Artigos de revistas sobre o tema "Vulcain (Firm)"

Recycled polypropylene (PP) and sisal fiber, which are available in abundant ammount, can be used for producing a composite, a new material that reduce production costs and environmental damage. The new materials will be used for manufacturing floor tiles that are environmentally friendly, light but still technically qualified, and are expected to replace the ceramic tiles that are relatively heavy. However, the drawbacks in the application, natural fiber is a combustible material and it absorbs water easily (hydrophilic). To overcome these obstacles then a study on fiber chemical treatment was conducted. The purpose of this study is to determine the effect of chemical treatments on sisal fibers for fire resistance capability, the moisture resistance and tensile properties of the composites. So these composite materials can replace ceramic tile that is used for houses, hotels, ships and so on. In this research, sisal fibers with length of 10 mm were treated by NaOH and followed by Vulcan AF21 (Vulcan) of 5%, 10% and 20% for 2-hours for fire resistance, and other treatment with Acrylic acid (AA) of 1%, 5% and 10% for 1 hour at 50°C for moisture resistance. Fiber material that has been chemically treated is mixed with recycled PP. Test specimens were made in hot pressed. Fire resistance testing was conducted based on ASTM D635 standards, water absorption testing (ASTM D570), and tensile testing. The result shows that the higher the percentage of Vulcan treatment on sisal fiber is of 5%, 10% and 20%, the linear burning rate, the percentage of weight loss and weight loss rate of sisal fiber polypropylene composites decreases which means the composite is more resistant to fire. In general, the increase percentage of Vulcan on treatment sisal fibers shows a decrease in tensile strength and modulus of elasticity but a slight increase tensile strain of composite. Fiber treated with acrylic acid (AA) experienced a reduction of water absorption compared to the untreated of fiber composites.

In this paper, we report the first results of dosimetric analysis of broad-spectrum, multi-MeV laser accelerated proton beams obtained during experiments at the Rutherford Appleton Laboratory using the Chirped Pulse beam of the Vulcan laser. The spectra are retrieved by a numerical analysis that allows the reconstruction of the energetic profile of the proton beam from data obtained using radiochromic film.

The present work deals with numerical simulations concerning the international benchmark “Vulcain tests on 3 Walls” regarding fire tests conducted in CSTB in Paris, France. To this aim, sequentially-coupled thermo-mechanical analyses have been performed on three reinforced concrete walls, characterized by different load levels and boundary conditions. The numerical results show that the imposed compressive load and boundary conditions significantly influence the magnitude of the displacements. In the case of simply supported walls, the wall with the lower load level exhibited a gradual and monotonic increase of the displacements at mid-height (both in the tests and in the numerical analyses), while the wall with the higher load level exhibited a displacement reversal due to second-order effects after approximately 60 minutes of fire exposure. This reversal, which was obtained in the analyses, was not observed in the test. Load bearing capacity of all the three specimen walls was maintained in such a way that the collapse did not take place during two hours of fire exposure.

abstract: Ben Jonson's 1623 poem "An Execration upon Vulcan" responds to a fire in his house, which seemingly destroyed some books and papers. Scholarly interest in this work has largely been confined to what biographical information it reveals. Yet this poem is in dialogue with Cervantes's Don Quixote , Rabelais's Pantagruel , and Donne's The Courtier's Library , and it engages with the genre of the mock library catalogue. By bringing together these works, the essay not only contributes to ongoing study of such Jonsonian concerns as censorship, interpretation, and the value of learning but also highlights his interest in contemporary European comic literature and the closeness of his association with Donne. It sheds light on early modern literature's self-consciousness about the library as a malleable concept, a self-consciousness with important methodological implications for critics and historians of the period.

This paper reports on the development of a general-purpose Eurocode-compliant component-based connection finite element for steel-to-steel joints in fire. The development begins by utilising the temperature-dependent connection component characteristics previously developed at the University of Sheffield to create a component-based connection finite element to model flush endplate connections. Subsequently the element was extended to a new connection type with high ductility, the reverse channel. The component models have been developed for the reverse channel under tension and compression. The element has been incorporated into the nonlinear global structural analysis program Vulcan, in which it has been used along with a static-dynamic formulation. The use of the element is illustrated by modelling a fire test at the University of Manchester in which reverse channel connections were used.

ABSTRACTThis essay examines the evidence for the Domitianic ‘Arae Incendii Neroniani’, a presumed set of monumental altars dedicated to Vulcan in fulfilment of a vow dating back to the Neronian Fire ofa.d. 64. A close reading of the text of the dedicatory inscription creates a framework for exploring the larger historical and cultural context of these monuments, which offer a significant illustration of Flavian rhetoric concerning Rome's post-Neronian transformation. Reaffirming Julio-Claudian notions of civic identity, collective memory, and the ruler's privileged relationship with the gods, the Arae also constitute a conspicuous form of posthumous reproach to Nero.

Twenty-five years ago, in summer 1998, the first paper introducing the thin-film rotating disk electrode (TFRDE) method was published in the Journal of the Electrochemical Society [1]. At this time, we demonstrated that by preparing a thin layer of a supported Pt/Vulcan catalyst mixed with a small amount of Nafion could reliably be coated on top of a glassy carbon disk, electrochemical reactions like the hydrogen oxidation reaction could be measured on an RDE taking advantage of the well-known mass-transport conditions of an RDE. By keeping the layer thickness in the range of 1 micrometer, additional mass-transport resistances induced by the catalyst layer/Nafion film became negligible. That is, all equations valid on an RDE could be applied without modification. Further work on the oxygen reduction reaction by using the TF Rotating Ring-Disk electrode allowed detecting peroxide formation on a supported catalyst [2]. Both publications grounded the path for catalyst development in fuel cell. The method has been used since then as a standard method for catalyst screening and characterization in both academia and industries. In addition, many researchers improved the TFRDE method within their research. The application span of the TFRDE developed from fuel cell research, oxidation of small organic molecules, to work on Li-O2 batteries, water electrolysis, and CO2 reduction. This presentation will offer a journey over the last 25 years and the application of the TFRDE technique in catalyst development and characterization. [1] T.J. Schmidt, H.A. Gasteiger, G.D. Stäb, P. Urban, D.M. Kolb, R.J. Behm Characterization of High-Surface-Area Electrocatalysts Using a Rotating Disk Electrode Configuration J. Electrochem. Soc. 145 (1998) 2354-2358 [2] U.A. Paulus, T.J. Schmidt, H.A. Gasteiger, R.J. Behm Oxygen Reduction on a High-Surface Area Pt/Vulcan Carbon Catalyst: A Thin-Film Rotating Ring-Disk Study J. Electroanal. Chem. 495 (2001) 134-145 [3] T.J. Schmidt, H.A. Gasteiger Rotating Thin-Film Method for Supported Catalysts, in Handbook of Fuel Cells: Fundamentals, Technology and Applications, Vol. 2 Part 3, W. Vielstich, H.A. Gasteiger, A. Lamm (Eds.), John Wiley & Sons, New York, 316-333 (2003)

