Artykuły w czasopismach na temat „3D woven spacer”

Conventionally laminated spacer composites are extensively applied in many fields owing to their light weight. However, their impact resistance, interlaminar strength, and integrity are poor. In order to overcome these flaws, the zigzag-shaped 3D woven spacer composites were rationally designed. The zigzag-shaped 3D woven spacer fabrics with the basalt fiber filaments tows 400 tex (metric count of yarn) used as warp and weft yarns were fabricated on a common loom with low-cost processing. The zigzag-shaped 3D woven spacer composites were obtained using the VARTM (vacuum-assisted resin transfer molding) process. The three-point bending deformation and effects of damage in zigzag-shaped 3D woven spacer composites were studied both in experiment and using the finite element method (FEM). The bending properties of zigzag-shaped 3D woven spacer composites with different direction, different numbers of weaving cycle, and different heights were tested in experiments. In FEM simulation, the geometrical model was established to analyze the deformation and damage based on the 3D woven composite structure. Compared with data obtained from the experiments and FEM simulation, the results show good agreement and also prove the validity of the model. Based on the FEM results, the deformation, damage, and propagation of stress obtained from the model are very helpful in analyzing the failure mechanism of zigzag-shaped 3D woven composites. Furthermore, the results can significantly guide the fabrication process of real composite materials.

This study presents an experimental investigation on the low-velocity impact response of three-dimensional integrated woven spacer sandwich composites made of high-performance glass fiber reinforced fabric and epoxy resin. 3D integrated woven spacer sandwich composites with five different specifications were produced using a hand lay-up process and tested under low-velocity impact with energies of 5 J, 10 J, and 15 J. The results revealed that the core pile’s heights and diverse impact energies significantly affect the stiffness and energy absorption capacity. There is no significant influence of face sheet thickness on impact response. Moreover, the damage morphologies of 3D integrated woven spacer sandwich composites under different impact energies were analyzed by simple visualization of the specimen. Different damage and failure mechanisms were observed, including barely visible damage, visible damage, and clearly visible damage. Moreover, it was noticed that the damage of 3D integrated woven spacer sandwich composites samples only constraints to the impacted area and does not affect the integrity of the samples.

The research is focused on the design and development of woven textile-based structural hollow composites. E-Glass and high tenacity polyester multifilament yarns were used to produce various woven constructions. Yarn produced from cotton shoddy (fibers extracted from waste textiles) was used to develop hybrid preforms. In this study, unidirectional (UD), two-dimensional (2D), and three-dimensional (3D) fabric preforms were designed and developed. Further, 3D woven spacer fabric preforms with single-layer woven cross-links having four different geometrical shapes were produced. The performance of the woven cross-linked spacer structure was compared with the sandwich structure connected with the core pile yarns (SPY). Furthermore, three different types of cotton shoddy yarn-based fabric structures were developed. The first is unidirectional (UD), the second is 2D all-waste cotton fabric, and the third is a 2D hybrid fabric with waste cotton yarn in the warp and glass multifilament yarn in the weft. The UD, 2D, and 3D woven fabric-reinforced composites were produced using the vacuum-assisted resin infusion technique. The spacer woven structures were converted to composites by inserting wooden blocks with an appropriate size and wrapped with a Teflon sheet into the hollow space before resin application. A vacuum-assisted resin infusion technique was used to produce spacer woven composites. While changing the reinforcement from chopped fibers to 3D fabric, its modulus and ductility increase substantially. It was established that the number of crossover points in the weave structures offered excellent association with the impact energy absorption and formability behavior, which are important for many applications including automobiles, wind energy, marine and aerospace. Mechanical characterization of honeycomb composites with different cell sizes, opening angles and wall lengths revealed that the specific compression energy is higher for regular honeycomb structures with smaller cell sizes and a higher number of layers, keeping constant thickness.

Three-dimensional (3D) woven spacer composites are competitive materials in aerospace fields due to their excellent integrated, light-weight structure. The face sheets of the 3D woven spacer composites are crucial for the mechanical properties. In this study, 3D hybrid composites, which are composed of glass and carbon fibers in the face sheets and glass fiber in the core layer as reinforcement and epoxy resin as the matrix, were designed and fabricated. The bending test results show that with the increase of the carbon fibers in the face sheets, the normalized bending strength of hybrid spacer composites showed limited improvement, while their normalized bending moduli and bending stiffnesses were significantly improved. The optical and scanning electron microscope images of the fractured surfaces reveal that the fibers in the top face sheet, which is under compression by the indenter, are damaged first and cause the failure of the entire structure, whereas the fibers in the bottom face sheets are stretched during the bending test and slightly damaged. In addition, in the failure cross-sections, pull-out of the carbon fibers is observed due to its limited interfacial bonding with the epoxy resin. This work could help optimize 3D hybrid woven spacer composite structures for better performance and lower cost.

AbstractThis paper provides an overview of the recent definition, technologies and current trends regarding 3D fabrics. In this paper a definition of 3D fabrics, including spacer fabrics, is given and the recent technologies regarding weaving, braiding, weft and warp knitting and tailored fiber placement are presented. Furthermore, an overview of the latest developments in 3D fabrics at the Institut für Textiltechnik of RWTH Aachen University is presented including: large circular 3D knitting, braided and woven structures for medical purposes, newest testing methods and equipment for spacer fabrics, multiaxial fabrics for composites, warp knitted spacer fabrics for space and construction applications, ceramic matrix composite 3D braiding and 4D textiles.

This paper undertakes to study the flexural behavior of 3D integrated weft-knitted spacer composites, under three-point bending. The integrated-knitted spacer fabrics were produced with various cross-sectional shapes on a computerized flat-knitting machine utilizing electrical grade glass (E-glass) fibers. The sandwich composites were manufactured by vacuum-assisted resin transfer molding using unsaturated polyester resin. Continuing the process, hand lay-up method was used to reinforce the face sheets of fabricated sandwich structure with glass woven fabrics. Bending performance of the produced composites was compared with polyurethane foam core sandwich composites. The results revealed that the cross-sectional shape has significant effect on the bending performance of the 3D integrated weft-knitted spacer composites. Also, the spacer reinforced composite with V-shape cross-section has the highest bending stiffness than composites with U-shape cross-section as well as polyurethane foam core sandwich composite. The failure modes of 3D integrated weft-knitted spacer composites include: core shear failure, compression failure of upper face sheet and tensile failure of lower face sheet.

Three-dimensional (3D) woven spacer composites have the advantage of being lightweight and strong for use in various segments of structural engineering and automobiles due to their superior mechanical properties than conventional counterparts. In this investigation, the influence of different cell geometries of 3D woven spacer fabrics, namely rectangular, triangular and trapezoidal with woven cross-links, upon their mechanical behaviors, especially compression energy, was studied through FEM (finite element method). Cell geometries were changed into different heights and widths and evaluated through simulation and experiments. Simulation of the structure was carried out by the Abaqus platform, and validation of the results was done for the rectangular structure. It was found that compression energy increases with an increment in width, while initially, it shows the tendency to increase and subsequently decrease with an increment in height for the rectangular structure. Compression energy increases with an increase in the angle of the triangular structure; however, it shows the opposite trend in the case of the trapezoidal structure. The outcome of the result shows good agreement between simulation and experimentation values of more than 94% accuracy.

Three-dimensional integrated woven spacer sandwich composites have been widely used as industrial textiles for many applications due to their superior physical and mechanical properties. In this research, 3D integrated woven spacer sandwich composites of five different specifications were produced, and the mechanical properties and performance were investigated under different load conditions. XR-CT (X-ray computed tomography) images were employed to visualize the microstructural details and analyze the fracture morphologies of fractured specimens under different load conditions. In addition, the effects of warp and weft direction, face sheet thickness, and core pile height on the mechanical properties and performance of the composite materials were analyzed. This investigation can provide significant guidance to help determine the structure of composite materials and design new products according to the required mechanical properties.

In this paper, four commonly used car seat covers, made from leather as well as from woven, knitted and 3D spacer fabrics are tested as sandwiched and separate layers to determine the effect of the lamination and layers on air and water vapor permeability. Different combinations of interlining materials are also tested to obtain the optimum comfortable car seat cover. This analysis gives us a real idea of which layer negatively affects the breathability of the car seat. The focus of this part of research was to identify the issues within the car seat material instead of factors like external cooling or the clothing of the driver. It was observed that the polyurethane (PU) foam and lamination significantly reduce the permeability of the car seats. The 3D spacer fabric shows the best top layer properties as compared to classical woven, leather or knitted car seat covers. The research shows how layers and lamination cause thermo-physiological discomfort of car seats.

Recent developments in composite manufacturing have been resulted in formation of newly-known 3D integrated weft-knitted fabrics which can be used as the composites’ reinforcing materials. In this paper, the compression-resistivity of 3D composite panels reinforced with these newly designed 3D textile-preforms from E-glass fibers has been studied. Following this research, the composites mechanical functionality under flatwise and edgewise compression loadings was evaluated. Using VIP method, three groups of glass/epoxy composite with different core thicknesses and structural geometries were prepared. It was concluded that the compressive strength of the flat-wisely loaded samples would significantly decrease by increasing the thickness. Moreover, changing the composites’ geometrical shape leads to some changes in failure mode; in this regard, the produced single-decker U-shaped panels only suffer from the pure buckling failure, while the double-decker U-shaped panel failed due to a combination of facing bending stress, core shear stress, and buckling failure. Thickness changes are not as effective as structural geometry changes on the panels’ compress-resistivity under edgewise compression. As compared with the conventional 3D woven sandwich composites, it was approved that mechanical functionality of the produced 3D integrated weft-knitted spacer panels is completely improved so that they can be considered as good alternatives especially in building constructions.

AbstractWithin the field of textile construction, textiles are traditionally used either as decorative elements in interior design or as flat textiles in tensile-stressed lightweight constructions (roofs, temporary buildings, etc.). Technical textiles made of glass or carbon fibers are now also used as steel substitutes in concrete construction. There, flat textiles are also used as lost formwork or shaping semi-finished products. Applications for 3D textiles and in particular spacer textiles have so far only been investigated as part of multilayer constructions in combination with other elements. Otherwise, there are no studies for their application potential in the roof and wall areas of buildings and as a starting structure for opaque and translucent components. The two research projects presented here, "ReFaTex" (adjustable spacer fabrics for solar shading devices) and "ge3TEX" (warp-knitted, woven and foamed spacer fabrics) illustrate for one thing the possibilities for using 3D textiles for the construction of movable and translucently variable solar protection elements in the building envelope. Otherwise they show how 3D textiles in combination with foamed materials can be transformed into opaque, lightweight, self-supporting and insulated wall and ceiling components in the building envelope. Both projects are designed experimentally and iteratively. The results are compared in a qualifying manner, the aim being not to quantify individual measured variables but to explore the development potential of textile construction for sustainable future components and to realize the first demonstrators. In the ReFaTex project, 1:1 demonstrators with different movement mechanisms for controlling the incidence of light were realized. In the ge3TEX project, 1:1 demonstrators made of three different textile and foam materials were added to form new single-origin composite components for ceiling elements. Both projects show the great application potential for 3D textiles in the construction industry.

The flexural behavior of the 3D integrated woven spacer composites with carbon fiber-reinforced polymer face sheets are performed with epoxy and polyester matrix in the warp direction. The static loading of foam core carbon/epoxy and carbon/polyester composite sandwich panels in three-point flexural test was characterized at room temperature (23℃) and at liquid nitrogen temperature (−40℃). Macro-fracture morphology and progress have been examined to understand the deformation and failure mechanism. Significant increases in the flexural strength with brittle type core shear failure were observed at low temperatures as compared with the corresponding room temperature behavior. The performance of the epoxy-based composite is compared to the polyester one. Significant changes in the flexural properties of the composites have been found, first related to the temperature and then to the resin type. The flexural properties of the epoxy-based composites were affected greatly by temperature and exhibited higher flexural performance than polyester-based composites at low temperatures.

