Artículos de revistas sobre el tema "Out-of-plane connection capacity"

Abstract The interaction between cladding panels and the main structure is a crucial point to assess the seismic response, and above all the structural safety, of RC precast industrial building. In the past, connections were often designed to allow construction tolerances and to accommodate both thermal and wind-induced displacements. The lack of specific details to allow relative in-plane displacements between cladding panels and the main structure often led to the participation of cladding panels in the structure seismic-resistant system with consequent connection failures. In the last decades, a lot of experimental tests were performed to investigate the in-plane performance of panel connections, and some design recommendations have been developed accordingly. In the out-of-plane direction, the connections were often considered to be infinitely rigid and not to suffer any damage by the seismic load. This work deals with the out-of-plane response of panel-to-structure connections for vertical panels typical of industrial and commercial precast buildings. Both standard hammer-head strap and new devices, called SismoSafe, were investigated. Tests were performed in the Structures and Materials Testing Laboratory of the Department of Civil and Environmental Engineering of Florence, where a specific setup was designed to perform cyclic and monotonic tests on the connection devices. Standard connections showed a rather limited resistance, while the innovative connections exhibited a high out-of-plane resistance. Numerical analyses were also performed on a case study building to evaluate the distribution of the out-of-plane demand on the connections.

Gusset plate connections between the steel braces and the supporting frame members play an important role in the performance of special concentrically braced frames (SCBFs) under earthquake loading conditions. Extensive studies have been conducted on SCBFs in which the gusset plate connections are designed to ensure the out-of-plane buckling of steel braces. However, research on the cyclic behavior of gusset plate connections allowing the in-plane buckling of braces is very limited. An experimental investigation has been carried out in this study to investigate the cyclic performance of the in-plane buckling of gusset-brace assemblies. Tests showed that the gusset plate connections detailed for in-plane buckling of braces provided performance at par with those detailed for the out-of-plane deformation arrangement. A numerical comparative study on three types of connection arrangements has also been conducted, namely, a) out-of-plane buckling of braces using gusset plates, b) in-plane buckling of braces using knife plates, and c) direct connection of braces without using any gusset plates. Braces made of hollow steel sections having constant slenderness ratio and width-to-thickness ratio are used in all the numerical models. The main parameters compared are the energy dissipation capacity, displacement ductility, patterns of failure, and the sequence of yielding in the components. Both test and analysis results are used to quantify the performances of gusset plate connections in order to achieve an efficient and reliable concentrically braced frame systems.

Though flexible diaphragms play a role in the seismic behaviour of unreinforced masonry buildings, the effect of the connections between floors and walls is rarely discussed or explicitly modelled when simulating the response of such buildings. These flexible diaphragms are most commonly timber floors made of planks and beams, which are supported on recesses in the masonry walls and can slide when the friction resistance is reached. Using equivalent frame models, we capture the effects of both the diaphragm stiffness and the finite strength of wall-to-diaphragm connections on the seismic behaviour of unreinforced masonry buildings. To do this, we use a newly developed macro-element able to simulate both in-plane and out-of-plane behaviour of the masonry walls and non-linear springs to simulate wall-to-wall and wall-to-diaphragm connections. As an unretrofitted case study, we model a building on a shake table, which developed large in-plane and out-of-plane displacements. We then simulate three retrofit interventions: Retrofitted diaphragms, connections, and diaphragms and connections. We show that strengthening the diaphragm alone is ineffective when the friction capacity of the wall-to-diaphragm connection is exceeded. This also means that modelling an unstrengthened wall-to-diaphragm connection as having infinite stiffness and strength leads to unrealistic box-type behaviour. This is particularly important if the equivalent frame model should capture both global in-plane and local out-of-plane failure modes.

The present paper suggests an on-line hybrid test environment for evaluating the seismic performance of steel bracing connections. The test method combines substructuring techniques and finite element analysis. The behavior of the brace member is simulated by the finite element analysis program ABAQUS, while the bracing end connections are physically tested. Two actuators are used to simulate the physical continuity between the analytical and experimental substructures by controlling axial load and out-of-plane rotation. A MATLAB user subroutine is created as the interface between the main control program and ABAQUS to impose the target rotation and axial force to the connection quasi-statically. A gusset plate connection designed to behave as a pin connection is tested and its efficiency to accommodate inelastic rotations up to a 4.0% story drift is evaluated. The test method is reasonable and smooth operation is achieved. The test system ensures pragmatic loading and boundary conditions to the brace connections, which are tested in full interaction with the brace member until failure. The maximum strength and rotation capacity of the connection can be clarified under actual cyclic inelastic rotations and varying axial loads derived from the inelastic behavior of the brace member.

The paper presents a solution that includes strengthening the connection of a support column with beams from both sides, placed in a vertical plane together with the pole. All the bar elements connected in the analyzed node were made of hot-rolled steel I-sections. Due to the need to increase the load on the joined beams to the pole, load-bearing capacity of the primary connection is lost, which necessitates the reinforcement of the existing connection. The analysis carried out in this paper shown exceeding the allowable stresses in the column web at the place of joining the beams. The calculations made in this paper showed the possibilities of restoring the safe operation of the connection node in question, by introducing elements increasing its load-bearing capacity. In addition to analytical calculations, numerical analysis was also performed using the ADINA program.

The failure modes of tie-bars under monotonic loading and cyclic loading are ductility and brittleness, respectively. They can significantly affect the design for tie-bars in a steel plate–concrete (SC) composite structure. A 3D finite element model of a SC composite beam was developed and verified through a quasi-static test. Two rules on the interfacial shear distribution were deduced and verified. Then, a total of 188 finite element models were developed to investigate the minimum shear connection ratio of tie-bars in SC composite beams, which can ensure the sufficient energy dissipation capacity of a SC composite beam under out-of-plane cyclic loading. The influences of the shear connection ratio, shear span versus depth ratio, stiffness, and number of tie-bars on the seismic behavior of a SC composite beam were investigated. Finally, a design method for tie-bars in the SC composite beam under out-of-plane cyclic loading was proposed.

The analyses of the structural damages detected on the Italian churches after the recent earthquakes (Emilia 2012, Umbria-Marche 2016) highlighted the high vulnerability to the overturning of the façades. The façades collapse mechanisms are strongly dependent on the connection details between orthogonal masonry walls, the windows, the construction techniques and the possible restraining horizontal elements, such as tie-beams, bi-lateral connected roof, etc. Several studies focus on the evaluation of vulnerability of the church façades using different approaches, from global analyses (FEM and /or Discrete Element Methods) of the entire building, to local analyses (linear and non-linear kinematic approaches). The aims of the present paper is to use the method based on capacity spectra to evaluate the vulnerability of the church facades and the optimization of specific devices as tie-rods to improve their seismic behavior. The non-linear approach is now accepted by several standards regarding the evaluation of risks of collapse mechanisms for masonry walls of the facades. Appropriate devices have been considered in order to calibrate the capacity curve and to optimize the interventions. The out of plane rotation of blocks can be modified with various elasto-perfect-plastic tendons with appropriate retentions (while composite materials could be used to preserve integrity of blocks). The tendons can be allocated in proper location and the length of each calibrated to best determine their stiffness. This procedure have been here applied to the study of the façade of Aula Magna S. Lucia of the Bologna University, considering also the problem of the interaction with the structure of the roof.

Based on twelve push-out specimens with different holes filling different materials,the paper compared and analyzed the capacity and the corresponding slip value of the stud shear connector.Meanwhile, tests were also conducted on three composite steel-FDPCP(Full-Depth Precast Concrete Panel) beams with different holes shape and degree of shear connection to investigate the characteistics of load-displacement,load-deflection,load-strain of the total cross section and monolithic action of the entire cross section in the paper. The results show that, as to the two different kinds of holes shape ,the strength of the stud shear connectors of square push-out specimens was huger than that of circular specimens with the same condition; the strength of stud shear connectors in steel-concrete composite structure was decided by the strength of concrete surrounding the shear in the holes, with increasing concrete strength, the strength of stud shear connectors improved greatly; the composite steel-FDPCP beams failed in bending,plane section was maintained in composite beams throughout the testing process.the composite steel-FDPCP beams have some merits :good bearing capacity, good anti-bend capability, fast pile-driving pace and perfect work behaviors as a whole;the ultimate flexural capacity of the composite steel-FDPCP beams with a full shear connection is close to that of a partial shear connection. The outputs of this study are very useful for further understanding of the characteristics of the composite steel-FDPCP beams,it is also expected that the results presented in this paper should be valuable for the design of the composite steel-FDPCP beams.

Abstract. On 6 February 2017 an earthquake swarm began at the western end of Turkey. This was the first recorded swarm in the Çanakkale region since continuous seismic monitoring began in 1970. The number of earthquakes located increased during the following 10 days. This paper describes the output of a survey carried out in the earthquake-prone towns in the area of Ayvacık, Çanakkale, Turkey, in February 2017 after the earthquakes. Observations of traditional buildings were made on site at the rural area of Ayvacık. A description of the main structural features and their effects on the most frequently viewed damage modes were made according to in-plane, out-of-plane behavior of the wall regarding construction practice, connection type, etc. It was found that there were no convenient connections like cavity ties or sufficient mortar strength resulting in decreased and/or lack of lateral load bearing capacity of the wall. Furthermore, distribution maps of damaged/undamaged buildings according to villages, damage ratios, structures and damage levels are generated. Distribution maps showed that damage ratio of structures is higher in villages close to epicenter and decrease away from epicenter except Gülpınar, where past experiences and development level affect the construction quality.

Buckling-restrained braces (BRBs) achieve large peak and cumulative ductility capacities by restricting yielding to an encased core, while maintaining global stability. However, stability is often governed by the connections and is sensitive to the end fixity provided by the adjacent framing and gusset, and flexural continuity between the neck and restrainer. This paper presents simple analytical methods to determine the flexural properties of these key components. Full-depth gusset stiffeners are found to be highly effective in increasing the out-of-plane rotational stiffness (KRg), equivalent to doubling the thickness. An equivalent connection is proposed to account for the adjacent framing (KRf), but this may be neglected if KRf > 10∙KRg. This is typically satisfied if a diaphragm slab and transverse beam are provided, but may exceed beam torsional bracing requirements. The restrainer end moment transfer capacity is extended to mortar-filled RHS restrainers, confirming that neck insert ratios of Lin/Bn > 2.0 are required for full continuity.

This paper presents a Generalised Beam Theory formulation to study the partial interaction behaviour of two-layered prismatic steel–concrete composite beams. The novelty of the proposed approach is in its capacity to handle the deformability of the shear connections at the interface between the slab and steel beam in both the longitudinal and transverse directions in the evaluation of the deformation modes. This method falls within a category of cross-sectional analyses available in the literature for which a suitable set of deformation modes, including conventional, extension and shear, is determined from dynamic analyses of discrete planar frame models representing the cross-section. In this context, the shear connections are modelled using shear deformable spring elements. As a result, the in-plane partial shear interaction behaviour is accounted for in the planar dynamic analysis during the evaluation of the conventional and extension modes, while the longitudinal partial interaction behaviour associated with the shear modes is included in the out-of-plane dynamic analyses. In the case of the conventional modes, the longitudinal slip is accounted for in the post-processing stage where the warping displacements are determined. A numerical example of a composite box girder beam is presented and its structural response investigated for different levels of shear connection stiffness in both the longitudinal and transverse directions. The accuracy of the numerical results is validated against those obtained with a shell finite element model implemented in ABAQUS/Standard software.

The hysteretic behaviour of nine square hollow structural steel (HSS) sections with gusset plate end con nections subject to inelastic cyclic loading has been examined by an experimental investigation. Brace slenderness ratio, width to thickness ratio, and to a lesser extent, the end connection were identified as the key parameters in the tests. It was shown that the effective slenderness ratio is the most important parameter governing the hysteretic behaviour. The out-of-plane deflection of the brace can be accurately calculated using a simplified geometrical model or a model calibrated against the test results. Reduced compressive capacity as specified by the current Canadian Standards Asso ciation (CSA) standard was nonconservative for the specific loading sequence employed in this series of tests. Quantification of the energy dissipation proved that the gusset plates account for a small percentage of the total energy dissipated. The experimental fracture life of the specimens proved to be most affected by the width to thickness ratio and the effective slenderness ratio. An empirical equation is proposed to more accurately determine the theoretical fracture life of an HSS brace.Key words: brace, hysteresis, steel, hollow structural section, cyclic, end connection, fracture, energy dissipation, compressive capacity, effective slenderness ratio.

A radial-circle-lined grid shell, its height changed step by step in the radial direction, is adopted in the roof steel structure of the Citizen Water Sports Center in Jiangyin, China. And the Spatial Crossing Tubular (SCT) joint is used for the connection of pipe members. Because the force transmission in the roof structure is different from the traditional truss structure, a lot of SCT joints are in a complicated loading state. The joint forces include axial forces and in/out-of-plane moments. To investigate the mechanical behavior and the load-bearing capacity of a typical SCT joint in such complicated loading condition, a full size model test of the typical SCT joint is conducted. The test process is summarized in the paper, together with the finite element calculation of the typical SCT joint in test conditions. By comparing the numerical results with the test results, several significant parameters of the connection are investigated, including the stiffness change of the joint, the transmission mechanism of forces, the ultimate load-bearing capacity and the failure mode of the joint. After investigation, several useful suggestions are proposed for the SCT joint design. They are also valuable for the design of similar SCT joints under complicated loading condition.