The fire beam element method is a tool for structural fire analyses that simplifies a structure into a skeletal frame consisting of only beam and column elements. It considers a shifting neutral axis of each beam element, which is updated throughout an analysis. This method was implemented in the OpenSees software environment by adding two subclasses: one for the fire beam element added to the element class, and one for the member section, in which the neutral axis is iteratively adjusted for non-uniform temperature profiles. To validate the implemented model, three benchmark case studies were sourced from literature: (1) a heated cantilever beam with an analytical solution, (2) a steel beam in a furnace with high axial and bending forces and (3) a two-dimensional steel frame in a fire with complex behaviour such as non-linear heating, restraint and buckling. For (1) the fire beam element predicts deformations identical to an analytical solution. For (2) the fire beam element method simulates deformations with good accuracy across the entire time domain relative to experimental data, and simulations in the literature using Vulcan, although with experimental deflections typically being underestimated. For (3) fire beam element predictions are compared to experimental data and models developed in CEFICOSS, ABAQUS, SAFIR and LS-DYNA. Trends are typically accurately captured, with percentage differences varying. Runaway failure is predicted with 2 min of experimental data. A sensitivity analysis of the fire beam element model on mesh size of elements and fibres showed the runtime to be more sensitive to the number of elements than the number of fibres per element.

The issue of the necessity of developing state standards in the sphere of illuminating and orienting and lighting fire equipment in Ukraine as for classification and general requirements in general and general technical requirements and methods of fire-rescuer lantern tests, in particular, are considered. The main provisions of these standards, which are developed in the Ukrainian Civil Protection Research Institute (UkrCPRI) and on the recommendation of the Standardization Technical Committee of Ukraine TC 25 "Fire safety and fire protection equipment" are outlined and have been earlier introduced to the Program of works for the national standardization for the year of 2018. The application of the basic provisions of these standards will contribute to the introduction of the leading world scientific and technological achievements in Ukraine in the development and production of illuminating and orienting and lighting fire equipment in general, and in particular testing of purchased foreign lanterns for compliance with standardized technical requirements, which will allow more objectively evaluate and compare their technical specifications. In this case, the results of the testing of some test methods and test equipment are presented, according to ANSI/NEMA FL1-2009 Flashlight Basic Performance Standard, when conducting research in UkrCPRI of the best world models of lanterns equipped with modern LED sources of light, power sources, electronics, etc., in particular two fire-rescuer lanterns: Peli 3765 LED (USA) and Vantage®180 (USA), a group fire lantern VULCAN® LED ATEX LANTERN (USA), which are currently supplied domestic fire trucks ООО «VК «Pozhmashyna» and experimental model of personnel fire lantern developed in UkrCPRI. The specified test methods apply to the following basic lighting technology characteristics of the lantern, such as: light flux, peak power of light and duration of operation of the lantern, useful range of light beam.

The oxidation of methanol is studied at TiO2-supported Pt electrodes of varied high surface area carbon content (in the 30-5% w/w range) and C÷Ti atom ratio (in the 3.0-0.4 ratio). The Pt-TiO2 catalyst is prepared by a photo-deposition process and C nanoparticles (Vulcan XC72R) are added by simple ultrasonic mixing. The optimum C÷Ti atom ratio of the prepared catalyst for methanol electro-oxidation is found to be 1.5, resulting from the interplay of C properties (increased electronic conductivity and methanol adsorption), those of TiO2 (synergistic effect on Pt and photo-activity), as well as the catalyst film thickness. The intrinsic catalytic activity of the best Pt-TiO2/C catalyst is better than that of a commercial Pt/C catalyst and could be further improved by nearly 25% upon UV illumination, whose periodic application can also limit current deterioration.

A biphenyl-based copper complex was evaluated as electrocatalyst for the oxygen reduction reaction (orr), for a possible application as cathode material in fuel cells. To carry out this evaluation, the complex was supported on Vulcan carbon and deposited as a film on a glassy carbon rotating disk electrode by drop-casting a 1-μL drop of a suspension of carbon in a solution of the complex in dimethyl sulfoxide containing Nafion as ionic conductive binder, and drying under vacuum. The cyclic voltammogram in 0.1 M NaOH solution showed voltammetric peaks between 0.8 and 1.0 V vs. reference hydrogen electrode, which suggest the existence of electron transfer processes from/toward the ligand. The orr was tested in oxygen-saturated (1 atm) solution by linear sweep voltammetry, which showed significant orr current at relatively low overpotential (around −0.4 V), demonstrating the ability of the complex to electrocatalyze the orr efficiently.

<p>In this study, an analytical model of the combination of beam-web shear buckling and bottom-flange buckling at elevated temperatures has been introduced. This analytical model is able to track the force-deflection path during post-buckling. A range of 3D finite element models has been created using the ABAQUS software. Comparisons have been carried out between the proposed analytical model, finite element modelling and an existing theoretical model by Dharma (2007). Comparisons indicate that the proposed method is able to provide accurate predictions for Class 1 and Class 2 beams, and performs better than the existing Dharma model, especially for beams with high flange-to-web thickness ratios. A component-based model has been created on the basis of the analytical model, and will in due course be implemented in the software Vulcan for global structural fire analysis.</p>

Abstract Electrocatalytic activity of Pt and bimetallic PtRu nanoparticles (both Vulcan supported and unsupported) toward electrooxidation of dimethyl ether (DME), a potential small organic molecule fuel, in an acid medium (0.5 mol dm−3 H2SO4) has been significantly enhanced by dispersing them over a thin film of zirconia (ZrO2). The enhancement effects concern increases of the DME electrocatalytic current densities recorded under both cyclic voltammetric and chronoamperometric conditions. Similar effects have been observed for the oxidation of methanol. Regarding the dissimilar DME electrooxidation mechanisms at Pt and PtRu catalytic centers, the activating capabilities of zirconia seem to originate from the high population of reactive –OH groups favoring mobility of protons and the capability of inducing the oxidative removal of poisoning (CO-type) intermediates both at platinum and ruthenium catalytic sites. In the presence of the zirconia matrix, the onset potential for the oxidation of DME (particularly at PtRu) is shifted more than 50 mV toward less positive potentials. Mutual metal-support interactions are also postulated.

