking computer networks, and espionage that expose the site to security risks. Because of such risks, miners tend be subject to disciplinary regimes. It is common to test alcohol and drug levels. There was some resistance from workers, who refused to change to saliva testing from urine testing (Latimer). Contesting these machines places the medium, in a different sense, at the centre of regulation of the workers’ bodies. In Northparkes, the solution of hybrid autonomous and remote operation is also a solution for modulating labour. It is safer and more comfortable, while also being more efficient, as one experienced driver can control three trucks at a time. This more complex mode of mediation is necessary because underground mines are more complex in geology, and working environments to suit full autonomy. These variations provide different relationships between operators and machines. The operator uses a games controller, and watches four video views from the cabin to make the vehicle fill the bucket with ore (Northparkes Mines, 9). Again, media have become a pivotal element in the mining assemblage. This combines the safety and comfort of autonomous operation (helping to retain staff) with the required use of human sensorimotor dexterity. Mine systems deserve attention from media studies because sites are combining large scale physical complexity with increasingly sophisticated computing. The conventional pictures of mining and media rarely address the specificity of subjective and artefactual encounters in and around mine sites. Any research on mining communication is typically within the instrumental frames of engineering (Duff et al.). Some of the developments in mechanical systems have contributed to efficiency and safety of many mines: larger trucks, more rock crushers, and so on. However, the single most powerful influence on mining has been adopting digital media to control, integrate and mining systems. Rio Tinto’s transformative agenda document is outlined in its high profile ‘Mine of the Future’ agenda (US Federal News Service). The media to which I refer are not only those in popular culture, but also those with digital control and communications systems used internally within mines and supply chains. The global mining industry began adopting digital communication automation (somewhat) systematically only in the 1980s. Mining companies hesitated to adopt digital media because the fundamentals of mining are so risky and bound to standard procedures. Large scale material operations, extracting and processing minerals from under the ground: hardly to be an appropriate space for delicate digital electronics. Mining is also exposed to volatile economic conditions, so investing in anything major can be unattractive. High technology perhaps contradicts an industry ethos of risk-taking and masculinity. Digital media became domesticated, and familiar to a new generation of formally educated engineers for whom databases and algorithms (Manovich) were second nature. Digital systems become simultaneously controllers of objects, and mediators of meanings and relationships. They control movements, and express communications. Computers slide from using meanings to invoking direct actions over objects in the world. Even on an everyday scale, computer operations often control physical processes. Anti-lock Braking Systems regulate a vehicle’s braking pressure to avoid the danger when wheels lock-up. Or another example, is the ATM, which involves both symbolic interactions, and also exchange of physical objects. These operations are examples of the ‘asignifying semiotic’ (Guattari), in which meanings and non-meanings interact. There is no operation essential distinction between media- and non-media digital operations. Which are symbolic, attached or non-consequential is not clear. This trend towards using computation for both meanings and actions has accelerated since 2000. Mines of the Future Beyond a relatively standard set of office and communications software, many fields, including mining, have adopted specialised packages for their domains. In 3D design, it is AutoCAD. In hard sciences, it is custom modelling. In audiovisual production, it may be Apple and Adobe products. Some platforms define their subjectivity, professional identity and practices around these platforms. This platform orientation is apparent in areas of mining, so that applications such as the Gemcom, Rockware, Geological Database and Resource Estimation Modelling from Micromine; geology/mine design software from Runge, Minemap; and mine production data management software from Corvus. However, software is only a small proportion of overall costs in the industry. Agents in mining demand solutions to peculiar problems and requirements. They are bound by their enormous scale; physical risks of environments, explosive and moving elements; need to negotiate constant change, as mining literally takes the ground from under itself; the need to incorporate geological patterns; and the importance of logistics. When digital media are the solution, there can be what is perceived as rapid gains, including greater capacities for surveillance and control. Digital media do not provide more force. Instead, they modulate the direction, speed and timing of activities. It is not a complete solution, because too many uncontrolled elements are at play. Instead, there are moment and situations when the degree of control refigures the work that can be done. Conclusions In this article I have proposed a new conception of media change, by reading digital innovations in mining practices themselves as media changes. This involved developing an initial reading of the operations of mining as digital media. With this approach, the array of media components extends far beyond the conventional ‘mass media’ of newspapers and television. It offers a more molecular media environment which is increasingly heterogeneous. It sometimes involves materiality on a huge scale, and is sometimes apparently virtual. The mining media event can be a semiotic, a signal, a material entity and so on. It can be a command to a human. It can be a measurement of location, a rock formation, a pressure or an explosion. The mining media event, as discussed above, is subject to Manovich’s principles of media, being numerical, variable and automated. In the mining media event, these principles move from the aesthetic to the instrumental and physical domains of the mine site. The role of new media operates at many levels — from the bottom of the mine site to the cruising altitude of the fly-in-fly out aeroplanes — has motivated significant changes in the Australian industry. When digital media and robotics come into play, they do not so much introduce change, but reintroduce similarity. This inversion of media is less about meaning, and more about local mastery. Media modulation extends the kinds of influence that can be exerted by the actors in control. In these situations, the degrees of control, and of resistance, are yet to be seen. Acknowledgments Thanks to Mining IQ for a researcher's pass at Mining Automation and Communication Conference, Perth in August 2012. References Bellamy, D., and L. 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Taylor & Francis, 2008. Kirschenbaum, M.G. Mechanisms: New Media and the Forensic Imagination. Campridge, Mass.: MIT Press, 2008. Latimer, Cole. “Fair Work Appeal May Change Drug Testing on Site.” Mining Australia 2012. 3 May 2013 ‹http://www.miningaustralia.com.au/news/fair-work-appeal-may-change-drug-testing-on-site›. Latour, B. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press, 2007. Maher, J. The Future Was Here: The Commodore Amiga. Cambridge, Mass.: MIT Press, 2012. Manovich, Lev. The Language of New Media. Cambridge, Mass.: MIT Press, 2001. McDonald, P., R. Mayes, and B. Pini. “Mining Work, Family and Community: A Spatially-Oriented Approach to the Impact of the Ravensthorpe Nickel Mine Closure in Remote Australia.” Journal of Industrial Relations 2012. Middelbeek, E. “Australia Mining Tax Set to Slam Iron Ore Profits.” Metal Bulletin Weekly 2012. Montfort, N., and I. Bogost. Racing the Beam: The Atari Video Computer System. 