Articles de revues sur le sujet « Clark Coolidge »

Clark Coolidge (1939–) is often connected with language poetry and the New York School. The language of his poetry is opaque and disjunctive, like that of the artists associated with the first group, but it is also energetic, rambling and fast-paced. Curiously, in his most recent book, The Land of All Time (2020), Coolidge displays ecological preoccupations, the first poem in the collection, “Goodbye,” asking us to reflect upon how nature and culture are today nearly indistinguishable: “hark! an ocean as / generator see the wires? me neither oh well / there’s a heat vent somewhere in this wilderness.” In this article, we explore how Coolidge mobilizes his extreme wordiness for ecological purposes, arguing that Coolidge’s The Land of All Time proposes a model for harnessing restless affect for responding to climate change and ecological crises in a way that allows for the exploration of possibilities rather than falling prey to environmental despair. Coolidge is interested in experimenting with how to respond to extreme situations with vibrancy, speed, and flow, aligning the dynamism of language with that of nature.

Gabri Molist nació en Barcelona en 1993. Dibujaba en la clase para no aburrirse, como una especie de terapia energética. Leía Mortadelo y Filemónde pequeño, para después enamorarse de Calvin y Hobbes y el Hellboy de Mike Mignola. Ama dibujar gente extraña y curiosa a la que poneen situaciones absurdas e incómodas mientras reivindica las fronteras de lo que posibilita el medio del cómic. La mayor parte de sus historias surgieronen fanzines o cómics autopublicados (Gazpacho, Way Opposite, I Laugh To See Myself So Beautiful In This Mirror). Adaptó un cuentode Sergio Ramírez, Flores Oscuras, al cómic (con otros autores belgas) para el Instituto Cervantes de Bruselas. No tiene miedo a declamar supropia obra; lo hizo en el MACBA durante el evento en Còmic en Revolta comisariado por Francesc Ruiz. Con Apa Apa publicó Asonancia, unaadaptación de cinco poemas al cómic (entre otros, de Robert Frost, Harryette Mullen y Clark Coolidge). Ha vivido en Gante, y actualmente viveen Bruselas. Su sitio web es www.instagram.com/gabrimolist

The importance of atmospheric down-welling radiation in studying building thermal environments and energy performance has been well identified, and empirical formulae to evaluate atmospheric down-welling radiation values developed with their inadequacies. In this paper, a study of developing an alternative general method for evaluating atmospheric down-welling radiation values to the water pond-based empirical formula by Clark and Allen is reported. The validity of the alternative general method has been demonstrated by comparing the atmospheric down-welling radiation values evaluated using the alternative general method and that using the Clark and Allen’s formula. Since the alternative general method developed is based on a building roof system, and no water is involved, the alternative general method developed in this paper appears to have more advantages. On one hand, this could eliminate any potential impacts on prediction accuracy when water is used in different climates. On the other hand, the application of the alternative general method is relatively easier as only a suitable existing roof system is required. Therefore, the use of alternative general method can provide a more reliable and economic alternative in evaluating atmospheric down-welling radiation, when compared to using Clark and Allen’s empirical formula. Practical application The alternative general method developed for evaluating atmospheric down-welling radiation values in this paper could be used as an alternative to the empirical formula proposed by Clark and Allen and is valid for all climate conditions and easy to be implemented to evaluate alternative general method values. It can be used when evaluating building night sky cooling, building passive cooling system, etc.

This paper investigates the quality of global cloud fraction and cloud-top height products provided by the third edition of the CM SAF cLoud, Albedo and surface RAdiation dataset from the AVHRR data (CLARA-A3) climate data record (CDR) produced by the EUMETSAT Climate Monitoring Satellite Application Facility (CM SAF). Compared with with CALIPSO–CALIOP cloud lidar data and six other cloud CDRs, including the predecessor CLARA-A2, CLARA-A3 has improved cloud detection, especially over ocean surfaces, and improved geographical variation and cloud detection efficiency. In addition, CLARA-A3 exhibits remarkable improvements in the accuracy of its global cloud-top height measurements. For example, in tropical regions, previous underestimations for high-level clouds are reduced by more than 2 km. By taking advantage of more realistic descriptions of global cloudiness, this study attempted to estimate trends in the observable fraction of low-level clouds, acknowledging their importance in producing a net climate cooling effect. The results were generally inconclusive in the tropics, mainly due to the interference of El Nino modes during the period under study. However, the analysis found small negative trends over oceanic surfaces outside the core tropical region. Further studies are needed to verify the significance of these results.

Well-known cause of frequent failures of closed oxygen sensors is the appearance of gas bubbles in the electrolyte. The problem is traditionally associated with insufficient sealing of the sensor that is not always true. Study of a typical temperature regime of measurement system based on Clark sensor showed that spontaneous release of the gas phase is a natural effect caused by periodic warming of the sensor to a temperature of the test liquid. The warming of the sensor together with the incubation medium causes oversaturation of electrolyte by dissolved gases and the allocation of gas bubbles. The lower rate of sensor heating in comparison with the medium reduces but does not eliminate the manifestation of this effect. It is experimentally established, that with each cycle of heating of measuring system up to 37°C followed by cooling the volume of gas phase in the electrolyte (KCl; 60 g/L; 400 μL) increased by 0.6 μL approximately. Thus, during just several cycles it can dramatically degrade the characteristics of the sensor. A method was developed in which the oxygen sensor is heated in contact with the liquid, (depleted of dissolved gases), allowing complete exclusion of the above-mentioned effect.

This article examines the expectation to complete a bachelor's degree among a predominantly low-income, mainly African American, panel of Baltimore youths at the end of high school, at age 22, and at age 28. Across this time, stability is the modal pattern, but when expectations change, declines are more frequent than increases. Although disadvantaged youths and those with limited academic resources from high school are the most prone to give up the expectation to complete college, both factors recede in importance during the transition to adulthood when postsecondary enrollment becomes more salient. Clark's “cooling-out” thesis and Rosenbaum,s “college-for-all” thesis predict a downward leveling of ambition, especially among youths with high expectations and limited resources and those who attend two-year colleges. The results indicate, however, that the expectations of low-resource youths are not distinctively cooled out by the college experience, and, net of other considerations, two-year college attendance is associated more with warming up than with cooling out. Hence, the dynamics proposed by Clark and Rosenbaum do not adequately account for changes in college expectations over the years after high school. A broader framework, situated in life-course ideas, is recommended.

Abstract Focusing on immigration in the 1920s, we trace the history of efforts made on behalf of intellectually disabled children who entered the United States on bond during World War I and were subsequently given orders of deportation. Thanks to the activism of community members and ethnic organizations who brought federal lawsuits on their behalf and reached out to Congress and to Presidents Harding and Coolidge, the Immigration Act of 1924 permitted the secretary of labor to allow these young people to remain in the United States. We suggest the need to reconsider the chronology of activism on behalf of the disabled and argue that community skepticism about deportation deserves greater exploration. Finally, we note the challenges to medical authority posed by supporters of the intellectually disabled. Our analysis focuses on the example of Paula Patton, an intellectually disabled girl, and on Clara Kinley, the community activist who supported Paula’s effort to avoid deportation.

Summer heat waves inNorthern California continue to break records for extreme temperatures and put vulnerable urban populations at increasing risk for adverse health impacts. An analysis of Landsat land surface temperature data was conductedin this study to better understandthe geography and demographics of extreme urban heat events in Santa Clara County and the city of San Jose, California. The influence of several urban cover features including streets/roadways, parcel sizes and densities, impervious surfaces, and irrigated shrub/lawn cover were determined for county-wide surface heat patterns in early August 2020. Results showed that the surface temperature of the largest impervious (high-asphalt) surface features was significantly higher, at a mean value of 45°C, than the majority of the other areas across the entire county. In contrast, urban tracts with even partial coverage by irrigated green lawns, shrubs, and small trees had notable cooling effects on summer surface temperatures. Social demographic and household population variables from the U. S. Census Bureau were correlated against satellite surface temperature by census tract to reveal significant associations of family structure and education levels with local neighbourhood heat conditions.

The need for accurate predictions of future environmental change under conditions of global warming has led to a great interest in the most pronounced climate change known from the Holocene: an abrupt cooling event around 8200 years before present (present = A.D. 1950), also known as the ‘8.2 ka cooling event’ (ka = kilo-annum = 1000 years). This event has been recorded as a negative δ18O excursion in the central Greenland ice cores (lasting 160 years with the lowest temperature at 8150 B.P.; Johnsen et al. 1992; Dansgaard 1993; Alley et al. 1997; Thomas et al. 2007) and in a variety of other palaeoclimatic archives including lake sediments, ocean cores, speleothems, tree rings, and glacier oscillations from most of the Northern Hemisphere (e.g. Alley & Ágústsdóttir 2005; Rohling & Pälike 2005). In Greenland the maximum cooling was estimated to be 6 ± 2°C (Alley et al. 1997) while in southern Fennoscandia and the Baltic countries pollenbased quantitative temperature reconstructions indicate a maximum annual mean temperature decrease of around 1.5°C (e.g. Seppä et al. 2007). Today there is a general consensus that the primary cause of the cooling event was the final collapse of the Laurentide ice sheet near Hudson Bay and the associated sudden drainage of the proglacial Lake Agassiz into the North Atlantic Ocean around 8400 B.P. (Fig. 1; Barber et al. 1999; Kleiven et al. 2008). This freshwater outflow, estimated to amount to c. 164,000 km3 of water, reduced the strength of the North Atlantic thermohaline circulation and thereby the heat transported to the North Atlantic region, resulting in an atmospheric cooling (Barber et al. 1999; Clark et al. 2001; Teller et al. 2002). The climatic consequences of this meltwater flood are assumed to be a good geological analogue for future climate-change scenarios, as a freshening of the North Atlantic is projected by almost all global-warming models (e.g. Wood et al. 2003; IPCC 2007) and is also currently being registered in the region (Curry et al. 2003). In an ongoing project, the influence of the 8.2 ka cooling event on a Danish terrestrial and lake ecosystem is being investigated using a variety of biological and geochemical proxy data from a sediment core extracted from Højby Sø, north-west Sjælland (Fig. 2). Here we present data on changes in lake hydrology and terrestrial vegetation in response to climate change, inferred from macrofossil data and pollen analysis, respectively.

ABSTRACT We present Northern Extended Millimeter Array (NOEMA) CO(2–1) maps of the z = 0.4418 cluster-central quasi-stellar object (QSO) IRAS 09104+4109, which trace ∼4.5 × 1010 M⊙ of molecular gas in and around the galaxy. As in many low-redshift cool-core clusters, the molecular gas is located in a series of clumps extending along the old radio jets and lobes. It has a relatively low velocity dispersion [336$^{+39}_{-35}$ km s−1 full width at half-maximum (FWHM)] and shows no velocity gradients indicative of outflow or infall. Roughly half the gas is located in a central clump on the north-east side of the galaxy, overlapping a bright ionized gas filament and a spur of excess X-ray emission, suggesting that this is a location of rapid cooling. The molecular gas is unusually extended, out to ∼55 kpc radius, comparable to the scale of the filamentary nebula in the Perseus cluster, despite the much higher redshift of this system. The extent falls within the thermal instability radius of the intracluster medium (ICM), with tcool/$t_{\rm ff} \lt 25$ and tcool/$t_{\rm eddy} \sim 1$ within ∼70 kpc. Continuum measurements at 159.9 GHz from NOEMA and 850 $\mu$m from the James Clerk Maxwell Telescope (JCMT) Submillimeter Common-User Bolometer Array 2 (SCUBA-2) show excess far-infrared emission, which we interpret as free–free emission arising from the ongoing starburst. These observations suggest that ICM cooling is not strongly affected by the buried QSO, and that cooling from the ICM can build gas reservoirs sufficient to fuel quasar-mode activity and drive the reorientation of the central active galactic nuclei (AGN).

