Letteratura scientifica selezionata sul tema "Fan Tree Company"

PT.X is a manufacturing company whose one product is Gallon Paint bucket 5kg. The problems faced by this company are factors that cause production defects, it is necessary to improve the quality of 5kg paint gallons. the flow of stages in the research using the New Seven Tools method with the stages, namely affinity diagrams, Affinity Diagrams, Relationship Diagrams, Tree diagrams, Matrix Diagrams, Data Analysis Matrix, Arrow Diagrams, Process Decision Program Charts. With the results of this study, it is known that the factors of the occurrence of production defects are the human factor The condition of the operator is sick, the operator is in a hurry, the lack of understanding of the production machine. Material factors Inappropriate mixing of raw materials. Machine Factors Short Machine Maintenance Time, Number of Machines That Are Not Operating, Lack of Spare Parts To Do Maintenance. Factors SOP method of Quality Standards that are not written in the production section. Environmental factors Hot Working Environment Temperature, Long Distance Between Production, Noisy Work Environment. The suggestion given to reduce this production defect is to give sick leave for 3 days. Adding operators to the Inject Molding machine at least 2. Providing training on the operation of the machine to each operator. Preparation of appropriate raw material mixture formulas. Placing unused machines in 1 warehouse room. Making regular and strict maintenance schedule for machine maintenance. Stocking spare parts in the Workshop room Providing understanding of product defect SOPs. Providing a fan in the room and increasing air ventilation. Updated the production line layout. Place the machine in a soundproof room and wear earplugs.

Abstract Introduction: Polycomb repressive complex 2 (PRC2) regulates transcription via trimethylation of histone H3 at lysine 27 (H3K27me3). Enhancer of zeste homolog 2 (EZH2) in conjunction with embryonic ectoderm development (EED) is a catalytic subunit of PRC2 and functions as a histone methyltransferase for H3K27. H3K27me3 appears to be a unifying component in many malignancies, inducing transcriptional repression. EED is a core component of PRC2 that modifies the epigenetic status of target genes, including cell cycle control genes. Dysregulation of this pathway leads to tumorigenesis in several diseases. MAK683 is a specific oral inhibitor that impairs EED binding to H3K27me3. This is a Phase I/II study of MAK683 in adult patients with advanced malignancies for whom no effective standard treatment is available. Here, we present data from a subset of patients with diffuse large B-cell lymphoma (DLBCL). Methods: Patients with DLBCL received escalating doses of MAK683 in fasted conditions. Patients were administered MAK683 10, 20, 40, 80, 120, 240, 300, 500, and 800 mg once daily (QD) or 60, 80, 120, 150, and 300 mg twice daily (BID) orally in 28-day cycles until unacceptable or dose-limiting toxicities (DLTs) had developed, disease progression, or death. The primary objective was to characterize safety and tolerability and determine the maximum tolerated dose and/or recommended Phase II dose (RP2D). Results: As of March 5, 2021, 31 patients with an Eastern Cooperative Oncology Group Performance Status of 0-2 were treated. Median age was 70 years (range: 33-84) and patients were heavily pre-treated, with a median of 4 (range: 1-16) prior lines of therapy. Overall, 30 patients (97%) discontinued treatment due to progressive disease (26 patients, 84%), adverse events (3 patients, 10%), and physician's decision (1 patient, 3%). In total, 21 (68%) patients experienced ≥1 treatment-related adverse event (TRAE) of any grade, and the most common (≥20%) TRAEs were thrombocytopenia (29%) and anemia (23%). Grade 3/4 TRAEs were reported in 14 (45%) patients, with ≥15% of patients reporting thrombocytopenia (19%), neutropenia, and decreased neutrophil count (16% each). DLTs were reported in 7 patients, all of which were hematological and therefore may be related to the underlying disease in this subset of patients. Patients in both the QD dosing group (120 mg, 240 mg, and 800 mg; n=1 each) and BID dosing group (60 mg, n=1; 80 mg, n=2; 150 mg, n=1) reported DLTs. There were no treatment-related deaths in this study. Overall response rate was 16% (95% CI: 5─34) and the disease control rate was 29% (95% CI: 14─48). Two patients (6%) achieved a complete response (CR) and 3 patients (10%) achieved a partial response. Four patients (13%) reported stable disease. Pharmacokinetic data showed rapid absorption of MAK683 across all dosing regimens tested and drug exposure increased with dose. Conclusions: MAK683 was generally well tolerated and there were preliminary signs of activity in patients with treatment-resistant DLBCL. The use of MAK683 as a novel strategy for the inhibition of EED may have potential in relapsed/refractory DLBCL. Disclosures Ribrag: PharmaMar: Honoraria, Membership on an entity's Board of Directors or advisory committees; Servier: Consultancy, Membership on an entity's Board of Directors or advisory committees; Bristol Myers Squibb: Membership on an entity's Board of Directors or advisory committees; Incyte: Membership on an entity's Board of Directors or advisory committees; Astex Pharmaceuticals: Research Funding; Roche: Membership on an entity's Board of Directors or advisory committees; MSD Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees; Epizyme: Honoraria, Research Funding; Argen-X: Research Funding; AstraZeneca: Membership on an entity's Board of Directors or advisory committees; Nanostring: Membership on an entity's Board of Directors or advisory committees; Roche: Membership on an entity's Board of Directors or advisory committees; Infinity Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees; GSK: Research Funding; Gilead: Membership on an entity's Board of Directors or advisory committees. Michot: GSK: Honoraria; MSD: Consultancy, Honoraria; Celgene: Honoraria; Innate Pharma: Research Funding; Incyte: Research Funding; H3 biomedecine: Research Funding; GSK: Consultancy, Honoraria, Research Funding; Genentech: Research Funding; Gamamabs: Research Funding; Forma: Research Funding; Exelixis: Research Funding; Eos: Research Funding; Eisai: Research Funding; Debiopharm: Research Funding; Daiichi Sankyo,: Research Funding; Clovis: Research Funding; Chugai: Research Funding; Boeringer Ingelheim: Research Funding; Celgene: Research Funding; Blueprint: Research Funding; Beigene: Research Funding; Bayer: Research Funding; Argen-x: Research Funding; Amgen: Research Funding; Agios: Research Funding; Aduro: Research Funding; Abbvie: Research Funding; ASTEX: Research Funding, Speakers Bureau; Astra Zeneca: Honoraria, Research Funding; Roche: Honoraria; Bristol Myers Squibb: Consultancy, Honoraria, Research Funding. Igleias: Merck Serono, MSD, BMS, Lilly, Roche, Bayer, Sanofi: Consultancy. Tan: Novartis, Bayer, Boehringer Ingelheim, MSD, Astra Zeneca, Eli-Lilly, Loxo: Consultancy; Astra Zeneca, Pfizer, Novartis: Research Funding; Merck, Pfizer, Novartis, Takeda, Bayer, Boehringer Ingelheim, Roche: Honoraria. Ma: Novartis, Merck, Y-Biologies, Taiho, Daiichi: Honoraria, Speakers Bureau; Novartis, Inglheim: Research Funding. Wainberg: Plexxikon, BMS, EMD Serono: Research Funding; Roche, Novartis, BMS, Merck, Pfizer, Lilly, Bayer, Astra Zeneca, Daiichi, Astellas, Amgen: Consultancy. Fan: Novartis Institutes for Biomedical Research: Current Employment. Suenaga: Novartis Pharma K.K.: Current Employment. Cheng: Novartis: Current Employment. Lai: Novartis: Current equity holder in publicly-traded company; Novartis Institutes for Biomedical Research: Current Employment. Yokota: AstraZeneca, Chugai Pharma, MSD, Syneos Health, Lilly, Incyte, Novartis, GlaxoSmithKline, Ascent: Research Funding; Abbott Japan, Ono Pharmaceutical, Chugai Pharma, Bristol-Myers Squibb, Merck Biopharma, MSD, Rakuten Medical, Eisai: Honoraria; Merck Biopharma, MSD, Rakuten Medical: Membership on an entity's Board of Directors or advisory committees.