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This paper is concerned with time. Specifically, this paper is concerned with the way in which a human-centered model of time can be shifted, as a result of the digital encounter, toward a conception of a highly differentiated and thickening model of duration. I propose that this thickening of duration, or multitemporality, comes about through the intersection of the differentiated structures of narrative and database. My central concern is therefore to provide a description and explanation of the way in which an anthropocentric model of duration, in other words, a model of time that privileges the human experience, can be challenged by theorising the intersection of the non-linear temporality of the database and the linear temporality of narrative. My paper will work this proposed theory of multitemporality through a case study of the 2007 interactive work T_Visionarium II (see http://www.icinema.unsw.edu.au/projects/prj_tvis_II.html for images). This work was produced by the iCinema Centre for Interactive Cinema Research at the University of New South Wales. The project was co-directed by Dennis Del Favero, Jeffrey Shaw, Peter Weibel and Neil Brown. Through the investigation of the concept of multitemporality, I propose a concept of thickening duration within T_Visionarium II as actual duration comes into contact with virtual duration and as the linear structure of narrative comes into contact with the nonlinear structure of the database. Being concerned with time, I am also concerned with the processes of the aesthetic event of new media. Events, as they occur in time, link together in order to form a process. This process, following A. N. Whitehead, leads to various levels of adaptation that are primarily brought about through interconnections and concrescence. Through my extrapolation of Whitehead’s process philosophy, which I present in the later sections of this paper, I am able to grapple with questions of process. Specifically, I use Whitehead to present the ecology of occasions throughout the duration of the digital encounter and also to indicate the way in which we may begin to conceptualise the interconnection of the differentiated structures of narrative and database. T_Visionarium II has recordings taken from over thirty hours of Australian television, encoded by a content recognition algorithm, and stored in its database (Del Favero, 1). These media images are made visible on the machine’s substrate and are subject to the viewer-user’s navigation. Once the viewer-user selects a particular moving image from those displayed, the surrounding clips cluster around this image, due to the tag ascribed to them by the content recognition algorithm, in a hierarchy of relationality; those with the strongest relationship to the thematic and visual characteristics of the selected media clip cluster around the clip while those with weaker relationships shift away from this clip, behind the viewer. After the reassembly of the audio and visual information is completed, the clips either loop in a short repetitious duration, based on the temporal length of the specific shot, or can be played in a linear fashion. Also, windows may be dragged on top of one another, which causes the television clips from each window to be combined into one window and played back to back. This function allows the viewer-user to select and create a linear narrative. The viewer-user thus navigates through the moving images—in doing so, navigating through the time of the images, and forming lines of relations between images and times where perhaps none existed before. In this way, a type of ecology of the various media images and an ecology of temporality is produced in which the interrelationship between media images, temporalities and also that of the viewer-user to the environment is brought to the fore. T_Visionarium II presents a time that is out of joint. Its presentation of multiple durations of televisual information fractures the medium’s imaging of the world into multiple, largely incoherent, durations. The televisual images within each “window” are quite obviously from different historical periods in time. For instance, images from re-runs of soap operas may be actualised, as well as historical documentary footage, along with a near current news story or a relatively recent Hollywood blockbuster. These media images, from different time periods, when presented and recombined within the immersive environment—a purpose built structure that the iCinema artists and technicians call the Advanced Visualisation and Interaction Environment—allow the viewer to re-experience the actual time of these events as a simultaneity of out-of-joint durations. Here, I propose that the digital encounter within the immersive environment has prompted an adaptation to the way the viewer-user experiences time vis-à-vis the machine. This adaptation is brought about as the viewer-user experiences multitemporal actual durations through the multiple durations displayed in the windows of T_Visionarium II. The model of multitemporality presented here is a result of the viewer-user’s ability to access video streams from different time periods simultaneously. The time of T_Visionarium II also seems out of joint as the particular duration of a particular window tends toward rendering the episode incoherent. This is due to the way the television segments are edited. On average each television clip is four and a half seconds long. Each image is edited in terms of individual shots; any particular image has its start and end point when the original television image changes shot. This may occur in mid narrative stream, or may only capture a small movement, which is deprived of its link with the movement of the next shot. In this way the time of the duration of each shot seems to be flowing toward its extension in the next intended shot. However, the arrangement of the television images into discrete shots disallows this flow. The resulting temporal loop makes time seem trapped in the short four and a half second duration of each shot. In this way, linear television time has been adapted into an experience that is quite different. In order to think the connection between the narrative images of T_Visionarium II we must avoid thinking of these images as compartmentalised sets. If we think of each media image as an event within duration, rather than a compartmentalised image, we are able to see that each actual occasion of interaction contains a trace of the past and future media images. Moments are contemporaneous with those “just-past” and those which are “just-future”. Here, the traces of “just-past” and “just-future” are imbued within the conscious present so as to become meaningful. Also, these interrelationships are made visible on the substrate of T_Visionarium II. The past video clips linger upon the projection screen and affect the narrativity of every other clip. The television images become like a montage, with every clip transferring signification to the others. In this way, the television images of T_Visionarium II are to be read as pregnant with the trace of images past and future; the duration of a particular television image forms a nexus with the duration of the images “just-past” and “just-future”. Also, the television images contain a trace of the temporality of the database. Each television image is potentially linked to every other image archived within the database. Through this link to the potentiality of the database, each media image links to the virtual. The virtual realm that I am discussing here is not the perceived “virtuality” of “cyberspace” or “virtual reality”. I use the term “virtual” as Henri Bergson does and as Gilles Deleuze furthers this usage; that is, to signify the incorporeal structures of the potential of the future and the traces of the past that direct the actualisation of the present moment (Bergson, 196; Deleuze, 45). For the purposes of my argument, we may say that the virtual exists as an ontological but incorporeal structure that contains potential events. In this way, the virtual contains events that await actualisation. Deleuze’s virtual also contains past events that may be made actual as memory-images. As Dorothea Olkowski points out, the past and future can no longer be thought of as successive points on a time line; they rather exist as virtual structures that are contemporary with the actual present (Olkowski, 163). The virtual structures may be called upon by the actual present based on their usefulness, and, because of this, may direct the route of actualisation (Olkowski, 110). Each image of T_Visionarium II links to the virtual in that any selection may trigger various other narrative directions. If we think of each virtual narrative instance, that is each potential narrative instance and every past narrative instance, as existing on separate planes of potential, then we may say that each of T_Visionarium II’s television images contains traces of various planes of the virtual, of which one will be actualised. The duration of any one television image is thus made