Articles de revues sur le sujet « Doorway area »

IntroductionFreezing of gait (FOG) in Parkinson’s disease (PD) is a disabling symptom of advanced PD and is frequently triggered upon passing through narrow spaces such as doorways.1 Despite being common, the mechanisms underlying this phenomenon are poorly understood. We have previously shown that increased footstep latency in a virtual reality (VR) environment is a surrogate measure of FOG.2 In this study we aimed to model doorway freezing utilising the VR paradigm in conjunction with functional magnetic resonance imaging (fMRI) to determine the neural correlates of this phenomenon.MethodsIn our study, nineteen patients who routinely experience FOG performed a previously validated VR gait paradigm3 where they used foot-pedals to navigate a series of doorways. Patients underwent testing randomised between both their ‘ON’ and ‘OFF’ medication states. Task performance in conjunction with blood oxygenation level dependent signal changes were compared within each patient.ResultsWe were able to reproduce the finding that patients in the OFF state demonstrated significantly longer ‘footstep’ latencies as they passed through a doorway in the VR environment compared to the ON state. As seen clinically with FOG this locomotive delay was primarily triggered by narrow doorways rather than wide doorways. fMRI analysis revealed that doorway-provoked footstep delay was associated with selective hypoactivation in the pre-supplementary motor area (pSMA) bilaterally. Task-based functional connectivity analyses showed that this delay was inversely correlated with the degree of functional connectivity between the pSMA and the subthalamic nucleus (STN) across both hemispheres. Furthermore, increased frequency of prolonged footstep latency was associated with increased connectivity between the bilateral STN.ConclusionThese findings suggest that the effect of environmental cues on triggering FOG reflects a degree of impaired processing within the pSMA and disrupted signalling between the pSMA and STN, thus implicating the ‘hyperdirect’ pathway in the generation of this phenomenon.References. Giladi N, Treves TA, Simon ES, Shabtai H, Orlov Y, Kandinov B, Paleacu D, Korczyn AD. Freezing of gait in patients with advanced Parkinson’s disease. J Neural Transm (Vienna)2001;108:53–61.. Matar E, Shine JM, Naismith SL, Lewis SJ.Virtual realitywalking and dopamine: opening new doorways to understanding freezing of gait in Parkinson’s disease. J Neurol Sci 2014;344:182–5.. Shine JM, Matar E, Bolitho SJ, Dilda V, Morris TR, Naismith SL, Moore ST, Lewis SJ. Modelling freezing of gait in Parkinson’s disease with a virtual reality paradigm. Gait Posture2013;38:104–8.

Abstract: Contactless Doorway Security System for Remote Monitoring and Control the usage of ESP32-CAM and a Cloud Server”. People need protection in every place viable while they’re into their houses or far from their houses. An anti-robbery device is a tool or approach used to save you or deter unauthorized intrusion or trespassing hobby in its insurance area. The carried-out device changed into evolved in a mixture of hardware and software. It’s a completely unique protection device made with low-value wi-fi digital digicam and sensors which ensured far-flung tracking and manipulate of doorways. The device empowered the consumer to screen the entrance by taking pictures of the usage of a high-performance wi-fi digital digicam i.e. ESP32-CAM connecting different gadgets and sensors in an IoT network. For different duties like manipulating digital door lock remotely, to click on greater pix, in addition, to get notifications a cloud server application „Blynk‟ changed into used over the clever-phone. A fundamental project changed into to expand this dynamic The Project suggested right here in and titled “Design & Implementation of an IoT Networked. Keywords: ESP32-CAM, Camera, IoT, Cloud, Blynk, Security, etc.

The forum in this issue, reflecting on the problematics of the relationship between anthropology and law, as a timely focus is also indicative of how these debates revolve around disciplinary and cross-disciplinary issues. That such co-presence of anthropology and law, incorporating research in informal and formal settings, various kinds of collaboration and, in some instances, sceptical views about its value, continues to merit close attention also signals how views of differences animate a well-populated and extended field. The concerns are often articulated around an epistemic divide between anthropology and law, and allow for questioning both within and across disciplinary areas, even as much is made of the richness of an ethnographic approach to law alongside other methods and analyses, as indicated. Lawrence Rosen, in his response to the commentators in the forum, notes ‘our special area of interest is actually a great doorway into many key issues for both disciplines’, as he identifies the spaces where it is incumbent for anthropologists to act to address these cross-disciplinary challenges.

Above the entrance doorway at Carnasserie Castle in mid-Argyll there is a finely carved panel containing the coat of arms of Archibald Campbell, fifth Earl of Argyll, and his first wife, Lady Jean Stewart. Along the foot of the panel, in the script employed in Gaelic manuscripts, there is a motto which reads: ‘DIA LE UA NDUIBH[N]E’ or ‘God be with Ó Duibhne.’ The designation Ó Duibhne referred to the fifth Earl of Argyll as chief of Clan Campbell. The inscription and its setting provide a perfect illustration of the different cultures and traditions which the fifth Earl combined in his personal and public life and permitted him to be both a Protestant earl and a godly Gael. The short Gaelic phrase of the motto was the first post-Reformation inscription within the Gaidhealtachd or Gaelic-speaking area, which covered the Highlands and Islands of Scotland.

Smart Water Level Indicator The Water Level Indicator is beneficial to the public, especially to residents living in rivers. This technology can provide early warnings to residents when the water level is occupying a dangerous level and facilitates workers who control the dam of the river. This technology can alert early through sirens and notifications / messages via smartphones as well as to the river dashboard controllers capable of controlling water gates through their smartphones. The worker who controls the dam of this river no longer needs to go back to the dam's door control house to open the water dam door. Workers who are in charge of controlling dam need to stand in one place only to open their smartphones and control the dam's doorway using the fingertips. To the people living in the river, they do not have to worry about the floods that will happen in their area. They will get an early warning about the flood at any time even when they are sleeping. They will get the warning via notification on their smartphone and siren is places in a certain area to produce a loud noise so that residents can be prepared to face the disaster. It is expect that the Water Level Indicator is able to take a step further and can be use as best as possible and can help the local community

Purpose The purpose of this paper is to explore the application of a profit and loss sharing approach to tax increment financing (TIF) districts in the USA. Design/methodology/approach A survey based on this approach was distributed to representatives of community redevelopment authorities (CRAs) in the State of Florida to ascertain practitioner feedback. Findings Although a majority of the respondents did not feel it was possible for political, economic and legal reasons, some did feel that it was a practical, reasonable and sustainable approach to financing projects for economic development. Some responses were correlated, with others indicating that certain beliefs framed their answers to the questions. Research limitations/implications The surveys were only distributed to CRAs in the State of Florida. Future research will need to include other CRAs in other states to make the findings more generalizable. In addition, the results are merely descriptive and are not an assessment of a successful application. Practical implications The need for more development in blighted areas of many cities across the USA will put emphasis on innovative approaches in financing this. The growth of Islamic finance in the USA and the regulatory framework for it might open a doorway for its application in this area. Originality/value This is the first attempt to apply an Islamic financing methodology to local economic development in the USA, with practitioner feedback.

The historical monuments in Iranian architecture are the proof of the rich and practical experience in creating successful architecture and urban planning collections aiming the sense of place. Considering proper distance between components and making appropriate volume combinations so-called joints are few experiences achieved through this context. This is a far-reaching and comprehensive topic that brings valuable lessons in various architecture and urbanism fields so it is necessary to focus more on this subject. Although collected and reliable research in this area does not exist, but a diffused remarks about the role and the effect of considering this issue in some author’s points of view can be found that have been used in this study.Using this concept allegorically in architecture may be practical in various ways so that one can refer to its different types in functional field of articulates such as access, indoor-outdoor, full and blank spaces, and constructional field in material and structural articulates .This research is aimed to study the connected and interstitial spaces especially the forecourt (the open area at the front of the doorway) in order to distinguish the interstitial spaces from other spaces. With the help of this research which the data collection method was through library and field, we can conclude that the forecourt is a sort of dialogue between the visitors and the monument and the monument to the monument itself which try to provide a proper platform to the audiences and visitors and, moreover, the amount of the ornaments and its elements is related to the social, economic and cultural situation of the residents.

This paper examines the immediate response behavior of Los Angeles County residents to the October 1, 1987 Whittier Narrows earthquake. Drawing on both social science disaster research literature and occupant behavior studies, the authors consider various situational, demographic and socioeconomic variables as potential correlates of actions taken by individuals and families in response to the earthquake which measured 5.9 in magnitude. Survey data were obtained from 690 residents of the county, 191 in a pre-designated high impact area which included the City of Whittier and the immediate area and 499 persons selected at random from the remainder of the county. It was discovered that taking cover in a doorway, hall or under furniture was the modal response for people who were at home or work as was pulling to the side of the road and stopping for those driving on a road or highway. Among those who were at home at 7:42 a.m. when the earthquake struck, fear, the presence and identity of other people and gender were found to be associated with response actions. At work, response behavior was related to fear, ethnicity and the presence of others. The impact of fear on the propensity to take cover both at work and at home appeared to be amplified by several vuriables some of which had no significant bivariate relationship with taking cover. The authors conclude that the findings of this study are consistent with the generalization from the literature that behavior in a rapid onset disaster is controlled, rational and adaptive.

Electronic system is the doorway to fast and efficient transactions in most of our daily undertakings today. Such transactions cover quality output for a huge majority of businesses, society and institutions that include state universities and colleges. This study aimed to determine the level of effectiveness of electronic Individual Performance Commitment and Review (e-IPCR) system that was developed, tested and implemented as a tool of managing faculty performance evaluation for the Ramon Magsaysay Technological University Zambales (RMTU). It was also designed to assess the user’s level of acceptability for continuously adopting the system and determine what additional features are to be integrated in the system for enhancement. This study made use of the causal comparative descriptive research to determine the cause of differences that already exist between or among group of individuals. This involved two groups of respondents: 1) The college deans and 2) faculty of the RMTU. The groups were selected using purposive sampling technique. The De Lone and McLean Success Models were used as bases for system effectiveness measurement-- information quality, system quality, service quality, intention to use, user satisfaction, and net benefits. The study revealed that e-IPCR System that was developed, tested and implemented for RMTU is “Effective” in terms of Information Quality, Systems Quality, Service Quality, Intention to Use, User Satisfaction and Net Benefits; and the user’s level of acceptability to continually adopt the system is described as “Acceptable” using the same, system with database working on Local Area Networks ranked as the top preference and priority of the user for integration in the system.

Intervertebral foramen is the doorway of nerve root and it plays an important role of radiculopathy and surgical treatment of intervertebral foramen diseases. The purpose of the study is to obtain three-dimensional (3D) morphological characteristics of lumbar intervertebral foramen and their relationship with age. Pedicle-superior articular process (P-SAP), disc height between adjacent vertebra (DH), pedicle-inferior vertebrae (P-IV), inferior posterior vertebrae-superior articular process (IPV-SAP), and bony boundary area (BBA) were measured in entrance, middle slice, and exit of lumbar intervertebral foramen for 25 males of different age groups. Spinous process to intervertebral foramen entrance (SP-IFE) was measured for 25 males of different age groups. Overall, P-SAP and P-IV decreased and IPV-SAP increased from the entrance to the exit of intervertebral foramen for L3/4-L5S1. DH decreased at entrance slice, middle slice, and exit slice for L3/4-L5S1 with age. Significant difference with aging was found only at the middle slice of L3/4 and L4/5 for P-SAP. And the significant decrease of IPV-SAP was observed at middle slice of L3/4, entrance slice of L4/5 and L5S1, and exit slice of L5S1. SP-IFE is not consistent for all subjects. In addition, the decrease of BBA at L3/4 and L4/5 was observed earlier than at L5S1. The present study described detailed information of intervertebral foramen, which may be of benefit for better understanding of the pathology and surgical planning for intervertebral foramen diseases.

AbstractTwo experiments were conducted to compare the performance and behaviour of lactating sows and piglets in farrowing pens with crates or multisuckling systems (group housing of sows and piglets in the second half of lactation). All sows were farrowed in commercial accommodation based on farrowing pens with crates. In experiment 1, fifteen purebred Landrace or Large White sows and litters were recorded in crates as a control (C). Three replicates of six sows and litters were recorded in a multisuckling system (M) in which the sows and litters were group-housed from 2 weeks after farrowing until weaning. Experiment 2 involved 30 Manor Meishan sows (0·25 Meishan genes). The sows and litters were arranged into three treatments and two replicates with five sows and litters in each group. Treatments comprised a control farrowing pen with crate system and two multisuckling systems differing in degree of accessibility of the piglet creep area. Multisuckling 1 (Ml) had a solid creep front with an open doorway (0·5 X 0·9 m) for piglet access. In multisuckling 2 (Ml), the lower 30 cm of the solid creep front was removed to facilitate piglet access and allow visual contact with the sows. Piglets were weaned at 31 days in experiment 1 and 29 days in experiment 2. After weaning, piglets were moved to controiled-environment, fully slatted accommodation and monitored for 7 days in experiment 1 and for 12 days in experiment 2. Mortality rate in the two systems was not significantly different. However, some piglets in the M system were crushed after grouping (0·3 and 0·2 piglets per litter in experiments 1 and 2, respectively). Growth rate was reduced in M piglets in the week after grouping (256, 184 (s.e.d. 21·4) g/day, P < 0·01 for C and M respectively in experiment 1 and 243, 150 and 209 (s.e.d. 12·2) g/day, P < 0·01 for C, Ml and Ml respectively in experiment 2) but was higher after weaning (271, 313 (s.e.d. 35·7) g/day, P > 0·05 for C and M respectively in experiment 1 and 148, 280 and 222 (s.e.d. 15·0) g/day, P < 0·01 for C, Ml and Ml respectively in experiment 2). In consequence, piglet live weight at 1 week after weaning did not differ between treatments (9·33, 9·74 (s.e.d. 0·36) kg for C and M respectively in experiment 1 and 9·30, 914 and 9·53 (s.e.d. Oil) kg for C, Ml and Ml respectively in experiment 2). Sucking behaviour of M piglets in both experiments was severely disrupted (P < 0·01) on the day of grouping and the day after grouping. Despite synchronized suckling, M litters had a high incidence of cross suckling (> 50%) throughout lactation. M piglets spent more time than C outside the creep area, even with a more open creep (Ml). The Meishan sows tended to be more docile and fought less at grouping than the white breeds (0·39 and 1-71 fights per sow per h). Immediately after weaning, C piglets spent more time fighting (8·0 and 1·0 (s.e.d. 0·99) % of time, P < 0·01 for C and M respectively in experiment 1 and 4·51, 0·09 and 0·09 (s.e.d. 019) % of time, P < 0·01 for C, Ml and M2 respectively in experiment 2). These studies demonstrate that, in a multisuckling system, piglets achieved similar overall growth rate to C piglets, since both received checks in growth at different times and for different reasons.

AbstractPhnom Rung was a Khmer-style Hindu temple complex. It was built in sandstone and laterite on the rim of an extinct volcano between the 10th and 13th centuries. At the beginning, the sanctuary was built as a dedication to Shiva. Following the abandonment of Phnom Rung (which was unrecorded) the sanctuary fell into ruin, and it was not until 1971 that it was restored using anastylosis. Phnom Rung Historical Park, along with the other temples Phimai and Muang Tum, have been on the tentative list for UNESCO World Heritage since 2004.Walking from the eastern side (front) to the western side of Phnom Rung takes the visitor through 15 doorways—those of the inner cloisters, the annex, the principal tower, and the inner sanctum. The centers of these doorways are perfectly aligned, with an azimuth of 84.5°. Every year thousands of people from Thailand and around the world travel to Phnom Rung to see the sun rising through its all of its 15 doorways. This event happens only twice a year, at the beginning of April and the beginning of September. Sunsets can also be seen through the doorways, in March and October. Each pair of sunrise-sunset events is separated by one lunar month.The possible meaning of this event has been investigated by both archaeologists and astronomers. Nothing is recorded about sunrise or sunset among the inscriptions at the site. Another issue is that the many and various structures remain within the complex, showing that constructions in this area spanned several centuries. However, it seems that the overall layout did have a significance, both astronomical and religious.

This essay will discuss two areas of interest developed by Marius Buning that point towards doorways within Beckett studies: the idea of allegory, and the idea of the . It will consider how these two ideas might be thought to interrelate and open new insights in the field.

The purpose of this paper was to examine, through the use of quantitative research and a comparative literature review, the incidence of patient falls, particularly among the elderly, within a healthcare facility. Patient incident reports revealed the presence of environmental and patient conditions which appeared related to the occurrence of such accidents. Among these were fall location, associated patient activity, equipment, patient environmental orientation, mental status and time of day. Design improvements in the following areas were suggested: door “hold-open” devices, floor surface, equipment mobility, footwear design, nursing supervision, patient mental and physical assessment, lighting, environmental markings, and doorway and furniture design.