Introdução. O Controle Direcionado de Temperatura é utilizado, principalmente, para reduzir lesões de reperfusão em pacientes vítimas de parada cardíaca internados em Unidade de Terapia Intensiva que permanecem comatosos após a ressuscitação e o retorno da circulação espontânea. Objetivo. Discutir a avaliação do prognóstico de pacientes comatosos que foram submetidos ao Controle Direcionado de Temperatura após uma parada cardiorrespiratória, haja vista que esta abordagem terapêutica poderia alterar tanto a acurácia quanto os valores de corte dos parâmetros normalmente utilizados. Método. Trata-se de revisão integrativa com abordagem qualitativa. Na busca, foram utilizadas as palavras-chave “ICU”, “induced hypothermia”, “Targeted Temperature Management”, “cooling”, “cardiac arrest” e “prognosis”. A análise incluiu estudos primários publicados a partir de 2010 envolvendo diferentes testes clínicos e laboratoriais prognósticos nesse contexto, verificando suas aplicabilidades práticas atuais. Resultados. A terapia com controle direcionado de temperatura de fato interfere na validade dos testes atualmente empregados e nos seus respectivos parâmetros de referência. Conclusões. Torna-se imprescindível uma avaliação combinada de diferentes exames (multiparamétrica), bem como realização de testes clínicos randomizados e estudos em maiores escalas, de forma a guiar a criação de uma diretriz clara e atualizada para esse grupo específico de pacientes.

Data from the Advanced Very High Resolution Radiometer (AVHRR) have been used to create several long-duration data records of geophysical variables describing the atmosphere and land and water surfaces. In the Climate Monitoring Satellite Application Facility (CM SAF) project, AVHRR data are used to derive the Cloud, Albedo, and Radiation (CLARA) climate data records of radiation components (i.a., surface albedo) and cloud properties (i.a., cloud cover). This work describes the methodology implemented for the additional estimation of the Outgoing Longwave Radiation (OLR), an important Earth radiation budget component, that is consistent with the other CLARA variables. A first step is the estimation of the instantaneous OLR from the AVHRR observations. This is done by regressions on a large database of collocated observations between AVHRR Channel 4 (10.8 µm) and 5 (12 µm) and the OLR from the Clouds and Earth’s Radiant Energy System (CERES) instruments. We investigate the applicability of this method to the first generation of AVHRR instrument (AVHRR/1) for which no Channel 5 observation is available. A second step concerns the estimation of daily and monthly OLR from the instantaneous AVHRR overpasses. This step is especially important given the changes in the local time of the observations due to the orbital drift of the NOAA satellites. We investigate the use of OLR in the ERA5 reanalysis to estimate the diurnal variation. The developed approach proves to be valuable to model the diurnal change in OLR due to day/night time warming/cooling over clear land. Finally, the resulting monthly mean AVHRR OLR product is intercompared with the CERES monthly mean product. For a typical configuration with one morning and one afternoon AVHRR observation, the Root Mean Square (RMS) difference with CERES monthly mean OLR is about 2 Wm−2 at 1° × 1° resolution. We quantify the degradation of the OLR product when only one AVHRR instrument is available (as is the case for some periods in the 1980s) and also the improvement when more instruments are available (e.g., using METOP-A, NOAA-15, NOAA-18, and NOAA-19 in 2012). The degradation of the OLR product from AVHRR/1 instruments is also quantified, which is done by “masking” the Channel 5 observations.

ABSTRACT Radiative feedback can influence subsequent star formation. We quantify the heating from OB stars in the local star-forming regions in the James Clerk Maxwell Telescope (JCMT) Gould Belt Survey. Dust temperatures are calculated from 450/850 $\mu$m flux ratios from SCUBA-2 observations at the JCMT assuming a fixed dust opacity spectral index β = 1.8. Mean dust temperatures are calculated for each submillimetre clump along with projected distances from the main OB star in the region. Temperature versus distance is fitted with a simple model of dust heating by the OB star radiation plus the interstellar radiation field and dust cooling through optically thin radiation. Classifying the heating sources by spectral type, O-type stars produce the greatest clump average temperature rises and largest heating extent, with temperatures of over 40 K and significant heating out to at least 2.4 pc. Early-type B stars (B4 and above) produce temperatures of over 20 K and significant heating over 0.4 pc. Late-type B stars show a marginal heating effect within 0.2 pc. For a given projected distance, there is a significant scatter in clump temperatures that is due to local heating by other luminous stars in the region, projection effects, or shadowing effects. Even in these local, ‘low-mass’ star-forming regions, radiative feedback is having an effect on parsec scales, with 24 per cent of the clumps heated to at least 3 K above the 15 K base temperature expected from heating by only the interstellar radiation field, and a mean dust temperature for heated clumps of 24 K.

In2Se3 is a polymorphous metal-chalcogenide system1 where each phase exhibits dramatically different functional properties. α-In2Se3 is a two-dimensional, ferroelectric semiconductor2,3 and has shown promise in low-power, neuromorphic electronic devices4,5. β-In2Se3 is a two-dimensional, centrosymmetric semiconductor and has shown promise in photodetectors6. γ-In2Se3 is a three-dimensional, defect- wurtzite wide bandgap semiconductor that has shown promise as a precursor layer for CuInSe2 solar cells7. Considered together, the bandgaps of these materials range from 1.3eV to 2.5eV8. Understanding how to synthesize phase-pure thin-films of In2Se3 is of interest to harness the properties of these materials for applications in electronic devices. α-In2Se3 is thermodynamically stable below 200 oC and transitions to the 2D, centrosymmetric β-In2Se3 phase upon heating above 200 oC1. While the β to α-In2Se3 phase transition is achievable in bulk synthesis via slow cooling2, the β to α-In2Se3 phase transition does not occur as readily in thin-films. Recent studies on thin-film synthesis of In2Se3 have demonstrated β- and/or γ-In2Se3 films at temperatures above the thermodynamic stability range of α-In2Se3 (200 oC). Two reports from the last two years demonstrate large-area synthesis of β-In2Se3 thin-films metal-organic chemical vapor deposition and molecular beam epitaxy (MBE) on sapphire at temperatures greater than 300 oC6,9. Another study reported MBE synthesis of metastable, strained, mixed phase β/γ-In2Se3 films on Si(111) substrates at 180 oC10. One study from 2018 claims deposition of large-area α-In2Se3 thin-films on graphene at a substrate temperature of 250 oC via molecular beam epitaxy; however, it is difficult to distinguish the α from β phase by the Raman spectra and TEM micrograph along the c-axis. In this study we demonstrate thin-film synthesis of In2Se3 over a wide array of synthesis conditions via molecular beam epitaxy. We systematically investigate the effects of substrate temperature, cooling rate after deposition, substrate surface, Se/In flux ratio, and precursor type on the structure and properties of In2Se3 films. We characterize the crystalline phase, stoichiometry, and crystal morphology via Raman Spectroscopy, X-ray Photoelectron Spectroscopy and Atomic Force Microscopy, respectively. (1) Okamoto, H. In-Se ( Indium-Selenium ). J. Phase Equilibria 2004, 25 (2). (2) Küpers, M.; Konze, P. M.; Meledin, A.; Mayer, J.; Englert, U.; Wuttig, M.; Dronskowski, R. Controlled Crystal Growth of Indium Selenide, In2Se3, and the Crystal Structures of α-In2Se3. Inorg. Chem. 2018, 57, 11775–11781. (3) Xiao, J.; Zhu, H.; Wang, Y.; Feng, W.; Hu, Y.; Dasgupta, A.; Han, Y.; Wang, Y.; Muller, D. A.; Martin, L. W.; et al. Intrinsic Two-Dimensional Ferroelectricity with Dipole Locking. Phys. Rev. Lett. 2018, 120 (22), 227601. (4) Tang, B.; Tang, B.; Hussain, S.; Xu, R.; Cheng, Z.; Liao, J.; Chen, Q. Novel Type of Synaptic Transistors Based on a Ferroelectric Semiconductor Channel. ACS Appl. Mater. Interfaces 2020, 12 (22), 24920–24928. (5) Wang, L.; Liao, W.; Wong, S. L.; Yu, Z. G.; Li, S.; Lim, Y. F.; Feng, X.; Tan, W. C.; Huang, X.; Chen, L.; et al. Artificial Synapses Based on Multiterminal Memtransistors for Neuromorphic Application. Adv. Funct. Mater. 2019, 29 (25), 1–10. (6) Claro, M. S.; Grzonka, J.; Nicoara, N.; Ferreira, P. J.; Sadewasser, S. Wafer-Scale Fabrication of 2D β-In2Se3 Photodetectors. Adv. Opt. Mater. 2020, 2001034, 1–9. (7) Ashok, A.; Regmi, G.; Velumani, S. Growth of In2Se3 Thin Films Prepared by the Pneumatic Spray Pyrolysis Method for Thin Film Solar Cells Applications. 2020 17th Int. Conf. Electr. Eng. Comput. Sci. Autom. Control. CCE 2020 2020, 2–7. (8) Li, J.; Li, H.; Niu, X.; Wang, Z. Low-Dimensional In2Se3 Compounds: From Material Preparations to Device Applications. ACS Nano 2021, 15 (12), 18683–18707. (9) Zhang, X.; Lee, S.; Bansal, A.; Zhang, F.; Terrones, M.; Jackson, T. N.; Redwing, J. M. Epitaxial Growth of Few-Layer β-In2Se3 Thin Films by Metalorganic Chemical Vapor Deposition. J. Cryst. Growth 2020, 533 (December 2019), 125471. (10) Shen, Y. F.; Yin, X. B.; Xu, C. F.; He, J.; Li, J. Y.; Li, H. D.; Zhu, X. H.; Niu, X. Bin. Growth and Structural Characteristics of Metastable β-In2Se3 Thin Films on H-Terminated Si(111) Substrates by Molecular Beam Epitaxy. Chinese Phys. B 2020, 29 (5).

Microarray technology is one of the most powerful tools for gene expression profiling in animal sciences. The objectives of this study were to determine the effect of vitrification on gene expression in in vitro- and in vivo-derived bovine embryos, and to identify differential mRNA expression patterns between embryos produced by in vivo v. in vitro conditions. Three pools of in vivo- and in vitro-derived blastocyst-stage embryos were used for microarray analysis. Total RNA was isolated using the PicoPure RNA Isolation Kit (Arcturus Bioscience, Mountain View, CA). Bovine ovarian tissue total RNA was used as the reference. Total RNA samples were amplified using an Ovation® Pico WTA System (NuGEN Technologies, San Carlos, CA). The bovine 16 846-member microarrays spotted with 70-mer oligonucleotides were purchased from the Bovine Genomics Laboratory, University of Missouri. Amplified cDNA samples were labeled with Alexa Fluor 647 and 546 dyes (Molecular Probes, Eugene, OR), respectively. Combined, labeled samples were dried and resuspended in hybridization buffer containing 50% formamide (vol/vol), 5× SSC, and 0.1% sodium dodecyl sulfate (wt/vol). After denaturation and cooling, cDNA was applied onto a microarray slide. Microarrays were hybridized overnight at 42°C. Following hybridization, the slides were washed with different stringency buffers and water. After drying by centrifugation, the arrays were scanned on a GenePix 4000B scanner (Axon Instruments, Union City, CA). GenePix Pro4.1 software was used for griding and analysis of spot intensities. Good-quality spots were analyzed using the GeneSpring 7.3 software (Agilent Technologies, Inc., CA, Santa Clara, CA). The data were normalized per spot and per array by Lowess normalization. When comparing two treatments, the Welch t-test with Benjamini and Hochberg multiple testing correction was performed to determine the differentially expressed genes between embryo groups. Microarray experiments were performed in 3 biological and 2 technical replicates for all embryo samples. Differentially expressed genes between all embryo groups were identified. The DAVID Functional Annotation Tool was used to analyze the genes that were differentially expressed. The DAVID Functional Annotation Tool determined the co-occurrence probability and provided gene-GO term enrichment analysis to highlight the most relevant GO terms associated with a given gene list. Differentially expressed Kyoto Encyclopedia of Genes and Genomes pathways are as follows: Ribosome, oxidative phosphorylation, spliceosome, and oocyte meiosis were significantly upregulated in the fresh embryos, whereas sphingolipid and purine metabolism was the upregulated in the vitrified in vitro-derived embryos. Gene expression was very similar between fresh and vitrified in vivo-derived, as opposed to in vitro-derived, embryos. This study was funded by the TUBITAK (Project no. KAMAG107G027) and startup funds to Yuksel Agca at the University of Missouri.