thick with the traces of the potential images that it may trigger. The duration of the narrative event of any television image is contemporaneous with the duration of the database. As a result, any particular narrative instance may be understood to contain sections of the duration of past and future television images. The moving image of the narrative links to the potential of the database and also links to the potential of the virtual. As a consequence, the experience of time that emerges from the narrative of the moving image is one which is imbued with the multiple levels of duration that may be triggered from the database and displayed on the substrate of T_Visionarium II. The duration of any moving image is thus imbued with those narrative instances that came before it, those that could potentially come after it, and those that are simultaneous with it. In addition to the model of multitemporality that is presented by the simultaneously distributed video streams of T_Visionarium II, a further model of duration may be cited when we consider the mesh of database and narrative. The highly differentiated durative passages of the digital encounter are constituted on one side by the temporality of T_Visionarium II’s database and on the other by the narrative image of the machine’s substrate. The latter opens itself to experience as anthropocentric lived time, while the former does not open itself to actual human experience, other than our imaginings. The database, as an actual entity, occupies a different section of duration, but it is also present in those narrative durations that it relates to; thus forming a concrescence between the narrative sections of duration and the database sections of duration. This constitutes a multitemporal duration between anthropocentric time and machine time; the duration of the actual occasion thickens so as to include both the lived time of the subject and the machine time of the database. The outcome of this is a differentiated duration that is experienced as the convergence of machine time and lived time. It is as if, following Manuel DeLanda’s work on manifolds and degrees of freedom, each level of duration exists on a different manifold of duration (DeLanda, 27). The particular direction that the passage of the narrative of interaction takes is directed by the degrees of freedom of each manifold. If we think of duration as thick, and, as argued above, each moment pregnant with instances “just-past” and potentialities of “just-future”, we can gain a picture of these different manifolds of duration. We can picture past actual occasions and future potential occasions, following on from Deleuze’s and Brian Massumi’s concepts of the virtual, existing as a cloud of the virtual that surrounds the present actual occasion (Deleuze and Parnet; Massumi). In other words, the manifold of any particular present actual occasion is surrounded on all sides by manifolds of virtual occasions. These structures can be understood to intermingle and adapt to one another in such a way that they provide the potential for new experiences within the digital encounter. Duration has thus thickened from a concept that only includes the manifold of actual occasions to one that includes the manifolds of the virtual. As well as the structures of the virtual, the duration of the non-linear database can be conceptualised as existing on separate manifolds of duration that surround the actual narrative event. Both narrative duration and database duration must be theorised as separate and, at the same time, in constant collision with one another. These two conceptions of duration are contemporaneous; they exist side by side without either one being wholly contained by the other. Turning from Bergson’s, Deleuze’s and Massumi’s concepts of the virtual and the actual to Whitehead’s notion of process, we can begin to think about the processes of adaptation that are brought about by this process of concrescence. Deleuze, Bergson and Massumi have provided a means to think about the virtual and the actual in duration, and here Whitehead provides a means to think about the process of adaptation as an interconnection of the enduring objects of the virtual and actual. We may think of database and narrative structures as similar to Whitehead’s concept of actual occasions. As Whitehead states, each actual occasion has its own distinct duration, but also each actual occasion lies in many durations (125). Following Whitehead, any one actual occasion may be present in several other actual occasions. For Whitehead, the essence of any actual entity is that each entity is a prehending thing; it has a definite connection with each item in the universe and that connection makes a positive contribution to the constitution of the event (109). In the case of narrative and database, both substances prehend the other, they form a definite bond, and this makes a positive contribution to the constitution of the narrative-database event. If we think of the material and machinic of the digital encounter as two distinct enduring objects, different in character but not contrary, it may then be said that both are able to qualify the same actual occasion. I use the term “enduring object” in the Whiteheadian sense as a characteristic or stable pattern that is inherited in the historic route of actual occasions (199). In other words, an enduring object can be said to be an object, which may be either an atomic material body or an incorporeal structure that, through its intersection with other enduring objects, gives satisfaction to the presiding situation. Thus, the enduring object of the database and the enduring object of the pattern of actual experience intersect to satisfy the presiding occasion of the digital encounter. The intermingling of the machinic duration and the actual narrative duration within T_Visionarium II is a fluid process that constitutes the particular nexus of actual occasions. The information from both enduring objects flows through their intersection. Whitehead, using a cup and saucer as metaphors for eternal objects, describes the way in which two enduring objects come together. He states, “it is as though the cup and saucer were at one instant identical and then, later on, resumed their distinct existence” (199). If we think of database and narrative in such a fashion, we can begin to conceptualise the multitemporality of T_Visionarium II. In T_Visionarium II, data flows mutually from the actualised narrative of interaction to the database structure and from the database to the narrative. The nexus of actual occasions is thus constituted by the intermingling of the two eternal objects; they, in essence, become, or adapt into, one enduring object. On the other hand, both structures remain separate. The narrativity of the work is able to exist solely in the particular narrative regime, as the database is able to exist solely in its coded regime. The nexus of actual occasions, that is the temporal passage of interaction within T_Visionarium II, is brought to satisfaction by this assemblage and de-assemblage of narrative and database. The narrativity of the work exists in its own realm of duration, as its own eternal object, which is able to form a nexus of narrative actual occasions. Also, the database structure inhabits its own machinic duration, which is able to form a nexus of information flows. In this way, the database can be thought of as in time, as affected by the changing nature of process through time. The time that has been described in this paper is a time of fibrous duration. In a culture of new media, time can no longer be thought of as a linear structure that houses human experience and memory. The structure of time has become thick and fibrous with the introduction of a machinic non-linear temporal logic. Deleuze has been used to show that each actual occasion of duration can be thought of as surrounded by virtual, potential occasions. In order to further this, Whitehead has been used to show that each of these occasions connects with every other event in duration. In this Whiteheadian and Deleuzian model, adaptation occurs as the events of duration, whether actual or virtual, interconnect, respond to one another and coalesce. The differentiated experiences of narrative duration and database duration mesh, in order that these two Whiteheadian enduring objects may adapt into another separate enduring object. This is the multitemporal experience of the digital encounter. If we view the digital encounter with new media, such as T_Visionarium II, through a multitemporal paradigm, we are then provided with a particular method with which to conceptualise