ABSTRAK Pasuruan dikenal sebagai kawasan perindustrian karena banyak industri bertaraf nasional ataupun internasional. Tetapi, dampak negatif dari pembangunan kawasan industri adalah limbah industri. Tidak semua limbah industri tidak bermanfaat. Limbah industri konveksi dapat dimanfaatkan untuk bahan baku keset. Pengrajin keset yang memanfaatkan limbah konveksi adalah kelompok usaha “Sukoda Unggul” dan “Damarjati Maslahat” yang terletak di Desa Karangrejo, Kecamatan Purwosari, Pasuruan. Berdasarkan analisis situasi, permasalahan yang dihadapi kedua mitra adalah: a) Produktivitas rendah, sedangkan permintaan pasar tinggi. b) Kekurangan alat produksi, berupa mesin jahit jahit dan mesin bordir. c) Desain keset masih standart. d) Kontrak pembelian bahan baku (minimal 50 juta). Tujuan dari pengabdian ini adalah: a) Meningkatkan produksi keset kedua mitra melalui penambahan mesin jahit dan mesin bordir, b) Meningkatkan produktivitas, c) Menjalin kerjasama dengan lembaga keuangan yang dapat memberikan pinjaman modal. Metode yang digunakan dalam program ini adalah diskusi, pelatihan, dan pendampingan. Hasil yang diperoleh dari pelaksanaan pengabdian ini adalah : a) Pemberian alat produksi berupa mesin jahit dan mesin bordir. b) Meningkatnya produksi keset dari 15 kodi menjadi 20 kodi per hari, c) Terbentuknya kelompok pengrajin keset untuk bekerjasama dalam pembelian barang baku, d) Menjalin kerjasama dengan BPR Keraton Surapati, Purwosari, Pasuruan. Kata kunci : Keset, Pengrajin, Karangrejo, Pasuruan ABSTRACTPasuruan is known as an industrial area because there are many industries in that area, both national and international based industries. However, there are some negative impact from the development of this industrial area, such as industrial waste. Not all industrial waste is useless. Industrial waste from convection can be used as the raw material for doormats. Doormat craftsmen who use the waste from convection are the home industrial groups “Sukoda Unggul” and “Damarjati Maslahat”, which are located in Desa Karangrejo, Kecamatan Purwosari, Pasuruan. Based on the situational analysis, the problems faced by both partners are: a) Low productivity, high demand. b) Lack of production tools, such as sewing machines and embroidery machines. c) Standard doormat design. d) Buying contract for raw material (50 million minimum). The aims of this community service are: a) To increase doormat production of both partners by adding sewing machines and embroidery machines, b) To increase productivity, c) To cooperate with financial institutions which can provide capital loan. The methods used in this program are discussion, training, and mentoring. The result obtained from this community service are: a) Granting some production tools, such as sewing machines and embroidery machines. b) Increasing doormat production from 300 pieces to 400 pieces per day, c) Forming doormat craftsmen group to cooperate in buying the raw material, d) Cooperating with BPR Keraton Surapati, Purwosari, Pasuruan. Keywords: Doormat, Craftsmen, Karangrejo, Pasuruan

Macroscopic conditions of the damage to RC building and coastal black pine tree in the 2011 Off the Pacific Coast of Tohoku Earthquake Tsunami are discussed through field surveys and field tests. Effects of RC building’s location and arrangement, submerged vertical section area in the tsunami inundation flow direction, ratio of the area of submerged windows and/or doorways to the area of submerged vertical wall on the side hit by the inundation flow (so-called, aperture ratio), and foundation piles on the damage condition of the building are examined. The damage condition of the coastal tree is also discussed from the viewpoints of the drag force and moment assessed using inundation flow velocity estimated by a simple method. Moreover, effects and limits of coastal woods on the tsunami energy and force reductions are illustrated through the field surveys.

<p>This paper describes results of a study evaluating the content, functionality and design features of an innovative online website called the Doorway to Research (http://rsc.acid.net.au/Main.aspx) , which was developed to support international graduate students studying at universities in Australia. First, the key features of the website are described. Second, the result of a pilot study involving 12 students and faculty members who tested key aspects of the design, content and functionality of the website and provided written and oral feedback base on task-based questions and focus group discussions are explored. Finally, recommendations for future development are presented. Results of the study indicate general student satisfaction with the website and its design, content and functionality, with specific areas identified for further development.</p>

The Cathedral of St. Étienne at Bourges, which Ribault justly styles “un chef d'oeuvre gothique” (a Gothic masterpiece), did not escape the Huguenot depredations of 1562. Especially vulnerable to the pikes and pry-bars of the Reformers were the choir screen in front of the main altar, the north and south doorways commemorating respectively Mary in Majesty and Christ in Majesty, and several areas of the West facade: the jamb statues (whose subjects are currently unknown), the spandrel sculptures under the dado that celebrated events of the Christian scriptures and of the book of Genesis, and the five extensively carved tympana dedicated from right to left as one faces them:

This report describes the excavation of two pits which had been dug into the natural rock, apparently in connection with the storage and perhaps original manufacture of plaster, in the space named after them the ‘Room of the Plaster Pits’. The pits were filled and covered in LM II, and the evidence for their date helps to bring the history of this part of the palace into clearer focus. The Room of the Plaster Pits may be the same as the elusive Lapidary's Workshop described by Evans in his Knossos report for 1901. It is suggested that the lack of observed floors or blocking walls in doorways separating deposits in this area makes it difficult to divide the vases assigned to LM III B here from tablets and seal impressions involved in the final destruction of the palace.

Lighting was an important element in the design and use of late antique housing. Daylight was channeled through windows and doorways, but important social activity also took place at dawn and after dark when artificial lighting was required, and commonly used. Modern IT techniques, particularly the use of ray-tracing, allow conclusions to be drawn about the way that lighting was used in houses. Lighting was used to create a ‘theatrical’ atmosphere during dinners. Blanket lighting of rooms was not available, and lighting was used to create areas of light and shade complementing the d袯r of the room. The distinction between male control of the house at night and female control during the day was also one between night time with artificial lighting, and daylight.

The range and distribution of mercury in soils at a decommissioned gas plant near Turner Valley, Alberta were investigated in order to facilitate risk assessment and the remediation and development of the site into a tourism area. Although high levels of Hg were thought to be present in some areas on the site, it was unclear whether the source of the Hg was industrial processes or from river deposition of HgS impurities after erosion of upstream sulfide deposits. Background Hg concentrations in undisturbed soils and surficial bedrock near the gas plant were also unknown. Mercury concentrations in surface soil material on the gas plant site were found to range up to 230 mg Hg kg−1 soil, with the highest concentrations found next to process building doorways. Investigation of Hg distribution with soil depth showed that levels were generally highest at the surface, dropping rapidly with depth to near background levels of 0.07 mg Hg kg−1 soil or lower. The highest Hg concentrations were associated with the clay fraction, which contained up to 2300 mg Hg kg−1 soil. The results are consistent with an anthropogenic source from spillage of elemental Hg contained in manometers and pressure monitoring devices used in plant buildings. Mercury concentrations at depth and in uncontaminated surface soils were similar to those reported by Dudas and Pawluk (1976) for surface soils formed in glacial and fluvial deposits elsewhere in Alberta. Key words: Mercury, contamination, soils, Turner Valley

The article is devoted to the study of the fire condition of a non-specialized car service, which is widespread mainly in agricultural areas. The assessment of compliance with the fire safety requirements of the protected object was carried out using a deterministic method and based on the calculation of fire risk. The calculation of the fire risk was carried out taking into account the absence of smoke protection at the facility and the non-compliance of the dimensions of doorways with the requirements of regulatory documents on fire safety. Calculations have shown that the value of an individual fire risk is 0,99∙10-7 per year, i.e. does not exceed the standard value (10-6 per year), established by Federal Law No. 123-FZ. Fire safety at the protected object is ensured.

BackgroundDespite the movement towards care in the community, 40% of the NHS budget on mental health care is still attributed to inpatient services. However, long before the Francis Report highlighted grave shortcomings in inpatient care, there were reports by service user groups on the poor quality of these services in mental health. The programme provides a particular focus on the inclusion of the patient’s perspective in the development and evaluation of evidence.ObjectivesTo understand how changes to inpatient care affect the perceptions of the ward by service users and staff by using stakeholder participatory methods.DesignThe programme consisted of four work packages (WPs). (1) Lasting Improvements for Acute Inpatient SEttings (LIAISE): using participatory methods we developed two new scales [Views On Therapeutic Environment (VOTE) for staff and Views On Inpatient CarE (VOICE) for service users]. (2) Client Services Receipt Inventory – Inpatient (CITRINE): working with nurses and service users we developed a health economic measure of the amount of contact service users have with staff. The self-report measure records interactions with staff as well as the number of therapeutic activities attended. (3) Delivering Opportunities for Recovery (DOORWAYS): a stepped-wedge randomised controlled trial to test if training ward nurses to deliver therapeutic group activities would improve the perception of the ward by service users and staff. A total of 16 wards were progressively randomised and we compared the VOICE, VOTE and CITRINE measures before and after the intervention. A total of 1108 service users and 539 staff participated in this trial. (4) Bringing Emergency TreatmenT to Early Resolution (BETTER PATHWAYS) was an observational study comparing two service systems. The first was a ‘triage’ system in which service users were admitted to the triage ward and then either transferred to their locality wards or discharged back into the community within 7 days. The second system was routine care. We collected data from 454 service users and 284 nurses on their perceptions of the wards.Main outcome measuresThe main outcomes for the DOORWAYS and BETTER project were service user and staff perceptions of the ward (VOICE and VOTE, respectively) and the health economic measure was CITRINE. All were developed in WPs 1 and 2.ResultsWe developed reliable and valid measures of (1) the perceptions of inpatient care from the perspectives of service users and nurses (VOICE and VOTE) and (2) costs of interactions that were valued by service users (CITRINE). In the DOORWAYS project, after adjusting for legal status, we found weak evidence for benefit (standardised effect of –0.18, 95% CI 0.38 improvement to 0.01 deterioration;p = 0.062). There was only a significant benefit for involuntary patients following the staff training (N582, standardised effect of –0.35, 95% CI –0.57 to –0.12;p = 0.002; interactionp-value 0.006). VOTE scores did not change over time (standardised effect size of 0.04, 95% CI –0.09 to 0.18;p = 0.54). We found no evidence of an improvement in cost-effectiveness (estimated effect of £33, 95% CI –£91 to £146;p = 0.602), but resource allocation did change towards patient-perceived meaningful contacts by an average of £12 (95% CI –£76 to £98;p = 0·774). There were no significant differences between the triage and routine models of admission in terms of better perceptions by service users (estimated effect 0.77-point improvement in VOICE score on the triage ward;p = 0.68) or nurses (estimated effect of 1.68-point deterioration in VOTE on the triage ward;p = 0.38) or in terms of the cost of the length of care provided (£391 higher on triage;p = 0.77).Strengths and limitationsWe have developed measures using methods involving both service users and staff from mental health services. The measures were developed specifically for acute inpatient services and, therefore, cannot be assumed to be useful for other services. For instance, extensions of the measures are under construction for use in mother and baby units. The strength of the BETTER PATHWAYS and DOORWAYS projects is the large-scale data collection. However, we were testing specific services based in inner city areas and stretching to inner urban areas. It may be that different effects would be found in more rural communities or in different types of inpatient care.Future workOur database will be used to develop an understanding of the mediating and moderating factors for improving care quality.Trial registrationCurrent Controlled Trials ISRCTN06545047.FundingThis project was funded by the NIHR Programme Grants for Applied Research programme and will be published in full inProgramme Grants for Applied Research; Vol. 6, No. 7. See the NIHR Journals Library website for further project information.

On February 25, 1990, an Iraqi SCUD missile exploded inside a building housing United States military personnel in Dhahran, Kingdom of Saudi Arabia. One hundred seventy-two individuals who were near the impact site at the time of the blast were interviewed and examined to determine blast injury to the ear. Tympanic membrane (TM) perforation was used as the clinical marker for aural blast injury. Thirty-four personnel had unilateral TM perforation and 28 had bilateral TM perforation. Eighty-six sustained sufficient injury to be hospitalized. Fifty-nine of hospitalized personnel (70%) had TM perforation. Of a total of 90 TM perforations, 39% were estimated to be 25% or less of the tympanic membrane surrface area, 36% were 26% to 50%, 16% were 51% to 75%, and 10% were greater than 75%. Morphology of the perforations and estimated proximity to the blast were documented. Personnel distant from the blast, in open doorways or wearing headphones, had relative protection from TM perforation. Historic nuclear blast data were used to estimate the SCUD blast waveform based on measurements of the SCUD impact crater. A mathematical model based on the estimated waveform was validated against the actual field data by comparing the proximity and incidence of TM perforations in the SCUD missile explosion.

The aggravation of environmental problems such as water scarcity and air pollution has called upon the need for a sustainable solution globally. Membrane technology, owing to its simplicity, sustainability, and cost-effectiveness, has emerged as one of the favorable technologies for water and air purification. Among all of the membrane configurations, hollow fiber membranes hold promise due to their outstanding packing density and ease of module assembly. Herein, this review systematically outlines the fundamentals of hollow fiber membranes, which comprise the structural analyses and phase inversion mechanism. Furthermore, illustrations of the latest advances in the fabrication of organic, inorganic, and composite hollow fiber membranes are presented. Key findings on the utilization of hollow fiber membranes in microfiltration (MF), nanofiltration (NF), reverse osmosis (RO), forward osmosis (FO), pervaporation, gas and vapor separation, membrane distillation, and membrane contactor are also reported. Moreover, the applications in nuclear waste treatment and biomedical fields such as hemodialysis and drug delivery are emphasized. Subsequently, the emerging R&D areas, precisely on green fabrication and modification techniques as well as sustainable materials for hollow fiber membranes, are highlighted. Last but not least, this review offers invigorating perspectives on the future directions for the design of next-generation hollow fiber membranes for various applications. As such, the comprehensive and critical insights gained in this review are anticipated to provide a new research doorway to stimulate the future development and optimization of hollow fiber membranes.

Low Back Pain (LBP) or low back pain is one of the complaints of MSDs (Musculoskeletal Disorders) which is often complained of by tailors. In industrialized countries, about 80 percent of the population has experienced LBP which often occurs at the age of 35 to 55 years. In Indonesia, based on the results of the 2018 Basic Health Research, the prevalence of musculoskeletal disease based on the diagnosis of health workers is 7.3%. One of the complementary methods that can be used to treat LBP pain is to use progressive muscle relaxation techniques. The purpose of this study was to determine the effect of progressive muscle relaxation therapy on reducing the LBP pain scale. The design of this study was a quasi-experimental design with Pre and Post Test Without Control. The research sample was doormat craftsmen at the UKK Majun Post at Citankil Health Center as many as 30 people. The results of the univariate analysis showed that the average LBP pain scale before the progressive muscle relaxation intervention was 6.79, while after the progressive muscle relaxation intervention the average LBP pain scale was 4.03. From the results of the bivariate analysis, it is known that there is an effect of progressive muscle relaxation on the LBP pain scale in doormat craftsmen at the UKK Majun Post, Citangkil Health Center Work Area, Cilegon City in 2021 (p value: 0.000). Researchers suggest that craftsmen maintain the progressive muscle relaxation method if they experience LBP pain in the future. In addition, for the UKK Pos management, it is recommended to work together with the Puskesmas to carry out regular health checks and provide education on preventing LBP pain to craftsmen. Keywords: low back pain, progressive muscle relaxation Keywords: low back pain, progressive muscle relaxation

Fennel (Foeniculum vulgareMill.) mature fruit (commonly known as seeds) and essential oil of fennel are widely used as flavoring agents in food products such as liqueurs, bread, cheese, and an ingredient of cosmetics and pharmaceutical products. Moreover fennel infusions are the classical decoction for nursing babies to prevent flatulence and colic spasm. Traditionally in Europe and Mediterranean areas fennel is used as antispasmodic, diuretic, anti-inflammatory, analgesic, secretomotor, secretolytic, galactagogue, eye lotion, and antioxidant remedy and integrator. Topically, fennel powder is used as a poultice for snake bites. In Asian cultures fennel was ingested to speed the elimination of poisons. As one of the ancient Saxon people's nine sacred herbs, fennel was credited with the power to cure. Fennel was also valued as a magic herb: in the Middle Ages it was draped over doorways on Midsummer's Eve to protect the household from evil spirits. Recently because of estragole carcinogenicity, fennel has been charged to be dangerous for humans especially if used as decoction for babies. But this allegation do not consider the remedy is prepared as a matrix of substances, and recent researches confirm that pure estragole is inactivated by many substance contained in the decoction.

Since the organization of the first international feminist strikes, Argentina’s feminist movement has used the method of the assembly to produce analyses of the relationship and interconnection between sexist violence and economic violence. As part of that political process, in May 2017, the feminist movement convened a mobilization, with the slogan “We Want Ourselves Alive, Free, and Debt Free” in the doorways of the Central Bank to denounce the process of massive indebtedness of domestic economies that occurred in parallel to the taking out of debt by the state. From that moment on, a form of fighting back against financialization and the invasion of finance into increasingly more areas of the reproduction of life emerged. Today the feminist movement is questioning access to rights through debt in the struggle against the end of social security extensions (which provided important benefits to housewives and other informally employed women) and in the processes of compulsory urbanization in the peripheries of Buenos Aires. This article seeks to account for the fabric of this political process and its innovative forms of weaving together resistance against the government of finance.

Reconstructing access patterns, in particular processional and liturgical movement in ceremonial architecture, can illuminate social processes within expansive states. Extensive excavations from 2010–2012 in the uniquely preserved Tiwanaku temple at the Omo M10 site in Moquegua, Peru (ca. AD 500–1100), shed new light on connectedness and access patterns of the temple. Extensive areal excavations confirm past interpretations of a central axial series of doorways and staircases presided over by stelae and U-shaped, altar-like structures leading from public plazas to the sunken court and a central shrine. However, new findings revealed separate lateral pathways through the structure, which suggest liturgical processions to walled patio groups that were isolated from the central axis. We posit that these small patios and their roofed chambers may have functioned as chapels for distinct groups or pluralistic cultic activities that were separate from those of the central axis. Implications for Tiwanaku social structure are studied in light of other examples of triple entryways in Tiwanaku monumental architecture, and Kolata's suggestion of “Taypi” as a structural amalgam of a center and complementary halves, with implications of mediation and bilateral complementarity between ethnicities, genders, moieties, or other pluralistic entities within Tiwanaku state and society.