Introduction In polymer electrolyte fuel cells (PEFCs), the catalyst layers, consisting of electrocatalysts and ionomers, greatly affect current-voltage (IV) performance. In other words, not only catalytic activity and electronic conductivity, but also proton conductivity become important to achieve higher performance in PEFCs. Even though the proton conductivity within the catalyst layer is one of the most important factors, there is no method to directly measure the proton conductivity in catalyst layers. Therefore, the objective of this study is to establish a method to directly measure the proton resistance and to quantitatively evaluate the proton conductivity within the catalyst layer. Experimental A schematic diagram for the proton conduction measurement used in this study is shown in Fig. 1. A commercial cell holder commonly used for PEFCs was utilized in our measurement system. As show in Fig. 1, Pt/C gas diffusion electrodes and water-repellent GDLs were used for both the anode and cathode sides. The sample to be analyzed was sandwiched between two Nafion® membranes in order to block electrons. In detail, the 1 cm2 gas diffusion electrode was prepared by spray printing 46.5% Pt/KB (TEC10E50E) on each Nafion®212 film. Then, for one of the two Nafion® membranes, the sample to be analyzed was also spray-printed on the reverse side. Finally, two Nafion® membranes were hot pressed first and assembled with two GDLs as described in Fig. 1. With this setup, ohmic resistance was measured using a current interrupt method, in which direct current (DC) was applied to the sample but electrons were blocked. Since it is important to select a reaction with a small overvoltage for the DC reaction, we have used hydrogen oxidation/reduction reaction in this study and flowed hydrogen on the anode side and nitrogen on the cathode side. Results and Discussion Before the actual sample measurement, a Nafion®212 was first sandwiched instead of the sample to be analyzed and tested. When the H2 generated at the cathode side was quickly removed along with the N2 flow, a gradient of hydrogen concentration was produced. The resulting concentration cell generated the additional voltage. Also, unlike a fuel cell reaction, since water was not produced during the reaction, the Nafion® membrane dried up as the reaction proceeded, leading to increase in resistance. Therefore, in order to avoid formation of a concentration cell, the flow rate of gases was minimized and also N2 gas was stopped at the cathode right before the measurement. Additionally, the water-repellent GDLs normally used in PEFCs were replaced with GDLs without a water-repellent treatment. Using the optimized measurement system described in the above, two samples, a catalyst layer containing Pt/Vulcan, and a Vulcan carbon support layer without Pt, were tested. As a result, ohmic resistance of the Pt/Vulcan layer was very small like 0.011 Ω. On the other hand, the Vulcan catalyst layer showed 0.095 Ω. The reason for this is most likely because the presence of Pt in the layer brings up some other chemical reactions, causing the electron transfer within the sample layers, and the electron movement cannot be completely blocked. Consequently, by directly evaluating the Pt-free carbon support layer, deriving the proton conductivity in the catalyst layer becomes the best way. Figure 1

VARIASI ZONA LEMAH STRUKTUR INTERNAL GUNUNG LOKON BERDASARKAN STUDI SEISMO-VULKANIKABSTRAK Indonesia merupakan negara gunungapi dengan jumlah gunungapi aktif terbanyak di dunia yaitu 129 buah yang tersebar di jalur Cincin Api (Ring of fire) Pasifik dan sekitar 8% berada di Propinsi Sulawesi Utara. Gunung Lokon merupakan salah satu dari 129 buah gunungapi aktif di Indonesia yang sering erupsi dan mengalami perubahan Zona lemah sejak tahu 1829. Dalam penelitian ini dilakukan untuk posisi kantung magma gunung Lokon dan variasi zona lemah struktur internal gunung Lokon. Penelitian ini menggunakan data sekunder dari PVMBG pos PGA Lokon-Mahawu Kakaskasen, Tomohon. Hasil dan analisis tersebut dipakai sebagai sumber mitigasi bencana dan perkembangan ilmu pengetahuan kegunungapian. Kata Kunci : zona lemah gunung Lokon, Gunung Lokon, WEAK ZONE VARIATION INTERNAL STRUCTURE MOUNT LOKON BASED ON SEISMO-VULCANIC STUDY ABSTRACT Indonesia is a volcanic country with the highest number of active volcanoes in the world that is 129 pieces scattered in the path of the Ring of Fire (Ring of Fire) Pacific and about 8% is in the province of North Sulawesi. Mount Lokon is one of 129 pieces of active volcanoes in Indonesia are often erupted and weak zone changes since out 1829. In this research, to position of Lokon mountain magma chamber and internal structure variations weak zone Lokon mountain. This study uses secondary data from PVMBG post PGA Lokon -Mahawu Kakaskasen, Tomohon. Results and analysis are used as a source of disaster mitigation and development of science volcanology. Keywords: Mount Lokon weak zone, Mount Lokon.

Platinum and Pt alloy nanoparticles supported on carbon are the state of the art electrocatalysts in proton exchange membrane fuel cells. To develop a better understanding on how material design can influence the degradation processes on the nanoscale, three specific Pt/C catalysts with different structural characteristics were investigated in depth: a conventional Pt/Vulcan catalyst with a particle size of 3–4 nm and two Pt@HGS catalysts with different particle size, 1–2 nm and 3–4 nm. Specifically, Pt@HGS corresponds to platinum nanoparticles incorporated and confined within the pore structure of the nanostructured carbon support, i.e., hollow graphitic spheres (HGS). All three materials are characterized by the same platinum loading, so that the differences in their performance can be correlated to the structural characteristics of each material. The comparison of the activity and stability behavior of the three catalysts, as obtained from thin film rotating disk electrode measurements and identical location electron microscopy, is also extended to commercial materials and used as a basis for a discussion of general fuel cell catalyst design principles. Namely, the effects of particle size, inter-particle distance, certain support characteristics and thermal treatment on the catalyst performance and in particular the catalyst stability are evaluated. Based on our results, a set of design criteria for more stable and active Pt/C and Pt-alloy/C materials is suggested.

The adsorption of phenol (Ph), 4-chlorophenol (CP), and 4-cresol (MP) from aqueous solutions on three carbonaceous materials of diverse origins but similar specific surface areas was investigated. Vulcan XC72 carbon black (CB), AKP-5 activated coke (AC), and activated tire pyrolysis char (AP) were examined as adsorbents. The kinetics and equilibrium adsorption, as well as the influence of pH and ionic strength of each solution on the adsorption process, were studied. The results revealed that the adsorption was pH-dependent and preferred an acidic environment. The presence of an inorganic salt in the solution (ionic strength) did not affect the adsorption processes of the three adsorbates. The pseudo-first- and pseudo-second-order equations, as well as the Weber–Morris and Boyd kinetic models, were used to describe the adsorption kinetics. It was found that equilibrium was reached for all adsorbates after approximately 2–3 h. Adsorption kinetics followed a pseudo-second-order model, and the adsorption rate was determined by film diffusion. The adsorption isotherms were described using the Langmuir and Freundlich equations. The results revealed that the adsorption processes of Ph, CP, and MP on all three adsorbents from the water were better described by the Langmuir model. The adsorption of CP was the most efficient, the adsorption of MP was slightly weaker, and the adsorption of phenol was the least efficient.

As South Africa moves towards the production and storage of green energy sources, proton exchange membrane (PEM) fuel cells have been characterized as promising energy sources for transportation, heating, and power sources and have an efficient energy conversion that does not allow greenhouse gas emissions. However, to improve the energy efficiency and to reduce the system cost, and make it suitable for large-scale commercialization, precious metal catalyst needs to be developed with improved catalyst activities for PEM fuel cells. Due to the high cost of platinum, platinum alloy nanostructures have been investigated for use as an electrocatalyst in PEM fuel cells. Platinum-nickel alloy nanostructures in previous research studies have shown 36- and 22-times enhancement in mass and specific activity respectively, towards the cathodic oxygen reduction reaction (ORR) in PEM fuel cells and for the methanol oxidation reaction (MOR) in direct methanol fuel cell (DMFC) than the Pt/C catalyst. Therefore, this research focused on developing rich Pt-skin platinumnickel nanoframes which were synthesized using solvothermal and in-house developed methods. The intermediate products were etched to remove the interior using either a weak acid or an oxidative acid for comparison. The final product was supported by Vulcan XC-72 at a loading of 20 wt. % Pt-Ni. The properties of Pt-Ni/C will be characterized and evaluated to determine if the nanoframes are formed. The preliminary results for the X-ray diffraction pattern showed that the structure of Pt-Ni contracted and affected the catalyst properties. The catalytic activities were determined by electrochemical methods using thin-film RDE measurements, the results indicated that Pt-Ni as-synthesized has higher specific activity at 900 mV versus RHE. The specific and mass activity of the oxygen reduction reaction for Pt-Ni/C will be compared to the activities of the current high-performing Pt/C catalyst.