other processes of adaptation. If we view differentiated sections of duration as existing upon separate manifolds, but also, at the same time, as containing traces of their surrounding durations, we can see that each section of duration imposes something of itself upon those that surround it. Each section of duration, whether virtual or actual, is morphogenic; in other words, it may adapt in various ways. The parameters of this morphogenesis are set by the degrees of freedom found within any particular duration. As each section of duration imposes itself on others, it transfers its degrees of freedom. Following on from this, the passage of evolution, or adaptation, is directed by the degrees of freedom of every level of duration, whether actual or virtual. The database duration that surrounds the narrative duration of T_Visionarium II directs the passage of narrative evolution as it imposes degrees of freedom in respect of the possible narrative images that it may trigger. Adaptation occurs as the dynamic mesh between the differentiated structures of narrative duration and database duration. References Bergson, Henri. Matter and Memory. London: George, Allen and Unwin, 1950. Del Favero, Dennis, Neil Brown, Jeffrey Shaw, and Peter Weibel. T_Visionarium II. Sydney: iCinema Centre for Interactive Cinema Research, UNSW, 2006. DeLanda, Manuel. Intensive Science and Virtual Philosophy. Transversals: New Directions in Philosophy. Ed. Keith Ansell Pearson. London: Continuum, 2002. Deleuze, Gilles. Cinema 2: The Time Image. Trans. Hugh Tomlinson and Robert Galeta. London: Continuum, 1985. ———, and Claire Parnet. “The Actual and the Virtual.” Dialogues 2. Ed. Eliot Ross Albert. London and New York: Continuum, 1987. Massumi, Brian. “Parables for the Virtual.” Post-Contemporary Interventions. Eds. Stanley Fish and Fredric Jameson. Durham and London: Duke University Press, 2002. Olkowski, Dorothea. Gilles Deleuze and the Ruin of Representation. Berkley: University of California Press, 1998. Whitehead, Alfred North. Process and Reality: An Essay in Cosmology. New York: The Free Press, 1978. Citation reference for this article MLA Style Barker, Tim. "Adapting a Model of Duration: The Multitemporality of T_Visionarium II." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/14-barker.php>. APA Style Barker, T. (May 2007) "Adapting a Model of Duration: The Multitemporality of T_Visionarium II," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/14-barker.php>.

IntroductionFor Gilles Deleuze, computational processes cannot yield the anomalous, or that which is unprecedented in form and content. He suggests that because computing functions are mechanically standardised, they always share the same ontic character. M. Beatrice Fazi claims that the premises of his critique are flawed. Her monograph Contingent Computation: Abstraction, Experience, and Indeterminacy in Computational Aesthetics presents an integrative reading of thinkers including Henri Bergson, Alfred North Whitehead, Kurt Gödel, Alan Turing, and Georg Cantor. From this eclectic basis, Fazi demonstrates that computers differ from humans in their modes of creation, yet still produce qualitative anomaly. This article applies her research to the cultural phenomenon of live-coded music. Live coding artists improvise music by writing audio computer functions which produce sound in real time. I draw from Fazi’s reading of Deleuze and Bergson to investigate the aesthetic mechanisms of live coding. In doing so, I give empirical traction to her argument for the generative properties of computers.Part I: Reconciling the Discrete and the Continuous In his book Difference and Repetition, Deleuze defines “the new” as that which radically differs from the known and familiar (136). Deleuzean novelty bears unpredictable creative potential; as he puts it, the “new” “calls forth forces in thought which are not the forces of recognition” (136). These forces issue from a space of alterity which he describes as a “terra incognita” and a “completely other model” (136). Fazi writes that Deleuze’s conception of novelty informs his aesthetic philosophy. She notes that Deleuze follows the etymological origins of the word “aesthetic”, which lie in the Ancient Greek term aisthēsis, or perception from senses and feelings (Fazi, “Digital Aesthetics” 5). Deleuze observes that senses, feelings, and cognition are interwoven, and suggests that creative processes beget new links between these faculties. In Fazi’s words, Deleuzean aesthetic research “opposes any existential modality that separates life, thought, and sensation” (5). Here, aesthetics does not denote a theory of art and is not concerned with such traditional topics as beauty, taste, and genre. Aesthetics-as-aisthēsis investigates the conditions which make it possible to sense, cognise, and create anomalous phenomena, or that which has no recognisable forebear.Fazi applies Deleuzean aesthetics towards an ontological account of computation. Towards this end, she challenges Deleuze’s precept that computers cannot produce the aesthetic “new”. As she explains, Deleuze denies this ability to computers on the grounds that computation operates on discrete variables, or data which possess a quantitatively finite array of possible values (6). Deleuze understands discreteness as both a quantitative and ontic condition, and implies that computation cannot surpass this originary state. In his view, only continuous phenomena are capable of aisthēsis as the function which yields ontic novelty (5). Moreover, he maintains that continuous entities cannot be represented, interpreted, symbolised, or codified. The codified discreteness of computation is therefore “problematic” within his aesthetic framework “inasmuch it exemplifies yet another development of the representational”. or a repetition of sameness (6). The Deleuzean act of aisthēsis does not compute, repeat, or iterate what has come before. It yields nothing less than absolute difference.Deleuze’s theory of creation as differentiation is prefigured by Bergson’s research on multiplicity, difference and time. Bergson holds that the state of being multiple is ultimately qualitative rather than quantitative, and that multiplicity is constituted by qualitative incommensurability, or difference in kind as opposed to degree (Deleuze, Bergsonism 42). Qualia are multiple when they cannot not withstand equivocation through a common substrate. Henceforth, entities that comprise discrete data, including all products and functions of digital computation, cannot aspire to true multiplicity or difference. In The Creative Mind, Bergson considers the concept of time from this vantage point. As he indicates, time is normally understood as numerable and measurable, especially by mathematicians and scientists (13). He sets out to show that this conception is an illusion, and that time is instead a process by which continuous qualia differentiate and self-actualise as unique instances of pure time, or what he calls “duration as duration”. As he puts it,the measuring of time never deals with duration as duration; what is counted is only a certain number of extremities of intervals, or moments, in short, virtual halts in time. To state that an incident will occur at the end of a certain time t, is simply to say that one will have counted, from now until then, a number t of simultaneities of a certain kind. In between these simultaneities anything you like may happen. (12-13)The in-between space where “anything you like may happen” inspired Deleuze’s notion of ontic continua, or entities whose quantitative limitlessness connects with their infinite aesthetic potentiality. For Bergson, those who believe that time is finite and measurable “cannot succeed in conceiving the radically new and unforeseeable”, a sentiment which also appears to have influenced Deleuze (The Creative Mind 17).The legacy of Bergson and Deleuze is traceable to the present era, where the alleged irreconcilability of the discrete and the continuous fuels debates in digital media studies. Deleuze is not the only thinker to explore this tension: scholars in the traditions of phenomenology, critical theory, and post-Marxism have positioned the continuousness of thought and feeling against the discreteness of computation (Fazi, “Digital Aesthetics” 7). Fazi contributes to this discourse by establishing that the ontic character of computation is not wholly predicated on quantitatively discrete elements. Drawing from Turing’s theory of computability, she claims that computing processes incorporate indeterminable and uncomputable forces in open-ended processes that “determine indeterminacy” (Fazi, Contingent