Artykuły w czasopismach na temat „Forces occultes (Motion picture)”

The biphasic adhesion–velocity relation is a universal observation in mesenchymal cell motility. It has been explained by adhesion-promoted forces pushing the front and resisting motion at the rear. Yet, there is little quantitative understanding of how these forces control cell velocity. We study motion of MDA-MB-231 cells on microlanes with fields of alternating Fibronectin densities to address this topic and derive a mathematical model from the leading-edge force balance and the force-dependent polymerization rate. It reproduces quantitatively our measured adhesion–velocity relation and results with keratocytes, PtK1 cells, and CHO cells. Our results confirm that the force pushing the leading-edge membrane drives lamellipodial retrograde flow. Forces resisting motion originate along the whole cell length. All motion-related forces are controlled by adhesion and velocity, which allows motion, even with higher Fibronectin density at the rear than at the front. We find the pathway from Fibronectin density to adhesion structures to involve strong positive feedbacks. Suppressing myosin activity reduces the positive feedback. At transitions between different Fibronectin densities, steady motion is perturbed and leads to changes of cell length and front and rear velocity. Cells exhibit an intrinsic length set by adhesion strength, which, together with the length dynamics, suggests a spring-like front–rear interaction force. We provide a quantitative mechanistic picture of the adhesion–velocity relation and cell response to adhesion changes integrating force-dependent polymerization, retrograde flow, positive feedback from integrin to adhesion structures, and spring-like front–rear interaction.

A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.

The term ‘Korean wave’ is broadly defined as the huge achievement of South Korean cultural economy industries around the world. It represented a big milestone when South Korea’s movie “Parasite” won the Oscar for Best Picture, which was the first movie from non-English speaking country to win such award in the history. While lots of Korean filmmakers have been trying to produce their own flims for more than 100 years, the cinema of South Korea officially started in 1945 and have been strongly influenced by events and political forces. This paper mainly studies the content and influence of the Motion Picture Law (MPL) issued during Park Chung Hee era in the 1960s and later strict censorship and propaganda in 1970s under Park’s government control. It is worth exploring why the Korean film industry can achieve such achievements, and what role the MPL played in it. The experience and lessons are worthy of reference. This paper briefly reviews the development history of Korean film from a historical perspective, introduces the legal content and the historical background, and then discusses and analyzes its influence on the positive and negative sides at that time. Looking back at the twists and turns of the Korean movie industry is also of great significance to the development of other countries.

Gravity is one of the most inexplicable forces of nature, controlling everything, from the expansion of the Universe to the ebb and flow of ocean tides. The search for the laws of motion and gravitation began more than two thousand years ago but still we do not have the complete picture of it. In this paper, we have outlined how our understanding of gravity is changing drastically with time and how the previous explanations have shaped the most recent developments in the field like superstrings and braneworlds.

Motion pictures taken at Duck Creek, a clear stream 6.5 m wide and 35 cm deep near Pinedale, Wyoming, provide detailed, quantitative information on both the modes of motion of individual bedload particles and the collective motions of large numbers of them. Bed shear stress was approximately 6 Pa (60 dynes cm−2), which was about twice the threshold for movement of the 4 mm median diameter fine gravel bed material; and transport was almost entirely as bedload. The displacements of individual particles occurred mainly by rolling of the majority of the particles and saltation of the smallest ones, and rarely by brief sliding of large, angular ones. Entrainment was principally by rollover of the larger particles and liftoff of the smaller ones, and infrequently by ejection caused by impacts, whereas distrainment was primarily by diminution of fluid forces in the case of rolling particles and by collisions with larger bed particles in the case of saltating ones. The displacement times averaged about 0.2−0.4 s and generally were much shorter than the intervening repose times. The collective motions of the particles were characterized by frequent, brief, localized, random sweep-transport events of very high rates of entrainment and transport, which in the aggregate transported approximately 70% of the total load moved. These events occurred 9% of the time at any particular point of the bed, lasted 1–2 s, affected areas typically 20–50 cm long by 10–20 cm wide, and involved bedload concentrations approximately 10 times greater than background. The distances travelled during displacements averaged about 15 times the particle diameter. Despite the differences in their dominant modes of movement, the 8–16 mm particles typically travelled only about 30% slower during displacement than the 2–4 mm ones, whose speeds averaged 21 cm s−1. Particles starting from the same point not only moved intermittently downstream but also dispersed both longitudinally and transversely, with diffusivities of 4.6 and 0.26 cm2 s−1, respectively. The bedload transport rates measured from the films were consistent with those determined conventionally with a bedload sampler. The 2–4 mm particles were entrained 6 times faster on finer areas of the bed, where 8–16 mm particles covered 6% of the surface area, than on coarser ones, where they covered 12%, even though 2–4 and 4–8 mm particles covered practically the same percentage areas in both cases. The 4–8 and 8–16 mm particles, in contrast, were entrained at the same rates in both cases. To within the statistical uncertainty, the rates of distrainment balanced the rates of entrainment for all three sizes, and were approximately proportional to the corresponding concentrations of bedload.

Spread mooring systems (SMS) may experience large-amplitude oscillations in the horizontal plane due to slow-drift loads. In the literature, this phenomenon is attributed to resonance. In this paper, it is shown that this conclusion is only partially correct. This phenomenon is investigated using nonlinear stability and bifurcation analyses which reveal an enhanced picture of the nonlinear dynamics of SMS. Catastrophe sets are developed in a parametric design space to define regions of qualitatively different system dynamics for autonomous SMS, including mean drift forces. Limited time simulations are performed to verify the qualitative conclusions drawn on the nonlinear dynamics of SMS using catastrophe sets. Slowly varying drift forces are studied as an additional excitation on the autonomous SMS and simulations reveal that slow drift may cause resonance or bifurcations with stabilizing or destabilizing morphogeneses. The mathematical model of SMS is based on the slow-motion maneuvering equations in the horizontal plane (surge, sway, yaw), including hydrodynamic forces with terms up to third-order, nonlinear restoring forces from mooring lines, and environmental loads due to current, wind, and wave-drift.

Employing the resource-based view of the firm and the competitive forces perspective, the authors examine how brand equity (star power, director power, and brand extensions), financial resources, and competitive intensity serve both as antecedents to the length of global product rollout and as moderators of the effect of length of global product rollout on global product performance. The results, based on data from the motion picture industry, demonstrate that brand equity, financial resources, and competitive intensity result in shorter global product rollout and that shorter global product rollout enhances global product performance. They also find that brand equity and financial resources operate as moderators, magnifying the effect of length of global product rollout on global product performance. Implications for international marketing academics and practitioners are presented.

Everyday experience with centrifugal forces has always guided thinking on the close relationship between gravitational forces and accelerated systems of reference. Once spatial gravitational forces and accelerations are introduced into general relativity through a splitting of spacetime into space-plus-time associated with a family of test observers, one may further split the local rest space of those observers with respect to the direction of relative motion of a test particle world line in order to define longitudinal and transverse accelerations as well. The intrinsic covariant derivative (induced connection) along such a world line is the appropriate mathematical tool to analyze this problem, and by modifying this operator to correspond to the observer measurements, one understands more clearly the work of Abramowicz et al. who derine an "optical centrifugal force" in static axisymmetric spacetimes and attempt to generalize it and other inertial forces to arbitrary spacetimes. In a companion article the application of this framework to some familiar stationary axisymmetric spacetimes helps give a more intuitive picture of their rotational features including spin precession effects, and puts related work of de Felice and others on circular orbits in black hole spacetimes into a more general context.

The nonuniform magnetic vortex gyrotropic oscillations along the cylindrical dot thickness were calculated. A generalized Thiele equation was used for describing the vortex core motion including magnetostatic and exchange forces. The magnetostatic interaction was accounted for in a local form. This allowed reducing the Thiele equation of motion to the Schrödinger differential equation and analytically determining the spin eigenmode spatial profiles and eigenfrequencies using the Liouville–Green method for the high-frequency modes. The mapping of the Schrödinger equation to the Mathieu equation was used for the low-frequency gyrotropic mode. The lowest-frequency gyrotropic mode transformed to the dot faces localized mode, increasing the dot thickness. The vortex gyrotropic modes are described for a wide range of the dot thicknesses according to the concept of the turning points in the magnetostatic potential. This approach allows treating the vortex localized modes (turning points) and nonlocalized modes within a unified picture.

This paper considers the effect of the solar radiation pressure on the motion of a satellite in an almostcircular low-Earth orbit. The formulation of the problem is due to the need to determine the effect of solar radiation pressure forces on the motion of light commercial Earth remote sensing (ERS) satellites with large surface areas (solar batteries and antennas). The goal is to determine the main regularities of this effect, construct reasonably simple and accurate estimates of changes in orbital parameters for the orbits under consideration, and clarify their physics (cause-and-effect relations) The novelty of this study also lies in the use of variables specially introduced to describe a motion in almost circular orbits. The study assumes that the solar radiation pressure force is constant throughout the entire orbit, and it is concerned with dawn-dusk orbits, which are often used for ERS satellites with radar observation systems. The paper presents simple analytical expressions that describe the main regularities of short-term (several days) changes in orbital parameters. It is shown that the change in the orientation of the orbital plane is determined by the action of the gyroscopic moment. This moment balances the effect of the moment of external forces aimed at changing the orientation and the change in the orientation perpendicular to the direction of the applied moment of the external forces. The main effect of the solar radiation pressure is the excitation of forced oscillations of the orbital radius, whose amplitude linearly increases with time. The maximums of these oscillations (apogee) are at the point where the light pressure forces maximally slow down the motion of the satellite (directed oppositely to the velocity), and the minimums (perigee) are at the point of the maximum motion acceleration. It is shown that the annual movement of the Sun can qualitatively change the picture of the evolution of orbital parameters. For sun-synchronous dawn-dusk orbits, compact analytical solutions for changes in orbital parameters are constructed, and it is shown that the annual movement of the Sun’s declination reverses the direction of evolution of the orbital shape. The calculations showed a reasonably high accuracy of the analytical solutions at the initial stage. The obtained numerical estimates make it possible to evaluate the effect of the solar pressure on changes in orbital parameters.

In this introductory editorial, the journal’s Editor-in-Chief explores some of the ongoing changes behind the scenes at the journal: specifically the forthcoming expansion of its Editorial Board. Following this, the editorial offers a brief overview of each article with the main body of the issue. Topics tackled in this volume include: fakery within academic publishing, motion picture shot duration, the five forces framework, insights into research practice, the unpublished work of Anita Mason, reviewing Arnstein’s Ladder literature and autoethnography through collage. The editorial concludes by refreshing readers’ memories on the journal’s thematic ‘authentic interdisciplinary’ and general call for papers, alongside highlighting the various routes to interacting with the title and its team outside of the issues.

The importance of including the hydrodynamic memory effect in modeling and analysis of spread mooring systems (SMS) is assessed based on the design methodology for mooring systems developed at the University of Michigan. The memory effect is modeled by the hydrodynamic radiation forces expressed in terms of added mass at infinite frequency and convolution integrals of impulse response functions. The convolution integrals, which are explicit functions of time, are converted to autonomous excitation by the method of extended dynamics. For a given SMS configuration, nonlinear stability and bifurcation theory are used to produce catastrophe sets in the parametric design space separating regions of qualitatively different system dynamics. This approach reveals the complete picture of nonlinear phenomena associated with system dynamics and eliminates the need for extensive simulations. Catastrophe sets are developed in several parametric design spaces, providing fundamental understanding of the memory effects on SMS nonlinear dynamics. The mathematical model is based on the slow-motion maneuvering equations in the horizontal plane, including hydrodynamic memory effect and third-order quasi-steady hydrodynamic forces. Mooring lines are modeled by synthetic fiber ropes attached to surface terminals and deep-water catenary chains with touchdown and nonlinear drag. Environmental loads consist of time-independent current, wind, and mean wave drift forces.

Most arm robot has an inefficient operating time because it requires operator to input destination coordinates. Besides, main problem of arm robot is object’s vulnerability when it is manipulated by the robot. This research goals is to develop an arm robot control system which has ability to automatically detect object using image processing in order to reduce operating time. It is also able to control gripping force for eliminating damage to objects caused by robot gripper. This research is implemented in LabVIEW 2011 software to control arm robot model which can represent industrial scale robot. The software is designed with informative visualization to help user learn and understand robotic control concept deeply. The system can automatically detect object position based on pattern recognition method which has four steps: pre-processing process to initialize picture taken by camera, segmentation process for separating object from the background, classification process to determine characteristics of object, and position estimation process to estimate object position in the picture. The object’s position data are then calculated by using kinematic equation to control the robot’s motion. The results show that the system is able to detect object and move the robot automatically with accuracy rate in x-axis is 95.578 % and in y-axis is 92.878 %. The system also implements modified PI control method with FSR as input to control gripping force with maximum overshoot value 10 %. Arm robot model control system developed is successfully meet the expectation. The system control can be implemented to industrial scale arm robot with several modification because of kinematic similarity between model and industrial scale robot.

The year 1926 marked the passage of Germany’s Law to Protect Youth from Worthless and Obscene Publications. In combination with the Reich Motion Picture Law of 1920, this legislation sought to shelter minors from the corrupting forces of cultural narrative and imagery. As the discourse surrounding these laws attests, the terms of Germany’s so-called ‘cinema debate’ were ambivalent, and discussions about films thematizing crime were especially complex. Whereas many detective and crime films were condemned for glorifying delinquency, brutalizing the senses and exposing youth to excessive details about criminal activity, educational films and films that sounded a warning were viewed by reformists as ideal means to teach moral responsibility and good citizenship. This paper explores the purported connection between visual imagery, sensual—psychological stimulation, crime and censorship during the early years of the Weimar period.