Abstract Background Hand hygiene (HH) is the bedrock of infection prevention. Knowing the limitations of hand hygiene observers, Virginia Commonwealth University Health System invested in technology to remotely monitor health care workers’s (HCW) HH. Each hand sanitizer and soap dispenser in the patient care areas has a sensor, as well as each patient’s bed and each HCW. As the HCW moves around the environment, the sensors detect whether or not HH was performed for each opportunity. Methods While monitoring HH via observations, we compared the manual observations and the technologic hand hygiene observations. Results Of 31 witnessed and manually recorded HH observations, 30 were noted in the electronic system (96.7% correspondence). There was only one witnessed opportunity that the technology failed to capture, when the staff member was performing hand hygiene while standing in the doorway talking to the nurse inside the room. There were multiple missed opportunities for HH while in patient rooms, as defined by the WHO’s Five Moments. Conclusion There was excellent correspondence between the manual observations and the HH technology in this study. There is significant limitation in what an observer can do, while the HH technology will average around 35,000 ‘observations’ on a daily basis and is capable of capturing more of the 5 moments of HH. We have previously noted interference in the wireless technology in the healthcare environment. However, failure of providers to perform HH when indicated overshadow the failures of technology to capture HH that is performed. Better understanding of the indications for HH in accordance with the WHO 5 Moments may improve provider trust in the technology. Disclosures All Authors: No reported disclosures

The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.From the early building phase the modern church has incorporated part of the S wall, which dates to the early 15th century. On the W side was added a late 19th-century loggia, which is roofed with a sloping roof lower than that of the church and possibly replaced an older one. The column of the loggia comes from an earlier building phase of the church. On the W side is raised a rectangular narthex, possibly of the same date as the loggia, which is roofed with a quadruple roof. The present entrance door to the main church is located at the W end of the S wall, while the original door was opened in the middle of the same wall and has been walled today. There is a small conch above the walled door.The church is built of stone with irregularly placed stones. More elaborate construction on the arch with carved stones in the pseudo-isodomic system. On the S wall between the stones are inserted bricks. Brick arched frame is formed above the walled gate. The fresco decoration of the catholicon is confined to the outer front of the S wall and the lower parts of the main church. It is of particular importance, as we distinguish five post-Byzantine phases, the first of which at the end of the 15th century. The first is located in the E part of the outer front of the S wall. The rest continue to the W on the outer front of the same wall and on the lower parts inside the main church.In the initial phase of the frescoes belong the Deisis with the Christ and the Virgin, as well as the frontal St. Nicholas, behind the Virgin. The upper parts of the scene have been repainted. The next phase, which can be dated to the 16th century, involves the half-bodied Christ above the conch of the S wall, who blesses with open arms and two full-length archangels on either side of the conch, who have also been repainted. In the third phase of the painting belongs the enthroned Virgin holding the Child amid two angels, pictured behind her massive wooden throne. The composition is to the right of the entrance door to the church. This layer is precisely dated by a dedicatory inscription bearing the date ZΡKϚ (= 1617/18). The penultimate phase is found only in the interior of the catholicon, in the lower parts of the sanctuary, and on the N and S walls of the main church, where a decorative zone is distinguished. The feet of at least two saints are visible on the N wall, another figure of saint next to the iconostasis on the S wall and to the right of the doorway to the church the lower part of the body of a frontal archangel, who steps on a cloud. Above the door there should have been the inscription, mentioned by Aravantinos, but not preserved today, and bearing the date ΑΨΖ (= 1707). During the late 19th century, the outer conch of the S wall was painted with St. Panteleimon, who is depicted half-bodied and holding a vessel and a scalpel.The building phases of the catholicon and the multiple layers of its decoration make it one of the most important monuments of the Ioannina area, as it locates the oldest known frescoes on the Island and throughout the Ioannina basin. At the same time, after reading of one of the dedicatory inscriptions, it was possible to distinguish more clearly the painting layers and to make more effective use of the older reading, by Aravantinos, of the inscription in the interior of the catholicon.

To achieve a complex task, a robot often needs to navigate in a physical space in order to complete activities in different locations. For example, it may need to inspect several structures, making multiple observations of each structure from different perspectives. Typically, the positions from which these activities can be performed are represented as waypoints – discrete positions that are sampled from the continuous physical space and used to find a task plan. Existing approaches to waypoint selection either iteratively consider the entire space or use domain knowledge to consider each activity separately. This can lead to task planning problems that are more complex than is necessary or to plans of compromised quality. Moreover, all previous approaches only consider geometric constraints that can be imposed on the waypoint selection process. We present Task-Aware Waypoint Sampling (TAWS), which offers two key novelties. First, it is an anytime approach that combines the benefits of random sampling with the use of domain knowledge in waypoint selection by performing a one-time computation of the connectivity graph from which waypoints are sampled. In addition, TAWS is the first approach that accounts for performance preferences, which are preferences a system operator may have about the generated task plan. These can account, for example, for areas near doorways where it is preferable that the robot does not stop to perform activities. We demonstrate the performance benefits of our approach on simulated automated manufacturing tasks.

Increasingly, one sees the homeless on the streets, alleys, and doorways of the commercial, recreational, and living spaces of our cities, otherwise populated by the affluent and relatively affluent. At the same time, there has been an increase in the creation and use of so-called “public order laws,” such as forbidding sitting on sidewalks, lying down on benches, and panhandling in certain tourist areas. Together with laws already on the books forbidding public intoxication, open containers of liquor in public, and urinating in public, this suite of laws provides police with a means to control the day-to-day lives of the homeless on the city streets. Although there is a rich and extensive literature exploring the philosophical justification for the use of the criminal sanction, little has been concerned with minor crimes (misdemeanors), and none of the literature concerns these misdemeanor public order laws. Termed “crimes of misery” herein, this suite of laws forbids conduct naturally flowing from life on streets as experienced by the desperately impoverished, mentally ill, chronically alcoholic, and/or drug-addicted. In this article, the author carefully analyzes these crimes of misery within each of the five philosophical grounds that traditionally justify and guide punishment: a variety of theories of retribution, as well as general deterrence, specific deterrence, incapacitation, and rehabilitation. From this analysis, the author concludes that none of the traditional philosophical theories can justify the crimes of misery and, as such, those crimes are morally unsupportable and unjust.

This research identified any kind of work condition and craftsman’s posture that trigger the pain and discomfort for craftsman of doormat in Pringapus, Semarang. Observation of the work condition is conducted including work facilities and their posture during sewing process. To identify their pain and discomfort, Nordic Musculoskeletal Questionnaire (NMQ) is used as reference. The result is used as an input for rapid upper limb assessment worksheet (RULA) to determine the level of the risk. RULA’s final score is indicated the conditions need further investigation and change may be needed. Based on the analysis using fishbone diagram, to overcome pain/discomfort in the area of the neck and the shoulder, high adjustment of table and seat is suggested, because the evidence shows they trigger the craftsmen’s bad posture. For pain/discomfort of back and waist, the seat should have good back support. Whereas for the hip, the craftsman suggested to use the seat with thick and wider sleeper, so they can sit comfortably. For foot problems, to relieve the pain for their free feet, it is suggested to use a bench that functions as foot rest; and for the sewing feet, it is suggested to give heels support so the sewers' heels can be free from strain while sewing.

214 Background: Patient access is the entry point for new and established patient registration and scheduling process. It serves as the doorway in aligning the need of the patients to the vision of the organization, ensuring financial viability of all parties involved. The increasing demands for regulatory requirements, changes in reimbursement policies, technological and medical advancement, and steep competition, patient access becomes a vital improvement initiative in many healthcare organizations. In FY 2013, our group, the Clinical Process Analysis (CPA) team was tasked to assess the patient access work processes of our clinic areas. Methods: Through a series of structured group interview meetings, the interdisciplinary team (frontline staff, clinical leadership and financial teams) reflects and articulates their current work processes. These work processes are translated into an electronic process map, inclusive of the activities, job roles, estimated times, probabilities, and opportunities for improvement (OFIs). With these elements, CPA delivers a visual display of current work processes which can be utilized for onboarding, visualization of OFIs, and calculation of direct labor cost. A completion of a facilitated PDSA project further infuses the science of improvement. Results: Six centers completed the CPA projects since September 2013. 98 OFIs identified with 91% identified as efficiency and timely issues. 10 PDSA projects initiated, 50% reached completion and 50% are in progress. Clinical teams continue to work on the improvement projects even after the facilitation were completed. Conclusions: Drawing from system thinking and Time-Driven Activity-Based Costing (TDABC) methodology, CPA provides a comprehensive analysis of the current work flow. This allows for both a clinic specific and institutional comparative analysis for identification, implementation and improvement plan. Through facilitation of an interdisciplinary team, from frontline to leadership, process realities are visualized and work-list of opportunities for improvement are identified and worked on. This enables a quality improvement culture of providers and staff to drive quality and financial improvement.

Sorong merupakan kota yang sangat strategis karena merupakan pintu masuk dan persinggahan provinsi papua. Sorong juga dikenal sebagai kota perdagangan dan industri jasa karena dikelilingi oleh kawasan kabupaten sumber daya alam yang sangat potensial yang dapat membuka peluang investasi dalam dan luar negeri. Kawasan Ekonomi Khusus (KEK) adalah kawasan dengan batas tertentu untuk melaksanakan fungsi perekonomian dan memperoleh fasilitas tertentu. Kawasan tersebut disiapkan untuk memaksimalkan kegiatan industri, ekspor, impor, dan kegiatan ekonomi lainnya yang memiliki nilai ekonomi tinggi. KEK sorong yang terletak di Selat Sele memberikan keunggulan geoekonomi yaitu potensi di bidang perikanan dan transportasi laut. Lokasi ini juga sangat strategis untuk pengembangan industri logistik, agroindustri, dan pertambangan, sehingga KEK Sorong dikembangkan dengan kegiatan 3 potensi tersebut dan diprediksi dapat menghasilkan investasi sebesar Rp 32,2 triliun pada tahun 2025. Penelitian ini bertujuan untuk menguji dan menganalisis pengaruh KEK Sorong terhadap pertumbuhan ekonomi di Provinsi Papua Barat yang dianalisis menggunakan metode deskriptif kualitatif dan untuk mengetahui faktor-faktor signifikan yang mempengaruhi pertumbuhan ekonomi di Papua Barat dengan analisis regresi linier berganda. Variabel prediksi yang digunakan dalam penelitian ini adalah jasa (X1), industri (X2), tenaga kerja (X3), modal jasa (X4), perdagangan (X5), ekspor (X6) dan pertumbuhan ekonomi sebagai variabel Y. Hasil penelitian ini menunjukkan bahwa KEK sangat berpengaruh positif terhadap pertumbuhan ekonomi Provinsi Papua Barat. Sorong is a very strategic city because it is the doorway and stopover of papua province. Sorong is also well known as city of trade and services industry because it is surrounded by very potential natural resources districts areas that can open the opportunities for domestic and foreign investment. Special Economic Zones (SEZ) are areas with certain limits to carry out the economic functions and obtain certain facilities. Those areas are prepared to maximize industrial activities, export, import, and other economic activities that have high economic value. SEZ sorong which is located in the Sele Strait provides geo-economic advantages namely the potential in the fisheries and sea transportation sectors. This location is also very strategic for development of logistic industry, agroindustry, and mining, so that SEZ sorong was developed by the activities of those three potentials and predicted to be able produce investment of Rp 32.2 trillion in 2025. This study aims to examine and analyze the effect of SEZ Sorong on economic growth of West Papua Province which was analyzed using qualitative descriptive method and to identify significant factors that effecting economic growth in West Papua with multiple linear regression analysis. Predictive variables used in this study are service (X1), industry (X2), labor (X3), service capital (X4), trade (X5), Export (X6) and economic growth as variable Y. The result of this study shows that SEZ is very influential positively on the economic growth of West Papua Province.

Датировка скальных памятников - один из наиболее сложных и дискуссионных вопросов, возникающих перед исследователями в процессе изучения истории архитектуры Эфиопии. Основываясь на различных концепциях и подходах, ученые расходятся в датировке отдельных памятников более чем на 300 лет. Так, один и тот же памятник может быть воспринят как относящийся ко времени упадка Аксумского царства VIII- IX вв., угасания культуры или же, напротив, укрепления династии Соломонидов XIV-XV вв., времени создания множества новых храмов с богатым декором. Одним из памятников, датировка которого остается спорной, является скальная церковь Медхане Алем в Ади Кешо (Тыграй). Автор статьи, сопоставляя различные факты, прежде всего обращаясь к особенностям резного декора и архитектурного плана церкви, предлагает свое обоснование датировки храма второй половиной XIV - первой половиной XV в. The dating of rock-hewn churches is one of the most complicated and controversial issues facing researchers in the process of studying the history of Ethiopian architecture. Based on various concepts and approaches, scientists differ in the dating of monuments for more than 300 years. Thus, D. R. Buxton dated the rock-hewn church of Madhane Alem in Adi Qasho to the end of the 10-11centuries, D. Phillipson determines the time of its creation to the period up to the 10th century, and M. Gervers and E. Fritsch note that the structure of the maqdas of the church indicates a later date of creation, but do not specify it. The purpose of this article is to determine the dating of the rock-hewn church of Madhane Alem in Adi Qasho. Legendary information reports that the church of Adi Qasho, like some others (Mikael Baraka, Maryam Hibiito) in Tigray, was founded by Abuna Abreham, a saint who lived in 1350-1425. The layout of the church combines the principles of both traditional basilicas with two aisles, which became widespread in Ethiopia during the time of the Aksum kingdom, and some signs of the "open-type" basilicas that appeared in Ethiopia, probably in the period from the 14 century. In accordance with the traditions of the architecture of early Ethiopian basilicas, the church at Adi Qasho has the following features: - the vault of the nave is elevated relative to the aisles (in this case, slightly); - an Aksumite frieze runs along the upper part of the nave (with the exception of the east wall); - the maqdas is separated from the naos by a wall with a triumphal arch resting on pilasters; - the vault and the eastern wall of the maqdas form the apse with semi-dome. However, in the maqdas there are no pastophoria which are characteristic of early Ethiopian basilicas. Gervers and Fritsch draw parallels between the Adi Qasho church and the famous cruciform church of Beta Giyorgis at Lalibela (according to their dating from the 15 century), which also does not have pastophoria in the maqdas area. The church of Adi Qasho has some features of the decoration and the layout in common with the basilicas of "opentype", especially the rock-hewn church of Maryam Dabra Tsion. The U-shaped narthex presumably derives from the churches of the Lasta region: in the churches with an ambulatory (Abba Libanos at Lalibela and Zoz Amba Giyorgis), and the later "open-type" basilicas in Tigray: Yesus Archnao and Maryam Dabra Tsion. The facade solution of a four-pillar portico at the church also finds possible prototypes in the Lasta region in churches with colonnades: Madhane Alem at Lalibela, Gannata Maryam, Kankanet Mikael. Exploring the carved decoration of the Adi Qasho church, one can find a characteristic resemblance to the decoration of the church of Maryam Dabra Tsion (the paintings are stylistically dated to the turn of the 14th-15th centuries), and in particular, to the richly decorated ornamental carving of Abuna Abreham’s cell, which is connected to the church by the ambulatory. The Cupola and walls of this cell have the following decorations: diamond-shaped caissons (in Madhane Alem, they are located in the vault of the central bay in the northern aisle); a cross with four accented squares between its bars (in Madhane Alem - in the vault of the nave); multifaceted cross with ornamental filling; another geometric compositions consisting of squares. Carved crosses in the interior of the church are also stylistically dated to the 14th-15th centuries. Two crosses on high shafts are carved on pilasters in the span of the triumphal arch. Paired crosses are also known in earlier churches, but their location in the maqdas area finds parallels with the church of Maryam Dabra Tsion. Is it possible that the image of paired crosses flanking the triumphal arch may be related to the rejection at the middle of the 14th century of the previously used wooden altar barriers with columns decorated with paired crosses. Shallow triple niches (in the western parts of the southern and northern walls) and six niches in the western wall are carved in the naos of the church. Similar niches with images of saints decorated the walls of the church Maryam Dabra Tsion and of the church Yesus Archnao, probably a little earlier. The upper limit of the dating of the monument can be determined by the presence of abundant traces of soot, which can be evidence of the destructive invasion of Ahmad Gran’s jihadists, which destroyed many churches and church relics in Ethiopia in the thirties of the 16th century; likewise, the style of the corner beams of perspective frames of doorways leading from the narthex to the naos. Their form from the second half of the 15th century changes from cubic to round-headed. These factors make it possible to designate the upper limit of dating to the middle of the 15th century, i.e. approximately until 1450. Probably, the creators of the church tried to unite in the monument both the local traditions of the basilica architecture and the new trends that came from the political center of the country. The features of the layout of the church, particular qualities of its maqdas demonstrate close creation date of the Adi Qasho church and the basilica of Maryam Dabra Tsion. Thus, the most plausible dating is close to the legendary information, namely 1370-1450.