Computation 1). She also marshals philosopher Stamatia Portanova, whose book Moving Without a Body: Digital Philosophy and Choreographic Thoughtsindicates that discrete and continuous components merge in processes that digitise bodily motion (Portanova 3). In a similar but more expansive maneuver, Fazi declares that the discrete and continuous coalesce in all computational operations. Although Fazi’s work applies to all forms of computing, it casts new light on specific devices, methodologies, and human-computer interfaces. In the next section, I use her reading of Bergsonian elements in Deleuze to explore the contemporary artistic practice of live coding. My reading situates live coding in the context of studies on improvisation and creative indeterminacy.Part II: Live Coding as Contingent Improvisational PracticeThe term “live coding” describes an approach to programming where computer functions immediately render as images and/or sound. Live coding interfaces typically feature two windows: one for writing source code and another which displays code outcomes, for example as graphic visualisations or audio. The practice supports the rapid evaluation, editing, and exhibition of code in progress (“A History of Live Programming”). Although it encompasses many different activities, the phrase “live coding” is most often used in the context of computer music. In live coding performances or “AlgoRaves,” musicians write programs on stage in front of audiences. The programming process might be likened to playing an instrument. Typically, the coding interface is projected on a large screen, allowing audiences to see the musical score as it develops (Magnusson, “Improvising with the Threnoscope” 19). Technologists, scholars, and educators have embraced live coding as both a creative method and an object of study. Because it provides immediate feedback, it is especially useful as a pedagogical aide. Sonic Pi, a user-friendly live coding language, was originally designed to teach programming basics to children. It has since been adopted by professional musicians across the world (Aaron). Despites its conspicuousness in educational and creative settings, scholars have rarely explored live coding in the context of improvisation studies. Programmers Gordan Kreković and Antonio Pošćic claim that this is a notable oversight, as improvisation is its “most distinctive feature”. In their view, live coding is most simply defined as an improvisational method, and its strong emphasis on chance sets it apart from other approaches to computer music (Kreković and Pošćić). My interest with respect to live coding lies in how its improvisational mechanisms blend computational discreteness and continuous “real time”. I do not mean to suggest that live coding is the only implement for improvising music with computers. Any digital instrument can be used to spontaneously play, produce, and record sound. What makes live coding unique is that it merges the act of playing with the process of writing notation: musicians play for audiences in the very moment that they produce a written score. The process fuses the separate functions of performing, playing, seeing, hearing, and writing music in a patently Deleuzean act of aisthēsis. Programmer Thor Magnusson writes that live coding is the “offspring” of two very different creative practices: first, “the formalization and encoding of music”; second, “open work resisting traditional forms of encoding” (“Algorithms as Scores” 21). By “traditional forms of encoding”, Magnusson refers to computer programs which function only insofar as source code files are static and immutable. By contrast, live coding relies on the real-time elaboration of new code. As an improvisational art, the process and product of live-coding does not exist without continuous interventions from external forces.My use of the phrase “real time” evokes Bergson’s concept of “pure time” or “duration as duration”. “Real time” phenomena are understood to occur instantaneously, that is, at no degree of temporal removal from those who produce and experience them. However, Bergson suggests that instantaneity is a myth. By his account, there always exists some degree of removal between events as they occur and as they are perceived, even if this gap is imperceptibly small. Regardless of size, the indelible space in time has important implications for theories of improvisation. For Deleuze and Bergson, each continuous particle of time is a germinal seed for the new. Fazi uses the word “contingent” to describe this ever-present, infinite potentiality (Contingent Computation, 1). Improvisation studies scholar Dan DiPiero claims that the concept of contingency not only qualifies future possibilities, but also describes past events that “could have been otherwise” (2). He explains his reasoning as follows:before the event, the outcome is contingent as in not-yet-known; after the event, the result is contingent as in could-have-been-otherwise. What appears at first blush a frustrating theoretical ambiguity actually points to a useful insight: at any given time in any given process, there is a particular constellation of openings and closures, of possibilities and impossibilities, that constitute a contingent situation. Thus, the contingent does not reference either the open or the already decided but both at once, and always. (2)Deleuze might argue that only continuous phenomena are contingent, and that because they are quantitatively finite, the structures of computational media — including the sound and notation of live coding scores — can never “be otherwise” or contingent as such. Fazi intervenes by indicating the role of quantitative continuousness in all computing functions. Moreover, she aligns her project with emerging theories of computing which “focus less on internal mechanisms and more on external interaction”, or interfaces with continuous, non-computational contexts (“Digital Aesthetics,” 19). She takes computational interactions with external environments, such as human programmers and observers, as “the continuous directionality of composite parts” (19).To this point, it matters that discrete objects always exist in relation to continuous environments, and that discrete objects make up continuous fluxes when mobilised as part of continuous temporal processes. It is for this reason that Portanova uses the medium of dance to explore the entanglement of discreteness and temporal contingency. As with music, the art of dance depends on the continuous unfolding of time. Fazi writes that Portanova’s study of choreography reveals “the unlimited potential that every numerical bit of a program, or every experiential bit of a dance (every gesture and step), has to change and be something else” (Contingent Computation, 39). As with the zeroes and ones of a binary computing system, the footfalls of a dance materialise as discrete parts which inhabit and constitute continuous vectors of time. Per Deleuzean aesthetics-as-aisthēsis, these parts yield new connections between sound, space, cognition, and feeling. DiPiero indicates that in the case of improvised artworks, the ontic nature of these links defies anticipation. In his words, improvisation forces artists and audiences to “think contingency”. “It is not that discrete, isolated entities connect themselves to form something greater”, he explains, “but rather that the distance between the musician as subject and the instrument as object is not clearly defined” (3). So, while live coder and code persist as separate phenomena, the coding/playing/performing process highlights the qualitative indeterminacy of the space between them. Each moment might beget the unrecognisable — and this ineluctable, ever-present surprise is essential to the practice.To be sure, there are elements of predetermination in live coding practices. For example, musicians often save and return to specific functions in the midst of performances. But as Kreković and Pošćić point out all modes of improvisation rely on patterning and standardisation, including analog and non-computational techniques. Here, they cite composer John Cage’s claim that there exists no “true” improvisation because artists “always find themselves in routines” (Kreković and Pošćić). In a slight twist on Cage, Kreković and Pošćić insist that repetition does not make improvisation “untrue”, but rather that it points to an expanded role for indeterminacy in all forms of composition. As they write,[improvisation] can both be viewed as spontaneous composition and, when distilled to its core processes, a part of each compositional approach. Continuous and repeated improvisation can become