Introduction: Doctor Who's “Wilderness Years”1989 saw the cancellation of the BBC's long-running science fiction television series Doctor Who (1965 -). The 1990s were largely bereft of original Doctor Who television content, leading fans to characterise that decade as the “wilderness years” for the franchise (McNaughton 194). From another perspective, though, the 1990s was an unprecedented time of production for Doctor Who media. From 1991 to 1997, Virgin Publishing was licensed by the BBC's merchandising division to publish a series of original Doctor Who novels, which they produced and marketed as a continuation of the television series (Gulyas 46). This series of novels, Doctor Who: The New Adventures (commonly referred to as “the Virgin New Adventures” by fans) proved popular enough to support a monthly release schedule, and from 1994 onwards, a secondary "Missing Adventures" series.Despite their central role in the 1990s, however, many fans have argued that the Doctor Who novels format makes them either less "canonical" than the television series, or completely "apocryphal" (Gulyas 48). This fits with a general trend in transmedia properties, where print-based expansions or spin-offs are generally considered less official or authentic than those that are screen-based (Hills 223). This article argues that the openness of the series to contributions from fan writers – and also some of the techniques and approaches prioritised in fan fiction - resulted in the Virgin range of Doctor Who novels having an unusually significant impact on the development and evolution of the franchise as a whole when compared to the print-based transmedia extensions of other popular series’. The article also argues that the tonal and stylistic influence of the New Adventures novels on the revived Doctor Who television series offers an interesting counter-example to the usually strict hierarchies of content that are implied in Henry Jenkins's influential model of transmedia storytelling. Transmedia StorytellingJenkins uses the term “transmedia storytelling” to describe the ways in which media franchises frequently expand beyond the format they originate with, potentially encompassing television series, films, games, toys, comics and more (Jenkins “Transmedia 202”). In discussing this paradigm, Jenkins notes the ways in which contemporary productions increasingly prioritise “integration and coordination” between the different forms of media (Jenkins Convergence Culture 105). As Jenkins argues, “most discussions of transmedia place a high emphasis on continuity – assuming that transmedia requires a high level of coordination and creative control and that all of the pieces have to cohere into a consistent narrative or world” (Jenkins “Transmedia 202”). Due to this increased emphasis on continuity, the ability to decide which media will be considered as “canonical” within the story-world of the franchise becomes an important one. Where previously questions of canon had been largely confined to fan discussions, debates and interpretive readings of media texts (Jenkins Textual Poachers 102-104), the proprietors of franchises in a transmedia economy have an interest in proactively defining and policing the canon. Designating a particular piece of media as a “canonical” expansion or spinoff of its parent text can be a useful marketing tool, as it creates the expectation that it will provide an important contribution. Correspondingly, declaring that a particular set of media texts is no longer canonical can make the franchise more accessible and allow the authors of new material more creative freedom (Proctor and Freeman 238-9).While Jenkins argues that a reliance on “one single source or ur-text” (“Transmedia 101”) is counter to the spirit of transmedia storytelling, Pillai notes that his emphasis on cohesiveness across diverse media tends to implicitly prioritise the parent text over its various offshoots (103-4). As the parent text establishes continuity and canon, any transmedia supplements are obligated to remain consistent with it, but this is often a one-sided and hierarchical relationship. For example, in the Star Wars transmedia franchise, the film series is considered crucial in establishing the canon; and transmedia supplements are obliged to remain consistent with it in order to be recognised as authentic. The filmmakers, however, are largely free to ignore or contradict the contributions of spin-off books.Hills notes that the components of transmedia franchises are often arranged into “transmedial hierarchies” (223), where screen-based media like films, television series and video games are assigned dominance over print-based productions like comics and novels. This hierarchy means that print-based works typically have a less secure place within the canon of transmedia franchises, despite often contributing a disproportionately large quantity of narratives and concepts (Guynes 143). Using the Star Wars Expanded Universe as an example, he notes a tendency whereby “franchise novels” are generally considered as disposable, and are easily erased or decanonised despite significantly long, carefully interwoven and coordinated periods of storytelling (143-5). Doctor Who as a Transmedia FranchiseWhile questions of canon are frequently debated and discussed among Doctor Who fans, it is less easy to make absolutist distinctions between canonical and apocryphal texts in Doctor Who than it is in other popular transmedia franchises. Unlike comparable transmedia productions, Doctor Who has traditionally lacked a singular authority over questions of canon and consistency in the manner that Jenkins argues for in his implicitly hierarchical conception of transmedia storytelling (Convergence Culture 106). Where franchises like Star Wars, Star Trek or The X-Files have been guided by creator-figures who either exert direct control over their various iterations or oblige them to remain broadly consistent with their original vision, Doctor Who has generally avoided this focus; creative control has passed between various showrunners and production teams, who have been largely free to establish their own style and tone.Furthermore, the franchise has traditionally favoured a largely self-contained and episodic style of storytelling; and different storylines and periods from its long history often contradict one another. For these reasons, Booth suggests that the largely retroactive attempts on the part of fans and critics to read the entire series as the type of transmedia production that Jenkins advocates for (i.e. an internally consistent narrative of connected stories) are counter-productive. He argues that Doctor Who is perhaps best understood not as a continuing series but as a long-running anthology, where largely autonomous stories and serials can be grouped into distinct “periods” of resemblance in terms of style and subject matter (198-206).As Britton argues, when appreciating Doctor Who as franchise, there is no particular need to assign primary importance to the parent media. Since its first season in 1965, the Doctor Who television series has been regularly supplemented by other media in the form of comics, annuals, films, stage-plays, audio-dramas, and novelisations. Britton maintains that as the transmedia works follow the same loosely connected, episodic structure as the television series, they operate as equally valid or equally disposable components within its metanarrative (1-9). Doctor Who writer Paul Cornell argues that given the accommodating nature of the show’s time-travel premise (which can easily accommodate the inconsistencies that Jenkins argues should be avoided in transmedia storytelling), and in the absence of a singular revered creator-figure or authority, absolutist pronouncements on canon from any source are unnecessary and exclusionary, either delegitimising texts that the audience may value, or insisting on familiarity with a particular text in order for an experience of the media to be considered “legitimate”. The Transmedia Legacy of the Virgin New AdventuresAs the Virgin Doctor Who novels are not necessarily diminished by either their lack of a clear canonical status or their placement as a print work within a screen-focused property, they can arguably be understood as constituting their own distinct “period” of Doctor Who in the manner defined by Booth. This claim is supported by the ways in which the New Adventures distinguish themselves from the typically secondary or supplemental transmedia extensions of most other television franchises.In contrast with the one-sided and hierarchical relationship that typically exists between the parent text and its transmedia extensions (Pillai 103-4), the New Adventures range did not attempt to signal their authenticity through stylistic and narrative consistency with their source material. Virgin had already published a long series of novelisations of story serials from the original television series under its children’s imprint, Target, but from their inception the New Adventures were aimed at a more mature audience. The editor of the range, Peter Darvill-Evans, observed that by the 1990s, Doctor Who’s dedicated fan base largely consisted of adults who had grown up with the series in the 1970s and 1980s rather than the children that both the television series and the novelisations had traditionally targeted (Perryman 23). The New Adventures were initially marketed as being “too broad and deep for the small screen” (Gulyas 46), positioning them as an improvement or evolution rather than an attempt to imitate the parent media or to compensate for its absence.By comparison, most other 1990s print-based supplements to popular screen franchises tended to closely mimic the style, tone and storytelling structure of their source material. For example, the Star Wars "Expanded Universe" series of novels (which began in 1991) were subject to strict editorial oversight to ensure they remained consistent with the films and were initially marketed as "film-like events" as a way of emphasising their equivalence to the original media (Proctor and Freeman 226). The Virgin New Adventures were also distinctive due to their open submission policy (which actively encouraged submissions from fan writers who had not previously achieved conventional commercial publication) alongside work from "professional" authors (Perryman 24). This policy began because Darvill-Evans noted the ability, high motivation and deep understanding of Doctor Who possessed by fan writers (Bishop) and it proved essential in establishing the more mature approach that the series was aiming for. After three indifferently received novels from professional authors, the first work from a fan author, Paul Cornell’s Timewyrm: Revelation (1991) became highly popular, due to its more grounded, serious and complex exploration of the character of the Doctor and their human companion. Following the success of Cornell’s novel, the series began to establish its own distinctive tone, emphasising gritty urban settings, character development and interpersonal drama, and the exploration of moral ambiguities and social and political issues that would have not been permissible in the original television series (Gulyas 46-8).Works by previously unpublished fan authors came to dominate the range to such an extent that the New Adventures has been described as “licensing professionally produced fan fiction” (Perryman 23). This trajectory established the New Adventures as an unusual hybrid text, combining the sanction of an official license with the usually unofficial phenomenon of fan custodianship. The cancellation of a television series (as experienced by Doctor Who in 1989) often allows its fan community to take custodianship of it in a variety of ways (McNoughton 194). While a series is being broadcast, fans are often constructed as elite but essentially ”powerless” readers, whose interpretations and desires can easily be contradicted or ignored by the series creators (Tulloch and Jenkins 141). With cancellation and a diminishing mass audience, fans become the custodians of the series and its memory. Their interpretations can no longer be overwritten, and they become the principle market for official merchandise and transmedia extensions (McNoughton 194-6).Also, fans can explore and fulfil their desires for the narrative direction and tone of the series, through the “cottage industries” of fan-created merchandise (196) and “gift economies” of fan fiction (Flegal and Roth 258), without being impeded or overruled by official developments in the parent media. This movement towards fan custodianship and production became more visible during the 1990s, as digital technology allowed for rapid communication, connection and exchange (Coppa 53). The Virgin New Adventures range arguably operated as a meeting point between officially sanctioned commercial spin-off media and the fan-centric industries of production that work to prolong the life and memory of a cancelled television series. Indeed, the direct inclusion of fan authors and the techniques and approaches associated with fan fiction likely helped to establish the deeper, more mature interpretation of Doctor Who offered by the New Adventures.As Stein and Busse observe, a recurring feature of fan fiction has been a focus on exploring the inner lives of the characters from its source media, and adding depth and complexity to their relationships (196-8). Furthermore, the successful New Adventures fan authors tended to offer support and encouragement to each other via their informal networks, which affected the development of the series as a transmedia production (Perryman 24). Flegal and Roth note that in contrast to often solitary and individualistic forms of “professional” and “literary” writing, the composition of fan fiction emerges out of collegial, supportive and reciprocal communities (265-8). The meeting point that the Virgin New Adventures provided between professional writing practice and the attitudes and approaches common to the types of fan fiction that were becoming more prominent in the nineties (Coppa 53-5) helped to shape the evolution of Doctor Who as a franchise.Where previous Doctor Who stories (regardless of the media or medium) had been largely isolated from each other, the informal fan networks that connected the New Adventures authors allowed and encouraged them to collaborate more closely, ensuring consistency between the instalments and plotting out multi-volume story-arcs and character development. Where the Star Wars Expanded Universe series of novels ensured consistency through extensive and often intrusive top-down editorial control (Proctor and Freeman 226-7), the New Adventures developed this consistency through horizontal relationships between authors. While Doctor Who has always been a transmedia franchise, the Virgin New Adventures may be the first point where it began to fully engage with the possibilities of the coordinated and consistent transmedia storytelling discussed by Jenkins (Perryman 24-6). It is notable that this largely developed out of the collaborative and reciprocal relationships common to communities of fan-creators rather than through the singular and centralised control that Jenkins advocates.While the Virgin range of Doctor Who novels ended long before the revival of the television series in 2005, its influence on the style, tone and subject matter of the new series has been noted. As Perryman argues, the emphasis on more cohesive story-arcs and character development between episodes has been inherited from the New Adventures (24). The 2005 series also followed the Virgin novels in presenting the Doctor’s companions with detailed backgrounds and having their relationships shift and evolve, rather than remaining static like they did in the original series. The more distinctly urban focus of the new series was also likely shaped by the success of the New Adventures (Haslop 217); its well-publicised emphasis on inclusiveness and diversity was likewise prefigured by the Virgin novels, which were the first Doctor Who media to include non-Anglo and LGBQT companions (McKee "How to tell the difference" 181-2). It is highly unusual for a print-based transmedia extension to have this level of impact. Indeed, one of the most visible and profitable transmedia initiatives that began in the 1990s, the Star Wars Expanded Universe novels (which like the New Adventures was presented as an officially sanctioned continuation of the original media), was unceremoniously decanonised in 2014, and the interpretations of Star Wars characters and themes that it had developed over more than a decade of storytelling were almost entirely disregarded by the new films (Proctor and Freeman 235-7). The comparably large influence that the New Adventures had on the development of its franchise indicates the success of its fan-centric approach in developing a more relationship-driven and character-focused interpretation of its parent media.The influence of the New Adventures is also felt more directly through the continuing careers of its authors. A number of the fan writers who achieved their first commercial publication with the New Adventures (e.g. Paul Cornell, Gareth Roberts, Mark Gatiss) went on to write scripts for the new series. The first showrunner, Russell T. Davies, was the author of the later novels, Damaged Goods (1997), and the second, Steven Moffat, had been an active member of Doctor Who fan communities that discussed and promoted the Virgin books (Bishop). As the former New Adventures author Kate Orman notes, this movement from writing usually secondary franchise novels to working on and having authority over the parent media is almost unheard of (McKee “Interview with Kate Orman” 138), and speaks to the success of the combination of fan authorship and official licensing and support found in the New Adventures. As Hadas notes, the chief difference between the new series of Doctor Who and its classic version is that former and long-term fans of the series are now directly involved in its production, thus complicating Tullouch and Jenkin’s assessment of Doctor Who fans as a “powerless elite” (141). ConclusionThe continuing influence of the nineties New Adventures novels can still be detected in the contemporary series. These novels operate with regard to the themes, preoccupations and styles of storytelling that this range pioneered within the Doctor Who franchise, and which developed directly out of its innovative and unusual strategy of giving official sanction and editorial support to typically obscured and subcultural modes of fan writing. The reductive and exclusionary question of canon can be avoided when considering the above novels. These transmedia productions are important to the evolution and development of the media franchise as a whole. In this respect, the Virgin New Adventures operate as their own distinctive, legitimate and influential "period" within Doctor Who, demonstrating the creative potential of an approach to transmedia storytelling that deemphasises strict hierarchies of content and control and can readily include the contributions of fan producers.ReferencesBishop, David. “Four Writers, One Discussion: Andy Lane, Paul Cornell, Steven Moffat and David Bishop.” Time Space Visualiser 43 (March 1995). 1 Nov. 2018 <http://doctorwho.org.nz/archive/tsv43/onediscussion.html>.Booth, Paul. “Periodising Doctor Who.” Science Fiction Film and Television 7.2 (2014). 195-215.Britton, Piers D. TARDISbound: Navigating the Universes of Doctor Who. London: I.B. Tauris and Company, 2011.Coppa, Francesca. “A Brief History of Media Fandom.” Fan Fiction and Fan Communities in the Age of the Internet. Eds. Karen Hellekson and Kristina Busse. 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Image 1: Hasbro/Tiger Electronics 1998 Furby. (Photo credit: Author) Introduction Since the mid-1990s robotic and digital creatures designed to offer social interaction and companionship have been developed for commercial and research interests. Integral to encouraging positive experiences with these creatures has been the use of cute aesthetics that aim to endear companions to their human users. During this time there has also been a growth in online communities that engage in cultural production through fan fiction responses to existing cultural artefacts, including the widely recognised electronic companion, Hasbro’s Furby (image 1). These user stories and Furby’s online representation in general, demonstrate that contrary to the intentions of their designers and marketers, Furbys are not necessarily received as cute, or the embodiment of the helpless and harmless demeanour that goes along with it. Furbys’ large, lash-framed eyes, small, or non-existent limbs, and baby voice are typical markers of cuteness but can also evoke another side of cuteness—monstrosity, especially when the creature appears physically capable instead of helpless (Brzozowska-Brywczynska 217). Furbys are a particularly interesting manifestation of the cute aesthetic because it is used as tool for encouraging attachment to a socially interactive electronic object, and therefore intersects with existing ideas about technology and nonhuman companions, both of which often embody a sense of otherness. This paper will explore how cuteness intersects withand transitions into monstrosity through online representations of Furbys, troubling their existing design and marketing narrative by connecting and likening them to other creatures, myths, and anecdotes. Analysis of narrative in particular highlights the instability of cuteness, and cultural understandings of existing cute characters, such as the gremlins from the film Gremlins (Dante) reinforce the idea that cuteness should be treated with suspicion as it potentially masks a troubling undertone. Ultimately, this paper aims to interrogate the cultural complexities of designing electronic creatures through the stories that people tell about them online. Fan Production Authors of fan fiction are known to creatively express their responses to a variety of media by appropriating the characters, settings, and themes of an original work and sharing their cultural activity with others (Jenkins 88). On a personal level, Jenkins (103) argues that “[i]n embracing popular texts, the fans claim those works as their own, remaking them in their own image, forcing them to respond to their needs and to gratify their desires.” Fan fiction authors are motivated to write not for financial or professional gains but for personal enjoyment and fan recognition, however, their production does not necessarily come from favourable opinions of an existing text. The antifan is an individual who actively hates a text or cultural artefact and is mobilised in their dislike to contribute to a community of others who share their views (Gray 841). Gray suggests that both fan and antifan activity contribute to our understanding of the kinds of stories audiences want: Although fans may wish to bring a text into everyday life due to what they believe it represents, antifans fear or do not want what they believe it represents and so, as with fans, antifan practice is as important an indicator of interactions between the textual and public spheres. (855) Gray reminds that fans, nonfans, and antifans employ different interpretive strategies when interacting with a text. In particular, while fans intimate knowledge of a text reflects their overall appreciation, antifans more often focus on the “dimensions of the moral, the rational-realistic, [or] the aesthetic” (856) that they find most disagreeable. Additionally, antifans may not experience a text directly, but dislike what knowledge they do have of it from afar. As later examples will show, the treatment of Furbys in fan fiction arguably reflects an antifan perspective through a sense of distrust and aversion, and analysing it can provide insight into why interactions with, or indirect knowledge of, Furbys might inspire these reactions. Derecho argues that in part because of the potential copyright violation that is faced by most fandoms, “even the most socially conventional fan fiction is an act of defiance of corporate control…” (72). Additionally, because of the creative freedom it affords, “fan fiction and archontic literature open up possibilities – not just for opposition to institutions and social systems, but also for a different perspective on the institutional and the social” (76). Because of this criticality, and its subversive nature, fan fiction provides an interesting consumer perspective on objects that are designed and marketed to be received in particular ways. Further, because much of fan fiction draws on fictional content, stories about objects like Furby are not necessarily bound to reality and incorporate fantastical, speculative, and folkloric readings, providing diverse viewpoints of the object. Finally, if, as robotics commentators (cf. Levy; Breazeal) suggest, companionable robots and technologies are going to become increasingly present in everyday life, it is crucial to understand not only how they are received, but also where they fit within a wider cultural sphere. Furbys can be seen as a widespread, if technologically simple, example of these technologies and are often treated as a sign of things to come (Wilks 12). The Design of Electronic Companions To compete with the burgeoning market of digital and electronic pets, in 1998 Tiger Electronics released the Furby, a fur-covered, robotic creature that required the user to carry out certain nurturance duties. Furbys expected feeding and entertaining and could become sick and scared if neglected. Through a program that advanced slowly over time regardless of external stimulus, Furbys appeared to evolve from speaking entirely Furbish, their mother tongue, to speaking English. To the user, it appeared as though their interactions with the object were directly affecting its progress and maturation because their care duties of feeding and entertaining were happening parallel to the Furbish to English transition (Turkle, Breazeal, Daste, & Scassellati 314). The design of electronic companions like Furby is carefully considered to encourage positive emotional responses. For example, Breazeal (2002 230) argues that a robot will be treated like a baby, and nurtured, if it has a large head, big eyes, and pursed lips. Kinsella’s (1995) also emphasises cute things need for care as they are “soft, infantile, mammalian, round, without bodily appendages (e.g. arms), without bodily orifices (e.g. mouths), non-sexual, mute, insecure, helpless or bewildered” (226). From this perspective, Furbys’ physical design plays a role in encouraging nurturance. Such design decisions are reinforced by marketing strategies that encourage Furbys to be viewed in a particular way. As a marketing tool, Harris (1992) argues that: cuteness has become essential in the marketplace in that advertisers have learned that consumers will “adopt” products that create, often in their packaging alone, an aura of motherlessness, ostracism, and melancholy, the silent desperation of the lost puppy dog clamoring to be befriended - namely, to be bought. (179) Positioning Furbys as friendly was also important to encouraging a positive bond with a caregiver. The history, or back story, that Furbys were given in the instruction manual was designed to convey their kind, non-threatening nature. Although alive and unpredictable, it was crucial that Furbys were not frightening. As imaginary living creatures, the origin of Furbys required explaining: “some had suggested positioning Furby as an alien, but that seemed too foreign and frightening for little girls. By May, the thinking was that Furbies live in the clouds – more angelic, less threatening” (Kirsner). In creating this story, Furby’s producers both endeared the object to consumers by making it seem friendly and inquisitive, and avoided associations to its mass-produced, factory origins. Monstrous and Cute Furbys Across fan fiction, academic texts, and media coverage there is a tendency to describe what Furbys look like by stringing together several animals and objects. Furbys have been referred to as a “mechanized ball of synthetic hair that is part penguin, part owl and part kitten” (Steinberg), a “cross between a hamster and a bird…” (Lawson & Chesney 34), and “ “owl-like in appearance, with large bat-like ears and two large white eyes with small, reddish-pink pupils” (ChaosInsanity), to highlight only a few. The ambiguous appearance of electronic companions is often a strategic decision made by the designer to avoid biases towards specific animals or forms, making the companion easier to accept as “real” or “alive” (Shibata 1753). Furbys are arguably evidence of this strategy and appear to be deliberately unfamiliar. However, the assemblage, and exaggeration, of parts that describes Furbys also conjures much older associations: the world of monsters in gothic literature. Notice the similarities between the above attempts to describe what Furbys looks like, and a historical description of monsters: early monsters are frequently constructed out of ill-assorted parts, like the griffin, with the head and wings of an eagle combined with the body and paws of a lion. Alternatively, they are incomplete, lacking essential parts, or, like the mythological hydra with its many heads, grotesquely excessive. (Punter & Byron 263) Cohen (6) argues that, metaphorically, because of their strange visual assembly, monsters are displaced beings “whose externally incoherent bodies resist attempts to include them in any systematic structuration. And so the monster is dangerous, a form suspended between forms that threatens to smash distinctions.” Therefore, to call something a monster is also to call it confusing and unfamiliar. Notice in the following fan fiction example how comparing Furby to an owl makes it strange, and there seems to be uncertainty around what Furbys are, and where they fit in the natural order: The first thing Heero noticed was that a 'Furby' appeared to be a childes toy, shaped to resemble a mutated owl. With fur instead of feathers, no wings, two large ears and comical cat paws set at the bottom of its pudding like form. Its face was devoid of fuzz with a yellow plastic beak and too large eyes that gave it the appearance of it being addicted to speed [sic]. (Kontradiction) Here is a character unfamiliar with Furbys, describing its appearance by relating it to animal parts. Whether Furbys are cute or monstrous is contentious, particularly in fan fictions where they have been given additional capabilities like working limbs and extra appendages that make them less helpless. Furbys’ lack, or diminution of parts, and exaggeration of others, fits the description of cuteness, as well as their sole reliance on caregivers to be fed, entertained, and transported. If viewed as animals, Furbys appear physically limited. Kinsella (1995) finds that a sense of disability is important to the cute aesthetic: stubby arms, no fingers, no mouths, huge heads, massive eyes – which can hide no private thoughts from the viewer – nothing between their legs, pot bellies, swollen legs or pigeon feet – if they have feet at all. Cute things can’t walk, can’t talk, can’t in fact do anything at all for themselves because they are physically handicapped. (236) Exploring the line between cute and monstrous, Brzozowska-Brywczynska argues that it is this sense of physical disability that distinguishes the two similar aesthetics. “It is the disempowering feeling of pity and sympathy […] that deprives a monster of his monstrosity” (218). The descriptions of Furbys in fan fiction suggest that they transition between the two, contingent on how they are received by certain characters, and the abilities they are given by the author. In some cases it is the overwhelming threat the Furby poses that extinguishes feelings of care. In the following two excerpts that the revealing of threatening behaviour shifts the perception of Furby from cute to monstrous in ‘When Furbies Attack’ (Kellyofthemidnightdawn): “These guys are so cute,” she moved the Furby so that it was within inches of Elliot's face and positioned it so that what were apparently the Furby's lips came into contact with his cheek “See,” she smiled widely “He likes you.” […] Olivia's breath caught in her throat as she found herself backing up towards the door. She kept her eyes on the little yellow monster in front of her as her hand slowly reached for the door knob. This was just too freaky, she wanted away from this thing. The Furby that was originally called cute becomes a monster when it violently threatens the protagonist, Olivia. The shifting of Furbys between cute and monstrous is a topic of argument in ‘InuYasha vs the Demon Furbie’ (Lioness of Dreams). The character Kagome attempts to explain a Furby to Inuyasha, who views the object as a demon: That is a toy called a Furbie. It's a thing we humans call “CUTE”. See, it talks and says cute things and we give it hugs! (Lioness of Dreams) A recurrent theme in the Inuyasha (Takahashi) anime is the generational divide between Kagome and Inuyasha. Set in feudal-era Japan, Kagome is transported there from modern-day Tokyo after falling into a well. The above line of dialogue reinforces the relative newness, and cultural specificity, of cute aesthetics, which according to Kinsella (1995 220) became increasingly popular throughout the 1980s and 90s. In Inuyasha’s world, where demons and monsters are a fixture of everyday life, the Furby appearance shifts from cute to monstrous. Furbys as GremlinsDuring the height of the original 1998 Furby’s public exposure and popularity, several news articles referred to Furby as “the five-inch gremlin” (Steinberg) and “a furry, gremlin-looking creature” (Del Vecchio 88). More recently, in a review of the 2012 Furby release, one commenter exclaimed: “These things actually look scary! Like blue gremlins!” (KillaRizzay). Following the release of the original Furbys, Hasbro collaborated with the film’s merchandising team to release Interactive ‘Gizmo’ Furbys (image 2). Image 2: Hasbro 1999 Interactive Gizmo (photo credit: Author) Furbys’ likeness to gremlins offers another perspective on the tension between cute and monstrous aesthetics that is contingent on the creature’s behaviour. The connection between Furbys and gremlins embodies a sense of mistrust, because the film Gremlins focuses on the monsters that dwell within the seemingly harmless and endearing mogwai/gremlin creatures. Catastrophic events unfold after they are cared for improperly. Gremlins, and by association Furbys, may appear cute or harmless, but this story tells that there is something darker beneath the surface. The creatures in Gremlins are introduced as mogwai, and in Chinese folklore the mogwai or mogui is a demon (Zhang, 1999). The pop culture gremlin embodied in the film, then, is cute and demonic, depending on how it is treated. Like a gremlin, a Furby’s personality is supposed to be a reflection of the care it receives. Transformation is a common theme of Gremlins and also Furby, where it is central to the sense of “aliveness” the product works to create. Furbys become “wiser” as time goes on, transitioning through “life stages” as they “learn” about their surroundings. As we learn from their origin story, Furbys jumped from their home in the clouds in order to see and explore the world firsthand (Tiger Electronics 2). Because Furbys are susceptible to their environment, they come with rules on how they must be cared for, and the consequences if this is ignored. Without attention and “food”, a Furby will become unresponsive and even ill: “If you allow me to get sick, soon I will not want to play and will not respond to anything but feeding” (Tiger Electronics 6). In Gremlins, improper care manifests in an abrupt transition from cute to monstrous: Gizmo’s strokeable fur is transformed into a wet, scaly integument, while the vacant portholes of its eyes (the most important facial feature of the cute thing, giving us free access to its soul and ensuring its total structability, its incapacity to hold back anything in reserve) become diabolical slits hiding a lurking intelligence, just as its dainty paws metamorphose into talons and its pretty puckered lips into enormous Cheshire grimaces with full sets of sharp incisors. (Harris 185–186) In the Naruto (Kishimoto) fan fiction ‘Orochimaru's World Famous New Year's Eve Party’ (dead drifter), while there is no explicit mention of Gremlins, the Furby undergoes the physical transformation that appears in the films. The Furby, named Sasuke, presumably after the Naruto antagonist Sasuke, and hinting at its untrustworthy nature, undergoes a transformation that mimics that of Gremlins: when water is poured on the Furby, boils appear and fall from its back, each growing into another Furby. Also, after feeding the Furby, it lays eggs: Apparently, it's not a good idea to feed Furbies chips. Why? Because they make weird cocoon eggs and transform into… something. (ch. 5) This sequence of events follows the Gremlins movie structure, in which cute and furry Gizmo, after being exposed to water and fed after midnight, “begins to reproduce, laying eggs that enter a larval stage in repulsive cocoons covered in viscous membranes” (Harris 185). Harris also reminds that the appearance of gremlins comes with understandings of how they should be treated: Whereas cute things have clean, sensuous surfaces that remain intact and unpenetrated […] the anti-cute Gremlins are constantly being squished and disembowelled, their entrails spilling out into the open, as they explode in microwaves and run through paper shredders and blenders. (Harris 186) The Furbys in ‘Orochimaru's World Famous New Year's Eve Party’ meet a similar end: Kuro Furby whined as his brain was smashed in. One of its eyes popped out and rolled across the floor. (dead drifter ch. 6) A horde of mischievous Furbys are violently dispatched, including the original Furby that was lovingly cared for. Conclusion This paper has explored examples from online culture in which different cultural references clash and merge to explore artefacts such as Furby, and the complexities of design, such as the use of ambiguously mammalian, and cute, aesthetics in an effort to encourage positive attachment. Fan fiction, as a subversive practice, offers valuable critiques of Furby that are imaginative and speculative, providing creative responses to experiences with Furbys, but also opening up potential for what electronic companions could become. In particular, the use of narrative demonstrates that cuteness is an unstable aesthetic that is culturally contingent and very much tied to behaviour. As above examples demonstrate, Furbys can move between cute, friendly, helpless, threatening, monstrous, and strange in one story. Cute Furbys became monstrous when they were described as an assemblage of disparate parts, made physically capable and aggressive, and affected by their environment or external stimulus. Cultural associations, such as gremlins, also influence how an electronic animal is received and treated, often troubling the visions of designers and marketers who seek to present friendly, nonthreatening, and accommodating companions. These diverse readings are valuable in understanding how companionable technologies are received, especially if they continue to be developed and made commercially available, and if cuteness is to be used as means of encouraging positive attachment. References Breazeal, Cynthia. Designing Sociable Robots. Cambridge, MA: MIT Press, 2002. Brzozowska-Brywczynska, Maja. "Monstrous/Cute: Notes on the Ambivalent Nature of Cuteness." Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Ed. Niall Scott. Amsterdam/New York: Rodopi. 2007. 213 - 28. ChaosInsanity. “Attack of the Killer Furby.” Fanfiction.net, 2008. 20 July 2012. Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” In Monster Theory: Reading Culture, ed. Jeffrey Jerome Cohen. Minneapolis, MN: University of Minnesota Press. 1996. 3 – 25. dead drifter. “Orochimaru's World Famous New Year's Eve Party.”Fanfiction.net, 2007. 4 Mar. 2013. Del Vecchio, Gene. The Blockbuster Toy! How to Invent the Next Big Thing. Gretna, LA: Pelican Publishing Company. 2003. Derecho, Abigail. “Archontic Literature: A Definition, a History, and Several Theories of Fan Fiction.” In Fan Fiction and Fan Communities in the Age of the Internet, eds. Karen Hellekson and Kristina Busse. Jefferson, NC: McFarland & Company, 2006. 6—78. Gremlins. Dir. Joe Dante. Warner Brothers & Amblin Entertainment, 1984. Gray, Jonathan. “Antifandom and the Moral Text.” American Behavioral Scientist 48.7 (2005). 24 Mar. 2014 ‹http://abs.sagepub.com/content/48/7/840.abstract›. Harris, Daniel. “Cuteness.” Salmagundi 96 (1992). 20 Feb. 2014 ‹http://www.jstor.org/stable/40548402›. Inuyasha. Created by Rumiko Takahashi. Yomiuri Telecasting Corporation (YTV) & Sunrise, 1996. Jenkins, Henry. “Star Trek Rerun, Reread, Rewritten: Fan Writing as Textual Poaching.” Critical Studies in Mass Communication 5.2 (1988). 19 Feb. 2014 ‹http://www.tandfonline.com/doi/abs/10.1080/15295038809366691#.UwVmgGcdeIU›. Kellyofthemidnightdawn. “When Furbies Attack.” Fanfiction.net, 2006. 6 Oct. 2011. KillaRizzay. “Furby Gets a Reboot for 2012, We Go Hands-On (Video).” Engadget 10 July 2012. 11 Feb. 2014 ‹http://www.engadget.com/2012/07/06/furby-hands-on-video/›. Kinsella, Sharon. “Cuties in Japan.” In Women, Media and Consumption in Japan, eds. Lise Skov and Brian Moeran. Honolulu, HI: University of Hawai'i Press. 1995. 220–254. Kirsner, Scott. “Moody Furballs and the Developers Who Love Them.” Wired 6.09 (1998). 20 Feb. 2014 ‹http://www.wired.com/wired/archive/6.09/furby_pr.html›. Kontradiction. “Ehloh the Invincible.” Fanfiction.net, 2002. 20 July 2012. Lawson, Shaun, and Thomas Chesney. “Virtual Pets and Electronic Companions – An Agenda for Inter-Disciplinary Research.” Paper presented at AISB'07: Artificial and Ambient Intelligence. Newcastle upon Tyne: Newcastle University, 2-4 Apr. 2007. ‹http://homepages.cs.ncl.ac.uk/patrick.olivier/AISB07/catz-dogz.pdf›.Levy, David. Love and Sex with Robots: The Evolution of Human-Robot Relationships. New York, NY: HarperCollins, 2007. Lioness of Dreams. “InuYasha vs the Demon Furbie.” Fanfiction.net, 2003. 19 July 2012. Naruto. Created by Masashi Kishimoto. Shueisha. 1999. Punter, David, and Glennis Byron. The Gothic. Oxford: Blackwell Publishing, 2004. Shibata, Takanori. “An Overview of Human Interactive Robots for Psychological Enrichment.” Proceedings of the IEEE 92.11 (2004). 4 Mar. 2011 ‹http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=1347456&tag=1›. 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Zhang, Qiong. “About God, Demons, and Miracles: The Jesuit Discourse on the Supernatural in Late Ming China.” Early Science and Medicine 4.1 (1999). 15 Dec. 2013 ‹http://dx.doi.org/10.1163/157338299x00012›.