AbstractThe precise relationship of The Three Maries at the Tomb (Fig. 1) in the Boymansvan Beuningen Museum in Rotterdam to the work of Hubert and/or Jan van Eyck has proved difficult to establish, mainly because relatively little is known about their output apart from Jan van Eyck's signed paintings of 1432-41. The provenance of the Rotterdam picture has been traced back to the mid 18th century (Note 2), while the coat of arms, a later addition at bottom right, has been identified as that of Philippe de Commines, who has thus been posited as the earliest known owner (Note 3). Since the beginning of this century the panel has generally been ascribed to Hubert van Eyck on the basis of a comparison with his contribution to the Ghent Altarpiece, but doubts have also been expressed about the attribution to the Van Eycks (Note 5), while later dates have been suggested on the grounds of the view of Jerusalem (Note 6, 7) or the arms and armour (Notes 8, 9) . However, Panofsky remained convinced of the early date and kept to the attribution to Hubert, while suggesting that Jan had worked over certain details (Note 10). The restoration of 1947 (Note 11) revealed some gilded rays on the right side, which gave rise to suggestions that the panel had once formed part of a friezelike composition or a triptych (Notes 12-14). Recent opinion still remains divided, Sterling seeing the panel as having been painted by Jan van Eyck after 1426 (Note 15), Dhanens as the work of a follower around 1450-60 (Note 16). Scientific examination appeared to be the only way of obtaining new data, while the recently published results of a similar examination of the Ghent Altarpiece (Note 17) offered an additional incentive. An earlier scientific examination was carried out by Coremans in 1948 (Note rg), while the work had previously been examined by infrared reflectography by the authors in 1971 (JV ote zo) . Tfie 1)(inel on which the picture is painted consists rf three horizontal planks with dowelled joints (Note 21). The four corners are bevelled off at the back, which suggests that any later reduction in the panel can only have been slight. On the back is a sealed statement by D. G. van Beuningen to the effect that the painting had not suffered from being stored underground during the war (Fig. 2, Appendix 2) . The paint surface is in a reasonably good state, but exhibits heavy craquelure, which has played a part in the aesthetic assessment of the picture (Note 23) . Dendrochronological examination (Appendix I) showed that the two oaks from which the planks came were probably not felled before 1423. Since recent research has shown that the gap between felling and usage was not likely to have been much more than fifteen years in the 15th century (Note 25) and there is nothing to support the hypothesis that an old panel was reused here (Note 26), it is highly improbable that the picture was painted at the end of the 15th century. The most likely date is C. 1425-35 i.e. the period when the Ghent Altarpiece was painted or slightly later. No other results of dendrochronological examination on Van Eyck panels are available for comparison as yel. Examination by infrared reflectography (Note 28) revealed detailed underdrawing in virtually all parts of the picture and this was very carefully followed during painting with changes only in small details (cf. Figs.3, 5, 7). Stylistically the underdrawing accords with what is known about underdrawing in Van Eyck paintings today, this exhibiting a considerable difference from that of other Flemish Primitives, so that the Rotterdam panel is certainly a Van Eyck work. Among the most striking similarities to the central panel (x) and that with the Knights of Christ (IX) in the Ghent Altarpiece (Note 30) are the underdrawing of the drapery of the angels (Figs. 7-9), the city in the distance (Figs. 3,4, Note 31) and the minutely detailed armour (Figs. 14, 15, Note 33). Types of hatching that appear to be characteristic of the Van Eyck style are that of the shadows, which is sometimes overlapping and generally parallel to the main contours (Figs. 5,8) and a more rarely used type with short lines at an angle to contours (Fig. 9). The x-radiographs (Note 35) give a good idea of the damage to the paint surface (Figs. 16, 17) , which isfound mainly in the sky, along the crack in the top plank and on the bottom edge on the left. There is also a great deal of abrasion on the edges of the craquelure. The x-radiographs confirm the fact that no radical changes were made in the original, generally underdrawn, composition and reveal that the soldiers and their arms were left in reserve during the painting of the rocks and ground, a detail which likewise indicates continuity during the painting process. The underpainting of the rocks in large light blocks with simple contours shown up by x-ray photography is very close to that in panel IX in the Ghent Altarpiece (Note 38). Examination by stereomicroscope (Note 40) generally already gave an impression of the layered structure of the paint. It also showed up some minute details scarcely distinguishable by the naked eye : two horsemen and somefigures in tlae square on tlte leji qlthe city, a .slalue in a niche in the doorway in the zvall in tlae certtre (Fig. 18; possibly a reminiscence of the Golden Gate, Note 56) and a number of ship's masts with crow's nests on the horizon on the right (Fig. 19). Part of the vegetation was shown to be very finely and precisely rendered (Figs. 20, 21), while the rest was not so fine. Similar differences appear in the two bronze-coloured ointment jars in this painting and also in the bottom zone of the Ghent Altarpiece (Note 41). These may reveal two different hands or the somewhat hasty finishing of some areas. The paint samples (Note 42) revealed the presence of an oleaginous isolating layer over the chalk and glue ground comparable to, but thinner than that on the Ghent Altarpiece (Note 45). The only other Flemish Primitive in whose work such a layer is found is Dirc Bouts (Note 50). The paint layer also exhibits many similarities to that of the Ghent Altarpiece, not only in the number and thickness of the layers, but in the composition and overall structure of the paint. For example, the skies in both works are built up in three layers from light to dark on the basis of lead white with increasing amounts of azurite and sometimes a bit of lapis lazuli, the vegetation consists of two layers of green with a glaze over them and the structure of the red mantle of one of the Maries resembles similar areas in the Ghent Altarpiece. This technique again makes it very unlikely that the panel was painted at the end of the 15th century or later. A final point is that the gilded rays ( Fig. 22), like the coat of arms (Fig. 23), prove to be a later addition. Finally, renewed consideration was given to certain iconographical aspects which have been used as dating criteria. The arms and armour have been seen as grounds for a later dating by Squilbeck in particular, but it seems quite likely that many of the forms are purely imaginary, while other experts do not agree with Squilbeck in dating certain elements to the 16th century (Note 53). The arms and armour are in any case an integral part of the painting. The detailed view of Jerusalem is regarded by some as impossible before Erhard Reuwich's print of 1486, while others express surprise that it was not copied by other artists. In fact, however, it is strikingly close in many details to the view in the Ghent Altarpiece, although the latter is firmer in its spatial construction and more convincing. Whole sentences have been read into the texts on the hems of two of the Maries' garments and the soldier's cap (Note 57 ) and it has been argued that the letters are Roman, not Hebrew (Note 58), but in fact they are indispulably Hebrew and although words can sometimes be recognized, they do no form a sentence or text (Note 59). The coat of arms is certainly that of a nobleman of the Order of St. Michael, but whether he was Philippe de Commines is uncertain. The Van den Woesteyne and Van Meaux van Vorsselaer families also bore these arms, albeit in different tinctures (Note 6o). Since the arms are done, in a brownish-grey, they cannot be more precisely identified. The presence of no less than five layers of varnish between the green meadow and the coat of arms could indicate that the arms were added much later than previously thought, possibly in the 16th or even the 17th century (Note 47). While the present study has shown that the Rotterdam painting is quite an early Van Eyck, its precise position in the Van Eyck oeuvre cannot be determined until results of examinations of other works in the group are available.

Lampedusa is today best known in relation to migration. The island has confronted one migration crisis after the other for the past three decades, resulting in extensive media coverage. Whereas Lampedusa, a small island in the central Mediterranean region, has an economy mainly based on tourism, its name remains associated with migration, which is believed to negatively impact the island’s image and the performance of its tourism sector. On the other hand, migration has to some extent, put Lampedusa on the map, helping the island gain popularity. The island’s existing tourism model is based on sun, sand, and sea (3S) and is made attractive by its beaches, one of which has ranked as the best beach in the world, as well as by marketing efforts presenting Lampedusa as 'the Caribbean island of the Mediterranean'. However, migration and 3S are camouflaging other resources that are key to the island’s image. Lampedusa has a terrestrial nature reserve as well as a marine protected area that is home to several charismatic marine species, making it an ideal ecotourism destination. These resources can be used not only to depict a more representative image of the island but also to develop a sustainable tourism model that is suitable to a small island.

Abstract Background House improvement (HI) to prevent mosquito house entry, and larval source management (LSM) targeting aquatic mosquito stages to prevent development into adult forms, are promising complementary interventions to current malaria vector control strategies. Lack of evidence on costs and cost-effectiveness of community-led implementation of HI and LSM has hindered wide-scale adoption. This study presents an incremental cost analysis of community-led implementation of HI and LSM, in a cluster-randomized, factorial design trial, in addition to standard national malaria control interventions in a rural area (25,000 people), in southern Malawi. Methods In the trial, LSM comprised draining, filling, and Bacillus thuringiensis israelensis-based larviciding, while house improvement (henceforth HI) involved closing of eaves and gaps on walls, screening windows/ventilation spaces with wire mesh, and doorway modifications. Communities implemented all interventions. Costs were estimated retrospectively using the ‘ingredients approach’, combining ‘bottom-up’ and ‘top-down approaches’, from the societal perspective. To estimate the cost of independently implementing each intervention arm, resources shared between trial arms (e.g. overheads) were allocated to each consuming arm using proxies developed based on share of resource input quantities consumed. Incremental implementation costs (in 2017 US$) are presented for HI-only, LSM-only and HI + LSM arms. In sensitivity analyses, the effect of varying costs of important inputs on estimated costs was explored. Results The total economic programme costs of community-led HI and LSM implementation was $626,152. Incremental economic implementation costs of HI, LSM and HI + LSM were estimated as $27.04, $25.06 and $33.44, per person per year, respectively. Project staff, transport and labour costs, but not larvicide or screening material, were the major cost drivers across all interventions. Costs were sensitive to changes in staff costs and population covered. Conclusions In the trial, the incremental economic costs of community-led HI and LSM implementation were high compared to previous house improvement and LSM studies. Several factors, including intervention design, year-round LSM implementation and low human population density could explain the high costs. The factorial trial design necessitated use of proxies to allocate costs shared between trial arms, which limits generalizability where different designs are used. Nevertheless, costs may inform planners of similar intervention packages where cost-effectiveness is known. Trial registration Not applicable. The original trial was registered with The Pan African Clinical Trials Registry on 3 March 2016, trial number PACTR201604001501493

PurposeThis paper presents a mixed methodology to map and analyse the spatial connectivity of the everyday pathways that link the doorway of an individual's home–work locations to the local main commercial street. These pathways include public streets, semi-private lanes, alleys and stairs.Design/methodology/approachPathways within different morphological areas in Hanoi, Vietnam, are used as examples to illustrate the development and application of the methodology. The methodology, adapted from Conzenian, typological, and space syntax methods, combined with observations and interviews, seeks to overcome several identified limitations of each of these approaches for understanding pedestrians' horizontal and vertical movement patterns within urban settings.FindingsAnalytical diagrams of pathways are developed on figure-ground maps of the neighbourhoods and three-dimensional projections of circulation spaces within buildings. Scatter plots are used to analyse the distribution of collected samples according to their business types and distances to local main streets. Field observations and interviews with homeowners revealed the critical influence of the pathways' spatial characteristics on home-based businesses' operations.Originality/valueThe methods developed here are potentially useful for urban morphologists and urban designers in decoding the intricacies of informal urban settings and understanding their socio-economic significance for users.

Walking is the most common activity in our daily life. When we walk, we lose energy to the floor surface. Vibration is one form of energy that is transferred from our weight on to the floor surface during every step. This energy can be harvested and converted into electrical energy. This research addressed the design and construction of a power generating floor pad which can be used to harvest electricity from human footsteps. The electric generating floor pad features springs mounted on its four corners. When somebody walks though the surface of the floor pad, the springs will be compressed because of the weight of the person causing it to dip down slightly. The shaft of the permanent magnet generator will rotate then rotate, thus voltage is generated. The generator can be connected to a battery so as to store electrical energy. Test performed on the device indicates that it is capable of converting human footsteps to a useful electrical energy to power small electrical devices. The magnitude of the generated voltage can be maximized by applying more force on the floor pad. The discharging time of the battery is longer when there are more footsteps applied to the floor pad. The device can be conveniently installed in the doorways of buildings or other heavy traffic areas. Through this research project, a new option for harnessing green electricity by footsteps is made available focusing on the use of springs and permanent magnet generators.

Abstract Nicosia is a divided European capital; the two major ethnic communities on the island, Greek and Turkish Cypriots, were separated de facto following the war of 1974. The inner-city areas delimited by the UN-controlled buffer zone were long abandoned but recently there have been attempts at gentrification. The landscape is linguistically and textually rich and diverse; walls, fences, doorways, even the walls of the ‘border’ are inscribed with an abundance of texts including political slogans, advertisements for rallies or local festivals, graffiti, posters, stencilled images, etc. In this paper, I focus on the visual and linguistic dialectic of texts that are generated ‘top-down’ and texts generated ‘bottom-up’; the former display normativity and linguistic prescriptivism, as the dominant language is Standard Greek, the ‘H’ variety in the Greek Cypriot diglossic context. In the latter, the linguistic choice de rigueur is translanguaging, involving (i) aspects of the Cypriot Greek dialect, the ‘L’ variety that is still by-and-large banned from the public domain, and code-mixing between Standard and Cypriot Greek, (ii) the use of other languages, mostly English but also French, Turkish, Russian, among others, (iii) ungrammatical structures or ‘nonsensical’ texts and (iv) subversion of orthographic conventions, etc. A micro-level linguistic analysis of individual texts and of particular types of translanguaging and linguistic and orthographic bricolage is proffered and the argument is put forward that the counternormativity of such production is predicated not only upon its content and form but crucially also upon its interdiscursivity and its engagement in an ongoing conflictual dialectic with ‘top-down’ prescriptive production.

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In England, bats and their roosts are protected by national legislation. To permit development actions that would otherwise result in an offence relating to bats, it is first necessary to obtain a protected species mitigation licence containing protective measures. Due to the complexity of the topic, combined with the fact that monitoring is often limited, it can be difficult for practitioners to be certain of real conservation benefits of these measures. To build a new access road near Hereford (UK), a former artillery magazine (confirmed bat roost) building was demolished. Therefore, a legally binding English Nature/Natural England European Protected Species (EPS) Development Licence was obtained (2005). This licence stipulated mitigation and compensation measures to ensure the works could be carried out without harming bats and ensuring their favourable conservation status was maintained. Roost compensation measures were applied to two identical retained buildings. These included blocking doorways, provision of bat access grilles/internal roosting crevices, diverting downpipes inside, and installing straw matting (approx. 5cm deep, within one building only). The latter two measures were designed to increase internal humidity levels. Pre-compensation monitoring recorded two hibernating common pipistrelles in addition to lesser horseshoe and brown long-eared bat droppings. Post-compensation monitoring (2006-2016) recorded a minimum of three brown long-eared bats, three lesser horseshoe bats, one common pipistrelle and one barbastelle, suggesting the compensation methods may have increased both the numbers of species, and individual bats. These increases were small, hence not conclusive. Notably, during the post-compensation hibernation monitoring, brown long-eared bats were found in areas with lower humidity levels (48.6-78.8%) than lesser horseshoe bats (67.8-93.5%). The magazine containing straw matting had winter humidity levels approximately 20% higher than the other and supported a higher number of hibernating lesser horseshoe bats, but a lower number of hibernating brown long-eared bats. Within both buildings, all hibernating brown long-eared bats were found behind chipboard (approx. 70cm x 150cm) attached to wooden battens approx. 2cm from the internal walls rather than wooden or sawdust/ cement composite bat boxes.

Over the past three years it has become apparent to me that referring to ‘current affairs’ in these columns can be a mistake, serving only to highlight inevitable printing delays. By the time this edition arrives on your doormat Euro 2004, ‘Big Brother’ and the early summer heat wave will be nothing but a distant memory. However the ‘recent’ publication of the Royal College of Physicians document ‘Acute Medicine – making it work for patients’ cannot be allowed to pass without a mention. This report represents a significant shift in the position of the College in relation to Acute Medicine since the previous working party reported its findings in 2000. The value of consultants specialising in Acute Medicine is now clearly recognised and supported – every trust should now have one, with the minimum figure of three per hospital being proposed by 2008. Whether this is achievable will depend on the rapid development of training schemes across the UK, as well as the generation of enthusiasm for the specialty amongst junior staff. The number of applicants for our Wessex programme indicates no shortage of the latter. Although developing a training scheme takes a lot of hard work, it is vital that those already working in the specialty make this a high priority. We have already seen benefits from the appointment of high quality middle grade staff and are looking forward to a ‘flood’ of future applicants for local consultant posts, 4 years from now. This edition comprises four more important review papers on aspects of acute medicine, along with the first in our ‘Controversies in acute medicine’ series. The latter was designed to try to stir up some correspondence, for future publication. The confusion over oxygen delivery in the acute setting seems to reign fairly widely amongst junior, and indeed some more senior medical staff. Hopefully Dr Cooper’s well-written paper will serve to dismiss some of the misconceptions in this area. Our reviews cover relatively uncommon, but nonetheless important aspects of acute medicine. Tuberculosis and HIV are both on the increase in the UK. The success of anti-retroviral therapy will undoubtedly lead HIVrelated illness to be a significant part of our practice over the next decade. An understanding of the range of conditions specific to this group of immunocompromised patients is therefore crucial for physicians involved in the acute take. Hypoglycaemia and suspected bacterial meningitis are both conditions which require immediate action by medical staff. Both of these reviews comprehensively cover their respective topics with a combination of well written text, illustrations tables and algorithms. Dr Hartman highlights recent evidence supporting the use of dexamethosone in bacterial meningitis and re-iterates some of the points made in an earlier edition regarding the use (and abuse) of CT scanning prior to lumbar puncture. For a change we have no case reports this time, although Dr Macdonald’s audit of the innovative review clinic in the Emergency Assessment Area of Heartlands hospital provides a worthy substitute. Submission of similar articles in future would be most welcome. Once again, a reminder that multiple choice questions are for self assessment and ‘personal’ CPD only; I hope you will find this edition helpful in your clinical practice.

Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of the gameplay experience. In doing so I propose that an understanding of aesthetic spatial issues as an element of player interactivity and engagement is important for understanding the cultural practice of adventure gameplay. In approaching these questions, I am focussing on the single-player exploration adventure game in particular Myst and The Crystal Key. In describing these games as adventures I am drawing on Chris Crawford's The Art of Computer Game Design, which although a little dated, focusses on game design as a distinct activity. He brings together a theoretical approach with extensive experience as a game designer himself (Excalibur, Legionnaire, Gossip). Whilst at Atari he also worked with Brenda Laurel, a key theorist in the area of computer design and dramatic structure. Adventure games such as Myst and The Crystal Key might form a sub-genre in Chris Crawford's taxonomy of computer game design. Although they use the main conventions of the adventure game -- essentially a puzzle to be solved with characters within a story context -- the main focus and source of pleasure for the player is exploration, particularly the exploration of worlds or cosmologies. The main gameplay of both games is to travel through worlds solving clues, picking up objects, and interacting with other characters. In Myst the player has to solve the riddle of the world they have entered -- as the CD-ROM insert states "Now you're here, wherever here is, with no option but to explore." The goal, as the player must work out, is to release the father Atrus from prison by bringing magic pages of a book to different locations in the worlds. Hints are offered by broken-up, disrupted video clips shown throughout the game. In The Crystal Key, the player as test pilot has to save a civilisation by finding clues, picking up objects, mending ships and defeating an opponent. The questions foregrounded by a focus on the aesthetics of navigation are: What types of representational context are being set up? What choices have designers made about representational context? How are the players positioned within these spaces? What are the implications for the player's sense of orientation and navigation? Architectural Fabrication For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. For the ancient Greeks, painting was divided into two categories: magalography (the painting of great things) and rhyparography (the painting of small things). Magalography covered mythological and historical scenes, which emphasised architectural settings, the human figure and grand landscapes. Rhyparography referred to still lifes and objects. In adventure games, particularly those that attempt to construct a cosmology such as Myst and The Crystal Key, magalography and rhyparography collide in a mix of architectural monumentality and obsessive detailing of objects. The creation of a digital architecture in adventure games mimics the Pompeii wall paintings with their interplay of extruded and painted features. In visualising the space of a cosmology, the environment starts to be coded like the urban or built environment with underlying geometry and textured surface or dressing. In The Making of Myst (packaged with the CD-ROM) Chuck Carter, the artist on Myst, outlines the process of creating Myst Island through painting the terrain in grey scale then extruding the features and adding textural render -- a methodology that lends itself to a hybrid of architectural and painted geometry. Examples of external architecture and of internal room design can be viewed online. In the spatial organisation of the murals of Pompeii and later Rome, orthogonals converged towards several vertical axes showing multiple points of view simultaneously. During the high Renaissance, notions of perspective developed into a more formal system known as the construzione legittima or legitimate construction. This assumed a singular position of the on-looker standing in the same place as that occupied by the artist when the painting was constructed. In Myst there is an exaggeration of the underlying structuring technique of the construzione legittima with its emphasis on geometry and mathematics. The player looks down at a slight angle onto the screen from a fixed vantage point and is signified as being within the cosmological expanse, either in off-screen space or as the cursor. Within the cosmology, the island as built environment appears as though viewed through an enlarging lens, creating the precision and coldness of a Piero della Francesca painting. Myst mixes flat and three-dimensional forms of imagery on the same screen -- the flat, sketchy portrayal of the trees of Myst Island exists side-by-side with the monumental architectural buildings and landscape design structures created in Macromodel. This image shows the flat, almost expressionistic trees of Myst Island juxtaposed with a fountain rendered in high detail. This recalls the work of Giotto in the Arena chapel. In Joachim's Dream, objects and buildings have depth, but trees, plants and sky -- the space in-between objects -- is flat. Myst Island conjures up the realm of a magic, realist space with obsolete artefacts, classic architectural styles (the Albert Hall as the domed launch pad, the British Museum as the library, the vernacular cottage in the wood), mechanical wonders, miniature ships, fountains, wells, macabre torture instruments, ziggurat-like towers, symbols and odd numerological codes. Adam Mates describes it as "that beautiful piece of brain-deadening sticky-sweet eye-candy" but more than mere eye-candy or graphic verisimilitude, it is the mix of cultural ingredients and signs that makes Myst an intriguing place to play. The buildings in The Crystal Key, an exploratory adventure game in a similar genre to Myst, celebrate the machine aesthetic and modernism with Buckminster Fuller style geodesic structures, the bombe shape, exposed ducting, glass and steel, interiors with movable room partitions and abstract expressionist decorations. An image of one of these modernist structures is available online. The Crystal Key uses QuickTime VR panoramas to construct the exterior and interior spaces. Different from the sharp detail of Myst's structures, the focus changes from sharp in wide shot to soft focus in close up, with hot-spot objects rendered in trompe l'oeil detail. The Tactility of Objects "The aim of trompe l'oeil -- using the term in its widest sense and applying it to both painting and objects -- is primarily to puzzle and to mystify" (Battersby 19). In the 15th century, Brunelleschi invented a screen with central apparatus in order to obtain exact perspective -- the monocular vision of the camera obscura. During the 17th century, there was a renewed interest in optics by the Dutch artists of the Rembrandt school (inspired by instruments developed for Dutch seafaring ventures), in particular Vermeer, Hoogstraten, de Hooch and Dou. Gerard Dou's painting of a woman chopping onions shows this. These artists were experimenting with interior perspective and trompe l'oeil in order to depict the minutia of the middle-class, domestic interior. Within these luminous interiors, with their receding tiles and domestic furniture, is an elevation of the significance of rhyparography. In the Girl Chopping Onions of 1646 by Gerard Dou the small things are emphasised -- the group of onions, candlestick holder, dead fowl, metal pitcher, and bird cage. Trompe l'oeil as an illusionist strategy is taken up in the worlds of Myst, The Crystal Key and others in the adventure game genre. Traditionally, the fascination of trompe l'oeil rests upon the tension between the actual painting and the scam; the physical structures and the faux painted structures call for the viewer to step closer to wave at a fly or test if the glass had actually broken in the frame. Mirian Milman describes trompe l'oeil painting in the following manner: "the repertory of trompe-l'oeil painting is made up of obsessive elements, it represents a reality immobilised by nails, held in the grip of death, corroded by time, glimpsed through half-open doors or curtains, containing messages that are sometimes unreadable, allusions that are often misunderstood, and a disorder of seemingly familiar and yet remote objects" (105). Her description could be a scene from Myst with in its suggestion of theatricality, rich texture and illusionistic play of riddle or puzzle. In the trompe l'oeil painterly device known as cartellino, niches and recesses in the wall are represented with projecting elements and mock bas-relief. This architectural trickery is simulated in the digital imaging of extruded and painting elements to give depth to an interior or an object. Other techniques common to trompe l'oeil -- doors, shadowy depths and staircases, half opened cupboard, and paintings often with drapes and curtains to suggest a layering of planes -- are used throughout Myst as transition points. In the trompe l'oeil paintings, these transition points were often framed with curtains or drapes that appeared to be from the spectator space -- creating a painting of a painting effect. Myst is rich in this suggestion of worlds within worlds through the framing gesture afforded by windows, doors, picture frames, bookcases and fireplaces. Views from a window -- a distant landscape or a domestic view, a common device for trompe l'oeil -- are used in Myst to represent passageways and transitions onto different levels. Vertical space is critical for extending navigation beyond the horizontal through the terraced landscape -- the tower, antechamber, dungeon, cellars and lifts of the fictional world. Screen shots show the use of the curve, light diffusion and terracing to invite the player. In The Crystal Key vertical space is limited to the extent of the QTVR tilt making navigation more of a horizontal experience. Out-Stilling the Still Dutch and Flemish miniatures of the 17th century give the impression of being viewed from above and through a focussing lens. As Mastai notes: "trompe l'oeil, therefore is not merely a certain kind of still life painting, it should in fact 'out-still' the stillest of still lifes" (156). The intricate detailing of objects rendered in higher resolution than the background elements creates a type of hyper-reality that is used in Myst to emphasise the physicality and actuality of objects. This ultimately enlarges the sense of space between objects and codes them as elements of significance within the gameplay. The obsessive, almost fetishistic, detailed displays of material artefacts recall the curiosity cabinets of Fabritius and Hoogstraten. The mechanical world of Myst replicates the Dutch 17th century fascination with the optical devices of the telescope, the convex mirror and the prism, by coding them as key signifiers/icons in the frame. In his peepshow of 1660, Hoogstraten plays with an enigma and optical illusion of a Dutch domestic interior seen as though through the wrong end of a telescope. Using the anamorphic effect, the image only makes sense from one vantage point -- an effect which has a contemporary counterpart in the digital morphing widely used in adventure games. The use of crumbled or folded paper standing out from the plane surface of the canvas was a recurring motif of the Vanitas trompe l'oeil paintings. The highly detailed representation and organisation of objects in the Vanitas pictures contained the narrative or symbology of a religious or moral tale. (As in this example by Hoogstraten.) In the cosmology of Myst and The Crystal Key, paper contains the narrative of the back-story lovingly represented in scrolls, books and curled paper messages. The entry into Myst is through the pages of an open book, and throughout the game, books occupy a privileged position as holders of stories and secrets that are used to unlock the puzzles of the game. Myst can be read as a Dantesque, labyrinthine journey with its rich tapestry of images, its multi-level historical associations and battle of good and evil. Indeed the developers, brothers Robyn and Rand Miller, had a fertile background to draw on, from a childhood spent travelling to Bible churches with their nondenominational preacher father. The Diorama as System Event The diorama (story in the round) or mechanical exhibit invented by Daguerre in the 19th century created a mini-cosmology with player anticipation, action and narrative. It functioned as a mini-theatre (with the spectator forming the fourth wall), offering a peek into mini-episodes from foreign worlds of experience. The Musée Mechanique in San Francisco has dioramas of the Chinese opium den, party on the captain's boat, French execution scenes and ghostly graveyard episodes amongst its many offerings, including a still showing an upper class dancing party called A Message from the Sea. These function in tandem with other forbidden pleasures of the late 19th century -- public displays of the dead, waxwork museums and kinetescope flip cards with their voyeuristic "What the Butler Saw", and "What the Maid Did on Her Day Off" tropes. Myst, along with The 7th Guest, Doom and Tomb Raider show a similar taste for verisimilitude and the macabre. However, the pre-rendered scenes of Myst and The Crystal Key allow for more diorama like elaborate and embellished details compared to the emphasis on speed in the real-time-rendered graphics of the shoot-'em-ups. In the gameplay of adventure games, animated moments function as rewards or responsive system events: allowing the player to navigate through the seemingly solid wall; enabling curtains to be swung back, passageways to appear, doors to open, bookcases to disappear. These short sequences resemble the techniques used in mechanical dioramas where a coin placed in the slot enables a curtain or doorway to open revealing a miniature narrative or tableau -- the closure of the narrative resulting in the doorway shutting or the curtain being pulled over again. These repeating cycles of contemplation-action-closure offer the player one of the rewards of the puzzle solution. The sense of verisimilitude and immersion in these scenes is underscored by the addition of sound effects (doors slamming, lifts creaking, room atmosphere) and music. Geographic Locomotion Static imagery is the standard backdrop of the navigable space of the cosmology game landscape. Myst used a virtual camera around a virtual set to create a sequence of still camera shots for each point of view. The use of the still image lends itself to a sense of the tableauesque -- the moment frozen in time. These tableauesque moments tend towards the clean and anaesthetic, lacking any evidence of the player's visceral presence or of other human habitation. The player's navigation from one tableau screen to the next takes the form of a 'cyber-leap' or visual jump cut. These jumps -- forward, backwards, up, down, west, east -- follow on from the geographic orientation of the early text-based adventure games. In their graphic form, they reveal a new framing angle or point of view on the scene whilst ignoring the rules of classical continuity editing. Games such as The Crystal Key show the player's movement through space (from one QTVR node to another) by employing a disorientating fast zoom, as though from the perspective of a supercharged wheelchair. Rather than reconciling the player to the state of movement, this technique tends to draw attention to the technologies of the programming apparatus. The Crystal Key sets up a meticulous screen language similar to filmic dramatic conventions then breaks its own conventions by allowing the player to jump out of the crashed spaceship through the still intact window. The landscape in adventure games is always partial, cropped and fragmented. The player has to try and map the geographical relationship of the environment in order to understand where they are and how to proceed (or go back). Examples include selecting the number of marker switches on the island to receive Atrus's message and the orientation of Myst's tower in the library map to obtain key clues. A screenshot shows the arrival point in Myst from the dock. In comprehending the landscape, which has no centre, the player has to create a mental map of the environment by sorting significant connecting elements into chunks of spatial elements similar to a Guy Debord Situationist map. Playing the Flaneur The player in Myst can afford to saunter through the landscape, meandering at a more leisurely pace that would be possible in a competitive shoot-'em-up, behaving as a type of flaneur. The image of the flaneur as described by Baudelaire motions towards fin de siècle decadence, the image of the socially marginal, the dispossessed aristocrat wandering the urban landscape ready for adventure and unusual exploits. This develops into the idea of the artist as observer meandering through city spaces and using the power of memory in evoking what is observed for translation into paintings, writing or poetry. In Myst, the player as flaneur, rather than creating paintings or writing, is scanning the landscape for clues, witnessing objects, possible hints and pick-ups. The numbers in the keypad in the antechamber, the notes from Atrus, the handles on the island marker, the tower in the forest and the miniature ship in the fountain all form part of a mnemomic trompe l'oeil. A screenshot shows the path to the library with one of the island markers and the note from Atrus. In the world of Myst, the player has no avatar presence and wanders around a seemingly unpeopled landscape -- strolling as a tourist venturing into the unknown -- creating and storing a mental map of objects and places. In places these become items for collection -- cultural icons with an emphasised materiality. In The Crystal Key iconography they appear at the bottom of the screen pulsing with relevance when active. A screenshot shows a view to a distant forest with the "pick-ups" at the bottom of the screen. This process of accumulation and synthesis suggests a Surrealist version of Joseph Cornell's strolls around Manhattan -- collecting, shifting and organising objects into significance. In his 1982 taxonomy of game design, Chris Crawford argues that without competition these worlds are not really games at all. That was before the existence of the Myst adventure sub-genre where the pleasures of the flaneur are a particular aspect of the gameplay pleasures outside of the rules of win/loose, combat and dominance. By turning the landscape itself into a pathway of significance signs and symbols, Myst, The Crystal Key and other games in the sub-genre offer different types of pleasures from combat or sport -- the pleasures of the stroll -- the player as observer and cultural explorer. References Battersby, M. Trompe L'Oeil: The Eye Deceived. New York: St. Martin's, 1974. Crawford, C. The Art of Computer Game Design. Original publication 1982, book out of print. 15 Oct. 2000 <http://members.nbci.com/kalid/art/art.php>. Darley Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Lunenfeld, P. Digital Dialectic: New Essays on New Media. Cambridge, Mass.: MIT P 1999. Mates, A. Effective Illusory Worlds: A Comparative Analysis of Interfaces in Contemporary Interactive Fiction. 1998. 15 Oct. 2000 <http://www.wwa.com/~mathes/stuff/writings>. Mastai, M. L. d'Orange. Illusion in Art, Trompe L'Oeil: A History of Pictorial Illusion. New York: Abaris, 1975. Miller, Robyn and Rand. "The Making of Myst." Myst. Cyan and Broderbund, 1993. Milman, M. Trompe-L'Oeil: The Illusion of Reality. New York: Skira Rizzoli, 1982. Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Simon and Schuster, 1997. Wertheim, M. The Pearly Gates of Cyberspace: A History of Cyberspace from Dante to the Internet. Sydney: Doubleday, 1999. Game References 7th Guest. Trilobyte, Inc., distributed by Virgin Games, 1993. Doom. Id Software, 1992. Excalibur. Chris Crawford, 1982. Myst. Cyan and Broderbund, 1993. Tomb Raider. Core Design and Eidos Interactive, 1996. The Crystal Key. Dreamcatcher Interactive, 1999. Citation reference for this article MLA style: Bernadette Flynn. "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/navigation.php>. Chicago style: Bernadette Flynn, "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]). APA style: Bernadette Flynn. (2000) Towards an aesthetics of navigation -- spatial organisation in the cosmology of the adventure game. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/navigation.php> ([your date of access]).