A distinctive feature ofAeneid8 is the constant interplay and fluctuation of registers, with high epic and thegenus grandealternating with the lighter strains or learned allusions associated with thegenus tenue. As one commentator has remarked, ‘Man darf das Buch allein schon wegen seines Reichtums an Aitien als das ‘kallimacheischste’ derAeneisbezeichnen.’ Beyond the emphasis on aetiology—the Cacus myth in particular is presented asaitionfor the consecration of the Ara Maxima—the Callimachean complexion comes out also in several smaller not-so-serious or learned touches, typically at unlikely moments to infuse an element of humour in an otherwise intensely dramatic narrative. The Hercules–Cacus episode conflates high drama and low comedy as the cattle rustler's slightly ridiculous stratagem becomes a gigantic clash resonating with the primal gigantomachy. Among the rudimentary weapons of mass destruction unleashed by Hercules upon Cacus (omniaque arma|aduocat et ramis uastisque molaribus instat, 8.249-50), the hapaxmolaris(massive boulder, lit. millstone) echoes its Homeric equivalent μύλαξ (Il. 12.161), itself a hapax, with the recherché term then reappearing (again as hapax) at Ovid,Metamorphoses3.59: missiles and diction are equally outlandish. When Hercules in a reprise of the celebrated Empedoclean leap plungesper ignemin pursuit of Cacus (8.256-8), an (incongruous) evocation of the Sicilian philosopher's fiery exit adds a touch of comedy at the heated moment. And from this inferno Virgil moves to Olympus, lowering the tone but raising the temperature as Venus in a domestic comedy seduces the uxorious Vulcan into preparing new armour for Aeneas: now she kindles flames of a different sort in the fire-god (8.388-92, 8.404-6) in a scene marked by witty double entendre that provides a playful contrast with the unfolding drama at Pallanteum. At moments like these, a lighter strain is audible through the epic thunder,Vergilius ludensis hard at work (or play).

Recently, the CNR-ITAE activity has been addressed to the components development (electrodes and membranes) able to work in medium temperature PEFCs (80-130°C). One of the main problems to work at these temperatures is the proton conductivity loss due to a not full hydration of the membrane. For this reason a study on the modification of perfluorosulphonic membranes (like Nafion) was carried out by introducing different percentages of inorganic oxides (like SiO2, ZrO2) in the polymer matrix. These compounds have the function to improve the properties of the materials at high temperature due to their characteristics of softly proton conductor and/or hygroscopicity. The membranes were prepared by the Doctor-Blade casting technique that permits a good check of the thickness and a good reproducibility. A commercial ZrO2 was used to prepare the membranes varying the inorganic amount between 3 and 20wt%. The most promising results were obtained at 120°C with a Nafion-recast membrane loaded with a 10wt%ZrO2; a power density value of about 330mW∕cm2 at 0.6V was reached. On the other side, an optimization of the electrode structure was carried out, by introducing the inorganic oxide in the catalyst layer in order to improve the performance in the range of considered temperature. By using a spray technique, thin film electrodes with a Pt loading of 0.5mg∕cm2 in the catalyst layer, low PTFE content in the diffusion layer and a 30% Pt/Vulcan (E-Tek, Inc.) as an electro catalyst were prepared. Different amounts of ZrO2 were introduced in the catalytic layer of the electrodes to increase the working temperature and help the water management of the fuel cell. These electrodes assembled to the modified membrane have shown a better performance at higher cell temperature than standard MEA with a power density of about 330mWcm−2 at 130°C.

AbstractPhilips Galle (1537-1612) is best known as a productive engraver and publisher of prints. I Iowever, scant attention has been paid to the fact that he himself often designed prints which he or others engraved. This disregard of Galle's role as inventor is unfair, for many of his representions are particularly interesting for their iconography: several of the themes are original, conceived either by Galle himself or inspired by literary sources and introduced to Netherlandish art for the first time. Only a couple of his designs have been preserved: the drawings Perseus and Andromeda (fig. 1) and Vulcan Vanquished by Pallas (fig. 2), neither of which is signed. There is no doubting Galle's authorship however, because his prints always bear his name as the inventor. In alba amicorum he also drew a Head of Christ (in 1577 and 1579) and a I lead of Hercules (1582), (fig. 3). Galle's first print after a design of his own, Hiernnymus in the Desert (1561), was published by Hieronymus Cock. Despite the absence of the name of a publisher, Galle himself probably published the other prints which he made later, during his Haarlem period (from 1563 to ca. 1570). The verses on the prints are by Hadrianus Junius, the Haarlem humanist who was his friend. Galle's designs of this period are very similar in style to Maarren van Heemskerck's : from the late 1550s on, Galle made engravings of some hundred or so of van Heemskerck's drawings. Another evident influence is that of Frans Floris, whose work Galle also engraved during this period. Many designs from Galle's Haarlem period are highly original, in particular The Wretchedness of Human Existence (1563; figs.4-9) is exceptional for the total absence in the series of any religious allusion or eschatological prospect. The six prints depict man's life starting with his birth and going on to show how he has to learn everything, succumbs to his own failings and falls victim to sickness, poverty, imprisonment and death. The series ends with the lesson that man, unlike animals, is always out for his fellow-man's blood. Galle's Four Elemetns (15 64; figs. 10-13) marked the first appearance of the theme as a series in Netherlandish prints. Earth, Water, Air and Fire are not, as later became customary, represcnted as personifications with attributes, but as gods of Antiquity : Cybele, Neptune, Juno and Jupiter respectively. Galle based his depictions of them on 16th-century Italian mythographers : Cartari's Le Imagini de i Dei degli Anitichi (1556) and Giraldi's De Deis Gentium (1548). The Sluggard's Punishment (figs. 14 and 15) and The power of Women (fig. 16) act as moral examples from the bible. In the former series Galle resorts to passages from Proverbs for his inventive object lesson that the sluggard who refuses to work must suffer poverty and want. His prints of the guiles of women in the Old Testament (Adam and Eve, Lot and his daughters, Jael and Siscra, Samson and Delilah, Solomon and his concubines and Judith and Holofernes) illustrate how women gain ascendance over men by dint of cunning deception, flattery or passion. The Adoration of the Name of Jesus (fig. 17) is one of the first Netherlandish representations of the IHS monogram. We see it being worshipped by hierarchically arranged representatives of the spiritual and secular powers, by angels in heaven and souls in purgatory. Galle continued to design prints after he moved to Antwerp (1570/71). Other engravers usually incised them in copper now: Crispijn de Passe 1, Hieronymus Wierix, Johannes Collaert. Gallc's son-in-law Adriaan Collaert and his son Theodoor Galle. Henceforth the prints bore Galle's official address as publisher. During this period his style underwent a considerable change. The influence of Heemskerck and Floris was superseded by that of Anthonie Blocklandt and Johannes Stradanus, the most important artists of whose work Galle had been making prints since 1571. The South-Netherlandish humanists Cornelis Kilianus and Hugo Favolius replaced Junius as text-writers. Galle's iconography displayed a radical change too. Virtually all the figures in his prints were now elegant nudes. He pictured gods, goddesses, demigods (some of them published in books of prints (fig. 18), stories from classical mythology (Perseus and Andromeda, fig. 1; The Adultery of Venus and Mars, figs. 19-20; Psyche and Cupid, fig. 22), from classical history (Sophonisha's Suicide and Cleopatra's Suicide) and a Fortuna based on a composition by Melchior Lorck (fig. 21). Vulcan Vanquished by Pallas (figs. 2 and 23) is a most unusual print. The representation derives from the story in Hyginus' Fabulae of how Pallas Athena successfully defended her virginity against Vulcan's attempts to take her by force. The Latin verse and pictorial details (the burning torch, Cupid's broken bow and Pallas' owl, which has put one of his arrows out of action) leave the beholder in no doubt as to Galle's intention to convey the moral that chastity vanquishes voluptuous lust. The Four Winds (figs. 24-27), like the Four Elements, were the first independent representation in Netherlandish art. Galle again turned to Cartari's Le Inzagini de i Dei degli Antichi for his depictions of Eurus, Zephyr, Boreas and Auster as winged figures. His revived interest in the allegory is also reflected in the forty-three personifications (figs. 28-20;) in Prosopogruphia, a book of models intended for painters, engravers, poets and orators. Galle's merits as an inventor, then, are chiefly in the area of iconography: his originality is largely due to his depictions of themes without a pictorial tradition in his day. His activities as both a publisher and a draughtsman of edifying allegories and classical themes demonstrate his erudite and humanistically inclined personality.