This paper focuses on the so-called “flange effect” in unreinforced masonry buildings when the connection among walls is good, thus forming a 3D assembly of intersecting piers (with L-, C-, T-, or I-shaped cross-sections). Given the direction of the horizontal seismic action, the presence of such flanges (the piers loaded out-of-plane) can influence the response of the in-plane loaded pier (the web) in terms of failure modes, maximum strength, and displacement capacity. Specific rules are proposed in codes to evaluate the effective width of the flange, for the in-plane verification of a single masonry wall. However, in the case of 3D equivalent frame (EF) modeling of the whole building, all the intersecting piers should be considered entirely, to model the response in both the orthogonal directions as well as the torsional behavior, but this may lead to overestimating the flange effect if a perfect connection is assumed. This paper investigates the capability of simulating the actual behavior in EF models by introducing an elastic shear connection at the intersection between two piers using an “equivalent beam”, coupling the nodes at the top of piers. A practice-oriented analytical formulation is proposed to calibrate such a flange effect on the basis of the geometric features and material properties of the web and the flange. Its reliability is tested at the scale of simple 3D assemblies and entire buildings as well. Finite element parametric analyses on masonry panels with symmetrical I- and T-shaped cross-sections have been performed to investigate the axial load redistribution between the flanges and the web and the consequent repercussion on the overall performance of the web. The results have proven that, after a calibration of the shear connection, the variation of axial force between the web and the flanges is correctly reproduced and the strength criteria for 2D panels provide reliable results. Finally, in the conclusions, some practical hints for simulating an imperfect wall-to-wall connection are also provided, since this case is relevant in historic masonry buildings, which are characterized by different masonry types, transformations over time, and already-cracked conditions.

The paper deals with the features of silos calculations as shells of rotation under asymmetric semi-uniform load. In accordance with the equation of equilibrium by using the momentless theory, the expressions for maximum value of linear longitudinal efforts in radial and meridional (longitudinal) direction and linear shearing force have been obtained. Analysis of design factor series of linear efforts and shearing force has been carried out in the paper. The opportunity of using the momentless theory to evaluate changes of linear efforts in radial direction and shearing forces has been presented. The quantitative assessment of a normal tension in laminas of silo body from the influence of maximum linear efforts and their connection with the tension from the pressure of the bulk material at the top of the capacity have been given. Full radial and contacting displacements of the capacity in the plane of cross section from the element of the wind load have been defined.

Web side plate (WSP) connections consist of a WSP bolted to the web of a beam. The WSP and the beam web not lying in the same vertical plane cause a load eccentricity under shear or axial loading. However, common design practices in New Zealand do not explicitly consider the effects of this load eccentricity. Therefore, the purpose of this research paper was to investigate the effect this load eccentricity can have on the capacity of a WSP connection when it is subjected to shear loading alone. To do this, a finite element model was developed to predict the behaviour and performance of WSP connections under monotonic shear loading. Via the use of experimental data gathered from previous research into web side plate connections the performance of the model could be validated. It was shown that the finite element model could replicate the behaviour and performance of WSP connections well. Using the validated model procedure two different standard WSP connections were modelled and subjected to various parametric studies. It was found that for some typical NZ configurations the failure modes were identified to be bearing failure of the WSP or beam web and bolt tear out. The failure modes most susceptible to eccentric effects were considered to be bearing of the WSP and bolt shear failure. In general the effects of the eccentricity was considered to not be significant, however, there was one exception. The strength of the WSP connection was seen to decrease by 24% when the WSP was extended. It was concluded that the current design practices were appropriate for all WSP connections investigated except for those with extended WSPs. For extended WSP connections additional guidance was developed. Thus, considering the additional guidance in conjunction with current design practices will result in good behaviour for extended WSP connections.

The MT·G-Joint (grouted mortise-tenon joint), invented as the connection between the large prefabricated elements, is the most important component in the prefabricated underground structures. Its shear performance is critical to the overall mechanical performance of the prefabricated structure. This paper carries out four-point pure shear experiment to investigate the shear performance of the MT·G-Joint. The shear key method is then proved to be suitable for MT·G-Joint when the axial load is 0 kN based on the experimental results. In addition, combining the shear key method and experimental results, the calculation method of the shear capacity, improved shear key method (ISKM), is proposed on account of the mechanical model of the failure plane. ISKM is appropriate for different load conditions. Finally, every kind of joints used in the prefabricated metro station structures on Changchun Metro Line 2 is calculated by using ISKM. The results indicate that the shear capacity of the MT·G-Joint is good, and the used joints still have large safety margin even under the worst working condition. The findings of this study are of value to help researchers and engineers more effectively design prefabricated underground structures.

The purpose of this work is to compare the co-bonding vs. cold-bonding route on the adhesive joint performance of a CFRP (Carbon Fiber Reinforced Polymer) laminate–aluminum connection. In particular, the overlap shear, tensile strength and Mode I and Mode II fracture toughness will be evaluated. The adhesives for co-bonding and cold-bonding are, respectively, a thermosetting modified epoxy, unsupported structural film and a two-component epoxy adhesive, chosen as representative of applications in the high-performance/race car field. The emerging trend is that, in tensile e Mode I fracture tests, the failure path is predominantly in the composite. Mode II fracture tests instead resulted in a cohesive fracture, meaning that, under pure shear loading, the weakest link may not be the composite. The lap-shear tests are placed midway (cohesive failure for co-bonding and composite delamination for cold-bonding, respectively), probably due to the different peel stress values related to the different adhesive Young’s modulus. The exploitation of the full capacity of the adhesive joint, hence the possibility of highlighting better, different performances of co-bonding vs. cold-bonding, would require consistent improvement of the out-of-plane strength of the CFRP laminate and/or to someway redistribute the peel stress on the bondline.

The need for special saving devices arises during emergency response. Such situations are connected with rescuing of people or animals from deep narrow holes or even from under blockages of constructions. By using the saving devices the cargo raising on a certain height is possible if other ways of delivery are absent. Main structural elements of saving devices are three rod pillars. Top ends of rods are connected in a mounting knot. Often the saving device is equipped with the winch. The winch could be fasten to one of the rod pillars or have individual placing. Rescuing devices differ in a type of a rod design (straight or a slopy plane), loading capacity, rods production material, type of rods connection, a possibility of using on slopes with pillars location in the different planes, modifications of winches, compactness during transportation. There is a big variety of rescuing devices, however in the market of Ukraine offer mostly straight rod rescuing devices. Therefore there is a need for creation of design and durability checking of the slopy rod rescuing device which could be applied to carrying out rescue operations from bridges, buildings and other constructions. In this work it is performed an estimation of durability of a design of the slopy rod rescuing device. It is considered three cases of the support pillars placement. The first case is when pillars of the slopy rescuing device are placed in one horizontal plane. The second case - the longest rod pillar is placed on a ledge. The third case - two shorter rod pillars are placed on a ledge. For each of these cases it is established a type of deformation of rods of the saving device. Construction rods are stretching or compression during work are and loaded with longitudinal forces. From the stretching durability condition the cross section of steel rods is picked up.

Abstract Steel bracing may be used to enhance the seismic strength of RC frames. Concentric steel bracing generally reduces ductility, which is a key component of seismic design. To overcome the problem, ductile steel brace-RC frame systems are therefore usually introduced in the form of eccentric braces. In the present study, the Off-Diagonal Bracing System (ODBS), which works as a concentric type of bracing, is investigated. In this paper the response of ODBS elements to cyclic loading is first explored and compared with those of other types of bracing such as X-bracing and inverted-V bracing systems. The time history analysis responses and cyclic hysteresis responses of a number of lowrise to mid-rise RC frames retrofitted with different types of bracing systems are then evaluated and compared. It is shown that under seismic excitation, a much reduced base shear is experienced by frames retrofitted with ODBS compared to other bracing systems. The results of time history and cyclic hysteresis response analyses also indicate a far greater energy dissipation capacity and ductility for the ODBS compared to other bracing systems. It is also concluded that ODBS performs best in lowrise frames. The out-of-plane buckling response of the ODBS is also investigated, and it is shown that a double-plated central connection can control such an adverse response.

The idea to combine the building materials timber and concrete is well known since the 20th of the last century. While timber is beneficial in bearing tensile forces, concrete on the contrary sustains compressive forces very well. Thus, connecting both materials in the way that loads can be transferred between them, their advantages can be used to improve the load bearing capacity of structures. A lot of researches were carried out to investigate different problems of timber-concrete composite (TCC) constructions during the last years. Yeoh et al. [1] for example gave an overview of different full-scale short-term collapse tests in order to evaluate the load bearing behavior of different TCC systems. Nevertheless, some questions are still very few explored, among them is the lateral load bearing behavior of TCC constructions. These structures can be considered as 3 dimensional plane structures, being able to distribute loads along and perpendicular to the span of the timber beams. A concentrated load (applied to one beam of the TCC construction) will deflect it due to bending. All beams are connected with each other because of the concrete slab. For this reason adjacent beams also deflect even if no loads are applied to them directly. These beams contribute to the load bearing of the loaded beam and relieve it partly from the loads, reducing stress in this beam. The described behavior, of distributing loads perpendicular to the span, is called lateral load bearing behavior. This paper will report on short-term bending testes of TCC slabs, carried out at Leipzig University of Applied Sciences. Several slabs have been tested. Each of them had a span of 3.9 m, consisting of three timber beams (10/20 cm) and a connecting concrete slab (thickness 6 cm). Only the middle beam was loaded in the third part points. During the test deflections, as well as strains, at different points were recorded. Additionally, the concrete properties were determined and push out tests were carried out. Overall, seven TCC slabs were manufactured and tested. With the slabs several parameters have been varied, e.g. the type of concrete, the stiffness of the connection system, and the center distance of the timber beams. By varying these three parameters, their effect on the lateral load distribution was examined by measuring deflection and strain at different points of the composite slab. A timber beam ceiling, as reference sample, without concrete topping was tested additionally. The experiments and its results will be described in detail in the paper.

Motor car competitiveness in markets distant from motor car manufacturing area depends on the value of logistics outgoings. A motor car compact loading in special railroad cars allows reducing considerably outgoings mentioned. According to a common loading order a railroad car capacity within the limits of extreme dimensions throughout the height is not completely used as it exceeds considerably a total height of two motor cars. In this connection it is possible to compact a loading layout only through the location of a motor car rear part of a front motor car under the engine jacket of it following motor car at their inclined fixation and longitudinal orientation. It allows stowing additionally two motor cars in every railroad car. The motor cars of some models cannot be stowed in two rows in one deck. It is caused with that a total width of two motor cars exceeds extreme dimensions of a railroad car allowed for railway operations. The problem could be solved, if motor car loading in every deck is carried out on load floorings the surfaces of which have a tilt from the center of a railroad car to its side walls. At the inclination of about 100 the projection on a horizontal plane of maximum cross dimension of a motor car on a level of passenger seats decreases by 25 mm. Space saving makes 50 mm on two parallel rows. As a result a two-row rail freightage of motor cars becomes possible in every motor car deck with the width 1680 mm common for products of Volzhsky Motor Car Works. At the expense of this way a length of haul economically feasible increases considerably.

Seismic assessments of historical masonry buildings are affected by several sources of epistemic uncertainty. These are mainly the material and the modelling parameters and the displacement capacity of the elements. Additional sources of uncertainty lie in the non-linear connections, such as wall-to-wall and floor-to-wall connections. Latin Hypercube Sampling was performed to create 400 sets of 11 material and modelling parameters. The proposed approach is applied to historical stone masonry buildings with timber floors, which are modelled by an equivalent frame approach using a newly developed macroelement accounting for both in-plane and out-of-plane failure. Each building is modelled first with out-of-plane behaviour enabled and non-linear connections, and then with out-of-plane behaviour disabled and rigid connections. For each model and set of parameters, incremental dynamic analyses are performed until building failure and seismic fragility curves derived. The key material and modelling parameters influencing the performance of the buildings are determined based on the peak ground acceleration at failure, type of failure and failure location. This study finds that the predicted PGA at failure and the failure mode and location is as sensitive to the properties of the non-linear connections as to the material and displacement capacity parameters, indicating that analyses must account for this uncertainty to accurately assess the in-plane and out-of-plane failure modes of historical masonry buildings. It also shows that modelling the out-of-plane behaviour produces a significant impact on the seismic fragility curves.

Grid shell is a new type of single layer latticed shell. Joint connections of this structrue always adopt semi-rigid joints: in-plane pin joints, out-plane rigid joints. A parametric modeling method using self-designed program is proposed in this paper. Bearing capacity of the elliptic paraboloid grid shell with semi-rigid joints is analyzed. Then, the influence of section of steel bars, rise-span ratio and initial imperfection on the bearing capacity is investigated.

The solution of timber-to-concrete composite (TCC) floors represents a well-established construction technique, which is consistently used for both the retrofitting of existing timber floors and the realization of new diaphragms. The success of TCC floors relies on the intrinsic effectiveness in increasing both the in-plane (for lateral loads) and the out-of-plane (for gravity loads) performance of existing timber floors. As a widespread retrofit intervention, it is common to use existing floorboards as a permanent formwork for the concrete pouring. Rather few research studies of literature, in this regard, highlighted an overall reduction of load capacity and slip modulus due to the presence of such an interposed interlayer. In this regard, the present paper focuses on the use of screws as efficient mechanical connectors and analyses different configurations and inclination angles for their arrangement. This main goal is achieved by performing parametric Finite Element (FE) numerical analyses, validated on previous experimental tests, in order to specifically investigate the influence of the in-between interlayer, as well as the role of friction phenomena and the influence of the test setup and experimental protocol to achieve the basic mechanical performance indicators.