UTILIZAÇÃO RACIONAL DE ÁGUA EM CERVEJARIA BRASILEIRA ANTONIO APARECIDO MENDES JUNIOR ¹; ZACARIAS XAVIER DE BARROS ² ¹Faculdades Reunidas de Botucatu Ltda., GALILEU, Av. Marginal 200, n°680, Vila Real, Botucatu – SP, Brasil, prof.antoniomendes@gmail.com.br; ² Departamento de Engenharia Rural, FCA/UNESP, Av. Universitária, n°3780, Altos do Paraíso, 18610-034, Botucatu – SP, Brasil, zacarias.barros@unesp.br RESUMO: A água é um recurso natural indispensável para todos os seres vivos presentes no planeta terra. A utilização desse recurso natural engloba os mais variados processos produtivos, como agricultura, pecuária, indústrias, entre outros. Esse recurso vem ficando cada vez mais escasso, por isso a necessidade da preservação natural vem ganhando mais espaço. Com o aumento da população mundial ao longo das décadas, observa-se uma grande reestruturação no aspecto produtivo, onde o homem foi obrigado a desenvolver novas técnicas de produção para, assim, alcançar um aumento na produção e na produtividade de alimentos e matérias-primas. Nesse sentido, tornou-se uma realidade a utilização de grandes quantidades de água nos processos de produção. Com isso, fica claro que a única maneira de obter-se um crescimento sustentável é a partir de processos de produção que utilizem o mínimo de água possível para a elaboração de seus produtos. Neste estudo, analisou-se a quantidade de água utilizada no processo produtivo de uma cervejaria. O trabalho tem como objetivo demonstrar e quantificar a utilização da água nos processos produtivos para a fabricação de cerveja, através do mapeamento dos processos de produção, utilizando como ferramenta a elaboração de um fluxograma de processo para, assim, desenvolver formas de diminuir o consumo de água no processo de produção. A hipótese que orienta este estudo é que no processo de produção de uma cervejaria brasileira, para produzir 1 litro de cerveja pilsen, utilizam-se em média 8 litros de água. Observa-se um grande consumo de água para a fabricação desse produto altamente consumido pelos brasileiros. Os resultados obtidos demonstram que no processo de resfriamento da cerveja, há um grande consumo de água, onde a mesma é descartada a cada processo produtivo. Conclui-se que, baseado no fluxograma e na proposta de melhoria, deve-se alterar o processo de resfriamento, não descartando a água do processo, mas sim reutilizando-a. Vale ressaltar que essa água não tem contato com a cerveja; sua função é de resfriar o produto. Com essa melhoria na utilização de água no processo, há economia de 2 litros de água para fabricar 1 litro de cerveja. Palavras-chave: Cerveja, Energia, Empresa, Recurso natural, Desperdício. RATIONAL WATER USE IN BRAZILIAN BREWERY ABSTRACT: The water is an indispensable natural resource for all living beings present on planet Earth. The use of this natural resource goes from all productive processes, encompassing agriculture, livestock and industries among others. This resource is becoming more and more in short supply, with that the need of the natural preservation has been gaining more space. With the increase of the world population over the decades, there is a great restructuring in the productive aspect, where human was forced to develop new production techniques, in order to achieve an increase in the production and productivity of food and raw materials. In this sense, the use of large amounts of water in the production processes has become a reality. This makes it clear that only way to achieve sustainable growth is from production processes that use as low water as possible to produce their products. In this study, the amount of water used in the production process of a brewery was analyzed. The aim of the present work was to demonstrate and quantify the use of water in the production processes for brewing, through a mapping of production processes, using as a tool the elaboration of a process flow diagram, in order to develop ways of reducing water consumption in the production process. The hypothesis that guides this study is that in the production process of a Brazilian brewery, to produce 1 liter of the finished product, lager beer, from 8 liters of water are used. It is observed, a great consumption of water for the manufacture of this product highly consumed by the Brazilians. The results are based on the analysis of beer production flow chart based on the production process. The results show that in the beer cooling process, there is a great consumption of water, where it is discarded, with each production process. It is concluded that based on the flowchart and the improvement proposal, the cooling process must be changed, not discarding process water, but reusing again. It is worth mentioning that this water has no contact with beer, its function is to cool product. Thanks to this improvement the use of water in the process saves 2 liters of water for one liter of beer. Keywords: Beer, Energy, Company, Natural resource, Waste.

Según el WorldEnergy Outlook 2017[1] publicado por la Agencia Internacional de la Energía (AIE)[2] se evidencian algunas tendencias en el sistema energético mundial, en donde los motores eléctricos representarán un tercio del aumento de la demanda de energía eléctrica. Este aumento significa que millones de hogares agregarán electrodomésticos y sistemas de refrigeración. Recientemente la Agencia publicó un muy completo estudio[3] sobre la situación del uso de aires acondicionados[4] en el mundo. En la República Argentina, informes anuales de CAMMESA[5]: 2007 y 2016 indican que en ese período hubo un aumento del 45% en el consumo eléctrico en todos los sectores, lo que significa un problema en la generación y transmisión de energía. Se tornó una necesidad todas las medidas que se puedan tomar en sentido de la Eficiencia Energética (EE); lo que por otro lado significa una oportunidad en el diseño y desarrollo de productos industriales más eficientes en el consumo de la energía eléctrica. En clara orientación con esta línea ética de reducción de la huella de carbono[6] y sustentada científicamente en el impacto ambiental, se desarrolló una turbina eléctrica de 220 (voltios), 50 (Hz) de corriente alterna (AC), para ser aplicado a motores de ventiladores[7]. Reduce un 59% el consumo de energía eléctrica, medida en kWh (kilo-Watts-hora), que es el modo en que se factura el consumo de energía. Según la Norma IRAM 62480:2017 se obtuvo una EE Tipo: A. Con un consumo de energía inferior a 55% del valor nominal; lo que representa 15 kWh/mes, valor que se calcula durante una (1) hora por día a máxima potencia (25 vatios para el prototipo). Cabe destacar queexisten normasIE[8] de eficiencia energética para motores eléctricos, que no se pudieron constatar, dado que exceden a los recursos disponibles para este trabajo. El objetivo ha consistido en aproximarnos de un modo más simple (tecnología) y económico (costos) a los variadores de frecuencia (VDF)[9] o drivers, que son una tecnología que reduce la energía eléctrica, manteniendo constante la relación tensión/frecuencia (volts/hertz) con una electrónica compleja y costosa (como los transistores bipolares de puerta aislada: IGBTs). Aquí se ha resuelto el problema manteniendo no-constante la relación (V/Hz) con un Triac BT 137 para uso en motores de inducción monofásicos de 220 (V), 50 (Hz) de corriente alterna (AC). Para construir esta tecnología menos costosa (económicamente) y menos compleja (electrónicamente), se analizó la existencia -probada en el mercado-de otras aplicaciones tecnológicas similares, que puedan ser adaptadas y ensambladas a otras tecnologías también existentes; y que este ensamble pueda ser realizado de modo barato y funcional. Este control de potencia para motores a-sincrónicos fue utilizado en un motor sincrónico de tipo PMSM. Las actividades llevadas a cabo para la construcción del prototipo son: adoptar un motor sincrónico de tipo PMSM (con rotor de imanes parmanentes de ferrite) obtenido a partir del estator de una electrobomba de lavavajillas de 65 (watts) de potencia, acoplado a las paletas de un rotor de un motor a-sincrónico de espiras de sombra[10] de microondas; que se controla mecatrónicamente con un control de potencia de disparo por Triac BT137 atenuador de onda de tensión (Voltios) e intensidad de la corriente (Amperios). [1] International Energy Agency. World Energy Outlook 2017 [On line]. Available: https://www.iea.org/weo2017/ [Accessed: 25-jan-2019] [2] International Energy Agency. Energy Efficieny. The global exchange for energy efficiency policies, data and analysis [On line]. Available: https://www.iea.org/topics/energyefficiency [Accessed: 25-jan-2019] [3] International Energy Agency. The Future of Cooling. Opportunities for energy-efficient air conditioning [On line]. Available: https://webstore.iea.org/the-future-of-cooling [Accessed: 25-jan-2019] [4]El uso de aires acondicionados y ventiladores eléctricos para mantenerse fresco representa casi el 20% del total de la electricidad utilizada en los edificios de todo el mundo en la actualidad. [5] CAMMESA, Compañía Administradora del Mercado Mayorista eléctrico [<en línea]. Disponible en: http://portalweb.cammesa.com/default.aspx [Accedido: 25-ene-2019] [6]La huella de carbono se conoce como gases de efecto invernadero (GEI) emitidos por efecto directo o indirecto de un individuo, organización, evento o producto. Tal impacto ambiental es medido llevando a cabo un inventario de emisiones de GEI o un análisis de ciclo de vida (ACV), siguiendo normativas internacionales reconocidas, tales como ISO 14064, PAS 2050 o GHG Protocol entre otras. [7] Los motores consumen el 46% del total mundial de electricidad (Fuente IEA: Efficiency Series, 2011). [8] La norma IEC 60034-30-1 es la que establece el Código IE de eficiencia en motores eléctricos. [9] La IEC 61800-9-2 se focaliza en la interacción de motores con los variadores de frecuencia (VFD). El 40% y el 60% de todos los sistemas de motores se beneficiarían del uso adecuado de los drivers. [10] Espira de defrager o espira de arranque (espira en cortocircuito).

Through his early studies of the character of adult schools and community colleges in California, Burton Clark launched a set of ideas, sociological and educational, that served as baseline concepts in the study and practice of American higher education. His book The Open Door College ranks among the classic accounts of a type of organisation – the public two-year college – which came to prominence throughout the United States in the post-war period. Its consideration of the roles played by such institutions in the larger education structure and society has been at the centre of international, theoretical and empirical debates for half a century. Foremost among its arguments was the cooling-out function, a conception that enjoyed wide circulation over many decades. Rather less attention has been paid to its analysis of organisational determinacy and the special problems of institutions that straddle secondary and higher education. These are the mass enterprises that do much of the dirty work of higher education. Unlike in the Clark corpus, they do not always receive the seriousness of scholarly treatment accorded to other kinds of educational organisation.