Introduction Japan has long been cited as a major source of cute (kawaii) culture as it has spread around the world, as encapsulated in Christine R. Yano’s phrase ‘Pink Globalization’. This essay charts recent developments in Japanese society through the cute character Rilakkuma, a character produced by San-X (a competitor to Sanrio, which produces the famed Hello Kitty). His name means ‘relaxed bear’, and Rilakkuma and friends are featured in comics, games and other products, called kyarakutā shōhin (also kyarakutā guzzu, which both mean ‘character goods’). Rilakkuma is pictured relaxing, sleeping, eating sweets, and listening to music; he is not only lazy, but he is also unproductive in socio-economic terms. Yet, he is never censured for this lifestyle. He provides visual pleasure to those who buy these goods, but more importantly, Rilakkuma’s story charitably portrays a lifestyle that is fully consumptive with very little, if any, productivity. Rilakkuma’s reified consumption is certainly in line with many earlier analyses of shōjo (young girl) culture in Japan, where consumerism is considered ‘detached from the productive economy of heterosexual reproduction’ (Treat, 281) and valued as an end in itself. Young girl culture in Japan has been both critiqued and celebrated in in opposition to the economic productivity as well as the emotional emptiness and weakening social prestige of the salaried man (Roberson and Suzuki, 9-10). In recent years, ideal masculinity has been further critiqued with the rise of the sōshokukei danshi (‘grass-eating men’) image: today’s Japanese male youth appear to have no appetite for the ‘meat’ associated with heteronormative, competitively capitalistic male roles (Steger 2013). That is not to say all gender roles have vanished; instead, social and economic precarity has created a space for young people to subvert them. Whether by design or by accident, Rilakkuma has come to represent a Japanese consumer maintaining some standard of emotional equilibrium in the face of the instability that followed the Tōhoku earthquake, tsunami and nuclear disaster in early 2011. A Relaxed Bear in a Precarious Japan Certainly much has been written about the ‘lost decade(s)’ in Japan, or the unraveling of the Japanese postwar miracle since the early 1990s in a variety of unsettling ways. The burst of the ‘bubble economy’ in 1991 led to a period of low or no economic growth, uncertain employment conditions and deflation. Because of Japan’s relative wealth and mature economic system, this was seen a gradual process that Mark Driscoll calls a shift from the ‘so-called Japan Inc. of the 1980s’ to ‘“Japan Shrink” of the 2010s and 2020s’ (165). The Japanese economy was further troubled by the Global Financial Crisis of 2008, and then the Tōhoku disasters. These events have contributed to Japan’s state of ambivalence, as viewed by both its citizens and by external observers. Despite its relative wealth, the nation continues to struggle with deflation (and its corresponding stagnation of wages), a deepening chasm between the two-tier employment system of permanent and casual work, and a deepening public mistrust of corporate and governing authorities. Some of this story is not ‘new’; dual employment practices have existed throughout Japan’s postwar history. What has changed, however, is the attitudes of casual workers; it is now thought to be much more difficult, if not impossible, to shift from low paid, insecure casual labour to permanent, secure positions. The overall unemployment rate remains low precisely because the number of temporary and part time workers has increased, as much as one third of all workers in 2012 (The Japan Times). The Japanese government now concedes that ‘the balance of working conditions between regular and non-regular workers have therefore become important issues’ (Ministry of Health, Labour and Welfare); many see this is not only a distinction between ‘haves’ and ‘have-nots’, but also of a generational shift of those who achieved secure positions before the ‘lost decade’, and those who came after. Economic, political, environmental and social insecurity have given rise to a certain level public malaise, not conducive to a robust consumer culture. Enter Rilakkuma: he, like many other cute characters in Japan, entices the consumer to feel good about spending – or perhaps, to feel okay about spending? – in this precarious time of underemployment and uncertainty about the future. ‘Cute’ Characters: Attracting as Well as Attractive Cute (‘kawaii’) culture in Japan is not just aesthetic; it includes ‘a turn to emotion and even sentimentality, in some of the least likely places’ (Yano, 7). Cute kyarakutā are not just sentimentally attractive; they are more precisely attracting images which are used to sell these character goods: toys, household objects, clothing and stationery. Occhi writes that many kyarakutā are the result of an ‘anthropomorphization’ of objects or creatures which ‘guide the user towards specific [consumer] behaviors’ (78). While kyarakutā would be created first to sell a product, in the end, the character’s popularity at times can eclipse the product’s value, and the character thus becomes ‘pure product’, as in the case of Hello Kitty (Yano, 10). Most characters, however, merely function as ‘specific representatives of a product or service rendered mentally “sticky” through narratives, wordplay and other specialized aspects of their design’ (Occhi, 86). Miller refers to this phenomenon as ‘Japan’s zoomorphic urge’, and argues that etiquette guides and public service posters, which frequently use cute and cuddly animals in the place of humans, is done to ‘render […] potentially dangerous or sensitive topics as safe and acceptable’ (69). Cuteness instrumentally turns away from negative aspects of society, whether it is the demonstration of etiquette rules in public, or the portrayal of an underemployed or unemployed person watching TV at home, as in Rilakkuma. Thus we see a revitalization of the cute zeitgeist in Japanese consumerism in products such as the Rilakkuma franchise, produced by San-X, a company that produces and distributes ‘stationary [sic], sundry goods, merchandises [sic], and paper products with original design.’ (San-X Net). Who Is Rilakkuma? According to the company’s ‘fan’ books, written in response to the popularity of Rilakkuma’s character goods (Nakazawa), the background story of Rilakkuma is as follows: one day, a smallish bear found its way unexplained into the apartment of a Japanese OL (office lady) named Kaoru. He spends his time ‘being of no use to Kaoru, and is actually a pest by lying around all day doing nothing… his main concerns are meals and snacks. He seems to hate the summer [heat].’ Other activities include watching television, listening to music, taking long baths, and tossing balls of paper into the rubbish bin (Nakazawa, 4). His comrades are Korilakkuma (loosely translated as ‘Little Rilakkuma’) and Kiiroitori (simply, ‘Yellow Bird’). Korilakkuma is a smaller and paler version of Rilakkuma; like her friend, she appears in Kaoru’s apartment for no reason. She is described as liking to pull pranks (itazuradaisuki) and is comparatively more energetic (genki) than Rilakkuma; her main activities are imitating Rilakkuma and looking for someone with whom to play (6). Lastly, Kiiroitori is a small yellow bird resembling a chick, and seems to be the only character of the three who has any ‘right’ to reside in Kaoru’s apartment. Kiiroitori was a pet bird residing in cage before the appearance of these two bears, but after Rilakkuma and Korilakkuma set themselves up in her small apartment, Kiiroitori was liberated from his cage and flies in the faces of lazy Rilakkuma and mischievous Korilakkuma (7). Kiiroitori likes tidiness, and is frequently cleaning up after the lazy bears, and he can be short tempered about this (ibid). Kiiroitori’s interests include the charming but rather thrifty ‘finding spare change while cleaning up’ and ‘bear climbing’, which is enjoyed primarily for its annoyance to the bears (ibid). Fig. 1: Korilakkuma, Rilakkuma and Kiiroitori, in 10-year anniversary attire (photo by author). This narrative behind these character goods is yet another aspect of their commodification (in other words, their management, distribution and copyright protection). The information presented ­– the minute details of the characters’ existence, illustrated with cute drawings and calligraphy – enriches the consumer process by deepening the consumers’ interaction with the product. How does the story become as attractive as the cute character? One of the striking characteristics of the ‘official’ Rilakkuma discourse is the sense of ‘ikinari yattekita’ (things happening ‘out of the blue’; Nakazawa 22), or ‘naru yō ni narimasu’ (‘whatever will be will be’; 23) reasoning behind the narrative. Buyers want to know how and why these cute characters come into being, but there is no answer. To some extent, this vagueness reflects the reality of authorship: the characters were first conceptualized by a designer at San-X named Kondō Aki, who left the company soon after Rilakkuma’s debut in 2003 (Akibako). But this ‘out of the blue’ quality of the characters strikes a chord in many consumers’ view of their own lives: why are we here? what are we doing, and why do we do it? The existence of these characters and the reasons for their traits and preferences are inexplicable. There is no reason why or how Rilakkuma came to be – instead, readers are told that to just relax, ‘go with the flow’, and ‘what can be done today can always be done tomorrow’. Procrastination would normally be considered meiwaku, or bothersome to others who depend on you. In Productive Japan, this behavior is not valued. In Precarious Japan, however, underemployment and nonproductivity takes the pressure away from individuals to judge this behavior as negative. Procrastination shifts from meiwaku to normality, and to be transformed into kawaii culture, accepted and even celebrated as such. Rilakkuma is not the first Japanese pop cultural character to rub up against the hyper productive, gambaru (fight!) attitude associated with previous generations, with their associated tropes of the juken jikoku (exam preparation hell) for students, or the karōshi (death from overwork) salaried worker. An early example of this would be Chibi Marukochan (‘Little Maruko’), a comic character created in 1986 but whose popularity peaked in the 1990s. Maruko is an endearing but flawed primary school student who is cute and amusing, but also annoying and short tempered (Sakura). Flawed characters were frequently featured in Japanese popular culture, but Maruko was one of the first featured as heroine, not a jester-like sidekick. As an early example of Japanese cute, subversive characters, Maruko was often annoying and lazy, but she at least aspired to traits such as doing well in school and being a good daughter in her extended family. Rilakkuma, perhaps, demonstrates the extension of this cute but subversive hero/ine: when the stakes are lower (or at their lowest), so is the need for stress and anxiety. Taking it easy is the best option. Rilakkuma’s ‘charm point’ (chāmu pointo, which describes one’s personal appeal), is his transgressive cuteness, and this has paid off for San-X over the years in successful sales of his comic books as well as a variety of products (see fig. 2). Fig. 2: An example of some of the goods for sale in early 2014: a fleecy blanket, a 3d puzzle, note pads and stickers, decorative toggles for a school bag or purse, comic and ‘fan’ books, and a toy car (photo by the author). Over the decade between 2003 and 2013, San X has produced 51 volumes of Rilakkuma comics (Tonozuka, 37 – 42) and over 20 different series of stuffed animals (43 – 45); plus cushions, tote bags, tableware, stationery, and variety goods such as toilet paper holders, umbrellas and contact lens cases (46 – 52). While visiting the Rilakkuma themed shop in Tokyo Station in October 2013, a newly featured and popular product was the Rilakkuma ‘onesie’, a unisex and multipurpose outfit for adults. These products’ diversity are created to meet the consumer desires of Rilakkuma’s significant following in Japan; in a small-scale study of Japanese university students, researchers found that Rilakkuma was the number one nominated ‘favorite character’ (Nosu and Tanaka, 535). Furthermore, students claimed that the attractiveness of favorite characters were judged not just on their appearance, but also due to specific characteristics: ‘characters that are always idle, relaxed, stress-free’ and those ‘that have unusual behavior or stray from the right path’ (ibid) were cited as especially attractive/attracting. Just like Rilakkuma, these researchers found that young Japanese people – the demographic perhaps most troubled by an insecure economic future – are attracted to ‘characters that have flaws in some ways and are not merely cute’ (536). Where to, Rilakkuma? Miller, in her discussion of Japanese animal characters in a variety of cute cultural settings writes Non-human animals emerge as useful metaphors for humans, yet […] it is this aesthetic load rather than the lesson or the ideology behind the image that often becomes the center of our attention. […] However, I think it is useful to separate our analysis of zoomorphic images as vehicles for cuteness from their other possible uses and possible utility in many areas of culture (70). Similarly, we need to look beyond cute, and see what Miller terms as ‘the lesson’ behind the ‘aesthetic load’: here, how cuteness disguises social malaise and eases the shift from ‘Japan Inc.’ to ‘Japan Shrink’. When particular goods are ‘tied’ to other products, the message behind the ‘aesthetic load’ are complicated and deepened. Rilakkuma’s recent commercial (in)activity has been characterized by a variety of ‘tai uppu’ (tie ups), or promotional links between the Rilakkuma image and other similarly aligned products. Traditionally, tie ups in Japan have been most successful when formed between products that were associated with similar audiences and similar aesthetic preferences. We have seen tie ups, for example, between Hello Kitty and McDonald’s (targeting youthful fast food customers) since 1999 (Yano, 129). In ‘Japan Shrink’s’ competitive consumer market, tie ups are becoming more strategic, and all the more interesting. One of the troubled markets in Japan, as elsewhere, is the music industry. Shrinking expendable income coupled with a variety of downloading practices means the traditional popular music industry (primarily in the form of CDs) is in decline. In 2009, Rilakkuma began a co-badged campaign with Tower Records Japan – after all, listening to music is one of Rilakkuma’s listed favourite past times. TRJ was then independent from its failed US counterpart, and a major figure in the music retail scene despite disappointing CD sales since the late 1990s (Stevens, 85). To stir up consumer interest, TRJ offered objects, such as small dolls, towels and shopping bags, festooned with Rilakkuma images and phrases such as ‘Rilakkuma loves Tower Records’ and ‘Relaxed Tour 2012’ (Tonozuka, 72 – 73). Rilakkuma, in a familiar pose lying back with his arms crossed behind his head, but surrounded by musical notes and the phrase ‘No Music, No Life’ (72), presents compact image of the consumer zeitgeist of the day: one’s ikigai (reason for living) is clearly contingent on personal enjoyment, despite Japan’s music industry woes. Rilakkuma also enjoys a close relationship with the ubiquitous convenience store Lawson, which has over 11,000 individual stores throughout Japan and hundreds more overseas (Lawson, Corporate Information). Japanese konbini (the Japanese term for convenience stores), unlike their North American or Australian counterparts, enjoy a higher consumer image in terms of the quality and variety of their products, thus symbolize a certain relaxed lifestyle, as per Merry I. White’s description of the ‘no hands housewife’ breezing through the evening meal preparations thanks to ready made dishes purchased at konbini (72). Japanese convenience stores sell a variety of products, but sweets (Rilakkuma’s favourite) take up a large proportion of shelf space in many stores. The most current ‘Rilakkuma x Lawson campaign’ was undertaken between September and November 2013. During this period, customers earned points to receive a free teacup; certainly Rilakkuma’s cuteness motivated consumers to visit the store to get the prize. All was not well with this tie up, however; complaints about cracked teacups resulted in an external investigation. Finding no causal relationship between construction and fault, Lawson still apologized and offered to exchange any of the approximately 1.73 million cups with an alternate prize for any consumers who so wished (Lawson, An Apology). The alternate prize was still cute in its pink colouring and kawaii character pattern, but it was a larger and much sturdier commuter type mug. Here we see that while Rilakkuma is relaxed, he is still aware of corporate Japan’s increasing sense of corporate accountability and public health. One last tie up demonstrates an unusual alliance between the Rilakkuma franchise and other cultural icons. 2013 marked the ten-year anniversary of Rilakkuma and friends, and this was marked by several prominent campaigns. In Kyoto, we saw Rilakkuma and friends adorning o-mamori (religious amulets) at the famed Kinkakuji (Golden Pavilion), a major temple in Kyoto (see fig. 3a). The ‘languid dream’ of the lazy bear is a double-edged symbol, contrasting with the disciplined practice of Buddhism and complying with a Zen-like dream state of the beauty of the grounds. Another ten-year anniversary campaign was the tie up between Rilakkuma and the 50 year anniversary of JR’s Yamanote Line, the ‘city loop’ in Tokyo. Fig. 3a: Kiiroitori sits atop Rilakkuma with Korilakkuma by their side at the Golden Pavillion, Kyoto. The top caption reads: ‘Relaxed bear, Languid at the Golden Pavilion; Languid Dream Travelogue’Fig. 3b: a key chain made to celebrate Rilakkuma’s appointment to the JR Line; still lazy, Rilakkuma lies on his side but wears a conductor’s cap. This tie up was certainly a coup, for the Yamanote Line is a significant part of 13 million Tokyo residents’ lives, as well as a visible fixture in the cultural landscape since the early postwar period. The Yamanote, with its distinctive light green coloring (uguisuiro, which translates literally to ‘nightingale [bird] colour’) has its own aesthetic: as one of the first modern train lines in the capital, it runs through all the major leisure districts and is featured in many popular songs and even has its own drinking game. This nostalgia for the past, coupled with the masculine, super-efficient former national railway’s system is thus juxtaposed with the lazy, feminized teddy bear (Rilakkuma is male, but his domain is feminine), linking a longing for the past with gendered images of production and consumption in the present. In figure 3b, we see Rilakkuma riding the Yamanote on his own terms (lying on his side, propped up by one elbow – a pose we would never see a JR employee take in public). This cheeky cuteness increases the iconic train’s appeal to its everyday consumers, for despite its efficiency, this line is severely overcrowded during peak hours and suffers from user malaise with respect to etiquette and safety issues. Life in contemporary Japan is no longer the bright, shiny ‘bubble’ of the 1980s. Japan is wrestling with internal and external demons: the nuclear crisis, the lagging economy, deteriorating relations with China, and a generation of young people who have never experienced the optimism of their parents’ generation. Dreamlike, Japan’s denizens move through the contours of their daily lives much as they have in the past, for major social structures remain for the most part in tact; instead, it is the vision of the future that has altered. In this environment, we can argue that kawaii aesthetics are all the more important, for if we are uncomfortable thinking about negative or depressing topics such as industries in decline, questionable consumer safety standards, and overcrowded trains, a cute bear can make it much more ‘bear’-able.ReferencesDriscoll, Mark. “Debt and Denunciation in Post-Bubble Japan: On the Two Freeters.” Cultural Critique 65 (2007): 164-187. Kondō Aki - akibako. “Profile [of Designer Aki Kondō].” 6 Feb. 2014 ‹http://www.akibako.jp/profile/›. Lawson. “Kigyō Jōhō: Kaisha Gaiyō [Corporate Information: Company Overview].” Feb. 2013. 10 Feb. 2014 ‹http://www.lawson.co.jp/company/corporate/about.html/›. Lawson. “Owabi to Oshirase: Rōson aki no rilakkuma fea keihin ‘rilakkuma tei magu’ hason no osore [An Apology and Announcement: Lawson’s Autumn Rilakkuma Fair Giveaway ‘Rilakkuma Tea Mug’ Concern for Damage.” 2 Dec. 2013. 10 Feb. 2014 ‹http://www.lawson.co.jp/emergency/detail/detail_84331.html›. Miller, Laura. “Japan’s Zoomorphic Urge.” ASIANetwork Exchange XVII.2 (2010): 69-82. Ministry of Health, Labour and Welfare. “Employment Security.” 10 Feb. 2014 ‹http://www.mhlw.go.jp/english/policy/employ-labour/employment-security/dl/employment_security_bureau.pdf›. Nakazawa Kumiko, ed. Rirakkuma Daradara Fuan Bukku [Relaxed Bear Leisurely Fan Book]. Tokyo: Kabushikigaisha Shufutoseikatsu. 2008. Nosu, Kiyoshi, and Mai Tanaka. “Factors That Contribute to Japanese University Students’ Evaluations of the Attractiveness of Characters.” IEEJ Transactions on Electrical and Electronic Engineering 8.5 (2013): 535–537. Occhi, Debra J. “Consuming Kyara ‘Characters’: Anthropomorphization and Marketing in Contemporary Japan.” Comparative Culture 15 (2010): 78–87. Roberson, James E., and Nobue Suzuki, “Introduction”, in J. Roberson and N. Suzuki, eds., Men and Masculinities in Contemporary Japan: Dislocating the Salaryman Doxa. London: RoutledgeCurzon, 2003. 1-19. Sakura, Momoko. Chibi Marukochan 1 [Little Maruko, vol. 1]. Tokyo: Shūeisha, 1987 [1990]. San-X Net. “Company Info.” 10 Feb. 2014 ‹http://www.san-x.jp/COMPANY_INFO.html›. Steger, Brigitte. “Negotiating Gendered Space on Japanese Commuter Trains.” ejcjs 13.3 (2013). 29 Apr. 2014 ‹http://www.japanesestudies.org.uk/ejcjs/vol13/iss3/steger.html› Stevens, Carolyn S. Japanese Popular Music: Culture, Authenticity and Power. London: Routledge, 2008. The Japan Times. “Nonregulars at Record 35.2% of Workforce.” 22 Feb. 2012. 6 Feb. 2014 ‹http://www.japantimes.co.jp/news/2012/02/22/news/nonregulars-at-record-35-2-of-workforce/#.UvMb-kKSzeM›. Tonozuka Ikuo, ed. Rirakkuma Tsuzuki Daradara Fan Book [Relaxed Bear Leisurely Fan Book, Continued]. Tokyo: Kabushikigaisha Shufutoseikatsu, 2013. Treat, John Whittier. “Yoshimoto Banana’s Kitchen, or The Cultural Logic of Japanese Consumerism.” In L. Skov and B. Moeran, eds., Women, Media and Consumption in Japan, Surrey: Curzon, 1995. 274-298. White, Merry I. “Ladies Who Lunch: Young Women and the Domestic Fallacy in Japan.” In K. Cwiertka and B. Walraven, eds., Asian Food: The Global and the Local. Honolulu: University of Hawai’i Press, 2001. 63-75. Yano, Christine R. Pink Globalization: Hello Kitty’s Trek across the Pacific. Durham, NC: Duke University Press, 2013.

