Artigos de revistas sobre o tema "Wall-Sized display"

Traditional wall-sized displays mostly only support side-by-side co-located collaboration, while transparent displays naturally support face-to-face interaction. Many previous works assume transparent displays support collaboration. Yet it is unknown how exactly its afforded face-to-face interaction can support loose or close collaboration, especially compared to the side-by-side configuration offered by traditional large displays. In this paper, we used an established experimental task that operationalizes different collaboration coupling and layout locality, to compare pairs of participants collaborating side-by-side versus face-to-face in each collaborative situation. We compared quantitative measures and collected interview and observation data to further illustrate and explain our observed user behavior patterns. The results showed that the unique face-to-face collaboration brought by transparent display can result in more efficient task performance, different territorial behavior, and both positive and negative collaborative factors. Our findings provided empirical understanding about the collaborative experience supported by wall-sized transparent displays and shed light on its future design.

In order to realize realistic remote communication between multipoint remote places via the Internet, displaying the appearance of remote participants by transmission of a video streaming with the large-sized display system is effective. However, the display of video streaming with sufficient quality is difficult because the specification of a commercial projector and large-sized display equipment is low-resolution. In order to these issues, we focus on the tiled display wall technology which configure effective wide-area screen system with two or more LCD panels and tried to display a highresolution video streaming on the large-scale display environment. In this paper, we have constructed remote communication environment with tiled display wall in multipoint sites and have conducted experiment in order to study the possibility of realizing realistic remote communication with multi-video streaming. As these results, these video streaming from each site have been shown to display more high-quality than magnified view of video image by a single small camera. Moreover, we have measured the network throughput performance for each transmitted and received video streaming in this envi- ronment. From measurement results, the steady throughput performance has been gained at the case of each transmitted and received video streaming.

The proliferation of Internet of Things devices and services and their integration in everyday environments led to the emergence of intelligent offices, classrooms, conference, and meeting rooms that adhere to the paradigm of Ambient Intelligence. Usually, the type of activities performed in such environments (i.e., presentations and lectures) can be enhanced by the use of large Interactive Boards that—among others—allow access to digital content, promote collaboration, enhance the process of exchanging ideas, and increase the engagement of the audience. Additionally, the board contents are expected to be plenty, in terms of quantity, and diverse, in terms of type (e.g., textual data, pictorial data, multimedia, figures, and charts), which unavoidably makes their manipulation over a large display tiring and cumbersome, especially when the interaction lasts for a considerable amount of time (e.g., during a class hour). Acknowledging both the shortcomings and potentials of Interactive Boards in intelligent conference rooms, meeting rooms, and classrooms, this work introduces a sophisticated framework named CognitOS Board, which takes advantage of (i) the intelligent facilities offered by the environment and (ii) the amenities offered by wall-to-wall displays, in order to enhance presentation-related activities. In this article, we describe the design process of CognitOS Board, elaborate on the available functionality, and discuss the results of a user-based evaluation study.

We propose CursorTap, an extension of Forlines et al.'s mixed, absolute and relative "HybridPointing" to large wall-sized multitouch displays. Our technique uses a relative pointing quasimode activated with one hand, while the other hand controls a distant cursor similar to a large touchpad. A controlled experiment compares the technique to standard absolute touch input as a baseline and a whole-display "Drag" technique representing a common alternate approach. Results show CursorTap is fastest for the common usage scenario of reaching distant targets and then returning to nearby targets. Overall, median selection times across distances are similar with CursorTap, but linearly increase with the other techniques. As further validation, a second study explore show people use CursorTap in a two-person game. The results found just over half of the participants choose to use CursorTap for half of the primary interactions where "enemies" are eliminated using a tap, drag, or lasso "tool".

We study the motion of a buoyant or a nearly neutrally buoyant nano-sized spheroid in a fluid filled tube without or with an imposed pressure gradient (weak Poiseuille flow). The fluctuating hydrodynamics approach and the deterministic method are both employed. We ensure that the fluctuation–dissipation relation and the principle of thermal equipartition of energy are both satisfied. The major focus is on the effect of the confining boundary. Results for the velocity and the angular velocity autocorrelations (VACF and AVACF), the diffusivities and the drag and the lift forces as functions of the shape, the aspect ratio, the inclination angle and the proximity to the wall are presented. For the parameters considered, the boundary modifies the VACF and AVACF such that three distinct regimes are discernible – an initial exponential decay followed by an algebraic decay culminating in a second exponential decay. The first is due to the thermal noise, the algebraic regime is due both to the thermal noise and the hydrodynamic correlations, while the second exponential decay shows the effect of momentum reflection from the confining wall. Our predictions display excellent comparison with published results for the algebraic regime (the only regime for which earlier results exist). We also discuss the role of the off-diagonal elements of the mobility and the diffusivity tensors that enable the quantifications of the degree of lift and margination of the nanocarrier. Our study covers a range of parameters that are of wide applicability in nanotechnology, microrheology and in targeted drug delivery.