In this article, four most commonly used interlining materials (3D spacer fabric, non-woven felt, reticulated foam, and classic Poly-Urethane foam) are tested for comfort and durability. All four layers are tested initially for the air and moisture permeability, then for water vapour permeability under loading and finally tested for compressibility and durability. The repeated loading equivalent to real human pressure was inserted on the samples for 40,000 times to analyse the effect of repeated compression on the interlining materials. This research work gives a very in-depth knowledge of performance of car seat interlining material related to thermophysiological comfort and durability/lifetime.

Background. The urgency of cerebral small vessel disease (cSVD) in modern neurology is considered mainly in terms of the development of vascular dementia and early diagnosis of Alzheimer’s disease. Minimal changes in MRI images and indistinct cognitive disorders in SNAMA-type cSVD (sporadic non-amyloid microangiopathy) last for a long time until they manifest as acute cerebrovascular disorders and/or significant mental deficits. However, clinical and neuroimaging criteria for early diagnosis of the disease have not been established yet, and the nature of the correlations between the indicators of neuropsychological and multiparametric MRI studies has not been clarified. Purpose – to develop criteria for early diagnosis of SNAMA cerebrovascular disease in middle-aged patients using neuropsychological studies and high-field multiparametric MRI. Materials and methods. The study enrolled 34 middle-aged patients (52.5 ± 10.8) with hypertension of stage 1–2, stage I–II and cSVD (women – 11 (32.4%), men – 23 (67.6%)). The control group (19 healthy individuals) was identical in age, gender and total duration of education. MRI (3T) was performed in the following modes: T1-2WI, DWI, 3D Brain FLAIR SHC, 3D tra, VEN BOLD, DTI medium iso SENSE. Neuropsychological studies were performed using the MoSA questionnaire evaluating the EIS, VIS, AIS, LIS, MIS, OIS domains. Results and discussion. We developed and introduced a modified scoring system for determining the severity of the burden of cerebral small vessels disease (BcSVDearly) in clinical practice. Among the early visual MRI markers, the expansion of the perivascular spaces was dominated in 27 (79.4%) of participants. A minor increase in Σ BcSVDearly to 6–7 points was found in 10 (29.4%) patients. The age norm (0–4 points) corresponded to the indicators of Σ BcSVDearly 23 out of 34 (67.6%) in the main group. Additional evidence of the disease was obtained by DTI MRI. The most significant decrease in FA was recorded in belt fibers (Δ: up to – 31.4%) and semioval centers (Δ: up to – 33.6%), the largest increase in MD was recorded in hooked bundles (Δ: up to 24.4%); right prefrontal, orbitofrontal and parietal areas (Δ up to 28.0%). According to the MoSA scale, moderate cognitive impairment was detected in 29 of 34 (85.3%) patients with a significant decrease in scores in the domains of EIS, VIS, LIS and AIS (p <0.001). The severity of early clinical manifestations of cSVD (non-amnestic polydomain moderate disorders of attention, speech, visual-spatial and executive cognitive functions) has been found to be moderately / markedly correlated with THMS, MD (positive) and FA (negative).Conclusions. We determined early visual signs of cSVD associated with arterial hypertension: dilated perivascular spaces, hyperintensity of the periventricular deep white matter of the brain, decrease by 9–33.6% of FA coefficient and increase by 20.8% – 28.0% MD. Moderate correlations between neuropsychological and neuroimaging studies have been demonstrated.

ABSTRACT Introduction: Facial asymmetry associated with unilateral condylar hyperplasia (UCH) is a complicated clinical condition. Objective: The objective of this study was to describe morphological characteristics of the mandible and the temporomandibular joint in patients with facial asymmetry, using computed tomography and 3D reconstruction. Methods: A retrospective observational study was performed with patients displaying facial asymmetry evaluated by single photon emission computed tomography (SPECT)/CT analysis, for suspected UCH, between 2015 and 2018. The following variables were compared between the affected side (producing the asymmetry) and the contralateral side (side to where the jaw is deflected): condylar length, condylar medial and lateral pole length, mandibular ramus length, intra-articular spaces, articular eminence height and position of the posterior wall of the glenoid fossa. Results: Forty-three patients (21 women, mean age: 20.7 ± 7.25 years) with facial asymmetry were included, 19 patients presented right side deviation and 24 patients had left side deviation. Condylar length, lateral pole length, the sum of maximum values and articular eminence height were greater in the affected side (p< 0.05). A positive correlation was found between the position of the posterior wall of the glenoid fossa and the articular eminence height in the affected side (r = 0.442). Conclusions: In patients with suspected UCH, evaluated through CT, craniofacial measurements showed significantly larger condylar length and the condylar sum of maximum values in the affected side. A positive correlation was found between the increased dimensions of the articular eminence and the more posterior position of the glenoid fossa in the affected side.

Relevance. Recent-years research specifies the influence of body internal environmental factors on the development and maturity of hard dental tissues. The negative impact of which causes severe amelogenesis disorder, with the formation of immature enamel, the hypoplastic phenotype of different intensity. The timing of tooth eruption in humans has become unpredictable as the child development accelerates and new orofacial dysplastic phenomena appear or are inherited. Tooth eruption with localized or generalized hypomineralization is little studied. The study aims to compare the rate of dental enamel mineral component maturation in males and females of different ages by electron and atomic force microscopy.Materials and methods. The study involved 90 female and male subjects, aged 15-20, 21-30, 31-40 years. Impacted teeth 38 were extracted on medical grounds in all patients. The study analyzed the shape, packing and the 3D surface of enamel prisms using a Jeol JCM – 5700 scanning electron microscope and an NTEGRA Prima atomic force microscope according to Omsk State Medical University methods. The variation statistics methods processed the received data using standard packages Microsoft Excel 2008, Statistica 12.0.Results. The enamel prisms in females aged 15-20, 21-30 years are not closely spaced, compared to similar ages in the male group, as indicated by the distance between enamel prisms (15-20 years U = 9.3496, p = 0.0035 between males and females; 21-30 years U = 10.6949, p = 0.0018 between males and females). In women aged 15-20 and 21-30 years, the enamel prisms are chaotically organized: a 6-sided or 7-sided prism of larger size often squeezes a less mature 5-sided prism, providing the characteristic appearance of an immature prism with ugly outlines in various geometric shapes. In 31-40-year-old women, the enamel prisms are more densely spaced.Conclusion. There are local and total hypomineralised areas of the enamel prisms in females under 30 years old and in males under 20 years old.

In this study, pin-loading behavior of laminated composites reinforced with three-dimensional (3D) spacer fabric was investigated, experimentally. Failure loads and modes of 3D-woven glass fiber epoxy composites, which are mostly preferred in automotive, machinery, and building production, are determined and compared with the mechanical properties of two-dimensional (2D)-woven fabric-reinforced composite materials. For this purpose, 2D plane and 3D spacer fabric composite plates were produced using the vacuum infusion method. The effect of pin geometry on joint strength and failure mechanism of composite was determined by tensile tests using test apparatus of single and two serial pin joint. In addition, low velocity impact tests of 2D and 3D plates were performed to explain the failure behavior. For mono-layer 3D-woven fabrics, the existence of out-of-plane fiber increases failure strength up to 50% compared to 2D fabrics. On the other hand, the use of multi-layer 3D fabric does not affect changes-specific failure load according to 2D fabrics significantly. Increasing in the specific load is only 9% for two-layers 3D. This situation has also been observed in impact tests.

The effect of face sheet thickening on the mechanical properties of sandwich structures reinforced with 3 D woven spacer fabrics having woven cross-links has been presented in this work. Spacer fabrics forming cells of rectangular (RECT), trapezoidal (TPZ) and triangular (TR) shapes were used as reinforcement of sandwich structures with non-thickened face sheets. While for thickened face sheet structures, additional layers of 2 D fabric were integrally woven with the top and bottom face sheets of spacer fabrics, having almost similar cell geometrical parameters as that of the former structures, in a single step of weaving. Composites manufactured from these structures were characterized for their out-of-plane compressive and flexural properties. The specific compressive load was observed to be lower for thickened face sheet structures. The flexural load was higher for thickened face sheet structures; but the specific bending load decreased for the same. Flexural stress was also found to decrease with thickening of the face sheets. The results obtained could be helpful in designing sandwich composites connected woven fabric cross-links with enhanced mechanical properties.

Fiber-reinforced polymer composites serving in harsh conditions must maintain their performance during their entire service. The cryogenic impact is one of the most unpredictable loading types, leading to catastrophic failures of composite structures. This study aims to examine the low-velocity impact (LVI) performance of 3D woven spacer glass-epoxy composite experimentally under cryogenic temperatures. LVI tests were conducted under various temperatures ranging from room temperature (RT) to −196°C. Experimental results reveal that the 3D composites gradually absorbed higher impact energies with decreasing temperature. Besides, the effect of multi-walled carbon nanotube and SiO2 nanofiller reinforcements of the matrix on the impact performance and the damage characteristics were further assessed. Nanofiller modification enhanced the impact resistance up to 30%, especially at RT. However, the nanofiller efficiency declined with decreasing temperature. The apparent damages were visually examined by scanning electron microscopy to address the damage formation. Significant outcomes have been achieved with the nanofiller modification regarding the new usage areas of 3D woven composites.

This study investigated the thermal, mechanical, and oil absorption-retention properties at various temperatures (20°C, 30°C, 40°C, 50°C, and 60°C) of three-dimensional (3D) weft-knitted spacer fabrics with optimal performance of silica aerogel coating that demands exceptional attention. Silica aerogels and (silica aerogels + poly(vinyl-alcohol)) sols were prepared and coated on 3D weft-knitted spacer fabrics to study and compare the basic properties, i.e. thermal resistance, thermal conductivity, tensile strength, initial modulus, compression, bending rigidity, wettability, oil absorption, and retention capacity. The scanning electron microscopy and Fourier transform infrared spectroscopy studies were completed to understand the influence of both coatings on 3D weft-knitted spacer fabrics such as surface morphology and molecular interaction. The tensile, bending, and compression tests of 3D weft-knitted spacer fabrics were accomplished to check their durability, bendability, and compressibility. All the coated samples (both silica aerogels and (silica aerogels + poly(vinyl-alcohol))) showed greater thermal resistance (0.0971 ± 0.0003 m2 KW−1 and 0.0912 ± 0.0005 m2−1KW−1) and the lower thermal conductivity would be (0.0309 ± 0.0001 Wm−1 K−1 and 0.0329 ± 0.0002 Wm−1 K−1) instead of (0.0329 ± 0.0002 Wm−1 K−1 and 0.0329 ± 0.0002 Wm−1 K−1) with better thermal stability than the uncoated samples, most specifically coated sample 5. Besides, coated sample 5 exposed higher oil absorption ((7.91 ± 0.06 g/g and 7.88 ± 0.06 g/g) and (7.56 ± 0.04 g/g and 7.53 ± 0.04 g/g)) and retention ((90.10 ± 0.53% and 89.07 ± 0.55%) and (92.47 ± 0.49% and 91.43 ± 0.47%)) capacity for vegetable and engine oil in all conditions, especially at 40°C. The outcomes demonstrated that both coatings played a vital role in the thermal, mechanical, and wettability properties of 3D weft-knitted spacer fabrics with statistically significant performance ( p < 0.05). Moreover, these new types of sorbents (3D weft-knitted spacer fabrics) have better consequences in most cases than conventional knitted, woven, and nonwoven sorbents. Hence, these 3D weft-knitted spacer fabrics could be used for industrial applications as eco-friendly and multifunctional oil sorbent materials.

Abstract Transport of liquid water is one of the basic producer requirements to ensure the suitable physiological comfort of drivers. This paper deals with the investigation of car seat covers’ efficiency from the point of view of their moisture management. Two methods were used for the evaluation of moisture transport in the car seat cover structures. Both of them use a thermography system for water transport detection. The first method evaluates dynamic water spreading in cross-section in the frontal plane; the second one examines horizontally dynamic spreading of liquid drops on the upper face of the sample. The tested materials were designed to understand the role of the middle layer of textile sandwich car seats in their moisture management behavior. The same PES woven structure in the top layer was used for all tested samples. Knitted spacer fabric (3D spacer fabric), polyurethane foam, and nonwoven were used as padding in the middle layer in car seat covers. In summary, the distribution and transport of liquid moisture in a sandwich structure are fundamentally affected by the middle layer of composite, especially by material composition and the value of porosity. The best results were shown in 3D spacer fabric for car seat covers.