This paper presents elastic and inelastic response spectra of strong motion accelerograms recorded during the 1988 Saguenay earthquake. Comparisons are made with the National Building Code of Canada (NBC) 1990 lateral forces requirements for the seismic resistant design of short-period structures. The use of a period-dependent force modification factor is proposed to take advantage of the energy dissipation capacity of short-period structures on a more rational basis. The seismic response of a typical low-rise steel building designed according to the NBC 1990 and CAN3-S16.1-M89 is then investigated. It is shown that to obtain a realistic picture of the ductility demand of low-rise buildings, the structural overstrength, that is, the supplied strength in excess of the seismic design base shear, should be explicitly considered in the design process. Key words: seismic design, earthquake, low-rise structures, code.

In the Randall–Sundrum brane-world scenario and other non-compact Kaluza–Klein theories, the motion of test particles is higher-dimensional in nature. In other words, all test particles travel on five-dimensional geodesics but observers, who are bounded to spacetime, have access only to the 4D part of the trajectory. Conventionally, the dynamics of test particles as observed in 4D is discussed on the basis of the splitting of the geodesic equation in 5D. However, this procedure is not unique and therefore leads to some problems. The most serious one is the ambiguity in the definition of rest mass in 4D, which is crucial for the discussion of the dynamics. We propose the Hamilton–Jacobi formalism, instead of the geodesic one, to study the dynamics in 4D. On the basis of this formalism we provide an unambiguous expression for the rest mass and its variation along the motion as observed in 4D. It is independent of the coordinates and any parameterization used along the motion. Moreover, we are able to show a comprehensive picture of the various physical scenarios allowed in 4D, without having to deal with the subtle details of the splitting formalism. Moreover we study the extra non-gravitational forces perceived by an observer in 4D who describes the geodesic motion of a bulk test particle in 5D. Firstly, we show that the so-called fifth force fails to account for the variation of rest mass along the particle's worldline. Secondly, we offer here a new definition that correctly takes into account the change of mass observed in 4D.

We study the influence of hydrodynamic, thermodynamic and interparticle forces on the diffusive motion of a Brownian probe driven by a constant external force through a dilute colloidal dispersion. The influence of these microscopic forces on equilibrium self-diffusivity (passive microrheology) is well known: all three act to hinder the short- and long-time self-diffusion. Here, via pair-Smoluchowski theory, we explore their influence on self-diffusion in a flowing suspension, where particles and fluid have been set into motion by an externally forced probe (active microrheology), giving rise to non-equilibrium flow-induced diffusion. The probe’s motion entrains background particles as it travels through the bath, deforming the equilibrium suspension microstructure. The shape and extent of microstructural distortion is set by the relative strength of the external force $F^{\mathit{ext}}$ to the entropic restoring force $kT/a_{\mathit{th}}$ of the bath particles, defining a Péclet number $\mathit{Pe}\equiv F^{\mathit{ext}}/(2kT/a_{\mathit{th}})$; and also by the strength of hydrodynamic interactions, set by the range of interparticle repulsion ${\it\kappa}=(a_{\mathit{th}}-a)/a$, where $kT$ is the thermal energy and $a_{\mathit{th}}$ and $a$ are the thermodynamic and hydrodynamic sizes of the particles, respectively. We find that in the presence of flow, the same forces that hinder equilibrium diffusion now enhance it, with diffusive anisotropy set by the range of interparticle repulsion ${\it\kappa}$. A transition from hindered to enhanced diffusion occurs when diffusive and advective forces balance, $\mathit{Pe}\sim 1$, where the exact value is a sensitive function of the strength of hydrodynamics, ${\it\kappa}$. We find that the hindered to enhanced transition straddles two transport regimes: in hindered diffusion, stochastic forces in the presence of other bath particles produce deterministic displacements (Brownian drift) at the expense of a maximal random walk. In enhanced diffusion, driving the probe with a deterministic force through an initially random suspension leads to fluctuations in the duration of probe–bath particle entrainment, giving rise to enhanced, flow-induced diffusion. The force-induced diffusion is anisotropic for all $\mathit{Pe}$, scaling as $D\sim \mathit{Pe}^{2}$ in all directions for weak forcing, regardless of the strength of hydrodynamic interactions. When probe forcing is strong, $D\sim \mathit{Pe}$ in all directions in the absence of hydrodynamic interactions, but the picture changes qualitatively as hydrodynamic interactions grow strong. In this nonlinear regime, microstructural asymmetry weakens while the anisotropy of the force-induced diffusion tensor increases dramatically. This behaviour owes its origins to the approach toward Stokes flow reversibility, where diffusion along the direction of probe force scales advectively while transverse diffusion must vanish.

The purposes of this study were (a) to describe the techniques used by elite female athletes during the transition from approach to takeoff in the long jump and (b) to determine which characteristics were significantly related to the officially recorded distance of the jump. The subjects were the 12 finalists in the Women's Long Jump at the 1984 Olympic Games. A motion-picture camera placed with its optical axis at right angles to the runway was used to record the performances of the subjects. Means and standard deviations of the variables identified in a theoretical model and correlations between these variables and the distance of the jump were computed. Significant correlations revealed that the less the downward velocity at touchdown at the end of the third-last stride, and the less this velocity is changed by the vertical forces transmitted via the supporting foot, and the shorter the duration of the next flight phase, the greater the distance of the jump.

Japanese gentō (originally a translation of the English term “magic lantern”) is a still-image projection system that enlarges images on a transparent slide or film and projects them onto a large screen. Most studies argue that the magic lantern, stereopticon, or gentō thrived from the seventeenth to the nineteenth centuries and that their use declined in the early twentieth century with the arrival of the motion picture. This article examines the revival and redevelopment of gentō in mid-twentieth-century Japan, focusing on its use in 1950s social movements (including labor, social welfare, and political protest movements) and exploring how independent gentō works represented the landscapes, histories, and everyday lives threatened by the presence of U.S. military forces in Japan. It also examines the representation of female gender and sexuality in these gentō works, looking at the ways they depict women as both symbols of a victimized and humiliated homeland and as threats to the order of paternalistic family and society in Japan.

A series of refractive index-matched time-resolved tomographic PIV experiments are performed to study the dynamics of motion of solid spheres in flow. The refractive index matching of acrylic spheres with the working fluid facilitates unobstructed optical access around the spheres, enabling the simultaneous estimation of both the 3D flow field and the fluid-structure interactions governing the kinematics of the spheres. Additionally, using normal tracers as well as fluorescent tracers for PIV helps identify the most suitable approach for multiphase index-matched PIV studies. Two different test cases are presented: (1) solid spheres moving in a round channel with an abrupt area expansion and, (2) solid spheres rising in a quiescent flow at terminal velocity. Despite both falling under the category of solid-liquid flows, these cases exhibit entirely different mechanisms and flow characteristics. Nonetheless, refractive index matching provides a valuable tool that can be used to characterize the flow as well as the motion dynamics of the free spherical particles in a liquid. These time-resolved 3D experiments offer a comprehensive insight into the transient evolution of the flow fields and the pressure forces on the spheres, providing a complete picture of the dynamic process. The emphasis of the present paper lies in the experimental methodologies, challenges and data analysis techniques used for refractive index-matched multiphase flow studies.

In the United States many children are malnourished. We very rarely think of over-nutrition as malnutrition, but it is. Furthermore, our children are suffering because of it. No one would tell their child to go play in the street, because imminent harm and perhaps death would ensue. Yet we fail to recognize the threats posed by overweight and obesity. Not only is one’s quality of life greatly diminished, but morbidity and premature mortality from Type II diabetes, hypertension, and cardiovascular disease are the consequences. Obese persons are the subject of ridicule in television programming and the motion picture industry. This negative attention contributes to the stigma and resulting psychological pain endured by adults and children alike. Health educators must actively pursue resolution of the obesity crisis, not only through education, but through policy advocacy for PE standards, recess, school vending machine policies, nutrition education, and improved nutrition within our schools. Individual intervention has not proven effective, and it is time to address the environmental forces at work.

The laws of physics explain many human misperceptions of whole-body passive self-motion. One classic misperception occurs in a rotating chair in the dark: If the chair is decelerated to a stop after a period of counterclockwise rotation, then a subject will typically perceive clockwise rotation. The laws of physics show that, indeed, a clockwise rotation would be perceived even by a perfect processor of angular acceleration information, assuming that the processor is initialized (prior to the deceleration) with a typical subject's initial perception – of no rotation in this case. The motion perceived by a perfect acceleration processor serves as a baseline by which to judge human self-motion perception; this baseline makes a rough prediction and also forms a basis for comparison, with uniquely physiological properties of perception showing up as deviations from the baseline. These same principles, using the motion perceived by a perfect acceleration processor as a baseline, are used in the present paper to investigate complex motions that involve simultaneous linear and angular accelerations with a changing axis of rotation. Baselines – motions that would be perceived by a perfect acceleration processor, given the same initial perception (prior to the motion of interest) as that of a typical subject – are computed for the acceleration and deceleration stages of centrifuge runs in which the human carriage tilts along with the vector resultant of the centripetal and gravity vectors. The computations generate a three-dimensional picture of the motion perceived by a perfect acceleration processor, by simultaneously using all six interacting degrees of freedom (three angular and three linear) and taking into account the non-commutativity of rotations in three dimensions. The resulting three-dimensional baselines predict stronger perceptual effects during deceleration than during acceleration, despite the equal magnitudes (with opposite direction) of forces on the subject during acceleration and deceleration. For a centrifuge run with the subject facing tangentially in the direction of motion, the deceleration baseline shows a perception of forward tumble (pitch rotation) beginning with ascent from the earth, while the acceleration baseline does not have analogous pitch and vertical motion. These results give a three-dimensional explanation for certain puzzling acceleration-deceleration perceptual differences observed experimentally by Guedry, Rupert, McGrath, and Oman (Journal of Vestibular Research, 1992 (2).). The present analysis is consistent with, and expands upon, previous analyses of individual components of motion.

The processing of various vibrational low-frequency and cavitation high-frequency actions by their rheological properties is studied. A mathematical model of the motion of particles of a technological environment is determined taking into account the different nature of the dissipative forces. Two kinds of frictional forces are applied: dry at the first stage of changing the constituents of the mixture and viscous at the second, final stage of compaction of the mixture. The obtained analytical dependencies reveal the physical picture of the behavior of particles and the technological environment as a whole. The key stages of compaction to account for dry and viscous friction between the components of materials are described. It is revealed that processing at low frequencies reduces energy costs. Taking into account in vibroacoustic processes the contribution of higher harmonics greatly accelerates the process of cavitation. This is a fundamentally new result and the idea of the possibility of obtaining an effect for creating new materials. The obtained amplitudes and frequencies of oscillations of both low-frequency and high-frequency modes open a new direction in technologies for improving the quality of material processing. The main modes and parameters of vibrational and acoustic action for effective implementation of material processing processes are determined. The obtained results are applied at definition of rheological and technological parameters at various stages of processing of materials. The basic directions of quality improvement of processing environments are formulated.

The occupational ergonomics practitioner has traditionally focused on physical aspects and risk factors of industrial jobs (e.g., forces exerted, moments and loading on the joints, low back compressive force, upper extremity repetitive motion, etc.). However, some studies have shown that physical risk factors may only account for about 37% of low back pain (Punnett et al., 2005). Psychosocial factors continue to be identified as an important element in the incidence of many occupationally-related musculoskeletal disorders. Some researchers have included assessments of psychosocial and personal/individual factors to biomechanical assessments in studies of occupational injury risks (e.g., Marras et al., 2000, Ferguson et al., 2012). Others (e.g., Barim et al., 2019) have examined incorporating personal/individual factors into risk assessment methods to give a more complete picture of injury risk that an individual or a subgroup of workers (e.g., gender, age, prior injury) may face on jobs. This discussion panel will explore the research in the fields of psychosocial and personal risk factors and their relevance to the assessment of injury risk. This session is relevant for the practitioners who must understand, interpret and apply the results of research to real-world problems.

The quantum self-organization is introduced as one of the major underlying mechanisms of the quantum many-body systems. In the case of atomic nuclei as an example, two types of the motion of nucleons, single-particle states and collective modes, dominate the structure of the nucleus. The collective mode arises as the balance between the effect of the mode-driving force (e.g., quadrupole force for the ellipsoidal deformation) and the resistance power against it. The single-particle energies are one of the sources to produce such resistance power: a coherent collective motion is more hindered by larger spacings between relevant single particle states. Thus, the single-particle state and the collective mode are “enemies” against each other. However, the nuclear forces are rich enough so as to enhance relevant collective mode by reducing the resistance power by changing single-particle energies for each eigenstate through monopole interactions. This will be verified with the concrete example taken from Zr isotopes. Thus, the quantum self-organization occurs: single-particle energies can be self-organized by (i) two quantum liquids, e.g., protons and neutrons, (ii) monopole interaction (to control resistance). In other words, atomic nuclei are not necessarily like simple rigid vases containing almost free nucleons, in contrast to the naïve Fermi liquid picture. Type II shell evolution is considered to be a simple visible case involving excitations across a (sub)magic gap. The quantum self-organization becomes more important in heavier nuclei where the number of active orbits and the number of active nucleons are larger.