ingrained, classified, and formalised. Or, if we reverse the flow of information, we can consider composition to be built on top of quiet, non-performative improvisations in the mind of the composer. (Kreković and Pošćić)This commentary echoes Deleuze’s thoughts on creativity and ontic continuity. To paraphrase Kreković and Pošćić, the aisthēsis of sensing, feeling, and thinking yields quiet, non-performative improvisations that play continuously in each individual mind. Fazi’s reading of Deleuze endows computable phenomena with this capacity. She does not endorse a computational theory of cognition that would permit computers to think and feel in the same manner as humans. Instead, she proposes a Deleuzean aesthetic capacity proper to computation. Live coding exemplifies the creative potential of computers as articulated by Fazi in Contingent Computation. Her research has allowed me to indicate live coding as an embodiment of Deleuze and Bergson’s theories of difference and creativity. Importantly, live coding affirms their philosophical premises not in spite of its technologised discreteness — which they would have considered problematic — but because it leverages discreteness in service of the continuous aesthetic act. My essay might also serve as a prototype for studies on digitality which likewise aim to supersede the divide between discrete and continuous media. As I have hopefully demonstrated, Fazi’s framework allows scholars to apprehend all forms of computation with enhanced clarity and openness to new possibilities.Coda: From Aesthetics to PoliticsBy way of a coda, I will reflect on the relevance of Fazi’s work to contemporary political theory. In “Digital Aesthetics”, she makes reference to emerging “oppositions to the mechanization of life” from “post-structuralist, postmodernist and post-Marxist” perspectives (7). One such argument comes from philosopher Bernard Stiegler, whose theory of psychopower conceives “the capture of attention by technological means” as a political mechanism (“Biopower, Psychopower and the Logic of the Scapegoat”). Stiegler is chiefly concerned with the psychic impact of discrete technological devices. As he argues, the habitual use of these instruments advances “a proletarianization of the life of the mind” (For a New Critique of Political Economy 27). For Stiegler, human thought is vulnerable to discretisation processes, which effects the loss of knowledge and quality of life. He considers this process to be a form of political hegemony (34).Philosopher Antoinette Rouvroy proposes a related theory called “algorithmic governmentality” to describe the political effects of algorithmic prediction mechanisms. As she claims, predictive algorithms erode “the excess of the possible on the probable”, or all that cannot be accounted for in advance by statistical probabilities. In her words,all these events that can occur and that we cannot predict, it is the excess of the possible on the probable, that is everything that escapes it, for instance the actuarial reality with which we try precisely to make the world more manageable in reducing it to what is predictable … we have left this idea of the actuarial reality behind for what I would call a “post-actuarial reality” in which it is no longer about calculating probabilities but to account in advance for what escapes probability and thus the excess of the possible on the probable. (8)In the past five years, Stiegler and Rouvroy have collaborated on research into the politics of technological determinacy. The same issue concerned Deleuze almost three decades ago: his 1992 essay “Postscript on the Societies of Control” warns that future subjugation will proceed as technological prediction and enclosure. He writes of a dystopian society which features a “numerical language of control … made of codes that mark access to information, or reject it” (5). The society of control reduces individuals to “dividuals”, or homogenised and interchangeable numeric fractions (5). These accounts of political power equate digital discreteness with ontic finitude, and suggest that ubiquitous digital computing threatens individual agency and societal diversity. Stiegler and Deleuze envision a sort of digital reification of human subjectivity; Rouvroy puts forth the idea that algorithmic development will reduce the possibilities inherent in social life to mere statistical likelihoods. While Fazi’s work does not completely discredit these notions, it might instead be used to scrutinise their assumptions. If computation is not ontically finite, then political allegations against it must consider its opposition to human life with greater nuance and rigor.ReferencesAaron, Sam. “Programming as Performance.” Tedx Talks. YouTube, 22 July 2015. <https://www.youtube.com/watch?v=TK1mBqKvIyU&t=333s>.“A History of Live Programming.” Live Prog Blog. 13 Jan. 2013. <liveprogramming.github.io/liveblog/2013/01/a-history-of-live-programming/>.Bergson, Henri. The Creative Mind: An Introduction to Metaphysics. Trans. Mabelle L. Andison. New York City: Carol Publishing Group, 1992.———. Time and Free Will: An Essay on the Immediate Data of Consciousness. Trans. F.L. Pogson. Mineola: Dover Publications, 2001.Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York City: Columbia UP, 1994.———. "Postscript on the Societies of Control." October 59 (1992): 3-7.———. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York City: Zone Books, 1991.DiPiero, Dan. “Improvisation as Contingent Encounter, Or: The Song of My Toothbrush.” Critical Studies in Improvisation / Études Critiques en Improvisation 12.2 (2018). <https://www.criticalimprov.com/index.php/csieci/article/view/4261>.Fazi, M. Beatrice. Contingent Computation: Abstraction, Experience, and Indeterminacy in Computational Aesthetics. London: Rowman & Littlefield International, 2018.———. “Digital Aesthetics: The Discrete and the Continuous.” Theory, Culture & Society 36.1 (2018): 3-26.Fortune, Stephen. “What on Earth Is Livecoding?” Dazed Digital, 14 May 2013. <https://www.dazeddigital.com/artsandculture/article/16150/1/what-on-earth-is-livecoding>.Kreković, Gordan, and Antonio Pošćić. “Modalities of Improvisation in Live Coding.” Proceedings of xCoaX 2019, the 7th Conference on Computation, Communication, Aesthetics & X. Fabbrica del Vapore, Milan, Italy, 5 July 2019.Magnusson, Thor. “Algorithms as Scores: Coding Live Music.” Leonardo Music Journal 21 (2011): 19-23. ———. “Improvising with the Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic Scores.” Proceedings of the International Conference on New Interfaces for Musical Expression. Goldsmiths, University of London, London, England, 1 July 2014.Portanova, Stamatia. Moving without a Body: Digital Philosophy and Choreographic Thoughts. Cambridge, MA: The MIT P, 2013.Rouvroy, Antoinette.“The Digital Regime of Truth: From the Algorithmic Governmentality to a New Rule of Law.” Trans. Anaïs Nony and Benoît Dillet. La Deleuziana: Online Journal of Philosophy 3 (2016). <http://www.ladeleuziana.org/wp-content/uploads/2016/12/Rouvroy-Stiegler_eng.pdf>Stiegler, Bernard. For a New Critique of Political Economy. Malden: Polity Press, 2012.———. “Biopower, Psychopower and the Logic of the Scapegoat.” Ars Industrialis (no date given). <www.arsindustrialis.org/node/2924>.

Introduction Many examinations of magic and witchcraft in film and television focus on the gender dynamics depicted and what these can reveal about attitudes to women and power in the eras in which they were made. For example, Campbell, in Cheerfully Empowered: The Witch-Wife in Twentieth Century Literature, Television and Film draws from scholarship such as Greene's Bell, Book and Camera, Gibson's Witchcraft Myths in American Culture, and Murphy's The Suburban Gothic in American Popular Culture to suggest connections between witch-wife narratives and societal responses to feminism. Campbell explores both the allure and fear of powerful women, who are often tamed (or partially tamed) by marriage in these stories. These perspectives provide important insights into cultural imaginings of witches, and this paper aims to use anthropological perspectives to further analyse rituals, spells, and cosmologies of screen stories of magic and witchcraft, asking how these narratives have engaged with witchcraft trials, symbols of women as witches, and rituals and myths invoking goddesses. Buffy the Vampire Slayer, a television series that ran for seven seasons (1997-2003), focusses on a young woman, The Slayer, who vanquishes vampires. As Abbott (1) explains, the vampires in seasons one and two are ruled by a particularly old and powerful vampire, The Master, and use