Electromagnetic shielding (EMS) has become the necessity of the present era due to enormous expansion in electronic devices accountable to emit electromagnetic radiation. The principal target of this paper is to originate three-dimensional (3D) orthogonal fabrics with conductive hybrid weft yarn and to determine their electromagnetic shielding. DREF-III core-spun yarn using copper filament in the core and polyphenylene sulfide (PPS) fiber on the sheath and fabric constructed of such yarn has a promising electromagnetic shielding characteristic. Box–Behnken experimental design has been employed to prepare various samples to investigate the electromagnetic shielding efficiency of 3D orthogonal woven structures. The orthogonal fabric samples were tested in an electromagnetic Ku frequency band using free space measurement system (FSMS) to estimate absorbance, reflectance, transmittance, and electromagnetic shielding. The increase in copper core filament diameter and hybrid yarn linear density enhances the EMS of orthogonal fabric. Statistical analysis has been done to bring out the effect and interaction of various yarn and fabric variables on EMS. Metal filament diameter, orientation, sheath fibers percentage, and fabric constructional parameters significantly affected electromagnetic shielding efficiency. The inferences of this study can be applied in other 3D structures like angle interlock, spacer fabrics for curtains, and coverings for civilians and military applications.

Abstract Background and Aims The aim of study was to compare the lung ultrasound (LUS) and bioimpedance analysis (BIA) as methods to assess the hydration (fluid) status in maintenance hemodialysis (MHD) patients. Method The comparative analysis was performed in 87 MHD patients aged 24 to 82 years (43 women, and 44 men). Patients with cardiac pacemakers and permanent catheters as vascular access were excluded from the study. Extravascular lung water (EVLW) in MHD patients was assessed simultaneously by LUS (Acuson X150 ultrasound system with a CH5-2 curvilinear transducer, Siemens) and by the bioimpedance spectroscopy (BIS) (Bodystat Multiscan 5000) with frequency range of 5-1000K Hz. Both LUS and BIS were performed before and 30 minutes after the hemodialysis (HD) session in the second and third sessions of the week. Ultrasonic measurements were performed by summing LUS comets or B-lines along four anatomical lines (parasternal, mid-clavicular, anterior, middle, and posterior axillary lines) from II to V intercostal spaces on the right and from the II to IV intercostal spaces on the left. The quantitative assessment of B-lines (B-lines score, BLS) was performed according to Picano E. et al. [2006]: normohydration – zero degree (&lt;4 B lines) with the absence of EVLW, overhydration (OH) – 1st degree (5-14 BLS), 2nd degree OH (15-30 BLS), and 3d degree OH – &gt;30 BLS with an insignificant, moderate and severe amount of EVLW, respectively. The body hydration status assessment technique by BIS was based on the overhydration (OH) index, the total body water volume, extra- and intracellular water, and the body composition. Patient's fluid status classified as normohydration (1.0-1.0 L), moderate OH (&gt;1.0-&lt;2.5 L), and severeOH (&gt;2.5 L), and dehydration (&lt;1.0 L) [Henry C. Lukaski et al., 2019]. The LUS do not allow assessing the state of dehydration, therefore, the normohydration by LUS was the sum of normo- and dehydration by BIS. We used SPSS Statistics 21.0 software for statistical processing of the data. To assess the correlation between BLS and OH indicators, we used Spearman's rank correlation coefficient. The statistical significance level was assumed to be 0.05. Results Data of the body fluid status using LUS and BIS before and after HD-session fully coincided in 33 of 87 MHD patients, partially coincided in 20 patients before and in 25 patients after HD-session. LUS and BIS didn’t coincide completely in only 9 patients. Statistically significant correlation was revealed between BLS and OH before (Rs=0.336; p&lt;0.01), and after (Rs=0,317, p&lt;0,01) HD session. A positive correlation between BLS and OH data was revealed in 53 patients, whose results were almost identical before (Rs=0,488, p&lt;0.01), and in 58 patients after (Rs=0,658, p&lt;0.01) HD session. Conclusion BIS remains the gold standard for the assessment of over-, normo- and dehydration in MHD patients. LUS is a simple and adequate technique for assessing the hydration status in MHD patients, and it is comparable to BIS in assessing over-, as well as normohydration. However, the LUS doesn’t allow diagnosing the body dehydration.