This paper contains experimental and numerical study on the behavior of the gusset plate in compression. Gusset plate connections are usually used for the transfer of load from one member to another, they are generally used in bridge trusses and steel braced frames. However, due to lack of technical information regarding the behavior of the gusset plate under compression, these have been under research focus. It has been seen that the gusset plate shows a buckling failure by swaying on one side as there is no out of plane restraint. In this paper, a study is initiated aimed at the gusset plate connected with the angle section on a single side. Key items that were investigated in the study were strain, strength, and displacement. A total of 5 specimens were used for the experimental investigation. The parameters which were considered for the study, the number of bolt lines and the thickness of the gusset plate. Based on the experimental results of load and strain, a numerical model was developed and compared with experimental load-carrying capacity of plate and displacements. After going through the study unpredicted behavior was observed for the two-bolt line and suggestions were given accordingly.

The behaviour of axially loaded prestressed stayed columns is a commonly studied area. Despite the fact that load eccentricity in columns is commonplace in practice, the amount of investigation into these systems under eccentric loading is limited. This study employed finite element analysis to investigate the interactive post-buckling behaviour of prestressed stayed columns. Critical imperfection combination with respect to the load carrying capacity was established and a comparison of a planar and a three-dimensional model was carried out to investigate key differences in the models. In this work, it has been shown that the load carrying capacity of eccentrically loaded columns can be significantly reduced when buckling in interactive mode is observed. Furthermore, it was established that increase in eccentricity results in a decrease in load carrying capacity of columns for both planar and three-dimensional models. However, a major difference between the models is the twisting effect exhibited in the three-dimensional model under out-of-plane eccentric loading. This work highlights the importance of carefully designing prestressed stayed columns’ connections to minimise loading eccentricity as it has been shown that the benefit of employing these systems over unstayed columns reduces with increasing load eccentricity.

Lately, Corrugated Steel Plate Shear Walls (CSPSWs) have gained significance and reputation for being effective lateral force-resisting systems. Corrugated plates are characterized by greater out-of-plane stiffness and buckling stability than flat plates, ensuring their enhanced hysteretic behavior. In ordinary Steel Plate Shear Walls (SPSWs), infill plates are fixed to beams and columns. But, detaching the infill plate from columns and connecting it to the beams only is assumed here as a method for reducing column demands. The current study explores the cyclic performance of CSPSWs with beam-only-connected infill plates. The design of a one-story single-bay specimen was done and its finite element model was developed. Parametric studies have targeted CSPSWs with different geometric variables, including orientation, thickness, and aspect ratio of the infill plate. Noteworthy responses were ultimate strength, initial stiffness, energy dissipation capacity, and force-deformation relationship. The obtained results indicated that selecting the right geometrical parameters could yield a desirable cyclic performance. Finally, an analytical method was proposed for calculating the ultimate shear strength of beam-only-connected CSPSWs.

Since earthquakes such as Northbridge (1994) and Kobe (1995) gave the impetuous for the development of performance-based design methods, engineers have been strenuously working to the improvement of the seismic behaviour of structures; in fact, high ductility frames, as well as damping and isolation systems, are nowadays common practice in seismic prone areas. Heritage buildings constitute an odd case: many historic centres are still considerably affected by seismic events (L’Aquila, 2009) due to the lack of a methodical retrofit and this, where applied, is still largely based on the increase of stiffness and capacity, without the due care for precious finishings. In order to address the lack of specific passive systems for heritage buildings, the authors have developed two typologies of dissipative devices that can be integrated in traditional steel anchors and installed within the masonry at the joints of perpendicular walls, where out-of-plane mechanisms are likely to form due to poor quality connections. Both prototypes, one based on the plasticity of steel, the other relying on friction, were tested as isolated elements in pseudo-static regime for proofing and fine tuning, and in a dynamic range typical of the seismic frequency content to validate the stability of dissipative loops. The paper focuses on pull-out tests aimed to analyse the behaviour of the hysteretic prototype in respect to traditional steel anchors in masonry panels with low shear capacity. Finite Element (FE) models were also developed and calibrated applying the data from tests. Experimental and computational results are discussed in the following; the need for further theoretical work concludes the paper.

As a result of the 2010-2011 Canterbury earthquakes, over 60% of the concrete buildings in the Christchurch Central Business District have been demolished. This experience has highlighted the need to provide guidance on the residual capacity and repairability of earthquake-damaged concrete buildings. As limited testing has been performed on repaired components, this study focuses on the performance of severely-damaged lightly-reinforced concrete walls repaired through replacement of reinforcement and concrete in the damaged region. The damage prior to repair included buckling and fracture of longitudinal reinforcement, crushing and spalling of concrete, and, for one of the two specimens, out-of-plane instability of the gross section. Prior to repairing the wall specimens, tensile testing of reinforcement with welded connections was conducted to verify acceptable performance of welds suitable for reinstating the damaged reinforcement. Repairs to the specimens consisted of removal of damaged concrete through either hydro-demolition or jack hammering, followed by cutting and removal of damaged reinforcement and reinstatement of new reinforcement and repair mortar. The two repaired wall specimens were tested using a standard protocol that was identical to that used for one of the two original wall specimens. Aside from a difference in the elastic stiffness, the load-deformation responses of the repaired specimens were similar to that of the originally-tested specimen through to the first loading cycle at 2.0% drift, beyond which strength degradation was more pronounced for the repaired specimens. The overall performance of the repaired walls relative to the original wall indicates that it is feasible to achieve acceptable performance of severely-damaged concrete walls repaired through replacement of reinforcement and concrete in the damaged region.

Flexible connection between the wall and the frame can improve the seismic performance of the structure, thus minimizing the pushing effect of the infill wall on the main frame. Masonry infill walls with flexible connection have lower out-of-plane stability than walls with rigid connection. However, local collapses are more likely to occur. A comparative study was conducted on the load-carrying capacity, initial stiffness, deformation and ductility of different wall structures based on a monotonous static load test, and the out-of-plane mechanical properties exhibited by flexible masonry infill walls were investigated. A simplified separated finite element model of masonry infill wall was built in accordance with the test results, and then the monotone out-of-plane static loading was performed. The structural configuration, the wall-frame connection method, and the spacing between structural columns were found to have significant effects on the out-of-plane mechanical behavior of the infill wall. The wall structural configuration was found to have the strongest effect, followed by the wall-frame connection method. Under the conditions of flexible connection, when the wall structure was in the “grid-beam” form, and the spacing between structuring columns was 2.5–3.0 m, the frame-infill wall was found with the best restraint effect, so the optimal out-of-plane comprehensive mechanical performance would be achieved.

AbstractIn the last decades, recent earthquakes have further highlighted the high vulnerability of non-structural components. Post-earthquake damage due to building envelope, equipment and building contents can lead to substantial economic losses in terms of repair costs and daily activity interruption (downtime). Moreover, non-structural damage can represent a life-safety threat for both occupants and pedestrians. These considerations confirm the crucial need for developing low-damage systems for either structural or non-structural elements. This paper aims to assess the seismic performance of glazed facade systems, widely adopted in modern buildings, focusing on point fixed glass facade systems (PFGFSs), also referred to as “spider glazing”. In this work, a numerical investigation is developed to study the seismic performance of such systems at both local-connection level through a 3D FEM in ABAQUS as well as at global system level through a simplified lumped plasticity model in SAP 2000 to assess the overall in-plane capacity of the facade. Based on the local connection and global facade system behavior, a novel low-damage connection system is herein proposed, and a parametric study is carried out on the key parameters influencing the facade capacity. The benefits of implementing low-damage connection details are highlighted by an increase of the in-plane capacity of the facade system when compared to a traditional solution. To further investigate the potential of the proposed low-damage details in preserving the integrity of the facade system itself, non-linear time history analyses have been carried out on a case-study building equipped with the innovative PFGFSs.

Abstrak Pemanfaatan produk turunan kayu Laminated Veneer Lumber (LVL) Kayu Sengon dan Wood plastic composites (WPC) Jati sebagai bahan konstruksi perlu dikaji lebh lanjut. Penelitian membahas tentang kinerja sambungan kedua bahan tersebut untuk mendapatkan kapasitas sambungan, nilai tahanan lateral serta pola kegagalan pada sistem komposit LVL Kayu Sengon dan WPC akibat dari penggunaan sambungan baut dengan variasi diameter yang berbeda. Benda uji merupakan balok LVL kayu sengon dan WPC yang disambung dengan baut dalam sistem satu bidang geser. Variasi diameter baut yaitu 6 mm, 8 mm, 10 mm dan 12 mm. Pengujian mengacu pada ASTM D 5652-95. Pengujian dilakukan secara analitis sebagai prediksi kekuatan sambungan dan pola kegagalan dan secara eksperimental di laboratorium. Kegagalan sambungan dilihat dari kegagalan yang terjadi pada kuat tumpu kayu dan kegagalan baut. Hasil penelitian menunjukkan nilai kapasitas sambungan baut 6 mm, 8 mm, 10 mm dan 12 mm berturut-turut sebesar 5453,887 N; 5420,986 N; 9200,262 N; 10207,340 N. Sambungan baut 6 mm membentuk pola kegagalan berupa terbentuknya dua sendi plastis pada alat penyambung dalam satu bidang geser sedangkan sambungan baut 8mm, 10mm dan 12 mm terjadi pola kegagalan tumpu kayu samping disertai dengan satu sendi plastis pada alat sambung dalam satu bidang geser. Kata kunci: LVL kayu sengon, tahanan lateral, WPC, wood plastic composites. Abstrak The use of wood engineering products Laminated Veneer Lumber (LVL) of Sengon Wood and Teak Wood plastic composites (WPC) as construction materials needs further study. Research discusses about the joint performance of the two materials to obtain the connection capacity, lateral resistance value and failure patterns in the LVL Wood Sengon and WPC composite system due to the use of bolted connections with different diameter variations. The test objects are LVL beams of sengon wood and WPC which are connected by bolts in a single plane shear system. Variations in bolt diameter are 6 mm, 8 mm, 10 mm and 12 mm. Testing refers to ASTM D 5652-95. Tests were carried out analytically as a predictor of joint strength and failure patterns and experimentally in the laboratory. Connection failure is seen from the failure that occurs in the wooden support and bolt failure. The results showed that the bolt connection capacity values ​​of 6 mm, 8 mm, 10 mm and 12 mm were 5453.887 N, respectively; 5420,986 N; 9200,262 N; 10207.340 N. The 6 mm bolt connection forms a failure pattern in the form of the formation of two plastic hinges on the connecting device in one shear plane while the 8mm, 10mm and 12 mm bolt connections occur a side wood support failure pattern accompanied by one plastic hinge on the connection tool in one shear plane. Keywords: LVL sengon wood, lateral resistance, WPC, wood plastic composite.

This paper mainly researched the behavior of double fish plate connector between steel plate shear wall structure and steel frame. Four single fish plate connectors and four double fish plate connectors were tested under monotonic and cyclic loading. The hysteretic curves, skeleton curves, stiffness degradation curve and ductility coefficient were considered to study the behavior of two connections. Results showed that the behavior of double fish plate connector between steel plate shear walls and steel frame was better than single fish plate connector. Double fish plate connectors had higher bearing capacity, slower stiffness degradation, better ductility and better energy dissipation capacity. Constraint effect of steel plate shear walls became stronger, and the out-of-plane buckling failure of steel plate shear walls was delayed. Therefore, the double fish plate connectors could improve the behavior of connection between steel plate shear walls and steel frame, and provide a reference for engineering application

To eliminate the geometrical defects and to reduce the damage caused by out-off-plane rotation of the end portion of the conven-tional buckling restrained braces, as well as introducing a new way to facilitate the construction and installation process, the exper-imental behavior of 5 proposed specimens as new type of all-steel tubular buckling restrained braces (AST-BRB) under cyclic axial loads was studied.The proposed specimens consist of a steel tube as a load bearing member (core), which is placed inside a larger tube as a buckling restraining member (pod). At the two ends of the core member, different end details and connection (compared to the common BRBs) are provided as the elastic transitional region. The performance of the specimens were evaluated based on indices, such as damage mode, repeatable behavior, adjusted strength factors, load-bearing capacity, and cumulative inelastic displacement.The evaluation of the results indicated that, the specimens, which welded variable cross-section steel lids at both ends of the core, have superior seismic performance. The superior specimens, for all cycles with larger displacements of the yielding displacement, exhibited a stable hysteresis behavior in bearing of cyclic loads. The bearing pressure was about 1.07 times greater than the tensile load. The cumulative inelastic axial displacements of these specimens is at least 209 times of their yield displacement. Meanwhile, they can tolerate at least 140 % compressive load and 10 % greater tension loads relative to the nominal capacity of the core individual.