prophetic language and ancient rituals. When Buffy kills The Master, the vampiric threat evolves with the character of Spike, a much younger vampire who kills The Master's successor, The Anointed One, calling for “a little less ritual and a little more fun” ('School Hard'). This scene is important to Abbott's thesis that what makes Buffy the Vampire Slayer such an effective television program is that the evil that she battles is not a product of an ancient world but the product of the real world itself. Buffy has used the past four years to painstakingly dismantle and rebuild the conventions of the vampire genre and work toward gradually disembedding the vampire/slayer dichotomy from religious ritual and superstition … what we describe as ‘evil’ is a natural product of the modern world. (Abbott 5) While distinguishing the series from earlier books and films is important, I suggest that, nonetheless, ritual and magic remain central to numerous plots in the series. Moreover, Child argues that Buffy the Vampire Slayer disrupts the male gaze of classical Hollywood films as theorised by Mulvey, not only by making the central action hero a young woman, but by offering rich, complex, and developmental narrative arcs for other characters such as Willow: a quiet fellow student at Buffy's school who initially uses her research skills with books, computers, and science to help the group. Willow’s access to knowledge about magic through Buffy's Watcher, Giles, and his library, together with her growing experience fighting with demons, leads her to teach herself witchcraft, and she and her growing magical powers, including the ability to conjure Greek goddesses such as Hecate and Diana, become central to multiple storylines in the series (Krzywinska). Corcoran, who explores teen witches in American popular culture in some depth, reflects on Willow's changes and developments in the context of problematic 'post-feminist' films of 1990s. Corcoran suggests these films offer viewers tropes of empowerment in the form of the 'makeover' of witch characters, who transform, but often in individualised ways that elude more fundamental questions of societal structures of race, class, and gender. Offering one of the most fluid and hybrid examples, Willow not only embraces magic as a conduit for power and self-expression but, as the seasons progress, she occupies a host of identificatory categories. Moving from shy high school 'geek' to trainee witch, from empowered sorceress to dark avenger, Willow regularly makes herself over in accordance with her fluctuating selfhood (Corcoran). Corcoran also notes how Willow's character brings together skills in both science and witchcraft in ways that echo world views of early modern Europe. This connects her apparently distinct selves and, I suggest, also demonstrates how the show engages with magic as real within its internal cosmology. Fairy Tale Witches This liberating, fluid, and transformative depiction of witches is not, however, the only one. Early in season one, the show reflects tropes of witchcraft found in fairy tale and fantasy films such as Snow White and The Wizard of Oz. Both films are deeply ambivalent in their portraits of fascinating powerful witches, who are, however, also defined by being old, ugly, and/or deeply jealous of and threatening towards younger women (Zipes). The episode “Witch” reproduces these patriarchal rivalries, as the witch of the episode title is the mother of a classmate of Buffy, called Amy, who has used magic to swap bodies with her daughter in an attempt to recapture her lost glory as a famous cheerleader. There are debates around the symbolism of witches and crones, especially those in fairytales, and whether they can be re-purposed. For example, Rountree in 'The New Witch of the West' and Embracing the Witch and the Goddess has conducted interviews and participant observation with feminist witches in New Zealand who use both goddess and witch symbols in their ritual practice and feminist understandings of themselves and society. By embracing both the witch and the goddess, feminist witches disrupt what they regard as false divisions and dichotomies between these symbols and the pressures of the divided self that they argue have been imposed upon women by patriarchy. In these conceptions, the crone is not only a negative symbol, but can be re-evaluated as one of three aspects of the goddess (maiden, mother, and crone), depicting the cycles of all life and also enabling women to embrace the darker aspects of their own natures and emotions (Greenwood; Rountree 'New Witch'; Walker). Witch Trials That said, Germaine, examining witches in folk horror films such as The Witch and The Wicker Man, advises caution about witch images. Drawing from Hutton's The Witch, she explores grotesque images of the witch from the early modern witch trials, arguing that horror cinema can subvert older ideas about witches, but it also reveals their continued power. Indeed, horror cinema has forged the witch into a deeply ambiguous figure that proves problematic for feminism and its project to subvert or otherwise destabilize misogynist symbols. (Germaine 22) Purkiss's examination of early modern witchcraft trials in The Witch in History also questions many assumptions about the period. Contrary to Rountree's 'The New Witch of the West' (222), Purkiss argues that there is no evidence to suggest that healing and midwifery were central concerns of witch hunters, nor were those accused of witchcraft in this period regarded as particularly sexually liberated or lesbian. Moreover, the famous Malleus Maleficarum, a text that is “still the main source for the view that witch-hunting was woman-hunting” was, in fact, disdained by many early modern authorities (Purkiss 7-8). Rather, rivalries and social tensions in communities combined with broader societal politics to generate accusations: a picture that is more in line with Stewart and Strathern's cross-cultural study, Witchcraft, Sorcery, Rumors and Gossip, of the relationship between witchcraft and gossip. In the Buffy the Vampire Slayer episode “Gingerbread”, Amy has matured and has begun to engage with magic herself, as has Willow. The witch trial of the episode is not, however, triggered by this, but is rather initiated by Buffy and her mother finding the bodies of two dead children. Buffy's mother Joyce quickly escalates from understandable concern to a full-on assault on magical practice and knowledge as she founds MOO (Mothers Opposed to the Occult), who raid school lockers, confiscate books from the school library, and eventually try to burn them and Buffy, Willow, and Amy. The episode evokes fairy tales because the 'big bad' is a monster who disguises itself as Hansel and Gretel. As Giles explains, fairy tales can sometimes be real, and in this case, the monster feeds a community its worst fears and thrives off the hatred and chaos that ensues. However, his references to European Wicca covens are somewhat misleading. Hutton, in The Triumph of the Moon, explains that Wicca was founded in the 1950s in England by Gerald Gardner, and claims it to be a continuation of older pagan witch traditions that have largely been discredited. The episode therefore tries to combine a comment on the irrationality and dangers of witch hunts while also suggesting that (within the cosmology of the show) magic is real. Buffy's confrontation with her mother illustrates this. Furious about the confiscation of the library's occult collection, Buffy argues that without the knowledge they contain, young people are not more protected, but rather rendered defenceless, arguing that “maybe next time the world gets sucked into hell, I won't be able to stop it because the anti-hell-sucking book isn't on the approved reading list!” Thus, she simultaneously makes a general point about knowledge as a defence against the evils of the world, while also emphasising how magic is not merely symbolic for her and her friends, but a real, practical, problem and a combatant tool. Spells Spells take considerable skill and practice to master as they are linked to strong emotions but also need mental focus and clarity. Willow's learning curve as a witch is an important illustrator of this principle, as her spells do not always do what she had intended, or rather, she is not always wise to her own intentions. These ideas are also found in anthropological examples (Greenwood). Malinowski, an anthropologist of the Trobriand Islands, theorised that spells and magical objects have their origins in gestures and words that express the emotional states and intentions of the spellcaster. Over time, these became refined and codified