As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumanism, however, does not seem to have had much of an impression on history as a discipline. What would a nonhumanist history look like if we re-centred the historical narrative around pigs? There are histories of pigs as food (see for example, The Cambridge History of Food which has a chapter on “Hogs”). There are food histories that feature pork in terms of its relationship to multiethnic identity (such as Donna Gabaccia’s We Are What We Eat) and examples made of pigs to promote ethical eating (Singer). Pigs are central to arguments about dietary rules and what motivates them (Soler; Dolander). Ancient pig DNA has also been employed in studies on human migration and colonisation (Larson et al.; Durham University). Pigs are also widely used in a range of products that would surprise many of us. In 2008, Christien Meindertsma spent three years researching the products made from a single pig. Among some of the more unexpected results were: ammunition, medicine, photographic paper, heart valves, brakes, chewing gum, porcelain, cosmetics, cigarettes, hair conditioner and even bio diesel. Likewise, Fergus Henderson, who coined the term ‘nose to tail eating’, uses a pig on the front cover of the book of that name to suggest the extraordinary and numerous potential of pigs’ bodies. However, my intention here is not to pursue a discussion of how parts of their bodies are used, rather to consider a reorientation of the historical narrative to place pigs at the centre of stories of our co-evolution, in order to see what their history might say about humans and our relationships with them. This is underpinned by recognition of the inter-relationality of humans and animals. The relationships between wild boar and pigs with humans has been long and diverse. In a book exploring 10,000 years of interaction, Anton Ervynck and Peter Rowley-Conwy argue that pigs have been central to complex cultural developments in human societies and they played an important role in human migration patterns. The book is firmly grounded within the disciplines of zoology, anthropology and archaeology and contributes to an understanding of the complex and changing relationship humans have historically shared with wild boar and domestic pigs. Naturalist Lyall Watson also explores human/pig relationships in The Whole Hog. The insights these approaches offer for the discipline of history are valuable (although overlooked) but, more importantly, such scholarship also challenges a humanist perspective that credits humans exclusively with historical change and suggests, moreover, that we did it alone. Pigs occupy a special place in this history because of their likeness to humans, revealed in their use in transplant technology, as well as because of the iconic and paradoxical status they occupy in our lives. As Ervynck and Rowley-Conwy explain, “On the one hand, they are praised for their fecundity, their intelligence, and their ability to eat almost anything, but on the other hand, they are unfairly derided for their apparent slovenliness, unclean ways, and gluttonous behaviour” (1). Scientist Niamh O’Connell was struck by the human parallels in the complex social structures which rule the lives of pigs and people when she began a research project on pig behaviour at the Agricultural Research Institute at Hillsborough in County Down (Cassidy). According to O’Connell, pigs adopt different philosophies and lifestyle strategies to get the most out of their life. “What is interesting from a human perspective is that low-ranking animals tend to adopt one of two strategies,” she says. “You have got the animals who accept their station in life and then you have got the other ones that are continually trying to climb, and as a consequence, their life is very stressed” (qtd. in Cassidy). The closeness of pigs to humans is the justification for their use in numerous experiments. In the so-called ‘pig test’, code named ‘Priscilla’, for instance, over 700 pigs dressed in military uniforms were used to study the effects of nuclear testing at the Nevada (USA) test site in the 1950s. In When Species Meet, Donna Haraway draws attention to the ambiguities and contradictions promoted by the divide between animals and humans, and between nature and culture. There is an ethical and critical dimension to this critique of human exceptionalism—the view that “humanity alone is not [connected to the] spatial and temporal web of interspecies dependencies” (11). There is also that danger that any examination of our interdependencies may just satisfy a humanist preoccupation with self-reflection and self-reproduction. Given that pigs cannot speak, will they just become the raw material to reproduce the world in human’s own image? As Haraway explains: “Productionism is about man the tool-maker and -user, whose highest technical production is himself […] Blinded by the sun, in thrall to the father, reproduced in the sacred image of the same, his rewards is that he is self-born, an auto telic copy. That is the mythos of enlightenment and transcendence” (67). Jared Diamond acknowledges the mutualistic relationship between pigs and humans in Guns, Germs and Steel and the complex co-evolutionary path between humans and domesticated animals but his account is human-centric. Human’s relationships with pigs helped to shape human history and power relations and they spread across the world with human expansion. But questioning their utility as food and their enslavement to this cause was not part of the account. Pigs have no voice in the histories we write of them and so they can appear as passive objects in their own pasts. Traces of their pasts are available in humanity’s use of them in, for example, the sties built for them and the cooking implements used to prepare meals from them. Relics include bones and viruses, DNA sequences and land use patterns. Historians are used to dealing with subjects that cannot speak back, but they have usually left ample evidence of what they have said. In the process of writing, historians attempt to perform the miracle, as Curthoys and Docker have suggested, of restoration; bringing the people and places that existed in the past back to life (7). Writing about pigs should also attempt to bring the animal to life, to understand not just their past but also our own culture. In putting forward the idea of an alternative history that starts with pigs, I am aware of both the limits to such a proposal, and that most people’s only contact with pigs is through the meat they buy at the supermarket. Calls for a ban on intensive pig farming (RSPCA, ABC, AACT) might indeed have shocked people who imagine their dinner comes from the type of family farm featured in the movie Babe. Baby pigs in factory farms would have been killed a long time before the film’s sheep dog show (usually at 3 to 4 months of age). In fact, because baby pigs do grow so fast, 48 different pigs were used to film the role of the central character in Babe. While Babe himself may not have been aware of the relationship pigs generally have to humans, the other animals were very cognisant of their function. People eat pigs, even if they change the name of the form it takes in order to do so:Cat: You know, I probably shouldn’t say this, but I’m not sure if you realize how much the other animals are laughing at you for this sheep dog business. Babe: Why would they do that? Cat: Well, they say that you’ve forgotten that you’re a pig. Isn't that silly? Babe: What do you mean? Cat: You know, why pigs are here. Babe: Why are any of us here? Cat: Well, the cow’s here to be milked, the dogs are here to help the Boss's husband with the sheep, and I’m here to be beautiful and affectionate to the boss. Babe: Yes? Cat: [sighs softly] The fact is that pigs don’t have a purpose, just like ducks don’t have a purpose. Babe: [confused] Uh, I—I don’t, uh ... Cat: Alright, for your own sake, I’ll be blunt. Why do the Bosses keep ducks? To eat them. So why do the Bosses keep a pig? The fact is that animals don’t seem to have a purpose really do have a purpose. The Bosses have to eat. It’s probably the most noble purpose of all, when you come to think about it. Babe: They eat pigs? Cat: Pork, they call it—or bacon. They only call them pigs when they’re alive (Noonan). Babe’s transformation into a working pig to round up the sheep makes him more useful. Ferdinand the duck tried to do the same thing by crowing but was replaced by an alarm clock. This is a common theme in children’s stories, recalling Charlotte’s campaign to praise Wilbur the pig in order to persuade the farmer to let him live in E. B. White’s much loved children’s novel, Charlotte’s Web. Wilbur is “some pig”, “terrific”, “radiant” and “humble”. In 1948, four years before Charlotte’s Web, White had published an essay “Death of a Pig”, in which he fails to save a sick pig that he had bought in order to fatten up and butcher. Babe tried to present an alternative reality from a pig’s perspective, but the little pig was only spared because he was more useful alive than dead. We could all ask the question why are any of us here, but humans do not have to contemplate being eaten to justify their existence. The reputation pigs have for being filthy animals encourages distaste. In another movie, Pulp Fiction, Vincent opts for flavour, but Jules’ denial of pig’s personalities condemns them to insignificance:Vincent: Want some bacon? Jules: No man, I don’t eat pork. Vincent: Are you Jewish? Jules: Nah, I ain’t Jewish, I just don’t dig on swine, that’s all. Vincent: Why not? Jules: Pigs are filthy animals. I don’t eat filthy animals. Vincent: Bacon tastes gooood. Pork chops taste gooood. Jules: Hey, sewer rat may taste like pumpkin pie, but I’d never know ’cause I wouldn’t eat the filthy motherfucker. Pigs sleep and root in shit. That’s a filthy animal. I ain’t eat nothin’ that ain’t got sense enough to disregard its own feces [sic]. Vincent: How about a dog? Dogs eats its own feces. Jules: I don’t eat dog either. Vincent: Yeah, but do you consider a dog to be a filthy animal? Jules: I wouldn’t go so far as to call a dog filthy but they’re definitely dirty. But, a dog’s got personality. Personality goes a long way. Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true? Jules: Well we’d have to be talkin’ about one charming motherfuckin’ pig. I mean he’d have to be ten times more charmin’ than that Arnold on Green Acres, you know what I’m sayin’? In the 1960s television show Green Acres, Arnold was an exceptional pig who was allowed to do whatever he wanted. He was talented enough to write his own name and play the piano and his attempts at painting earned him the nickname “Porky Picasso”. These talents reflected values that are appreciated, and so he was. The term “pig” is, however, chiefly used a term of abuse, however, embodying traits we abhor—gluttony, obstinence, squealing, foraging, rooting, wallowing. Making a pig of yourself is rarely honoured. Making a pig of the humanities, however, could be a different story. As a historian I love to forage, although I use white gloves rather than a snout. I have rubbed my face and body on tree trunks in the service of forestry history and when the temperature rises I also enjoy wallowing, rolling from side to side rather than drawing a conclusion. More than this, however, pigs provide a valid means of understanding key historical transitions that define modern society. Significant themes in modern history—production, religion, the body, science, power, the national state, colonialism, gender, consumption, migration, memory—can all be understood through a history of our relationships with pigs. Pigs play an important role in everyday life, but their relationship to the economic, social, political and cultural matters discussed in general history texts—industrialisation, the growth of nation states, colonialism, feminism and so on—are generally ignored. However “natural” this place of pigs may seem, culture and tradition profoundly shape their history and their own contribution to those forces has been largely absent in history. What, then, would the contours of such a history that considered the intermeshing of humans and pigs look like? The intermeshing of pigs in early human history Agricultural economies based on domestic animals began independently in different parts of the world, facilitating increases in population and migration. Evidence for long-term genetic continuity between modern and ancient Chinese domestic pigs has been established by DNA sequences. Larson et al. have made an argument for five additional independent domestications of indigenous wild boar populations: in India, South East Asia and Taiwan, which they use to develop a picture of both pig evolution and the development and spread of early farmers in the Far East. Domestication itself involves transformation into something useful to animals. In the process, humans became transformed. The importance of the Fertile Crescent in human history has been well established. The area is attributed as the site for a series of developments that have defined human history—urbanisation, writing, empires, and civilisation. Those developments have been supported by innovations in food production and animal husbandry. Pig, goats, sheep and cows were all domesticated very early in the Fertile Crescent and remain four of the world’s most important domesticated mammals (Diamond 141). Another study of ancient pig DNA has concluded that the earliest domesticated pigs in Europe, believed to be descended from European wild boar, were introduced from the Middle East. The research, by archaeologists at Durham University, sheds new light on the colonisation of Europe by early farmers, who brought their animals with them. Keith Dobney explains:Many archaeologists believe that farming spread through the diffusion of ideas and cultural exchange, not with the direct migration of people. However, the discovery and analysis of ancient Middle Eastern pig remains across Europe reveals that although cultural exchange did happen, Europe was definitely colonised by Middle Eastern farmers. A combination of rising population and possible climate change in the ‘fertile crescent’, which put pressure on land and resources, made them look for new places to settle, plant their crops and breed their animals and so they rapidly spread west into Europe (ctd in ScienceDaily). Middle Eastern farmers colonised Europe with pigs and in the process transformed human history. Identity as a porcine theme Religious restrictions on the consumption of pigs come from the same area. Such restrictions exist in Jewish dietary laws (Kashrut) and in Muslim dietary laws (Halal). The basis of dietary laws has been the subject of much scholarship (Soler). Economic and health and hygiene factors have been used to explain the development of dietary laws historically. The significance of dietary laws, however, and the importance attached to them can be related to other purposes in defining and expressing religious and cultural identity. Dietary laws and their observance may have been an important factor in sustaining Jewish identity despite the dispersal of Jews in foreign lands since biblical times. In those situations, where a person eats in the home of someone who does not keep kosher, the lack of knowledge about your host’s ingredients and the food preparation techniques make it very difficult to keep kosher. Dietary laws require a certain amount of discipline and self-control, and the ability to make distinctions between right and wrong, good and evil, pure and defiled, the sacred and the profane, in everyday life, thus elevating eating into a religious act. Alternatively, people who eat anything are often subject to moral judgments that may also lead to social stigmatisation and discrimination. One of the most powerful and persuasive discourses influencing current thinking about health and bodies is the construction of an ‘obesity epidemic’, critiqued by a range of authors (see for example, Wright & Harwood). As omnivores who appear indiscriminate when it comes to food, pigs provide an image of uncontrolled eating, made visible by the body as a “virtual confessor”, to use Elizabeth Grosz’s term. In Fat Pig, a production by the Sydney Theatre Company in 2006, women are reduced to being either fat pigs or shrieking shallow women. Fatuosity, a blog by PhD student Jackie Wykes drawing on her research on fat and sexual subjectivity, provides a review of the play to describe the misogyny involved: “It leaves no options for women—you can either be a lovely person but a fat pig who will end up alone; or you can be a shrill bitch but beautiful, and end up with an equally obnoxious and shallow male counterpart”. The elision of the divide between women and pigs enacted by such imagery also creates openings for new modes of analysis and new practices of intervention that further challenge humanist histories. Such interventions need to make visible other power relations embedded in assumptions about identity politics. Following the lead of feminists and postcolonial theorists who have challenged the binary oppositions central to western ideology and hierarchical power relations, critical animal theorists have also called into question the essentialist and dualist assumptions underpinning our views of animals (Best). A pig history of the humanities might restore the central role that pigs have played in human history and evolution, beyond their exploitation as food. Humans have constructed their story of the nature of pigs to suit themselves in terms that are specieist, racist, patriarchal and colonialist, and failed to grasp the connections between the oppression of humans and other animals. The past and the ways it is constructed through history reflect and shape contemporary conditions. In this sense, the past has a powerful impact on the present, and the way this is re-told, therefore, also needs to be situated, historicised and problematicised. The examination of history and society from the standpoint of (nonhuman) animals offers new insights on our relationships in the past, but it might also provide an alternative history that restores their agency and contributes to a different kind of future. 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RSPCA Tasmania. “RSPCA Calls for Ban on Intensive Pig Farming.” 10 Sep. 2010 http://www.rspcatas.org.au/press-centre/rspca-calls-for-a-ban-on-intensive-pig-farming ScienceDaily. “Ancient Pig DNA Study Sheds New Light on Colonization of Europe by Early Farmers” 4 Sep. 2007. 10 Sep. 2010 http://www.sciencedaily.com/releases/2007/09/070903204822.htm Singer, Peter. “Down on the Family Farm ... or What Happened to Your Dinner When it was Still an Animal.” Animal Liberation 2nd ed. London: Jonathan Cape, 1990. 95-158. Soler, Jean. “Biblical Reasons: The Dietary Rules of the Ancient Hebrews.” Food: A Culinary History. Eds. Jean-Louis Flandrin and Massimo Montanari. Trans. Clarissa Botsford, Arthus Golhammer, Charles Lambert, Frances M. López-Morillas and Sylvia Stevens. New York: Columbia University Press, 1999. 46-54. Watson, Lyall. The Whole Hog: Exploring the Extraordinary Potential of Pigs. London: Profile, 2004. White, E. B. Essays of E. B. White. London: HarperCollins, 1979. White, E. B. Charlotte’s Web. London: HarperCollins, 2004. Wright, J., and V. Harwood. Eds. Biopolitics and the ‘Obesity Epidemic’. New York: Routledge, 2009. Wykes, J. Fatuosity 2010. 29 Aug. 2010 http://www.fatuosity.net