Introduction Online influencers play an increasingly important role in political communication – they serve as both intermediaries and producers of political messages. As established opinion leaders in areas such fashion and lifestyle consumption, many influencers recently turned towards more political content (Riedl et al.). For influencers who built their personal brands around aspirational domestic and lifestyle content, the COVID-19 global pandemic created an opportunity (and sometimes even a necessity) to engage in political discourse. The most basic everyday acts and decisions – such as where to shop for food, how to organise playdates for children, if and where to go on holiday – suddenly turned into political discussions and the influencers found themselves either promoting or challenging anti-pandemic restrictions imposed by national governments as they were forced to actively defend their decisions on such matters to their followers. Within this process that I call politicisation of the domestic (Heřmanová), many influencers explored new ways to build authority and leadership within their communities and positioning themselves as experts or “lifestyle gurus” (Baker and Rojek). While the proliferation of political content, including disinformation and conspiracy narratives, on digital communication platforms has been the focus of both public and academic attention in recent years, the focus has mostly been on Facebook, YouTube, and Twitter (Finlayson). Instagram, the traditional “home” of lifestyle influencers, only recently became the focus of political communication research (Larsson). This article builds on recent scholarship that focusses on the intersection of lifestyle, spiritual, and wellness content on Instagram and the proliferation of political conspiracy narratives on the platform (Remski, Argentino). I use the example of a prominent Czech spiritual influencer Helena Houdová to illustrate the blending of spiritual, aspirational and conspiracy content among Instagram influencers and argue that the specific aesthetics of Instagram conspiracies needs to be understood in the context of gendered, predominantly female “third spaces” (Wright) in the male-coded global digital space. Case Study – Helena When you look at Helena’s Instagram profile, all you see at first is the usual aspirational influencer content – pictures of ocean, beaches, sunsets, and Helena herself in white dresses or swimsuits. Sometimes she’s alone in the pictures, sometimes with her children, and sometimes with a group of similarly serene-looking women with sun-kissed skin and flowers in their hair. In the captions under her Instagram posts, Helena often talks about self-acceptance, self-love, and womanhood, and gives her followers advice how they can, in her own words, “create their own reality” (@helenahoudova, 8 Aug. 2021). Her recipe for the creation of one’s own reality sounds very simple – open your heart, accept the love that the Universe is giving you, accept that you are love. Helena is 41 years old, a divorced mother of 3 children, and a former model and philanthropist. Born in the Czech Republic, Helena won the title of Czech Miss in 1999, when she was 20 years old. She competed in the Miss World competition and started a successful modelling career. After a complicated marriage and divorce, she struggled to obtain an Australian visa and finally found a home in Bali. Over the past few years, Helena managed to build a successful business out of her online presence – she markets online courses and Webinars to her 50,000 followers and offers personal coaching. In this regard, she is a representative example of an “spiritual influencer” (Schwartz), an emerging group of (mostly) female influencers who focus their content on New Age type spirituality, personal healing, and teach their followers the practice of “manifesting”, based on the belief that “the world we perceive, either positively or negatively, is a projection of our own consciousness and that we can transform our reality for the better by transforming ourselves internally” (Urban 226). Helena’s Instagram account is bilingual, and she posts both in Czech and English, though her audience seems to be mostly Czech – most comments left under her posts are also in Czech. Within the Czech influencer community, she is one of the most famous spiritual influencers. Influencers, (Con)spirituality and COVID-19 Spiritual influencers like Helena are part of a global phenomenon (Chia et al.) that has generated lot of media attention over the past year (Schwartz). With their focus on wellbeing and health, they overlap with wellness influencers (O’Neill), but the content they produce also explores various types of New Age spirituality and references to different religious traditions as well as neo-pagan spiritual movements. From this perspective, spiritual influencers often position themselves in opposition to a Western lifestyle (interpreted as materialistic and based on consumption). In this aspect they fit into the category of ‘lifestyle gurus’ as defined by Baker and Rojek: “Lifestyle gurus define themselves in opposition to professional cultures. Selectively and instrumentally, they mix elements from positive thinking, esoteric systems of knowledge and mediate them through folk culture” (390). While prominent figures of the wellness spirituality movement such as Gwyneth Paltrow would be more likely defined as celebrities rather than influencers (see Abidin), spiritual influencers are native to the Internet, and the path to spiritual awakening they showcase on their Instagram profiles is also their source of income. It is this commodified aspect of their online personas that generated a significant backlash from the media as well as from the influencer community itself over the past year. What provoked many critical reactions is the way spiritual influencers became involved in the debate around the COVID-19 pandemic and anti-COVID vaccination all around the world. As I argued elsewhere (Heřmanová), the pandemic impacted on the way influencers build boundaries between ‘domestic’ and ‘political’ within their content and inside the communities of their followers. For women who build their brands around aspirational domesticity (Duffy), the pandemic lockdowns presented a significant challenge in terms of the content they could post. Within the spiritual influencer culture, the discussion around vaccines intersected with influencers’ focus on spiritual and physical health, natural remedies, and so-called ‘natural immunity’. The pandemic thus accelerated the above-mentioned process of the “politicization of the domestic” (Heřmanová). The increasing engagement of spiritual influencers in political debates around COVID-19 and vaccines can be interpreted within the broader context of the conspirituality phenomenon. The term, first coined by Charlotte Ward and David Voas in 2011, describes a “web movement expressing an ideology fuelled by political disillusionment and the popularity of alternative worldview“ (103). The conspirituality phenomenon is native to the Internet and appears at the intersection of New Age-inspired spirituality and distrust towards established authorities. The conspirituality approach successfully bridges the gap between the spiritual focus on the self and the conspiratorial focus on broader political processes. For spiritual influencers and other types of lifestyle gurus, conspirituality thus offers a way to accommodate the hyper-individualistic, commodified nature of global influencer culture with their message of collective awakening and responsibility to educate wider audiences, because it enables them to present their personal spiritual path as a political act. For the predominantly female wellness/spirituality influencers of Instagram, the term conspirituality has been widely used in the public and media debate, with reference to the involvement of influencers in the QAnon movement (Tiffany, Petersen, and Wang). Argentino coined the term “pastel QAnon” to refer to the community of female influencers initially found on Instagram, but who are increasingly present on various dark platforms, such as Parler or Gab (Zeng and Schäfer), or, in the Czech context, the messaging platform Telegram (Šlerka). “Pastel” refers “to the unique aesthetic and branding these influencers provided to their pages and in turn QAnon by using social media templates like Canva” (Argentino) that is used to soften and aesthetically adapt QAnon messages to Instagram visuality. Many adherents to the pastel version of QAnon are members of the spiritual, yoga, and wellness community of Instagram and were “recruited” to the movement through concerns about COVID-19 vaccines (Remski). This was also the case for Helena. Before the pandemic, her content mostly focussed on her family life and promoting her Webinars and retreats. She rarely commented on political events beyond general proclamations about the materialistic nature of our culture, in which we are losing connection to our true selves. As the pandemic advanced, Helena started to make more and more explicit references to the current global situation. For a long time, however, she resisted openly political, critical proclamations. Then on 12 July 2021 Helena posted a picture of herself standing at the beach in a flowy dress, holding a big golden cup in her hand and accompanied it with the caption: There are barricades on the streets. There are tanks on the streets. We cannot move freely. We must identify ourselves with designated signs. And we must wear a yellow star to sign we’re not against it. But they say it’s for our own protection. The year 1941. There are barricades on the streets. There are tanks on the streets. (THIS AFTERNOON). We cannot move freely. We must identify ourselves, we have to cover our face as a sign we’re not against it. But they say it’s for our own protection. The year 2021. She continues with a call to action and praises her followers, the people who have “woken up” and realised that the pandemic is a global conspiracy meant to enslave people and the vaccination at attempt at “genocide” (@helenahoudova, translated from Czech by author). Fig. 1: Helena's post about COVID-19. This post can be interpreted as a symbolic transgression from spiritual to conspiritual content on Helena’s profile. In the past year, the narrative explaining COVID-19 as an orchestrated political event organised by the global elites to curb the civic and personal freedoms of all citizens has become central in her communication towards her followers. Interestingly, in some of her videos and Instagram stories, she addresses the Czech audience specifically when she compares the anti-pandemic restrictions implemented by the Czech government as an attempt to return the country to its authoritarian, pre-1989 past. Within post-socialist media spaces, the symbolic references to the former totalitarian regime became an important feature of pandemic conspiracies, creating interesting instances of online context collapse. For example, when influencers (including Helena) post content originating from US-based QAnon-related Websites, they tend to frame it as “the return of communism as it we have experienced it before 1989” (Heřmanová). While Helena dedicates her profile almost exclusively to her own content, other Czech spiritual influencers use also other Instagram features such as sharing posts in Stories or sharing content from various Websites, both Czech- and English-speaking, with links to calls for direct actions and petitions against the anti-COVID restrictions and/or vaccination. A few other well-known Czech influencers interact with Helena’s posts by liking them or leaving comments. In this way, the whole community interlinks via different types of political content that is then on the individual profiles blended with lifestyle, wellness, and other ‘typical’, less overtly political, influencer content. Conclusion: Gendered Third Spaces of Instagram Helena’s Instagram presence, along with that of many other women who post similar content, presents an interesting conundrum when we try to decipher how conspiracy theories proliferate in digital spaces. She has, since her ‘coming-out’ as anti-vax adherent and COVID-denialist, branched out her business activities. She now also offers Webinars to teach women how to operate their business in 5D reality that includes intuition as a tool to establish ‘extrasensory’ perception and enables connection to other dimensions of reality (as opposed to the limited 3D perception we typically apply to the world around us). Her journey is representative of a wider trend of politicisation of formerly non-political online spaces in at least two aspects: her prominent focus on women, womanhood, and “sisterhood” as a unit of political organisation, and her successful blend of Instagram-friendly, aspirational, ‘pastel’ aesthetics with overtly political messaging. Both the aesthetics and content of the conspirituality movement on Instagram are significantly gendered. The gendered character of influencers’ work on social media often leads to the assumption that politics has no place in the feminised space of influencer communities on Instagram because it is seen as a male domain (Duffy; Duffy and Hund). Social media, nonetheless, has offered women a tool of political expression, where dedication to domestic affairs may be seen as a political act in itself (Stern). Conspiritual communities on Instagram, such as the one Helena has managed to build, could also be seen as an example of what Scott Wright calls “third spaces” – neutral, inclusive, and accessible virtual spaces where political talk happens (11). A significant body of research has shown that global digital spaces for political discussion tend to be male-coded and women are actively discouraged from participating in them. If they do participate, they are at much higher risk of being exposed to hate-speech and gender-based online violence (Poletta and Chen). The same trend has been analysed within Czech-speaking online communities as well (Vochocová and Rosenfeldová). The COVID-19 pandemic on the other hand opened the opportunity and sometimes necessity (as mentioned above) to engage in political discussion to many women who previously never expressed an interest in political matters. Profiles of conspiritual influencers are perceived both by supportive influencers and by their followers as safe spaces where political opinions can be explicitly discussed precisely because these spaces are not typically designed as political arenas. Helena herself quite often uses the notion of “sisterhood” as a reference to a safe, strong, female community and praises her followers for being awake, being political, and being open to what she calls ‘inner truths’. In a very recent 16-minute video that was originally livestreamed and then saved on her profile, she reflects on current geopolitical developments and