Polymer electrolyte fuel cells (PEFCs) are expected as one of the clean, highly effective energy conversion systems, and have been actively studied. Pt nanoparticles on carbon supports (Pt/C) are commonly used as a cathode catalyst for PEFCs, because of the high activity on oxygen reduction reaction (ORR). However, its durability in long term driving and high mass activity for ORR have not sufficiently fulfilled at the present. More improvements of Pt/C catalyst for ORR activity and the durability are required for the spread of PEFCs To improve the activity and durability of Pt/C, ionic liquids (ILs) modified catalysts, called Pt/C-Solid catalysis with an IL layer (SCILL) catalysts, have recently attracted much attention [1]. ILs are liquid salts around room temperature, which have high ionic conductivity and electrochemical stability. We focused on hydrophobic ionic liquids with quaternary phosphonium cations [2]. Quaternary phosphonium cations ionic liquids have higher ionic conductivity and hydrophobicity than quaternary ammonium ionic liquids with the same structure and the same counter ions. Because of interference in the oxygen reduction reaction on platinum by water, increasing the hydrophobicity of the surface is expected to improve the activity on Pt/C catalysis. Hence, by using the quaternary phosphonium cations ILs for Pt/C-SCILL catalysts, it promises to improve the ORR activities for the catalyst. On the other hand, proton conduction and oxygen permeation rate are also important factors for ORR activity enhancement. In this study, we report the ORR activity for Pt/C-SCILL catalysts with ILs composed of highly hydrophobic cations and hydrophobic anions. Quaternary phosphonium based ILs (PXXXY+TFSA-[alkyl chain X= 4 Y= 1, 12, 16]) were used for Pt/C-SCILL modified electrodes. Commercially available 20 wt% or 30 wt% Pt/C (Cabot, Vulcan XC-72R🄬) catalyst was used for bare Pt/C modified electrodes. The ultrasonicated Pt/C catalyst suspension was dropped on the mirror polished glassy carbon disk electrodes. Pt/C-SCILL modified electrodes were prepared by recasting the ILs-2-propanol solution on the bare Pt/C modified electrodes or adding ILs to the catalyst suspension. Moreover, the mixture of the ILs and bis(trifluoromethanesulfonyl)imide (HTFSA) were also examined. The thickness of the ILs layer was calculated relative to the BET surface area of the carbon support. A platinum wire and a reversible hydrogen electrode (RHE) were used as the counter and reference electrodes, respectively. CV and LSV were carried out in 0.1 M HClO4 solution under Ar (CV) or O2 (LSV) atmosphere, respectively. The Pt/C-SCILL catalyst was prepared by recasting (thin layers, ~0.4 nm) or mixing (thick layers, 1nm~) methods. In the case of the thin layer (~0.4 nm) of ILs, the ORR activity increased as the size of the cations increased. However, for the thicker (1 nm ~) ILs layers, the ORR activity was lower than for the bare Pt/C catalysts. It seems that the aprotic ILs interfered with the proton supply, making the four-electron reduction reaction of oxygen less likely to occur. Therefore, we attempted to supply protons to the thick ILs layer by mixing an ionic liquid with a proton source. HTFSA was dissolved in P444(12)TFSA, which showed relatively good ORR activity in thin film studies. The Pt/C-SCILL catalyst was prepared by adding the mixture with a catalyst dispersion. This proton mixing Pt/C-SCILL catalyst showed a significant improvement in ORR activity compared to bare Pt/C catalyst. References [1] S. Silvia et al., Adv. Energy Sustainability Res., 2, 2000062 (2021). [2] K. Tsunashima and M. Sugiya, Electrochem. Commun., 9, 2353 (2007).

Purpose In order to improve the robustness of bare-steel and composite structures in fire, a novel axially and rotationally ductile connection has been proposed in this paper. Design/methodology/approach The component-based models of the bare-steel ductile connection and composite ductile connection have been proposed and incorporated into the software Vulcan to facilitate global frame analysis for performance-based structural fire engineering design. These component-based models are validated against detailed Abaqus FE models and experiments. A series of 2-D bare-steel frame models and 3-D composite frame models with ductile connections, idealised rigid and pinned connections, have been created using Vulcan to compare the fire performance of ductile connection with other connection types in bare-steel and composite structures. Findings The comparison results show that the proposed ductile connection can provide excellent ductility to accommodate the axial deformation of connected beam under fire conditions, thus reducing the axial forces generated in the connection and potentially preventing the premature brittle failure of the connection. Originality/value Compared with conventional connection types, the proposed ductile connection exhibits considerable deformability, and can potentially enhance the robustness of structures in fire.

In order to model the impact of the creep strains on the behaviour of steel in fire, several creep models have been implemented into <em>Vulcan</em> research code. The paper presents verifications of these creep models for fire-exposed steel against transient fire tests of simply supported steel beams with various loading arrangements, including bending combined with axial compression. In addition, a creep-free analysis of the fire tests has been performed using a newly developed creep-free methodology. Creep-free analysis is vital in explicit modelling of steel creep in fire, since most of the available material models of steel in fire were derived from transient coupon tests and inherently included creep associated with the particular heating rates used in the tests.