Photofragmentation spectroscopy—the study of “half collisions” with polarized light of subdoppler line width—opens a window to look into the structure of molecules. The energy partitioning among the particular degrees of freedom of the products of the fragmentation reaction is described by the scalar properties, the direction and magnitude of a particular type of motion is described by the vector properties. The measurement of the scalar and vector properties allows a pictorial view of the intermediate state. The forces which make the fragments fly apart or rotate and vibrate can be “seen” from the line shapes. Information on the unstable intermediate state is gained from the stable fragments long after the dissociation of the parent molecule. In particular, information on the “lifetime” of the intermediate on a femtosecond time scale can be obtained.A number of molecules, mainly three and four atomic, have been studied by this technique. Hydrogen peroxide has shown up as a textbook example. A complete analysis was possible including not only correlation of different types of fragment motion but also a correlation of the two coincident particles formed from the same parent molecule. The experimental results are in full agreement with recent calculations of the dynamics of the fragmentation on newly obtained potential energy surfaces. Hydrogen peroxide shows a strong dependence of its potential energy on the dihedral angle in the two electronic states amenable to laser excitation. This experiment further demonstrates that an analysis is also possible if two states are excited simultaneously.Another good example is the fragmentation of hydrazoic acid for which also coincident pair correlation has been treated. Here again the results agree excellently with a qualitative picture which can be drawn from recently calculated ab initio potential energy surfaces. The HN3 example is much more complicated than the former one due to its higher structured upper potential energy surface. Strong rotational excitation is observed in the N2 fragment leaving the NH fragment rotationally cold.The treatment of vector correlations in molecular photofragmentation is a powerful tool for the study of the dynamics of molecular dissociation reactions.

A study was made of the nature of the movement of air mass in the space between the device that warms the room and the confining outer wall of the room. The hydrodynamic motion of the air mass was simulated on the basis of the two-dimensional in space Navier-Stokes equations and the convective heat conduction equation to find out a detailed picture of the physical processes that occur. Also for some particular cases, analytical solutions were obtained for the conjugate problem, where the movement of air is caused by its thermal expansion and the action of gravity in areas with different densities (Archimedes' forces). The simulation of more complex types of air movement with the formation of vortex flows using numerical methods and the corresponding program codes written in C++. It was found that the movement of air mass in the space between the device and the fence strongly depends not only on the temperature of the device, the wall, and the outside air. It was revealed that hydrodynamics and heat transfer are significantly influenced by two geometrical parameters: the distance between the device and the wall, and the distance from the flooring to the bottom of the device. In particular, a thin layer of the downward flow of cold air along the fence and above the floor is possible. The condition for the occurrence of such a downward flow has been found, it is determined by the ratio of the temperature of the wall, the device, and the average temperature in the room.

Perestroika became a time when the thematic spectrum of public discussions expanded. In addition to discussions about everyday life, the ideas of deconstructing the Soviet bureaucratic and ideological system became relevant. This dialogue has had an impact on specific institutions. This article analyzes an example of criticism of the Komsomol organization in the film Emergency of the District Scale (ChP raionnogo mashtaba). The main part of the study is devoted to the analysis of this movie’s discussions. The assessment was influenced by local bans that prevented the film from being released. The article describes various mechanisms of influence on cinematography institutions throughout the country. The question of how the context of prohibitions affected the condition of film criticism is also considered. Emergency was in a position where the fight against the abuses of local authorities became more significant than an authentic criticism of the art features of the motion picture. This formed two opposing forces. Representatives of the first considered themselves true fighters for the perestroika. Their opponents tried to refuse such a formulation of the question and tried to deconstruct the stylistics. In addition, an important aspect of perestroika cinema was the legal appearance of erotic scenes, which were also shown in Emergency. The article presents details of how this context was inosculated with the ideological debate around the film, as well as some of the arguments of different groups. The ironic mode also became a significant aspect of the discussion about the movie. This way of reflection was the only means of going beyond the boundaries of the dichotomy “for glasnost [publicity] and perestroika” or “against”, which was the basis of public debate.

Context. The Galilean satellites have very complex orbital dynamics due to the mean-motion resonances and the tidal forces acting in the system. The strong dissipation in the couple Jupiter–Io is spread to all the moons involved in the so-called Laplace resonance (Io, Europa, and Ganymede), leading to a migration of their orbits. Aims. We aim to characterize the future behavior of the Galilean satellites over the Solar System lifetime and to quantify the stability of the Laplace resonance. Tidal dissipation permits the satellites to exit from the current resonances or be captured into new ones, causing large variation in the moons’ orbital elements. In particular, we want to investigate the possible capture of Callisto into resonance. Methods. We performed hundreds of propagations using an improved version of a recent semi-analytical model. As Ganymede moves outwards, it approaches the 2:1 resonance with Callisto, inducing a temporary chaotic motion in the system. For this reason, we draw a statistical picture of the outcome of the resonant encounter. Results. The system can settle into two distinct outcomes: (A) a chain of three 2:1 two-body resonances (Io–Europa, Europa–Ganymede, and Ganymede–Callisto), or (B) a resonant chain involving the 2:1 two-body resonance Io–Europa plus at least one pure 4:2:1 three-body resonance, most frequently between Europa, Ganymede, and Callisto. In case A (56% of the simulations), the Laplace resonance is always preserved and the eccentricities remain confined to small values below 0.01. In case B (44% of the simulations), the Laplace resonance is generally disrupted and the eccentricities of Ganymede and Callisto can increase up to about 0.1, making this configuration unstable and driving the system into new resonances. In all cases, Callisto starts to migrate outward, pushed by the resonant action of the other moons. Conclusions. From our results, the capture of Callisto into resonance appears to be extremely likely (100% of our simulations). The exact timing of its entrance into resonance depends on the precise rate of energy dissipation in the system. Assuming the most recent estimate of the dissipation between Io and Jupiter, the resonant encounter happens at about 1.5 Gyr from now. Therefore, the stability of the Laplace resonance as we know it today is guaranteed at least up to about 1.5 Gyr.

A general mathematical model which describes the motion of an interface between immiscible viscous fluids along a smooth homogeneous solid surface is examined in the case of small capillary and Reynolds numbers. The model stems from a conclusion that the Young equation, σ1 cos θ = σ2 − σ3, which expresses the balance of tangential projection of the forces acting on the three-phase contact line in terms of the surface tensions σi and the contact angle θ, together with the well-established experimental fact that the dynamic contact angle deviates from the static one, imply that the surface tensions of contacting interfaces in the immediate vicinity of the contact line deviate from their equilibrium values when the contact line is moving. The same conclusion also follows from the experimentally observed kinematics of the flow, which indicates that liquid particles belonging to interfaces traverse the three-phase interaction zone (i.e. the ‘contact line’) in a finite time and become elements of another interface – hence their surface properties have to relax to new equilibrium values giving rise to the surface tension gradients in the neighbourhood of the moving contact line. The kinematic picture of the flow also suggests that the contact-line motion is only a particular case of a more general phenomenon – the process of interface formation or disappearance – and the corresponding mathematical model should be derived from first principles for this general process and then applied to wetting as well as to other relevant flows. In the present paper, the simplest theory which uses this approach is formulated and applied to the moving contact-line problem. The model describes the true kinematics of the flow so that it allows for the ‘splitting’ of the free surface at the contact line, the appearance of the surface tension gradients near the contact line and their influence upon the contact angle and the flow field. An analytical expression for the dependence of the dynamic contact angle on the contact-line speed and parameters characterizing properties of contacting media is derived and examined. The role of a ‘thin’ microscopic residual film formed by adsorbed molecules of the receding fluid is considered. The flow field in the vicinity of the contact line is analysed. The results are compared with experimental data obtained for different fluid/liquid/solid systems.

This paper presents a method for determining the profile of the gear teeth on a variable radius wheel characterized by a constant pressure angle. The method can generate special gears using numerically controlled milling machines. As will be shown, the method, applied to a constant radius gear, generates an involute profile. The method is based on the integration of a differential equation describing the mesh between gears of variable radius, where the mesh point position is computed during rotation starting from the point, freely selected, where the tooth crosses the pitch line. The individual point is subsequently rotated in the opposite direction by an angle equal to the angle of rotation from the initial pitch line point, thereby generating the tooth profile. The method, applied to a wheel of variable radius, defined analytically or numerically, can compute teeth profiles on pairs of pitch lines of any shape. In particular, the motion of a slotted rotating link mechanism has been reproduced, but for the sign. Teeth profiles of other variable radius wheels have also been obtained. The results are more than satisfactory and are presented below. A numerically controlled milling machine has been programmed to actually build the antirotating slotted link equivalent gear. The present method, however, has much broader application, such as assigning the speed law to consequentially determine the gear form, as can be done with cams. Furthermore, a special planetary gear train makes it also possible to obtain reciprocating motion driven solely by gears. This has been built and its picture and scheme are presented in the paper. However, due to the low efficiency of the said mechanism, the best way to utilize this new technology seems to be to couple a crank and a rod to the pair of variable radius gears, as has been done at Hanover University. Some possible applications are presented. The special feature of these gears is the programmability of the shape of the pitch lines during the design phase, and thus of the velocity and acceleration profiles. In this way velocity profiles that could formerly only be obtained electro-pneumatically can be produced from purely mechanical components, with the added advantage of being able to control the level of inertia forces during the design phase. [S1050-0472(00)01601-9]

This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A masterpiece of 1037 pages published in 1939 and subsequently in the greatest and longest motion picture on screen. Piling up records and building it's own history and legends. The novel has sold in more than 25 million copies in at least 27 languages in thirty countries and in more than 185 editions according to the research conducted in 2004. These figures continue to increase, not to mention that the film is seen by more individuals than the total population of the USA. GWTW has grown and conflated into a phenomenon of American and later into a phenomenon of levels of basic appreciation after international popular culture. Thus criticism was attested at the levels of basic appreciation , often in the opposite poles of love and /or hate , the evaluation again in bipolar terms of praise and / or scorn. On the popular level the book was lauded and in the literary world it was defamed. Mitchell's novel " Gone With The Wind " was seen as important symbols of American culture forces. A serious biography in 1965 sparked reconsiderations simply by the assumption of Mitchell's importance as a writer. Other re- evaluations followed which asserted the literary quality of the work, notably in feminist terms. Attesting the qualities that critics wrote such as Michener who said: " The spiritual history of a region". Many other scholarly papers have been undertaken to attack it and completed to praise it. Because of the enormous popularity , readability , embodiment of the heroine woman character Scarlett O'Hara with many other women who saw themselves in those situations or experienced the same then or even nowadays. These multi themes to discuss about, issues primarily of women, the novel is defined as a woman's literary artistic achievement, seen through the eyes off a woman Scarlett herself and many other women characters. Is seen the distinction of the past and present of the old and new society. Mitchell herself says it is about courage and gumption to change as a necessity in order to survive war, reconstruction and transition. The search of survival by poor and nearly defeated young women who had no control or capacity to understand these tensions. Indeed this novel has become an icon of the US culture.

The article studies the dynamics of the crane movement mechanism to take measures for their reliable operation and reduce the wear of movement mechanisms. For this, the following assumptions are accepted: transverse motion is not considered, the dynamics of engines and electric drive is not considered; the crane is presented in the form of a seven–mass system, the load suspension is adopted as rigid. It has been established that account of flexibility of the rope, with which the load is suspended, does not significantly affect (no more than 10%) the values of the largest dynamic loads in elastic connections; therefore, when determining the loads in the elastic connections of the movement mechanisms, it is possible to use a system with an elastic mechanism and a rigid suspension of the load. The processes in the movement mechanisms of load-lifting cranes are considered, using the calculated seven-mass dynamic scheme of structures. During the mechanism operation the oscillations occur in its metal structures and transmission shafts, in addition, the load sways (which, together with a rope of length Ls, forms a pendulum with a moving suspension point). The graphs show the forces in the longitudinal, transverse beams of the crane and the linear speeds of wheels, with an external force applied to each wheel of 21700 N. All three types of oscillations have different frequencies, which allows them to be considered on simpler two-mass models. But when using synchronous rotation systems (SRS) on the movement mechanism, which are often prone to oscillations, the proposed model is better suited, because it takes into account the interaction of the SRS and the mechanism at different vibration frequencies. With these loads, the mismatch of the path of the sides Dxc does not exceed 0,025 m, the relative swing of the load xl is not more than 0,25 m. The article found that according to the seven-mass model, when a driving force is applied, mechanical oscillations arise in which three frequencies of interaction are observed. For the crane designs discussed in the article, these frequencies are 0,2, 0,95 and 6,4 Hz; to study a more complete picture of the processes, it is necessary to consider the transverse displacement of the crane and the dynamics of electric drive movement. The parameters of the calculated scheme for output data of the bridge are determined. Based on obtained results the calculated scheme of crane movement mechanism was constructed. The system is converted into a three-axle, the first of which is the rotor of engine, the second - the first gear together with the coupling, and the third - the axle with two gears.

Innovative approach to reveal the relationship between matter and consciousness has been proposed. It is shown that the relevance of the problem is determined today by new discoveries of the natural sciences which cannot be explained from the standpoint of the existing categorical apparatus and features of the development of modern human civilization. Individual and collective awareness of the physical picture of the world and the place of individuals in it began to significantly lag behind the achieved level of research in natural sciences. Earlier, mankind was simply interested in the laws of nature as such, but the question arises now: why are they exactly like these, and not different? Do they contain any "intelligence"? What forces keep in equilibrium the world given to us in our sensation? The analysis of space physics in the present context is, first of all, an analysis of the primacy or secondariness of being, matter and information. According to the author's assumption, we move in time on the scale of informational exploration of the world in the opposite direction with respect to the information which becomes exhausted on the periphery of the world, but not on the scale of distances.With this view of the physics of the process, we can imagine that it is not galaxies that are moving apart, but information contained in the radiation from other galaxies has a redshift effect. The farther away a galaxy, the more exhausted is the information, the less it is and the slower time should go by. The red shift (cosmological, the Doppler effect) in the spectrum of galaxies can be a consequence of hunger for information on the horizon of the events of the development of the Universe. So, the galactlic dispersal must take place in all directions, which provides an equilibrium between space, time, mass, and information. In this, motion does not act as a form of existence of matter. The form of the existence of matter is the information about it. In this case, radiation is the energy form of information about the object of radiation. Therefore, space boundary cannot be the presence of physical objects. The boundary of space is the availability of information about space, its growth or 'burnout', which is equivalent to the dispersal of galaxies or their collapse. The information expires, the purpose of the existence of our material-spatial dimension will end. In our opinion, the paradox of our knowledge may consist in the fact that galaxies are moving away from one another on the information scale rather than on the physical one, and we perceive the real world in the form of information about it. In terms of primacy, it is our thinking and being that are secondary in relation to information which in its entirety covers and extends its influence on the entire space. If this were not the case, space would have lost its stability, becoming chaos. Consequently, it should be concluded that information is a highly organized system capable of "self-awareness and thinking".