makes a direct connection to “liberating sisterhood” as a tool for solving world problems such as wars. The video was posted on 7 March 2022, a week after Russia invaded Ukraine and thus brought war to the near proximity of Helena’s home country. In the video, Helena addresses her followers in Czech and talks about “dark and fragile times”, praises “the incredible energy of sisterhood” that she wants to bring to her followers, and urges them to sign up for her course, because the world needs this energy more than ever (@helenahoudova). Her followers often reflect these sentiments in the comments. They talk about the experience of being judged for embracing their femininity and speaking up against evil (war, vaccination) and mention that they feel encouraged by the community they found. Helena connects with them via liking their comments or leaving responses such as “I stand with you, my love.” The originally non-political character of the third spaces of conspiritual communities on Instagram also partly explains their success in bringing fringe political narratives towards the aspirational mainstream. Helena’s Instagram profile was not originally created, and neither is it run now by her as an openly political/conspiracy account. She does not use hashtags related to QAnon, anti-vax, or any other openly ‘conspiracy-branded’ content. The overall tone of her account and her communication towards her followers has not changed after her ‘coming-out’: she still focusses on highly feminised spiritual aesthetics. She uses light colours, beach photos, and flowy white dresses as a visual frame to her content, and while the content gets politicised, the form still conforms to the standards of Instagram as a platform with its focus on first-person storytelling via selfies and pictures documenting everyday life (Leaver, Highfield, and Abidin). In this respect, Helena’s content can also be seen as an example of what Crystal Abidin calls “subversive frivolity”. Abidin shows how influencers use highly gendered and often mocked and marginalised tools (such as the selfie) and turn them into a productive and powerful means to achieve both economic and social capital (Abidin). In this aspect, the proliferation of conspiracy narratives on Instagram differs significantly from the mechanisms of Twitter and YouTube (Finlayson). While it would be unwise to underestimate the role of recommendation algorithms and filter bubbles (Pariser) in spreading COVID-19-related conspiracies on Instagram, it is also true that the content often circulates despite these mechanisms, as Forberg demonstrated in the example of QAnon communities in the U.S. He proposes to look closely at the “routines” that individual members of these communities employ to make their content visible in mainstream spaces (Forberg). In the case of Helena and members of her community, these routines of engaging with COVID-related content in a way that becomes more and more overtly political form the process of the politicisation of the domestic. While it could be argued that ‘personal is always political’ especially for women (Hanish), Helena and her peers and followers are actively making personal matters political both by naming them as such and by directly connecting themselves, via the notion of sisterhood, to geopolitical developments. In this way, conspirituality influencers are successfully bridging the gap between the individualist ethos of influencer cultures and the collective identity-building of conspiracy movements. 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Introduction: Cities as Open-Ended Place-Making Events The shaping and development of cities can be understood as a “place-making” process. Through the assemblage of diverse human and non-human elements—including various social and natural elements—abstract space gains meaning and is transformed into the more concrete form of place (Jaffe and Koning). Indeed, people, nature, arts, and architecture can all contribute to constituting a city, and depending on how these elements engage with each other, each city can be shaped differently, which makes cities “inherently dynamic and heterogeneous” (Jaffe and Koning 24). Furthermore, as these various elements and their meanings can accumulate, be changed, or even diminish over time, place boundaries can also be constantly renegotiated or rebuilt. In other words, place can be characterised as its “throwntogetherness” (Massey 283), which represents temporal and spatial shifts accumulated and woven together in a place, and place-making can be understood as an open-ended event that involves various acts of “territorial meaning-making” (Jaffe and Koning 23). In line with this understanding of place-making as a dynamic, ongoing process, by investigating changes in the ways that local communities engage with cultural heritage, the study reported here explores how cultural heritage can contribute to the development of a city. Among many other meaning-making elements that may constitute a city, a cultural heritage itself may represent or enfold the dynamics and heterogeneity of a place. The United Nations Educational, Scientific, and Cultural Organisation (UNESCO) defines heritage as “our legacy from the past, what we live with today, and what we pass on to future generations. Our cultural and natural heritage are both irreplaceable sources of life and inspiration” (UNESCO). This definition suggests that heritage embodies history imbued with value and meaning for today and for the future. Cultural heritage may mobilise or recollect emotions, memories, and experiences, which may generate new cultures and values (Chung and Lee). Cultural heritage is not only a primary means of creating and nurturing a collective identity (Graham, Ashworth, and Tunbridge). It can also be refashioned and commodified as a marketable and consumable product. In other words, cultural heritage may contribute to the shaping of regional identities and the development of cultural products that may affect local communities socially and economically. Against this backdrop, this article examines how, as a constitutive element of a city, cultural heritage can add different kinds of values and meanings in accordance with the ways that the local communities perceive and engage with cultural heritage. To this end, this research presents a case study of the South Korean city of Andong, recognised as a cultural city with abundant tangible and intangible cultural heritages. Specifically, by adopting a qualitative approach that combines archival research, fieldwork, and observation, we trace Andong’s regional history and the changes in its cultural policies from the 1950s to the 2000s. We discuss Andong’s regional development with regard to using and refashioning cultural heritage. In so doing, we argue that conserving cultural heritage and facilitating heritage tourism—agendas seemingly in competition with each other—can complement sustainable regional development. We suggest that reconceptualising cities by drawing on the convergence of virtual and actual spaces, which involves the digitisation of cultural heritage, may open up new possibilities for extending the value and meaning of cultural heritage, as well as reconciling competing agendas and achieving sustainable regional development. Andong, the Capital of Korean Spirit Korea and other East Asian countries have accumulated heritages from regional folk culture, Buddhism, and Confucianism. Andong has abundance of both tangible and intangible heritages related to Korean folk culture, Buddhism, and Confucianism, some of which are listed as UNESCO World Heritage Sites (e.g. the Hahoe Folk Village, the Bongjeongsa Buddhist temple, and the Dosanseowon and Byeongsanseowon Confucian academies). Even though Andong is not in a metropolitan area and has a small population compared to many other Korean cities, its abundant and diverse heritage has made it a recognised cultural city. As of 2021, the number of cultural assets designated in Andong, according to the Korean Cultural Heritage Protection Act, is 333. This number is the second largest in the country, after Gyeongju, the capital of the Silla Kingdom (57 BC–935 AD). Andong is the origin of a traditional Korean folk religion called “Seongjusinang”. Practitioners of this religion worship household spirits who protect a house. Andong has also inherited various folk games and performances, such as Chajeonnori (fig. 1) and Notdaribalgi (fig. 2). In addition, Buseoksa, a Buddhist temple located in Yeongju in the greater Andong area, led the development of Buddhist culture during the Three Kingdoms period (57 BC–668 AD) and the Goryeo period (918–1392). During the Joseon Dynasty, Confucianism also flourished through the initiative of Toegye Yi Hwang and Seoae Ryu Seong-ryong, both of whom were well-recognised Korean Confucian scholars. In fact, Andong has a particularly solid Confucian tradition with its twenty-six private Confucian educational institutions, called “Seowon” (fig. 3), and other villages and buildings representing Confucian philosophy, rituals, and customs. Fig. 1: Chajeonnori: a folk game involving team battles. Fig. 2: Notdaribalgi: a female folk performance that involves making a human bridge. Fig. 3: Dosanseowon Confucian Academy (listed as a UNESCO World Heritage Site in 2019). Preserving these diverse cultural artefacts and traditions is one of the main reasons that Andong claims to be the capital of Korean moral and spiritual culture (Steinmetz; K.I. Lee). Andong has been using and spreading the slogan “The Capital of Korean Spirit” since 2003, when former mayor Kim Hwi Dong started using the slogan for the first time to shape and develop the city's identity to share Andong's spiritual culture. The slogan officially became a registered brand at the Korean Intellectual Property Office in 2006. Cultural Heritage and Authenticity As briefly outlined in the previous section, Andong has diverse tangible and intangible heritages, and they are at the heart of the city’s identity. In contrast to other elements that constitute a city, cultural heritage is often regarded as an object of protection and preservation. Indeed, a cultural heritage has a fundamental, inherent value, as it manifests history, which may significantly influence how people form individual and collective identities and consolidate a sense of community. Therefore, preservation and restoration have often served as the primary approaches to cultural heritage. Particularly in the Korean context—as discussed in detail in the next section—conservation used to be prioritised in heritage management. However, in more recent times, cultural heritage has been recognised as an asset or resource for urban development; accordingly, many cities, including Andong, have become increasingly interested in heritage tourism as a means of promoting their city’s brand and boosting the local economy. The emergence of the concept of “existential authenticity” may be relevant to the paradigm shift in approaches to cultural heritage. In fact, “authenticity” is an elusive concept that can be interpreted in different ways. In the field of tourism, it conventionally has been considered related to toured objects. For example, “objective authenticity”, which is characterised as identifiable and measurable, is gauged in terms of whether a toured object is genuine or fake (Wang). Another type of object-related authenticity is “constructive authenticity”, which denotes authenticity as a negotiable quality constructed by perspectives, beliefs, expectations, or ideologies, rather than an inherent property (Wang; see also Boonzaaier and Wels). From this perspective, origins or traditions can be understood as a projection of images, preferences, or expectations; thus, copies or reproductions may also be considered authentic. Even though these two approaches are significantly different, both notions are oriented to “experiences of the authentic” (Moore et al.). By contrast, “existential authenticity” involves tourists’ experiences, that is, “personal or intersubjective feelings activated by the liminal process of tourist activities”, whereby people feel “more authentic and more freely self-expressed than in everyday life” (Wang 351–352). In other words, conservation may not be the only method for protecting cultural heritage and preserving its authenticity. Rather, heritage tourism, which provides tourists with authentic experiences, can be a way of adding new meanings and values to cultural heritage. This also suggests that not only cultural heritage as authentic objects, but also experiences of cultural heritage, can contribute to the territorial meaning-making process and constitute a city. In line with this understanding of different types of authenticity, the next section examines how Andong’s approaches to cultural heritage have changed over time. The Evolution of Cultural Policies: The Conservation of Cultural Heritage vs. Regional Development The development of Korean cultural policies needs to be understood in relation to the idiosyncrasy of Korean historical and societal contexts. After the Japanese colonial rule (1910–1945) and the Korean War (1950–1953), one of the primary concerns of the Korean government was to reconstruct the country and restore national pride by building and developing a Korean cultural identity. Against this background, Korean cultural policies until the 1980s were mainly oriented towards repairing, restoring, and preserving traditional culture rather than fostering tourism and leisure to pursue a nationalistic agenda (H.S. Kim; Min). In this regard, it is worth noting that the first Korean Folk Art Festival, as part of the national policy, was hosted to celebrate the tenth anniversary of the establishment of the Korean government in 1958, when Korea was still going through the aftermath of the Korean War, which ended up with the destruction of cultural and natural heritage in Korea. The festival was a kind of competition where regions presented their representative intangible cultural heritages, particularly folk performances. The Gyeongsangbuk-do province, led by Andong, participated in this competition by restoring Hahoebyeolsinguttallori (mask dance play originating from Hahoe Village [fig. 4], hereafter Hahoe Mask Dance [fig. 5]) and Notdaribalgi (female folk play [fig. 2]) with the support of Andong City, and the province won the presidential prize. Fig. 4: Hahoe Village: the origin of the Hahoe Mask Dance. Fig. 5: Performers in the Hahoe Mask Dance. Initially, the Korean Folk Art Festival was planned as a one-off kind of event. However, it became a recurring annual event to propagate and promote the national culture with governmental support under the Park Jung Hee regime (1963–1979) that pursued a nationalistic agenda (H.S. Kim). Afterwards, this event was developed in complementary relations with the Cultural Properties Protection Law established in 1962 as part of the legislation of heritage management and other regional folk festivals, which provided regional governments and local communities with a motivation for the discovery and restoration of cultural heritage. Traditional cultural heritages dispersed in many regions started to be discovered and restored with the massive administrative support of regional governments to take part in the Korean Folk Art Festival. Once a cultural heritage presented at the festival was awarded, the heritage was customarily designated as a national cultural property by the Cultural Properties Protection Law. This designation helps cultural heritage gain social authority and receive public attention (H.