Industrial portal frames near to other buildings must keep their vertical walls standing in fire in order to prevent fire spread. A recently developed analysis, implemented in the program Vulcan, using a combination of static and dynamic solvers, has shown that the strong base connections recommended by the current design method may not always lead to conservative design. A second-phase failure mechanism observed in numerical modelling, and the critical temperature at which final run-away collapse occurs, may be higher than the temperature at which the roof frame initially loses its stability, because a re-stabilisation often happens. A new method for estimating critical temperatures of portal frames in fire, using these two failure mechanisms, is presented. Numerical tests on typical industrial frames are used to calibrate this new method.

This research is intended to predict the inevitable through-depth crack development in a composite slab, across its area and in particular around its edges at large deflection. Based on previous work, a theoretical model has been proposed to simulate the local behaviour of slab beyond initial cracking. The model has been successfully implemented in the software VULCAN as a new line element. Comparisons between the existing theoretical model and FE modelling have shown that the proposed element provides a sufficient level of accuracy beyond initial cracking. However, further improvement is needed to enable a precise investigation of the local and global behaviour of composite slab systems, and the influence of through-depth cracking on the slab’s performance.

In this study, an analytical model of the combination of beam-web shear buckling and bottom-flange buckling at elevated temperatures has been created. This analytical model is able to track the force-deflection path in the post-buckling stage. A range of 3D finite element models has been created using the ABAQUS software. Comparisons have been carried out between the proposed analytical model, finite element modelling and the existing Dharma’s theoretical model. Comparisons indicate that the proposed method is able to provide with accurate predictions for Class 1 and Class 2 beams, and performs better than the existing model, especially for slender beams. A component-based model has been created based on the analytical model, and in due course to be implemented into the software Vulcan for global structural fire analysis.