ABSTRACT Objective: This research study aims at conducting an in vitro evaluation of crack formation in freshly extracted teeth after undergoing different storage and decontamination methods. Methods: 60 erupted upper third molars conventionally extracted using forceps # 210h (quinelato surgical instruments, rio claro - sp) and randomly distributed in three groups (n = 30): group 1 - storage in dry environment for 30 days, group 2 - sterilization in autoclave and storage for 30 days in distilled water, and group 3 - 10% formaldehyde decontamination for 14 days and storage in distilled water for additional 30 days. after the storage period, teeth had their roots transversely sectioned at 2, 4 and 6 mm below the root apex using a low rotation diamond disk under constant cooling. the evaluation of fragments was performed using a 30-time magnification microscope. Results: Cracks were seen only in group 1 and the chi-square statistical test with 5% significance level showed a statistically significant difference comparing the dry storage group to the others. Conclusion: The storage of extracted teeth in a dry environment influences the formation of dentinal defects.

As gas turbine (GT) temperatures have increased, thermal barrier coatings (TBCs) have become a critically important element in hot section component durability. Ceramic TBCs permit significantly increased gas temperatures, reduced cooling requirements, and improve engine fuel efficiency and reliability. TBCs are in use throughout the GT hot section with turbine blades, vanes, and combustion hardware, now being designed with TBCs or upgraded with TBCs during component refurbishment (Miller, 1987, “Current Status of Thermal Barrier Coatings,” Surf. Coat. Technol., 30(1), pp. 1–11; Clarke et al., 2012, “Thermal-Barrier Coatings for More Efficient Gas-Turbine Engines,” MRS Bull., 37(10), pp. 891–898). While the industry standard 6–9 wt. % yttria stabilized zirconia (7YSZ) has been the preferred ceramic composition for the past 30+ yr, efforts have been underway to develop improved TBCs (Stecura, 1986, “Optimization of the Ni–Cr–Al–Y/ZrO2–Y2O3 Thermal Barrier System,” Adv. Ceram. Mater., 1(1), pp. 68–76; Stecura, 1986, “Optimization of the Ni–Cr–Al–Y/ZrO2–Y2O3 Thermal Barrier System,” NASA Technical Memorandum No. 86905). The principal development goals have been to lower thermal conductivity, increase the sintering resistance, and have a more stable crystalline phase structure allowing to use above 1200 °C (2192 °F) (Levi, 2004, “Emerging Materials and Processes for Thermal Barrier Systems,” Curr. Opin. Solid State Mater. Sci., 8(1), pp. 77–91; Clarke, 2003, “Materials Selection Guidelines for Low Thermal Conductivity Thermal Barrier Coatings,” Surf. Coat. Technol., 163–164, pp. 67–74). National Aeronautics and Space Administration (NASA) has developed a series of advanced low conductivity, phase stable and sinter resistant TBC coatings utilizing multiple rare earth dopant oxides (Zhu and Miller, 2004, “Low Conductivity and Sintering-Resistant Thermal Barrier Coatings,” U.S. Patent No. 6,812,176 B1). One of the coating systems NASA developed is based on Ytterbia, Gadolinia, and Yttria additions to ZrO2 (YbGd-YSZ). This advanced low conductivity (low k) TBC is designed specifically for combustion hardware applications. In addition to lower thermal conductivity than 7YSZ, it has demonstrated thermal stability and sintering resistance to 1650 °C (3000 °F). The Electric Power Research Institute (EPRI) and cincinnati thermal spray (CTS) have teamed together in a joint program to commercialize the YbGd-YSZ TBC coating system for GT combustion hardware. The program consists of validation of coating properties, establishment of production coating specifications, and demonstration of coating performance through component engine testing of the YbGd-YSZ TBC coating system. Among the critical to quality coating characteristics that have been established are (a) coating microstructure, (b) TBC tensile bond strength, (c) erosion resistance, (d) thermal conductivity and sintering resistance, and (e) thermal cycle performance. This paper will discuss the coating property validation results comparing the YbGd-YSZ TBC to baseline production combustor coatings and the status of coating commercialization efforts currently underway.

The paleotopographic history of the North American Cordilleran orogen holds the key to understanding mechanisms of orogenesis and subsequent orogenic collapse. It has been suggested that the orogenic front in western Montana (USA) and Alberta (Canada) was more than 4 km high during Late Cretaceous−early Eocene contractional deformation and during the initial phase of extension in the middle Eocene; however, the late Eocene−Oligocene topographic evolution during continued extensional collapse remains poorly constrained. Here we extend the paleotopographic record in the Kishenehn Basin in northwestern Montana and southeastern British Columbia (Canada) to the late Oligocene by studying δ18O values of fossil mollusks and cement and paleosol carbonates. The molluscan taxa changed from three sympatric groups with preferred habitats ranging from tropical wet, semi-arid subtropical, and temperate during the middle and late Eocene, to mainly a single group associated with temperate environment during the Oligocene, reflecting a decline in molluscan biodiversity induced by climate cooling across the Eocene−Oligocene transition. Reconstructed δ18O values of alpine snowmelt and basinal precipitation decreased by 1.4‰ and 3.8‰, respectively, from the middle to late Eocene, reflecting climate cooling and ∼1 km surface uplift of the basin floor. The reconstructed alpine snowmelt δ18O values then increased by 2.9‰ in the Oligocene suggesting a ∼0.5 km drop in elevation of the orogenic front. Collectively, the results of our new and previously published δ18O data chronicle the paleotopographic response to the change from flat-slab subduction to slab rollback over a 45 m.y. period. These data suggest that the orogenic front was characterized by high elevation (&gt;4 km) in the ancestral Lewis-Clark-Livingston ranges during latest Cretaceous−early Eocene (ca. 75−52 Ma) contraction. The initial phase of extension related to the Kishenehn Basin created a lowland basin with a surface elevation of only ∼1.5 km during the early middle Eocene (ca. 46−44 Ma) whereas the ranges remained &gt;4 km high. The high range elevations were sustained for at least 12 m.y. in the middle to late Eocene concurrent with extension, while the basin floor elevation was uplifted to ∼2.5 km by the latest Eocene (ca. 36−34 Ma). Basin aggradation can explain at most half of the 1 km basin floor uplift. The remaining amount (at least 0.5 km) and sustained high range elevation suggest that range denudation and crustal extension was compensated by the isostatic and thermal effects of slab rollback and/or passage of a slab window and infusion of hot asthenosphere beneath the continent. The range elevation in the orogenic front decreased ∼0.5 km by the late Oligocene (ca. 28 Ma), associated with a decrease in rock uplift rate associated with extension. A post-Oligocene elevation drop of ∼1 km resulted in both the ranges and basin floor reaching modern topography in the Kishenehn Basin drainage, likely due to the regional effect of Neogene Basin and Range extension. This study, along with the previous investigation of the Kishenehn Basin by Fan et al. (2017), are the first studies that systematically investigate paleorelief of the orogenic belt by reconstructing paleoelevations of the mountains and the basin at the same time. The results highlight that the Cordilleran orogenic front of northern Montana and southern British Columbia sustained its high elevation edifice for at least 12 m.y. after the start of extension. We suggest that initial crustal extension did not result in orogenic demise because of concurrent thermal and isostatic uplift.