-D. Yoo). Furthermore, a heritage designated as a national cultural property was required to be reintroduced to the public, often through local events such as regional folk festivals, which reinforced local communities’ pride in their regional culture. In this scenario, Andong actively participated in the Korean Folk Art Festival. Indeed, a number of cultural performances have been officially designated as national and regional intangible cultural properties, including the Hahoe Mask Dance mentioned above, which have become representative of Andong’s regional culture, offering a foundation for its development as a cultural city. Cultural policies, however, were still limited to preservation and restoration pursuing objective authenticity until the 1980s. It appeared to lack an awareness that cultural heritage could be used for the regeneration or development of cities in the 1980s (Kim and Kim). The conservation of cultural heritage and regional development have often been regarded as competing agendas, because cultural heritage is normally considered to be different from other tourism resources. Indeed, authenticity is a fundamental value sought in cultural heritage. Therefore, preservation and restoration often used to be primary approaches to cultural heritage. However, as discussed in the previous section, authenticity is not merely a binary concept that differentiates between the real and the fake in terms of the accurate representation of the past, but it can be a generative value that can be constituted or negotiated based on various perspectives, beliefs, and experiences (see Wang; K.-H. Kim; Waitt). Furthermore, the commodification of cultural heritage does not necessarily violate the intrinsic meaning and authenticity of heritage; rather, it may produce new meanings and values (Cohen). In this context, it is worth noting that the first Andong Mask Dance Festival hosted in 1997 paved the way for the development of tourism resources using cultural heritage in Andong and the globalisation of its regional culture. In fact, in the mid-1990s, Korea was going through interesting political events that significantly affected its culture and society. “Globalisation” was declared a national vision by former president Kim Young-sam in 1995, and the local self-governance of municipalities was reimplemented in the same year. In other words, Korean cultural policies were oriented towards “globalisation” and “localisation” during this period (see also Park). Against this background, Andong organised and hosted an international festival for the first time ever in 1997—the Andong Mask Dance Festival—by refashioning a traditional mask dance—the Hahoe Mask Dance. The Hahoe Mask Dance was a festive drama performance in Hahoe Village, but its inheritance was interrupted during the Japanese colonial period. Afterwards, as mentioned earlier, it was restored after the establishment of the Korean government and designated as a national cultural property. It then became the main theme of an annual festival, which attracts one million tourists to the city every year. In other words, the Hahoe Mask Dance is not only one of the most representative, well-known cultural heritages of Andong, but it also has an emblematic significance in the sense that it embodies the history of Andong’s cultural development. In particular, the Andong Mask Dance Festival immensely contributed to enhancing the awareness of cultural heritage as a tourism resource that may foster cultural economy in the local community and influenced the paradigm shift of approaches to cultural heritage from traditional artefacts or customs to be preserved to tourism resources. Most of the cultural events that took place in Andong after the first Andong Mask Dance Festival aimed to boost tourism. Indeed, the Andong Mask Dance Festival brought about important changes to Andong’s cultural development in the 2000s. Festivals that refashioned cultural heritage and tourists’ experiences began to be important elements of Andong’s character as a city. In accordance with the emergence of tourism as a means for cultural development, Andong experienced another remarkable change in its cultural development during the 2000s: increased interest in tangible cultural heritage as a local resource for tourism and place marketing. From the establishment of the Cultural Properties Protection Law until the 2000s, the preservation and utilisation of cultural heritage in Andong was primarily focussed on intangible cultural properties. This was mainly because the legal ownership of cultural heritage was clearly stated in the law, and thus Andong was able to manage architectural conservation without many challenges; thus, tangible cultural heritage tended to be relatively neglected in favour of the preservation and management of intangible cultural properties. However, in 2000, the Korean national government invested 470 billion KRW (approximately US$382 million) into the restoration and renovation of cultural heritage sites in eleven regions, including Andong. Even though this project did not produce immediate, significant touristic effects, many architectural heritage sites and traditional villages in Andong were renovated as part of the project. This provided the local community with an opportunity to see how tangible cultural heritage could act as an asset for place marketing and tourism. Furthermore, there was another event that motivated the use of architectural heritage to promote tourism in the early 2000s: the Tourism Promotion Act, which permits the use of architectural heritages for the purpose of accommodating commercial businesses, led to the addition of “Traditional Korean housing experiencing business” in the list of tourism business categories. This change also accelerated the utilisation of tangible cultural heritage as a tourism resource. In this context, place marketing combining tangible and intangible cultural assets has increased since the 2000s. In fact, before the 2000s, many cultural events lacked a coherent link between tangible and intangible cultural properties. For example, even though the Hahoe Mask Dance originated in Hahoe Village, the dance performance was often performed as an independent event outside Hahoe Village. However, since tangible cultural heritage—particularly architectural heritage—emerged as a local tourism resource, Andong has been developing cultural and artistic events relevant to heritage sites and the interesting narratives and storytelling that connect various heritages and make tourists develop emotional attachments to Andong and its cultural heritage (see D.Y. Lee). This shows that Andong’s approaches to cultural heritage began to seek the existential authenticity in tourism that may provide tourists with meaningful experiences. Future Directions: Redefining the City As has already been discussed, not only cultural heritage itself, but also national and regional policies, perspectives, experiences, meanings, and values have all contributed to making Andong a recognised cultural city. Notably, Andong’s development can be summarised as the adoption of diverse approaches to cultural heritage along with changes in social agendas and cultural policies. Even though the conservation of cultural heritage and regional development have at times been regarded as competing interests, for Andong—a city that has a large number of tangible heritages that come with enormous costs related to preservation and maintenance—the commodification of cultural heritage might be unavoidable. Indeed, the conservation of its heritage as well as regional development through the use of its heritage as a tourism resource are the two goals that Andong should achieve to ensure that it experiences sustainable future development. Doing so would allow it to fulfil the local community’s need and desire to take pride in its identity as a cultural city and boost its cultural economy. In this regard, we suggest that digitising cultural heritage and incorporating virtual spaces (e.g. the metaverse) into actual places may offer new possibilities for reconciling the conservation of cultural heritage with the need for regional development by allowing us to preserve and manage cultural heritage efficiently while enriching our cultural experience and enabling us to experience various kinds of authenticity. In the first place, digitisation represents an alternative way to preserve and maintain cultural heritage. Digital technologies can accurately scan and measure cultural heritages and readily reproduce a perfect replica of those cultural heritages, whether actual or virtual, which can serve to protect genuine cultural heritages from unwanted or inevitable damage. Once the data on a cultural artefact have been digitised, it is theoretically possible to preserve the digitised heritage forever without deterioration (Koshizuka and Sakamura; D. Hwan Yoo). Moreover, even though digitised artefacts are not objectively authentic, replicas and reproductions created from them may provide tourists with authentic, meaningful experiences in a constructive or existential sense. Furthermore, virtual space may offer a site in which past and present cultures can freely encounter and resonate with each other by facilitating the deterritorialisation and reterritorialisation of people and heritage, which may also lead us to an immersive and creative cultural experience. Indeed, various technologies—such as 3D animation, virtual reality, augmented reality, stereoscopic presentation, and 4K ultra high-definition immersive presentation—can create diverse kinds of virtual environment in which tourists can enjoy immersive interactivity and realistically experience heritage objects (Park, Muhammad, and Ahn). Indeed, as illustrated in a case study (D. Hwan Yoo), the digital restoration of Andong’s historical sites (i.e. using digital data collection and archiving as well as 2D and 3D modelling technologies, which reproduce landscapes and architecture in a virtual environment for museum content) may provide a novel cultural experience that fosters existential authenticity across actual and virtual spaces. To sum up, territorial meaning-making may involve the mobilisation of memories, experiences, and imaginations that are attached not only to actual heritage at actual heritage sites, but also to digitised heritage in virtual spaces, and the place that emerges from such a meaning-making process may be the contemporary city we live in. Acknowledgments This work was supported by the School of Languages and Cultures, University of Queensland, under the 2021 ECR Research Support Scheme, and the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2021S1A6A3A01097826). Sources The figures used in this article are public works by the Cultural Heritage Administration of the Republic of Korea (https://www.heritage.go.kr), and the figures are used according to the Korea Open Government Licence. The data sources are as follows: 1: Chajeonnori — https://bit.ly/3Mn1Q9X 2: Notdaribalgi — https://bit.ly/3uVsn8k 3: Dosanseowon — https://bit.ly/3JUAplX 4: The Hahoe Village — https://bit.ly/3rzTlQz 5: The Hahoe Mask Dance — https://bit.ly/3uXg2jR References Boonzaaier, Chris, and Harry Wels. “Authenticity Lost? The Significance of Cultural Villages in the Conservation of Heritage in South Africa.” Journal of Heritage Tourism 13.2 (2018): 181–193. Chung, Hokyung, and Jongoh Lee. “A Study on Cultural Urban Regeneration Using Modern Industrial Resources: Focusing on the Site-Specific Cultural Places of Gunsan, South Korea.” Land 10.11 (2021): 1184. Cohen, Erik. “Authenticity and Commoditization in Tourism.” Annals of Tourism Research 15 (1988): 371–386. Graham, Brian, G.J. Ashworth, and J.E. Tunbridge. A Geography of Heritage: Power, Culture and Economy. Abingdon: Routledge, 2000. Jaffe, Rivke, and Anouk de Koning. Introducing Urban Anthropology. Abingdon: Routledge, 2016. Kim, Hak-Yong, and Keun-Sung Kim. “Urban Regeneration Using Historic and Architectural Culture Resources: Focused on Jingo City.” Humanities (Korea Humanities Content Society) 55 (2019): 67–88. Kim, Heung Soo. Cultural Governance. Paju: KSI, 2007. Kim, Kyu-Ho. “Authenticity of Cultural Heritage and Its Development as Tourism Resources: With Reference to Donggung and Wolji in Gyeongju, South Korea.” Journal of Tourism Sciences (The Tourism Sciences Society of Korea) 36.5 (2012): 115–133. Koshizuka, Noboru, and Ken Sakamura. “Tokyo University Digital Museum.” Proceedings of the 2000 Kyoto International Conference on Digital Libraries (2000): 179–186. Lee, D.Y. “Paradigm Shift in Cultural Policies: Ordinary But Attractive Andong.” Adinews 2021. Lee, K.I. “10 Years since Proclaiming ‘The Capital of Korean Spirit’: Re-Evaluted Andong’s Value.” YNA 2016. Massey, Doreen. For Space. London: Sage, 2005. Min, Woong-ki. “An Exploratory Study on Tourism Plicies and Characteristics of Tourism Industry since Korea’s Liberation from Japan.” The Journal of History and Korean Practical Thought Studies 58 (2015): 267–290. Moore, Kevin, et al. “Authenticity in Tourism Theory and Experience. Practically Indispensable and Theoretically Mischievous?” Annals of Tourism Research 89 (2021): n.p. Park, Eun Sil. “The Study on Developments and Direction of Urban Regeneration and Cultural Policy.” The Journal of Cultural Policy (Korea Culture & Tourism Institute) 17 (2005): 11–39. Park, Jin-ho, Tufail Muhammad, and Jae-hong Ahn. “The 3D Reconstruction and Visualization of Seokguram Grotto World Heritage Site.” 2014 International Conference on Virtual Systems & Multimedia (VSMM) (2014): 180–183. Steinmetz, Juergen T. “Why Andong Is the Capital of the Korean Spirit and Cultural Tourism?” eTN: Global Travel Industry News 2020. Waitt, Gordon. “Consuming Heritage: Perceived Historical Authenticity.” Annals of Tourism Research 27.4 (2000): 835–862. Wang, Ning. “Rethinking Authenticity in Tourism Experience.” Annals of Tourism Research 26.2 (1999): 349–370. Yoo, Dong hwan. “The 4th Space and Exhibition Story-Telling.” Humanities Contents (Korea Humanities Content Society) 31 (2013): 193–210. Yoo, Hyoung-Dong. “The Process of Obtaining Regional Identity and Value as Content of Andong Hahoe Byulsingut Talnori.” Korean Language (Baedalmal Society) 67 (2020): 117–139.