AbstractTraditional laminated composites have fibres oriented only in the in-plane of the laminate due to their manufacturing process, and are therefore very susceptible to transverse cracking and delamination from out-of-plane actions. Delamination can considerably reduce the load bearing capacity of a structure hence several reinforcement solutions, based on the principle to add out-of-plane reinforcement to the 2D fabric, have been explored to enhance the delamination resistance. However, the usual textile technologies for Z-reinforcement such as weaving, knitting, stitching, z-pinning, and tufting generates perturbations that may alter the in-plane mechanical properties. Although tufting is a single needle and single thread based one side stitching (OSS) technique which can incorporate almost tension free through the thickness reinforcement in a material, various types of microstructural defects may be created during the manufacturing process and lead to a degradation of the in-plane properties of the composite. Moreover, due to awareness in environmental concerns, the development and use of eco-friendly biocomposites to replace synthetic ones has been increasing.This research work investigates the effect on in plane mechanical properties of adding through the thickness reinforcement (TTR) by tufting in a flax based composite laminate to improve the transversal strength. The glass fibre tufted laminates of 550 g/m2 flax fibre were moulded using a 38% biobased thermoset resin by vacuum bag resin transfer moulding (VBRTM). The tufted and un-tufted in-plane mechanical properties of green biocomposite were determined in tension, compression and shear in accordance with ASTM 3039, ASTM D7137 and EN ISO 14130, using universal INSTRON 1186 and MTS 20 M testing machines. The quantification of the in-plane mechanical properties established a reduction of the in plane tensile mechanical properties, due to tufting, whereas the reduction effects are marginal in compression. As expected, the glass fibre tufts strength the connection between core and skin of the composite so that the interlaminar shear strength, deduced from flexural tests with small span-to-thickness ratio, is increased. Thanks to Digital Image Correlation (DIC) performed during shear tests, an increase in interlaminar shear modulus is highlighted.

Recent earthquakes in southern Europe highlighted that the connections of cladding panels to R.C. frames in precast buildings had a major role in the structural collapse. For this reason, there is an urgent need for a review of the design methods for these connections as well as for an improvement in the manufacturing technology. This article aimed to assess the efficiency of dissipative panel-to-structure and roof connections in R.C. precast buildings. A parametric study consisting of linear and non-linear analyses on one case-study building is performed. Different sensitivity analyses are performed varying their mechanical properties (i.e., stiffness, strength, and ductility) to analyze the behavior of the CP/frame connections. The study focuses on dissipative connections with an elastic–plastic behavior, placed between cladding panels (CPs) and frames in precast buildings with stacked horizontal cladding panels. The introduction of dissipative CP/frame connections implies the inclusion of panels in the global seismic resisting system. The “panels + frame” system highlights a high stiffness until the yield strength of the CP/frame connections is reached. The results, obtained from non-linear dynamic analyses (NLDAs), clearly show how the proposed connection improves the structural seismic performance. By contrast, this is no longer true for R.C. precast structures with flexible diaphragms, especially for intermediate columns, far from panels aligned to seismic action. In this case, significant and unexpected axial forces arise on out-of-plane connections between panels and columns. The integration of an efficient diaphragm is essential to prevent these critical issues both on intermediate columns and CP/column connections; it enables the dissipative capacity of the “panels + frame” system, and it significantly limits the forces and displacements of intermediate alignments. Unfortunately, the achievement of a rigid diaphragm is not always feasible in precast buildings. A possible alternative to activate dissipative capacities of the roof diaphragm with limited in-plane stiffness is the use of dissipative connections linking roof beams and main beams. The solutions described in this article can be applied both in the design of new buildings and for the seismic upgrading of existing ones with easy-to-install and low-impact applications.

AbstractThis study proposes a new auxetic-shaped steel plate shear walls (simply referred to as ASSPSWs) consisting of boundary members and built-in perforated infill plates. The connection type between the boundary members is a hinge joint. The hole forms on the infill plates include orthogonal ellipse-shaped (ASSPSW-OE) and orthogonal peanut-shaped (ASSPSW-OP). This paper studied the hysteretic performance of two steel plate shear walls’ types based on the finite element analysis method. Within the study context, a parametric analysis was carried out to investigate the influence of various factors, such as hole size and hole distance, on the seismic performance of steel plate shear walls (SPSWs). The results indicated that reducing the the ratio of the ligament thickness to ellipse major axis (t/D) in orthogonal ellipse-shaped SPSWs can effectively increase the porosity while reducing the bearing and energy dissipation capacities. Under the condition with the t/D unchanged, increasing the ratio of the major to minor axis of the ellipse (d/D) raises the porosity and does not significantly reduce the bearing capacity and energy dissipation capacity of the SPSWs. For orthogonal peanut-shaped SPSWs, the holes’ geometrical parameters significantly influence the hysteretic performance. Particularly, with the increase in the radial ratio of large to small circles in a peanut-shaped hole (R/r), the spacing between cells decreases. When drift exceeds 2%, the equivalent viscous damping ratio decreases sharply. Unlike the orthogonal ellipse-shaped SPSWs, changing the arrangement angle of peanut-shaped cells has no significant effect on orthogonal peanut-shaped SPSWs. However, the larger the angle, the greater the out-of-plane buckling of orthogonal ellipse-shaped SPSWs; thus, the energy dissipation capacity is reduced. The similarities lie in that the larger cell arrangement angle will make the steel plates have a complete stress field, and the bearing capacity will be slightly improved. When the cell arrangement angle (θ) is 45°, the SPSWs can develop high initial stiffness.

abstract: Insulated pre-cast concrete wall panels, also called sandwich panels, consist in two external concrete layers, in which an internal layer of thermal insulation material is inserted between, aiming better acoustic and thermal performance. One of the main concerns regarding the performance of these panels refers to the elimination of thermal bridges caused by metallic connectors, which jeopardize the panels’ thermal efficiency. One of the proposals to solve this problem consists in the use of PERFOFRP connectors, which are plane plates with perforated holes through its thickness, which are embedded into the concrete plates, creating anchorage pins that enhance the shear strength and the layers’ debonding resistance. This research had the objective of evaluating the production quality of this type of connector, produced with a low-cost and easy-to-use vacuum assisted resin infusion system; considering the effects of: (a) resin plate homogeneity, by taking samples from various locations on the plate; (b) fabrication repeatability; and (c) raw production materials’ origin; on the results of: (I) ultimate tensile stress, (II) modulus of elasticity, and (III) volume fraction of fibre. Also, 18 specimens in the form of representative models of the shear connector in insulated pre-cast concrete wall panels, with six different hole configurations achieved by varying the holes’ diameter and spacing, were subjected to push-out tests, to assess the holes’ diameter and spacing effects on the mechanical performance of the connection in terms of ultimate load capacity and stiffness. The results indicated a production quality with a satisfactory level of characteristics variation, considering: the variability in different parts of a single composite plate, the variability between composite plates from different infusion process, and the variability between different production batches. Furthermore, the push-out tests demonstrated that the perforated connectors presented, when compared to non-perforated connectors: a gain in shear strength from 8% to 25%, lower relative displacements, and higher levels of stiffness. It was also observed that connectors with 25.40 mm diameter holes presented better performance than connectors with 31.75 mm diameter holes; and that the reducing the hole spacing from 2.00 to 1.75, for the 25.40 mm diameter specimens, caused a decrease in the load capacity of the connector. Thus, it was verified that variations on the hole’s diameter and spacing influenced the load carrying capacity of the connection.

The main goal of Anti-Shatter Films (ASFs) applications for structural glass is to create a barrier able to keep together fragments and minimize risk after any impulsive or static load that could lead glass to cracking. The influence of ASF properties on the flexural strength of coated glass elements is thus a relevant topic for safe design purposes, but still little investigated. To this aim, an experimental material investigation is presented in this paper, in order to achieve a good knowledge of common ASFs from a chemical point of view. Moreover, the deterioration of mechanical and adhesion characteristics for ASF samples subjected to different environmental conditions and accelerated ageing is also investigated, so as to simulate the effects of long-term exposure to high humidity (HU) or high temperature (HT). An experimental campaign carried out on 20 small scale ASF-coated glass specimens is finally presented, based on a three-point bending (3PB) test setup. The out-of-plane bending response of unaged or aged samples is performed by taking into account two different displacement-rate levels, to assess their performance and bending capacity under steady-static or impulsive loads. In both cases, the attention is given to the characterization of elastic and post-failure performances. Finally, support for the interpretation of experimental outcomes is derived from a simplified theoretical model of composite beam with partial connection, in order to estimate the shear stiffness of ASF adhesive components in the elastic stage.

AbstractThe seismic response of existing masonry structures is strongly influenced by floor and roof in-plane properties. A strengthening intervention is often needed for traditional timber floors to overcome their low in-plane stiffness and to preserve historical buildings. In this study, the effects of unreinforced and reinforced timber floors on the seismic behaviour of an existing listed masonry building are investigated with dynamic non-linear analyses by means of the Discrete Element Method (DEM). With this approach, the failure processes and collapse sequences of masonry structures can be captured in detail. A previously developed model of the floor cyclic behaviour, based on experimental data, is applied herein to DEM models of the masonry building. Different seismic ground accelerations, different floor types and different floor-to-wall connections are considered. The results highlight the effectiveness of the analysed floor strengthening solution in reducing the out-of-plane displacements of masonry walls. With adequate connections, the reinforced floor is able to transfer the seismic forces to the shear-resistant walls up to the shear-sliding collapse of the structural sidewalls. A comparison with the ideal rigid diaphragm case confirms the good performance of the strengthened floors. The small observed out-of-plane displacements are compatible with the masonry wall capacity, and the reinforced floor hysteretic cycles contribute to dissipate part of the input energy. Moreover, different designs of the connections can also cap the transferred seismic forces to an acceptable level for shear-resistant walls.

The current study focuses on designing the optimal three-dimensional printed sandwich structures. The main goal is to improve the energy absorption capacity of the out-of-plane honeycomb sandwich beam. The novel Beta VI and Alpha VI were designed in order to achieve this aim. In the Beta VI, the connecting curves (splines) were used instead of the four diagonal walls, while the two vertical walls remained unchanged. The Alpha VI is a step forward on the Beta VI, which was promoted by filleting all angles among the vertical walls, created arcs, and face sheets. The two offered sandwich structures have not hitherto been provided in the literature. All models were designed and simulated by the CATIA and ABAQUS, respectively. The three-dimensional printer fabricated the samples by fused deposition modeling technique. The material properties were determined under tensile, compression, and three-point bending tests. The results are carried out by two methods based on experimental tests and finite element analyses that confirmed each other. The achievements provide novel insights into the determination of the adequate number of unit cells and demonstrate the energy absorption capacity of the Beta VI and Alpha VI are 23.7% and 53.9%, respectively, higher than the out-of-plane honeycomb sandwich structures.