Introduction Author Arthur C. Clarke famously argued that in science fiction literature “any sufficiently advanced technology is indistinguishable from magic” (Clarke). On 30 November 2022, technology company OpenAI publicly released their Large Language Model (LLM)-based chatbot ChatGPT (Chat Generative Pre-Trained Transformer), and instantly it was hailed as world-changing. Initial media stories about ChatGPT highlighted the speed with which it generated new material as evidence that this tool might be both genuinely creative and actually intelligent, in both exciting and disturbing ways. Indeed, ChatGPT is part of a larger pool of Generative Artificial Intelligence (AI) tools that can very quickly generate seemingly novel outputs in a variety of media formats based on text prompts written by users. Yet, claims that AI has become sentient, or has even reached a recognisable level of general intelligence, remain in the realm of science fiction, for now at least (Leaver). That has not stopped technology companies, scientists, and others from suggesting that super-smart AI is just around the corner. Exemplifying this, the same people creating generative AI are also vocal signatories of public letters that ostensibly call for a temporary halt in AI development, but these letters are simultaneously feeding the myth that these tools are so powerful that they are the early form of imminent super-intelligent machines. For many people, the combination of AI technologies and media hype means generative AIs are basically magical insomuch as their workings seem impenetrable, and their existence could ostensibly change the world. This article explores how the hype around ChatGPT and generative AI was deployed across the first six months of 2023, and how these technologies were positioned as either utopian or dystopian, always seemingly magical, but never banal. We look at some initial responses to generative AI, ranging from schools in Australia to picket lines in Hollywood. We offer a critique of the utopian/dystopian binary positioning of generative AI, aligning with critics who rightly argue that focussing on these extremes displaces the more grounded and immediate challenges generative AI bring that need urgent answers. Finally, we loop back to the role of schools and educators in repositioning generative AI as something to be tested, examined, scrutinised, and played with both to ground understandings of generative AI, while also preparing today’s students for a future where these tools will be part of their work and cultural landscapes. Hype, Schools, and Hollywood In December 2022, one month after OpenAI launched ChatGPT, Elon Musk tweeted: “ChatGPT is scary good. We are not far from dangerously strong AI”. Musk’s post was retweeted 9400 times, liked 73 thousand times, and presumably seen by most of his 150 million Twitter followers. This type of engagement typified the early hype and language that surrounded the launch of ChatGPT, with reports that “crypto” had been replaced by generative AI as the “hot tech topic” and hopes that it would be “‘transformative’ for business” (Browne). By March 2023, global economic analysts at Goldman Sachs had released a report on the potentially transformative effects of generative AI, saying that it marked the “brink of a rapid acceleration in task automation that will drive labor cost savings and raise productivity” (Hatzius et al.). Further, they concluded that “its ability to generate content that is indistinguishable from human-created output and to break down communication barriers between humans and machines reflects a major advancement with potentially large macroeconomic effects” (Hatzius et al.). Speculation about the potentially transformative power and reach of generative AI technology was reinforced by warnings that it could also lead to “significant disruption” of the labour market, and the potential automation of up to 300 million jobs, with associated job losses for humans (Hatzius et al.). In addition, there was widespread buzz that ChatGPT’s “rationalization process may evidence human-like cognition” (Browne), claims that were supported by the emergent language of ChatGPT. The technology was explained as being “trained” on a “corpus” of datasets, using a “neural network” capable of producing “natural language“” (Dsouza), positioning the technology as human-like, and more than ‘artificial’ intelligence. Incorrect responses or errors produced by the tech were termed “hallucinations”, akin to magical thinking, which OpenAI founder Sam Altman insisted wasn’t a word that he associated with sentience (Intelligencer staff). Indeed, Altman asserts that he rejects moves to “anthropomorphize” (Intelligencer staff) the technology; however, arguably the language, hype, and Altman’s well-publicised misgivings about ChatGPT have had the combined effect of shaping our understanding of this generative AI as alive, vast, fast-moving, and potentially lethal to humanity. Unsurprisingly, the hype around the transformative effects of ChatGPT and its ability to generate ‘human-like’ answers and sophisticated essay-style responses was matched by a concomitant panic throughout educational institutions. The beginning of the 2023 Australian school year was marked by schools and state education ministers meeting to discuss the emerging problem of ChatGPT in the education system (Hiatt). Every state in Australia, bar South Australia, banned the use of the technology in public schools, with a “national expert task force” formed to “guide” schools on how to navigate ChatGPT in the classroom (Hiatt). Globally, schools banned the technology amid fears that students could use it to generate convincing essay responses whose plagiarism would be undetectable with current software (Clarence-Smith). Some schools banned the technology citing concerns that it would have a “negative impact on student learning”, while others cited its “lack of reliable safeguards preventing these tools exposing students to potentially explicit and harmful content” (Cassidy). ChatGPT investor Musk famously tweeted, “It’s a new world. Goodbye homework!”, further fuelling the growing alarm about the freely available technology that could “churn out convincing essays which can't be detected by their existing anti-plagiarism software” (Clarence-Smith). Universities were reported to be moving towards more “in-person supervision and increased paper assessments” (SBS), rather than essay-style assessments, in a bid to out-manoeuvre ChatGPT’s plagiarism potential. Seven months on, concerns about the technology seem to have been dialled back, with educators more curious about the ways the technology can be integrated into the classroom to good effect (Liu et al.); however, the full implications and impacts of the generative AI are still emerging. In May 2023, the Writer’s Guild of America (WGA), the union representing screenwriters across the US creative industries, went on strike, and one of their core issues were “regulations on the use of artificial intelligence in writing” (Porter). Early in the negotiations, Chris Keyser, co-chair of the WGA’s negotiating committee, lamented that “no one knows exactly what AI’s going to be, but the fact that the companies won’t talk about it is the best indication we’ve had that we have a reason to fear it” (Grobar). At the same time, the Screen Actors’ Guild (SAG) warned that members were being asked to agree to contracts that stipulated that an actor’s voice could be re-used in future scenarios without that actor’s additional consent, potentially reducing actors to a dataset to be animated by generative AI technologies (Scheiber and Koblin). In a statement issued by SAG, they made their position clear that the creation or (re)animation of any digital likeness of any part of an actor must be recognised as labour and properly paid, also warning that any attempt to legislate around these rights should be strongly resisted (Screen Actors Guild). Unlike the more sensationalised hype, the WGA and SAG responses to generative AI are grounded in labour relations. These unions quite rightly fear the immediate future where human labour could be augmented, reclassified, and exploited by, and in the name of, algorithmic systems. Screenwriters, for example, might be hired at much lower pay rates to edit scripts first generated by ChatGPT, even if those editors would really be doing most of the creative work to turn something clichéd and predictable into something more appealing. Rather than a dystopian world where machines do all the work, the WGA and SAG protests railed against a world where workers would be paid less because executives could pretend generative AI was doing most of the work (Bender). The Open Letter and Promotion of AI Panic In an open letter that received enormous press and media uptake, many of the leading figures in AI called for a pause in AI development since “advanced AI could represent a profound change in the history of life on Earth”; they warned early 2023 had already seen “an out-of-control race to develop and deploy ever more powerful digital minds that no one – not even their creators – can understand, predict, or reliably control” (Future of Life Institute). Further, the open letter signatories called on “all AI labs to immediately pause for at least 6 months the training of AI systems more powerful than GPT-4”, arguing that “labs and independent experts should use this pause to jointly develop and implement a set of shared safety protocols for advanced AI design and development that are rigorously audited and overseen by independent outside experts” (Future of Life Institute). Notably, many of the signatories work for the very companies involved in the “out-of-control race”. Indeed, while this letter could be read as a moment of ethical clarity for the AI industry, a more cynical reading might just be that in warning that their AIs could effectively destroy the world, these companies were positioning their products as seemingly magical—“digital minds that no one – not even their creators – can understand”—making them even more appealing to potential customers and investors. Far from pausing AI development, the open letter actually operates as a neon sign touting the amazing capacities and future brilliance of generative AI systems. Nirit Weiss-Blatt argues that general reporting on technology industries up to 2017 largely concurred with the public relations stance of those companies, positioning them as saviours and amplifiers of human connection, creativity, and participation. After 2017, though, media reporting completely shifted, focussing on the problems, risks, and worst elements of these corporate platforms. In the wake of the open letter, Weiss-Blatt extended her point on Twitter, arguing that media and messaging surrounding generative AI can be broken down into those who are profiting and fuelling the panic at one end of the spectrum, and those who think the form of the panic (which positions AI as dangerously intelligent) is deflecting from the immediate real issues caused by generative AI at the other. Weiss-Blatt characterises the Panic-as-a-Business proponents as arguing “we're telling you will all die from a Godlike AI… so you must listen to us”, which coheres with the broader positioning narrative of generative AI’s seemingly magical (and thus potentially destructive) capabilities. Yet this rhetoric also positions the companies creating generative AI as the ones who should be making the rules to control it, an argument so effective that in July 2023 the Biden Administration in the US endorsed the biggest AI companies—Amazon, Anthropic, Google, Inflection, Meta, Microsoft, and OpenAI—framing future AI development with voluntary safeguards rather than externally imposed policies (Shear, Kang, and Sanger). Fig. 1: Promotors of AI Panic, extrapolating from Nirit Weiss-Blatt. (Algorithm Watch) Stochastic Parrots and Deceitful Media Artificial Intelligences have inhabited popular imaginaries via novels, television, and films far longer than they have been considered even potentially viable technologies, so it is not surprising that popular culture has often framed the way AI is understood (Leaver). Yet as Emily Bender, Timnit Gebru, Angelina McMillan-Major, and Shmargaret Shmitchell argue, Large Language Models and generative AI are most productively understood as “a stochastic parrot” insomuch as each is a “system for haphazardly stitching together sequences of linguistic forms it has observed in its vast training data, according to probabilistic information about how they combine, but without any reference to meaning” (Bender et al. 617). Generative AI, then, is not creating something genuinely new, but rather remixing existing data in novel ways that the systems themselves do not in any meaningful sense understand. Going further, Simone Natale characterises current AI tools as “deceitful media” insomuch as they are designed to deliberately appear generally intelligent, but this is always a deception. The deception makes these tools more engaging for humans to use but is also fundamental in selling and profiting from the use of AI tools. Rather than accepting claims made by the companies financing and creating contemporary AI, Natale argues for a more pedagogically productive path: we must resist the normalization of the deceptive mechanisms embedded in contemporary AI and the silent power that digital media companies exercise over us. We should never cease to interrogate how the technology works, even while we are trying to accommodate it in the fabric of everyday life. (Natale 132) Real Issues Although even a comprehensive list is beyond the scope of this short article, is it nevertheless vital to note that in looking beyond the promotion of AI Panic and deceptive media, ChatGPT and other generative AI tools create or exacerbate a range of very real and significant ethical problems. The most obvious problem is the lack of transparency in terms of what data different generative AI tools were trained on. Generally, these tools are thought to get better by absorbing ever greater amounts of data, with most AI companies acknowledging that scraping the Web in some form has been part of the training data harvesting for their AI tools. Not knowing what data have been used makes it almost impossible to know which perspectives, presumptions, and biases are baked into these tools. While many forms of bias have plagued technology companies for many years (Noble), for generative AI tools, in “accepting large amounts of web text as ‘representative’ of ‘all’ of humanity we risk perpetuating dominant viewpoints, increasing power imbalances, and further reifying inequality” (Bender et al. 614). Even mitigating and working to correct biases in generative AI tools will be a huge challenge if these companies never share what was in their training data. As the WGA and SAG strike discussed above emphasises, the question of human labour is a central challenge for generative AI. Beyond Hollywood, more entrenched forms of labour exploitation haunt generative AI. Very low-paid workers have done much of the labour in classifying different forms of data in order to train AI systems; data workers are routinely not acknowledged at all, even sometimes directly performing the tasks that are ascribed to AI, to the extent that “distracted by the specter of nonexistent sentient machines, an army of precarized workers stands behind the supposed accomplishments of artificial intelligence systems today” (Williams, Miceli, and