Introduction: Game Culture and GenderAs texts with the potential to help mediate specific forms of identity, video games are rich and complex sites for analysis. A tendency, however, still exists in scholarship to treat video games as just another kind of text, and work that explores the expression of masculine identity persists in drawing from cinematic analysis without proper consideration of game design and how these games are played (Triana). For example, insights from studies into horror cinema may illuminate the relationship between players and game systems in survival horror video games (Habel & Kooyman), but further study is needed to explore how people interact with the game.This article aims to build towards a scholarly definition of the term “Power Fantasy”, a concept that seems well established in wider discourse but is not yet well theorised in the scholarly literature. It does so through a case of the most recent reboot of Doom (2016), a game that in its original incarnation established an enduring tradition for high-action Power Fantasy. In the first-person shooter game Doom, the player fills the role of the “Doom Guy”, a faceless hero who shuttles between Earth and Hell with the sole aim of eviscerating demonic hordes as graphically as possible.How, then, do we begin to theorise the kind of automediation that an iconic game text like Doom facilitates? Substantial work has been done to explore player identification in online games (see Taylor; Yee). Shaw (“Rethinking”) suggests that single-player games are unexplored territory compared to the more social spaces of Massively Multiplayer Online games and other multiplayer experiences, but it is important to distinguish between direct identification with the avatar per se and the ways in which the game text mediates broader gender constructions.Abstract theorisation is not enough, though. To effectively understand this kind of automediation we also need a methodology to gain insights into its processes. The final part of this article, therefore, proposes the analysis of “Let’s Play” videos as a kind of gender identity performance which gives insight into the automediation of dominant masculine gender identities through Power Fantasy video games like Doom. This reflexive performance works to denaturalise gender construction rather than reinforce stable hegemonic identities.Power Fantasy and Gender IdentityPower Fantasy has become an established trope in online critiques and discussions of popular culture. It can be simply defined as “character imagines himself taking revenge on his bullies” (TVTropes). This trope takes on special resonance in video games, where the players themselves live out the violent revenge fantasy in the world of the game.The “power fantasy” of games implies escapism and meaninglessness, evoking outsize explosions and equally outsized displays of dominance. A “power gamer” is one who plays with a single-minded determination to win, at the expense of nuance, social relationships between players, or even their own pleasure in play. (Baker)Many examples apply this concept of Power Fantasy in video games: from God of War to Metroid: Prime and Grand Theft Auto, this prevalent trope of game design uses a kind of “agency mechanics” (Habel & Kooyman) to convince the player that they are becoming increasingly skilful in the game, when in reality the game is simply decreasing in difficulty (PBS Digital Studios). The operation of the Power Fantasy trope is also gendered; in a related trope known as “I Just Want To Be a Badass”, “males are somewhat more prone to harbour [the] wish” to feel powerful (TVTropes). More broadly, even though the game world is obviously not real, playing it requires “an investment in and commitment to a type of masculine performance that is based on the Real (particularly if one is interested in ‘winning’, pummelling your opponent, kicking ass, etc.)” (Burrill 2).Indeed, there is a perceived correlation (if not causation) between the widespread presence of Power Fantasy video games and how “game culture as it stands is shot through with sexism, racism, homophobia, and other biases” (Baker). Golding and van Deventer undertake an extended exploration of this disconcerting side of game culture, concluding that games have “become a venue for some of the more unsophisticated forms of patriarchy” (213) evidenced in the highly-publicised GamerGate movement. This saw an alignment between the label of “gamer” and extreme misogyny, abuse and harassment of women and other minorities in the industry.We have, then, a tentative connection between dominant gameplay forms based on high skill that may be loosely characterised as “Power Fantasy” and some of the most virulent toxic gender expressions seen in recent times. More research is needed to gain a clearer understanding of precisely what Power Fantasy is. Baker’s primary argument is that “power” in games can also be characterised as “power to” or “power with”, as well as the more traditional “power over”. Kurt Squire uses the phrase “Power Fantasy” as a castaway framing for a player who seeks an alternative reward to the usual game progression in Sid Meier’s Civilisation. More broadly, much scholarly work concerning gameplay design and gender identity has been focussed on the hot-button question of videogame violence and its connection to real-world violence, a question that this article avoids since it is well covered elsewhere. Here, a better understanding of the mediation of gender identity through Power Fantasy in Doom can help to illuminate how games function as automedia.Auto-Mediating Gender through Performance in Doom (2016) As a franchise, Doom commands near-incomparable respect as a seminal text of the first-person shooter genre. First released in 1993, it set the benchmark for 3D rendered graphics, energetic sound design, and high-paced action gameplay that was visceral and deeply immersive. It is impossible to mention more recent reboots without recourse to its first seminal instalment and related game texts: Kim Justice suggests a personal identification with it in a 29-minute video analysis entitled “A Personal History of Demon Slaughter”. Doom is a cherished game for many players, possibly because it evokes memories of “boyhood” gaming and all its attendant gender identity formation (Burrill).This identification also arises in livestreams and playthroughs of the game. YouTuber and game reviewer Markiplier describes nostalgically and at lengths his formative experiences playing it (and recounts a telling connection with his father who, he explains, introduced him to gaming), saying “Doom is very important to me […] this was the first game that I sat down and played over and over and over again.” In contrast, Wanderbots confesses that he has never really played Doom, but acknowledges its prominent position in the gaming community by designating himself outside the identifying category of “Doom fan”. He states that he has started playing due to “gushing” recommendations from other gamers. The nostalgic personal connection is important, even in absentia.For the most part, the critical and community response to the 2016 version of Doom was approving: Gilroy admits that it “hit all the right power chords”, raising the signature trope in reference to both gameplay and music (a power chord is a particular technique of playing heavy metal guitar often used in heavy metal music). Doom’s Metacritic score is currently a respectable 85, and, the reception is remarkably consistent between critics and players, especially for such a potentially divisive game (Metacritic). Commentators tend to cite its focus on its high action, mobility, immersion, sound design, and general faithfulness to the spirit of the original Doom as reasons for assessments such as “favourite game ever” (Habel). Game critic Yahtzee’s uncharacteristically approving video review in the iconic Zero Punctuation series is very telling in its assessment of the game’s light narrative framing:Doom seems to have a firm understanding of its audience because, while there is a plot going on, the player-character couldn’t give a half an ounce of deep fried shit; if you want to know the plot then pause the game and read all the fluff text in the character and location database, sipping daintily from your pink teacup full of pussy juice, while the game waits patiently for you to strap your bollocks back on and get back in the fray. (Yahtzee)This is a strident expression of the gendered expectations and response to Doom’s narratological refusal, which is here cast as approvingly masculine and opposed to a “feminine” desire for plot or narrative. It also feeds into a discourse which sees the game as one which demands skill, commitment, and an achievement orientation cast within an exclusivist ideology of “toxic meritocracy” (Paul).In addition to examining reception, approaches to understanding how Doom functions as a “Power Fantasy” or “badass” trope could take a variety of forms. It is tempting to undertake a detailed analysis of its design and gameplay, especially since these feed directly into considerations of player interaction. This could direct a critical focus towards gameplay design elements such as traversal and mobility, difficulty settings, “glory kills”, and cinematic techniques in the same vein as Habel and Kooyman’s analysis of survival horror video games in relation to horror cinema. However, Golding and van Deventer warn against a simplistic analysis of decontextualized gameplay (29-30), and there is a much more intriguing possibility hinted at by Harper’s notion of “Play Practice”.It is useful to analyse a theoretical engagement with a video game as a thought-experiment. But with the rise of gaming as spectacle, and particularly gaming as performance through “Let’s Play” livestreams (or video on demand) on platforms such as TwitchTV and YouTube, it becomes possible to analyse embodied performances of the gameplay of such video games. This kind of analysis allows the opportunity for a more nuanced understanding of how such games mediate gender identities. For Judith Butler, gender is not only performed, it is also performative:Because there is neither an “essence” that gender expresses or externalizes nor an objective ideal to which gender aspires, and because gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all. (214)Let’s Play videos—that show a player playing a game in real time with their commentary overlaying the on screen action—allow us to see the performative aspects of gameplay. Let’s Plays are a highly popular and developing form: they are not simple artefacts by any means, and can be understood as expressive works in their own right (Lee). They are complex and multifaceted, and while they do not necessarily provide direct insights into the player’s perception of their own identification, with sufficient analysis and unpacking they help us to explore both the construction and denaturalisation of gender identity. In this case, we follow Josef Nguyen’s analysis of Let’s Plays as essential for expression of player identity through performance, but instead focus on how some identity construction may narrow rather than expand the diversity range. T.L. Taylor also has a monograph forthcoming in 2018 titled Watch Me Play: Twitch and the Rise of Game Live Streaming, suggesting the time is ripe for such analysis.These performances are clear in ways we have already discussed: for example, both SplatterCat and Markiplier devote significant time to describing their formative experiences playing Doom as a background to their gameplay performance, while Wanderbots is more distanced. There is no doubt that these videos are popular: Markiplier, for example, has attracted nearly 5 million views of his Doom playthrough. If we see gameplay as automediation, though, these videos become useful artefacts for analysis of gendered performance through gameplay.When SplatterCat discovers the suit of armor for the game’s protagonist, Doom Guy, he half-jokingly remarks “let us be all of the Doom Guy that we can possibly be” (3:20). This is an aspirational mantra, a desire for enacting the game’s Power Fantasy. Markiplier speaks at length about his nostalgia for the game, specifically about how his father introduced him to Doom when he was a child, and he expresses hopes that he will again experience “Doom’s original super-fast pace and just pure unadulterated action; Doom Guy is a badass” (4:59). As the action picks up early into the game, Markiplier expresses the exhilaration and adrenaline that accompany performances of this fastpaced, highly mobile kind of gameplay, implying that he is becoming immersed in the character and, by performing Doom Guy, inhabiting the “badass” role and thus enacting a performance of Power Fantasy:Doom guy—and I hope I’m playing Doom guy himself—is just the embodiment of kickass. He destroys everything and he doesn’t give a fuck about what he breaks in the process. (8:45)This performance of gender through the skilled control of Doom Guy is, initially, unambiguously mediated as Power Fantasy: in control, highly skilled, suffused with Paul’s ‘toxic meritocracy. A similar sentiment is expressed in Wanderbots’ playthrough when the player-character dispenses with narrative/conversation by smashing a computer terminal: “Oh I like this guy already! Alright. Doom Guy does not give a shit. It’s like Wolf Blascowicz [sic], but like, plus plus” (Wanderbots). This is a reference to another iconic first-person shooter franchise, Wolfenstein, which also originated in the 1980s and has experienced a recent successful reboot, and which operates in a similar Power Fantasy mode. This close alignment between these two streamers’ performances suggests significant coherence in both genre and gameplay design and the ways in which players engage with the game as a gendered performative space.Nonetheless, there is no simple one-to-one relationship here—there is not enough evidence to argue that this kind of gameplay experience leads directly to the kind of untrammelled misogyny we see in game culture more broadly. While Gabbiadini et al. found evidence in an experimental study that a masculinist ideology combined with violent video game mechanics could lead to a lack of empathy for women and girls who are victims of violence, Ferguson and Donnellan dispute this finding based on poor methodology, arguing that there is no evidence for a causal relationship between gender, game type and lack of empathy for women and girls. This inconclusiveness in the research is mirrored by an ambiguity in the gendered performance of males playing through Doom, where the Power Fantasy is profoundly undercut in multiple ways.Wanderbots’ Doom playthrough is literally titled ‘I have no idea what I’m Dooming’ and he struggles with particular mechanics and relatively simple progression tools early in the game: this reads against masculinist stereotypes of superior and naturalised gameplay skill. Markiplier’s performance of the “badass” Doom Guy is undercut at various stages: in encountering the iconic challenge of the game, he mentions that “I am halfway decent… not that good at video games” (9:58), and on the verge of the protagonist’s death he admits “If I die this early into my first video I’m going to be very disappointed, so I’m going to have to kick it up a notch” (15:30). This suggests that rather than being an unproblematic and simple expression of male power in a fantasy video game world, the gameplay performances of Power Fantasy games are ambiguous and contested, and not always successfully performed via the avatar. They therefore demonstrate a “kind of gender performance [which] will enact and reveal the performativity of gender itself in a way that destabilizes the naturalized categories of identity and desire” (Butler 211). This cuts across the empowered performance of videogame mastery and physical dominance over the game world, and suggests that the automediation of gender identity through playing video games is a complex phenomenon urgently in need of further theorisation.ConclusionUltimately, this kind of analysis of the mediation of hegemonic gender identities is urgent for a cultural product as ubiquitous as video games. The hyper-empowered “badass” digital avatars of Power Fantasy video games can be expected to have some shaping effect on the identities of those who play them, evidenced by the gendered gameplay performance of Doom briefly explored here. This is by no means a simple or unproblematic process, though. Much further research is needed to test the methodological insights possible by using video performances of gameplay as explorations of the auto-mediation of gender identities through video games.ReferencesBaker, Meguey. “Problematizing Power Fantasy.” The Enemy 1.2 (2015). 18 Feb. 2018 <http://theenemyreader.org/problematizing-power-fantasy/>.Burrill, Derrick. Die Tryin’: Video Games, Masculinity, Culture. New York: Peter Lang, 2008.Butler, Judith. Gender Trouble. 10th ed. London: Routledge, 2002.Ferguson, Christopher, and Brent Donellan. “Are Associations between “Sexist” Video Games and Decreased Empathy toward Women Robust? A Reanalysis of Gabbiadini et al. 2016.” Journal of Youth and Adolescence 46.12 (2017): 2446–2459.Gabbiadini, Alessandro, Paolo Riva, Luca Andrighetto, Chiara Volpato, and Brad J. 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Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, physical location. The constant “presence” of data around us is something that we have become largely aware of. Already in 1994, Phil Agre stated in an article in WIRED Magazine: “We're so accustomed to data that hardly anyone questions it” (1). Agre indicated that this data is in fact a representation of the world, the discrete bits of information that form the reality we are immersed in. He also proposed that it should be “brought to life” by exploring its relationships with other data and the world itself. A decade later, these relationships had become the core of the new paradigm of the World Wide Web and our interaction with cyberspace. As Mitchell Whitelaw puts it: “The web is increasingly a set of interfaces to datasets ... . On the contemporary web the data pour has become the rule, rather than the exception. The so-called ‘web 2.0’ paradigm further abstracts web content into feeds, real-time flows of XML data” ("Art against Information"). These feeds and flows have been used by artists and researchers in the creation of different forms of dynamic visualisations, in which data is mapped according to a set of parameters in order to summarise it in a single image or structure. Lev Manovich distinguishes in these visualisations those made by artists, to which he refers as “data art”. Unlike other forms of mapping, according to Manovich data art has a precise goal: “The more interesting and at the end maybe more important challenge is how to represent the personal subjective experience of a person living in a data society” (15). Therefore, data artists extract from the bits of information available in cyberspace a dynamic representation of our contemporary environment, the ambience of our digital culture, our shared, intimate and at the same time anonymous, subjectivity. In this article I intend to present some of the ways in which artists have dealt with the murmur of data creatively, exploring the immense amounts of user generated content in forms that interrogate our relationship with the virtual environment and the global community. I will discuss several artistic projects that have shaped the data flow on the Internet in order to take the user back to a state of contemplation, as a listener, an observer, and finally encountering the virtual in a physical form. Listening The concept of ambience particularly evokes an auditory experience related to a given location: in filmmaking, it refers to the sounds of the surrounding space and is the opposite of silence; as a musical genre, ambient music contributes to create a certain atmosphere. In relation to flows of data, it can be said that the applications that analyze Internet traffic and information are “listening” to it, as if someone stands in a public place, overhearing other people's conversations. The act of listening also implies a reception, not an emission, which is a substantial distinction given the fact that data art projects work with given data instead of generating it. As Mitchell Whitelaw states: “Data here is first of all indexical of reality. Yet it is also found, or to put it another way, given. ... Data's creation — in the sense of making a measurement, framing and abstracting something from the flux of the real — is left out” (3). One of the