Do we eat what we are, or are we what we eat? Do we eat or are we eaten? In less cryptic terms, in eating, do we confirm our identities, or are our identities reforged, and refracted by what and how we eat? In posing these questions, I want to shift the terms of current debates about identity. I want to signal that the study of identity may take on new insights when we look at how we are or want to be in terms of what, how, and with whom we eat. If the analysis of identity has by and large been conducted through the optic of sex, it may well be that in western societies we are witnessing a shift away from sex as the sovereign signifier, or to put it more finely, the question of what we are is a constantly morphing one that mixes up bodies, appetites, classes, genders and ethnicities. It must be said that the question of identity and subjectivity has been so well trodden in the last several decades that the possibility of any virgin territory is slim. Bombarded by critiques of identity politics, any cultural critic still interested in why and how individuals fabricate themselves must either cringe before accusations of sociological do-gooding (and defend the importance of the categories of race, class, sex, gender and so forth), or face the endless clichés that seemingly support the investigation of identity. The momentum of my investigation is carried by a weak wager, by which I mean that the areas and examples I study cannot be overdetermined by a sole axis of investigation. My point of departure is basic: what if we were to think identities in another dimension, through the optic of eating and its associated qualities: hunger, greed, shame, disgust, pleasure, etc? While the connections suggested by eating are diverse and illuminating, interrogating identity through this angle brings its own load of assumptions and preconceptions. One of the more onerous aspects of 'writing about food' is the weight of previous studies. The field of food is a well traversed one, staked out by influential authors concerned with proper anthropological, historical and sociological questions. They are by and large attracted to food for its role in securing social categories and classifications. They have left a legacy of truisms, such as Lévi-Strauss's oft-stated maxim that food is good to think with1, or Brillat-Savarin's aphorism, 'tell me what you eat: I will tell you what you are' (13). In turn, scientific idioms meet up with the buzzing clichés that hover about food. These can be primarily grouped around the notion that food is fundamental, that we all eat, and so on. Indeed, buffeted by the winds of postmodernism that have permeated public debates, it seems that there is a popular acceptance of the fact that identities are henceforth difficult, fragmented, temporary, unhinged by massive changes to modes of employment and the economy, re-formations of family, and the changes in the gender and sexual order. Living with and through these changes on a daily basis, it is no wonder that food and eating has been popularly reclaimed as a 'fundamental' issue, as the last bastion of authenticity in our lives. To put it another way, and in the terms that guide me, eating is seen as immediate -- it is something we all have to do; and it is a powerful mode of mediation, of joining us with others. What, how, and where we eat has emerged as a site of considerable social concern: from the fact that most do not eat en famille, that we increasingly eat out and through drive-in fast food outlets (in the US, 50% of the food budget is spent on eating outside the home), to the worries about genetically altered food and horror food -- mad cows, sick chickens, square tomatoes. Eating performs different connections and disconnections. Increasingly the attention to what we eat is seen as immediately connecting us, our bodies, to large social questions. At a broad level, this can be as diffuse as the winds that some argue spread genetically modified seed stock from one region to another. Or it can be as individually focussed as the knowledge that others are starving as we eat. This connection has long haunted children told 'to eat up everything on your plate because little children are starving in Africa', and in more evolved terms has served as a staple of forms of vegetarianism and other ethical forms of eating. From the pictures of starving children staring from magazine pages, the spectre of hunger is now broadcast by the Internet, exemplified in the Hunger Site where 'users are met by a map of the world and every 3.6 seconds, a country flashes black signifying a death due to hunger'. Here eating is the subject of a double articulation: the recognition of hunger is presumed to be a fundamental capacity of individuals, and our feelings are then galvanised into painless action: each time a user clicks on the 'hunger' button one of the sponsors donates a cup and a half of food. As the site explains, 'our sponsors pay for the donations as a form of advertising and public relations'. Here, the logic is that hunger is visceral, that it is a basic human feeling, which is to say that it is understood as immediate, and that it connects us in a basic way to other humans. That advertising companies know that it can also be a profitable form of meditation, transforming 'humans' into consumers is but one example of how eating connects us in complex ways to other people, to products, to new formulations of identity, and in this case altruism (the site has been called 'the altruistic mouse')2. Eating continually interweaves individual needs, desires and aspirations within global economies of identities. Of course the interlocking of the global and the local has been the subject of much debate over the last decade. For instance, in his recent book on globalisation, John Tomlinson uses 'global food and local identity' as a site through which to problematise these terms. It is clear that changes in food processing and transportation technologies have altered our sense of connection to the near and the far away, allowing us to routinely find in our supermarkets and eat products that previously would have been the food stuff of the élite. These institutional and technological changes rework the connections individuals have to their local, to the regions and nations in which they live. As Tomlinson argues, 'globalisation, from its early impact, does clearly undermine a close material relationship between the provenance of food and locality' (123). As he further states, the effects have been good (availability and variety), and bad (disrupting 'the subtle connection between climate, season, locality and cultural practice'). In terms of what we can now eat, Tomlinson points out that 'the very cultural stereotypes that identify food with, say, national culture become weakened' (124). Defusing the whiff of moralism that accompanies so much writing about food, Tomlinson argues that these changes to how we eat are not 'typically experienced as simply cultural loss or estrangement but as a complex and ambiguous blend: of familiarity and difference, expansion of cultural horizons and increased perceptions of vulnerability, access to the "world out there" accompanied by penetration of our own private worlds, new opportunities and new risks' (128). For the sake of my own argument his attention to the increased sense of vulnerability is particularly important. To put it more strongly, I'd argue that eating is of interest for the ways in which it can be a mundane exposition of the visceral nature of our connectedness, or distance from each other, from ourselves, and our social environment: it throws into relief the heartfelt, the painful, playful or pleasurable articulations of identity. To put it more clearly, I want to use eating and its associations in order to think about how the most ordinary of activities can be used to help us reflect on how we are connected to others, and to large and small social issues. This is again to attend to the immediacy of eating, and the ways in which that immediacy is communicated, mediated and can be put to use in thinking about culture. The adjective 'visceral' comes to mind: 'of the viscera', the inner organs. Could something as ordinary as eating contain the seeds of an extraordinary reflection, a visceral reaction to who and what we are becoming? In mining eating and its qualities might we glimpse gut reactions to the histories and present of the cultures within which we live? As Emily Jenkins writes in her account of 'adventures in physical culture', what if we were to go 'into things tongue first. To see how they taste' (5). In this sense, I want to plunder the visceral, gut levels revealed by that most boring and fascinating of topics: food and eating. In turn, I want to think about what bodies are and do when they eat. To take up the terms with which I started, eating both confirms what and who we are, to ourselves and to others, and can reveal new ways of thinking about those relations. To take the most basic of facts: food goes in, and then broken down it comes out of the body, and every time this happens our bodies are affected. While in the usual course of things we may not dwell upon this process, that basic ingestion allows us to think of our bodies as complex assemblages connected to a wide range of other assemblages. In eating, the diverse nature of where and how different parts of ourselves attach to different aspects of the social becomes clear, just as it scrambles preconceptions about alimentary identities. Of course, we eat according to social rules, in fact we ingest them. 'Feed the man meat', the ads proclaim following the line of masculinity inwards; while others draw a line outwards from biology and femininity into 'Eat lean beef'. The body that eats has been theorised in ways that seek to draw out the sociological equations about who we are in terms of class and gender. But rather than taking the body as known, as already and always ordered in advance by what and how it eats, we can turn such hypotheses on their head. In the act of ingestion, strict divisions get blurred. The most basic fact of eating reveals some of the strangeness of the body's workings. Consequently it becomes harder to capture the body within categories, to order stable identities. This then forcefully reminds us that we still do not know what a body is capable of, to take up a refrain that has a long heritage (from Spinoza to Deleuze to feminist investigations of the body). As Moira Gatens and Genevieve Lloyd argue in terms of this idea, 'each body exists in relations of interdependence with other bodies and these relations form a "world" in which individuals of all kinds exchange their constitutive parts -- leading to the enrichment of some and the demise of others (e.g. eating involves the destruction of one body at the same time as it involves the enhancement of the other)' (101). I am particularly interested in how individuals replay equations between eating and identity. But that phrase sounds impossibly abstracted from the minute instances I have in mind. From the lofty heights, I follow the injunction to 'look down, look way down', to lead, as it were, with the stomach. In this vein, I begin to note petty details, like the fact of recently discovering breakfast. From a diet of coffee (now with a milk called 'Life') and cigarettes, I dutifully munch on fortified cereal that provides large amounts of folate should I be pregnant (and as I eat it I wonder am I, should I be?3). Spurred on by articles sprinkled with dire warnings about what happens to women in Western societies, I search out soy, linseed and other ingredients that will help me mimic the high phytoestrogen diet of Japanese women. Eating cereal, I am told, will stave off depression, especially with the addition of bananas. Washed down with yoghurt 'enhanced' with acidophilius and bifidus to give me 'friendly' bacteria that will fight against nasty heliobacter pylori, I am assured that I will even lose weight by eating breakfast. It's all a bit much first thing in the morning when the promise of a long life seems like a threat. The myriad of printed promises of the intricate world of alimentary programming serve as an interesting counterpoint to the straightforward statements on cigarette packages. 