The need to sustain and/or create a collective identity is regularly seen as one of the cultural priorities of diasporic peoples and this, in turn, depends upon the existence of a uniquely diasporic form of communication and connection with the country of origin. Today, digital media technologies provide easy information recording and retrieval, and mobile IT networks allow global accessibility and participation in the redefinition of identities. Vis-à-vis our understanding of the proximity and connectivity associated with globalisation, the role of ICTs cannot be underestimated and is clearly more than a simple instrument for the expression of a pre-existing diasporic identity. Indeed, the concept of “e-diaspora” is gaining popularity. Consequently, research into the role of ICTs in the lives of diasporic peoples contributes to a definition of the concept of diaspora, understood here as the result of the dispersal of all members of a nation in several countries. In this context, I will demonstrate how members of the Bulgarian diaspora negotiate not only their identities but also their identifications through one of the most popular community websites, Facebook. My methodology consists of the active observation of Bulgarian users belonging to the diaspora, the participation in groups and forums on Facebook, and the analysis of discourses produced online. This research was conducted for the first time between 1 August 2008 and 31 May 2009 through the largest 20 (of 195) Bulgarian groups on the French version of Facebook and 40 (of over 500) on the English one. It is important to note that the public considered to be predominantly involved in Facebook is a young audience in the age group of 18-35 years. Therefore, this article is focused on two generations of Bulgarian immigrants: mostly recent young and second-generation migrants. The observed users are therefore members of the Bulgarian diaspora who have little or no experience of communism, who don’t feel the weight of the past, and who have grown up as free and often cosmopolitan citizens. Communist hegemony in Bulgaria began on 9 September 1944, when the army and the communist militiamen deposed the country’s government and handed power over to an anti-fascist coalition. During the following decades, Bulgaria became the perfect Soviet satellite and the imposed Stalinist model led to sharp curtailing of the economic and social contacts with the free world beyond the Iron Curtain. In 1989, the fall of the Berlin Wall marked the end of the communist era and the political and economic structures that supported it. Identity, Internet, and Diaspora Through the work of Mead, Todorov, and boyd it is possible to conceptualise the subject in terms of both of internal and external social identity (Mead, Todorov, boyd). In this article, I will focus, in particular, on social and national identities as expressions of the process of sharing stories, experiences, and understanding between individuals. In this respect, the phenomenon of Facebook is especially well placed to mediate between identifications which, according to Freud, facilitate the plural subjectivities and the establishment of an emotional network of mutual bonds between the individual and the group (Freud). This research also draws on Goffman who, from a sociological point of view, demystifies the representation of the Self by developing a dramaturgical theory (Goffman), whereby identity is constructed through the "roles" that people play on the social scene. Social life is a vast stage where the actors are required to adhere to certain socially acceptable rituals and guidelines. It means that we can consider the presentation of Self, or Others, as a facade or a construction of socially accepted features. Among all the ICTs, the Internet is, by far, the medium most likely to facilitate free expression of identity through a multitude of possible actions and community interactions. Personal and national memories circulate in the transnational space of the Internet and are reshaped when framed from specific circumstances such as those raised by the migration process. In an age of globalisation marked by the proliferation of population movements, instant communication, and cultural exchanges across geographic boundaries, the phenomenon of the diaspora has caught the attention of a growing number of scholars. I shall be working with Robin Cohen’s definition of diaspora which highlights the following common features: (1) dispersal from an original homeland; (2) the expansion from a homeland in search of work; (3) a collective memory and myth about the homeland; (4) an idealisation of the supposed ancestral homeland; (5) a return movement; (6) a strong ethnic group consciousness sustained over a long time; (7) a troubled relationship with host societies; (8) a sense of solidarity with co-ethnic members in other countries; and (9) the possibility of a distinctive creative, enriching life in tolerant host countries (Cohen). Following on this earlier work on the ways in which diasporas give rise to new forms of subjectivity, the concept of “e-diaspora” is now rapidly gaining in popularity. The complex association between diasporic groups and ICTs has led to a concept of e-diasporas that actively utilise ICTs to achieve community-specific goals, and that have become critical for the formation and sustenance of an exilic community for migrant groups around the globe (Srinivasan and Pyati). Diaspora and the Digital Age Anderson points out two key features of the Internet: first, it is a heterogeneous electronic medium, with hardly perceptible contours, and is in a state of constant development; second, it is a repository of “imagined communities” without geographical or legal legitimacy, whose members will probably never meet (Anderson). Unlike “real” communities, where people have physical interactions, in the imagined communities, individuals do not have face-to-face communication and daily contact, but they nonetheless feel a strong emotional attachment to the nation. The Internet not only opens new opportunities to gain greater visibility and strengthen the sense of belonging to community, but it also contributes to the emergence of a transnational public sphere where the communities scattered in various locations freely exchange their views and ideas without fear of restrictions or censorship from traditional media (Appadurai, Bernal). As a result, the Web becomes a virtual diasporic space which opens up, to those who have left their country, a new means of confrontation and social participation. Within this new diasporic space, migrants are bound in their disparate geographical locations by a common vision or myth about the homeland (Karim). Thanks to the Internet, the computer has become a primary technological intermediary between virtual networks, bringing its members closer in a “global village” where everyone is immediately connected to others. Thus, today’s diasporas are not the diaspora of previous generations in that the migration is experienced and negotiated very differently: people in one country are now able to continue to participate actively in another country. In this context, the arrival of community sites has increased the capacity of users to create a network on the Internet, to rediscover lost links, and strengthen new ones. Unlike offline communities, which may weaken once their members have left the physical space, online communities that are no longer limited by the requirement of physical presence in the common space have the capacity to endure. Identity Strategies of New Generations of Bulgarian Migrants It is very difficult to quantify migration to or from Bulgaria. Existing data is not only partial and limited but, in some cases, give an inaccurate view of migration from Bulgaria (Soultanova). Informal data confirm that one million Bulgarians, around 15 per cent of Bulgaria’s entire population (7,620,238 inhabitants in 2007), are now scattered around the world (National Statistical Institute of Bulgaria). The Bulgarian migrant is caught in a system of redefinition of identity through the duration of his or her relocation. Emigrating from a country like Bulgaria implies a high number of contingencies. Bulgarians’ self-identification is relative to the inferiority complex of a poor country which has a great deal to do to catch up with its neighbours. Before the accession of Bulgaria to the European Union, the country was often associated with what have been called “Third World countries” and seen as a source of crime and social problems. Members of the Bulgarian diaspora faced daily prejudice due to the bad reputation of their country of origin, though the extent of the hostility depended upon the “host” nation (Marcheva). Geographically, Bulgaria is one of the most eastern countries in Europe, the last to enter the European Union, and its image abroad has not facilitated the integration of the Bulgarian diaspora. The differences between Bulgarian migrants and the “host society” perpetuate a sentiment of marginality that is now countered with an online appeal for national identity markers and shared experiences. Facebook: The Ultimate Social Network The Growing Popularity of Facebook With more than 500 million active members, Facebook is the most visited website in the world. In June 2007, Facebook experienced a record annual increase of 270 per cent of connections in one year (source: comScore World Metrix). More than 70 translations of the site are available to date, including the Bulgarian version. What makes it unique is that Facebook positively encourages identity games. Moreover, Facebook provides the symbolic building blocks with which to build a collective identity through shared forms of discourse and ways of thinking. People are desperate to make a good impression on the Internet: that is why they spend so much time managing their online identity. One of the most important aspects of Facebook is that it enables users to control and manage their image, leaving the choice of how their profile appears on the pages of others a matter of personal preference at any given time. Despite some limitations, we will see that Facebook offers the Bulgarian community abroad the possibility of an intense and ongoing interaction with fellow nationals, including the opportunity to assert and develop a complex new national/transnational identity. Facebook Experiences of the Bulgarian Diaspora Created in the United States in 2004 and extended to use in Europe two or three years later, Facebook was quickly adopted by members of the Bulgarian diaspora. Here, it is very important to note that, although the Internet per se has enabled Bulgarians across the globe to introduce Cyrillic script into the public arena, it is definitely Facebook that has made digital Cyrillic visible. Early in computer history, keyboards with the Cyrillic alphabet simply did not exist. Thus, Bulgarians were forced to translate their language into Latin script. Today, almost all members of the Bulgarian population who own a computer use a keyboard that combines the two alphabets, Latin and Cyrillic, and this allows alternation between the two. This is not the case for the majority of Bulgarians living abroad who are forced to use a keyboard specific to their country of residence. Thus, Bulgarians online have adopted a hybrid code to speak and communicate. Since foreign keyboards are not equipped with the same consonants and vowels that exist in the Bulgarian language, they use the Latin letters that best suit the Bulgarian phonetic. Several possible interpretations of these “encoded” texts exist which become another way for the Bulgarian migrants to distinguish and assert themselves. One of these encoded scripts is supplemented by figures. For example, the number “6” written in Bulgarian “шест” is applied to represent the Bulgarian letter “ш.” Bulgarian immigrants therefore employ very specific codes of communication that enhance the feeling of belonging to a community that shares the same language, which is often incomprehensible to others. As the ultimate social networking website, Facebook brings together Bulgarians from all over the world and offers them a space to preserve online memorials and digital archives. As a result, the Bulgarian diaspora privileges this website in order to manage the strong links between its members. Indeed, within months of coming into online existence, Facebook established itself as a powerful social phenomenon for the Bulgarian diaspora and, very soon, a virtual map of the Bulgarian diaspora was formed. It should be noted, however, that this mapping was focused on the new generation of Bulgarian migrants more familiar with the Internet and most likely to travel. By identifying the presence of online groups by country or city, I was able to locate the most active Bulgarian communities: “Bulgarians in UK” (524 members), “Bulgarians in Chicago” (436 members), “Bulgarians studying in the UK” (346 members), “Bulgarians in America” (333 members), “Bulgarians in the USA” (314 members), “Bulgarians in Montreal” (249 members), “Bulgarians in Munich” (241 members), and so on. These figures are based on the “Groups” Application of Facebook as updated in February 2010. Through those groups, a symbolic diasporic geography is imagined and communicated: the digital “border crossing,” as well as the real one, becomes a major identity resource. Thus, Bulgarian users of Facebook are connecting from the four corners of the globe in order to rebuild family links and to participate virtually in the marriages, births, and lives of their families. It sometimes seems that the whole country has an appointment on Facebook, and that all the photos and stories of Bulgarians are more or less accessible to the community in general. Among its virtual initiatives, Facebook has made available to its users an effective mobilising tool, the Causes, which is used as a virtual noticeboard for activities and ideas circulating in “real life.” The members of the Bulgarian diaspora choose to adhere to different “causes” that may be local, national, or global, and that are complementary to the civic and socially responsible side of the identity they have chosen to construct online. Acting as a virtual realm in which distinct and overlapping trajectories coexist, Facebook thus enables users to articulate different stories and meanings and to foster a democratic imaginary about both the past and the future. Facebook encourages diasporas to produce new initiatives to revive or create collective memories and common values. Through photos and videos, scenes of everyday life are celebrated and manipulated as tools to reconstruct, reconcile, and display a part of the history and the identity of the migrant. By combating the feelings of disorientation, the consciousness of sharing the same national background and culture facilitates dialogue and neutralises the anxiety and loneliness of Bulgarian migrants. When cultural differences become more acute, the sense of isolation increases and this encourages migrants to look for company and solidarity online. As the number of immigrants connected and visible on Facebook gets larger, so the use of the Internet heightens their sense of a substantial collective identity. This is especially important for migrants during the early years of relocation when their sense of identity is most fragile. It can therefore be argued that, through the Internet, some Bulgarian migrants are replacing alienating face-to-face contact with virtual friends and enjoying the feeling of reassurance and belonging to a transnational community of compatriots. In this sense, Facebook is a propitious ground for the establishment of the three identity strategies defined by Herzfeld: cultural intimacy (or self-stereotypes); structural nostalgia (the evocation of a time when everything was going better); and the social poetic (the strategies aiming to retrieve a particular advantage and turn it into a permanent condition). In this way, the willingness to remain continuously in virtual contact with other Bulgarians often reveals a desire to return to the place of birth. Nostalgia and outsourcing of such sentiments help migrants to cope with feelings of frustration and disappointment. I observed that it is just after their return from summer holidays spent in Bulgaria that members of the Bulgarian diaspora are most active on the Bulgarian forums and pages on Facebook. The “return tourism” (Fourcade) during the summer or for the winter holidays seems to be a central theme in the forums on Facebook and an important source of emotional refuelling. Tensions between identities can also lead to creative formulations through Facebook’s pages. Thus, the group “You know you’re a Bulgarian when...”, which enjoys very active participation from the Bulgarian diaspora, is a space where everyone is invited to share, through a single sentence, some fact of everyday life with which all Bulgarians can identify. With humour and self-irony, this Facebook page demonstrates what is distinctive about being Bulgarian but also highlights frustration with certain prejudices and stereotypes. Frequently these profiles are characterised by seemingly “glocal” features. The same Bulgarian user could define himself as a Parisian, adhering to the group “You know you’re from Paris when...”, but also a native of a Bulgarian town (“You know you’re from Varna when...”). At the same time, he is an architect (“All architects on Facebook”), supporting the candidacy of Barack Obama, a fan of Japanese manga (“maNga”), of a French actor, an American cinema director, or Indian food. He joins a cause to save a wild beach on the Black Sea coast (“We love camping: Gradina Smokinia and Arapia”) and protests virtually against the slaughter of dolphins in the Faroe Islands (“World shame”). One month, the individual could identify as Bulgarian, but next month he might choose to locate himself in the country in which he is now resident. Thus, Facebook creates a virtual territory without borders for the cosmopolitan subject (Negroponte) and this confirms the premise that the Internet does not lead to the convergence of cultures, but rather confirms the opportunities for diversification and pluralism through multiple social and national affiliations. Facebook must therefore be seen as an advantageous space for the representation and interpretation of identity and for performance and digital existence. Bulgarian migrants bring together elements of their offline lives in order to construct, online, entirely new composite identities. The Bulgarians we have studied as part of this research almost never use pseudonyms and do not seem to feel the need to hide their material identities. This suggests that they are mature people who value their status as migrants of Bulgarian origin and who feel confident in presenting their natal identities rather than hiding behind a false name. Starting from this material social/national identity, which is revealed through the display of surname with a Slavic consonance, members of the Bulgarian diaspora choose to manage their complex virtual identities online. Conclusion Far from their homeland, beset with feelings of insecurity and alienation as well as daily experiences of social and cultural exclusion (much of it stemming from an ongoing prejudice towards citizens from ex-communist countries), it is no wonder that migrants from Bulgaria find relief in meeting up with compatriots in front of their screens. Although some migrants assume their Bulgarian identity as a mixture of different cultures and are trying to rethink and continuously negotiate their cultural practices (often through the display of contradictory feelings and identifications), others identify with an imagined community and enjoy drawing boundaries between what is “Bulgarian” and what is not. The indispensable daily visit to Facebook is clearly a means of forging an ongoing sense of belonging to the Bulgarian community scattered across the globe. Facebook makes possible the double presence of Bulgarian immigrants both here and there and facilitates the ongoing processes of identity construction that depend, more and more, upon new media. In this respect, the role that Facebook plays in the life of the Bulgarian diaspora may be seen as a facet of an increasingly dynamic transnational world in which interactive media may be seen to contribute creatively to the formation of collective identities and the deformation of monolithic cultures. References Anderson, Benedict. L’Imaginaire National: Réflexions sur l’Origine et l’Essor du Nationalisme. Paris: La Découverte, 1983. Appadurai, Ajun. Après le Colonialisme: Les Conséquences Culturelles de la Globalisation. Paris: Payot, 2001. Bernal, Victoria. “Diaspora, Cyberspace and Political Imagination: The Eritrean Diaspora Online.” Global Network 6 (2006): 161-79. boyd, danah. “Social Network Sites: Public, Private, or What?” Knowledge Tree (May 2007). Cohen, Robin. Global Diasporas: An Introduction. London: University College London Press. 1997. Goffman, Erving. La Présentation de Soi. Paris: Editions de Minuit, Collection Le Sens Commun, 1973. Fourcade, Marie-Blanche. “De l’Arménie au Québec: Itinéraires de Souvenirs Touristiques.” Ethnologies 27.1 (2005): 245-76. Freud, Sigmund. “Psychologie des Foules et Analyses du Moi.” Essais de Psychanalyse. Paris: Petite Bibliothèque Payot, 2001 (1921). Herzfeld, Michael. Intimité Culturelle. Presse de l’Université de Laval, 2008. Karim, Karim-Haiderali. The Media of Diaspora. Oxford: Routledge, 2003. Marcheva, Marta. “Bulgarian Diaspora and the Media Treatment of Bulgaria in the French, Italian and North American Press (1992–2007).” Unpublished PhD dissertation. Paris: University Panthéon – Assas Paris 2, 2010. Mead, George Herbert. L’Esprit, le Soi et la Société. Paris: PUF, 2006. Negroponte, Nicholas. Being Digital. Vintage, 2005. Soultanova, Ralitza. “Les Migrations Multiples de la Population Bulgare.” Actes du Dolloque «La France et les Migrants des Balkans: Un État des Lieux.” Paris: Courrier des Balkans, 2005. Srinivasan, Ramesh, and Ajit Pyati. “Diasporic Information Environments: Reframing Immigrant-Focused Information Research.” Journal of the American Society for Information Science and Technology 58.12 (2007): 1734-44. Todorov, Tzvetan. Nous et les Autres: La Réflexion Française sur la Diversité Humaine. Paris: Seuil, 1989.

Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engaging and coherent storyworlds.Producers of American TV shows, showrunners, and networks are more and more eager to develop narrative universes on other media platforms in order to target new audiences and to give food for thought to fans, as well as reward them for their intellectual and emotional investment. Ancillary content and tie-ins sometimes take the form of novelisations or comic books, highlighting the fact that strategies of transmedia storytelling can be deployed on non-digital platforms and still enhance the narrative aspects of the show. For example, Twin Peaks (1990) developed The Diary of Laura Palmer (1990), a journal written by the character Laura Palmer who gave insights on her life and details about her relationships with other characters before she was murdered at the beginning of the series. How I Met Your Mother (2005-2014) published The BroCode (2008), first seen on episode “The Goat” (season 3 episode 17), and The Playbook (2012), first seen in an episode entitled “The Playbook” (season 5 episode 8). They are bibles written by character Barney Stinson that contain rules or advice for picking up women. For instance, The BroCode contains 150 articles, a glossary of terms, a definition of “a bro,” history of the code, amendments, violations, and approved punishments, all invented by Barney; some of these components were talked about on the show, while others were original additions for the book.Another way to create transmedia storytelling around TV shows is by developing comic books. This article will explore this specific media form in relation to transmedia strategies and will try to underline how comic books can make a narrative richer by focusing on parts of the plot, characters, times, or locations. First, I will focus on the importance of seriality from a historical perspective, because seriality appears to be one of the main principles of transmedia storytelling. Yet, is this narrative continuity always coherent and always canon when it comes to the publication of comic books? I will then propose a typology of the narratives comic books exploit to augment the storytelling of a show. I will give examples to illustrate how comic books can enrich the narrative universe of a given show and how characters can smoothly move from one platform to the other.A Transmedia World: Television and Comic Books Hand in HandSeriality is one of the main pillars of transmedia storytelling, and, according to Jenkins, “it is about breaking things down into chapters which are satisfying on their own terms, but which motivate us to come back for more” (“Transmedia”). These characteristics are already present in the way TV series are written, produced, and broadcast, and in the way comic books are created. They rely on episodes for TV shows and on issues for comic books that usually end with suspense and a suspension in the narrative continuity, commonly known as a cliff-hanger. For comic books, this narrative continuity took root in the early comic strips of the 18th and 19th century (Maigret and Stefanelli), which played a huge part in what we now know as comic books. As Pagello explains:The extensive practice of narrative serialisation played a major role in this context: the creative process, the industrial production and distribution, the editorial practices and, finally, the experience of comics readers all underwent dramatic changes when comics started to develop an identity distinguished from satirical cartoons, illustrated books and the various forms of children’s picture stories.According to Derek Johnson, these evolutions, in terms of production and reception, are closely linked to the widespread use of the franchise model in media industries. Johnson explains thatcomic books, video games, and other markets once considered ancillary now play increasingly significant and recentered roles in the production and consumption of everyday film and television properties such as Heroes, Transformers, and the re-envisioned Star Trek in ways that only very few innovators (such as George Lucas and his carefully elaborated and expanded Star Wars empire) had previously conceived in the twentieth century.The creation of transmedia strategies that capitalize on narrative continuity and seriality call for some synergies between media and for a “gatekeeper” of the stories who will ensure that all is coherent in the storyworld. Thus, “in 2006, the management of Heroes, for example, became a job for a professional ‘Transmedia Team’ charged with implementing creative coordination across television, comics, and the Internet” (Johnson).Another principle of transmedia storytelling, closely linked to seriality and the essence of the definition, is the creation of a narrative universe, that is “world-building,” in which plots and characters develop, and which will lay the foundations for the story. These foundations will be written in what is called a Bible, a document containing all the narrative elements in order to ensure coherence. In the notion of world-building, a matrix of possibilities is deployed, since stories can potentially become threads to weave, and re-weave. This rhizomatic world can be extended to infinity in a canonical way (by the official production) and in a non-canonical one (by the creations of fans). For Mark Wolf, these narrative worlds work like dynamic entities, and are transformative, transmedial, and transauthorial, which are similar to the notions and possibilities of transmedia storytelling, and media and cultural convergence. Stories that cannot be contained within the “real” of a single medium will be expended and developed on another or several other ones, creating a rich storyworlds. Comic books can be one of these tie-in media.New Term, Old Creations: An Historical OverviewMatthew Freeman wrote in his latest book Historicising Transmedia Storytelling that these transmedia practices do have a past and existed long before the introduction of the term due to new technologies, production strategies, and reception tactics. Comic books were often an option to enrich storylines and further develop the characters. For example, L. Frank Baum created a storyworld around The Wizard of Oz made of mock newspapers, conferences, billboards, novels, musicals, and comic strips in order to “appeal to a migratory audience” (Jenkins, “I Have”) and to deepen the characters, introduce new ones, and discover the land of Oz as if it were a real location. The author used techniques of advertising to promote and above all to expand his storyworld. As newspaper comic strips were quite popular at the time, Baum created several tie-in extensions in the newspapers and in a novel format. As Jason Scott underlines, “serial narratology enhances the possibilities of advertising and exploitation through the established market for the second and subsequent instalment” (14). The series of comic strips entitled Queer Visitor from the Marvellous Land of Oz (1904-1905) picked up, in terms of narration, just after the end of the book, offering a new temporality and life for the characters. As Freeman notes, this choice follows an economic logic:The era’s newspaper comic strips and their institutional tendency to prioritize recurring characters as successful advertising mechanisms (as witnessed in the cross-media dispersion of Buster Brown) had in fact influenced Baum to return to the series’ more familiar faces of Dorothy, the Scarecrow, and the Tin Woodman (2371).Here, the beloved characters are moving from one medium to the next, giving new insights on their life after the end of the book, and enhancing their stories beyond its pages.A Typology of Comic Books and Tie-in Extensions of TV SeriesBefore diving into a tentative typology, I want to look at the definition of canon in a transmedia storyworld. There is a strong debate in academic discussions around the issues of canonicity, and here I understand canonicity as the production of official texts around a given cultural content. That is because of precisely what is qualified as an official text or an official extension, and what is not. In the book I co-edited with Benjamin W.L. Derhy Kurtz (Derhy Kurtz and Bourdaa), we respond by coining the term “transtexts,” which includes officially produced texts and fantexts in the same narrative universe. The dichotomy between both kinds of texts is thus diminished. Nonetheless, in production and transmedia strategies, canonicity is hard to evaluate because “few television series have attempted to create transmedia extensions that offer such a (high level of) canonic integration, with interwoven story events that must be consumed across media for full comprehension” (Mittell 298). He follows by proposing a typology of two possible transmedia extensions based on a canon perspective versus a non-canon one: “what is extensions” extend the storyworld canonically and in a coherent way, whereas “what if extensions” “pose(s) hypothetical possibilities rather than canonical certainties, inviting viewers to imagine alternate stories and approaches to storytelling that are distinctly not to be treated as potential canon” (Mittell 298). Mark Wolf refers to the term growth to qualify canonical materials which are going to expand a given storyworld and which nourish the stories. As argued by Gabriel et al., “Wolf’s definition of ‘growth’ makes it clear that, for him, a transmedial product can only be considered to contribute to a world’s growth if it adds new ‘canonical’ material, i.e. material that presents new pieces of information that are “true” for the fictional world” (Gabriel et al. 169). This notion of “truth” to the diegesis can be opposed in this context to the notion of alternate stories and alternate versions of the characters.My attempted typology lays its foundation upon this opposition between what is seen as an official extension and what is seen as an unofficial extension, but offers alternate perspectives to expand the storyworld using new characters, locations, or universes. The first category will look at canonical extensions and how they can deepen characters’ development and temporalities. The second category will deal with “canon divergent” (to use fans’ language) extensions and how they can offer new entries into the stories by creating new characters or presenting new locations.Canonical Extensions: CharactersTie-in extensions in the form of comic books help to deepen the characters, especially supporting characters, by delving into their motivations and psychology, or by giving them backstories and origin stories. According to Paolo Bertetti, “the transmedia character is a fictional hero whose adventures are told on several media platforms, each providing details about the character's life” (2344). Actually, motivated characters are the quintessential element of the narration of the classic Hollywood era, which was then reused in the narration of TV series, which were then penned into comic books. In her definition of transmedia superstructures, Marsha Kinder based her analysis on how characters moved from one medium to the next, making them the centre of the narrative universe and the element audiences would follow.For example, Fringe (2008), in a deal with DC comics, extended its stories and its characters in comic books, which were an integral part of the storyworld, and which included canon materials by offering Easter Eggs to fans and rewarding them for their investment in the narrative universe. Each issue of the second series dealt with a major or recurring character from the show, deepening them by giving them backgrounds. That way, audiences can discover the backstories of Agent Broyles, Nina Sharp, the CEO of Massive Dynamic, or even Gene, Walter’s cow, all of which are featured in the series but not well developed.Written by actor Tim Rozon (who plays Doc Holliday on the show) and author Beau Smith, Wynonna Earp Season Zero (2017) focuses on the past of main character Wynonna Earp when she was an outlaw and before she comes back to her hometown, Purgatory. The past comes to life on the pages, while it was only hinted at in the show. It is a good introduction to the main character before the show, since Wynonna comes back to Purgatory by bus at the beginning of the very first episode and there are no flashback episode relating her story earlier. Because the two authors of this comic book are part of the creative crew of the show, an actor and a writer, they ensure a sense of coherence in the extensions they write.In collaboration with Dynamite Entertainment, an American comic book company, NBC Universal launched a series of comic book issues entitled Origins (2008) as an ancillary text to Battlestar Galactica (2004). “Origin stories” are a specific genre related to superhero franchises. M.J. Clarke underlines that,the use of Origins Stories is influenced by the economic structure of the comic book industry, which continues to produce stories over years and decades. ... By remaining faithful to the Origins (which are frequently modified in their consistency), readers can discover a story without having to navigate in more than 400 numbers of commix. (54)The goal of these comic books is to create a "past" for the human characters that appeared in the series. The collection of comic books thus focuses on five main characters in 11 issues, spread out over a year: William Adama, Zarek, Gaius Baltar, Kara "Starbuck” Thrace, and Karl "Helo" Agathon. These issues are collected in an eponymous Omnibus. Likewise, Orphan Black (2011) also offered backstories for its “clone club” without disrupting the pace of the show. The stories, tied to the events of the series, focus on the opportunity to better understand the emotions, thoughts, and feelings that exemplify the characters of the show.It is interesting to note that the authors of these comic book extensions were in close contact with Ronald D. Moore and David Eick, showrunners of the Battlestar Galactica series, which guaranteed coherence and canonicity to the newly created material. In a personal interview, Robert Napton, writer of Origins, explained the creative process:so every week we would watch episodes and make sure our stories matched as closely as possible to what the television series was doing …we tried to make it feel like it was very much part of the series, so they were untold adventures and we tried to fit it into the continuity of the series as much as possible.Brandon Jerwa, writer for Battlestar Galactica comic book series Season Zero and Ghosts (2009), confirmed that, “It is my understanding that the comics were passed through Mr. Moore’s office, and they were certainly vetted by Syfy and Universal.” Jerwa also added an interesting input on perception of canonicity versus non-canonicity by fans who can be picky about the ancillary contents and added materials that extend a storyworld:Most comic tie-ins have a hard time being considered a legitimate part of the canon, and that is simply beyond the control of the creative team. I worked very hard to make sure that I was writing material that adhered to the continuity of the show as closely as humanly possible. I don’t believe in writing a licensed property in such a way as to put forward ‘my vision’ of the universe; I believe very firmly that it is my responsibility to serve the source material above all else.Canonical Extensions: TemporalitiesComic books as a licensed product can expand the temporalities of the show and tell stories before the beginning of the series and after it ended, as well as fill time voids and ellipses. For example, now in its 11th season in comic books, Joss Whedon managed to keep Buffy the Vampire Slayer (1997-2003) alive and to attract new fans without alienating its original fanbase. Blogger and web entrepreneur Keith McDuffee felt that reading Buffy as a comic book after seeing it on television for seven years was strange, but the new format was a good sign because: “the medium lets creativity go completely wild without budget worries.” The comic books focus on the famous characters and created a life for them after the end of the show, making them jump from the screen onto the pages. Sometimes, the comic books told original stories that might seem out-of-character, like the issue in which Buffy sleeps with a woman. That kind of storyline wasn’t explored in the TV show, and comics offer one way to go deeper into the characters’ backgrounds and psychology. Sometimes, the tie-ins do not strictly follow the continuity and become non-canon regarding the stories of the TV shows. For example, DC/Wildstorm presented comic book issues around The X-Files (1993-) that were set in continuity of the show but failed to refer to main plot events (for example, Scully’s pregnancy). “Rather than offering ‘additive comprehension’ to a pre-existing television and film narrative, Spotnitz chose to write licensed comics on their own terms” (Pillai 112).DC is familiar with offering new adventures for its superhero characters in the form of comic books (which are first published online), going back to the basics. Of course, in this case, the relationship between the comic book medium and the television medium is more intricate, as the TV series are based on comic book characters whose stories are then extended again in comic books, which are created specifically to extend the TV shows’ storyworlds. The creation of the comic book series The Flash Season Zero (2015) set the stories between the episodes of the first season of The Flash and focus on the struggles of Barry Allen as he juggles between his job as a CSI, his love for Iris West, his childhood sweetheart, and his new identity as a vigilante with superpowers. This allows viewers to better understand a part of Barry Allen’s life that was not well developed in the show, adding temporal layers to the stories. The Adventures of Supergirl vol. 1 (2016) also depict the battles of the girl of steel between episodes, as well as her life with her sister, Alex (who is also a new addition in the comic book), and her co-workers at the DEO. For Arrow,the digital tie-ins offer producers [opportunities] to explore side stories they are unable to cover on screen. In the case of Season 2.5, the 22-chapter comic enabled the producers to fill in the blanks in between the seasons, thus offering more opportunities to explore the dynamics of fan-favorite characters such as Felicity and Diggle. (Bourdaa and Chin 183)These DC comic books are examples of giving life to a TV show beyond the TV screen, enhancing the timeframe of the stories and providing new content. The characters pass through the screen to live new adventures in comic books. In some cases, the involvement of the series' actor and writer in comic book scripting confirms the desire for consistency in the extensions of the series, whatever the medium used and whatever the objectives.Canon Divergent Extensions or the Real PossibilitiesFinally, comic books can deploy stories that will display a new point of view on the canon: a “multiplicity” (Jenkins, “La Licorne”) or a “what-if story” (Mittell), which will explore new possibilities and new characters.The second series of Orphan Black comic book tie-ins entitled Helsinki (2016) dealt with clones in the capital of Finland. The readers discover the lives of other clones, how they deal with the discovery of their “condition,” and that they have a caretaker. The comics are written by John Fawcett, who is also a showrunner for the series. The narrative universe is stretched into new possibilities, seen with new eyes, and shown from the perspective of new clones. The introduction of new characters gives opportunities to tell new stories and diverge from the canonical content, especially in terms of the characters’ development and depth.Battlestar Galactica, after the show ended, partnered once again with Dynamite Entertainment, to publish a new set of comic books entitled BSG: Ghosts (2009), which tells the story of new characters surviving the Cylon genocide. Writer Brandon Jerwa asks in BSG: Ghosts: "And if a squadron of secret agents had also survived Cylon Attack?" For him, comic books are a good opportunity to relaunch the narrative universe by introducing new characters in a well-known storyworld.The comic books will definitely have to evolve in order to survive because at some point we will end up exhausting the interest of the readers on the narrative continuity. Projects like Ghosts are definitely a good way to test public reaction to new ideas in a familiar environment. (Jerwa)Conclusion: From One Medium to the Next, From Narrative Extensions to MarketingThis article offers an overview of how comic books are used as tie-in products to extend TV series’ narrative universe. The ambition was not to give an exhaustive panorama but to propose a typology with some examples. I showed that characters’ development, temporalities, and new points of view are narrative angles exploited in comic books to give depth to a storyworld. Of course, this raises issues of labour, authorship, and canon content, which are already discussed elsewhere (see, for example: Clarke, Pillai, Scott). Yet, comic books are an integral part of transmedia storytelling and capitalise on notions of seriality, offering readers new stories, continuity, depth, and character motivations in order to enrich storylines and make them live beyond the screen. However, Robert Napton, in our interview, underlines an interesting opposition between licensing and marketing: “Frankly, comic books are considered licensing and marketing, not official canon. The only TV comic that is canon is Buffy Season 8 and 9 because Joss Whedon says they are, but that is not the normal situation.” He clearly draws a line between what he considers to be a licensed product, in this article what I describe as canonical content, and a marketing product, which could be understood in this article as a canon divergent tie-in. The debate here is clearly on, since understandings of transmedia vary between the perspectives of production companies, which are trying to gain profit by providing new content, the perspectives of fans, who know the storyworlds and the characters extensively and could be very possessive of them, and the perspectives of extension authors, who “have very strict story guidelines” (Jerwa) and have to make their stories fit within the narrative universe as it is told onscreen.ReferencesBertetti, Paolo. “Towards a Typology of Transmedia Characters.” International Journal of Communication 8 (2014): 2344-2361.Boni, Marta. World Building: Transmedia, Fans, Industries. Amsterdam: Amsterdam UP, 2017.Bourdaa, Mélanie. “Transmedia Storytelling: Entre Narration Augmentée et Logiques Immersives.” InaGlobal (2012). 16 December 2017 <http://www.inaglobal.fr/numerique/article/le-transmedia-entre-narration-augmentee-et-logiques-immersives>.Bourdaa, Mélanie, and Bertha Chin. “World and Fandom Building: Extending the Universe of Arrow in Arrow 2.5.” Arrow and Superhero Television: Essays on Themes and Characters of the Series. Eds. James F. Iaccino, Cory Barker, and Myc Wiatrowski. Jefferson: MacFarland, 2017.Clarke, M.J. Transmedia Television: New Trends in Network Serial Production. New York: Continuum Publishing, 2013.Derhy Kurtz, WL Benjamin, and Mélanie Bourdaa. The Rise of Transtexts: Challenges and Opportunities. London: Routledge, 2016.Freeman, Matthew. Historicising Transmedia Storytelling: Early Twentieth-Century Transmedia Story Worlds. London: Routledge, 2017.Gabriel, Nicole, Bogna Kazur, and Kai Matuszkiewicz. “Reconsidering Transmedia(l) Worlds.” Convergence Culture Reconsidered: Media—Participation—Environments. Eds. Claudia Georgi and Brigitte Johanna Glaser. Göttingen: Universitätsverlag Göttingen, 2015.Gillan, Jennifer. Television and New Media: Must-Click TV. New York: Routledge, 2010.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU Press, 2006.Jenkins, Henry. “I Have Seen the Future of Entertainment… And It Works.” Confessions of an Aca-Fan, 2008. <http://henryjenkins.org/blog/2008/10/i_have_seen_the_futures_of_ent.html>.Jenkins, Henry. “Transmedia Education: The 7 Principles Revisited.” Confessions of an Aca-Fan, 2010. <http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html>.Jenkins, Henry. “La Licorne Origami Contre-attaque: Réflexions Plus Poussées sur le transmedia storytelling.” Terminal 10-11 (2013): 11-28. <http://journals.openedition.org/terminal/455>.Jerwa, Brandon. Personal Correspondence. 2013.Johnson, Derek. “A History of Transmedia Entertainment.” Spreadable Media: Web Exclusive Essays. <http://spreadablemedia.org/essays/johnson/#.Wo6g24IiGgQ>.Maigret, Eric, and Matteo Stefanelli. La Bande Dessinée: Une Médiaculture. Paris: Armand Colin, 2012.McDuffee, Keith. Buffy the Vampire Slayer: The Long Way Home, Part 1. Season premiere. 2007. <http://www.aoltv.com/2007/03/16/buffy-the-vampire-slayer-the-long-way-home-season-premiere/.>.Mittell, Jason. Complex TV: The Poetics of Contemporary Television Storytelling. New York: NYU Press, 2015.Napton, Robert. Personal Correspondence. 2013.Pagello, Federico. “Before the Comics: On Seriality of Graphic Narratives during the Nineteenth Century.” Belphégor 14 (2016). <http://journals.openedition.org/belphegor/810>.Pillai, Nicolas. “What Am I Looking at Mulder?: Licensed Comics and Freedoms of Transmedia Storytelling.” Science Fiction and Television 6.1 (2013): 101-117.Scott, Jason. “The Character-Orientated Franchise: Promotion and Exploitation of Pre-Sold Characters in American Film, 1913–1950.” Scope: An Online Journal of Film and Television Studies (2009): 10–28.