most interesting artistic projects to initially address this sort of “listening” is Carnivore (2001) by the Radical Software Group. Inspired by DCS1000, an e-mail surveillance software developed by the FBI, Carnivore (which was actually the original name of the FBI's program) listens to Internet traffic and serves this data to interfaces (clients) designed by artists, which interpret the provided information in several ways. The data packets can be transformed into an animated graphic, as in amalgamatmosphere (2001) by Joshua Davis, or drive a fleet of radio controlled cars, as in Police State (2003) by Jonah Brucker-Cohen. Yet most of these clients treat data as a more or less abstract value (expressed in numbers) that serves to trigger the reactions in each client. Carnivore clients provide an initial sense of the concept of ambience as reflected in the data circulating the Internet, yet other projects will address this subject more eloquently. Fig. 1: Ben Rubin, Mark Hansen, Listening Post (2001-03). Multimedia installation. Photo: David Allison.Listening Post (2001-04) by Mark Hansen and Ben Rubin is an installation consisting of 231 small electronic screens distributed in a semicircular grid [fig.1: Listening Post]. The screens display texts culled from thousands of Internet chat rooms, which are read by a voice synthesiser and arranged synchronically across the grid. The installation thus becomes a sort of large panel, somewhere between a videowall and an altarpiece, which invites the viewer to engage in a meditative contemplation, seduced by the visual arrangement of the flickering texts scrolling on each screen, appearing and disappearing, whilst sedated by the soft, monotonous voice of the machine and an atmospheric musical soundtrack. The viewer is immersed in a particular ambience generated by the fragmented narratives of the anonymous conversations extracted from the Internet. The setting of the piece, isolated in a dark room, invites contemplation and silence, as the viewer concentrates on seeing and listening. The artists clearly state that their goal in creating this installation was to recreate a sense of ambience that is usually absent in electronic communications: “A participant in a chat room has limited sensory access to the collective 'buzz' of that room or of others nearby – the murmur of human contact that we hear naturally in a park, a plaza or a coffee shop is absent from the online experience. The goal of Listening Post is to collect this buzz and render it at a human scale” (Hansen 114-15). The "buzz", as Hansen and Rubin describe it, is in fact nonexistent in the sense that it does not take place in any physical environment, but is rather the imagined output of the circulation of a myriad blocks of data through the Net. This flow of data is translated into audible and visible signals, thus creating a "murmur" that the viewer can relate to her experience in interacting with other humans. The ambience of a room full of people engaged in conversation is artificially recreated and expanded beyond the boundaries of a real space. By extracting chats from the Internet, the murmur becomes global, reflecting the topics that are being shared by users around the world, in an improvised, ever-changing embodiment of the Zeitgeist, the spirit of the time, or even a certain stream of consciousness on a planetary scale. Fig. 2: Gregory Chatonsky, L'Attente - The Waiting (2007). Net artwork. Photo: Gregory Chatonsky.The idea of contemplation and receptiveness is also present in another artwork that elaborates on the concept of the Zeitgeist. L'Attente [The Waiting] (2007) by Gregory Chatonsky is a net art piece that feeds from the data on the Internet to create an open, never-ending fiction in real time [Fig.2: The Waiting]. In this case, the viewer experiences the artwork on her personal computer, as a sort of film in which words, images and sounds are displayed in a continuous sequence, driven by a slow paced soundtrack that confers a sense of unity to the fragmented nature of the work. The data is extracted in real time from several popular sites (photos from Flickr, posts from Twitter, sound effects from Odeo), the connection between image and text being generated by the network itself: the program extracts text from the posts that users write in Twitter, then selects some words to perform a search on the Flickr database and retrieve photos with matching keywords. The viewer is induced to make sense of this concatenation of visual and audible content and thus creates a story by mentally linking all the elements into what Chatonsky defines as "a fiction without narration" (Chatonsky, Flußgeist). The murmur here becomes a story, but without the guiding voice of a narrator. As with Listening Post, the viewer is placed in the role of a witness or a voyeur, subject to an endless flow of information which is not made of the usual contents distributed by mainstream media, but the personal and intimate statements of her peers, along with the images they have collected and the portraits that identify them in the social networks. In contrast to the overdetermination of History suggested by the term Zeitgeist, Chatonsky proposes a different concept, the spirit of the flow or Flußgeist, which derives not from a single idea expressed by multiple voices but from a "voice" that is generated by listening to all the different voices on the Net (Chatonsky, Zeitgeist). Again, the ambience is conceived as the combination of a myriad of fragments, which requires attentive contemplation. The artist describes this form of interacting with the contents of the piece by making a reference to the character of the angel Damiel in Wim Wenders’s film Wings of Desire (Der Himmel über Berlin, 1987): “to listen as an angel distant and proximate the inner voice of people, to place the hand on their insensible shoulder, to hold without being able to hold back” (Chatonsky, Flußgeist). The act of listening as described in Wenders's character illustrates several key aspects of the above mentioned artworks: there is, on the one hand, a receptiveness, carried out by the applications that extract data from the Internet, which cannot be “hold back” by the user, unable to control the flow that is evolving in front of her. On the other hand, the information she receives is always fragmentary, made up of disconnected parts which are, in the words of the artist Lisa Jevbratt, “rubbings ... indexical traces of reality” (1). Observing The observation of our environment takes us to consider the concept of landscape. Landscape, in its turn, acquires a double nature when we compare our relationship with the physical environment and the digital realm. In this sense, Mitchell Whitelaw stresses that while data moves at superhuman speed, the real world seems slow and persistent (Landscape). The overlapping of dynamic, fast-paced, virtual information on a physical reality that seems static in comparison is one of the distinctive traits of the following projects, in which the ambience is influenced by realtime data in a visual form that is particularly subtle, or even invisible to the naked eye. Fig. 3: Carlo Zanni, The Fifth Day (2009). Net artwork. Screenshot retrieved on 4/4/2009. Photo: Carlo Zanni. The Fifth Day (2009) by Carlo Zanni is a net art piece in which the artist has created a narration by displaying a sequence of ten pictures showing a taxi ride in the city of Alexandria [Fig.3: The Fifth Day]. Although still, the images are dynamic in the sense that they are transformed according to data retrieved from the Internet describing the political and cultural status of Egypt, along with data extracted from the user's own identity on the Net, such as her IP or city of residence. Every time a user accesses the website where the artwork is hosted, this data is collected and its values are applied to the photos by cloning or modifying particular elements in them. For instance, a photograph of a street will show as many passersby as the proportion of seats held by women in national parliament, while the reflection in the taxi driver's mirror in another photo will be replaced by a picture taken from Al-Jazeera's website. Zanni addresses the viewer's perception of the Middle East by inserting small bits of additional information and also elements from the viewer's location and culture into the images of the Egyptian city. The sequence is rendered as the trailer of a political thriller, enhanced by a dramatic soundtrack and concluded with the artwork's credits. As with the abovementioned projects, the viewer must adopt a passive role, contemplating the images before her and eventually observing the minute modifications inserted by the data retrieved in real time. Yet, in this case, the ambience is not made manifest by a constant buzz to which one must listen, but quite more subtly it is suggested by the fact that not even a still image is always the same. As if observing a landscape, the overall impression is that nothing has changed while there are minor transformations that denote a constant evolution. Zanni has explored this idea in previous works such as eBayLandscape (2004), in which he creates a landscape image by combining data extracted from several websites, or My Temporary Visiting Position from the Sunset Terrace Bar (2007), in which a view of the city of Ahlen (Germany) is combined with a real time webcam image of the sky in Naples (Italy). Although they may seem self-enclosed, these online, data-driven compositions also reflect the global ambience, the Zeitgeist, in different forms. As Carlo Giordano puts it: "Aesthetically, the work aims to a nearly seamless integration of mixed fragments. The contents of these parts, reflecting political and economical issues ... thematize actuality and centrality, amplifying the author's interest in what everybody is talking about, what happens hic et nunc, what is in the fore of the media and social discourse" (16-17). A landscape made of data, such as Zanni's eBayLandscape, is the most eloquent image of how an invisible layer of information is superimposed over our physical environment. Fig. 4: Clara Boj and Diego Díaz, Red Libre, Red Visible (2004-06). Intervention in the urban space. Photo: Lalalab.Artists Clara Boj and Diego Díaz, moreover, have developed a visualisation of the actual flows of data that permeate the spaces we inhabit. In Red Libre, Red Visible [Free Network, Visible Network] (2004-06), Boj and Díaz used Augmented Reality (AR) technology to display the flows of data in a local wireless network by creating AR marker tags that were placed on the street. A Carnivore client developed by the artists enabled anyone with a webcam pointing towards the marker tag and connected to the Wi-Fi network to see in real time the data packets flowing from their computer towards the tag [Fig.4: Red Libre]. The marker tags therefore served both as a tool for the visualisation of network activity as well as a visual sign of the existence of an open network in a particular urban area. Later on, they added the possibility of inserting custom made messages, 3D shapes and images that would appear when a particular AR marker tag was seen through the lens of the webcam. With this project, Boj and Díaz give the user the ability to observe and interact with a layer of her environment that was previously invisible and in some senses, out of reach. The artists developed this idea further in Observatorio [Observatory] (2008), a sightseeing telescope that reveals the existence of Wi-Fi networks in an urban area. In both projects, an important yet unnoticed aspect of our surroundings is brought into focus. As with Carlo Zanni's projects, we are invited to observe what usually escapes our perception. The ambience in our urban environment has also been explored by Julian Oliver, Clara Boj, Diego Díaz and Damian Stewart in The Artvertiser (2009-10), a hand-held augmented reality (AR) device that allows to substitute advertising billboards with custom made images. As Naomi Klein states in her book No Logo, the public spaces in most cities have been dominated by corporate advertising, allowing little or no space for freedom of expression (Klein 399). Oliver's project faces this situation by enabling a form of virtual culture jamming which converts any billboard-crowded plaza into an unparalleled exhibition space. Using AR technology, the artists have developed a system that enables anyone with a camera phone, smartphone or the customised "artvertiser binoculars" to record and substitute any billboard advertisement with a modified image. The user can therefore interact with her environment, first by observing and being aware of the presence of these commercial spaces and later on by inserting her own creations or those of other artists. By establishing a connection to the Internet, the modified billboard can be posted on sites like Flickr or YouTube, generating a constant feedback between the real location and the Net. Gregory Chatonsky's concept of the Flußgeist, which I mentioned earlier, is also present in these works, visually displaying the data on top of a real environment. Again, the user is placed in a passive situation, as a receptor of the information that is displayed in front of her, but in this case the connection with reality is made more evident. Furthermore, the perception of the environment minimises the awareness of the fragmentary nature of the information generated by the flow of data. Embodying In her introduction to the data visualisation section of her book Digital Art, Christiane Paul stresses the fact that data is “intrinsically virtual” and therefore lacking a particular form of manifestation: “Information itself to a large extent seems to have lost its 'body', becoming an abstract 'quality' that can make a fluid transition between different states of materiality” (Paul 174). Although data has no “body”, we can consider, as Paul suggests, any object containing a particular set of information to be a dataspace in its own. In this sense, a tendency in working with the Internet dataflow is to create a connection between the data and a physical object, either as the end result of a process in which the data has been collected and then transferred to a physical form, or providing a means of physically reshaping the object through the variable input of data. The objectification of data thus establishes a link between the virtual and the real, but in the context of an artwork it also implies a particular meaning, as the following examples will show.Fig. 5: Gregory Chatonsky, Le Registre - The Register (2007). Book shelf and books. Photo: Pau Waelder. In Le Registre [The Register] (2007), Gregory Chatonsky developed a software application that gathers sentences related to feelings found on blogs. These sentences are recorded and put together in the form a 500-page book every hour. Every day, the books are gathered in sets of 24 and incorporated to an infinite library. Chatonsky has created a series of bookshelves to collect the books for one day, therefore turning an abstract process into an object and providing a physical embodiment of the murmur of data that I have described earlier [Fig.5: Le Registre]. As with L'Attente, in this work Chatonsky elaborates on the concept of Flußgeist, by “listening” to a specific set of data (in a similar way as in Hansen and Rubin's Listening Post) and bringing it into salience. The end product of this process is not just a meaningless object but actually what makes this work profoundly ironic: printing the books is a futile effort, but also constitutes a borgesque attempt at creating an endless library of something as ephemeral as feelings. In a similar way, but with different intentions, Jens Wunderling brings the online world to the physical world in Default to Public (2009). A series of objects are located in several public spaces in order to display information extracted from users of the Twitter network. Wunderling's installation projects the tweets on a window or prints them in adhesive labels, while informing the users that their messages have been taken for this purpose. The materialisation of information meant for a virtual environment implies a new approach to the concept of ambiance as described previously, and in this case also questions the intimacy of those participating in social networks. As the artist puts it: "In times of rapid change concerning communication behavior, media access and competence, the project Default to Public aims to raise awareness of the possible effects on our lives and our privacy" (Wunderling 155). Fig. 6: Moisés Mañas, Stock (2009). Networked installation. Photo: Moisés Mañas. Finally, in Stock (2009), Moisés Mañas embodies the flow of data from stock markets in an installation consisting of several trench coats hanging from automated coat hangers which oscillate when the stock values of a certain company rise. The resulting movement of the respective trench coat simulates a person laughing. In this work, Mañas translates the abstract flow of data into a clearly understandable gesture, providing at the same time a comment on the dynamics of stock markets [Fig.6: Stock]. Mañas´s project does not therefore simply create a physical output of a specific information (such as the stock value of a company at any given moment), but instead creates a dynamic sculpture which suggests a different perception of an otherwise abstract data. On the one hand, the trenchcoats have a ghostly presence and, as they move with unnatural spams, they remind us of the Freudian concept of the Uncanny (Das Umheimliche) so frequently associated with robots and artificial intelligence. On the other hand, the image of a person laughing, in the context of stock markets and the current economical crisis, becomes an ironic symbol of the morality of some stockbrokers. In these projects, the ambience is brought into attention by generating a physical output of a particular set of data that is extracted from certain channels and piped into a system that creates an embodiment of this immaterial flow. Yet, as the example of Mañas's project clearly shows, objects have particular meanings that are incorporated into the artwork's concept and remind us that the visualisation of information in data art is always discretionary, shaped in a particular form in order to convey the artist's intentions. Beyond the Buzz The artworks presented in this article revealt that, beyond the murmur of sentences culled from chats and blogs, the flow of data on the Internet can be used to express our difficult relationship with the vast amount of information that surrounds us. As Mitchell Whitelaw puts it: “Data art reflects a contemporary worldview informed by data excess; ungraspable quantity, wide distribution, mobility, heterogeneity, flux. Orienting ourselves in this domain is a constant challenge; the network exceeds any overview or synopsis” (Information). This excess is compared by Lev Manovich with the Romantic concept of the Sublime, that which goes beyond the limits of human measure and perception, and suggests an interpretation of data art as the Anti-Sublime (Manovich 11). Yet, in the projects that I have presented, rather than making sense of the constant flow of data there is a sort of dialogue, a framing of the information under a particular interpretation. Data is channeled through the artworks's interfaces but remains as a raw material, unprocessed to some extent, retrieved from its original context. These works explore the possibility of presenting us with constantly renewed content that will develop and, if the artwork is preserved, reflect the thoughts and visions of the next generations. A work constantly evolving in the present continuous, yet also depending on the uncertain future of social network companies and the ever-changing nature of the Internet. The flow of data will nevertheless remain unstoppable, our ambience defined by the countless interactions that take place every day between our divided self and the growing number of machines that share information with us. References Agre, Phil. “Living Data.” Wired 2.11 (Nov. 1994). 30 April 2010 ‹http://www.wired.com/wired/archive/2.11/agre.if.html›. Chatonsky, Gregory. “Flußgeist, une fiction sans narration.” Gregory Chatonsky, Notes et Fragments 13 Feb. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/13-flusgeist-une-fiction-sans-narration/›. ———. “Le Zeitgeist et l'esprit de 'nôtre' temps.” Gregory Chatonsky, Notes et Fragments 21 Jan. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/21-le-zeigeist-et-lesprit-de-notre-temps/›. Giordano, Carlo. Carlo Zanni. Vitalogy. 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