'Smoking kills' versus the weak promises that eating so much of such and such a cereal 'is a good source of soy phytoestrogenes (isolfavones) that are believed to be very beneficial'. Apart from the unpronounceable ingredients (do you really want to eat something that you can't say?), the terms of the contract between me and the cereal makers is thin: that such and such is 'believed to be beneficial'? While what in fact they may benefit is nebulous, it gets scarier when they specify that 'a diet rich in folate may reduce the risk of birth defects such as spina bifida'. The conditional tense wavers as I ponder the way spina bifida is produced as a real possibility. There is of course a long history to the web of nutritional messages that now surrounds us. In her potted teleology of food messages, Sue Thompson, a consultant dietitian, writes that in the 1960s, the slogan was 'you are what you eat'. Then in the 1970s and 1980s, the idea was that food was bad for you. In her words, 'it became a time of "Don't eat" and "bad foods". Now, happily, 'we are moving into a time of appreciating the health benefits of food' (Promotional release by the Dairy Farmers, 1997). As the new battle ground for extended enhanced life, eating takes on fortified meaning. Awed by the enthusiasm, I am also somewhat shocked by the intimacy of detail. I can handle descriptions of sex, but the idea of discussing the ways in which you 'are reducing the bacterial toxins produced from small bowel overgrowth' (Thompson), is just too much. Gut level intimacy indeed. However, eating is intimate. But strangely enough except for the effusive health gurus, and the gossip about the eating habits of celebrities, normally in terms of not-eating, we tend not to publicly air the fact that we all operate as 'mouth machines' (to take Noëlle Châtelet's term). To be blunt about it, 'to eat, is to connect ... the mouth and the anus' (Châtelet 34). We would, with good reason, rather not think about this; it is an area of conversation reserved for our intimates. For instance, in relationships the moment of broaching the subject of one's gut may mark the beginning of the end. So let us stay for the moment at the level of the mouth machine, and the ways it brings together the physical fact of what goes in, and the symbolic production of what comes out: meanings, statements, ideas. To sanitise it further, I want to think of the mouth machine as a metonym4 for the operations of a term that has been central to cultural studies: 'articulation'. Stuart Hall's now classic definition states that 'articulation refers to the complex set of historical practices by which we struggle to produce identity or structural unity out of, on top of, complexity, difference, contradiction' (qtd. in Grossberg, "History" 64). While the term has tended to be used rather indiscriminately -- theorists wildly 'articulate' this or that -- its precise terms are useful. Basically it refers to how individuals relate themselves to their social contexts and histories. While we are all in some sense the repositories of past practices, through our actions we 'articulate', bridge and connect ourselves to practices and contexts in ways that are new to us. In other terms, we continually shuttle between practices and meanings that are already constituted and 'the real conditions' in which we find ourselves. As Lawrence Grossberg argues, this offers 'a nonessentialist theory of agency ... a fragmented, decentered human agent, an agent who is both "subject-ed" by power and capable of acting against power' ("History" 65). Elsewhere Grossberg elaborates on the term, arguing that 'articulation is the production of identity on top of difference, of unities out of fragments, of structures across practices' (We Gotta Get Out 54). We are then 'articulated' subjects, the product of being integrated into past practices and structures, but we are also always 'articulating' subjects: through our enactment of practices we reforge new meanings, new identities for ourselves. This then reveals a view of the subject as a fluctuating entity, neither totally voluntaristic, nor overdetermined. In more down to earth terms, just because we are informed by practices not of our own making, 'that doesn't mean we swallow our lessons without protest' (Jenkins 5). The mouth machine takes in but it also spits out. In these actions the individual is constantly connecting, disconnecting and reconnecting. Grossberg joins the theory of articulation to Deleuze and Guattari's notion of rhizomes. In real and theoretical terms, a rhizome is a wonderful entity: it is a type of plant, such as a potato plant or an orchid, that instead of having tap roots spreads its shoots outwards, where new roots can sprout off old. Used as a figure to map out social relations, the rhizome allows us to think about other types of connection. Beyond the arboreal, tap root logic of, say, the family tree which ties me in lineage to my forefathers, the rhizome allows me to spread laterally and horizontally: as Deleuze puts it, the rhizome is antigenealogical, 'it always has multiple entryways' compelling us to think of how we are connected diversely, to obvious and sometimes not so obvious entities (35). For Grossberg the appeal of joining a theory of articulation with one inspired by rhizomes is that it combines the 'vertical complexity' of culture and context, with the 'wild realism' of the horizontal possibilities that connect us outward. To use another metaphor dear to Deleuze and Guattari, this is to think about the spread of rhizomatic roots, the 'lines of flight' that break open seemingly closed structures, including those we call ourselves: 'lines of flight disarticulate, open up the assemblage to its exterior, cutting across and dismantling unity, identity, centers and hierarchies' (qtd. in Grossberg, We Gotta Get Out 58). In this way, bodies can be seen as assemblages: bits of past and present practice, openings, attachments to parts of the social, closings and aversion to other parts. The tongue as it ventures out to taste something new may bring back fond memories, or it may cause us to recoil in disgust. As Jenkins writes, this produces a fascinating 'contradiction -- how the body is both a prison and a vehicle for adventure' (4). It highlights the fact that the 'body is not the same from day to day. Not even from minute to minute ... . Sometimes it seems like home, sometimes more like a cheap motel near Pittsburgh' (7). As we ingest we mutate, we expand and contract, we change, sometimes subtly, sometimes violently. The openings and closings of our bodies constantly rearranges our dealings with others, as Jenkins writes, the body's 'distortions, anxieties, ecstasies and discomforts all influence a person's interaction with the people who service it'. In more theoretical terms, this produces the body as 'an articulated plane whose organisation defines its own relations of power and sites of struggle', which 'points to the existence of another politics, a politics of feeling' (Grossberg, "History" 72). These theoretical considerations illuminate the interest and the complexity of bodies that eat. The mouth machine registers experiences, and then articulates them -- utters them. In eating, we may munch into whole chains of previously established connotations, just as we may disrupt them. For instance, an email arrives, leaving traces of its rhizomatic passage zapping from one part of the world to another, and then to me. Unsolicited, it sets out a statement from a Dr. Johannes Van Vugt in San Francisco who on October 11, 1999, National Coming Out Day in the US, began an ongoing 'Fast for Equal Rights for persons who are gay, lesbian and other sexual orientation minorities'. Yoking his fast with the teachings of Ghandi and Martin Luther King, Dr. Van Vugt says he is fasting to 'call on you to choose love, not fear, and to do something about it'. The statement also reveals that he previously fasted 'to raise awareness and funds for African famine relief for which he received a Congressional commendation'. While personally I don't give much for his chances of getting a second commendation, this is an example of how the mouth machine closed still operates to articulate identities and politics to wildly diverging sites. While there is something of an arboreal logic to fasting for awareness of famine, the connection between not eating and anti-homophobic politics is decidedly rhizomatic. Whether or not it succeeds in its aim, and one of the tenets of a rhizomatic logic is that the points of connection cannot be guaranteed in advance, it does join the mouth with sex with the mouth with homophobic statements that it utters. There is then a sort of 'wild realism' at work here that endeavours to set up new assemblages of bodies, mouths and politics. From fasting to writing, what of the body that writes of the body that eats? In Grossberg's argument, the move to a rhizomatic field of analysis promises to return cultural theory to a consideration of 'the real'. He argues that such a theory must be 'concerned with particular configurations of practices, how they produce effects and how such effects are organized and deployed' (We Gotta Get Out 45). However, it is crucial to remember that these practices do not exist in a pure state in culture, divorced from their representations or those of the body that analyses them. The type of 'wild realism' that Grossberg calls for, as in Deleuze's 'new empiricism' is both a way of seeing the world, and offers it anew, illuminates otherly its structures and individuals' interaction with them. Following the line of the rhizome means that we must 'forcibly work both on semiotic flows, material flows, and social flows', Guattari goes on to argue that 'there is no tripartition between a field of reality, the world, a field of representation, the book, and a field of subjectivity, the author. But an arrangement places in connection certain multiplicities taken from each of these orders' (qtd. in Grossberg, We Gotta Get Out 48). In terms of the possibilities offered by eating, these theoretical and conceptual arguments direct us to other ways of thinking about identity as both digestion and as indigestible. Bodies eat into culture. The mouth machine is central to the articulation of different orders, but so too is the tongue that sticks out, that draws in food, objects and people. Analysed along multiple alimentary lines of flight, in eating we constantly take in, chew up and spit out identities. Footnotes 1. As Barbara Santich has recently pointed out, Lévi-Strauss's point was made in relation to taboos on eating totem animals in traditional societies and wasn't a general comment on the connection between eating and thinking (4). 2. The sponsors of the Hunger Site include 0-0.com, a search engine, Proflowers.com, and an assortment of other examples of this new form of altruism (such as GreaterGood.com which advertises itself as a 'shop to benefit your favorite cause'), and 'World-Wide Recipes', which features a 'virtual restaurant'. 3. The pregnant body is of course one of the most policed entities in our culture, and pregnant friends report on the anxieties that are produced about what will go into the future child's body. 4. While Châtelet writes that thinking about the eating body 'throws her into full metaphor ... joining, for example the nutritional mouth and the lover's mouth' (8), I have tried to avoid the tug of metaphor. Of course, the seduction of metaphor is great, and there are copious examples of the metaphorisation of eating in regards to consumption, ingestion, reading and writing. However, as I've argued elsewhere (Probyn, Outside Belongings), I prefer to focus on the 'work' (or as Le Doeuff would say, 'le faire des images') that Deleuze and Guattari's terms accomplish as ways of modelling the social. This is a particularly crucial (if here underdeveloped) point in terms of my present project, where I seek to analyse the ways in which eating may reproduce an awareness of the visceral nature of social relations. That said, and as my valued colleague Melissa Hardie has often pointed out, my text is littered with metaphor. References Brillat-Savarin, Jean-Anthelme. The Physiology of Taste. Trans. Anne Drayton. Penguin, 1974. Châtelet, Noëlle. Le Corps a Corps Culinaire. Paris: Seuil, 1977. Deleuze, Gilles. "Rhizome versus Trees." The Deleuze Reader. Ed. Constantin V. Boundas. New York: Columbia UP, 1993. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage, 1973. Gatens, Moira, and Genevieve Lloyd. Collective Imaginings: Spinoza, Past and Present. New York and London: Routledge, 1999. Grossberg, Lawrence. "History, Politics and Postmodernism: Stuart Hall and Cultural Studies." Journal of Communication Inquiry 10.2 (1986): 61-77. ---. We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture. New York and London: Routledge,1992. Le Doeuff, Michèle. L'Étude et le Rouet. Paris: Seuil, 1989. Jenkins, Emily. Tongue First: Adventures in Physical Culture. London: Virago, 1999. Probyn, Elspeth. Outside Belongings. New York and London: Routledge, 1996. ---. Sexing the Self. Gendered Positions in Cultural Studies. New York and London: Routledge, 1993. Santich, Barbara. "Research Notes." The Centre for the History of Food and Drink Newsletter. The University of Adelaide, September 1999. Thompson, Sue. Promotional pamphlet for the Dairy Farmers' Association. 1997. Tomlinson, John. Globalization and Culture. Oxford: Polity Press, 1999. Citation reference for this article MLA style: Elspeth Probyn. "The Indigestion of Identities." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/indigestion.php>. Chicago style: Elspeth Probyn, "The Indigestion of Identities," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/indigestion.php> ([your date of access]). APA style: Elspeth Probyn. (1999) The indigestion of identities. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/indigestion.php> ([your date of access]).