in a society, becoming traditional spells that can amplify, focus, and direct the magician's will (Malinowski). In the episode “Witch”, Giles demonstrates the relationship between spells and intention as, casting a spell to reverse Amy's mother's switching of their bodies, he shouts in a commanding voice 'Release!' Willow also hones skills of concentration and directing her will through the practice of pencil floating, a seemingly small magical technique that nonetheless saves her life when she is captured by enemies and narrowly escapes being bitten by a vampire by floating a pencil and staking him with it in the episode “Choices”. The pencil is also used in another episode to illustrate the importance of focus and emotional balance. Willow explains to Buffy that she is honing these skills as she gently spins a pencil in the air, but as the conversation turns to Faith (a rogue Slayer who has hurt Willow's friends), she is distracted and the pencil spins wildly out of control before flying into a tree (“Dopplegangland”). In another example, Willow tries to conjure lights that will guide her out of difficulty in a haunted house, but, unable to make up her mind about where the lights should take her, she is plagued by them multiplying and spinning in multiple directions like a swarm of insects, thereby acting as an illustrator of her refracted metal state (“Fear Itself”). The series also explores the often comical consequences when love spells are cast with unclear motives. In the episode “Bewitched Bothered and Bewildered”, Buffy's friend Xander persuades Amy to cast a love spell on Cordelia who has just broken up with him. Amy warns him that for love spells, the intention should be pure, and is worried that Xander only wants revenge on Cordelia. Predictably, the spell goes wrong, as Cordelia is immune to Xander but every other woman that comes into proximity with him is overcome with obsession for him. Fleeing hordes of women, Xander and Cordelia have the space to talk, and impressed with his efforts to try to win her back, Cordelia rekindles the relationship, defying her traditional friendship circle. In this way, the spell both does not and does work, perhaps because, although Xander thinks he wants Cordelia to be enchanted, in fact what he really wants is her genuine affection and respect. Another example of spells going amiss is in the episode “Something Blue”, when Willow responds to a break-up by reverting to magic. Despondent over her boyfriend Oz leaving town, she wants to accelerate her grieving process and heal more quickly, and casts a spell to have her will be done in order to try to make that happen. The spell, however, does not work as expected but manifests her words about other things when she speaks with passion, rendering Giles blind when she says he does not see (meaning he does not understand her plight), and in another instance of the literal interpretation of Willow’s word choices causes Buffy and the vampire Spike to stop fighting, fall in love, and become an engaged couple. The episode therefore suggests the power of words to manifest unconscious intentions. Words may also, in the Buffyverse, have power in themselves. Overbey and Preston-Matto explore the power of words in the series, using the episode “Superstar” in which Xander speaks some Latin words in front of an open book that responds by spontaneously bursting into flames. They argue that the materiality of language in Buffy the Vampire Slayer [means that] words and utterances have palpable power and their rules must be respected if they are to be wielded as weapons in the fight against evil. (Overbey and Preston Matto 73) However, in drawing upon Searle's Speech Acts they emphasise the relationship between speech acts and meaning, but there are also examples that the sounds in themselves are efficacious, even if the speaker does not understand them – for example, when Willow tries to do the ritual to restore Angel’s soul to him and explains to Oz that it does not matter if he understands the related chant as long as he says it (“Becoming part 2”). The idea that words in themselves have power is also present in the work of Stoller, an ethnographer and magical apprentice to Songhay sorcerers living in the Republic of Niger. He documents a complex and very personal engagement with magic that he found fascinating but dangerous, giving him new powers but also subjecting him to magical attacks (Stoller and Olkes). This experience helped to cultivate his interest in the often under-reported sensuous aspects of anthropology, including the power of sound in spells, which he argues has an energy that goes beyond what the word represents. Moreover, skilled magicians can 'hear' things happening to the subtle essence of a person during rituals (Stoller). Seeing Other Realities Sight is also key to numerous magical practices. Greenwood, for example, has done participant observation with UK witches, including training in the arts of visualisation. Linked to general health benefits of meditation and imaginative play, such practices are also thought to connect adepts to 'other worlds' and their associated powers (Greenwood). Later seasons of Buffy the Vampire Slayer also depict skills in meditation and concentration, such as in the episode “No Place Like Home”, in which Buffy, worried about her sick mother, uses a spell supposedly created by a French sixteenth-century sorcerer called 'pull the curtain back' to try to see if her mother’s illness is caused by a spell. She uses incense and a ritual circle of sand to put herself into a trance and in that altered state of consciousness sees that her sister, Dawn, was not born to her mother, but has been placed into her family by magic. In another example, in the episode “Who are You?”, Willow has begun a relationship with fellow witch Tara and wants to introduce her to Buffy. However, the rogue Slayer, Faith, has escaped and switched bodies with Buffy, and Tara realises that something is wrong. She suggests doing a spell with Willow to investigate by seeing beyond the physical world and travelling to the nether realm using astral projection. This rather beautiful scene has been interpreted as a symbolic depiction of their sexual relationship (Gibson), but it is also suggesting that, within the context of the series, alternate dimensions, and spells to transport practitioners there, are not purely symbolic. Conclusion The idea that magic, monsters, and demons in the series Buffy the Vampire Slayer act to some extent as metaphors for the challenges that young people face growing up in America is well known (Little). While this is certainly true, at least some of the multiple examples of magic in the series have clear resemblances to witchcraft in numerous social worlds. This depth is potentially exciting for viewers, but it also makes the show's more negative and ambiguous tropes more troubling. Willow and Tara's relationship can be interpreted as showing their independence and rejection of patriarchy, but Willow identifying as lesbian later in the series obscures her earlier relationships with men and her potential identification as bi-sexual, suggesting a need on the part of the show's writers to “contain her metamorphic selfhood” (Corcoran 158-159). Moreover, the identity of lesbians as witches in a vampire narrative is fraught with potentially homophobic associations and stereotypes (Wilts), and one of the few positive depictions of a lesbian relationship on television was ruined by the brutal murder of the Tara character and Willow's subsequent out-of-control magical rampage, bringing the storyline back in line with murderous clichés (Wilts; Gibson). Furthermore, storylines where Willow cannot control her powers, or they are seen as an addiction to evil, make an uncomfortable comment on women and power more generally: a point which Corcoran highlights in relation to Nancy's story in The Craft. Ultimately, representations of magic and witchcraft are representations of power, and this makes them highly significant for societal understandings of power relations, particularly given the complex relationships between witch-hunting and misogyny. The symbols of woman-as-witch have been re-appropriated by fans of witch narratives and feminists, and perhaps most intriguingly, by people who regard magical power as not only symbolic power but as a way to tap into subtle forces and other worlds. Buffy the Vampire Slayer offers something to all of these groups, but all too often reverts to patriarchal tropes. Audiences (some of whom may be magicians) await what film and television witches come next. 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