Gebru). It turns out that people are still doing the work so that companies can pretend the machines can think. In one final but very important example, there is a very direct ecological cost to training, maintaining, and running generative AI tools. In the context of global warming, concerns already existed about the enormous data centres at the heart of the big technology platforms prior to ChatGPT’s release. However, the data and processing power needed to run generative AI tools are even larger, leading to very real questions about how much electricity and water (for cooling) are used by even the most rudimentary ChatGPT queries (Lizarraga and Solon). While not just an AI question, balancing the environmental costs of data centres with the actual utility of AI tools is not one that is routinely asked, or answered, in the hype around generative AI. Messing Around and Geeking Out Escaping the hype and hypocrisy deployed by AI companies is vital for repositioning generative AI not as magical, not as a saviour, and not as a destroyer, but rather as a new technology that needs to be critically and ethically understood. In seminal work exploring how young people engage with digital tools and technologies, Mimi Ito and colleagues developed three genres of technology participation: hanging out, where engagement with any technologies is largely driven by friendships and social engagement; messing around, which includes a great deal of experimentation and play with technological tools; and geeking out, where some young people will find a particular focus on one platform, tool or technology that inspires them to focus enough to develop expertise in using and understanding that tool (Ito et al.). If young people, in particular, are going to be living in a world where generative AI tools are part of their social worlds and workplaces, then messing around with ChatGPT is, indeed, going to be important in testing out how these tools answer questions and synthesise information, what biases are evident in responses, and at what points answers are incorrect. For some young people, they may well move from messing around to completely geeking out with generative AI, a process that will be even more fruitful if these tools are not seen as impenetrable magic, but rather as commercial tools built by for-profit companies. While the idea of digital natives is an unhelpful myth (Bennett, Maton, and Kervin), if young people are going to be the first generation to have generative AI as part of their information, creative, and search landscapes, then safely messing around and geeking out with these tools will be more vital than ever. We mentioned above that most Australian state education departments initially banned ChatGPT, but a more optimistic sign arrived as we were finishing this article insomuch as the different Australian states agreed in mid-2023 to work together to create “a framework to guide the safe and effective use of artificial intelligence in the nation’s schools” (Clare). Although there is work to be done, moving away from a ban to a setting that should allow students to be part of testing, framing, and critiquing ChatGPT and generative AI is a clear step in repositioning these technologies as tools, not magical systems that could never be understood. Conclusion Generative AI is not magic; it is not a saviour or destroyer; it is neither utopian nor dystopian; nor, unless we radically narrow the definition, is it intelligent. The companies and corporations driving AI development have a vested interest in promoting fantastical ideas about generative AI, as it drives their customers, investment, and future viability. When the hype is dominant, responses can be overdetermined, such as banning generative AI in schools. But in taking a less magical and more material approach to ChatGPT and generative AI, we can try and ensure pedagogical opportunities for today’s young people to test out, scrutinise, and critically understand the AI tools they are most likely going to be asked to use today and in the future. The first wave of generative AI hype following the public release of ChatGPT offers an opportunity to reflect on exactly what the best uses of these technologies are, what ethics should drive those uses, and how transparent the workings of generative AI should be before their presence in the digital landscape is so entrenched and mundane that it becomes difficult to see at all. Acknowledgment This research was supported by the Australian Research Council Centre of Excellence for the Digital Child through project number CE200100022. References Algorithm Watch [@AlgorithmWatch]. “Mirror, Mirror on the Wall, Who Is the Biggest Panic-Creator of Them All? 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IntroductionIn March 2015, I visited the Lambing Flat Folk Museum (established 1967) in the “cherry capital of Australia”, the town of Young, New South Wales, in preparation for a student excursion. Like other Australian folk museums, this museum focuses on the ordinary and the everyday of rural life, and is heavily reliant on local history, local historians, volunteers, and donated objects for the collection. It may not sound as though the Lambing Flat Folk Museum (LFFM) holds much potential for a fashion curator, as fashion exhibitions have become high points of innovation in exhibition design. It is quite a jolt to return to old style folk museums, when travelling shows such as Alexander McQueen: Savage Beauty (Metropolitan Museum of Art 2011 – V&A Museum 2015) or The Fashion World of Jean Paul Gaultier (V&A Museum 2011­ – NGV 2014) are popping up around the globe. The contrast stimulated this author to think on the role and the power of curators. This paper will show that the potential for fashion as a vehicle for demonstrating ideas other than through rubrics of design or history has been growing. We all wear dress. We express identity, politics, status, age, gender, social values, and mental state through the way we dress each and every day. These key issues are also explored in many museum exhibitions.Small museums often have an abundance of clothing. For them, it is a case of not only managing and caring for growing collections but also curating objects in a way that communicates regional and often national identity, as well as narrating stories in meaningful ways to audiences. This paper argues that the way in which dress is curated can greatly enhance temporary and permanent exhibitions. Fashion curation is on the rise (Riegels Melchior). This paper looks at why this is so, the potential for this specialisation in curation, the research required, and the sensitivity needed in communicating ideas in exhibitions. It also suggests how fashion curation skills may facilitate an increasing demand.Caring for the AudienceThe paper draws on a case study of how Chinese people at the LFFM are portrayed. The Chinese came to the Young district during the 1860s gold rush. While many people often think the Chinese were sojourners (Rolls), that is, they found gold and returned to China, many actually settled in regional Australia (McGowan; Couchman; Frost). At Young there were riots against the Chinese miners, and this narrative is illustrated at the museum.In examining the LFFM, this paper points to the importance of caring for the audience as well as objects, knowing and acknowledging the current and potential audiences. Caring for how the objects are received and perceived is vital to the work of curators. At this museum, the stereotypic portrayal of Chinese people, through a “coolie” hat, a fan, and two dolls dressed in costume, reminds us of the increased professionalisation of the museum sector in the last 20 years. It also reminds us of the need for good communication through both the objects and texts. Audiences have become more sophisticated, and their expectations have increased. Displays and accompanying texts that do not reflect in depth research, knowledge, and sensitivities can result in viewers losing interest quickly. Not long into my visit I began thinking of the potential reaction by the Chinese graduate students. In a tripartite model called the “museum experience”, Falk and Dierking argue that the social context, personal context, and physical context affect the visitor’s experience (5). The social context of who we visit with influences enjoyment. Placing myself in the students’ shoes sharpened reactions to some of the displays. Curators need to be mindful of a wide range of audiences. The excursion was to be not so much a history learning activity, but a way for students to develop a personal interest in museology and to learn the role museums can play in society in general, as well as in small communities. In this case the personal context was also a professional context. What message would they get?Communication in MuseumsStudies by Falk et al. indicate that museum visitors only view an exhibition for 30 minutes before “museum fatigue” sets in (249–257). The physicality of being in a museum can affect the museum experience. Hence, many institutions responded to these studies by placing the key information and objects in the introductory areas of an exhibition, before the visitor gets bored. As Stephen Bitgood argues, this can become self-fulfilling, as the reaction by the exhibition designers can then be to place all the most interesting material early in the path of the audience, leaving the remainder as mundane displays (196). Bitgood argues there is no museum fatigue. He suggests that there are other things at play which curators need to heed, such as giving visitors choice and opportunities for interaction, and avoiding overloading the audience with information and designing poorly laid-out exhibitions that have no breaks or resting points. All these factors contribute to viewers becoming both mentally and physically tired. Rather than placing the onus on the visitor, he contends there are controllable factors the museum can attend to. One of his recommendations is to be provocative in communication. Stimulating exhibitions are more likely to engage the visitor, minimising boredom and tiredness (197). Xerxes Mazda recommends treating an exhibition like a good story, with a beginning, a dark moment, a climax, and an ending. The LFFM certainly has those elements, but they are not translated into curation that gives a compelling narration that holds the visitors’ attention. Object labels give only rudimentary information, such as: “Wooden Horse collar/very rare/donated by Mr Allan Gordon.” Without accompanying context and engaging language, many visitors could find it difficult to relate to, and actively reflect on, the social narrative that the museum’s objects could reflect.Text plays an important role in museums, particularly this museum. Communication skills of the label writers are vital to enhancing the museum visit. Louise Ravelli, in writing on museum texts, states that “communication needs to be more explicit and more reflexive—to bring implicit assumptions to the surface” (3). This is particularly so for the LFFM. Posing questions and using an active voice can provoke the viewer. The power of text can be seen in one particular museum object. In the first gallery is a banner that contains blatant racist text. Bringing racism to the surface through reflexive labelling can be powerful. So for this museum communication needs to be sensitive and informative, as well as pragmatic. It is not just a case of being reminded that Australia has a long history of racism towards non-Anglo Saxon migrants. A sensitive approach in label-writing could ask visitors to reflect on Australia’s long and continued history of racism and relate it to the contemporary migration debate, thereby connecting the present day to dark historical events. A question such as, “How does Australia deal with racism towards migrants today?” brings issues to the surface. Or, more provocatively, “How would I deal with such racism?” takes the issue to a personal level, rather than using language to distance the issue of racism to a national issue. Museums are more than repositories of objects. Even a small underfunded museum can have great impact on the viewer through the language they use to make meaning of their display. The Lambing Flat Roll-up Banner at the LFFMThe “destination” object of the museum in Young is the Lambing Flat Roll-up Banner. Those with a keen interest in Australian history and politics come to view this large sheet of canvas that elicits part of the narrative of the Lambing Flat Riots, which are claimed to be germane to the White Australia Policy (one of the very first pieces of legislation after the Federation of Australia was The Immigration Restriction Act 1901).On 30 June 1861 a violent anti-Chinese riot occurred on the goldfields of Lambing Flat (now known as Young). It was the culmination of eight months of growing conflict between European and Chinese miners. Between 1,500 and 2,000 Europeans lived and worked in these goldfields, with little government authority overseeing the mining regulations. Earlier, in November 1860, a group of disgruntled European miners marched behind a German brass band, chasing off 500 Chinese from the field and destroying their tents. Tensions rose and fell until the following June, when the large banner was painted and paraded to gather up supporters: “…two of their leaders carrying in advance a magnificent flag, on which was written in gold letters – NO CHINESE! ROLL UP! ROLL UP! ...” (qtd. in Coates 40). Terrified, over 1,270 Chinese took refuge 20 kilometres away on James Roberts’s property, “Currawong”. The National Museum of Australia commissioned an animation of the event, The Harvest of Endurance. It may seem obvious, but the animators indicated the difference between the Chinese and the Europeans through dress, regardless that the Chinese wore western dress on the goldfields once the clothing they brought with them wore out (McGregor and McGregor 32). Nonetheless, Chinese expressions of masculinity differed. Their pigtails, their shoes, and their hats were used as shorthand in cartoons of the day to express the anxiety felt by many European settlers. A more active demonstration was reported in The Argus: “ … one man … returned with eight pigtails attached to a flag, glorifying in the work that had been done” (6). We can only imagine this trophy and the de-masculinisation it caused.The 1,200 x 1,200 mm banner now lays flat in a purpose-built display unit. Viewers can see that it was not a hastily constructed work. The careful drafting of original pencil marks can be seen around the circus styled font: red and blue, with the now yellow shadowing. The banner was tied with red and green ribbon of which small remnants remain attached.The McCarthy family had held the banner for 100 years, from the riots until it was loaned to the Royal Australian Historical Society in November 1961. It was given to the LFFM when it opened six years later. The banner is given key positioning in the museum, indicating its importance to the community and its place in the region’s memory. Just whose memory is narrated becomes apparent in the displays. The voice of the Chinese is missing.Memory and Museums Museums are interested in memory. When visitors come to museums, the work they do is to claim, discover, and sometimes rekindle memory (Smith; Crane; Williams)—-and even to reshape memory (Davidson). Fashion constantly plays with memory: styles, themes, textiles, and colours are repeated and recycled. “Cutting