Hybridization of sandwich panels and their different components have drawn huge attention due to the significant improvement in their attributes. Hybrid core of ‘Polyester Pin-reinforced Foam filled Honeycomb Sandwich panels’ (PFHS) were fabricated and compared with unreinforced ‘Foam filled Honeycomb Sandwich panels’ (FHS) in terms of low velocity impact and Compression After Impact (CAI) performance. The impact damage area was calculated by employing MATLAB image processing technique. Incorporating through thickness pins for connecting faces and core is an effectual way to improve interfacial bonding, specific bending stiffness and also imparts out of plane properties for sandwich panels. The low velocity impact tests performed on the sandwich panels revealed that the polyester pin reinforcement in foam filled honeycomb sandwich panel improved the load bearing capacity, total absorbed energy and reduced the impact damage area significantly. In CAI test, debond, wrinkling of face sheet, and buckling of face sheet and core are the major modes of failure. The addition of the pins enhanced the compressive strength for all the impact energy levels.

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

0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidity of mobilized publics in the go-go world of commercial aviation.In this photo essay I'd like to pull a different thread and ask whether it's possible to think of aeromobility in terms of “uneven, differential mobility” (Bissell 280). What would it mean to consider waiting and stillness as forms of bodily engagement operating over a number of different scales and temporalities of movement and anticipation, without privileging speed over stillness? Instead of thinking mobility and stillness as diametrically opposed, can we instead conceive of them as occupying a number of different spatio-temporal registers in a dynamic range of mobility? The following is a provisional "visual ethnography" constructed from photographs of air terminal light boxes I have taken over the last five years (in Amsterdam, London, Chicago, Frankfurt, and Miami). Arranged into a "taxonomy of differentiality", each of these images comes from a slightly different angle, mode or directionality. Each view of these still images displayed in billboard-scale light-emitting devices suggests that there are multiple dimensions of visuality and bodily experience at play in these image-objects. The airport is characterized by an abundance of what appears to be empty space. This may be due to the sheer scale of mass transport, but it also arises from a system of active and non-active zones located throughout contemporary terminals. This photo series emphasises the "emptiness" of these overlooked left-over spaces that result from demands of circulation and construction.1. We Move the WorldTo many travellers, airport gate lounges and their surrounding facilities are loaded with a variety of contradictory associations and affects. Their open warehouse banality and hard industrial sterility tune our bodies to the vast technical and commercial systems that are imbricated through almost every aspect of contemporary everyday life.Here at the departure gate the traveller's body comes to a moment's rest. They are granted a short respite from the anxious routines of check in, body scans, security, information processing, passport scanning, itineraries, boarding procedures and wayfaring the terminal. The landside processing system deposits them at this penultimate point before final propulsion into the invisible airways that pipe them into their destination. We hear the broadcasting of boarding times, check-in times, name's of people that break them away from stillness, forcing people to move, to re-arrange themselves, or to hurry up. Along the way the passenger encounters a variety of techno-spatial experiences that sit at odds with the overriding discourse of velocity, speed and efficiency that lie at the centre of our social understanding of air travel. The airline's phantasmagorical projections of itself as guarantor and enabler of mass mobilities coincides uncomfortably with the passenger's own wish-fulfilment of escape and freedom.In this we can agree with the designer Bruce Mau when he suggests that these projection systems, comprised of "openings of every sort — in schedules, in urban space, on clothes, in events, on objects, in sightlines — are all inscribed with the logic of the market” (Mau 7). The advertising slogans and images everywhere communicate the dual concept that the aviation industry can deliver the world to us on time while simultaneously porting us to any part of the world still willing to accept Diners, VISA or American Express. At each point along the way these openings exhort us to stop, to wait in line, to sit still or to be patient. The weird geographies depicted by the light boxes appear like interpenetrating holes in space and time. These travel portals are strangely still, and only activated by the impending promise of movement.Be still and relax. Your destination is on its way. 2. Attentive AttentionAlongside the panoramic widescreen windows that frame the choreography of the tarmac and flight paths outside, appear luminous advertising light boxes. Snapped tightly to grid and locked into strategic sightlines and thoroughfares, these wall pieces are filled with a rotating menu of contemporary airport haiku and ersatz Swiss graphic design.Mechanically conditioned air pumped out of massive tubes creates the atmosphere for a very particular amalgam of daylight, tungsten, and fluorescent light waves. Low-oxygen-emitting indoor plants are no match for the diesel-powered plant rooms that maintain the constant flow of air to every nook and cranny of this massive processing machine. As Rem Koolhaas puts it, "air conditioning has launched the endless building. If architecture separates buildings, air conditioning unites them" (Koolhaas). In Koolhaas's lingo, these are complex "junkspaces" unifying, colliding and coalescing a number of different circulatory systems, temporalities and mobilities.Gillian Fuller reminds us there is a lot of stopping and going and stopping in the global circulatory system typified by air-terminal-space.From the packing of clothes in fixed containers to strapping your belt – tight and low – stillness and all its requisite activities, technologies and behaviours are fundamental to the ‘flow’ architectures that organize the motion of the globalizing multitudes of today (Fuller, "Store" 63). It is precisely this functional stillness organised around the protocols of store and forward that typifies digital systems, the packet switching of network cultures and the junkspace of airports alike.In these zones of transparency where everything is on view, the illuminated windows so proudly brought to us by J C Decaux flash forward to some idealized moment in the future. In this anticipatory moment, the passenger's every fantasy of in-flight service is attended to. The ultimate in attentiveness (think dimmed lights, soft pillows and comfy blankets), this still image is captured from an improbable future suspended behind the plywood and steel seating available in the moment —more reminiscent of park benches in public parks than the silver-service imagined for the discerning traveller.3. We Know ChicagoSelf-motion is itself a demonstration against the earth-binding weight of gravity. If we climb or fly, our defiance is greater (Appleyard 180).The commercial universe of phones, cameras, computer network software, financial instruments, and an array of fancy new gadgets floating in the middle of semi-forgotten transit spaces constitutes a singular interconnected commercial organism. The immense singularity of these claims to knowledge and power loom solemnly before us asserting their rights in the Esperanto of "exclusive rollover minutes", "nationwide long distance", "no roaming charges" and insider local knowledge. The connective tissue that joins one part of the terminal to a commercial centre in downtown Chicago is peeled away, revealing techno-veins and tendrils reaching to the sky. It's a graphic view that offers none of the spectacular openness and flights of fancy associated with the transit lounges located on the departure piers and satellites. Along these circulatory ribbons we experience the still photography and the designer's arrangement of type to attract the eye and lure the body. The blobby diagonals of the telco's logo blend seamlessly with the skyscraper's ribbons of steel, structural exoskeleton and wireless telecommunication cloud.In this plastinated anatomy, the various layers of commercially available techno-space stretch out before the traveller. Here we have no access to the two-way vistas made possible by the gigantic transparent tube structures of the contemporary air terminal. Waiting within the less travelled zones of the circulatory system we find ourselves suspended within the animating system itself. In these arteries and capillaries the flow is spread out and comes close to a halt in the figure of the graphic logo. We know Chicago is connected to us.In the digital logic of packet switching and network effects, there is no reason to privilege the go over the stop, the moving over the waiting. These light box portals do not mirror our bodies, almost at a complete standstill now. Instead they echo the commercial product world that they seek to transfuse us into. What emerges is a new kind of relational aesthetics that speaks to the complex corporeal, temporal, and architectural dimensions of stillness and movement in transit zones: like "a game, whose forms, patterns and functions develop and evolve according to periods and social contexts” (Bourriaud 11). 4. Machine in the CaféIs there a possible line of investigation suggested by the fact that sound waves become visible on the fuselage of jet planes just before they break the sound barrier? Does this suggest that the various human senses are translatable one into the other at various intensities (McLuhan 180)?Here, the technological imaginary contrasts itself with the techno alfresco dining area enclosed safely behind plate glass. Inside the cafes and bars, the best businesses in the world roll out their biggest guns to demonstrate the power, speed and scale of their network coverage (Remmele). The glass windows and light boxes "have the power to arrest a crowd around a commodity, corralling them in chic bars overlooking the runway as they wait for their call, but also guiding them where to go next" (Fuller, "Welcome" 164). The big bulbous plane sits plump in its hangar — no sound barriers broken here. It reassures us that our vehicle is somewhere there in the network, resting at its STOP before its GO. Peeking through the glass wall and sharing a meal with us, this interpenetrative transparency simultaneously joins and separates two planar dimensions — machinic perfection on one hand, organic growth and death on the other (Rowe and Slutsky; Fuller, "Welcome").Bruce Mau is typical in suggesting that the commanding problem of the twentieth century was speed, represented by the infamous image of a US Navy Hornet fighter breaking the sound barrier in a puff of smoke and cloud. It has worked its way into every aspect of the design experience, manufacturing, computation and transport.But speed masks more than it reveals. The most pressing problem facing designers and citizens alike is growth — from the unsustainable logic of infinite growth in GDP to the relentless application of Moore's Law to the digital networks and devices that define contemporary society in the first world. The shift of emphasis from speed to growth as a time-based event with breaking points and moments of rupture has generated new possibilities. "Growth is nonlinear and unpredictable ... Few of us are ready to admit that growth is constantly shadowed by its constitutive opposite, that is equal partners with death” (Mau 497).If speed in part represents a flight from death (Virilio), growth invokes its biological necessity. In his classic study of the persistence of the pastoral imagination in technological America, The Machine in the Garden, Leo Marx charted the urge to idealize rural environments at the advent of an urban industrialised America. The very idea of "the flight from the city" can be understood as a response to the onslaught of technological society and it's deathly shadow. Against the murderous capacity of technological society stood the pastoral ideal, "incorporated in a powerful metaphor of contradiction — a way of ordering meaning and value that clarifies our situation today" (Marx 4). 5. Windows at 35,000 FeetIf waiting and stillness are active forms of bodily engagement, we need to consider the different layers of motion and anticipation embedded in the apprehension of these luminous black-box windows. In The Virtual Window, Anne Friedberg notes that the Old Norse derivation of the word window “emphasizes the etymological root of the eye, open to the wind. The window aperture provides ventilation for the eye” (103).The virtual windows we are considering here evoke notions of view and shelter, open air and sealed protection, both separation from and connection to the outside. These windows to nowhere allow two distinct visual/spatial dimensions to interface, immediately making the visual field more complex and fragmented. Always simultaneously operating on at least two distinct fields, windows-within-windows provide a specialized mode of spatial and temporal navigation. As Gyorgy Kepes suggested in the 1940s, the transparency of windows "implies more than an optical characteristic; it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations" (Kepes 77).The first windows in the world were openings in walls, without glass and designed to allow air and light to fill the architectural structure. Shutters were fitted to control air flow, moderate light and to enclose the space completely. It was not until the emergence of glass technologies (especially in Holland, home of plate glass for the display of commercial products) that shielding and protection also allowed for unhindered views (by way of transparent glass). This gives rise to the thesis that windows are part of a longstanding architectural/technological system that moderates the dual functions of transparency and separation. With windows, multi-dimensional planes and temporalities can exist in the same time and space — hence a singular point of experience is layered with many other dimensions. Transparency and luminosity "ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous" (Rowe and Slutsky 45). The light box air-portals necessitate a constant fluctuation and remediation that is at once multi-planar, transparent and "hard to read". They are informatic.From holes in the wall to power lunch at 35,000 feet, windows shape the manner in which light, information, sights, smells, temperature and so on are modulated in society. "By allowing the outside in and the inside out, [they] enable cosmos and construction to innocently, transparently, converge" (Fuller, "Welcome" 163). Laptop, phone, PDA and light box point to the differential mobilities within a matrix that traverses multiple modes of transparency and separation, rest and flight, stillness and speed.6. Can You Feel It?Increasingly the whole world has come to smell alike: gasoline, detergents, plumbing, and junk foods coalesce into the catholic smog of our age (Illich 47).In these forlorn corners of mobile consumption, the dynamic of circulation simultaneously slows and opens out. The surfaces of inscription implore us to see them at precisely the moment we feel unseen, unguided and off-camera. Can you see it, can you feel it, can you imagine the unimaginable, all available to us on demand? Expectation and anticipation give us something to look forward to, but we're not sure we want what's on offer.Air travel radicalizes the separation of the air traveller from ground at one instance and from the atmosphere at another. Air, light, temperature and smell are all screened out or technologically created by the terminal plant and infrastructure. The closer the traveller moves towards stillness, the greater the engagement with senses that may have been ignored by the primacy of the visual in so much of this circulatory space. Smell, hunger, tiredness, cold and hardness cannot be screened out.In this sense, the airplanes we board are terminal extensions, flying air-conditioned towers or groundscrapers jet-propelled into highways of the air. Floating above the horizon, immersed in a set of logistically ordained trajectories and pressurized bubbles, we look out the window and don't see much at all. Whatever we do see, it's probably on the screen in front of us which disconnects us from one space-time-velocity at the same time that it plugs us into another set of relations. As Koolhaas says, junkspace is "held together not by structure, but by skin, like a bubble" (Koolhaas). In these distended bubbles, the traveler momentarily occupies an uncommon transit space where stillness is privileged and velocity is minimized. The traveler's body itself is "engaged in and enacting a whole kaleidoscope of different everyday practices and forms" during the course of this less-harried navigation (Bissell 282).7. Elevator MusicsThe imaginary wheel of the kaleidoscope spins to reveal a waiting body-double occupying the projected territory of what appears to be a fashionable Miami. She's just beyond our reach, but beside her lies a portal to another dimension of the terminal's vascular system.Elevators and the networks of shafts and vents that house them, are to our buildings like veins and arteries to the body — conduits that permeate and structure the spaces of our lives while still remaining separate from the fixity of the happenings around them (Garfinkel 175). The terminal space contains a number of apparent cul-de-sacs and escape routes. Though there's no background music piped in here, another soundtrack can be heard. The Muzak corporation may douse the interior of the elevator with its own proprietary aural cologne, but at this juncture the soundscape is more "open". This functional shifting of sound from figure to ground encourages peripheral hearing, providing "an illusion of distended time", sonically separated from the continuous hum of "generators, ventilation systems and low-frequency electrical lighting" (Lanza 43).There is another dimension to this acoustic realm: “The mobile ecouteur contracts the flows of information that are supposed to keep bodies usefully and efficiently moving around ... and that turn them into functions of information flows — the speedy courier, the networking executive on a mobile phone, the scanning eyes of the consumer” (Munster 18).An elevator is a grave says an old inspector's maxim, and according to others, a mechanism to cross from one world to another. Even the quintessential near death experience with its movement down a long illuminated tunnel, Garfinkel reminds us, “is not unlike the sensation of movement we experience, or imagine, in a long swift elevator ride” (Garfinkel 191).8. States of SuspensionThe suspended figure on the screen occupies an impossible pose in an impossible space: half falling, half resting, an anti-angel for today's weary air traveller. But it's the same impossible space revealed by the airport and bundled up in the experience of flight. After all, the dimension this figures exists in — witness the amount of activity in his suspension — is almost like a black hole with the surrounding universe collapsing into it. The figure is crammed into the light box uncomfortably like passengers in the plane, and yet occupies a position that does not exist in the Cartesian universe.We return to the glossy language of advertising, its promise of the external world of places and products delivered to us by the image and the network of travel. (Remmele) Here we can go beyond Virilio's vanishing point, that radical reversibility where inside and outside coincide. Since everybody has already reached their destination, for Virilio it has become completely pointless to leave: "the inertia that undermines your corporeity also undermines the GLOBAL and the LOCAL; but also, just as much, the MOBILE and the IMMOBILE” (Virilio 123; emphasis in original).In this clinical corner of stainless steel, glass bricks and exit signs hangs an animated suspension that articulates the convergence of a multitude of differentials in one image. Fallen into the weirdest geometry in the world, it's as if the passenger exists in a non-place free of all traces. Flows and conglomerates follow one another, accumulating in the edges, awaiting their moment to be sent off on another trajectory, occupying so many spatio-temporal registers in a dynamic range of mobility.ReferencesAppleyard, Donald. "Motion, Sequence and the City." The Nature and Art of Motion. Ed. Gyorgy Kepes. New York: George Braziller, 1965. Adey, Peter. "If Mobility Is Everything Then It Is Nothing: Towards a Relational Politics of (Im)mobilities." Mobilities 1.1 (2006): 75–95. Bissell, David. “Animating Suspension: Waiting for Mobilities.” Mobilities 2.2 (2007): 277-298.Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Paris: Les Presses du Reel, 2002. Classen, Constance. “The Deodorized City: Battling Urban Stench in the Nineteenth Century.” Sense of the City: An Alternate Approach to Urbanism. Ed. Mirko Zardini. Baden: Lars Muller Publishers, 2005. 292-322. Friedberg, Anne. The Virtual Window: From Alberti to Microsoft. Cambridge: MIT P, 2006. Fuller, Gillian, and Ross Harley. Aviopolis: A Book about Airports. London: Black Dog Publishing, 2005. Fuller, Gillian. "Welcome to Windows: Motion Aesthetics at the Airport." Ed. Mark Salter. Politics at the Airport. Minnesota: U of Minnesota P, 2008. –––. "Store Forward: Architectures of a Future Tense". Ed. John Urry, Saolo Cwerner, Sven Kesselring. Air Time Spaces: Theory and Method in Aeromobilities Research. London: Routledge, 2008. 63-75.Garfinkel, Susan. “Elevator Stories: Vertical Imagination and the Spaces of Possibility.” Up Down Across: Elevators, Escalators, and Moving Sidewalks. Ed. Alisa Goetz. London: Merrell, 2003. 173-196. Gordon, Alastair. Naked Airport: A Cultural History of the World's Most Revolutionary Structure. New York: Metropolitan, 2004.Illich, Ivan. H2O and the Waters of Forgetfulness: Reflections on the Historicity of Stuff. Dallas: Dallas Institute of Humanities and Culture, 1985. Kepes, Gyorgy. Language of Vision. New York: Dover Publications, 1995 (1944). Koolhass, Rem. "Junkspace." Content. 6 Mar. 2009 ‹http://www.btgjapan.org/catalysts/rem.html›.Lanza, Joseph. "The Sound of Cottage Cheese (Why Background Music Is the Real World Beat!)." Performing Arts Journal 13.3 (Sep. 1991): 42-53. McLuhan, Marshall. “Is It Natural That One Medium Should Appropriate and Exploit Another.” McLuhan: Hot and Cool. Ed. Gerald Emanuel Stearn. Middlesex: Penguin, 1967. 172-182. Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. London: Oxford U P, 1964. Mau, Bruce. Life Style. Ed. Kyo Maclear with Bart Testa. London: Phaidon, 2000. Munster, Anna. Materializing New Media: Embodiment in Information Aesthetics. New England: Dartmouth, 2006. Pascoe, David. Airspaces. London: Reaktion, 2001. Pearman, Hugh. Airports: A Century of Architecture. New York: Abrams, 2004. Remmele, Mathias. “An Invitation to Fly: Poster Art in the Service of Civilian Air Travel.” Airworld: Design and Architecture for Air Travel. Ed. Alexander von Vegesack and Jochen Eisenbrand. Weil am Rhein: Vitra Design Museum, 2004. 230-262. Rowe, Colin, and Robert Slutsky. Transparency: Literal and Phenomenal. Perspecta 8 (1963): 45-54. Virilio, Paul. City of Panic. Trans. Julie Rose. Oxford: Berg, 2005.

Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers) where lives are suddenly changed for the better through the consumption of products designed to fulfil our personal desires. In this paper, I want to explore the implications of thinking about everyday creativity as a modern cultural form. I want to suggest that not only is such an impossible possibility possible, but that its meaning has been at the centre of the desire to name, to gain status from, and to market the products of modern industrialisation. Furthermore I want to suggest that beyond any question of marketing rhetoric, we need to attend to this desire as the ghost of a certain kind of immanence which has haunted modernity and its projects from the very beginning, linking the great thoughts of modern philosophy with the lowliest products of modern life. Immanence, Purity and the Cogito In Descartes' famous Discourse on Method, the author-narrator (let's call him Descartes) recounts how he came about the idea of the thinking self or cogito, as the foundation of worldly knowledge: And so because sometimes our senses deceive us, I made up my mind to suppose that they always did. . . . I resolved to pretend that everything that had ever entered my mind was as false as the figments of my dreams. But then as I strove to think of everything false, I realized that, in the very act of thinking everything false, I was aware of myself as something real. (60-61) These well known lines are, of course, the beginnings of a remarkable philosophical enterprise, reaching forward to Husserl and beyond, in which the external world is bracketed, all the better to know it in the name of reason. Through an act of pretence ("I resolved to pretend"), Descartes disavows the external world as the source of certain knowledge, and, turning to the only thing left: the thought of himself—"I was aware of myself as something real"—makes his famous declaration, "I think therefore I am". But what precisely characterises this thinking being, destined to become the cogito of all modernity? Is it purely this act of self-reflection?: Then, from reflecting on the fact that I had doubts, and that consequently my existence was not wholly perfect, it occurred to me to enquire how I learned to think of something more perfect than myself, and it became evident to me that it must be through some nature which was in fact more perfect. (62) Descartes has another thought that "occurred to me" almost at the same moment that he becomes aware of his own thinking self. This second thought makes him aware that the cogito is not complete, requiring yet a further thought, that of a perfection drawn from something "more perfect than myself". The creation of the cogito does not occur, as we might have first surmised, within its own space of self-reflection, but becomes lodged within what might be called, following Deleuze and Guattari, a "plane of immanence" coming from the outside: "The plane of immanence is . . . an outside more distant than any external world because it is an inside deeper than any internal world: it is immanence" (59). Here we are left with a puzzling question: what of this immanence that made him aware of his own imperfection at the very moment of the cogito's inception? Can this immanence be explained away by Descartes' appeal to God as a state of perfection? Or is it the very material upon which the cogito is brought into existence, shaping it towards perfection? We are forced to admit that, irrespective of the source of this perfection, the cogito requires something from the outside which, paradoxically, is already on the inside, in order to create itself as a pure form. Following the contours of Descartes' own writing, we cannot account for modernity purely in terms of self-reflection, if, in the very act of its self-creation, the modern subject is shot through with immanence that comes from the outside. Rather what we must do is describe the various forms this immanence takes. Although there is no necessary link between immanence and perfection (that is, one does not logically depend on the other as its necessary cause) their articulation nevertheless produces something (the cogito for instance). Furthermore, this something is always characterised as a creation. In its modern form, creation is a form of immanence within materiality—a virtualisation of material actuality, that produces idealised states, such as God, freedom, reason, uniqueness, originality, love and perfection. As Bruno Latour has argued, the "modern critical stance" creates unique, pure objects, by purging the material "networks" from which they are formed, of their impurities (11-12). Immanence is characterised by a process of sifting and purification which brings modern objects into existence: "the plane of immanence . . . acts like a sieve" (Deleuze and Guattari 42). The nation, the state, the family, the autonomous subject, and the work of art—all of these are modern when their 'material' is purged of impurities by an immanence that 'comes from the outside' yet is somehow intrinsic to the material itself. As Zygmunt Bauman points out, the modern nation exists by virtue of a capacity to convert strangers into citizens; by purging itself of impurities inhabiting it from within but coming from the outside (63). The modern work of art is created by purging itself of the vulgarities and impurities of everyday life (Berman 30); by reducing its contingent and coincidental elements to a geometrical, punctual or serialised form. The modern nuclear family is created by converting the community-based connections between relatives and friends into a single, internally consistent self-reproducing organism. All of these examples require us to think of creativity as an act which brings something new into existence from within a material base that must be purged and disavowed, but which, simultaneously, must also be retained as its point of departure that it never really leaves. Immanence should not be equated with essence, if by essence we mean a substratum of materiality inherent in things; a quality or quiddity to which all things can be reduced. Rather, immanence is the process whereby things appear as they are to others, thereby forming themselves into 'objects' with certain identifiable characteristics. Immanence draws the 'I' and the 'we' into relations of subjectivity to the objects thus produced. Immanence is not in things; it is the thing's condition of objectivity in a material, spatial and temporal sense; its 'becoming object' before it can be 'perceived' by a subject. As Merleau-Ponty has beautifully argued, seeing as a bodily effect necessarily comes before perception as an inner ownership (Merleau-Ponty 3-14). Since immanence always comes from elsewhere, no intensive scrutiny of the object in itself will bring it to light. But since immanence is already inside the object from the moment of its inception, no amount of examination of its contextual conditions—the social, cultural, economic, institutional and authorial conditions under which the object was created—will bring us any closer to it. Rather, immanence can only be 'seen' (if this is the right word) in terms of the objects it creates. We should stop seeking immanence as a characteristic of objects considered in themselves, and rather see it in terms of a virtual field or plane, in which objects appear, positioned in a transversally related way. This field does not exist transcendentally to the objects, like some overarching principle of order, but as a radically exteriorised stratum of 'immaterial materiality' with a specific image-content, capable of linking objects together as a series of creations, all with the stamp of their own originality, individuality and uniqueness, yet all bound together by a common set of image relations (Deleuze 34-35). If, as Foucault argues, modern objects emerge in a "field of exteriority"—a complex web of discursive interrelations, with contingent rather than necessary connections to one another (Foucault 45)—then it should be possible to map the connections between these objects in terms of the "schema of correspondence" (74) detected in the multiplicities thrown up by the regularities of modern production and consumption. Commodities and Created Objects We can extend the idea of creation to include not only aesthetic acts and their objects, but also the commodity-products of modern industrialisation. Let's begin by plunging straight into the archive, where we might find traces of these small modern miracles. An illustrated advertisement for 'Hudson's Extract of Soap' appeared in the Illustrated Sydney News, on Saturday February 22nd, 1888. The illustration shows a young woman with a washing basket under her arm, standing beside a sign posted to a wall, which reads 'Remarkable Disappearance of all Dirt from Everything by using Hudson's Extract of Soap' (see Figure 1). The woman has her head turned towards the poster, as if reading it. Beneath these words, is another set of words offering a reward: 'Reward !!! Purity, Health, Perfection, Satisfaction. By its regular daily use'. Here we are confronted with a remarkable proposition: soap does not make things clean, rather it makes dirt disappear. Soap purifies things by making their impurities disappear. The claim made applies to 'everything', drawing attention to a desire for a certain state of perfection, exemplified by the pure body, cleansed of dirt and filth. The pure exists in potentia as a perfect state of being, realised by the purgation of impurities. Fig 1: Hudson's Soap. Illustrated Sydney News, on Saturday February 22nd, 1888 Here we might be tempted to trace the motivation of this advertisement to a concern in the nineteenth century for a morally purged, purified body, regulated according to bourgeois values of health, respectability and decorum. As Catherine Gallagher has pointed out, the body in the nineteenth century was at the centre of a sick society requiring "constant flushing, draining, and excising of various deleterious elements" (Gallagher 90). But this is only half the story. The advertisement offers a certain image of purity; an image which exceeds the immediate rhetorical force associated with selling a product, one which cannot be simply reduced to its contexts of use. The image of perfection in the Hudson's soap advertisement belongs to a network of images spread across a far-flung field; a network in which we can 'see' perfection as a material immanence embodied in things. In modernity, commodities are created objects par excellence, which, in their very ordinariness, bear with them an immanence, binding consumers together into consumer formations. Each act of consumption is not simply driven by necessity and need, but by a desire for self-transformation, embodied in the commodity itself. Indeed, self-transformation becomes one of the main creative processes in what Marshal Berman has identified as the "third" phase of modernity, where, paraphrasing Nietzsche, "modern mankind found itself in the midst of a great absence and emptiness of values and yet, at the same time, a remarkable abundance of possibilities" (Berman 21). Commodification shifts human desire away from the thought of the other as a transcendental reality remote from the senses, and onto a future oriented material plane, in which the self is capable of becoming an other in a tangible, specific way (Massumi 35 ff.). By the end of the nineteenth century, commodities had become associated with scenarios of self-transformation embedded in human desire, which then began to shape the needs of society itself. Consumer formations are not autonomous realms; they are transversally located within and across social strata. This is because commodities bear with them an immanence which always exceeds their context of production and consumption, spreading across vast cultural terrains. An individual consumer is thus subject to two forces: the force of production that positions her within the social strata as a member of a class or social grouping, and the force of consumption that draws her away from, or indeed, further into a social positioning. While the consumption of commodities remained bound to ideologies relating to the formation of class in terms of a bourgeois moral order, as it was in Britain, America and Europe throughout the nineteenth century, then the discontinuity between social strata and cultural formation was felt in terms of the possibility of self-transformation by moving up a class. In the nineteenth century, working class families flocked to the new photographic studios to have their portraits taken, emulating the frozen moral rectitude of the ideal bourgeois type, or scrimped and saved to purchase parlour pianos and other such cultural paraphernalia, thereby signalling a certain kind of leisured freedom from the grind of work (Sekula 8). But when the desire for self-transformation starts to outstrip the ideological closure of class; that is, when the 'reality' of commodities starts to overwhelm the social reality of those who make them, then desire itself takes on an autonomy, which can then be attached to multiple images of the other, expressed in imaginary scenarios of escape, freedom, success and hyper-experience. This kind of free-floating desire has now become a major trigger for transformations in consumer formations, linked to visual technologies where images behave like quasi-autonomous beings. The emergence of these images can be traced back at least to the mid-nineteenth century where products of industrialisation were transformed into commodities freely available as spectacles within the public spaces of exhibitions and in mass advertising in the press, for instance in the Great Exhibition of 1851 held at London's Crystal Palace (Richards 28 ff.) Here we see the beginnings of a new kind of object-image dislocated from the utility of the product, with its own exchange value and logic of dispersal. Bataille's notion of symbolic exchange can help explain the logic of dispersal inherent in commodities. For Bataille, capitalism involves both production utility and sumptuary expenditure, where the latter is not simply a calculated version of the former (Bataille 120 ff.) Sumptuary expenditure is a discharge of an excess, and not a drawing in of demand to match the needs of supply. Consumption thus has a certain 'uncontrolled' element embedded in it, which always moves beyond the machinations of market logic. Under these conditions, the commodity image always exceeds production and use, taking on a life of its own, charged with desire. In the late nineteenth century, the convergence of photography and cartes-de-visites released a certain scopophilic desire in the form of postcard pornography, which eventually migrated to the modern forms of advertising and public visual imagery that we see today. According to Suren Lalvani, the "onset of scopophilia" in modern society is directly attributable to the convergence of photographic technology and erotic display in the nineteenth century (Lalvani). In modern consumer cultures, desire does not lag behind need, but enters into the cycle of production and consumption from the outside, where it becomes its driving force. In this way, modern consumer cultures transform themselves by ecstasis (literally, by standing outside oneself) when the body becomes virtualised into its other. Here, the desire for self-transformation embodied in the act of consumption intertwines with, and eventually redefines, the social positioning of the subject. Indeed the 'laws' of capital and labour where each person or family group is assigned a place and regime of duties, are constantly undone and redefined by the superfluity of consumption, gradually gathering pace throughout the nineteenth and twentieth centuries. These tremendous changes operating throughout all capitalist consumer cultures for some time, do not occur in a calculated way, as if controlled by the forces of production alone. Rather, they occur through myriad acts of self-transformation, operating transversally, linking consumer to consumer within what I have defined earlier as a field of immanence. Here, the laws of supply and demand are inadequate to predict the logic of this operation; they only describe the effects of consumption after desire has been spent. Or, to put this another way, they misread desire as need, thereby transcribing the primary force of consumption into a secondary component of the production/labour cycle. This error is made by Humphrey McQueen in his recent book The Essence of Capitalism: the origins of our future (2001). In chapter 8, McQueen examines the logic of the consumer market through a critique of the marketeer's own notion of desire, embodied in the "sovereign consumer", making rational choices. Here desire is reduced back to a question of calculated demand, situated within the production/consumption cycle. McQueen leaves himself no room to manoeuvre outside this cycle; there is no way to see beyond the capitalist cycle of supply/demand which accelerates across ever-increasing horizons. To avoid this error, desire needs to be seen as immanent to the production/consumption cycle; as produced by it, yet superfluous to its operations. We need therefore to situate ourselves not on the side of production, but in the superfluity of consumption in order to recognise the transformational triggers that characterise modern consumer cultures, and their effects on the social order. In order to understand the creative impulse in modernity today, we need to come to grips with the mystery of consumption, where the thing consumed operates on the consumer in both a material and an immaterial way. This mystification of the commodity was, of course, well noted by Marx: A commodity is . . . a mysterious thing, simply because in it the social character of men's labour appears to them as an objective character stamped upon the product of that labour; because the relation of the producers to the sum total of their own labour is presented to them as a social relation, existing not between themselves, but between the products of their labour. (Marx 43, my emphasis) When commodities take on such a powerful force that their very presence starts to drive and shape the social relations that have given rise to them; that is, when desire replaces need as the shaping force of societies, then we are obliged to redefine the commodity and its relation to the subject. Under these conditions, the mystery of the commodity is no longer something to be dispelled in order to retrieve the real relation between labour and capital, but becomes the means whereby "men's labour" is actually shaped and formed as a specific mode of production. Eric Alliez and Michel Feher (1987) point out that in capitalism "the subjection framework which defines the wage relation has penetrated society to such an extent that we can now speak not only of the formal subsumption of labor by capital but of the actual or 'real' subsumption by capital of society as a whole" (345). In post-Fordist economic contexts, individuals' relation to capital is no longer based on subjection but incorporation: "space is subsumed under a time entirely permeated by capital. In so doing, they [neo-Fordist strategies] also instigate a regime in which individuals are less subject to than incorporated by capital" (346). In societies dominated by the subjection of workers to capital, the commodity's exchange value is linked strongly to the classed position of the worker, consolidating his interests within the shadow of a bourgeois moral order. But where the worker is incorporated into capital, his 'real' social relations go with him, making it difficult to see how they can be separated from the commodities he produces and which he also consumes at leisure: "If the capitalist relation has colonized all of the geographical and social space, it has no inside into which to integrate things. It has become an unbounded space—in other words, a space coextensive with its own inside and outside. It has become a field of immanence" (Massumi 18). It therefore makes little sense to initiate critiques of the capital relation by overthrowing the means of subjection. Instead, what is required is a way through the 'incorporation' of the individual into the capitalist system, an appropriation of the means of consumption in order to invent new kinds of selfhood. Or at the very least, to expose the process of self-formation to its own means of consumption. What we need to do, then, is to undertake a description of the various ways in which desire is produced within consumer cultures as a form of self-creation. As we have seen, in modernity, self-creation occurs when human materiality is rendered immaterial through a process purification. Borrowing from Deleuze and Guattari, I have characterised this process in terms of immanence: a force coming from the outside, but which is already inside the material itself. In the necessary absence of any prime mover or deity, pure immanence becomes the primary field in which material is rendered into its various and specific modern forms. Immanence is not a transcendental power operating over things, but that which is the very motor of modernity; its specific way of appearing to itself, and of relating to itself in its various guises and manifestations. Through a careful mapping of the network of commodity images spread through far-flung fields, cutting through specific contexts of production and consumption, we can see creation at work in one of its specific modern forms. Immanence, and the power of creation it makes possible, can be found in all modern things, even soap powder! References Alliez, Eric and Michel Feher. "The Luster of Capital." Zone 1(2) 1987: 314-359. Bauman, Zygmunt. Modernity and Ambivalence. Cambridge: Polity, 1991. Berman, Marshall. All That is Solid Melts into Air. New York: Penguin, 1982. Bataille, George. "The Notion of Expenditure." George Bataille, Visions of Excess: Selected Writings, 1927-1939. Trans. Alan Stoekl, Minneapolis: University of Minnesota Press, 1995, pp.116-129. 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