Injury to the cervical spinal cord is a major health problem owing to its frequency and to the often devastating sequelae of serious trauma with respect to long-term disability for the patient. Cervical injuries are often reported in association with head trauma and cervical spinal cord injury appears to be a major contributing factor in acute death secondary to traffic accidents producing severe head injuries. A high incidence of neurological deficits is reported in cervical spinal trauma, but cervical injuries can escape detection in the acute phase if clinically silent or in patients unconscious from to head trauma. The most important predisposing factor in the concomitant occurrence of head and neck trauma is transmission of forces through the cranial vault to the cervical spine. Other underlying cervical spine diseases, either congenital or developmental, may also predispose to the development of cervical injuries. The spine includes bony-ligamentous structures and nervous structures. The bony-ligamentous involucre is anatomically predisposed to perform three major tasks: 1) maintenance of spinal statics; 2) mobilization in the three anatomic planes and 3) protection of nervous and vascular structures inside the spinal canal. The cervical spine is subjected to varying forces of flexion, flexion-rotation, extension and vertical compression which result in damage to the different components of the spine when they are applied beyond physiological limits. Biomechanical considerations of the different motion patterns that occur in the cervical spine are essential to understand the contribution of mechanical stresses to the development of specific spinal injuries. This chapter tackles the problem of a logical management of cervical spinal trauma based on clinical presentation to: a) identify the preferential diagnostic modality to investigate that type of injury (conventional X-Ray, Computed Tomography, Magnetic Resonance); b) interpret images, indipendently from the diagnostic modality utilized, considering the cause-effect relation between the traumatic force and the anatomic-functional structures involved by the trauma. The clinical picture may include pain, movement limitations and/or radiculo-myelopathy. Cerebral neurologic deficits can be the consequence of traumatic damage to the carotid and vertebral artery system in the neck. Evaluation of injury instability is one of the main goals of radiographic investigation. One classifies bony instability which is temporary, as opposed to disco-ligamentous instability which is permanent and usually requires surgical stabilization, and mixed instability. Conventional lateral and antero-posterior radiographs should be initially performed in patients with cervical trauma and in polytrauma and comatous patients who are difficult to assess clinically. They effectively screen vertebral fractures, vertebral body and facet dislocations and pre-vertebral soft tissue swelling. However, ligament disruption and instability can be underestimated by a normal disco-vertebral alignment. Dynamic flexion-extension views, useful to reveal such an instability, should never be performed in the acute phase particularly if fractures and neurologic deficits are present. CT scan, in addition, has several advantages: the axial plane provides an optimal view of the size and shape of the spinal canal, bony fragments and foreign bodies within the canal are very well depicted, posterior element fractures are better visualized. A preexsisting spondylotic narrow canal is well evaluated by CT as are post-traumatic disc herniations. Widening of the apophyseal joints, suggesting disruption of facet capsules and spinal instability, is best demonstrated by CT. However, CT has some limitations in evaluating ligament instability since it is performed in the neutral position and, in addition, it cannot visualize the medulla and its potential traumatic lesions. After the introduction of MRI, myelography and CT-myelography are no longer used to investigate cervical spine lesions involving cord and nerve roots. MRI should be performed in every patient presenting with neurologic deficits. The usefulness of MR is in detecting extradural compressive lesions like disc herniation and haematomas that need to be decompressed surgically. MRI can also evaluate ligamentous integrity and disk rupture. Bony fractures are revealed by MRI either by signal or morphologic alterations of vertebral bodies, but thin, linear fractures are less well identified than with CT. One of the main advantages of MRI is the direct identification of intrinsic cord pathology such as cord contusion and haemorrhage. Cord haemorrhage seems to be predictive of a complete lesion and of poor outcome. Therefore MRI is proposed to assess the prognosis of traumatic cord lesions, the best time for imaging ranging between 24 and 72 hours after injury.

Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

THE WORLD ACCORDING TO PHYSICS by Jim Al-Khalili. Princeton, NJ: Princeton University Press, 2020. 336 pages. Hardcover; $16.95. ISBN: 9780691182308. *The World According to Physics is Jim Al-Khalili's "ode to physics" (p. vii). While Al-Khalili has been publishing popular science for over twenty years, this is his first attempt to provide the layperson a cohesive overview of physics as a whole, linking together relativity, quantum mechanics, and thermodynamics into one unified (or rather, not yet unified) picture of the cosmos. "Ode" is appropriate, for the author's unrelenting adoration of his subject is apparent throughout; this is a child's dream fulfilled, and in many ways is a broader summa of the world according to the mature Al-Khalili, bringing together not only physics, but also his views on truth, society, and our future. *Khalili opens with a discussion of how the human mind craves narrative. Yet science has displaced much of the old myths and religions: "Contrary to what some people might argue, the scientific method is not just another way of looking at the world, nor is it just another cultural ideology or belief system. It is the way we learn about nature through trial and error, through experimentation and observation, through being prepared to replace ideas that turn out to be wrong or incomplete with better ones, and through seeing patterns in nature and beauty in the mathematical equations that describe these patterns. All the while we deepen our understanding and get closer to that "truth"--the way the world really is" (p. 2). *While physics is not just another "story," it does have a cosmic scale that gives it a captivating wonder of its own, providing the basis for chapter 2 ("Scale"). Physics encompasses the infinitely small (e.g., subatomic particles) as well as the infinitely large (e.g., the expansion of spacetime at the farthest reaches of existence). Further, its scope is not merely all of space but all of time as well, getting within decimal points of the first instant after the big bang, while providing prophetic approximations of how the cosmos might end. While Al-Khalili does not play his cards this early, his later chapters (pp. 242-43 in particular) will reveal that this extensive scope establishes physics as the most fundamental discipline, the reigning queen of the sciences. *The deeper project begins in chapter 3 ("Space and Time"). Al-Khalili wishes to display the underlying skeleton that comprise the unification project of physics, charting each merger until the final matchup is made (similar to a playoff line-up, where 16 teams soon become 8, then 4, then 2, then 1). Just as Newton wedded heaven and Earth through gravity, Einstein wedded space and time, explaining a diversity of phenomena with ever-simpler equations. While Al-Khalili's popular explanations of special and general relativity are merely adequate, his grasp of the broader narrative of unification in which these theories stand is incredibly useful, helping the layman see the trajectory of the book and physics as a whole, even when they cannot understand each individual step. *While chapter 3 unified space and time, chapter 4 ("Energy and Matter") unifies the energy and mass which warp said spacetime. Yet the unifications of relativity hit a snag when they come to "The Quantum World" (chapter 5) and to "Thermodynamics and the Arrow of Time" (chapter 6). While Einstein seems to rule over the kingdom of all things great, quantum mechanics rules over all things small, and no one has managed to negotiate a treaty just yet. Things do not work "down there" as they do "up here"; the laws of the macro are not the laws of the micro. Further, thermodynamics suggests that there is a directionality to time--for things move toward greater entropy--yet it is unclear how this can be made consistent with relativistic time or the conceptual reversibility of time in the quantum world. *Al-Khalili then moves in chapter 7 ("Unification") to possible reconciliations of these issues. He does an admirable job of explaining how the electromagnetic and weak nuclear forces were unified into the electroweak force, as well as explaining the ongoing attempt to unify the strong force with the electroweak force in a grand unified theory. This would leave only the holy grail: the attempt to unify gravity with the other three forces. String theory attempted such a unification by appealing to ten dimensions, yet by the 1990s there were five different string theories, which themselves needed to be unified, spawning M Theory (which required an additional eleventh dimension). An opposing contender soon arrived in loop quantum gravity. While string theory posits a quantum particle (the graviton) that exists within spacetime, loop quantum gravity inverts the order, making space more fundamental than a quantized particle within space, and so quantizing spacetime itself. These quanta of space are then "looped" together, determining the shape of spacetime. *Having unveiled the best approximations at a unified theory in physics today, Al-Khalili then ventures in chapter 8 to evaluate the subsequent state of the subject. He expresses frustration that no definitive proof has adjudicated between possible theories of everything, and that such unification seems further away now than it did thirty years ago. Even major discoveries, such as the Higgs boson, have mostly confirmed what we already suspected for decades, rather than genuinely pushing the envelope. Yet while he has given plenty of reason to be sceptical, Al-Khalili then lists recent developments that show that plausible models of quantum gravity continue to come forward, for example, Witten's M-Theory or Maldacena's gauge/gravity duality. Further, physics continues to make substantial technological contributions to daily life. This leads naturally into chapter 9 ("The Usefulness of Physics"). Particular attention is paid to the future possibilities of quantum computing for physics, medicine, AI, and a whole host of other multi-disciplinary simulations and processes that quantum superpositions would allow (for superpositions enable a greater degree of complexity in contrast to binary). *Al-Khalili concludes with a final chapter ("Thinking like a Physicist") about how physics and the scientific method can and should help govern public discourse. In this chapter, the true aim of his project comes to light, suggesting he is not providing a picture of the world according to physics, but the world as it simply is: "One day we may find a new theory of quantum gravity, but it will never predict that my ball will take twice or half as long as Newton's equation of motion predicts. That is an absolute truth about the world. There is no philosophical argument, no amount of meditation, no spiritual awakening or religious experience, or gut instinct or political ideology that could ever have told me that a ball dropped from a height of five metres would take one second to hit the ground. But science can tell me" (p. 276). *While Al-Khalili claimed in the preface that he would try to avoid metaphysical questions (p. xiii), he inevitably (and at times, self-consciously) stumbles back upon them, making ontological claims about the world-in-itself. Indeed, even his quest for unification is arguably based on a philosophical presupposition that unity is more fundamental than diversity, a tradition which came to fruition in Neoplatonism and Christian monotheism. While Al-Khalili acknowledges the need for philosophy and science to communicate (p. xiv), in practice he seems to treat philosophy as a useful tool for science when it hits a roadblock (e.g., for unpacking the implications of quantum mechanics) rather than a discipline in its own right that has the ability to question the underlying epistemic and ontological assumptions of science itself. As such, while his manner is more open and humble than your average humanist/materialist (he was elected president of the British Humanist Association in 2012), his actual beliefs do not seem to have absorbed much at all of the philosophical or theological complexity required for the sorts of claims he is making: "The human condition is bountiful beyond measure. We have invented art and poetry and music; we have created religions and political systems; we have built societies, cultures, and empires so rich and complex that no mere mathematical formula could ever encapsulate them. But, if we want to know where we come from, where the atoms in our bodies were formed--the "why" and "how" of the world and universe we inhabit--then physics is the path to a true understanding of reality. And with this understanding, we can shape our world and our destiny" (p. 281). *Ultimately, if one wants a helpful primer on physics, Al-Khalili provides a passionate and serviceable introduction. While his explanations of some topics were perhaps too much for newcomers, his weaving together of subjects often treated in isolation helps get things back on track, providing a grander narrative for lost readers to latch on to. Yet, if one is looking to see how this narrative fares as an all-encompassing account of the "why" and "how" of our world, then there are superior accounts available on the market. Indeed, thousands of years of writing and prayer have already sought out and encountered the One at the heart of creation. *Reviewed by Jonathan Lyonhart, University of Cambridge, Sidney Sussex College, Cambridge, UK CB2 3HU