Photograph by Gonzalo Echeverria (2010)Declaring War Soon after Al Qaeda’s terrorist attacks on 11 September 2001, the Bush Administration described its new grand strategy: the “Global War on Terror”. This underpinned the subsequent counter-insurgency in Afghanistan and the United States invasion of Iraq in March 2003. Media pundits quickly applied the Global War on Terror label to the Madrid, Bali and London bombings, to convey how Al Qaeda’s terrorism had gone transnational. Meanwhile, international relations scholars debated the extent to which September 11 had changed the international system (Brenner; Mann 303). American intellectuals adopted several variations of the Global War on Terror in what initially felt like a transitional period of US foreign policy (Burns). Walter Laqueur suggested Al Qaeda was engaged in a “cosmological” and perpetual war. Paul Berman likened Al Qaeda and militant Islam to the past ideological battles against communism and fascism (Heilbrunn 248). In a widely cited article, neoconservative thinker Norman Podhoretz suggested the United States faced “World War IV”, which had three interlocking drivers: Al Qaeda and trans-national terrorism; political Islam as the West’s existential enemy; and nuclear proliferation to ‘rogue’ countries and non-state actors (Friedman 3). Podhoretz’s tone reflected a revival of his earlier Cold War politics and critique of the New Left (Friedman 148-149; Halper and Clarke 56; Heilbrunn 210). These stances attracted widespread support. For instance, the United States Marine Corp recalibrated its mission to fight a long war against “World War IV-like” enemies. Yet these stances left the United States unprepared as the combat situations in Afghanistan and Iraq worsened (Ricks; Ferguson; Filkins). Neoconservative ideals for Iraq “regime change” to transform the Middle East failed to deal with other security problems such as Pakistan’s Musharraf regime (Dorrien 110; Halper and Clarke 210-211; Friedman 121, 223; Heilbrunn 252). The Manichean and open-ended framing became a self-fulfilling prophecy for insurgents, jihadists, and militias. The Bush Administration quietly abandoned the Global War on Terror in July 2005. Widespread support had given way to policymaker doubt. Why did so many intellectuals and strategists embrace the Global War on Terror as the best possible “grand strategy” perspective of a post-September 11 world? Why was there so little doubt of this worldview? This is a debate with roots as old as the Sceptics versus the Sophists. Explanations usually focus on the Bush Administration’s “Vulcans” war cabinet: Vice President Dick Cheney, Secretary of Defense Donald Rumsfield, and National Security Advisor Condoleezza Rice, who later became Secretary of State (Mann xv-xvi). The “Vulcans” were named after the Roman god Vulcan because Rice’s hometown Birmingham, Alabama, had “a mammoth fifty-six foot statue . . . [in] homage to the city’s steel industry” (Mann x) and the name stuck. Alternatively, explanations focus on how neoconservative thinkers shaped the intellectual climate after September 11, in a receptive media climate. Biographers suggest that “neoconservatism had become an echo chamber” (Heilbrunn 242) with its own media outlets, pundits, and think-tanks such as the American Enterprise Institute and Project for a New America. Neoconservatism briefly flourished in Washington DC until Iraq’s sectarian violence discredited the “Vulcans” and neoconservative strategists like Paul Wolfowitz (Friedman; Ferguson). The neoconservatives' combination of September 11’s aftermath with strongly argued historical analogies was initially convincing. They conferred with scholars such as Bernard Lewis, Samuel P. Huntington and Victor Davis Hanson to construct classicist historical narratives and to explain cultural differences. However, the history of the decade after September 11 also contains mis-steps and mistakes which make it a series of contingent decisions (Ferguson; Bergen). One way to analyse these contingent decisions is to pose “what if?” counterfactuals, or feasible alternatives to historical events (Lebow). For instance, what if September 11 had been a chemical and biological weapons attack? (Mann 317). Appendix 1 includes a range of alternative possibilities and “minimal rewrites” or slight variations on the historical events which occurred. Collectively, these counterfactuals suggest the role of agency, chance, luck, and the juxtaposition of better and worse outcomes. They pose challenges to the classicist interpretation adopted soon after September 11 to justify “World War IV” (Podhoretz). A ‘Two-Track’ Process for ‘World War IV’ After the September 11 attacks, I think an overlapping two-track process occurred with the “Vulcans” cabinet, neoconservative advisers, and two “echo chambers”: neoconservative think-tanks and the post-September 11 media. Crucially, Bush’s “Vulcans” war cabinet succeeded in gaining civilian control of the United States war decision process. Although successful in initiating the 2003 Iraq War this civilian control created a deeper crisis in US civil-military relations (Stevenson; Morgan). The “Vulcans” relied on “politicised” intelligence such as a United Kingdom intelligence report on Iraq’s weapons development program. The report enabled “a climate of undifferentiated fear to arise” because its public version did not distinguish between chemical, biological, radiological or nuclear weapons (Halper and Clarke, 210). The cautious 2003 National Intelligence Estimates (NIE) report on Iraq was only released in a strongly edited form. For instance, the US Department of Energy had expressed doubts about claims that Iraq had approached Niger for uranium, and was using aluminium tubes for biological and chemical weapons development. Meanwhile, the post-September 11 media had become a second “echo chamber” (Halper and Clarke 194-196) which amplified neoconservative arguments. Berman, Laqueur, Podhoretz and others who framed the intellectual climate were “risk entrepreneurs” (Mueller 41-43) that supported the “World War IV” vision. The media also engaged in aggressive “flak” campaigns (Herman and Chomsky 26-28; Mueller 39-42) designed to limit debate and to stress foreign policy stances and themes which supported the Bush Administration. When former Central Intelligence Agency director James Woolsey’s claimed that Al Qaeda had close connections to Iraqi intelligence, this was promoted in several books, including Michael Ledeen’s War Against The Terror Masters, Stephen Hayes’ The Connection, and Laurie Mylroie’s Bush v. The Beltway; and in partisan media such as Fox News, NewsMax, and The Weekly Standard who each attacked the US State Department and the CIA (Dorrien 183; Hayes; Ledeen; Mylroie; Heilbrunn 237, 243-244; Mann 310). This was the media “echo chamber” at work. The group Accuracy in Media also campaigned successfully to ensure that US cable providers did not give Al Jazeera English access to US audiences (Barker). Cosmopolitan ideals seemed incompatible with what the “flak” groups desired. The two-track process converged on two now infamous speeches. US President Bush’s State of the Union Address on 29 January 2002, and US Secretary of State Colin Powell’s presentation to the United Nations on 5 February 2003. Bush’s speech included a line from neoconservative David Frumm about North Korea, Iraq and Iran as an “Axis of Evil” (Dorrien 158; Halper and Clarke 139-140; Mann 242, 317-321). Powell’s presentation to the United Nations included now-debunked threat assessments. In fact, Powell had altered the speech’s original draft by I. Lewis “Scooter” Libby, who was Cheney’s chief of staff (Dorrien 183-184). Powell claimed that Iraq had mobile biological weapons facilities, linked to Abu Musab al-Zarqawi. However, the International Atomic Energy Agency’s (IAEA) Mohamed El-Baradei, the Defense Intelligence Agency, the State Department, and the Institute for Science and International Security all strongly doubted this claim, as did international observers (Dorrien 184; Halper and Clarke 212-213; Mann 353-354). Yet this information was suppressed: attacked by “flak” or given little visible media coverage. Powell’s agenda included trying to rebuild an international coalition and to head off weather changes that would affect military operations in the Middle East (Mann 351). Both speeches used politicised variants of “weapons of mass destruction”, taken from the counterterrorism literature (Stern; Laqueur). Bush’s speech created an inflated geopolitical threat whilst Powell relied on flawed intelligence and scientific visuals to communicate a non-existent threat (Vogel). However, they had the intended effect on decision makers. US Under-Secretary of Defense, the neoconservative Paul Wolfowitz, later revealed to Vanity Fair that “weapons of mass destruction” was selected as an issue that all potential stakeholders could agree on (Wilkie 69). Perhaps the only remaining outlet was satire: Armando Iannucci’s 2009 film In The Loop parodied the diplomatic politics surrounding Powell’s speech and the civil-military tensions on the Iraq War’s eve. In the short term the two track process worked in heading off doubt. The “Vulcans” blocked important information on pre-war Iraq intelligence from reaching the media and the general public (Prados). Alternatively, they ignored area specialists and other experts, such as when Coalition Provisional Authority’s L. Paul Bremer ignored the US State Department’s fifteen volume ‘Future of Iraq’ project (Ferguson). Public “flak” and “risk entrepreneurs” mobilised a range of motivations from grief and revenge to historical memory and identity politics. This combination of private and public processes meant that although doubts were expressed, they could be contained through the dual echo chambers of neoconservative policymaking and the post-September 11 media. These factors enabled the “Vulcans” to proceed with their “regime change” plans despite strong public opposition from anti-war protestors. Expressing DoubtsMany experts and institutions expressed doubt about specific claims the Bush Administration made to support the 2003 Iraq War. This doubt came from three different and sometimes overlapping groups. Subject matter experts such as the IAEA’s Mohamed El-Baradei and weapons development scientists countered the UK intelligence report and Powell’s UN speech. However, they did not get the media coverage warranted due to “flak” and “echo chamber” dynamics. Others could challenge misleading historical analogies between insurgent Iraq and Nazi Germany, and yet not change the broader outcomes (Benjamin). Independent journalists one group who gained new information during the 1990-91 Gulf War: some entered Iraq from Kuwait and documented a more humanitarian side of the war to journalists embedded with US military units (Uyarra). Finally, there were dissenters from bureaucratic and institutional processes. In