<p>Desde la Cátedra Libre por el Derecho al Aborto Legal, Seguro y Gratuito de la Facultad de Psicología de la Universidad de Buenos Aires, espacio conformado en 2016, se presentan aportes al debate sobre el aborto legal en el campo de la formación “psi”.</p><p>Los diferentes capítulos de esta obra surgen de las discusiones y producciones de distintas actividades (jornadas, talleres, seminarios, etc.). El libro se compone de tres partes: la primera presenta una genealogización de la demanda por el derecho al aborto y los debates en el campo de la psicología a partir de referentes como Graciela Zaldúa, Nina Brugo, Martha Rosenberg, Débora Tajer y Elsa Schvartzman. En la segunda parte se desarrollan dos trabajos: uno analiza el tratamiento del aborto en la formación de grado y otro, las prácticas de interrupción legal del embarazo desde los equipos de salud en el primer nivel de atención. El último apartado presenta la síntesis de producciones de fin de grado de estudiantes de Psicología acerca del tema del aborto.</p>

Este libro es producto de los resultados obtenidos en la primera fase terminada del proyecto y línea de investigación denominada: “Análisis y Desarrollo de Indicadores para Medir el Crimen Económico y Responsabilidad Social Empresarial”, el cual ha sido financiado en su tercer periodo de desarrollo por la Corporación Universitaria Americana durante el periodo enero de 2016 y diciembre de 2018. El trabajo investigativo presentado aquí se basa en la experiencia de aproximadamente 6 años de investigaciones documentales y participaciones de los autores como ponentes en varios congresos internacionales en Latinoamérica, específicamente en: Brasil, Colombia, Costa Rica, Cuba, Chile, México y Venezuela. Esto ha permitido intercambiar interesantes puntos de vista con colegas expertos que se relacionan con el tema del crimen económico y la responsabilidad social empresarial, gubernamental y civil. Los antecedentes reflexivos que contiene este libro, se inician en el periodo 2009-2011 con cuatro trabajos presentados por Ibarra Alberto en trabajo conjunto con Echeverri Camilo: 1. Artículo del 2009: “Retrospectiva de la Responsabilidad Social Empresarial a través del Desarrollo del Pensamiento Económico”, Revista Universo Contabil de la Fundación Universitaria de Blumenau, Brasil; 2. La ponencia del 2009: “Correlación entre Información Empresarial y Objetivos Corporativos con base a la Responsabilidad Social Empresarial”, XIV Congreso Internacional de Contaduría, Administración e Informática en la UNAM, México; 3. La ponencia del 2010: “Algunos Fundamentos sobre la Responsabilidad Social en la Empresa Privada considerando el Desarrollo del Pensamiento Económico” , V Reunión Internacional de Gestión y Desarrollo sobre Responsabilidad Social y Emprendimiento, Universidad de Santa Catarina, Florianópolis, Brasil; 4. El artículo del 2011: “Índices para Medir Empresas Sostenibles con base a la Responsabilidad Social Empresarial vs Crimen Económico desde un Enfoque de la Teoría Behaviorista”, Revista Civilizar de Empresa y Economía de Universidad Sergio Arboleda, Bogotá, Colombia. El segundo periodo del desarrollo conceptual del trabajo de investigación comprende el periodo 2012-2014 con cuatro ponencias en congresos internacionales: 5. “La RSE como Estrategia de Crecimiento Económico”, XXV Congreso Latinoamericano de Estrategia, Universidad Metropolitana Castro Carazo, Costa Rica 2012. 6. “Análisis del Observatorio de la Globalización sobre Crimen Económico y Crisis de Cultura de Legalidad a Nivel Mundial (Soborno, Extorción, Corrupción y Fraude Empresarial)”, II Congreso The Global Compact de las Naciones Unidas 2012, Cámara de Comercio de Bogotá. 7. “Análisis Comparativo de los Indicadores e Informes de Crimen Financiero y Económico en el Mundo y Latinoamérica vs RSE.” XII International Finance Conference 2012, de American Academy of Financial Management, Universidad EAFIT Medellín, Colombia. 8. “Análisis del Crimen Financiero en Entornos de Crisis Financiera”. International Finance Conference 2014”, Universidad Nacional Autónoma de México. El tercer periodo comprende los años 2015-2016, y los autores trabajaron y presentaron 9 ponencias y un artículo de reflexión, donde gran parte de estos trabajos se llevaron a cabo en compañía de otros investigadores con excelente capacidad analítica sobre el tema. Entre estos académicos está la colaboración de Andrés Tibaquira y Alexander Castrillo. Los trabajos son: 9. “Estructuras Conceptuales del Crimen Económico y la RSE para desarrollar un Análisis Integral de Empresas Socialmente Responsables”, XXVIII Congreso Latinoamericano de Estrategia SLADE 2015, Universidad Pontificia Bolivariana, Medellín, Colombia. 10. “Desarrollo Sostenible con RSE versus Corrupción y Fraude Corporativo: Sus Indicadores e Índices de Medición”. Conferencia Magistral ante la Contraloría General de Medellín Colombia y Red de Transparencia”. 11. “Tres Intangibles Correlacionados con el Entorno Organizacional para Alcanzar Empresas Sostenibles y Éticas: Capital Social, Capital Intelectual y Responsabilidad Social”. XX Congreso Internacional de Contaduría, Administración e Informática 2015. Universidad Nacional Autónoma de México, 12. “Crimen Económico y Responsabilidad Social Empresarial”. Instituto Tecnológico Nacional de México, Conferencia Magistral ante el Consejo de Investigación. 13. “Análisis Internacional sobre el Crimen Económico por países”. Conferencista Magistral y Organizador Técnico del I Congreso Internacional de Crimen Económico y Fraude Financiero y Contable. Corporación Universitaria Remington, Medellín, Colombia. En el 2016, se presentaron las siguientes ponencias: 14. “Hacia Una Nueva Taxonomía del Delito y Crimen Económico”, II Congreso Internacional de Economía, Contabilidad y Administración”, Universidad de la Habana, Cuba.; 15. Ibarra Alberto y Tibaquira Andrés: “Hacia una Nueva Taxonomía del Delito y Crimen Económico para incrementar la RSE”. International Finance Conference 2016 Chile, Universidad de Valparaíso Chile y Universidad de Santiago de Chile. 16. Ibarra Mares Alberto y Tibaquira Cuervo Andrés: “Objetivos Empresariales Informales y su Influencia en Fraudes dentro del Sistema de Información Contable”, V Encuentro Internacional de Investigación y Espíritu Empresarial. Universidad Francisco de Paula Santander, Ocaña Santander Colombia. 17. Ibarra Alberto, Echeverri Camilo y Ramírez Carlos: “Antecedentes y Actualidad del Desarrollo del Gobierno Corporativo en Latinoamérica”, II Congreso Internacional de Crimen Económico y Fraude Financiero y Contable. Conferencista Magistral, Corporación Universitaria Remington, Medellín Colombia. 18. Ibarra Alberto, Pérez Luis Alfonso y Garzón Manuel (2015): “Código de ética empresarial para las Pymes: Marco de Referencia para la Sostenibilidad y Responsabilidad Social Empresarial (RSE)”. Revista Espacios. Venezuela. A partir de la experiencia adquirida, el objetivo de los autores en este trabajo fue sintetizar una serie de conceptos técnicos fundamentales sobre el crimen económico y sus principales componentes, con el fin de conformar una sólida taxonomía y metodología para medir las percepciones sobre los diferentes tipos de crimen económico en diferentes países de Latinoamérica, iniciando por Colombia, ello permitirá adaptar y mejorar algunos indicadores que se han estandarizado en el ámbito mundial para medir cualitativa y cuantitativamente las variables del crimen económico entre países, instituciones, sectores y personas. En el capítulo 1 y 2 se inicia con un análisis documental sobre cuáles son las principales variables que se toman en cuenta en la literatura especializada sobre este fenómeno económico negativo que registran las empresas, instituciones y países. Para ello, se partió de una taxonomía de 17 variables que proporcionaron información acerca de Transparencia Internacional (TI) y sobre el lenguaje del crimen económico para determinar ocho categorías o tipologías de crimen económico, a las cuales se les denominó taxonomía. En el capítulo 3 se da a conocer una muestra representativa de algunas de las principales organizaciones que se dedican al estudio y combate de delitos económicos y fraudes. Las primeras instituciones que incluimos por su prestigio y seriedad sobre el tema, fueron: Transparencia Internacional (TI), La Organización de las Naciones Unidas (ONU), PricewaterhouseCoopers (PWC), Ernst and Young (EY), KPMG y Deloitte and Touche. Además, consideramos datos y reportes del Fondo Monetario Internacional (FMI) y el Banco Mundial (BM). En los capítulos cuarto, quinto y sexto, analizamos respectivamente el crimen económico desde sus tres perspectivas o niveles: 1.) Por país, 2.) Por empresas, y 3.) Por personas. Por último, en el capítulo séptimo damos unas conclusiones que consideramos nos dan una primera visión para un análisis metodológico y con mayor rigor científico sobre el crimen económico En el capítulo séptimo incluimos las conclusiones finales basadas en el marco teórico sobre la teoría marginalista y teoría behaviorista, que nos permite fundamentar nuestras reflexiones y conclusiones. También adicionamos las ideas de Francis Fukuyama con respecto al concepto de confianza y capital social, que son componentes importantes de la ética y responsabilidad social empresarial. Incluimos además unas ideas sobre la teoría institucionalista que determina en gran medida el comportamiento de un individuo dependiendo del tipo de institución en dónde se desarrolla.

La construcción de la identidad y la de los intereses nacionales de todo Estado constituyen procesos interdependientes y complementarios que se llevan a cabo de manera intersubjetiva al interior de sus sociedades en una línea de tiempo de largo aliento. En tal sentido, las identidades nacionales son proyectadas en el plano internacional por los líderes de los respectivos Estados, quienes a través de sus ideas, cosmovisiones y decisiones, desempeñan roles internacionales específicos que son percibidos por sus pares en el escenario internacional. De esta manera, la identidad nacional es relacional por la idea y el conocimiento compartido que los tomadores de decisión tienen de su nación, a fin de que pueda ser percibida y comprendida por los líderes de los demás Estados, es decir, se trata una relación entre alter y ego. En esencia, las identidades nacionales son estructuras cognitivas colectivas que los Estados comparten socialmente en el ámbito internacional. En este orden de ideas, tal como se desarrollará en el marco teórico de esta obra, los intereses de los Estados son construidos por las identidades nacionales. Adicionalmente, la identidad nacional y los intereses nacionales son factores fundamentales que influyen sustancialmente en la formulación e implementación de la política exterior de todo Estado. Así las cosas, se pueden identificar factores endógenos (cultura nacional, factores ideacionales y materiales) y exógenos (cultura de la anarquía, patrones de cooperación, competencia o conflicto, distribución de poder, lugar que ocupa un Estado en la jerarquía de poder internacional) que influencian la construcción y proyección de identidad y la definición de los intereses nacionales. Ahora bien, para comprender e interpretar la identidad y los intereses nacionales de un Estado como Colombia se requiere de procesos investigativos y de un diálogo sistemático, interdisciplinar y plural entre académicos y tomadores de decisión. En este caso particular, hemos enfocado el análisis en problemáticas relacionadas con la identidad nacional, la defensa, la seguridad y los intereses estratégicos del Estado colombiano desde una perspectiva multidimensional. Por tanto, la obra es producto de un proceso de investigación y conjunto entre oficiales, activos y de la reserva activa de las FF. MM. de Colombia y de académicos de la Pontificia Universidad Javeriana. Los autores realizaron sus investigaciones y la producción de sus textos en el marco del Curso de Altos Estudios Militares (CAEM) y el Curso Integral de Defensa Nacional (CIDENAL) de la Escuela Superior de Guerra (ESDEGUE). El proyecto fue auspiciado por la Fundación Konrad Adenauer de Colombia como concreción de la cooperación interinstitucional que ha venido llevando a cabo desde hace tres años con la Escuela Superior de Guerra, de modo que esta obra es el resultado del compromiso entre ambas entidades y el Centro de Altos Estudios Militares. El libro que aquí presentamos tiene tres secciones: la primera, denominada Marco teórico, incluye un capítulo en el que se desarrollan conceptos y categorías esenciales para el análisis y la comprensión de las nociones de identidad nacional, interés nacional, tipología de intereses nacionales, poder, tipologías de poder, estrategia nacional, objetivos nacionales, etcétera; la segunda sección tiene como título Perspectivas sobre identidad e intereses nacionales de Colombia y sus capítulos aportan las visiones sobre lo que ha sido el estudio y la formulación de dicha problemática durante los ejercicios académicos en distintas promociones del CAEM y el CIDENAL; la tercera y última sección, Intereses específicos de Colombia, recoge los trabajos sobre el análisis de dichos intereses del país, desde distintos enfoques, con las recomendaciones pertinentes para mejorar su gestión y defensa. De esta forma, confluyen dos visiones o perspectivas de gran trascendencia para promover un conocimiento complejo, sólido, riguroso y complementario sobre cada objeto de estudio determinado por los ejes y capítulos de la obra. Por lo tanto, el primer capítulo es presentado por los profesores Eduardo Pastrana Buelvas y Diego Vera Piñeros, quienes elaboraron un marco teórico desde el constructivismo que pretende entregar herramientas históricas, conceptuales y referentes contextuales, con el propósito de acercarse de una forma más idónea a la comprensión e interpretación de los elementos constitutivos y de las características de los intereses y de la identidad de las naciones. Para ello, parten de un ejercicio genealógico interpretando y rastreando los principales antecedentes del nacimiento del concepto o categoría de intereses e identidad. Igualmente, incorporan las distintas tipologías sobre la identidad y los intereses nacionales, en cuyo desarrollo resaltan la importancia de la relación estrecha que existe entre la concepción del rol nacional y la identidad. Por último, enuncian las concepciones del rol nacional que Colombia ha desempeñado y a través de las cuales ha sido percibida en su devenir histórico. Seguidamente, el segundo eje del libro está compuesto por seis capítulos. El primero de ellos es desarrollado por el mayor general Helder Fernán Giraldo Bonilla y el brigadier general (RA) Fabricio Cabrera Ortiz, autores que trabajaron la proyección nacional de Colombia desde los intereses nacionales. En esa línea, abordan analíticamente cómo la estrategia y el concepto de seguridad nacional en Colombia impactan la proyección del Estado y de las FF. MM. de cara a los desafíos y retos contemporáneos. Por su parte, el segundo capítulo del eje es presentado por el brigadier general de la Fuerza Aérea Colombiana Eliot Benavides González, el brigadier general del Ejército Nacional Erik Rodríguez Aparicio y el contralmirante de la Armada Nacional Óscar Darío Tascón Muñoz, quienes contribuyen con un análisis que parte del estudio y la comprensión de los puntos estructurales de la Apreciación Política Estratégica Nacional (APEN) y de la geopolítica contextual colombiana, en aras de identificar y determinar las amenazas, los problemas y las preocupaciones presentes en el entorno geoestratégico que tiene injerencia en la defensa y la seguridad multidimensional de Colombia. El tercer capítulo del eje es de autoría del profesor Eduardo Velosa Porras y consta de un análisis reflexivo sobre la concepción de nación, la percepción y la contestación del rol nacional en los ámbitos regionales y globales. Para esto, el autor parte de una interpretación sobre los principales roles que ha desempeñado Colombia en los últimos años, además, aborda de forma reflexiva y con relación a los elementos conceptuales y teóricos del rol, a qué identidades responden los roles que el país ha asumido en el marco de los intereses proyectados. Posteriormente, el cuarto capítulo del eje es elaborado por el profesor y estudiante del CIDENAL (2019) Francisco Alfonso Camargo Salas, quien desarrolla una definición y una clasificación de los intereses nacionales. A partir de ello, reflexiona sobre la identidad de Colombia, cómo esta se ha proyectado y, en consecuencia, cómo ha sido percibida en el escenario internacional. Para cerrar el capítulo, el autor presenta una relación analítica sobre el vínculo entre intereses y objetivos nacionales. El quinto capítulo del eje es trabajado por el mayor general (RA) Jorge Alberto Segura Manonegra, quien aborda la construcción del concepto de objetivos nacionales y cómo este impacta la estrategia de seguridad nacional. Para ello, hace una distinción conceptual y teórica sobre los intereses y los objetivos nacionales, y analiza la relación estructural entre objetivos, fines, modo y medios del Estado para la formulación y el alcance de los objetivos nacionales instituidos. El sexto y último capítulo del segundo eje es desarrollado por los coroneles de la Fuerza Aérea Colombiana Pedro Arnulfo Sánchez Suárez y del Ejército de Colombia Óscar Leonel Murillo Díaz, quienes presentan un análisis sobre la identidad nacional en relación con el patriotismo y el nacionalismo. Asimismo, reflexionan sobre las principales funciones de la identidad nacional y proponen un instrumento piloto orientado a interpretar y medir la percepción de la identidad nacional. El tercer eje del libro que versa sobre los intereses específicos de Colombia se compone de ocho capítulos. El primero de ellos es presentado por el brigadier general Óscar Zuluaga Castaño, el coronel Héctor Fabio Aristizábal Mustafá y el coronel Kerly Sánchez Pesca, cuya contribución es un análisis sobre el acceso al espacio exterior como un interés nacional vital de Colombia. Para el efecto, parten de una reflexión sobre la importancia del espacio ultraterrestre de Colombia para el desarrollo del comercio internacional y para la seguridad nacional. En este capítulo, los autores privilegian un enfoque desde el realismo clásico para interpretar y comprender la relevancia del espacio exterior como interés vital de Colombia. A continuación, el segundo capítulo del eje, elaborado por Óscar Cabrera Izquierdo, expresidente ejecutivo del BBVA en Colombia y estudiante del CIDENAL (2019), y por la economista Juana Téllez Corredor, consta de un análisis sobre los principales desafíos y retos de la economía colombiana ante las nuevas tendencias globales. En esa línea, los autores parten de la identificación de patrones y de datos macro y microeconómicos de los últimos años para el país. Con ello, a manera de reflexión prospectiva, se proponen proyectar las alternativas y los escenarios sobre la forma como la economía colombiana podría crecer y fortalecerse de cara a los desafíos globales. El tercer capítulo del eje es desarrollado por la profesora Louise Anne Lowe, quien aborda la protección ambiental como parte del interés nacional de Colombia y plantea un análisis sobre el complejo proceso teórico-práctico de la incorporación de los problemas ambientales en las agendas de los Estados. El cuarto capítulo del eje, cuyo autor es el brigadier general Raúl Flórez Cuervo, presenta una reflexión analítica sobre los intereses nacionales en juego en la Amazorinoquia. Para ello, inicia con un excurso argumentativo sobre la comprensión del valor vital de esta macrorregión para Colombia como Estado-nación y finaliza esbozando la identificación del complejo panorama de los factores que allí generan inestabilidad y tienen impacto en el país. A su vez, el quinto capítulo del eje es presentado por el coronel de Infantería de Marina de la Armada Colombiana Adolfo Enrique Hernández Ruiz y por el profesor Héctor Andrés Macías Tolosa, quienes trabajan los intereses marítimos y fluviales de Colombia. Así entonces, parten de una diferenciación conceptual entre el interés marítimo y el interés fluvial y después abordan de forma reflexiva la importancia que tienen los mares y ríos para la supervivencia del desarrollo de la nación. Para todo ello, los autores privilegian una mirada desde el realismo clásico y el neorrealismo. El sexto capítulo del eje es desarrollado por el profesor Carlos Álvarez Calderón y por la profesional en relaciones internacionales y estudios políticos de la Universidad Militar María Johana Alarcón Moreno, autores que presentan, a manera de reflexión, la identidad de Colombia como un asunto de interés nacional. En ese sentido, argumentan la necesidad de que los símbolos, los héroes, los rituales y los valores ameriten mayor relevancia para los estudios de seguridad y defensa, por lo que referencian que tales factores se constituyen como elementos fundamentales y determinantes de los intereses nacionales colombianos. Posteriormente, el séptimo capítulo del eje es el trabajo de los profesores Andrés Mauricio Valdivieso Collazos y Ricardo García Briceño, junto con la profesional en relaciones internacionales y estudios políticos de la Universidad Militar Sofía Correa Merchán, quienes interpretan cuáles han sido los intereses que los gobiernos de Colombia han priorizado de cara al cumplimiento de los estándares internacionales de derechos humanos. Para el cierre del capítulo, los autores proyectan la relación entre el interés nacional de los últimos dos gobiernos con relación a los procesos de construcción de paz en Colombia. El octavo y último capítulo del eje y del libro es presentado por el profesor Diego Vera Piñeros, la politóloga Paula Prieto y la internacionalista y comunicadora de la Pontificia Universidad Javeriana Daniela Garzón, quienes trabajaron la ciberseguridad, la ciberdefensa, la identidad y los intereses nacionales y de las Fuerzas Militares de Colombia. Para ello, inician con una caracterización de la denominada “cuarta revolución” con el propósito de determinar los procesos de producción que están a la vanguardia en materia de desarrollo, adquisición y uso de tecnologías digitales, físicas y biológicas, orientados a potenciar el crecimiento económico. Cierran el análisis abordando y articulando el interés de integrar los avances de la cuarta revolución a los campos de seguridad y defensa nacional, en aras de mejorar las capacidades institucionales y estatales frente a los desafíos y problemas contemporáneos. Así pues, este libro es una propuesta de reflexión, de análisis, de evaluación y de discusión sobre la o las identidades, el interés o los intereses de Colombia y el rol de las FF. MM. de cara a la construcción y configuración tanto de las identidades como de los intereses nacionales. Por lo tanto, desde una perspectiva interdisciplinaria y multidisciplinaria los autores presentan sus análisis con el principal objetivo de contribuir de forma prospectiva al entendimiento de los posibles escenarios en el marco de los complejos procesos y tendencias globales y regionales. Para los editores y para las instituciones auspiciadoras es muy satisfactorio lograr integrar dos perspectivas o dos visiones desde distintos roles (académicos y oficiales de las FF. MM. activos y de la reserva activa) sobre las diferentes aristas y complejidades de las identidades y los intereses del país. Finalmente, es menester decir que resulta gratificante para los editores poder contar con la participación y la contribución de cada uno de los autores, a quienes extendemos un gran agradecimiento por aceptar el desafío de proponer análisis y reflexiones para estos complicados y difíciles temas que demarcan la agenda política colombiana.

AbstractObtaining a service usually comes with both rewards and costs. For example, dining at a popular restaurant provides customers with a pleasant dining experience, but also incurs costs to them. The costs include the direct service charge that customers have to pay to receive the service (the meal cost) and indirect hassle costs such as going to the restaurant and waiting in line for the service. When the service reward is too low or the service fee is too high, customers will be less likely interested in the service. The same happens when the hassle cost of seeking service is too high, which is especially true when customers must travel a long distance to obtain a service that tends to have cumbersome wait times. It is without question that increasing the number of customers being served (i.e. system throughput) is critical for service providers, as it translates directly into service revenue in the case of a for-profit company and service provision in the case of a non-profit organization. Therefore, how may service providers incentivize customers located far away from the service location to seek service? In this chapter, we introduce an innovative but natural distance-based service priority mechanism to help service providers increase their system throughput. The idea is to assign higher service priority to customers who have to travel farther for the service, thus giving them with new incentives to consider using the service. We shall demonstrate, among other results, that such a mechanism can significantly increase system throughput by attracting more customers to use the service, and the increase can be up to 50% compared to the ordinary first-come-first-served service discipline. This chapter is primarily based on Wang et al. (Manuf Serv Oper Manag, 25(1), 353–369, 2023) where interested readers can find proofs of the findings shown in this chapter.