NEWTON THE ALCHEMIST: Science, Enigma, and the Quest for Nature's "Secret Fire" by William R. Newman. Princeton, NJ: Princeton University Press, 2019. xx + 537 pages, including four appendices and an index. Hardcover; $39.95. ISBN: 9780691174877. *If there is one person associated with developments in the physical sciences, it is Isaac Newton (1642-1727). For many, he represents the culmination of the seventeenth-century Scientific Revolution: its point of convergence and simultaneously the point from which science began to exercise its full influence on society. His work is often considered as thoroughly modern: well-designed experiments; precise and clearly articulated mathematical-physical principles which invite deductions further tested by measurement and experiment; and great discoveries in astronomy (universal law of gravitation), in optics, in mechanics, and in mathematics (the calculus). For many, Newton provided the model for physical theory for the next two hundred years. *And yet, this generally accepted description of Newton fails to capture the tension and diversity in Newton's work. The discovery of Newton's alchemical manuscripts (containing no fewer than one million words) by the economist John Maynard Keynes at an auction at Sotheby's in 1936 partially lifted the veil. In 1947, Keynes offered his rather candid assessment of Newton's alchemical work: he "was not the first of the age of reason" but rather "the last of the magicians." *However, in the last two decades, we have come to understand and appreciate that alchemy was not simply deviant behavior by "magicians" or charlatans, but rather part and parcel of the make-up of the Scientific Revolution. Alchemy, or better, chymistry, was a central part of the early modern study of nature. One of the leaders of this historiographical revolution has been William Newman, distinguished professor in the Department of History and Philosophy of Science and Medicine at Indiana University. [For more on this revolution, see my review of Lawrence Principe's book The Secrets of Alchemy in PSCF 66, no. 4 (2014): 258-59.] Newman has written several seminal books: for example, Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution (2006) and Promethean Ambitions: Alchemy and the Quest to Perfect Nature (2004). *Newton the Alchemist displays Newman's fifteen-year dedicated study of Newton's alchemical manuscripts. This is the book for anyone who wishes to understand the background, implementation, and experimentation characteristic of Newton's long and abiding interest in alchemy. Newman introduces us to a Newton who wished to be an adept alchemist (even as a student at the Free Grammar School in Grantham) and kept the alchemical fires burning throughout his life, not only in Trinity College at Cambridge University, but also as warden of the Royal Mint. Newman also shows that alchemy is not inherently unscientific or irrational, nor that Newton was an outlier. Such contemporary luminaries as Robert Boyle, Gottfried Leibniz, and John Locke were also involved in alchemical endeavors. *In the first chapter, "The Enigma of Newton's Alchemy: The Historical Reception," Newman addresses the claims of two of Newton's most illustrious interpreters: Richard Westfall and Betty Jo Teeter Dobbs. For Dobbs, Newton's belief in alchemical transmutation was a religious quest, with the "philosophic mercury" acting as a spirit mediating between the physical and divine realms. For Westfall, Newton's alchemical research, involving invisible forces acting at a distance, allowed him to develop his theory of universal gravitation, published in the Principia of 1687. Newman calls both claims into question based on his close reading of the extant alchemical papers, many of which Dobbs and Westfall were not able to see. Newman wishes to determine the "hidden material meaning of the text" (p. 46), rather than advance any broad metaphysical or soteriological claims on Newton's part. *In chapter 4, "Early Modern Alchemical Theory," Newman reveals how heavily influenced Newton was by European alchemists, above all by the Polish alchemist Michael Sendivogius. Drawing on their experiments, Newton, in the 1670s, developed an all-encompassing geochemical theory of nature, according to which the earth functions as "a 'great animall' or rather an 'inanimate vegetable'" (p. 64). In Newton's view, this process explained gravitation (among many other things), although he would abandon this idea when he came to write the Principia. *In collaboration with others, many at Indiana University, Newman has organized, read, and carefully compared Newton's alchemical manuscripts. [Readers can see the results at www.chymistry.org.] In his analysis, Newman employs an approach which he calls "experimental history." This involves at least two elements: (1) a careful textual linguistic analysis of alchemical manuscripts and their experimental details; and (2) an effort to repeat the experiments in a modern laboratory setting. To understand alchemical manuscripts is indeed a challenging undertaking involving an understanding of "materials, technology, and tacit practices," as well as deciphering "hidden terms or Decknamen" used for chemical substances, and the intricate symbols employed to designate them (see "Symbols and Conventions," pp. xi-xvii). *Newman repeated many of Newton's experiments, revealing many of his laboratory practices for the first time. The results are sometimes spectacular (see, for example, the colored plates 4-10 between pages 314 and 315). They clearly show how dedicated Newton was in his efforts to improve his knowledge of the natural world. Newman's final assessment: "Nowhere in Newton's scientific work can we see the same degree of combined textual scholarship and experiment that we encounter in his alchemy" (p. 498). *What may we learn from reading Newton the Alchemist? One thing for sure: that our contemporary scientific textbooks and enlightened culture celebrating Newton's "positive" results--the astronomical "System of the World" and his three laws of motion in mechanics--are a one-sided picture of Newton's work and life. By blithely neglecting his interests in alchemy, cabbalism (number mysticism), theology, chronology, and biblical prophecy, as well as Newton's deep sense of vocation (calling), they all too frequently divide his work into two predetermined categories: science and pseudo-science. It is certain that Newton's alchemy is not pseudo-science. History, and scientific practice as well, are never, if ever, so tidy. Newton's passionate pursuit of a coherent worldview is a reminder to us of the rich context in which science is embedded. Newman's book underscores the fact that science, our science too, is impelled by deep commitments, social and political factors, and personal ambition and motives. *Reviewed by Arie Leegwater, Department of Chemistry and Biochemistry, Calvin University, Grand Rapids, MI 49546.

We consider a many-body system of 2D anyons, free quantum particles with general statistics parameter \alpha ∈ ]0,2[α∈]0,2[. In the magnetic gauge picture they are described as bosons attached to Aharonov-Bohm fluxes of intensity 2\pi \alpha2πα, generating long-range magnetic forces. A dimensional reduction to 1D is obtained by imposing a strongly anisotropic trapping potential. This freezes the motion in the direction of strong trapping, leading to 1D physics along the weak direction. The latter is governed to leading order by the Tonks-Girardeau model of impenetrable bosons, independently of \alphaα.

The method for the development of the equations of motion for systems of constrained particles and rigid bodies, developed by T. R. Kane and called Kane’s Equations, is discussed from a geometric viewpoint. It is shown that what Kane calls partial velocities and partial angular velocities may be interpreted as components of tangent vectors to the system’s configuration manifold. The geometric picture, when attached to Kane’s formalism shows that Kane’s Equations are projections of the Newton-Euler equations of motion onto a spanning set of the configuration manifold’s tangent space. One advantage of Kane’s method, is that both non-holonomic and non-conservative systems are easily included in the same formalism. This easily follows from the geometry. It is also shown that by transformation to an orthogonal spanning set, the equations can be diagonalized in terms of what Kane calls the generalized speeds. A further advantage of the geometric picture lies in the treatment of constraint forces which can be expanded in terms of a spanning set for the orthogonal complement of the configuration tangent space. In all these developments, explicit use is made of a concrete realization of the multidimensional vectors which are called K -vectors for a K -component system. It is argued that the current presentation also provides a clear tutorial route to Kane’s method for those schooled in classical analytical mechanics.

ABSTRACTIn these studies a comprehensive picture of void shape evolution dynamics and its strong dependence on the initial configuration has been thoroughly investigated by utilizing hypocycloid algebra to generate four different shapes of main interest. Our mathematical model on the isotropic diffusion and mass accumulation on void surfaces, under the action of applied electrostatic potential and capillary effects, follows a novel irreversible but discrete thermodynamic formalism of interphases and surfaces.As a result during the intragranual motion, in addition to the crescent-like slit formation, very rich and also unusual void morphological variations such as fragmentations into the daughter voids or inner island generation have been observed under the severe (normalized) electron wind intensities or very long exposure times. In these numerical experiments, the Euler's method of finite differences with an automatic time step self-adjustment has been utilized in combination with a rather powerful and fast indirect boundary element method (IBEM) for the solution of the Laplace equation.

JOHN FRANKENHEIMER'S LATERST FILM, ANDERSONVILLE, opened recently in the USA on the Turner Television Network to excellent reviews and a highly favourable audience response. His 31st motion picture, it takes place during the American Civil War and depicts for the first time on film the terrible suffering of Northern soldiers imprisoned in an overcrowded poorly managed camp run by the army of the South. An atrocity from the past, it also speaks graphically of the barbarities of the present war in Bosnia-Herzegovina and gives terrible meaning once again to the memories of the Holocaust. Implicit in Frankenheimer's treatment and graphic images of man's ever-present brutality towards mankind is the awareness of the powerful forces controlling the lives of certain individuals motivated by power and greed -- a theme underlining much of his work and informing the actions of so many of his characters. Andersonville In 1864, more than 32,000...

AbstractElectron-hole pairs in organic photovoltaics efficiently dissociate although their Coulomb-binding energy exceeds thermal energy at room temperature. The vibronic coupling of electronic states to structured vibrational environments containing multiple underdamped modes is thought to assist charge separation. However, non-perturbative simulations of such large, spatially extended, electronic-vibrational (vibronic) systems remain an unmet challenge which current methods bypass by considering effective one-dimensional Coulomb potentials or unstructured environments where the effect of underdamped modes is ignored. Here we address this challenge with a non-perturbative simulation tool and investigate the charge separation dynamics in one, two and three-dimensional donor-acceptor networks to identify under what conditions underdamped vibrational motion induces efficient long-range charge separation. The resulting comprehensive picture of ultrafast charge separation differentiates electronic or vibronic couplings mechanisms for a wide range of driving forces and identifies the role of entropic effects in extended systems. This provides a toolbox for the design of efficient charge separation pathways in artificial nanostructures.

Purpose Flapping-wing vehicles show various advantages as compared to fixed wing vehicles, making flapping-wing vehicles' study necessary in the current scenario. The present study aims to provide guidelines for fixing geometric parameters for an initial engineering design by a simple aerodynamic and flight dynamic parametric study. Design/methodology/approach A mathematical analysis was performed to understand the aerodynamics and flight dynamics of the micro-air vehicle (MAV). Only the forces due to the flapping wing were considered. The flapping motion was considered to be a combination of the pitching and plunging motion. The geometric parameters of the flapping wing were varied and the aerodynamic forces and power were observed. Attempts were then made to understand the flight stability envelope of the MAV in a forward horizontal motion in the vertical plane with similar parametric studies as those conducted in the case of aerodynamics. Findings From the aerodynamic study, insights were obtained regarding the interaction of design parameters with the aerodynamics and feasible ranges of values for the parameters were identified. The flapping wing was found to have neutral static stability. The flight dynamic analysis revealed the presence of an unstable oscillatory mode, a stable fast subsidence mode and a neutral mode, in the forward flight of the MAV. The presence of unstable modes highlighted the need for active control to restore the MAV to equilibrium from its unstable state. Research limitations/implications The study does not take into account the effects of control surfaces and tail on the aerodynamics and flight dynamics of the MAV. There is also a need to validate the results obtained in the study through experimental means which shall be taken up in the future. Practical implications The parametric study helps us to understand the extent of the impact of the design parameters on the aerodynamics and stability of the MAV. The analysis of both aerodynamics and dynamic stability provides a holistic picture for the initial design. The study incorporates complex mathematical equations and simplifies such to understand the aerodynamics and flight stability of the MAV from an engineering perspective. Originality/value The study adds to already existing knowledge on the design procedures of a flapping wing.

AbstractThe Soret effect describes diffusive motion that originates from a temperature gradient. It is observed in mixtures of gases, liquids and even solids. Although there is a formal phenomenological description based on linear nonequilibrium thermodynamics, the Soret effect is a multicause phenomenon and there is no univocal microscopic picture. After a brief historical overview and an outline of the fundamental thermodynamic concepts, this review focuses on thermodiffusion in binary and ternary liquid mixtures. The most important experimental techniques used nowadays are introduced. Then, a modern development in studying thermal diffusion, the discovery of both integral and specific additivity laws, is discussed. The former relate to the general behavior of the substances in a temperature field according to their thermophobicities, which prove to be pure component properties. The thermophobicities allow for a convenient classification of the phenomenon, a simple interpretation and a proper estimation and prediction of the thermodiffusion parameters. The specific laws relate to the additivity of the particular contributions. Among the latter, we discuss the isotopic Soret effect and the so-called chemical contribution. From the theoretical side, there are kinetic and thermodynamic theories, and the nature of the driving forces of thermodiffusion can be either of volume or surface type. Besides analytical models, computer simulations become increasingly important. Polymer solutions are special as they represent highly asymmetric molecular systems with a molar mass-independent thermophoretic mobility. Its origin is still under debate, and draining and non-draining models are presently discussed. Finally, some discussion is devoted to ternary mixtures, which only recently have been investigated in more detail.

Pastoral as a kind of poetry is a paradoxical combination of apparent naïveté and sophistication; William Empson refers to ‘the pastoral process of putting the complex into the simple’. The pastoral landscape in its more ideal moments is the stage for simple country folk who lead an easy and uncomplicated life. But landscape and shepherds appear in poems written by sophisticated poets, whose self-consciousness weighs heavily on the figures who speak in their poems. The picture of an idyllic world often conjured up by the words ‘pastoral’ or ‘bucolic’ is a trivializing and selective simplification of the full reading experience offered by the Eclogues. That simple image is presented to the reader in the first five lines of Eclogue 1 in Meliboeus’ description of his friend Tityrus’ happy situation: Tityrus reclines at ease in the shadow of a tree, composing ‘woodland music’ on his rustic pipe and teaching the sympathetic woods to echo the name of his girlfriend Amaryllis. But this description frames Meliboeus’ statement of his own plight: in contrast to his settled friend he is in motion, away from the boundaries of the idyllic Never Never Land, which in line 3 is already redefined with the very Roman word patria. Eclogue 1 quickly bursts the limits of a simple and timeless bucolicism to encompass the historical and social realities of the city of Rome, in the course of a brief exchange of experiences past and anticipated in which the humble herdsman Tityrus meets a man-god, and the smallholder Meliboeus foresees an exile as far distant as Britain (1.66), the limit of Julius Caesar’s imperialist adventuring a decade and a half before the time of composition. The first Eclogue is typical of the collection as a whole in this testing of limits and in the recurrent thwarting of the desire for fulfilment in an enclosed locus amoenus or ‘green cabinet’. Much of the energy and interest of the Eclogues derives from the constant tension between the limiting case of a static pastoral ‘idyll’ and the forces that threaten to destabilize the idyll.