Introduction Since at least the work of van Gennep in the early 1900s, anthropologists have recognised that borders and thresholds are crucial in understanding human behavior and culture. But particularly in the past few decades, the study of borders has moved from the margins of social inquiry to the centre. At the same time, fashion (Entwistle), including clothing and skin (Bille), have emerged as crucial to understanding the human condition. In this article, we draw on and expand this literature on borders and fashion to demonstrate that the way Indonesians fashion and display their body reflects larger changes in attitudes about morality and gender. And in this, borders and thresholds are crucial. In order to make this argument, we consider three case studies from Indonesia. First, we discuss the requirement that policewomen submit to a virginity test, which takes the form of a hymen inspection. Then, we look at the successful campaign by policewomen to be able to wear the Islamic veil. Finally, we consider reports of Makassar policewomen who attempt to turn young people into exemplary citizens and traffic 'ambassadors' by using downtown crosswalks as a catwalk. In each of these three cases, fashioned borders and thresholds play prominent roles in determining the expression of morality, particularly in relation to gender roles. Fashion, Thresholds, and Borders There was once a time when social scientists tended to view clothes and other forms of adornment as "frivolous" or trivial (Entwistle 14; 18). Over the past few decades, however, fashion has emerged as a serious study within the social sciences. Writers have, for example, demonstrated how fashion is closely tied up with identity and capitalism (King and Winarnita). And although fashion used to be envisaged as emerging from London, New York, Paris, Milan, and other Western locations, scholars are increasingly recognising the importance of Asia in fashion studies. Whether the haute couture and cosplay in Tokyo or 'traditional' weaving of materials in Indonesia, studying fashion and clothes provides crucial insight into the cultures and societies of Asia (King and Winarnita). To contribute to this burgeoning area of research in Asian fashion, we draw on the anthropological classics, in particular, the concept of threshold. Every time we walk through a doorway, gate, or cross a line, we cross a threshold. But what classic anthropology shows us is that crossing certain thresholds changes our social status. This changing particularly occurs in the context of ritual. For example, walking onto a stage, a person becomes a performer or actor. Traditionally a groom carries his bride through the door, symbolising the transition to husband and wife (Douglas 115). In this article, we apply this idea that crossing thresholds is associated with transitioning social statuses (Douglas; Turner; van Gennep). To do this, we first establish a connection between national and personal borders. We argue that skin and clothes have a cultural function in addition to their practical functions. Typically, skin is imagined as a kind of social border and clothes provide a buffer zone. But to make this case, we first need to elaborate how we understand national borders. In the traditional kingdoms of Southeast Asia, borders were largely imperceptible or non-existent. Power was thought to radiate out from the ruler, through the capital, and into the surrounding areas. As it emanated from this 'exemplary centre', power was thought to weaken (Geertz 222-229). Rather than an area of land, a kingdom was thought to be a group of people (Tambiah 516). In this context, borders were irrelevant. But as in other parts of the world, in the era of nations, the situation has entirely changed in modern Indonesia. In a simple sense, our current global legal system is created out of international borders. These borders are, first and foremost, imagined lines that separate the area belonging to one nation-state from another. Borders are for the most part simply drawn on maps, explained by reference to latitude, longitude, and other features of the landscape. But, obviously, borders exist outside the imagination and on maps. They have significance in international law, in separating one jurisdiction from another. Usually, national borders can only be legally crossed with appropriate documentation and legal status. In extreme cases, crossing another nation's border can be a cause for war; but the difficulty in determining borders in practice means both sides may debate over whether a border was actually crossed. Where this possibility exists, sometimes the imagined lines are marked on the actual earth by fences, walls, etc. To protect borders, buffer zones are sometimes created. The most famous buffer zone is the Demilitarized Zone or DMZ, which runs along North Korea's border with South Korea. As no peace treaty has been signed between these two nations, they are technically still at war. Hostility is intense, but armed conflict has, for the most part, ceased. The buffer helps both sides maintain this cessation by enabling them to distinguish between an unintentional infringement and a genuine invasion. All this practical significance of borders and buffer zones is obvious. But borders become even more fascinating when we look beyond their 'practical' significance. Borders have ritual as well as practical importance. Like the flag, the nation's borders have meaning. They also have moral implications. Borders have become an issue of almost fanatical or zealous significance. The 2015 footage of a female Hungarian reporter physically attacking asylum seekers who crossed the border into her nation indicates that she was not just upset with their legal status; presumably she does not physically attack people breaking other laws (BBC News). Similarly the border vigilantes, volunteers who 'protect' the southern borders of the USA against what they see as drug cartels, apparently take no action against white-collar criminals in the cities of the USA. For the Hungarian reporter and the border vigilantes, the border is a threshold to be protected at all costs and those who cross it without proper documentation and process are more than just law breakers; they are moral transgressors, possibly even equivalent to filth. So much for border crossing. What about the borders themselves? As mentioned, fences, walls, and other markers are built to make the imagined line tangible. But some borders go well beyond that. Borders are also adorned or fashioned. For instance, the border between North and South Korea serves as a site where national sovereignty and legitimacy are emphasised, defended, and contested. It is at this buffer zone that these two nations look at each other and showcase to the other what is ideally contained within their own respective national borders. But it is not just national states which have buffer zones and borders with deep significance in the modern period; our own clothes and skin possess a similar moral significance. Why are clothes so important? Of course, like national borders, clothes have practical and functional use. Clothes keep us warm, dry, and protected from the sun and other elements. In addition to this practical use, clothes are heavily imbued with significance. Clothes are a way to fashion the body. They define our various identities including gender, class, etc. Clothes also signify morality and modesty (Leach 152). But where does this morality regarding clothing come from? Clothing is a site where state, religious, and familial control is played out. Just like the DMZ, our bodies are aestheticised with adornments, accoutrements, and decorations, and they are imbued with strong symbolic significance in attempts to reveal what constitutes the enclosed. Just like the DMZ, our clothing or lack thereof is considered constitutive of the nation. Because clothes play a role akin to geo-political borders, clothes are our DMZ; they mark us as good citizens. Whether we wear gang colours or a cross on our necklace, they can show us as belonging to something powerful, protective, and worth belonging to. They also show others that they do not belong. In relation to this, perhaps it is necessary to mention one cultural aspect of clothing. This is the importance, in the modern Indonesian nation, of appearing rapih. Rapih typically means clean, tidy, and well-groomed. The ripped and dirty jeans, old T-shirts, unshaven, unkempt hair, which has, at times, been mainstream fashion in other parts of the world, is typically viewed negatively in Indonesia, where wearing 'appropriate' clothing has been tied up with the nationalist project. For instance, as a primary school student in Indonesia, Winarnita was taught Pendidikan Moral Pancasila (Pancasila Moral Education). Named after the Pancasila, the guiding principles of the Indonesian nation, this class is also known as "PMP". It provided instruction in how to be a good national citizen. Crucially, this included deportment. The importance of being well dressed and rapih was stressed. In sum, like national borders, clothes are much more than their practical significance and practical use. This analysis can be extended by looking at skin. The practical significance of skin cannot be overstated; it is crucial to survival. But that does not preclude the possibility that humans—being the prolifically creative and meaning-making animals that we are—can make skin meaningful. Everyday racism, for instance, is primarily enabled by people making skin colour meaningful. And although skin is not optional, we fashion it into borders that define who we are, such as through tattoos, by piercing, accessorising, and through various forms of body modification (from body building to genital modification). Thresholds are also important in understanding skin. In a modern Indonesian context, when a penis crosses a woman's hymen her ritual status changes; she is no longer a virgin maiden (gadis) or virgin (perawan). If we apply the analogy of borders to the hymen, we could think of it as a checkpoint or border crossing. At a national border crossing, only people with correct credentials (for instance, passport holders with visas) can legally cross and only at certain times (not on public holidays or only from 9-5). At a hymen, only people with the correct status, namely one's husband, can morally cross. The checkpoint is a crucial reminder of the nation state and citizen scheme. The hymen is a crucial reminder of heteronormative standards. Crucial to understanding Indonesian notions of skin is the idea of aurat (Bennett 2007; Parker 2008). This term refers to parts of the body that should be covered. Or it could be said that aurat refers to 'intimate parts' of the body, if we understand that different parts of the body are considered intimate in Indonesian cultures. Indonesians tend to describe the aurat as those body parts that arouse feelings of sexual attraction or embarrassment in others. The concept tends to have Arabic and Islamic associations in Indonesia. Accordingly, for many Muslims, it means that women, once they appear sexually mature, should cover their hair, neck, and cleavage, and other areas that might arouse sexual attraction. These need to be covered when they leave their house, when they are viewed by people outside of the immediate nuclear family (muhrim). For men, it means they should be covered from their stomach to their knees. However, different Islamic scholars and preachers give different interpretations about what the aurat includes, with some opining that the entire female body with the exception of hands and face needs to be covered. That said, the general disposition or habitus of using clothes to cover is also found among non-Muslims in Indonesia. Accordingly, Catholics, Protestants, and Hindus also tend to cover their legs and cleavage, and so on, more than would commonly be found in Western countries. Having outlined the literature and cultural context, we now turn to our case studies. The Veil and Indonesian Policewomen Our first case study focusses on Indonesian police. Aside from a practical significance in law enforcement, police also have symbolic importance. There is an ideal that police should set and enforce standards for exemplary behaviour. Despite this, the Indonesia police have an image problem, being seen as highly corrupt (Davies, Stone, & Buttle). This is where policewomen fit in. The female constabulary are thought to be capable of morally improving the police force and the nation. Additionally, Indonesian policewomen are believed to be needed in situations of family violence, for instance, and to bring a sensitive and humane approach. The moral significance of Indonesia's policewomen shows clearly through issues of their clothing, in particular, the veil. In 2005, it became illegal for Indonesian policewomen to wear the veil on duty. Various reasons were given for this ban. These included that police should present a secular image, showcasing a modern and progressive nation. But this was one border contest where policewomen were able to successfully fight back; in 2013, they won the right to wear the veil on duty. The arguments espoused by both sides during this debate were reflective of geo-political border disputes, and protagonists deployed words such as "sovereignty", "human rights", and "religious autonomy". But in the end it was the policewomen's narrative that best convinced the government that they had a right to wear the veil on duty. Possibly this is because by 2013 many politicians and policymakers wanted to present Indonesia as a pious nation and having policewomen able to express their religion – and the veil being imbued with sentiments of honesty and dedication – fitted in with this larger national image. In contrast, policewomen have been unsuccessful in efforts to ban so called virginity testing (discussed below). Indonesian Policewomen Need to Be Attractive But veils are not the only bodily border that can be packed around language used to describe a DMZ. Policewomen's physical appearance, and specifically facial appearance and make-up, are discussed in similar terms. As such another border that policewomen must present in a particular (i.e. beautiful) way is their appearance. As part of the selection process, women police candidates must be judged by a mostly male panel as being pretty. They have to be a certain height and weight, and bust measurements are taken. The image of the policewoman is tall, slim, and beautiful, with a veil or with regulation cut and coiffed hair. Recognising the 'importance' of beauty for policewomen, they are given a monthly allowance precisely to buy make-up. Such is the status of policewomen that entry is highly competitive. And those who make the cut accrue many benefits. One of these benefits can be celebrity status, and it is not unusual for some policewomen to have over 100,000 Instagram followers. This celebrity status has led one police official to publicly state that women should not join the police force thinking it is a shortcut to celebrity status (Davies). So just like a nation trying to present its best self, Indonesia is imagined in the image of its policewomen. Policewomen feel pride in being selected for this position even when feeling vexed about these barriers to getting selected (Davies). Another barrier to selection is discussed in the next case study. Virginity Testing of Policewomen Our second case study relates to the necessity that female police recruits be virgins. Since 1965, policewomen recruits have been required to undergo internal examinations to ensure that their hymen is supposedly intact. Glossed as 'virginity' tests this procedure involves a two-finger examination by a health professional. Protests against the practice have been voiced by Human Rights Watch and others (Human Rights Watch). Pledges have also been made that the practice will be removed. But to date the procedure is still performed, although there are currently moves to have it banned within the armed forces. Hymens are more of a skin border than a clothing border such as that formed by uniforms or veils, but they operate in similar ways. The ‘feelable’ hymen marks an unmarried woman as moral. New women police recruits must be unmarried and therefore virgins. Actually, the hymen is not a taut skin border, but rather a loose connection of overlapping tissue and in this sense a hymen is not something one can lose. But the hymen is used as a proxy to determine a woman’s value. Hymen border control gives one a moral edge. A hymen supposedly measures a woman’s ability to protect herself, like any fortified geo-political border. Protecting one’s own borders gives the suggestion that one is able to protect others. A policewoman who can protect her bodily borders can protect those of others. Outsiders may wonder what being attractive, modest, but not too modest has to do with police work. And some (but by no means all) Indonesian policewomen wondered the same thing too. Indeed, some policewomen Davies interviewed in the 2010s were against this practice, but many staunchly supported it. They had successfully passed this rite of passage and therefore felt a common bond with other new recruits who had also gone through this procedure. Typically rites of passage, and especially the accompanying humiliation and abuse, engender a strong sense of solidarity among those who have passed through them. The virginity test seems to have operated in a similar way. Policewomen and the 'Citayam' Street Fashion Our third case study is an analysis of a short and otherwise unremarkable TV news report about policewomen parading across a crosswalk in a remote regional city. To understand why, we need to turn to "Citayam Fashion Week", a youth social movement which has developed around a road crossing in downtown Jakarta. Social movements like this are difficult to pin down, but it seems that a central aspect has been young fashionistas using a zebra crossing on a busy Jakarta street as an impromptu catwalk to strut across, be seen, and photographed. These youths are referred to in one article as "Jakarta's budget fashionistas" (Saraswati). The movement is understood in social media and traditional media sources as expressing 'street fashion'. Social media has been central to this movement. The youths have posted photos and videos of themselves crossing the road on social media. Some of these young fashionistas posted interviews with each other on TikTok. Some of the interviews went viral in June 2022 (Saraswati). So where does the name "Citayam Fashion Week" come from? Citayam is an outer area of Jakarta, which is a long way from from the wealthy central district where the young fashionistas congregate. But "Citayam" does not mean that the youths are all thought to come from that area. Instead the idea is that they could be from any poorer outer areas around the capital and have bussed or trained into town. The crosswalk they strut across is near the transport hub next to a central train station. The English-language "Fashion Week" is a tongue-in-cheek label mocking the haute couture fashion weeks around the world – events which, due to a wealth and class gap, are closed off to these teens. Strutting on the crosswalk is not limited to a single 'week' but it is an ongoing activity. The movement has spread to other parts of Indonesia, with youth parading across cross walks in other urban centres. Citayam Fashion Week became one of the major Indonesian public issues of 2022. Reaction was mixed. Some pointed to the unique street style and attitude, act, and language of the young fashionistas, some of whom became minor celebrities. The "Citayam Fashion Week" idea was also picked up by mainstream media, attracting celebrities, models, content creators, politicians and other people in the public eye. Some government voices also welcomed the social movement as promoting tourism and the creative industry. Others voiced disapproval at the youth. Their clothes were disparaged as 'tacky', reflecting deep divides in class and income in modern Jakarta. Some officials noted that they are a nuisance because they create traffic jams and loitering. Criticism also had a moral angle, in particular with commentators focused on male teens wearing feminine attire (Saraswati). Social scientists such as Oki Rahadianto (Souisa & Salim) and Saraswati see this as an expression of youth agency. These authors particularly highlight the class origins of the Citayam fashionistas being mostly from poorer outer suburbs. Their fashion displays are seen to be a way of reclaiming space for the youth in the urban landscape. Furthermore, the youths are expressing their own and unique version of youth culture. We can use the idea of threshold to provide unique insight into this phenomenon in the simple sense that the crosswalk connects one side of the road to the other. But the youth use it for something far more significant than this simple practical purpose. What is perceived to be happening is that some of the youth, who after all are in the process of transitioning from childhood to adulthood, use the crosswalk to publicly express their transition to non-normative gender and sexual identities; indeed, some of them have also transitioned to become mini celebrities in the process. Images of 'Citayam' portray young males adorned in makeup and clothes that are not identifiably masculine. They appear to be crossing gender boundaries. Other images show the distinct street fashion of these youth of exposed skin through crop tops (short tops) that show the belly, clothes with cut-out sections on various parts of the body, and ripped jeans. In a way, these youth are transgressing the taboo against exposing too much skin in public. One video is particularly interesting in light of the approach we are taking in this article as it comes from Makassar, the capital of one of Indonesia's outlying regions. "The Citayam Fashion Week phenomenon spreads to Makassar; young people become traffic (lalu lintas) ambassadors" (Kompas TV) is a news report about policewomen getting involved with young people using a crosswalk to parade their fashion. At first glance the Citayam Fashion Week portrayed in Makassar, a small city in an outlying province, is tiny compared to the scale of the movement in Jakarta. The news report shows half a dozen young males in feminine clothing and makeup. Aside from several cars in the background, there is no observable traffic that the process seems to interrupt. The news report portrays several Indonesian policewomen, all veiled, assisting and accompanying the young fashionistas. The reporter explains that the policewomen go 'hand in hand' (menggandeng) with the fashionistas. The police attempt to harness the creative energy of the youth and turn them into traffic ambassadors (duta lalu lintas). Perhaps it is going too far to state, but the term for traffic here, lalu lintas ("lalu" means to pass by or pass through, and "lintas" means "to cross"), implies that the police are assisting them in crossing thresholds. In any case, from the perspective we have adopted in this chapter, Citayam Fashion Week can be analysed in terms of thresholds as a literal road crossing turned into a place where youth can cross over gender norms and class barriers. The policewomen, with their soft, feminine abilities, attempt to transform them into exemplary citizens. Discussion: Morality, Skin, and Borders In this article, we have actually passed over two apparent contradictions in Indonesian society. In the early 2000s, Indonesian policewomen recruits were required to prove their modesty by passing a virginity test in which their hymen was inspected. Yet, at the same time they needed to be attractive. And, moreover, they were not allowed to wear the Muslim veil. They had to be modest and protect themselves from male lust but also good-looking and visible to others. The other contradiction relates to a single crosswalk or zebra crossing in downtown Jakarta, Indonesia's capital city, in 2022. Instead of using this zebra crossing simply as a place to cross the road, some youths turned it to their own ends as an impromptu 'catwalk' and posted images of their fashion on Instagram. A kind of social movement has emerged whereby Indonesian youth are fashioning their identity that contravenes gender expectations. In an inconsequential news report on the Citayam Fashion Week in Makassar, policewomen were portrayed as co-opting and redirecting the movement into an instructional opportunity in orderly road crossing. The youths could thereby transformed into good citizens. Although the two phenomena – attractive modest police virgins and a crosswalk that became a catwalk – might seem distinct, underlying the paradoxes are similar issues which can be teased out by analysing them in terms of morality, gender, and clothing in relation to borders, buffer zones, and thresholds. Veils, hymens, clothes, make-up are all politically positioned as borders worth fighting for, as necessary borders. While some border disputes can be won (such as policewomen winning the right to veil on duty, or disrupting traffic by parading one's gender-bending fashion), others are either not challenged or unsuccessfully challenged (such as ending virginity tests). These borders of moral encounter enable and provoke various responses: the ban on veiling for Indonesian policewomen was something to challenge as it undermined women’s moral position and stopped their expression of piety – things their nation wanted them to be able to do. But fighting to stop virginity testing was not permissible because even suggesting a contestation implies immorality. Only the immoral could want to get rid of virginity tests. The Citayam Fashion Week presented potentially immoral youths who corrupt national values, but with the help of policewomen, literally and figuratively holding their hand, they could be transformed into worthwhile citizens. National values were at stake in clothing and skin. Conclusion Borders and buffer zone are crucial to a nation's image of itself; whether in the geographical shape of one's country, or in clothes and skin. Douglas suggests that the human experience of boundaries can symbolise society. If she is correct, Indonesian nationalist ideas about clothing, skin, and even hymens shape how Indonesians understand their own nation. Through the three case studies we argued firstly for the importance of analysing the fashioning of the body not only as a form of border maintenance, but as truly at the centre of understanding national morality in Indonesia. Secondly, the national border may also be a way to remake the individual. People see themselves in the 'shape' of their country. As Bille stated "like skin, borders are a protective integument as well as a surface of inscription. Like the body, the nation is skin deep" (71). Thresholds are just as they imply. Passing through a threshold, we cross over one side of the border. We can potentially occupy an in-between status in, for instance, demilitarised zones. Or we can continue on to the other side. To go over a threshold such as becoming a policewoman, a teenager, a fashionista, and a mini celebrity, a good citizen can be constituted through re-fashioning the body. Fashioning one's body can be done through adorning skin with makeup or clothes, covering or revealing the skin, including particular parts of the body deemed sacred, such as the aurat, or by maintaining a special type of skin such as the hymen. The skin that is re-fashioned thus becomes a site of border contention that we argue define not only personal but national identity. Acknowledgment This article was first presented by Sharyn Graham Davies as a plenary address on 24 November 2021 as part of the Women in Asia conference. References BBC News. "Hungarian Camerawoman Who Kicked Refugees Charged." 8 Sep. 2016. 3 Oct 2022 <https://www.bbc.com/news/world-europe-37304489>. Bennett, Linda Rae. "Zina and the Enigma of Sex Education for Indonesian Muslim Youth." Sex Education 7.4 (2007): 371- 386. Bille, Franck. "Skinworlds: Borders, Haptics, Topologies." Environment and Planning D: Society & Space 36.1 (2017): 60-77. Davies, Sharyn Graham. "Skins of Morality: Bio-borders, Ephemeral Citizenship and Policing Women in Indonesia." Asian Studies Review 42.1 (2018): 69-88. Davies, Sharyn Graham, Louise M. Stone, and John Buttle. "Covering Cops: Critical Reporting of Indonesian Police Corruption." Pacific Journalism Review 22 (2016): 185-201. Douglas, Mary. "External Boundaries." In Purity and Danger: An Analysis of the Concepts of Taboo and Pollution. London: Routlege, 2002. 115-129. Entwistle, Joanne. "Preface to the Second Edition." In The Fashioned Body: Fashion, Dress and Social Theory. New York: Polity Press, 2015. 2-26. Geertz, Clifford. "Ideology as a Cultural System." In The Interpretation of Cultures. New York: Basic Books, 1973. 193-233. Human Rights Watch. "Indonesia: No End to Abusive ‘Virginity Tests’; Military, Police Claim Discriminatory Practice Is for ‘Morality Reasons." 22 Nov. 2017. 3 Oct. 2022 <https://www.hrw.org/news/2017/11/22/indonesia-no-end-abusive-virginity-tests>. King, Emerald L., and Monika Winarnita. "Fashion: Editorial." M/C Journal 25.4 (2022). Kompas TV. "Fenomena 'Citayam Fashion Week' Menular ke Makassar, Muda-mudi Ini Dijadikan Duta Lalu Lintas.” 29 July 2022 <https://www.kompas.tv/article/314063/fenomena-citayam-fashion-week-menular-ke-makassar-muda-mudi-ini-dijadikan-duta-lalu-lintas>. Leach, E.R. "Magical Hair." The Journal of the Royal Anthropological Institute of Great Britain and Ireland 88.2 (1958): 147-164. Parker, Lyn. "To Cover the Aurat: Veiling, Sexual Morality and Agency among the Muslim Minangkabau, Indonesia." Intersections 16 (2008). <http://intersections.anu.edu.au/issue16/parker.htm>. Saraswati, Asri. Citayam Fashion Week: The Class Divide and the City. 2 Aug. 2022. 3 Oct. 2002 <https://indonesiaatmelbourne.unimelb.edu.au/citayam-fashion-week-class-divide-and-the-city/>. Souisa, Hellena, and Natasya Salim. "At Citayam Fashion Week, Jakarta's Budget Fashionistas Get Their Turn on the Catwalk." ABC News 7 Aug. 2022. 3 Oct 2022. <https://www.abc.net.au/news/2022-08-07/citayam-fashion-week-indonesia-underprivileged/101291202>. Tambiah, Stanley Jeyaraja. "The Galactic Polity: The Structure of Traditional Kingdoms in Southeast Asia." The Annals of the New York Academy of Sciences 293 (1977): 69-97. Turner, Victore W. "Betwixt and Between: The Liminal Period in Rites de Passage." In William Armand Lessa and Evon Zartman Vogt (eds.), Reader in Comparative Religion: An Anthropological Approach. London: Harper Collins, 1979 [1964]. 234-243. Van Gennep, Arnold. The Rites of Passage. London: Routledge 2004.