Abstract Discussions of cortical evolution rely on several terms rarely encountered in the neuroscience literature, some of which have narrower meanings in evolutionary biology than in neuroscience or everyday discourse. This chapter and the next include eight illustrations that explain the relevant terminology enough for readers to understand the text and figures in this book. Three sets of concepts are crucial: homology, homoplasy, and analogy; a tree versus a ladder as a metaphor for evolution; and old versus new cortical areas. Although the neuroscience literature often mentions evolution, faulty inferences sometimes escape the review and editorial process. A common error involves assumptions about homologies based on similarities alone, which can situate the emergence of an innovative trait too far in the past and therefore in the wrong ecological context.

Under Roger Goodell, the revenue and franchise values of teams and the league skyrocketed. Stadium sponsorships and advertising, parallel marketing partnerships, merchandise sales, television and other media contracts all contributed to the soaring value of NFL franchises reaching well over one billion dollars each. Jerry Jones led the way in Dallas with his new stadium as the anchor and driver of success. When owners opted out of the CBA in May of 2008 and with Gene Upshaw’s death, there were fears of a new crisis. DeMaurice Smith replaced Upshaw at the NFLPA, Owners and players prepared for a lockout, and it came in March of 2011. A ten-year settlement was reached in July and this set the stage for massive new television contracts. The NFL reached out into the international market with league games played in London and Mexico City. In 2018 television paid the NFL $7B in rights fees. Goodell’s achievements were further enhanced when Goolell opened the Los Angles market. Franchises movement followed led by the Rams, Raiders, and Chargers and the building of new stadiums in Hollywood and Las Vegas. The other areas of controversy and concern centered on social consciousness, freedom, and Patriotism. At the heart of these issues was the protest led by Colin Kaepernick, the protests surrounding the Black Lives Matter movement, and the National Anthem controversy, all of which became political issues. Divisions within teams, between players and owners, and between players and fans were all touched by these issues. It began in September of 2015 when Colin Kaepernick “took a knee” during the National Anthem. The controversy spread across sports and borders. It seemed to decline by the 2019 Super Bowl. One key to this was the signing of Jay-Z and his production company, Roc Nation, to a contract to produce the Super Bowl halftime show, a show that Jay-Z and others had boycotted in 2019 in Atlanta. Then in a dubious PR move the NFL announced it would stage a tryout for Colin Kaepernick. Goodell’s PR skills continued to be lacking but ownership appreciated the money that flowed into the league under his leadership.

Abstract The first version of Hamlet to be printed is the quarto of 1603, known as the “bad’ quarto because it appears to derive from an unauthorized text, perhaps compiled from memory by actors who had taken part in performances by Shakespeare’s company. In literary quality it is far inferior to the ‘good’ quarto of 1604 and to the version printed in the Folio of 1623; nevertheless, it has interesting differences, especially in structure, from those texts; it may incorporate revisions made for performances by Shakespeare’s company, and it provides information about early performances of the play, whether authorized or not.

The previous chapter dealt with the solution of the cable equation in response to current pulses and steps within a single unbranched cable. However, real nerve cells possess highly branched and extended dendritic trees with quite distinct morphologies. Figure 3.1 illustrates the fantastic variety of dendritic trees found throughout the animal kingdom, ranging from neurons in the locust to human brain cells and cells from many different parts of the nervous system. Some of these cells are spatially compact, such as retinal amacrine cells, which are barely one-fifth of a millimeter across, while some cells have immense dendritic trees, such as α motoneurones in the spinal cord extending across several millimeters. Yet, in all cases, neurons are very tightly packed: in vertebrates, peak density appears to be reached in the granule cell layer of the human cerebellum with around 5 million cells per cubic millimeter (Braitenberg and Atwood, 1958) while the packing density of the cells filling the 0.25 mm3 nervous system of the housefly Musca domestica is around 1.2 million cells per cubic millimeter (Strausfeld, 1976). The dendritic arbor of some cell types encompasses a spherical volume, such as for thalamic relay cells, while other cells, such as the cerebellar Purkinje cell, fill a thin slablike volume with a width less than one-tenth of their extent. Different cell types do not appear at random in the brain but are unique to specific parts of the brain. By far the majority of excitatory cells in the cortex are the pyramidal cells. Yet even within this class, considerable diversity exists. But why this diversity of shapes? To what extent do these quite distinct dendritic architectures reflect differences in their roles in information processing and computation? What influence does the dendritic morphology have on the electrical properties of the cell, or, in other words, what is the relationship between the morphological structure of a cell and its electrical function? One of the few cases where a quantitative relationship between form and some aspect of neuronal function has been established is the retinal neurons.

Abstract The meeting on 17 November had a different outcome, because James Stevenson proposed that the Haig & Haig problem could be solved if the much larger question of amalgamation was finally tackled. A single firm would find it easier to decide which brands to promote and which to withdraw. Marketing was thus the dominant consideration. Although all agreed amalgamation was the ideal solution, two issues were fiercely contested: the choice (and location) of the holding company and the valuation of the firms. For the Big Three finance was the more important issue, but the choice of holding company embraced wider questions about the future of the Scottish economy. Buchanan-Dewar and Walker were English-registered companies, while DCL was Scottish, with its head office in Edinburgh. If one of the blenders became the holding company, and Buchanan-Dewar was the only real candidate, the amalgamation would contribute to the southward drift of industrial ownership and expand the influence of the London capital market over Scottish industry. National sentiment and business instinct conflicted. These issues were resolved by mid-February 1925, only to be followed by the threat of a legal challenge to the amalgamation and a row over compensation for Walker’s directors. For a time it seemed as if the amalgamation might not proceed. The press saw the amalgamation as inevitable. For the men who made the merger, this was far from true. At no time was the outcome certain, and this deflected their thoughts from the future management of what, by 1930, would be the sixth largest firm in British manufacturing industry.1 The men who made the merger were W. H. Ross (aged 62) for DCL, Lord Forteviot (68), A. J. Cameron (55), Peter Dewar (54) and William Harrison (63) for Buchanan-Dewar, and Sir Alexander Walker (55) and Lord Stevenson (51) for John Walker & Sons.

Abstract Tandemly repeated sequences can be found in all genomes that have been sequenced so far. However, their evolution is only beginning to be understood. In this chapter, we present state-of-the-art mathematical concepts and approaches for studying tandemly repeated sequences, from an evolutionary perspective. We describe a tandem duplication model for representing the evolution of these sequences, and shows that it has strong biological support. Then, we provide extensive mathematical and combin-atorial characterization of tandem duplication trees and describe several algorithms for inferring tandem duplication trees from aligned and ordered sequences. We finally compare these algorithms using computer simulations and discuss directions for further research.

Abstract As his career developed and the memory of Downing receded,Vaux must have come more and more to realize that the true path to future success lay not in Newburgh but in New York City. To be sure, Newburgh by the mid-nineteenth century ranked almost as a far suburb of the metropolis; yet it was enough removed to pose a handicap for an architect who might wish to attain a more central place in the profession. And probably forVaux, who had grown up in the heart of London, the Hudson River town of 15,000 inhabitants, no matter how agreeable, would have seemed provincial and unexciting. His frequent trips to New York would have opened his eyes to the wide possibility for business that existed there, as well as to the opportunity for him and his family to live in company with other men and women of culture. By the end of 1856, the year in which Vaux became an American citizen, he had taken up residence in New York City, where he was to remain until his death in 1895.

Abstract The widely believed notion that a risk-averse, conformist culture is the primary obstacle to entrepreneurship is a myth. If it were true, how does one explain the bursts of entrepreneurship that propelled the late 19th-century modernization as well as the post–World War II era of high-growth that earned the label “economic miracle”? Far more important than culture are economic institutions, the risk:reward ratio of founding a company, and promotion practices. Beginning in the 1970s, some companies changed their promotion criteria so that mistakes were heavily penalized, while successes brought no added credit. In essence, people were being trained to avoid risk. Companies that abandoned these criteria improved their performance. Before World War II, Confucianism was blamed for Japan’s economic backwardness. Then, Confucianism was credited for the postwar economic miracle. Finally, when the last decades emerged, Confucianism was blamed again. The most widely cited academic study linking culture to economics, conducted by Geert Hofstede, is based entirely on the global employees of IBM. Studies of non-IBM Japanese show very different results.

Abstract The term “eurobond” entered financial parlance in the 1960s to describe the dollar-denominated bearer bonds that came to be not just traded but also issued in European financial markets, principally London. Siegmund Warburg is usually credited with the creation of this new market, which flourished during the 1960s and 1970s as restrictions on bond issuance by foreign corporations in New York were tightened. How ever, the idea of issuing bonds for a government or company in a market and a currency other than the issuing entity’s dates back much further than 1963, the year of the first eurobond issue arranged by Warburg for the Italian highway authority Autostrade. Consider one typical modern definition of a eurobond: “The bonds may or may not be denominated in the currency of the issuer’s domestic jurisdiction and the bonds are sold to investors located in different countries rather than to investors in the place ofissue.” In fact, that definition could perfectly well be applied to two major bond issues that took place nearly a century and a half before the Autostrade loan. Indeed, it is not far-fetched to describe the loans issued by the Rothschild brothers for Prussia and Russia in the aftermath of the Napoleonic Wars as the first true eurobonds.

Understanding product functions is a key aspect of the work undertaken by engineers involved in complex system design. The support offered to these engineers by existing modeling tools such as the Function Tree and the Function Structure is limited as they are not intuitive and do not scale well to deal with real world engineering problems. A research collaboration between two universities and a major power system company in the aerospace domain has allowed the authors to further develop a method for function analysis known as Function Analysis Diagram (FAD) which was already in use by line engineers. The capability to generate and edit these diagrams was implemented in the Decision Rationale editor (DRed) a software tool for capturing design rationale. This article presents the main beneficial characteristics of the method and justifies them using two engineering case studies. The results of the research have shown that the FAD method has a simple notation, permits the modeling of product functions together with structure, allows the production of rich and accurate descriptions of product functionality and is suitable to represent complex problems.

In formal argumentation one aims for intuitive and concise justifications for the acceptance of arguments. Discussion games and dispute trees are established methods to obtain such a justification. However, so far these techniques are based on instantiating the knowledge base into graph-based Dung style abstract argumentation frameworks (AFs). These instantiations are known to produce frameworks with a large number of arguments and thus also yield long discussion games and large dispute trees. To obtain more concise justifications for argument acceptance, we propose to instantiate the knowledge base as an argumentation framework with collective attacks (SETAF). Remarkably, this approach yields smaller frameworks compared to traditional AF instantiation, while exhibiting increased expressive power. We then introduce discussion games and dispute trees tailored to SETAFs, show that they correspond to credulous acceptance w.r.t. the well-known preferred semantics, analyze and tune them w.r.t. the size, and compare the two notions. Finally, we illustrate how our findings apply to assumption-based argumentation.

The rare earth-doping of planar and channel glass waveguide structures is evolving into a new device technology that is distinct from rare earth-doping fibers. This is particularly true since the VLSI processing techniques used for waveguide fabrication permit selective doping and formation of complex optical circuits. Such geometry-specific doping is important, for example, in making passive feed waveguides that direct laser diode pump light to active areas of the device. Dopants such as Nd, Er, Pr, Yb, and Ho permit a wide range of operating wavelengths. Green up-conversion lasers should be feasible with Ho as a dopant. Nd will provide laser action near 1060 nm and 1300 nm. Er enables amplification and lasing near 1500 nm. Pr has several lasing transitions through the visible red to near infrared. Some of the many potential uses for this technology include optical data storage read/write, super-luminescent sources for optical gyros, amplifying fan-out structures for distribution networks, compact single frequency lasers, and eye-safe lasers.

Abstract Forming technology of protective properties using concentrated energy flows is based on the possibility of laser radiation firstly to provide high heat flow densities which are necessary for intensive heating on a small part of surface. When effecting metal surface laser radiation reflects from it partially and the rest flow penetrates on small depth. As far as the energy is practically absorbed fully in the surface layer, width 10-6 to 10-7 m, the heat source may be considered as surface one [1]. To harden steel products it is necessary to heat the surface till the temperature of phase transformations. The surface cooling takes place mainly due to heat transfer to a less heated member part. Mathematical modeling thermal processes occuring when local surface parts processing is one of effective means to study this method of materials hardering. However till now the predominant number of works of temperature fields investigation when local processing was done supposing that the ray effects semi-infinite space or the process is considered in a moving coordinates system, connected with the centre of a light spot, that enables to consider a stationary task. Such assumption are true when processing massive parts but give a considerable error when processing small parts [2]. The offered models with the aid of which there is studied the heating process for a sample of parallepiped and cylinder shape come to solving the equation of thermal conductivity with considerably nonlinear coefficients. When surface processing with continuity laser, the ray is focused perpendicularly to the sample surface. The period of light spot contact with the surface is estimated from the speed of its travel on the scanned surface. Before the test the product is subjected to special processing reducing the energy loss due to reflection.

The aim of this study was to assess the feasibility of estimating the evapotranspiration of Scots pine (Pinus silvestris) using an indirect method. The field experiment was conducted at the Agro and Hydrometeorology Observatory of the Faculty of Environmental Engineering and Geodesy of the Wrocław University of Life Sciences in Poland from 1 May to 31 October from 2016 to 2019. The experiment covered the period from the 6th to the 9th year of cultivation of Scots pine (Pinus silvestris) on arable land. Evapotranspiration of Scots pine (ETR) was measured in soil evaporometers of 0.3 m2 and 0.7 m soil monolith thickness, with a daily time step, in triplicate. In order to avoid the oasis effect, the soil evaporometers were installed so that the measured trees grew in a compact enclave, as they do under natural conditions. In parallel, the actual evaporation values from the free water surface were measured directly with the EWP 992 evaporometer, and the daily indicator evaporation values were calculated using the FAO Penman-Monteith formula. In the next step, using evaporation measurements from the EWP 992 evaporometer and determined with the FAO Penman-Monteith formula, decadal and monthly empirical coefficients were determined to estimate the evapotranspiration of Scots pine. Evaluation of the weather conditions in the individual years of the experiment was also carried out, relating it to the normative multi-year period 1981–2010.

The rapid developments of computer industry and semiconductor processes lead to high component density, high-energy dissipation, and compact volume of the electronic components in systems. Those are especially true for the high-energy density of the CPUs, resulting in high temperature rise for the electronic chips. To preserve the life span of the integrated circuits and to ensure their proper functions, it is necessary to develop proper means for evaluating the related thermal management in order to effectively dissipate the energy released from these electronic parts and systems. This project used Icepak 4.0, developed by Fluent, to determine thermal-fluidic behaviors of the notebook computer, desktop computer, and switch power supply, under an environmental temperature of 35°C. In addition, parametric studies were carried out to evaluate the distribution of temperature inside the systems under investigation and the effectiveness of overall thermal management for the systems. Icepak uses the unstructured grid generation technique for the three-dimensional modeling of the electronic components and systems. With the computational fluid dynamics (CFD) solver employed by Fluent and using the finite volume method, Icepak simulates the flow and temperature fields inside the system or component of concern. Parametric studies — including the positions for venting, the locations for the cooling fans, the directions of flow for the fans (either by blowing or suction), and the number of fins used for heat dissipation — were carried out to determine the effectiveness of the thermal management designs of the desktop computer, notebook computer, and switch power supply under an environment temperature of 35 °C. Results of this study indicated that the peak component temperatures for the three systems under study are 84 °C, 80 °C, and 81 °C, respectively, while the maximum allowable temperatures suggested by the manufacturers of these three items are 85 °C, 90 °C, and 85 °C, respectively.

Since magnetism is strongly stress dependent, Magnetic Flux Leakage (MFL) inspection tools have the potential to locate and characterize mechanical damage in pipelines. However, MFL application to mechanical damage detection faces major hurdles, which make signal interpretation problematic: 1) the MFL signal will be a superposition of geometrical and stress effects, 2) the stress distribution around a mechanically damaged region is very complex, consisting of plastic deformation and residual (elastic) stresses, 3) the effect of stress on magnetic behaviour is not well understood. This paper summarizes a number of our studies concerned with mechanical damage and the effects of elastic and plastic deformation on MFL signals. The first series of experiments was conducted using uniaxial loading into the plastic deformation regime. Magnetic measurements made in situ with this uniaxial deformation showed that magnetic behaviour is far more sensitive to elastic, compared to plastic, deformation. Unloading the samples resulted in a combination of plastic deformation and residual stress. Subsequent ‘staged’ stress relieving heat treatments enabled us to progressively remove the residual stresses, and characterize their effects on magnetic behaviour and MFL signals. In a second series of experiments we simulated mechanical damage using a tool and die press to progressively ‘dent’ a number of plate samples. As with true mechanical damage, the resulting MFL signals arise from both geometrical and residual stress effects. Subsequent stress relieving heat treatments were used to separate and compare the ‘geometrical’ MFL signal from the ‘residual stress’ MFL signal.

Previous research has assumed that a perfect Proton Exchange Membrane Fuel Cell (PEMFC) body temperature manager is available. Maintaining this temperature at a desired value can ensure a high reaction efficiency over all operation. However, fuel cell internal body temperature control has not been specifically presented so far. This work presents such control, using a Multiple Input Single Output (MISO) fuel cell cooling system to regulate the internal body temperature of a PEMFC intended for transportation. The cooling system plant is taken from a recently developed hydrogen/air PEMFC total system model. It is linearized and used to design a series of controllers via μ-synthesis. μ-synthesis is chosen since system nonlinearities can be handled as parameter uncertainties. A controller must coordinate the desired fuel cell internal temperature and commanded mass flow rates of the coolant and cooling air. Each linear controller is created for a segment of the expected current density range. Plant parameters are expected to vary over their linearized values in each segment. Also, a common set of μ-synthesis weighting functions has been developed to ease controller design at different operating points. Thus, the nonlinear cooling subsystem can be controlled with a series of current density scheduled linear controllers. Current density step change simulations are presented to compare the controller closed loop performance and open loop response which uses cooling system flow rates taken from an optimal steady state solution of the whole fuel cell system. Furthermore, a closed loop sinusoid response is also given. These show that the closed loop driven internal fuel cell temperature will vary little during operation. However, this will only be true over the range that the cooling system is required to be active.

Abstract Thermally induced bearing loads have long been recognized as a key factor impacting the reliability and performance of machine tool spindle systems. This is particularly true for reconfigurable machine tool spindles which may experience a wide range of external loads, processes and spindle speeds. The models of thermally induced bearing load which have been developed thus far have calculated the thermal expansion of the spindle’s components using a classical solution that assumes the spindle is a circular cylinder of infinite length and that the temperature within the cylinder only varies in the radial direction. While this approach to calculating the thermal expansion provides reasonably accurate predictions of the bearing load if the thermal gradients in the axial and radial directions are small, it can result in large errors in the calculated bearing load if the thermal gradients within the spindle become large. The purpose of this paper is to present a new model of thermally induced spindle bearing load that uses a finite element model to calculate the thermal expansion of the spindle components. The model includes the thermally and mechanically induced spindle bearing loads in a back to back angular contact bearing pair that are due to radial and axial thermal expansion as well as the centrifugal forces and moments within the bearings. Simulation results are used to compare and contrast bearing load predictions that are based upon both a finite element and a classical thermal expansion calculation. The results demonstrate that the bearing load predictions based upon the classical thermal expansion calculation substantially under predict the bearing load as the heat load, due to increasing spindle speeds, is increased. As these errors in the predicted bearing load may be high enough to alter important design decisions, it is concluded that a finite element, or equivalent, thermal expansion calculation be used in future thermally induced bearing load models unless the thermal gradients within the spindle are known to be small.