The German anatomist and artist Gunther von Hagens’s exhibition Body Worlds has toured Europe, Asia and the US several times, provoking both interest and dismay, fascination and disgust. This “original exhibition of real human bodies” features whole cadavers as well as specific body parts and it is organized thematically around specific bodily functions such as the respiratory system, blood circulation, skeletal materials and brain and nervous system. In each segment of the exhibition these themes are illustrated using parts of the body, presented in glass cases that are associated with each function. Next to these cases are the full body cadavers—the so-called “plastinates”. The Body Worlds exhibition is all about perception-in-motion: it is about circumnavigating bodies, stopping in front of a plastinate and in-corporating it, leaning over an arm or reaching towards a face, pointing towards a discrete blood vessel, drawing an abstract line between two organs. Experiencing here is above all a matter of reaching-towards and incorporeally touching bodies (Manning, Politics of Touch). These bodies are dead, still, motionless, “frozen in time between death and decay” (von Hagens, Body Worlds). Dead and still eerily animate, just as the surface of a freeze-frame photograph would seem to capture spatially a movement in its unfolding becoming, plastinates do not simply appear as dead matter used to represent vitality, but rather [...] as persons who managed to survive together with their bodies. What “inner quality” makes them appear alive? In what way is someone present, when what is conserved is not opinions (in writing), actions (in stories) or voice (on tape) but the body? (Hirschauer 41—42) Through the corporeal transformation—the plastination process—that these bodies have gone through, and the designed space of the exhibition—a space that makes possible both innovative and restrictive movements—these seemingly dead bodies come alive. There is a movement within these bodies, a movement that resonates with-in the exhibition space and mobilises visitors.Two ways of thinking movement in relation to stillness come out of this. The first one is concerned with the ordering and designing of space by means of visual cues, things or texts. This relates to stillness and slowness as suggestive, imposed and enforced upon bodies so that the possibilities of movement are reduced due to the way an environment is designed. Think for example of the way that an escalator moulds movements and speeds, or how signs such as “No walking on the grass” suggest a given pattern of walking. The second one is concerned with how movement is linked up with and implies continuous change. If a body’s movement and exaltation is reduced or slowed down, does the body then become immobile and still? Take ice, water and steam: these states give expression to three different attributes or conditions of what is considered to be one and the same chemical body. But in the transformation from one to the other, there is also an incorporeal transformation related to the possibilities of movement and change—between motion and rest—of what a body can do (Deleuze, Spinoza).Slowing Down Ever since the first exhibition Body Worlds has been under attack from critics, ethicists, journalists and religious groups, who claim that the public exhibition of dead bodies should, for various reasons, be banned. In 2004, in response to such criticism, the Californian Science Centre commissioned an ethical review of the exhibition before taking the decision on whether and how to host Body Worlds. One of the more interesting points in this review was the proposition that “the exhibition is powerful, and guests need time to acclimate themselves” (6). As a consequence, it was suggested that the Science Center arrange an entrance that would “slow people down and foster a reverential and respectful mood” (5). The exhibition space was to be organized in such a way that skeletons, historical contexts and images would be placed in the beginning of the exhibition, the whole body plastinates should only be introduced later in the exhibition. Before my first visit to the exhibition, I wasn’t sure how I would react when confronted with these dead bodies. To be perfectly honest, the moments before entering, I panicked. Crossing the asphalt between the Manchester Museum of Science and the exhibition hall, I felt dizzy; heart pounding in my chest and a sensation of nausea spreading throughout my body. Ascending a staircase that would take me to the entrance, located on the third floor in the exhibition hall, I thought I had detected an odour—rotten flesh or foul meat mixed with chemicals. Upon entering I was greeted by a young man to whom I presented my ticket. Without knowing in advance that this first room had been structured in such a way as to “slow people down”, I immediately felt relieved as I realized that the previously detected smell must have been psychosomatic: the room was perfectly odourless and the atmosphere was calm and tempered. Dimmed lights and pointed spotlights filled the space with an inviting and warm ambience. Images and texts on death and anatomical art were spread over the walls and in the back corners of the room two skeletons had been placed. Two glass cases containing bones and tendons had been placed in the middle of the room and next to these a case with a whole body, positioned upright in ‘anatomically correct’ position with arms, hands and legs down. There was nothing gruesome or spectacular about this room; I had visited anatomical collections, such as that of the Hunterian Museum in London or Medical Museion in Copenhagen, which in comparison far surpassed the alleged gruesomeness and voyeurism. And so I realized that the room had effectively slowed me down as my initial state of exaltation had been altered and stalled by the relative familiarity of images, texts and bare bones, all presented in a tempered and respectful way.Visitors are slowed down, but they are not still. There is no degree zero of movement, only different relations of speeds and slowness. Here I think it is useful to think of movement and change as it is expressed in Henri Bergson’s writings on temporality. Bergson frequently argued that the problem of Western metaphysics had been to spatialise movement, as in the famous example with Zeno’s arrow that—given that we think of movement as spatial—never reaches the tree towards which it has been shot. Bergson however did not refute the importance and practical dimensions of thinking through immobility; rather, immobility is the “prerequisite for our action” (Creative Mind 120). The problem occurs when we think away movement on behalf of that which we think of as still or immobile.We need immobility, and the more we succeed in imagining movement as coinciding with the immobilities of the points of space through which it passes, the better we think we understand it. To tell the truth, there never is real immobility, if we understand by that an absence of movement. Movement is reality itself (Bergson, Creative Mind 119).This notion of movement as primary, and immobility as secondary, gives expression to the proposition that immobility, solids and stillness are not given but have to be achieved. This can be done in several ways: external forces that act upon a body and transform it, as when water crystallizes into ice; certain therapeutic practices—yoga or relaxation exercises—that focus and concentrate attention and perception; spatial and architectural designs such as museums, art galleries or churches that induce and invoke certain moods and slow people down. Obviously there are other kinds of situations when bodies become excited and start moving more rapidly. Such situations could be, to name a few, when water starts to boil; when people use drugs like nicotine or caffeine in order to heighten alertness; or when bodies occupy spaces where movement is amplified by means of increased sensual stimuli, for example in the extreme conditions that characterize a natural catastrophe or a war.Speeding Up After the Body Worlds visitor had been slowed down and acclimatised in and through the first room, the full body plastinates were introduced. These bodies laid bare muscles, tissues, nerves, brain, heart, kidneys, and lungs. Some of these were “exploded views” of the body—in these, the body and its parts have been separated and drawn out from the position that they occupy in the living body, in some cases resulting in two discrete plastinates—e.g. one skeleton and one muscle-plastinate—that come from the same anatomical body. Congruent with the renaissance anatomical art of Vesalius, all plastinates are positioned in lifelike poses (Benthien, Skin). Some are placed inside a protective glass case while others are either standing, lying on the ground or hanging from the ceiling.As the exhibition unfolds, the plastinates themselves wipe away the calmness and stillness intended with the spatial design. Whereas a skeleton seems mute and dumb these plastinates come alive as visitors circle and navigate between them. Most visitors would merely point and whisper, some would reach towards and lean over a plastinate. Others however noticed that jumping up and down created a resonating effect in the plastinates so that a plastinate’s hand, leg or arm moved. At times the rooms were literally filled with hordes of excited and energized school children. Then the exhibition space was overtaken with laughter, loud voices, running feet, comments about the gruesome von Hagens and repeated remarks on the plastinates’ genitalia. The former mood of respectfulness and reverence has been replaced by the fascinating and idiosyncratic presence of animated and still, plastinated bodies. Animated and still? So what is a plastinate?Movement and Form Through plastination, the body undergoes a radical and irreversible transformation which turns the organic body into an “inorganic organism”, a hybrid of plastic and flesh (Hirschauer 36). Before this happens however the living body has to face another phase of transition by which it turns into a dead cadaver. From the point of view of an individual body that lives, breathes and evolves, this transformation implies turning into a decomposing and rotting piece of flesh, tissue and bones. Any corpse will sooner or later turn into something else, ashes, dust or earth. This process can be slowed down using various techniques and chemicals such as mummification or formaldehyde, but this will merely slow down the process of decomposition, and not terminate it.The plastination technique is rather different in several respects. Firstly the specimen is soaked in acetone and the liquids in the corpse—water and fat—are displaced. This displacement prepares the specimen for the next step in the process which is the forced vacuum impregnation. Here the specimen is placed in a polymer mixture with silicone rubber or epoxy resin. This process is undertaken in vacuum which allows for the plastic to enter each and every cell of the specimen, thus replacing the acetone (von Hagens, Body Worlds). Later on, when this transformation has finished, the specimen is modelled according to a concept, a “gestalt plastinate”, such as “the runner”, “the badminton player” or “the skin man”. The concept expresses a dynamic and life-like pose—referred to as the gestalt—that exceeds the individual parts of which it is formed. This would suggest that form is in itself immobility and that perception is what is needed to make form mobile; as gestalt the plastinated body is spatially immobilised, yet it gives birth to a body that comes alive in perception-movement. Once again I think that Bergson could help us to think through this relation, a relation that is conceived here as a difference between form-as-stillness and formation-as-movement:Life is an evolution. We concentrate a period of this evolution in a stable view which we call a form, and, when the change has become considerable enough to overcome the fortunate inertia of our perception, we say that the body has changed its form. But in reality the body is changing form at every moment; or rather, there is no form, since form is immobile and the reality is movement. What is real is the continual change of form; form is only a snapshot view of a transition (Bergson, Creative Evolution 328, emphasis in original).In other words there is a form that is relative to human perception, but there is “underneath” this form nothing but a continuous formation or becoming as Bergson would have it. For our purposes the formation of the gestalt plastinate is an achievement that makes perceptible the possibility of divergent or co-existent durations; the plastinate belongs to a temporal rhythm that even though it coincides with ours is not identical to it.Movement and Trans-formation So what kind of a strange entity is it that emerges out of this transformation, through which organic materials are partly replaced with plastic? Compared with a living body or a mourned cadaver, it is first and foremost an entity that no longer is subject to the continuous evolution of time. In this sense the plastinate is similar to cryogenetical bodies (Doyle, Wetwares), or to Ötzi the ice man (Spindler, Man in the ice)—bodies that resist the temporal logic according to which things are in constant motion. The processes of composition and decomposition that every living organism undergoes at every instant have been radically interrupted.However, plastinates are not forever fixed, motionless and eternally enduring objects. As Walter points out, plastinated cadavers are expected to “remain stable” for approximately 4000 years (606). Thus, the plastinate has become solidified and stabilized according to a different pattern of duration than that of the decaying human body. There is a tension here between permanence and change, between bodies that endure and a body that decomposes. Maybe as when summer, which is full of life and energy, turns into winter, which is still and seemingly without life. It reminds us of Nietzsche's Zarathustra and the winter doctrine: When the water is spanned by planks, when bridges and railings leap over the river, verily those are believed who say, “everything is in flux. . .” But when the winter comes . . . , then verily, not only the blockheads say, “Does not everything stand still?” “At bottom everything stands still.”—that is truly a winter doctrine (Bennett and Connolly 150). So we encounter the paradox of how to accommodate motion within stillness and stillness within motion: if everything is in continuous movement, how can there be stillness and regularity (and vice versa)? An interesting example of such temporal interruption is described by Giorgio Agamben who invokes an example with a tick that was kept alive, in a state of hibernation, for 18 years without nourishment (47). During those years this tick had ceased to exist in time, it existed only in extended space. There are of course differences between the tick and von Hagens’s plastinates—one difference being that the plastinates are not only dead but also plastic and inorganic—but the analogy points us to the idea of producing the conditions of possibility for eternal, timeless (and, by implication, motionless) bodies. If movement and change are thought of as spatial, as in Zeno’s paradox, here they have become temporal: movement happens in and because of time and not in space. The technique of plastination and the plastinates themselves emerge as processes of a-temporalisation and re-spatialisation of the body. The body is displaced—pulled out of time and history—and becomes a Cartesian body located entirely in the coordinates of extended space. As Ian Hacking suggests, plastinates are “Cartesian, extended, occupying space. Plastinated organs and corpses are odourless: like the Cartesian body, they can be seen but not smelt” (15).Interestingly, Body Worlds purports to show the inner workings of the human body. However, what visitors experience is not the working but the being. They do not see what the body does, its activities over time; rather, they see what it is, in space. Conversely, von Hagens wishes to “make us aware of our physical nature, our nature within us” (Kuppers 127), but the nature that we become aware of is not the messy, smelly and fluid nature of bodily interiors. Rather we encounter the still nature of Zarathustra’s winter landscape, a landscape in which the passage of time has come to a halt. As Walter concludes “the Body Worlds experience is primarily visual, spatial, static and odourless” (619).Still in Constant MotionAnd yet...Body Worlds moves us. If not for the fact that these plastinates and their creator strike us as gruesome, horrific and controversial, then because these bodies that we encounter touch us and we them. The sensation of movement, in and through the exhibition, is about this tension between being struck, touched or moved by a body that is radically foreign and yet strangely familiar to us. The resonant and reverberating movement that connects us with it is expressed through that (in)ability to accommodate motion in stillness, and stillness in motion. For whereas the plastinates are immobilised in space, they move in time and in experience. As Nigel Thrift puts it The body is in constant motion. Even at rest, the body is never still. As bodies move they trace out a path from one location to another. These paths constantly intersect with those of others in a complex web of biographies. These others are not just human bodies but also all other objects that can be described as trajectories in time-space: animals, machines, trees, dwellings, and so on (Thrift 8).This understanding of the body as being in constant motion stretches beyond the idea of a body that literally moves in physical space; it stresses the processual intertwining of subjects and objects through space-times that are enduring and evolving. The paradoxical nature of the relation between bodies in motion and bodies at rest is obviously far from exhausted through the brief exemplification that I have tried to provide here. Therefore I must end here and let someone else, better suited for this task, explain what it is that I wish to have said. We are hardly conscious of anything metaphorical when we say of one picture or of a story that it is dead, and of another that it has life. To explain just what we mean when we say this, is not easy. Yet the consciousness that one thing is limp, that another one has the heavy inertness of inanimate things, while another seems to move from within arises spontaneously. There must be something in the object that instigates it (Dewey 182). References Agamben, Giorgio. The Open. Trans. Kevin Attell. Stanford: Stanford U P, 2004.Bennett, Jane, and William Connolly. “Contesting Nature/Culture.” Journal of Nietzsche Studies 24 (2002) 148-163.Benthien, Claudia. Skin: On the Cultural Border Between Self and the World. Trans. Thomas Dunlap. New York: Columbia U P, 2002. California Science Center. “Summary of Ethical Review.” 10 Jan. 2009.Bergson, Henri. The Creative Mind. Trans. Mabelle Andison. Mineola: Dover, 2007. –––. Creative Evolution. Trans. Arthur Mitchell. New York: Cosimo Classics, 2005Deleuze, Gilles. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights, 1988.Dewey, John. Art as Experience. New York: Perigee, 2005.Doyle, Richard. Wetwares. Minnesota: Minnesota U P, 2003.Hacking, Ian. “The Cartesian Body.” Biosocieties 1 (2006) 13-15.Hirschauer, Stefan. “Animated Corpses: Communicating with Post Mortals in an Anatomical Exhibition.” Body & Society 12.4 (2006) 25-52.Kuppers, Petra. “Visions of Anatomy: Exhibitions and Dense Bodies.” differences 15.3 (2004) 123-156.Manning, Erin. Politics of Touch: Sense, Movement, Sovereignty. Minnesota: Minnesota UP, 2007. Spindler, Konrad. The Man in the Ice. London: Weidenfeld and Nicolson, 1994.Thrift, Nigel. Spatial Formations. London: Sage, 1996.Von Hagens, Gunther, and Angelina Whalley. Body Worlds: The Original Exhibition of Real Human Bodies. Heidelberg: Institute for Plastination, 2008.Walter, Tony. “Plastination for Display: A New Way to Dispose of the Dead.” Journal of the Royal Anthropological Institute 10.3 (2004) 603-627.

Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire was born: to mould the imaginary through the new techniques of reproduction and transfiguration of reality through images. Studying the development of the so-called “pre-cinema” – i.e. the period up to the conventional birth of cinema on 28 December 1895 with the presentation of the Cinématographe Lumière – we discover that the technical history of cinema is not only almost more enthralling than its artistic and cultural history, but that it contains all the great theoretical, philosophical and scientific insights that we need to help us understand the social, economic and cultural impact that cinema had on the culture of the 20th century. At the 1900 Paris Exposition, when cinema had already existed in some form for a few years, when the first few short films of narrative fiction also already existed, the cinematograph was placed in the Pavilion of Technical Discoveries, to emphasise the fact that the first wonder, this element of unparalleled novelty and modernity, was still there, in technique, in this marvel of innovation and creativity. I would like to express my idea through the words of Franco Moretti, who claims in one of his most recent works that it is only possible to understand form through the forces that pulsate through it and press on it from beneath, finally allowing the form itself to come to the surface and make itself visible and comprehensible to our senses. As such, the cinematic form – that which appears on the screen, that which is now so familiar to us, that which each of us has now internalised, that has even somehow become capable of configuring our way of thinking, imagining, dreaming – that form is underpinned by forces that allow it to eventually make its way onto the screen and become artistic and narrative substance. And those forces are the forces of technique, the forces of industry, the economic, political and social forces without which we could never hope to understand cinema. One of the issues that I always make a point of addressing in the first few lessons with my students is that if they think that the history of cinema is made up of films, directors, narrative plots to be understood, perhaps even retold in some way, then they are entirely on the wrong track; if, on the other hand, they understand that it is the story of an institution with economic, political and social drivers within it that can, in some way, allow us to come to the great creators, the great titles, but that without a firm grasp of those drivers, there is no point in even attempting to explore it, then they are on the right track. As I see it, cinema in the twentieth century was a great democratic, interclassist laboratory such as no other art has ever been, and this occurred thanks to the fact that what underpinned it was an industrial reasoning: it had to respond to the capital invested in it, it had to make money, and as such, it had to reach the largest possible number of people, immersing it into a wholly unprecedented relational situation. The aim was to be as inclusive as possible, ultimately giving rise to the idea that cinema could not be autonomous, as other forms of art could be, but that it must instead be able to negotiate all the various forces acting upon it, pushing it in every direction. This concept of negotiation is one which has been explored in great detail by one of the greatest film theorists of our modern age, Francesco Casetti. In a 2005 book entitled “Eye of the Century”, which I consider to be a very important work, Casetti actually argues that cinema has proven itself to be the art form most capable of adhering to the complexity and fast pace of the short century, and that it is for this very reason that its golden age (in the broadest sense) can be contained within the span of just a hundred years. The fact that cinema was the true epistemological driving force of 20th-century modernity – a position now usurped by the Internet – is not, in my opinion, something that diminishes the strength of cinema, but rather an element of even greater interest. Casetti posits that cinema was the great negotiator of new cultural needs, of the need to look at art in a different way, of the willingness to adapt to technique and technology: indeed, the form of cinema has always changed according to the techniques and technologies that it has brought to the table or established a dialogue with on a number of occasions. Barry Salt, whose background is in physics, wrote an important book – publishing it at his own expense, as a mark of how difficult it is to work in certain fields – entitled “Film Style and Technology”, in which he calls upon us stop writing the history of cinema starting from the creators, from the spirit of the time, from the great cultural and historical questions, and instead to start afresh by following the techniques available over the course of its development. Throughout the history of cinema, the creation of certain films has been the result of a particular set of technical conditions: having a certain type of film, a certain type of camera, only being able to move in a certain way, needing a certain level of lighting, having an entire arsenal of equipment that was very difficult to move and handle; and as the equipment, medium and techniques changed and evolved over the years, so too did the type of cinema that we were able to make. This means framing the history of cinema and film theory in terms of the techniques that were available, and starting from there: of course, whilst Barry Salt’s somewhat provocative suggestion by no means cancels out the entire cultural, artistic and aesthetic discourse in cinema – which remains fundamental – it nonetheless raises an interesting point, as if we fail to consider the methods and techniques of production, we will probably never truly grasp what cinema is. These considerations also help us to understand just how vast the “construction site” of cinema is – the sort of “factory” that lies behind the production of any given film. Erwin Panofsky wrote a single essay on cinema in the 1930s entitled “Style and Medium in the Motion Pictures” – a very intelligent piece, as one would expect from Panofsky – in which at a certain point, he compares the construction site of the cinema to those of Gothic cathedrals, which were also under an immense amount of pressure from different forces, namely religious ones, but also socio-political and economic forces which ultimately shaped – in the case of the Gothic cathedral and its development – an idea of the relationship between the earth and the otherworldly. The same could be said for cinema, because it also involves starting with something very earthly, very grounded, which is then capable of unleashing an idea of imaginary metamorphosis. Some scholars, such as Edgar Morin, will say that cinema is increasingly becoming the new supernatural, the world of contemporary gods, as religion gradually gives way to other forms of deification. Panofsky’s image is a very focused one: by making film production into a construction site, which to all intents and purposes it is, he leads us to understand that there are different forces at work, represented by a producer, a scriptwriter, a director, but also a workforce, the simple labourers, as is always the case in large construction sites, calling into question the idea of who the “creator” truly is. So much so that cinema, now more than ever before, is reconsidering the question of authorship, moving towards a “history of cinema without names” in an attempt to combat the “policy of the author” which, in the 1950s, especially in France, identified the director as the de facto author of the film. Today, we are still in that position, with the director still considered the author of the film, but that was not always so: back in the 1910s, in the United States, the author of the film was the scriptwriter, the person who wrote it (as is now the case for TV series, where they have once again taken pride of place as the showrunner, the creator, the true author of the series, and nobody remembers the names of the directors of the individual episodes); or at times, it can be the producer, as was the case for a long time when the Oscar for Best Picture, for example, was accepted by the producer in their capacity as the commissioner, as the “owner” of the work. As such, the theme of authorship is a very controversial one indeed, but one which helps us to understand the great meeting of minds that goes into the production of a film, starting with the technicians, of course, but also including the actors. Occasionally, a film is even attributed to the name of a star, almost as if to declare that that film is theirs, in that it is their body and their talent as an actor lending it a signature that provides far more of a draw to audiences than the name of the director does. In light of this, the theme of authorship, which Panofsky raised in the 1930s through the example of the Gothic cathedral, which ultimately does not have a single creator, is one which uses the image of the construction site to also help us to better understand what kind of development a film production can go through and to what extent this affects its critical and historical reception; as such, grouping films together based on their director means doing something that, whilst certainly not incorrect in itself, precludes other avenues of interpretation and analysis which could have favoured or could still favour a different reading of the “cinematographic construction site”. Design and execution The great classic Hollywood film industry was a model that, although it no longer exists in the same form today, unquestionably made an indelible mark at a global level on the history not only of cinema, but more broadly, of the culture of the 20th century. The industry involved a very strong vertical system resembling an assembly line, revolving around producers, who had a high level of decision-making autonomy and a great deal of expertise, often inclined towards a certain genre of film and therefore capable of bringing together the exact kinds of skills and visions required to make that particular film. The history of classic American cinema is one that can also be reconstructed around the units that these producers would form. The “majors”, along with the so-called “minors”, were put together like football teams, with a chairman flanked by figures whom we would nowadays refer to as a sporting director and a managing director, who built the team based on specific ideas, “buying” directors, scriptwriters, scenographers, directors of photography, and even actors and actresses who generally worked almost exclusively for their major – although they could occasionally be “loaned out” to other studios. This system led to a very marked characterisation and allowed for the film to be designed in a highly consistent, recognisable way in an age when genres reigned supreme and there was the idea that in order to keep the audience coming back, it was important to provide certain reassurances about what they would see: anyone going to see a Western knew what sorts of characters and storylines to expect, with the same applying to a musical, a crime film, a comedy, a melodrama, and so on. The star system served to fuel this working method, with these major actors also representing both forces and materials in the hands of an approach to the filmmaking which had the ultimate objective of constructing the perfect film, in which everything had to function according to a rule rooted in both the aesthetic and the economic. Gore Vidal wrote that from 1939 onwards, Hollywood did not produce a single “wrong” film: indeed, whilst certainly hyperbolic, this claim confirms that that system produced films that were never wrong, never off-key, but instead always perfectly in tune with what the studios wished to achieve. Whilst this long-entrenched system of yesteryear ultimately imploded due to certain historical phenomena that determined it to be outdated, the way of thinking about production has not changed all that much, with film design remaining tied to a professional approach that is still rooted within it. The overwhelming majority of productions still start from a system which analyses the market and the possible economic impact of the film, before even starting to tackle the various steps that lead up to the creation of the film itself. Following production systems and the ways in which they have changed, in terms of both the technology and the cultural contexts, also involves taking stock of the still considerable differences that exist between approaches to filmmaking in different countries, or indeed the similarities linking highly disparate economic systems (consider, for example, India’s “Bollywood” or Nigeria’s “Nollywood”: two incredibly strong film industries that we are not generally familiar with as they lack global distribution, although they are built very solidly). In other words, any attempt to study Italian cinema and American cinema – to stay within this double field – with the same yardstick is unthinkable, precisely because the context of their production and design is completely different. Composition and innovation Studying the publications on cinema in the United States in the early 1900s – which, from about 1911 to 1923, offers us a revealing insight into the attempts made to garner an in-depth understanding of how this new storytelling machine worked and the development of the first real cultural industry of the modern age – casts light on the centrality of the issues of design and composition. I remain convinced that without reading and understanding that debate, it is very difficult to understand why cinema is as we have come to be familiar with it today. Many educational works investigated the inner workings of cinema, and some, having understood them, suggested that they were capable of teaching others to do so. These publications have almost never been translated into Italian and remain seldom studied even in the US, and yet they are absolutely crucial for understanding how cinema established itself on an industrial and aesthetic level. There are two key words that crop up time and time again in these books, the first being “action”, one of the first words uttered when a film starts rolling: “lights, camera, action”. This collection of terms is interesting in that “motore” highlights the presence of a machine that has to be started up, followed by “action”, which expresses that something must happen at that moment in front of that machine, otherwise the film will not exist. As such, “action” – a term to which I have devoted some of my studies – is a fundamental word here in that it represents a sort of moment of birth of the film that is very clear – tangible, even. The other word is “composition”, and this is an even more interesting word with a history that deserves a closer look: the first professor of cinema in history, Victor Oscar Freeburg (I edited the Italian translation of his textbook “The Art of Photoplay Making”, published in 1918), took up his position at Columbia University in 1915 and, in doing so, took on the task of teaching the first ever university course in cinema. Whilst Freeburg was, for his time, a very well-educated and highly-qualified person, having studied at Yale and then obtained his doctorate in theatre at Columbia, cinema was not entirely his field of expertise. He was asked to teach a course entitled “Photoplay Writing”. At the time, a film was known as a “photoplay”, in that it was a photographed play of sorts, and the fact that the central topic of the course was photoplay writing makes it clear that back then, the scriptwriter was considered the main author of the work. From this point of view, it made sense to entrust the teaching of cinema to an expert in theatre, based on the idea that it was useful to first and foremost teach a sort of photographable dramaturgy. However, upon arriving at Columbia, Freeburg soon realised whilst preparing his course that “photoplay writing” risked misleading the students, as it is not enough to simply write a story in order to make a film; as such, he decided to change the title of his course to “photoplay composition”. This apparently minor alteration, from “writing” to “composition”, in fact marked a decisive conceptual shift in that it highlighted that it was no longer enough to merely write: one had to “compose”. So it was that the author of a film became, according to Freeburg, not the scriptwriter or director, but the “cinema composer” (a term of his own coinage), thus directing and broadening the concept of composition towards music, on the one hand, and architecture, on the other. We are often inclined to think that cinema has inherited expressive modules that come partly from literature, partly from theatre and partly from painting, but in actual fact, what Freeburg helps us to understand is that there are strong elements of music and architecture in a film, emphasising the lofty theme of the project. In his book, he explores at great length the relationship between static and dynamic forms in cinema, a topic that few have ever addressed in that way and that again, does not immediately spring to mind as applicable to a film. I believe that those initial intuitions were the result of a reflection unhindered by all the prejudices and preconceived notions that subsequently began to condition film studies as a discipline, and I feel that they are of great use to use today because they guide us, on the one hand, towards a symphonic idea of filmmaking, and on the other, towards an idea that preserves the fairly clear imprint of architecture. Space-Time In cinema as in architecture, the relationship between space and time is a crucial theme: in every textbook, space and time are amongst the first chapters to be studied precisely because in cinema, they undergo a process of metamorphosis – as Edgar Morin would say – which is vital to constructing the intermediate world of film. Indeed, from both a temporal and a spatial point of view, cinema provides a kind of ubiquitous opportunity to overlap different temporalities and spatialities, to move freely from one space to another, but above all, to construct new systems of time. The rules of film editing – especially so-called “invisible editing”, i.e. classical editing that conceals its own presence – are rules built upon specific and precise connections that hold together different spaces – even distant ones – whilst nonetheless giving the impression of unity, of contiguity, of everything that cinema never is in reality, because cinema is constantly fragmented and interrupted, even though we very often perceive it in continuity. As such, from both a spatial and a temporal perspective, there are technical studies that explain the rules of how to edit so as to give the idea of spatial continuity, as well as theoretical studies that explain how cinema has transformed our sense of space and time. To mark the beginning of Parma’s run as Italy’s Capital of Culture, an exhibition was organised entitled “Time Machine. Seeing and Experiencing Time”, curated by Antonio Somaini, with the challenge of demonstrating how cinema, from its earliest experiments to the digital age, has managed to manipulate and transform time, profoundly affecting our way of engaging with it. The themes of time and space are vital to understanding cinema, including from a philosophical point of view: in two of Gilles Deleuze’s seminal volumes, “The Movement Image” and “The Time Image”, the issues of space and time become the two great paradigms not only for explaining cinema, but also – as Deleuze himself says – for explaining a certain 20th-century philosophy. Deleuze succeeds in a truly impressive endeavour, namely linking cinema to philosophical reflection – indeed, making cinema into an instrument of philosophical thought; this heteronomy of filmmaking is then also transferred to its ability to become an instrument that goes beyond its own existence to become a reflection on the century that saw it as a protagonist of sorts. Don Ihde argues that every era has a technical discovery that somehow becomes what he calls an “epistemological engine”: a tool that opens up a system of thought that would never have been possible without that discovery. One of the many examples of this over the centuries is the camera obscura, but we could also name cinema as the defining discovery for 20th-century thought: indeed, cinema is indispensable for understanding the 20th century, just as the Internet is for understanding our way of thinking in the 21st century. Real-virtual Nowadays, the film industry is facing the crisis of cinema closures, ultimately caused by ever-spreading media platforms and the power of the economic competition that they are exerting by aggressively entering the field of production and distribution, albeit with a different angle on the age-old desire to garner audiences. Just a few days ago, Martin Scorsese was lamenting the fact that on these platforms, the artistic project is in danger of foundering, as excellent projects are placed in a catalogue alongside a series of products of varying quality, thus confusing the viewer. A few years ago, during the opening ceremony of the academic year at the University of Southern California, Steven Spielberg and George Lucas expressed the same concept about the future of cinema in a different way. Lucas argued that cinemas would soon have to become incredibly high-tech places where people can have an experience that is impossible to reproduce elsewhere, with a ticket price that takes into account the expanded and increased experiential value on offer thanks to the new technologies used. Spielberg, meanwhile, observed that cinemas will manage to survive if they manage to transform the cinemagoer from a simple viewer into a player, an actor of sorts. The history of cinema has always been marked by continuous adaptation to technological evolutions. I do not believe that cinema will ever end. Jean-Luc Godard, one of the great masters of the Nouvelle Vague, once said in an interview: «I am very sorry not to have witnessed the birth of cinema, but I am sure that I will witness its death». Godard, who was born in 1930, is still alive. Since its origins, cinema has always transformed rather than dying. Raymond Bellour says that cinema is an art that never finishes finishing, a phrase that encapsulates the beauty and the secret of cinema: an art that never quite finishes finishing is an art that is always on the very edge of the precipice but never falls off, although it leans farther and farther over that edge. This is undoubtedly down to cinema’s ability to continually keep up with technique and technology, and in doing so to move – even to a different medium – to relocate, as contemporary theorists say, even finally moving out of cinemas themselves to shift onto platforms and tablets, yet all without ever ceasing to be cinema. That said, we should give everything we’ve got to ensure that cinemas survive.