I. Happy Endings Chaplin’s Modern Times features one of the most subtly strange endings in Hollywood history. It concludes with the Tramp (Chaplin) and the Gamin (Paulette Goddard) walking away from the camera, down the road, toward the sunrise. (Figure 1.) They leave behind the city, their hopes for employment, and, it seems, civilization itself. The iconography deployed is clear: it is 1936, millions are unemployed, and to walk penniless into the Great Depression means destitution if not death. Chaplin invokes a familiar trope of 1930s texts, the “marginal men,” for whom “life on the road is not romanticized” and who “do not participate in any culture,” as Warren Susman puts it (171). The Tramp and the Gamin seem destined for this non-existence. For the duration of the film they have tried to live and work within society, but now they are outcasts. This is supposed to be a happy ending, though. Before marching off into poverty, the Tramp whistles a tune and tells the Gamin to “buck up” and smile; the string section swells around them. (Little-known [or discussed] fact: Chaplin later added lyrics to this music, resulting in the song “Smile,” now part of the repertoire of countless torch singers and jazz musicians. Standout recordings include those by Nat King Cole and Elvis Costello.) It seems like a great day to be alive. Why is that? In this narrative of despair, what is there to “buck up” about? The answer lies outside of the narrative. There is another iconography at work here: the rear-view silhouette of the Tramp strolling down the road, foregrounded against a wide vista, complete with bowler hat, baggy pants, and pigeon-toed walk, recalls previous Chaplin films. By invoking similar moments in his oeuvre, Chaplin signals that the Tramp, more than a mere movie character, is the mass-reproduced trademark image of Charlie Chaplin, multimillionaire entertainer and worldwide celebrity. The film doubles Chaplin with the Tramp. This double exposure, figuratively speaking, reconciles the contradictions between the cheerful atmosphere and the grim story. The celebrity’s presence alleviates the suspicion that the protagonists are doomed. Rather than being reduced to one of the “marginal men,” the Tramp is heading for the Hollywood hills, where Chaplin participates in quite a bit of culture, making hit movies for huge audiences. Nice work if you can get it, indeed. Chaplin resolves the plot by supplanting narrative logic with celebrity logic. Chaplin’s celebrity diverges somewhat from the way Hollywood celebrity functions generally. Miriam Hansen provides a popular understanding of celebrity: “The star’s presence in a particular film blurs the boundary between diegesis and discourse, between an address relying on the identification with fictional characters and an activation of the viewer’s familiarity with the star on the basis of production and publicity” (246). That is, celebrity images alter films by enlisting what Hansen terms “intertexts,” which include journalism and studio publicity. According to Hansen, celebrity invites these intertexts to inform and multiply the meaning of the narrative. By contrast, Modern Times disregards the diegesis altogether, switching focus to the celebrity. Meaning is not multiplied. It is replaced. Filmic resolution depends not only on recognizing Chaplin’s image, but also on abandoning plot and leaving the Tramp and the Gamin to their fates. This explicit use of celebrity culminates Chaplin’s reworking of early twentieth-century celebrity, his negotiations with fame that continue to reverberate today. In what follows, I will argue that Chaplin weds visual celebrity with strategies of author-production often attributed to modernist literature, strategies that parallel Michel Foucault’s theory of the “author function.” Like his modernist contemporaries, Chaplin deploys narrative techniques that gesture toward the text’s creator, not as a person who is visible in a so-called real world, but as an idealized consciousness who resides in the film and controls its meaning. While Chaplin’s Hollywood counterparts rely on images to connote individual personalities, Chaplin resists locating his self within a body, instead using the Tramp as a sign, rather than an embodiment, of his celebrity, and turning his filmmaking into an aesthetic space to contain his subjectivity. Creating himself as author, Chaplin reckons with the fact that his image remains on display. Chaplin recuperates the Tramp image, mobilizing it as a signifier of his mass audience. The Tramp’s universal recognizability, Chaplin suggests, authorizes the image to represent an entire historical moment. II. An Author Is Born Chaplin produces himself as an author residing in his texts, rather than a celebrity on display. He injects himself into Modern Times to resolve the narrative (and by extension assuage the social unrest the film portrays). This gesture insists that the presence of the author generates and controls signification. Chaplin thus echoes Foucault’s account of the author function: “The author is . . . the principle of a certain unity of writing – all differences having to be resolved” by reference to the author’s subjectivity (215). By reconciling narrative contradictions through the author, Chaplin proposes himself as the key to his films’ coherence of meaning. Foucault reminds us, however, that such positioning of the author is illusory: “We are used to thinking that the author is so different from all other men, and so transcendent . . . that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely. The truth is quite the contrary: the author does not precede the works. The text contains a number of signs referring to the author” (221). In this formulation, authors do not create meaning. Rather, texts exercise formal attributes to produce their authors. So Modern Times, by enlisting Chaplin’s celebrity to provide closure, produces a controlling consciousness, a special class of being who “proliferates” meaning. Chaplin’s films in general contain signs of the author such as displays of cinematic tricks. These strategies, claiming affinity with objects of high culture, inevitably evoke the author. Chaplin’s author is not a physical entity. Authorship, Foucault writes, “does not refer purely and simply to a real individual,” meaning that the author is composed of text, not flesh and blood (216). Chaplin resists imbuing the image of the Tramp with the sort of subjectivity reserved for the author. In this way Chaplin again departs from usual accounts of Hollywood stars. In Chaplin’s time, according to Richard Dyer, “The roles and/or the performance of a star in a film were taken as revealing the personality of the star” (20). (Moreover, Chaplin achieves all that fame without relying on close-ups. Critics typically cite the close-up as the device most instrumental to Hollywood celebrity. Scott J. Juengel writes of the close-up as “a fetishization of the face” that creates “an intense manifestation of subjectivity” [353; also see Dyer, 14-15, and Susman, 282]. The one true close-up I have found in Chaplin’s early films occurs in “A Woman” [1915], when Chaplin goes in drag. It shows Chaplin’s face minus the trademark fake mustache, as if to de-familiarize his recognizability.) Dyer represents the standard view: Hollywood movies propose that stars’ public images directly reflect their private personalities. Chaplin’s celebrity contradicts that model. Chaplin’s initial fame stems from his 1914 performances in Mack Sennett’s Keystone productions, consummate examples of the slapstick genre, in which the Tramp and his trademark regalia first become recognizable trademarks. Far from offering roles that reveal “personality,” slapstick treats both people and things as objects, equally at the mercy of apparently unpredictable physical laws. Within this genre the Tramp remains an object, subject to the chaos of slapstick just like the other bodies on the screen. Chaplin’s celebrity emerges without the suggestion that his image contains a unique subject or stands out among other slapstick objects. The disinclination to treat the image as container of the subject – shared with literary modernism – sets up the Tramp as a sign that connotes Chaplin’s presence elsewhere. Gradually, Chaplin turns his image into an emblem that metonymically refers to the author. When he begins to direct, Chaplin manipulates the generic features of slapstick to reconstruct his image, establishing the Tramp in a central position. For example, in “The Vagabond” (1916), the Tramp becomes embroiled in a barroom brawl and runs toward the saloon’s swinging doors, neatly sidestepping before reaching them. The pursuer’s momentum, naturally, carries him through the doorway. Other characters exist in a slapstick dimension that turns bodies into objects, but not the Tramp. He exploits his liberation from slapstick by exacerbating the other characters’ lack of control. Such moments grant the Tramp a degree of physical control that enhances his value in relation to the other images. The Tramp, bearing the celebrity image and referring to authorial control, becomes a signifier of Chaplin’s combination of authorship and celebrity. Chaplin devises a metonymic relationship between author and image; the Tramp cannot encompass the author, only refer to him. Maintaining his subjectivity separate from the image, Chaplin imagines his films as an aesthetic space where signification is contingent on the author. He attempts to delimit what he, his name and image, signify – in opposition to intertexts that might mobilize meanings drawn from outside the text. Writing of celebrity intertexts, P. David Marshall notes that “the descriptions of the connections between celebrities’ ‘real’ lives and their working lives . . . are what configure the celebrity status” (58). For Chaplin, to situate the subject in a celebrity body would be to allow other influences – uses of his name or image in other texts – to determine the meaning of the celebrity sign. His separation of image and author reveals an anxiety about identifying one specific body or image as location of the subject, about putting the actual subject on display and in circulation. The opening moment of “Shoulder Arms” (1920) illustrates Chaplin’s uneasy alliance of celebrity, author, and image. The title card displays a cartoon sketch of the Tramp in doughboy garb. Alongside, print lettering conveys the film title and the words, “written and produced by” above a blank area. A real hand appears, points to the drawing, and elaborately signs “Charles Chaplin” in the blank space. It then pantomimes shooting a gun at the Tramp. The film announces itself as a product of one author, represented by a giant, disembodied hand. The hand provides an inimitable signature of the author, while the Tramp, disfigured by the uniform but still identifiable, provides an inimitable signature of the celebrity. The relationship between the image and the “writer” is co-dependent but antagonistic; the same hand signs Chaplin’s name and mimes shooting the Tramp. Author-production merges with resistance to the image as representation of the subject. III. The Image Is History “Shoulder Arms” reminds us that despite Chaplin’s conception of himself as an incorporeal author, the Tramp remains present, and not quite accounted for. Here Foucault’s author function finds its limitations, failing to explain author-production that relies on the image even as it situates the author in the text. The Tramp remains visible in Modern Times while the film has made it clear that the author is present to engender significance. To Slavoj Zizek the Tramp is “the remainder” of the text, existing on a separate plane from the diegesis (6). Zizek watches City Lights (1931) and finds that the Tramp, who is continually shifting between classes and characters, acts as “an intercessor, middleman, purveyor.” He is continually mistaken for something he is not, and when the mistake is recognized, “he turns into a disturbing stain one tries to get rid of as quickly as possible” (4). Zizek points out that the Tramp is often positioned outside of social institutions, set slightly apart from the diegesis. Modern Times follows this pattern as well. For example, throughout the film the Tramp continually shifts from one side of the law to the other. He endures two prison sentences, prevents a jailbreak, and becomes a security guard. The film doesn’t quite know what to do with him. Chaplin takes up this remainder and transforms it into an emblem of his mass popularity. The Tramp has always floated somewhat above the narrative; in Modern Times that narrative occurs against a backdrop of historical turmoil. Chaplin, therefore, superimposes the Tramp on to scenes of historical change. The film actually withholds the tramp image during the first section of the movie, as the character is working in a factory and does not appear in his trademark regalia until he emerges from a stay in the “hospital.” His appearance engenders a montage of filmmaking techniques: abrupt cross-cutting between shots at tilted angles, superimpositions, and crowds of people and cars moving rapidly through the city, all set to (Chaplin’s) jarring, brass-wind music. The Tramp passes before a closed factory and accidentally marches at the head of a left-wing demonstration. The sequence combines signs of social upheaval, technological advancement, and Chaplin’s own technical achievements, to indicate that the film has entered “modern times” – all spurred by the appearance of the Tramp in his trademark attire, thus implicating the Tramp in the narration of historical change. By casting his image as a universally identifiable sign of Chaplin’s mass popularity, Chaplin authorizes it to function as a sign of the historical moment. The logic behind Chaplin’s treating the Tramp as an emblem of history is articulated by Walter Benjamin’s concept of the dialectical image. Benjamin explains how culture identifies itself through images, writing that “Every present day is determined by the images that are synchronic with it: each “now” is of a particular recognizability”(462-3). Benjamin proposes that the image, achieving a “particular recognizability,” puts temporality in stasis. This illuminates the dynamic by which Chaplin elevates the mass-reproduced icon to transcendent historical symbol. The Tramp image crystallizes that passing of time into a static unit. Indeed, Chaplin instigates the way the twentieth century, according to Richard Schickel, registers its history. Schickel writes that “In the 1920s, the media, newly abustle, had discovered techniques whereby anyone could be wrested out of whatever context had originally nurtured him and turned into images . . . for no previous era is it possible to make a history out of images . . . for no subsequent era is it possible to avoid doing so. For most of us, now, this is history” (70-1). From Schickel, Benjamin, and Chaplin, a picture of the far-reaching implications of Chaplin’s celebrity emerges. By gesturing beyond the boundary of the text, toward Chaplin’s audience, the Tramp image makes legible that significant portion of the masses unified in recognition of Chaplin’s celebrity, affirming that the celebrity sign depends on its wide circulation to attain significance. As Marshall writes, “The celebrity’s power is derived from the collective configuration of its meaning.” The image’s connotative function requires collaboration with the audience. The collective configuration Chaplin mobilizes is the Tramp’s recognizability as it moves through scenes of historical change, whatever other discourses may attach to it. Chaplin thrusts the image into this role because of its status as remainder, which stems from Chaplin’s rejection of the body as a location of the subject. Chaplin has incorporated the modernist desire to situate subjectivity in the text rather than the body. Paradoxically, this impulse expands the role of visuality, turning the celebrity image into a principal figure by which our culture understands itself. References Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge: The Belknap Press of Harvard UP, 1999. Chaplin, Charles, dir. City Lights. RBC Films, 1931. –––. Modern Times. Perf. Chaplin and Paulette Goddard, United Artists, 1936. –––. “Shoulder Arms.” First National, 1918. –––. “The Vagabond.” Mutual, 1916. Dyer, Richard. Stars. London: BFI, 1998. Foucault, Michel. Aesthetics, Method, and Epistemology. Ed. James D. Faubion. New York: The New Press, 1998. Hansen, Miriam. Babel and Babylon. Cambridge: Harvard UP, 1991. Marshall, P. David. Celebrity and Power. Minneapolis: U of Minnesota P, 1998. Juengel, Scott J. “Face, Figure and Physiognomics: Mary Shelley’s Frankenstein and the Moving Image.” Novel 33.3 (Summer 2000): 353-67. Schickel. Intimate Strangers. New York: Fromm International Publishing Company, 1986. Susman, Warren I. Culture as History. New York: Pantheon Books, 1973. Zizek, Slavoj. Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. New York: Routledge, 1992. Citation reference for this article MLA Style Goldman, Jonathan. "Double Exposure: Charlie Chaplin as Author and Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/05-goldman.php>. APA Style Goldman, J. (Nov. 2004) "Double Exposure: Charlie Chaplin as Author and Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/05-goldman.php>.