some cases, all three overlapped. In their separate analyses of the post-September 11 debate on intelligence “failure”, Zegart and Jervis point to a range of analytic misperceptions and institutional problems. However, the intelligence community is separated from policymakers such as the “Vulcans”. Compartmentalisation due to the “need to know” principle also means that doubting analysts can be blocked from releasing information. Andrew Wilkie discovered this when he resigned from Australia’s Office for National Assessments (ONA) as a transnational issues analyst. Wilkie questioned the pre-war assessments in Powell’s United Nations speech that were used to justify the 2003 Iraq War. Wilkie was then attacked publicly by Australian Prime Minister John Howard. This overshadowed a more important fact: both Howard and Wilkie knew that due to Australian legislation, Wilkie could not publicly comment on ONA intelligence, despite the invitation to do so. This barrier also prevented other intelligence analysts from responding to the “Vulcans”, and to “flak” and “echo chamber” dynamics in the media and neoconservative think-tanks. Many analysts knew that the excerpts released from the 2003 NIE on Iraq was highly edited (Prados). For example, Australian agencies such as the ONA, the Department of Foreign Affairs and Trade, and the Department of Defence knew this (Wilkie 98). However, analysts are trained not to interfere with policymakers, even when there are significant civil-military irregularities. Military officials who spoke out about pre-war planning against the “Vulcans” and their neoconservative supporters were silenced (Ricks; Ferguson). Greenlight Capital’s hedge fund manager David Einhorn illustrates in a different context what might happen if analysts did comment. Einhorn gave a speech to the Ira Sohn Conference on 15 May 2002 debunking the management of Allied Capital. Einhorn’s “short-selling” led to retaliation from Allied Capital, a Securities and Exchange Commission investigation, and growing evidence of potential fraud. If analysts adopted Einhorn’s tactics—combining rigorous analysis with targeted, public denunciation that is widely reported—then this may have short-circuited the “flak” and “echo chamber” effects prior to the 2003 Iraq War. The intelligence community usually tries to pre-empt such outcomes via contestation exercises and similar processes. This was the goal of the 2003 NIE on Iraq, despite the fact that the US Department of Energy which had the expertise was overruled by other agencies who expressed opinions not necessarily based on rigorous scientific and technical analysis (Prados; Vogel). In counterterrorism circles, similar disinformation arose about Aum Shinrikyo’s biological weapons research after its sarin gas attack on Tokyo’s subway system on 20 March 1995 (Leitenberg). Disinformation also arose regarding nuclear weapons proliferation to non-state actors in the 1990s (Stern). Interestingly, several of the “Vulcans” and neoconservatives had been involved in an earlier controversial contestation exercise: Team B in 1976. The Central Intelligence Agency (CIA) assembled three Team B groups in order to evaluate and forecast Soviet military capabilities. One group headed by historian Richard Pipes gave highly “alarmist” forecasts and then attacked a CIA NIE about the Soviets (Dorrien 50-56; Mueller 81). The neoconservatives adopted these same tactics to reframe the 2003 NIE from its position of caution, expressed by several intelligence agencies and experts, to belief that Iraq possessed a current, covert program to develop weapons of mass destruction (Prados). Alternatively, information may be leaked to the media to express doubt. “Non-attributable” background interviews to establishment journalists like Seymour Hersh and Bob Woodward achieved this. Wikileaks publisher Julian Assange has recently achieved notoriety due to US diplomatic cables from the SIPRNet network released from 28 November 2010 onwards. Supporters have favourably compared Assange to Daniel Ellsberg, the RAND researcher who leaked the Pentagon Papers (Ellsberg; Ehrlich and Goldsmith). Whilst Elsberg succeeded because a network of US national papers continued to print excerpts from the Pentagon Papers despite lawsuit threats, Assange relied in part on favourable coverage from the UK’s Guardian newspaper. However, suspected sources such as US Army soldier Bradley Manning are not protected whilst media outlets are relatively free to publish their scoops (Walt, ‘Woodward’). Assange’s publication of SIPRNet’s diplomatic cables will also likely mean greater restrictions on diplomatic and military intelligence (Walt, ‘Don’t Write’). Beyond ‘Doubt’ Iraq’s worsening security discredited many of the factors that had given the neoconservatives credibility. The post-September 11 media became increasingly more critical of the US military in Iraq (Ferguson) and cautious about the “echo chamber” of think-tanks and media outlets. Internet sites for Al Jazeera English, Al-Arabiya and other networks have enabled people to bypass “flak” and directly access these different viewpoints. Most damagingly, the non-discovery of Iraq’s weapons of mass destruction discredited both the 2003 NIE on Iraq and Colin Powell’s United Nations presentation (Wilkie 104). Likewise, “risk entrepreneurs” who foresaw “World War IV” in 2002 and 2003 have now distanced themselves from these apocalyptic forecasts due to a series of mis-steps and mistakes by the Bush Administration and Al Qaeda’s over-calculation (Bergen). The emergence of sites such as Wikileaks, and networks like Al Jazeera English and Al-Arabiya, are a response to the politics of the past decade. They attempt to short-circuit past “echo chambers” through providing access to different sources and leaked data. The Global War on Terror framed the Bush Administration’s response to September 11 as a war (Kirk; Mueller 59). Whilst this prematurely closed off other possibilities, it has also unleashed a series of dynamics which have undermined the neoconservative agenda. The “classicist” history and historical analogies constructed to justify the “World War IV” scenario are just one of several potential frameworks. “Flak” organisations and media “echo chambers” are now challenged by well-financed and strategic alternatives such as Al Jazeera English and Al-Arabiya. Doubt is one defence against “risk entrepreneurs” who seek to promote a particular idea: doubt guards against uncritical adoption. Perhaps the enduring lesson of the post-September 11 debates, though, is that doubt alone is not enough. What is needed are individuals and institutions that understand the strategies which the neoconservatives and others have used, and who also have the soft power skills during crises to influence critical decision-makers to choose alternatives. Appendix 1: Counterfactuals Richard Ned Lebow uses “what if?” counterfactuals to examine alternative possibilities and “minimal rewrites” or slight variations on the historical events that occurred. The following counterfactuals suggest that the Bush Administration’s Global War on Terror could have evolved very differently . . . or not occurred at all. Fact: The 2003 Iraq War and 2001 Afghanistan counterinsurgency shaped the Bush Administration’s post-September 11 grand strategy. Counterfactual #1: Al Gore decisively wins the 2000 U.S. election. Bush v. Gore never occurs. After the September 11 attacks, Gore focuses on international alliance-building and gains widespread diplomatic support rather than a neoconservative agenda. He authorises Special Operations Forces in Afghanistan and works closely with the Musharraf regime in Pakistan to target Al Qaeda’s muhajideen. He ‘contains’ Saddam Hussein’s Iraq through measurement and signature, technical intelligence, and more stringent monitoring by the International Atomic Energy Agency. Minimal Rewrite: United 93 crashes in Washington DC, killing senior members of the Gore Administration. Fact: U.S. Special Operations Forces failed to kill Osama bin Laden in late November and early December 2001 at Tora Bora. Counterfactual #2: U.S. Special Operations Forces kill Osama bin Laden in early December 2001 during skirmishes at Tora Bora. Ayman al-Zawahiri is critically wounded, captured, and imprisoned. The rest of Al Qaeda is scattered. Minimal Rewrite: Osama bin Laden’s death turns him into a self-mythologised hero for decades. Fact: The UK Blair Government supplied a 50-page intelligence dossier on Iraq’s weapons development program which the Bush Administration used to support its pre-war planning. Counterfactual #3: Rogue intelligence analysts debunk the UK Blair Government’s claims through a series of ‘targeted’ leaks to establishment news sources. Minimal Rewrite: The 50-page intelligence dossier is later discovered to be correct about Iraq’s weapons development program. Fact: The Bush Administration used the 2003 National Intelligence Estimate to “build its case” for “regime change” in Saddam Hussein’s Iraq. Counterfactual #4: A joint investigation by The New York Times and The Washington Post rebuts U.S. Secretary of State Colin Powell’s speech to the United National Security Council, delivered on 5 February 2003. Minimal Rewrite: The Central Intelligence Agency’s whitepaper “Iraq’s Weapons of Mass Destruction Programs” (October 2002) more accurately reflects the 2003 NIE’s cautious assessments. Fact: The Bush Administration relied on Ahmed Chalabi for its postwar estimates about Iraq’s reconstruction. Counterfactual #5: The Bush Administration ignores Chalabi’s advice and relies instead on the U.S. State Department’s 15 volume report “The Future of Iraq”. Minimal Rewrite: The Coalition Provisional Authority appoints Ahmed Chalabi to head an interim Iraqi government. Fact: L. Paul Bremer signed orders to disband Iraq’s Army and to De-Ba’athify Iraq’s new government. Counterfactual #6: Bremer keeps Iraq’s Army intact and uses it to impose security in Baghdad to prevent looting and to thwart insurgents. Rather than a De-Ba’athification policy, Bremer uses former Baath Party members to gather situational intelligence. Minimal Rewrite: Iraq’s Army refuses to disband and the De-Ba’athification policy uncovers several conspiracies to undermine the Coalition Provisional Authority. AcknowledgmentsThanks to Stephen McGrail for advice on science and technology analysis.References Barker, Greg. “War of Ideas”. PBS Frontline. Boston, MA: 2007. ‹http://www.pbs.org/frontlineworld/stories/newswar/video1.html› Benjamin, Daniel. “Condi’s Phony History.” Slate 29 Aug. 2003. ‹http://www.slate.com/id/2087768/pagenum/all/›. Bergen, Peter L. The Longest War: The Enduring Conflict between America and Al Qaeda. New York: The Free Press, 2011. Berman, Paul. Terror and Liberalism. 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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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