Since the fall of the Berlin Wall, and most particularly since 9/11, the government of the United States has used its security services to enforce the order it desires for the world. The US government and its security services appreciate the importance of creating the ideological environment that allows them full-scope in their activities. To these ends they have turned to the movie industry which has not been slow in accommodating the purposes of the state. In establishing the parameters of the War Against Terror after 9/11, one of the Bush Administration’s first stops was Hollywood. White House strategist Karl Rove called what is now described as the Beverley Hills Summit on 19 November 2001 where top movie industry players including chairman of the Motion Picture Association of America, Jack Valenti met to discuss ways in which the movie industry could assist in the War Against Terror. After a ritual assertion of Hollywood’s independence, the movie industry’s powerbrokers signed up to the White House’s agenda: “that Americans must be called to national service; that Americans should support the troops; that this is a global war that needs a global response; that this is a war against evil” (Cooper 13). Good versus evil is, of course, a staple commodity for the movie industry but storylines never require the good guys to fight fair so with this statement the White House got what it really wanted: Hollywood’s promise to stay on the big picture in black and white while studiously avoiding the troubling detail in the exercise extra-judicial force and state-sanctioned murder. This is not to suggest that the movie industry is a monolithic ideological enterprise. Alternative voices like Mike Moore and Susan Sarandon still find space to speak. But the established economics of the scenario trade are too strong for the movie industry to resist: producers gain access to expensive weaponry to assist production if their story-lines are approved by Pentagon officials (‘Pentagon provides for Hollywood’); the Pentagon finances movie and gaming studios to provide original story formulas to keep their war-gaming relevant to emerging conditions (Lippman); and the Central Intelligence Agency’s “entertainment liaison officer” assists producers in story development and production (Gamson). In this context, the moulding of story-lines to the satisfaction of the Pentagon and CIA is not even an issue, and protestations of Hollywood’s independence is meaningless, as the movie industry pursues patriotic audiences at home and seeks to garner hearts and minds abroad. This is old history made new again. The Cold War in the 1950s saw movies addressing the disruption of world order not so much by Communists as by “others”: sci-fi aliens, schlock horror zombies, vampires and werewolves and mad scientists galore. By the 1960s the James Bond movie franchise, developed by MI5 operative Ian Fleming, saw Western secret agents ‘licensed to kill’ with the justification that such powers were required to deal with threats to world order, albeit by fanciful “others” such as the fanatical scientist Dr. No (1962). The Bond villains provide a catalogue of methods for the disruption of world order: commandeering atomic weapons and space flights, manipulating finance markets, mind control systems and so on. As the Soviet Union disintegrated, Hollywood produced a wealth of material that excused the paranoid nationalism of the security services through the hegemonic masculinity of stars such as Sylvester Stallone, Arnold Schwarzenegger, Steven Seagal and Bruce Willis (Beasley). Willis’s Die Hard franchise (1988/1990/1995) characterised US insouciance in the face of newly created terrorist threats. Willis personified the strategy of the Reagan, first Bush and Clinton administrations: a willingness to up the ante, second guess the terrorists and cower them with the display of firepower advantage. But the 1997 instalment of the James Bond franchise saw an important shift in expectations about the source of threats to world order. Tomorrow Never Dies features a media tycoon bent on world domination, manipulating the satellite feed, orchestrating conflicts and disasters in the name of ratings, market share and control. Having dealt with all kinds of Cold War plots, Bond is now confronted with the power of the media itself. As if to mark this shift, Austin Powers: International Man of Mystery (1997) made a mockery of the creatively bankrupt conventions of the spy genre. But it was the politically corrupt use to which the security services could be put that was troubling a string of big-budget filmmakers in the late 90s. In Enemy of the State (1998), an innocent lawyer finds himself targeted by the National Security Agency after receiving evidence of a political murder motivated by the push to extend the NSA’s powers. In Mercury Rising (1998), a renegade FBI agent protects an autistic boy who cracks a top-secret government code and becomes the target for assassins from an NSA-like organisation. Arlington Road (1999) features a college professor who learns too much about terrorist organisations and has his paranoia justified when he becomes the target of a complex operation to implicate him as a terrorist. The attacks on September 11 and subsequent Beverley Hills Summit had a major impact on movie product. Many film studios edited films (Spiderman) or postponed their release (Schwarzenegger’s Collateral Damage) where they were seen as too close to actual events but insufficiently patriotic (Townsend). The Bond franchise returned to its staple of fantastical villains. In Die Another Day (2002), the bad guy is a billionaire with a laser cannon. The critical perspective on the security services disappeared overnight. But the most interesting development has been how fantasy has become the key theme in a number of franchises dealing with world order that have had great box-office success since 9/11, particularly Lord of the Rings (2001/2/3) and Harry Potter (2001/2/4). While deeply entrenched in the fantasy genre, each of these franchises also addresses security issues: geo-political control in the Rings franchise; the subterfuges of the Ministry for Muggles in the _Potter _franchise. Looking at world order through the supernatural lens has particular appeal to audiences confronted with everyday threats. These fantasies follow George Bush’s rhetoric of the “axis of evil” in normalising the struggle for world order in term of black and white with the expectation that childish innocence and naïve ingenuity will prevail. Only now with three years hindsight since September 11 can we begin to see certain amount of self-reflection by disenchanted security staff return to the cinema. In Man on Fire (2004) the burned-out ex-CIA assassin has given up on life but regains some hope while guarding a child only to have everything disintegrate when the child is killed and he sets out on remorseless revenge. Spartan (2004) features a special forces officer who fails to find a girl and resorts to remorseless revenge as he becomes lost in a maze of security bureaucracies and chance events. Security service personnel once again have their doubts but only find redemption in violence and revenge without remorse. From consideration of films before and after September 11, it becomes apparent that the movie industry has delivered on their promises to the Bush administration. The first response has been the shift to fantasy that, in historical terms, will be seen as akin to the shift to musicals in the Depression. The flight to fantasy makes the point that complex situations can be reduced to simple moral decisions under the rubric of good versus evil, which is precisely what the US administration requested. The second, more recent response has been to accept disenchantment with the personal costs of the War on Terror but still validate remorseless revenge. Quentin Tarantino’s Kill Bill franchise (2003/4) seeks to do both. Thus the will to world order being fought out in the streets of Iraq is sublimated into fantasy or excused as a natural response to a world of violence. It is interesting to note that television has provided more opportunities for the productive consideration of world order and the security services than the movies since September 11. While programs that have had input from the CIA’s “entertainment liaison officer” such as teen-oriented, Buffy-inspired Alias and quasi-authentic The Agency provide a no-nonsense justification for the War on Terror (Gamson), others such as 24, West Wing _and _Threat Matrix have confronted the moral problems of torture and murder in the War on Terrorism. 24 uses reality TV conventions of real-time plot, split screen exposition, unexpected interventions and a close focus on personal emotions to explore the interactions between a US President and an officer in the Counter Terrorism Unit. The CTU officer does not hesitate to summarily behead a criminal or kill a colleague for operational purposes and the president takes only a little longer to begin torturing recalcitrant members of his own staff. Similarly, the president in West Wing orders the extra-judicial death of a troublesome player and the team in Threat Matrix are ready to exceeded their powers. But in these programs the characters struggle with the moral consequences of their violent acts, particularly as family members are drawn into the plot. A running theme of Threat Matrix is the debate within the group of their choices between gung-ho militarism and peaceful diplomacy: the consequences of a simplistic, hawkish approach are explored when an Arab-American college professor is wrongfully accused of supporting terrorists and driven towards the terrorists because of his very ordeal of wrongful accusation. The world is not black and white. Almost half the US electorate voted for John Kerry. Television still must cater for liberal, and wealthy, demographics who welcome the extended format of weekly television that allows a continuing engagement with questions of good or evil and whether there is difference between them any more. Against the simple world view of the Bush administration we have the complexities of the real world. References Beasley, Chris. “Reel Politics.” Australian Political Studies Association Conference, University of Adelaide, 2004. Cooper, Marc. “Lights! Cameras! Attack!: Hollywood Enlists.” The Nation 10 December 2001: 13-16. Gamson, J. “Double Agents.” The American Prospect 12.21 (3 December 2001): 38-9. Lippman, John. “Hollywood Casts About for a War Role.” Wall Street Journal 9 November 2001: A1. “Pentagon Provides for Hollywood.” USA Today 29 March 2001. http://www.usatoday.com/life/movies/2001-05-17-pentagon-helps-hollywood.htm>. Townsend, Gary. “Hollywood Uses Selective Censorship after 9/11.” e.press 12 December 2002. http://www.scc.losrios.edu/~express/021212hollywood.html>. Citation reference for this article MLA Style Stockwell, Stephen. "The Manufacture of World Order: The Security Services and the Movie Industry." M/C Journal 7.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0501/10-stockwell.php>. APA Style Stockwell, S. (Jan. 2005) "The Manufacture of World Order: The Security Services and the Movie Industry," M/C Journal, 7(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0501/10-stockwell.php>.