The film opens in an unidentified wax museum. The camera pans from right to left, zooming in on key Black historical figures who have been memorialized in wax. W.E.B. Du Bois, Marian Anderson, Booker T. Washington, Frederick Douglass, and Duke Ellington stand out. The final wax figure, a Black man, sits with an empty card box in his right hand and a lit cigarette in his left. The film’s narrator appears: a slim, afroed Black man. He sits to the right of the figure. The only living person in a room full of bodies, he reaches over to grab the cigarette. To his inanimate companion he nonchalantly says “Oh. Thank you very much. Needed that” and ashes the cigarette.The afroed, cigarette-ashing narrator is poet, novelist, and musician Gil Scott-Heron. The film is Black Wax (1982), directed by Robert Mugge. Black Wax is equal parts concert film, social documentary, and political statement by the poet. Set in Washington, D.C. and released in the midst of singer Stevie Wonder’s long campaign to make Martin Luther King Jr.’s birthday a national holiday, Scott-Heron’s film feels, in part, like an extension of Wonder’s wider effort. The year prior, Wonder held a massive rally in the city to demonstrate national support for the creation of the holiday. Reportedly, over 100,000 people attended. Wonder, building on mounting support of the proposed holiday made his song in honor of MLK Jr.—“Happy Birthday”—an integral part of his upcoming tour with Bob Marley. When Marley fell ill, Scott-Heron stepped in to lend his talents to Wonder’s cause. He would then participate in the Washington, D.C. rally that featured speeches from Diana Ross and Jesse Jackson (Cuepoint).Between live performances of various songs from his catalogue, Scott-Heron stages walking interludes wherein his wiry frame ambles through the city. Most are sonically accompanied by verses from his song “Washington, D.C.” He also folds in excerpts from his poems, personal reflections, and critiques of President Ronald Reagan’s administration. Scott-Heron ambulates a historically sedimented reality; namely that Washington, D.C. is a segregated city and that America, more broadly, is a divided nation. Against the backdrop of national monuments, his stroll stages critiques of the country’s racist past. In Black Wax, song becomes walk becomes interlude becomes critique.Throughout the 1970s, Scott-Heron used his politically conscious poetry and music to mount strident critiques of social relations. Songs like “The Revolution Will Not Be Televised”, “Winter in America”, and “Home Is Where the Hatred Is” reflect the artist’s larger concern with the stories Americans tell ourselves about who we are. This carried over into the 1980s. In his 1981 song “B-Movie”, Scott-Heron examines the ascent of Ronald Reagan, from actor to president. For the poet, the distinction is false, since Reagan “acted” his way into office. As an “actor in chief” Reagan represent a politically conservative regime that began before his entry into the White House. Reagan’s conservative politics were present when he was Governor of California and clashing with the Black Panther Party. Scott-Heron seized upon this history in Black Wax, tracing it all the way to the nation’s capital.A tour is “a journey for business, pleasure, or education often involving a series of stops and ending at the starting point” (“Tour”). Tours can offer closed-loop narratives that creates for participants a “safe” distance from the historical conditions which makes the location they are visiting possible. Scott-Heron undermines the certainly of that formulation with this wandering. In song and stride, he fashions himself a tour guide. This is not in the sense of taking the viewer into the “hood” to evidence urban decay. Rather, the poet’s critical amble undermines a national memory project that removes race from histories of the nation’s capital.Scott-Heron, self-styled Bluesologist, traveler, wanders through the world with a marrow-deep knowledge about the historical dynamics animating Black life. Walking richly informs how he relates to space. For Michel de Certeau, “the act of walking is to the urban system what the speech act is to language or to the statements uttered [...] it is a process of appropriation of the topographical system on the part of the pedestrian […] a spatial acting-out of the place […] and it implies relations among differentiated positions” (97-98). For Scott-Heron, the “relations among differentiated positions” is informed by his identity as a Black American. His relationship to race imbues him with what Black geographer Katherine McKittrick calls a “black sense of place.” According to McKittrick,a black sense of place can be understood as the process of materially and imaginatively situating historical and contemporary struggles against practices of domination and the difficult entanglements of racial encounter […][it] is not a steady, focused, and homogenous way of seeing and being in place, but rather a set of changing and differentiated perspectives that are illustrative of, and therefore remark upon, legacies of normalized racial violence that calcify, but do not guarantee, the denigration of black geographies and their inhabitants. (949-950)Scott-Heron elaborates on McKittrick’s concept through a series of walking interludes wherein he refuses a national narrative of harmonious racial progress. He dismisses an American fantasy of race, and it is not new. In “What America Would Be Like without Blacks” writer Ralph Ellison dissects the ways that Americans have historically tried to “get shut” of Black people, all while actively thriving on Black America’s cultural contributions. Scott-Heron’s black sense of place is articulated through a series of ambulant interventions that (subtly) acknowledge national violences while highlighting the often unspoken presence of Black people thriving in the nation’s capital.Visually, the poet sequesters national monuments to the background. Reducing their scale and stripping them of their dwarfing capacity while also actively not naming them. He miniaturizes them. This allows him to centre his critique of national history and politics. For Scott-Heron, the Capital Building and the White House are not sites to be revered. They are symbols of an ongoing betrayal perpetrated by the Reagan administration.The scenes I examine here are not representative. That isn’t my project. I am much more interested in the film as a wandering text, one that pushes at tensions in order to untether the viewer from a constricting narrative about who they might be. According to Sarah Jane Cervenak, “wandering aligns with the free at precisely those moments when it bends away from forces that attempt to translate or read” (15). In this regard, I offer this reading as a suggestion. It does not work towards a particular end other than opening the process(es) through which we make meaning of Scott-Heron’s filmic performance. In effect, don’t worry about where you are doing. Just be in the scene. Invite yourself to view the film and elaborate on descriptions offered here. Wander with him. Wander with me.———In his first walking interlude, the poet strolls along the Potomac River with a boombox hoisted upon his left shoulder. He plays a tape of his song “Washington, D.C.”, and as the opening instrumental creeps into audibility he offers his own introductory monologue:yeah, I forget what Washington did on the Potomac. This is the Potomac. Black folks would sometimes refer to that as the Po-to-mac [...] This here is the Potomac. Saw a duck floating out there a little while ago. Yeah, somebody said now that Reagan is in charge we’re all ducks. Dead ducks. You dig it?Walking along the Potomac, his slow gait is the focus. He stares directly at the camera and speaks to the viewer, to us. His (willful) forgetting of what George Washington “did on the Potomac” suggests that major figures in American history do not hold equal significance for all Americans. In fact, for Scott-Heron, the viewer/we might also do well to forget. His monologue smoothly transitions into the first verse of “Washington, D.C.”:Symbols of democracy, are pinned against the coastOuthouse of bureaucracy, surrounded by a moatCitizens of poverty are barely out of sightOverlords escape near evening, the brother’s on at nightMorning comes and brings the tourists, straining rubber necksPerhaps a glimpse of the cowboy making the world a nervous wreckIt’s a mass of irony for all the world to seeIt’s the nation’s capital, it’s Washington D.C. It’s the nation’s capitalIt’s the nation’s capitalIt’s the nation’s capital, it’s Washington D.C.(mmmm-hmmm)He feigns no allegiance to Washington, D.C. or the city’s touristic artifice. As the lyrics indicate, poverty stricken Americans’ proximity to physical symbols of national wealth belie the idea that democracy is successful. For him, poverty is as symbolic as monuments. Yet Scott-Heron does not visually exploit Americans living in poverty. This isn’t that kind of tour. Instead, he casts his gaze on the “symbol[s] of democracy” that celebrate the “outhouse of bureaucracy” that is Washington, D.C.As the poet continues his stroll along the Potomac, the Jefferson Memorial appears in the background. He has no interest in it. He does not name it, nor does he gesture to it in any way. Instead, he focuses his attention on the camera, the viewer, us. While the camera lags slightly behind him, rather than turn his attention to the river that he walks along, he looks over his right shoulder to re-establish eye contact with the camera. His indifference is reinforced by the nonchalant stride that never breaks. The Jefferson Memorial nor the Potomac River are objects to marvel at. They hold no amount of significance that would require the poet or viewer/us to stop and ponder them or their alleged importance. With eyes and feet, he keeps them where he wants them ... in the background.———In another interlude Scott-Heron, still holding the boombox atop his shoulder, appears in the courtyard area of an apartment complex. The repetition of his outfit, boombox location, and music give continuity to the scene by the Potomac and the unidentified neighborhood. His outfit is the same one he wears when walking by the Potomac and the boombox remains on his shoulder. Reciting the next verse of “Washington, D.C.”, it seems like he’s walking through a tableau.May not have the glitter or the glamour of L.A.It may not have the history or intrigue of PompeiiBut when it comes to making music, and sure enough making newsOr people who just don’t make sense, and people making doSeems a massive contradiction, pulling different waysBetween the folks who come and go, and one’s who’ve got to stayIt’s a mass of irony for all the world to seeIt’s the nation’s capital, it’s Washington, D.C. He strolls along the sidewalk, the camera zooming in on his face. Over his right shoulder two Black kids pose on their bikes as men stand around them. The camera rotates clockwise, giving a slight panoramic view of the apartment building in the background. Residents crowd the doorway, a combination of what appears to be overlapping greetings and farewells. The ambiguous actions of the people in the background smoothly contrasts with the poet’s lean frame while his focus on the camera/viewer enlarges his presence.The scene also includes various people sitting on park benches. We do not know if they are residents or visitors. In many ways, the distinction does not matter. What we see is comfort in the faces and bodies of the Black people immediately behind Scott-Heron. On one bench we see two people. The first is a Black man who hoists his right leg up, resting his foot on the bench. As the boombox plays and the poet raps, the man taps his knee and snaps his fingers. Similarly, a Black woman in a red dress sitting on the same bench responds to Scott-Heron’s presence and his music with a committed head bob and toe tap. On another bench, three young Black men nod coolly as they watch the poet recite the remainder of his verse.It’s the nation’s capitalIt’s the nation’s capitalIt’s the nation’s capital, it’s Washington D.C.He walks us through the partially-animated tableau wherein the folks sitting behind him subtly reinforce the message he directly communicates to the viewer/us.———In another interlude, three scenes are cut into one. In the first, the Capital Building looms in the distance as Scott-Heron enters the frame. He gestures toward the building and notes the ways that tours distract visitors from the real Washington:Let me tell you, those tours are all the same. They bring you around to places like this [gestures toward the Capital Building]. They might even tell you who the jackass is on the horse or the guy on top of the building, but they never show you the real Washington.Should’ve been around the 15th of January. That’s when Stevie Wonder was holding this rally. It was about 50,000 gathered there. They were trying to demonstrate and make Dr. King’s birthday a national holiday. But it’s always the same. The Capital. The Hoover Building. Maybe sometimes they’d even show you the Washington Monument [gestures towards the monument in the distance]. But that’s not a look at the real Washington. The one I’d like to show you is something special. You wanna see what’s happening in the nation’s capital? Come with me… (Black Wax)Since the standard D.C. tour leaves out the real Washington, the poet primes the viewer for the real thing. His mention of Stevie Wonder allows the poet to connect the viewer to that real Washington, Black Washington. This is the Washington that boasts Ben’s Chili Bowl, Howard University, and Scurlock Studios as cultural institutions. This is the Washington that would welcome the creation of a holiday in honor of Martin Luther King Jr. The scene quickly transitions to Scott-Heron walking down the streets of a presumably Black neighborhood. This neighborhood is outside the purview of tour mobile routes. There is nothing remarkable about the neighborhood. Nothing monumental. The street is lined with row houses. In the background, Black pedestrians passively observe or go about their day. One young Black man smokes a cigarette as Scott-Heron casually walks past him. For Scott-Heron, these folks are the “life-blood of the city” yet he does not speak with them, perhaps because his point is not to put these people on display but to formally acknowledge who gets left out of official narratives. The segment concludes with a return to Heron’s stroll along the Potomac, where he picks up another verse to “Washington, D.C.”:Seems to me, it’s still in light time people knifed up on 14th streetMakes me feel it’s always the right time for them people showing up and coming cleanDid make the one seem kind of numbIt’s the nation’s capitalIt’s the nation’s capitalIt’s the nation’s capital, it’s Washington D.C. ConclusionI’ll end with this. In a final scene, the poet walks in along the front gates of the White House. He holds a little Black girl’s hand and smokes a cigarette. Together they stroll along the gates of the White House. Their movement, from right to left, suggest a return. A going back to. However, this return is not nostalgic. It is accusatory. It is a reckoning with the unrealised promises that America doles out to its citizens. He notes:the protests that are launched in this country are not launched necessarily against the government. They are launched in terms of the fact that this country has rarely lived up to its advanced publicity. This is supposed to be the land of justice, liberty, and equality and that’s what everybody over here is looking for. (Black Wax)Perhaps, then, Gil Scott-Heron leaves his viewer/us not with a push to March. No. Walking against the miasma of national nostalgia perpetuated through tourism is one way to maintain a black sense of place.ReferencesBaram, Marcus. “How Stevie Wonder Helped Create Martin Luther King Day.” Cuepoint, 18 Jan. 2015. 15 Jul. 2018 <https://medium.com/cuepoint/how-stevie-wonder-helped-create-martin-luther-king-day-807451a78664>.Cervenak, Sarah Jane. Wandering: Philosophical Performances of Racial and Sexual Freedom. Durham: Duke UP, 2014.De Certeau, Michel. The Practice of Everyday Life. Los Angeles: U of California P, 1984.Gil Scott-Heron: Black Wax. Dir. Robert Mugge, performances by Gil Scott-Heron and the Midnight Band. WinStar Home Entertainment, 1982.McKittrick, Katherine. “On Plantations, Prisons, and a Black Sense of Place.” Social and Cultural Geography 12.8 (2011): 947-963. Scott-Heron, Gil. The Last Holiday: A Memoir. New York: Grove Press, 2012.“Tour.” Merriam-Webster. 15 Jul. 2018.<https://www.merriam-webster.com/dictionary/tour>.