and pasting” presents a new context from one season to the next. What better avenue to arouse memory in museums than fashion curation? This paper argues that fashion exhibitions fit within the museum as a “theatre of memory”, where social memory, commemoration, heritage, myth, fantasy, and desire are played out (Samuels). In the past, institutions and fashion curators often had to construct academic frameworks of “history” or “design” in order to legitimise fashion exhibitions as a serious pursuit. Exhibitions such as Fashion and Politics (New York 2009), Fashion India: Spectacular Capitalism (Oslo 2014) and Fashion as Social Energy (Milan 2015) show that fashion can explore deeper social concerns and political issues.The Rise of Fashion CuratorsThe fashion curator is a relative newcomer. What would become the modern fashion curator made inroads into museums through ethnographic and anthropological collections early in the 20th century. Fashion as “history” soon followed into history and social museums. Until the 1990s, the fashion curator in a museum was seen as, and closely associated with, the fashion historian or craft curator. It could be said that James Laver (1899–1975) or Stella Mary Newton (1901–2001) were the earliest modern fashion curators in museums. They were also fashion historians. However, the role of fashion curator as we now know it came into its own right in the 1970s. Nadia Buick asserts that the first fashion exhibition, Fashion: An Anthology by Cecil Beaton, was held at the Victoria and Albert Museum, curated by the famous fashion photographer Cecil Beaton. He was not a museum employee, a trained curator, or even a historian (15). The museum did not even collect contemporary fashion—it was a new idea put forward by Beaton. He amassed hundreds of pieces of fashion items from his friends of elite society to complement his work.Radical changes in museums since the 1970s have been driven by social change, new expectations and new technologies. Political and economic pressures have forced museum professionals to shift their attention from their collections towards their visitors. There has been not only a growing number of diverse museums but also a wider range of exhibitions, fashion exhibitions included. However, as museums and the exhibitions they mount have become more socially inclusive, this has been somewhat slow to filter through to the fashion exhibitions. I assert that the shift in fashion exhibitions came as an outcome of new writing on fashion as a social and political entity through Jennifer Craik’s The Face of Fashion. This book has had an influence, beyond academic fashion theorists, on the way in which fashion exhibitions are curated. Since 1997, Judith Clark has curated landmark exhibitions, such as Malign Muses: When Fashion Turns Back (Antwerp 2004), which examine the idea of what fashion is rather than documenting fashion’s historical evolution. Dress is recognised as a vehicle for complex issues. It is even used to communicate a city’s cultural capital and its metropolitan modernity as “fashion capitals” (Breward and Gilbert). Hence the reluctant but growing willingness for dress to be used in museums to critically interrogate, beyond the celebratory designer retrospectives. Fashion CurationFashion curators need to be “brilliant scavengers” (Peoples). Curators such as Clark pick over what others consider as remains—the neglected, the dissonant—bringing to the fore what is forgotten, where items retrieved from all kinds of spheres are used to fashion exhibitions that reflect the complex mix of the tangible and intangible that is present in fashion. Allowing the brilliant scavengers to pick over the flotsam and jetsam of everyday life can make for exciting exhibitions. Clothing of the everyday can be used to narrate complex stories. We only need think of the black layette worn by Baby Azaria Chamberlain—or the shoe left on the tarmac at Darwin Airport, having fallen off the foot of Mrs Petrov, wife of the Russian diplomat, as she was forced onto a plane. The ordinary remnants of the Chinese miners do not appear to have been kept. Often, objects can be transformed by subsequent significant events.Museums can be sites of transformation for its audiences. Since the late 1980s, through the concept of the New Museum (Vergo), fashion as an exhibition theme has been used to draw in wider museum audiences and to increase visitor numbers. The clothing of Vivienne Westwood, (34 Years in Fashion 2005, NGA) Kylie Minogue (Kylie: An Exhibition 2004­–2005, Powerhouse Museum), or Princess Grace (Princess Grace: Style Icon 2012, Bendigo Art Gallery) drew in the crowds, quantifying the relevance of museums to funding bodies. As Marie Riegels Melchior notes, fashion is fashionable in museums. What is interesting is that the New Museum’s refrain of social inclusion (Sandell) has yet to be wholly embraced by art museums. There is tension between the fashion and museum worlds: a “collision of the fashion and art worlds” (Batersby). Exhibitions of elite designer clothing worn by celebrities have been seen as very commercial operations, tainting the intellectual and academic reputations of cultural institutions. What does fashion curation have to do with the banner mentioned previously? It would be miraculous for authentic clothing worn by Chinese miners to surface now. In revising the history of Lambing Flat, fashion curators need to employ methodologies of absence. As Clynk and Peoples have shown, by examining archives, newspaper advertisements, merchants’ account books, and other material that incidentally describes the business of clothing, absence can become present. While the later technology of photography often shows “Sunday best” fashions, it also illustrates the ordinary and everyday dress of Chinese men carrying out business transactions (MacGowan; Couchman). The images of these men bring to mind the question: were these the children of men, or indeed the men themselves, who had their pigtails violently cut off years earlier? The banner was also used to show that there are quite detailed accounts of events from local and national newspapers of the day. These are accessible online. Accounts of the Chinese experience may have been written up in Chinese newspapers of the day. Access to these would be limited, if they still exist. Historian Karen Schamberger reminds us of the truism: “history is written by the victors” in her observations of a re-enactment of the riots at the Lambing Flat Festival in 2014. The Chinese actors did not have speaking parts. She notes: The brutal actions of the European miners were not explained which made it easier for audience members to distance themselves from [the Chinese] and be comforted by the actions of a ‘white hero’ James Roberts who… sheltered the Chinese miners at the end of the re-enactment. (9)Elsewhere, just out of town at the Chinese Tribute Garden (created in 1996), there is evidence of presence. Plaques indicating donors to the garden carry names such as Judy Chan, Mrs King Chou, and Mr and Mrs King Lam. The musically illustrious five siblings of the Wong family, who live near Young, were photographed in the Discover Central NSW tourist newspaper in 2015 as a drawcard for the Lambing Flat Festival. There is “endurance”, as the title of NMA animation scroll highlights. Conclusion Absence can be turned around to indicate presence. The “presence of absence” (Meyer and Woodthorpe) can be a powerful tool. Seeing is the pre-eminent sense used in museums, and objects are given priority; there are ways of representing evidence and narratives, and describing relationships, other than fashion presence. This is why I argue that dress has an important role to play in museums. Dress is so specific to time and location. It marks specific occasions, particularly at times of social transitions: christening gowns, bar mitzvah shawls, graduation gowns, wedding dresses, funerary shrouds. Dress can also demonstrate the physicality of a specific body: in the extreme, jeans show the physicality of presence when the body is removed. The fashion displays in the museum tell part of the region’s history, but the distraction of the poor display of the dressed mannequins in the LFFM gets in the way of a “good story”.While rioting against the Chinese miners may cause shame and embarrassment, in Australia we need to accept that this was not an isolated event. More formal, less violent, and regulated mechanisms of entry to Australia were put in place, and continue to this day. It may be that a fashion curator, a brilliant scavenger, may unpick the prey for viewers, placing and spacing objects and the visitor, designing in a way to enchant or horrify the audience, and keeping interest alive throughout the exhibition, allowing spaces for thinking and memories. Drawing in those who have not been the audience, working on the absence through participatory modes of activities, can be powerful for a community. Fashion curators—working with the body, stimulating ethical and conscious behaviours, and constructing dialogues—can undoubtedly act as a vehicle for dynamism, for both the museum and its audiences. As the number of museums grow, so should the number of fashion curators.ReferencesArgus. 10 July 1861. 20 June 2015 ‹http://trove.nla.gov.au/›.Batersby, Selena. “Icons of Fashion.” 2014. 6 June 2015 ‹http://adelaidereview.com.au/features/icons-of-fashion/›.Bitgood, Stephen. “When Is 'Museum Fatigue' Not Fatigue?” Curator: The Museum Journal 2009. 12 Apr. 2015 ‹http://onlinelibrary.wiley.com/doi/10.1111/j.2151-6952.2009.tb00344.x/abstract›. Breward, Christopher, and David Gilbert, eds. Fashion’s World Cities. Oxford: Berg Publications, 2006.Buick, Nadia. “Up Close and Personal: Art and Fashion in the Museum.” Art Monthly Australia Aug. (2011): 242.Clynk, J., and S. Peoples. “All Out in the Wash.” Developing Dress History: New Directions in Method and Practice. Eds. Annabella Pollen and Charlotte Nicklas C. London: Bloomsbury, forthcoming Sep. 2015. 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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its lack of comprehension by hearing people, can save the day in a story line. Deaf characters are shown in different eras and in different countries, providing a fictional window into their possible experiences. Films shape and reflect cultural attitudes and can serve as a potent force in influencing the attitudes and assumptions of those members of the hearing world who have had few, if any, encounters with deaf people. This article explores categories of literary function as identified by the author, providing examples and suggestions of other films for readers to explore. Searching for Deaf Characters in Film I am a sign language interpreter. Several years ago, I started noticing how deaf characters are used in films. I made a concerted effort to find as many as I could. I referred to John Shuchman’s exhaustive book about deaf actors and subject matter, Hollywood Speaks; I scouted video rental guides (key words were ‘deaf’ or ‘disabled’); and I also plugged in the key words ‘deaf in film’ on Google’s search engine. I decided to ignore the issue of whether or not the actors were actually deaf—a political hot potato in the Deaf community which has been discussed extensively. Similarly, the linguistic or cultural accuracy of the type of sign language used or super-human lip-reading talent did not concern me. What was I looking for? I noticed that few story lines involving deaf characters provide any discussion or plot information related to that character’s deafness. I was puzzled. Why is there signing in the elevator in Jerry Maguire? Why does the guy in Grand Canyon have a deaf daughter? Why would the psychosomatic response to a trauma—as in Psych Out—be deafness rather than blindness? I concluded that not being able to hear carried some special meaning or fulfilled a particular need intrinsic to the plot of the story. I also observed that the functions of deaf characters seem to fall into several categories. Some deaf characters fit into more than one category, serving two or more symbolic purposes at the same time. By viewing and analysing the representations of deafness and deaf characters in forty-six films, I have come up with the following classifications: Deafness as a plot device Deaf characters as protagonist informants Deaf characters as a parallel to the protagonist Sign language as ‘hero’ Stories about deaf/hearing relationships A-normal-guy-or-gal-who-just-happens-to-be-deaf Deafness as a psychosomatic response to trauma Deafness as metaphor Deafness as a symbolic commentary on society Let your fingers do the ‘talking’ Deafness as Plot Device Every element of a film is a device, but when the plot hinges on one character being deaf, the story succeeds because of that particular character having that particular condition. The limitations or advantages of a deaf person functioning within the hearing world establish the tension, the comedy, or the events which create the story. In Hear No Evil (1993), Jillian learns from her hearing boyfriend which mechanical devices cause ear-splitting noises (he has insomnia and every morning she accidentally wakes him in very loud ways, eg., she burns the toast, thus setting off the smoke detector; she drops a metal spoon down the garbage disposal unit). When she is pursued by a murderer she uses a fire alarm, an alarm/sprinkler system, and a stereo turned on full blast to mask the sounds of her movements as she attempts to hide. Jillian and her boyfriend survive, she learns about sound, her boyfriend learns about deafness, and she teaches him the sign for orgasm. Life is good! The potential comic aspects of deafness may seem in this day and age to be shockingly politically incorrect. While the slapstick aspect is often innocent and means no overt harm or insult to the Deaf as a population, deafness functions as the visual banana peel over which the characters figuratively stumble in the plot. The film, See No Evil, Hear No Evil (1989), pairing Gene Wilder with Richard Pryor as deaf and blind respectively, is a constant sight gag of lip-reading miscues and lack-of-sight gags. Wilder can speak, and is able to speech read almost perfectly, almost all of the time (a stereotype often perpetuated in films). It is mind-boggling to imagine the detail of the choreography required for the two actors to convince the audience of their authenticity. Other films in this category include: Suspect It’s a Wonderful Life Murder by Death Huck Finn One Flew over the Cuckoo’s NestThe Shop on Main StreetRead My Lips The Quiet Deaf Characters as Protagonist Informants Often a deaf character’s primary function to the story is to give the audience more information about, or form more of an affinity with, the hearing protagonist. The deaf character may be fascinating in his or her own right, but generally the deafness is a marginal point of interest. Audience attitudes about the hearing characters are affected because of their previous or present involvement with deaf individuals. This representation of deafness seems to provide a window into audience understanding and appreciation of the protagonist. More inferences can be made about the hearing person and provides one possible explanation for what ensues. It is a subtle, almost subliminal trick. There are several effective examples of this approach. In Gas, Food, Lodging (1992), Shade discovers that tough-guy Javier’s mother is deaf. He introduces Shade to his mother by simple signs and finger-spelling. They all proceed to visit and dance together (mom feels the vibrations on the floor). The audience is drawn to feel ‘Wow! Javier is a sensitive kid who has grown up with a beautiful, exotic, deaf mother!’ The 1977 film, Looking for Mr. Goodbar presents film-goers with Theresa, a confused young woman living a double life. By day, she is a teacher of deaf children. Her professor in the Teacher of the Deaf program even likens their vocation to ‘touching God’. But by night she cruises bars and engages in promiscuous sexual activity. The film shows how her fledgling use of signs begins to express her innermost desires, as well as her ability to communicate and reach out to her students. Other films in this category include: Miracle on 34th Street (1994 version)Nashville (1975, dir. Robert Altman)The Family StoneGrand CanyonThere Will Be Blood Deaf Characters as a Parallel to the Protagonist I Don’t Want to Talk about It (1993) from Argentina, uses a deaf character to establish an implied parallel story line to the main hearing character. Charlotte, a dwarf, is friends with Reanalde, who is deaf. The audience sees them in the first moments of the film when they are little girls together. Reanalde’s mother attempts to commiserate with Charlotte’s mother, establishing a simultaneous but unseen story line somewhere else in town over the course of the story. The setting is Argentina during the 1930s, and the viewer can assume that disability awareness is fairly minimal at the time. Without having seen Charlotte’s deaf counterpart, the audience still knows that her story has contained similar struggles for ‘normalcy’ and acceptance. Near the conclusion of the film, there is one more glimpse of Reanalde, when she catches the bridal bouquet at Charlotte’s wedding. While having been privy to Charlotte’s experiences all along, we can only conjecture as to what Reanalde’s life has been. Sign Language as ‘Hero’ The power of language, and one’s calculated use of language as a means of escape from a potentially deadly situation, is shown in The River Wild (1996). The reason that any of the hearing characters knows sign language is that Gail, the protagonist, has a deaf father. Victor appears primarily to allow the audience to see his daughter and grandson sign with him. The mother, father, and son are able to communicate surreptitiously and get themselves out of a dangerous predicament. Signing takes an iconic form when the signs BOAT, LEFT, I-LOVE-YOU are drawn on a log suspended over the river as a message to Gail so that she knows where to steer the boat, and that her husband is still alive. The unique nature of sign language saves the day– silently and subtly produced, right under the bad guys’ noses! Stories about Deaf/Hearing Relationships Because of increased awareness and acceptance of deafness, it may be tempting to assume that growing up deaf or having any kind of relationship with a deaf individual may not pose too much of a challenge. Captioning and subtitling are ubiquitous in the USA now, as is the inclusion of interpreters on stages at public events. Since the inception of USA Public Law 94-142 and section 504 in 1974, more deaf children are ‘mainstreamed’ into public schools than ever before. The Americans with Disabilities Act was passed in 1993, opening the doors in the US for more access, more job opportunities, more inclusion. These are the external manifestations of acceptance that most viewers with no personal exposure to deafness may see in the public domain. The nuts and bolts of growing up deaf, navigating through opposing philosophical theories regarding deaf education, and dealing with parents, siblings, and peers who can’t communicate, all serve to form foundational experiences which an audience rarely witnesses. Children of a Lesser God (1986), uses the character of James Leeds to provide simultaneous voiced translations of the deaf student Sarah’s comments. The audience is ushered into the world of disparate philosophies of deaf education, a controversy of which general audiences may not have been previously unaware. At the core of James and Sarah’s struggle is his inability to accept that she is complete as she is, as a signing not speaking deaf person. Whether a full reconciliation is possible remains to be seen. The esteemed teacher of the deaf must allow himself to be taught by the deaf. Other films in this category include: Johnny Belinda (1949, 1982)Mr. Holland’s OpusBeyond SilenceThe Good ShepherdCompensation A Normal Guy-or-Gal-Who-Just-Happens-to-Be-Deaf The greatest measure of equality is to be accepted on one's own merits, with no special attention to differences or deviations from whatever is deemed ‘the norm.’ In this category, the audience sees the seemingly incidental inclusion of a deaf or hearing-impaired person in the casting. A sleeper movie titled Crazy Moon (1986) is an effective example. Brooks is a shy, eccentric young hearing man who needs who needs to change his life. Vanessa is deaf and works as a clerk in a shop while takes speech lessons. She possesses a joie de vivre that Brooks admires and wishes to emulate. When comparing the way they interact with the world, it is apparent that Brooks is the one who is handicapped. Other films in this category include: Sympathy for Mr. Vengeance (South Korea, 1992)Liar, LiarRequiem for a DreamKung Fu HustleBangkok DangerousThe Family StoneDeafness as a Psychosomatic Response to Trauma Literature about psychosomatic illnesses enumerates many disconcerting and disruptive physiological responses. However, rarely is there a PTSD response as profound as complete blockage of one of the five senses, ie; becoming deaf as a result of a traumatic incident. But it makes great copy, and provides a convenient explanation as to why an actor needn't learn sign language! The rock group The Who recorded Tommy in 1968, inaugurating an exciting and groundbreaking new musical genre – the rock opera. The film adaptation, directed by Ken Russell, was released in 1975. In an ironic twist for a rock extravaganza, the hero of the story is a ‘deaf, dumb, and blind kid.’ Tommy Johnson becomes deaf when he witnesses the murder of his father at the hands of his step-father and complicit mother. From that moment on, he is deaf and blind. When he grows up, he establishes a cult religion of inner vision and self-discovery. Another film in this category is Psych Out. Deafness as a Metaphor Hearing loss does not necessarily mean complete deafness and/or lack of vocalization. Yet, the general public tends to assume that there is utter silence, complete muteness, and the inability to verbalize anything at all. These assumptions provide a rich breeding ground for a deaf character to personify isolation, disenfranchisement, and/or avoidance of the harsher side of life. The deafness of a character can also serve as a hearing character’s nemesis. Mr. Holland’s Opus (1995) chronicles much of the adult life of a beleaguered man named Glenn Holland whose fondest dream is to compose a grand piece of orchestral music. To make ends meet he must teach band and orchestra to apparently disinterested and often untalented students in a public school. His golden son (named Cole, in honor of the jazz great John Coltrane) is discovered to be deaf. Glenn’s music can’t be born, and now his son is born without music. He will never be able to share his passion with his child. He learns just a little bit of sign, is dismissive of the boy’s dreams, and drifts further away from his family to settle into a puddle of bitterness, regrets, and unfulfilled desires. John Lennon’s death provides the catalyst for Cole’s confrontation with Glenn, forcing the father to understand that the gulf between them is an artificial one, perpetuated by the unwillingness to try. Any other disability could not have had the same effect in this story. Other films in this category include: Ramblin’ RoseBabelThe Heart Is a Lonely HunterA Code Unkown Deafness as a Symbolic Commentary on Society Sometimes films show deafness in a different country, during another era, and audiences receive a fictionalized representation of what life might have been like before these more enlightened times. The inability to hear and/or speak can also represent the more generalized powerlessness that a culture or a society’s disenfranchised experience. The Chinese masterpiece To Live (1994) provides historical and political reasons for Fenxi’s deafness—her father was a political prisoner whose prolonged absence brought hardship and untended illness. Later, the chaotic political situation which resulted in a lack of qualified doctors led to her death. In between these scenes the audience sees how her parents arrange a marriage with another ‘handicapped’ comrade of the town. Those citizens deemed to be crippled or outcast have different overt rights and treatment. The 1996 film Illtown presents the character of a very young teenage boy to represent the powerlessness of youth in America. David has absolutely no say in where he can live, with whom he can live, and the decisions made all around him. When he is apprehended after a stolen car chase, his frustration at his and all of his generation’s predicament in the face of a crumbling world is pounded out on the steering wheel as the police cars circle him. He is caged, and without the ability to communicate. Were he to have a voice, the overall sense of the film and his situation is that he would be misunderstood anyway. Other films in this category include: Stille Liebe (Germany)RidiculeIn the Company of Men Let Your Fingers Do the ‘Talking’ I use this heading to describe films where sign language is used by a deaf character to express something that a main hearing character can’t (or won’t) self-generate. It is a clever device which employs a silent language to create a communication symbiosis: Someone asks a hearing person who knows sign what that deaf person just said, and the hearing person must voice what he or she truly feels, and yet is unable to express voluntarily. The deaf person is capable of expressing the feeling, but must rely upon the hearing person to disseminate the message. And so, the words do emanate from the mouth of the person who means them, albeit self-consciously, unwillingly. Jerry Maguire (1996) provides a signed foreshadowing of character metamorphosis and development, which is then voiced for the hearing audience. Jerry and Dorothy have just met, resigned from their jobs in solidarity and rebellion, and then step into an elevator to begin a new phase of their lives. Their body language identifies them as separate, disconnected, and heavily emotionally fortified. An amorous deaf couple enters the elevator and Dorothy translates the deaf man’s signs as, ‘You complete me.’ The sentiment is strong and a glaring contrast to Jerry and Dorothy’s present dynamic. In the end, Jerry repeats this exact phrase to her, and means it with all his heart. We are all made aware of just how far they have traveled emotionally. They have become the couple in the elevator. Other films in this category include: Four Weddings and a FuneralKnowing Conclusion This has been a cursory glance at examining the narrative raison d’etre for the presence of a deaf character in story lines where no discussion of deafness is articulated. A film’s plot may necessitate hearing-impairment or deafness to successfully execute certain gimmickry, provide a sense of danger, or relational tension. The underlying themes and motifs may revolve around loneliness, alienation, or outwardly imposed solitude. The character may have a subconscious desire to literally shut out the world of sound. The properties of sign language itself can be exploited for subtle, undetectable conversations to assure the safety of hearing characters. Deaf people have lived during all times, in all places, and historical films can portray a slice of what their lives may have been like. I hope readers will become more aware of deaf characters on the screen, and formulate more theories as to where they fit in the literary/narrative schema. ReferencesMaltin, Leonard. Leonard Maltin’s 2009 Movie Guide. Penguin Group, 2008.Shuchman, John S. Hollywood Speaks. Urbana and Chicago: University of Illinois Press, 1988. Filmography Babel. Dir. Alejandro Gonzalez Inarritu. Central Films, 2006. DVD. Bangkok Dangerous. Dir. Pang Brothers. Film Bangkok, 1999. VHS. Beyond Silence. Dir. Caroline Link. Miramax Films, 1998. DVD. Children of a Lesser God. Dir. Randa Haines. Paramount Pictures, 1985. DVD. A Code Unknown. Dir. Michael Heneke. MK2 Editions, 2000. DVD. Compensation. Dir. Zeinabu Irene Davis. Wimmin with a Mission Productions, 1999. VHS. Crazy Moon. Dir. Allan Eastman. Allegro Films, 1987. VHS. The Family Stone. Dir. Mike Bezucha. 20th Century Fox, 2005. DVD. Four Weddings and a Funeral. Dir. Mike Newell. Polygram Film Entertainment, 1994. DVD. Gas, Food, Lodging. Dir. Allison Anders. IRS Media, 1992. DVD. The Good Shepherd. Dir. Robert De Niro. Morgan Creek, TriBeCa Productions, American Zoetrope, 2006. DVD. Grand Canyon. Dir. Lawrence Kasdan, Meg Kasdan. 20th Century Fox, 1991. DVD. Hear No Evil. Dir. Robert Greenwald. 20th Century Fox, 1993. DVD. The Heart Is a Lonely Hunter. Dir. Robert Ellis Miller. Warner Brothers, 1968. DVD. Huck Finn. Stephen Sommers. Walt Disney Pictures, 1993. VHS. I Don’t Want to Talk about It. Dir. Maria Luisa Bemberg. Mojame Productions, 1994. DVD. Knowing. Dir. Alex Proyas. Escape Artists, 2009. DVD. Illtown. Dir. Nick Gomez. 1998. VHS. In the Company of Men. Dir. Neil LaBute. Alliance Atlantis Communications,1997. DVD. It’s a Wonderful Life. Dir. Frank Capra. RKO Pictures, 1947. DVD. Jerry Maguire. Dir. Cameron Crowe. TriSTar Pictures, 1996. DVD. Johnny Belinda. Dir. Jean Nagalesco. Warner Brothers Pictures, 1948. DVD. Kung Fu Hustle. Dir. Stephen Chow. Film Production Asia, 2004. DVD. Liar, Liar. Dir. Tom Shadyac. Universal Pictures, 1997. DVD. Looking for Mr. Goodbar. Dir. Richard Brooks. Paramount Miracle on 34th Street. Dir. Les Mayfield. 20th Century Fox, 1994. DVD. Mr. Holland’s Opus. Dir. Stephen Hereck. Hollywood Pictures, 1996. DVD Murder by Death. Dir. Robert Moore. Columbia Pictures, 1976. VHS. Nashville. Dir. Robert Altman. Paramount Pictures, 1975. DVD. One Flew over the Cuckoo’s Nest. Dir. Milos Forman. United Artists, 1975. DVD. The Perfect Circle. Dir. Ademir Kenovic. 1997. DVD. Psych Out. Dir. Richard Rush. American International Pictures, 1968. DVD. The Quiet. Dir. Jamie Babbit. Sony Pictures Classics, 2005. DVD. Ramblin’ Rose. Dir. Martha Coolidge. Carolco Pictures, 1991. DVD. Read My Lips. Dir. Jacques Audiard. Panthe Films, 2001. DVD. Requiem for a Dream. Dir. Darren Aronofsky. Artisan Entertainment, 2000. DVD. Ridicule. Dir. Patrice Laconte. Miramax Films, 1996. DVD. The River Wild. Dir. Curtis Hanson. Universal Pictures, 1995. DVD. See No Evil, Hear No Evil. Dir. Arthur Hiller. TriSTar Pictures,1989. DVD. The Shop on Main Street. Dir. Jan Kadar, Elmar Klos. Barrandov Film Studio, 1965. VHS. Stille Liebe. Dir. Christoph Schaub. T and C Film AG, 2001. DVD. Suspect. Dir. Peter Yates. Tri-Star Pictures, 1987. DVD. Sympathy for Mr. Vengeance. Dir. Park Chan-wook. CJ Entertainments, Tartan Films, 2002. DVD. There Will Be Blood. Dir. Paul Thomas Anderson. Paramount Vantage, Miramax Films, 2007. DVD. To Live. Dir. Zhang Yimou. Shanghai Film Studio and ERA International, 1994. DVD. What the Bleep Do We Know?. Dir. Willam Arntz, Betsy Chasse, Mark Vicente. Roadside Attractions, 2004. DVD.