Abstract The test structures of Lagenida, Rotaliida, and Miliolida (Foraminifera) are described at an unprecedented scale of resolution. Observations using conventional and field-emission scanning electron microscopy revealed distinct micro- and nanoscale differences in the textural compositions of these three main groups of calcifying foraminifers, consistent with recent molecular phylogenetic reconstructions and a higher-level taxonomic system. The rotaliid test is entirely composed of roughly spherical primary carbonate nanograins, up to 100 nm in diameter, which merge into micrometer-sized irregular aggregates. The miliolid test is made up of two morphologically different primary crystallites. Arbitrarily arranged needle-shaped elements (up to 1 µm in length and 200 nm in width) make up the bulk of the test, including the inside of the wall (porcelain) and mineralized inner surface (intrados) (ca. 100 nm in thickness). Roughly spherical nanograins (up to 50 nm in diameter) form more or less regularly arranged polygons of an outer lamina (extrados), which is ca. 200 nm in thickness. By contrast, the lagenid test texture is characterized by much larger crystals than in other calcifying foraminifers. At moderate magnification, lagenid tests display a fibrous texture composed of fiber bundles (tens of μm in length and several μm in width) that are oriented perpendicular to test surfaces and taper towards the ends when in contact with another lamina. At higher magnification, each bundle constitutes a single calcite crystal with an inner pore extending along the entire length of the crystal/fiber. We measured test hardness using the nanoindentation method. This is the first application of this technique in microfossils. We found that Cretaceous Lagenida tests were more resistant to mechanical stress than Rotaliida tests. These comparative strengths may be linked to internal test microstructure and play a role in determining habitats in which these taxa can live.

Cholecystoduodenal fistula, caused by gallbladder stone, trauma, peptic ulcer disease, and malignancy, is an uncommon cause of upper gastrointestinal hemorrhage. I report a case of cholecystoduodenal fistula with upper gastrointestinal bleeding and gallbladder cancer. An 85-year-old male, complaining of hematemesis, was presented to the emergency department. Endoscopic examination revealed a 2 cm-sized ulceration at the first portion of the duodenum. Imaging studies, including CT, displayed cholecystoduodenal fistula accompanied with thickened gall bladder wall, air-fluid level in the gall bladder, and multiple hepatic metastatic lesions. The patient was referred for bleeding control surgery; however, he died due to recurrent and massive bleeding before surgery. Since bleeding from cholecystoduodenal fistula is associated with high mortality, early detection is critical for the prognosis. However, there is no typical symptoms and signs of cholecystodudodenal fistula. Additionally, diagnosis of cholecystoduodenal fistula using endoscopy alone was difficult. Therefore, it is recommended to use different diagnostic modalities, including enhanced CT.

Desmoid-type fibromatosis (DF) is a locally aggressive neoplasm characterized by mutations in the CTNNB1 gene, which encodes the β-catenin protein. We reviewed 85 cases of DF and performed Sanger sequencing for detecting mutations in CTNNB1 and immunostaining for detecting β-catenin localization. We included 70 DF samples, of which 56 cases demonstrated nuclear β-catenin localization and 43 cases harboured CTNNB1 mutations. CTNNB1-mutant DF samples consistently displayed nuclear β-catenin expression and were derived from larger-sized tumours compared to samples with wild-type CTNNB1. When we further classified DF cases into 2 subgroups based on the type of specimen, excised specimens with nuclear β-catenin expression frequently displayed CTNNB1 mutation and no statistical correlation between nuclear β-catenin expression and CTNNB1 mutation was observed in biopsies. When we classified CTNNB1 mutation cases into 2 subgroups (DF with T41A or T41I, and DF with S45F or S45P), T41A or T41I mutations were observed more frequently in males than in females. Additionally, DF tumours harbouring S45F or S45P mutations were located more frequently in the abdominal wall than tumours with T41A or T41I mutations. In conclusion, CTNNB1 mutation correlates with nuclear β-catenin expression in larger or excised DF tumours, and DF harbouring CTNNB1 mutations manifest variable clinical presentations.

Bovine juvenile angiomatosis (BJA) comprises a group of single or multiple proliferative vascular anomalies in the skin and viscera of affected calves. The purpose of this study was to characterize the clinicopathological phenotype of a 1.5-month-old Simmental calf with multiple cutaneous, subcutaneous, and visceral vascular hamartomas, which were compatible with a generalized form of BJA, and to identify genetic cause for this phenotype by whole-genome sequencing (WGS). The calf was referred to the clinics as a result of its failure to thrive and the presence of multiple cutaneous and subcutaneous nodules, some of which bled abundantly following spontaneous rupture. Gross pathology revealed similar lesions at the inner thoracic wall, diaphragm, mediastinum, pericardium, inner abdominal wall, and mesentery. Histologically, variably sized cavities lined by a single layer of plump cells and supported by a loose stroma with occasional acute hemorrhage were observed. Determined by immunochemistry, the plump cells lining the cavities displayed a strong cytoplasmic signal for PECAM-1, von Willebrand factor, and vimentin. WGS revealed six private protein-changing variants affecting different genes present in the calf and absent in more than 4500 control genomes. Assuming a spontaneous de novo mutation event, one of the identified variants found in the PREX1, UBE3B, PCDHGA2, and ZSWIM6 genes may represent a possible candidate pathogenic variant for this rare form of vascular malformation.

HIV and Schistosoma infections have been individually associated with pulmonary vascular disease. Co-infection with these pathogens is very common in tropical areas, with an estimate of six million people co-infected worldwide. However, the effects of HIV and Schistosoma co-exposure on the pulmonary vasculature and its impact on the development of pulmonary vascular disease are largely unknown. Here, we have approached these questions by using a non-infectious animal model based on lung embolization of Schistosoma mansoni eggs in HIV-1 transgenic (HIV) mice. Schistosome-exposed HIV mice but not wild-type (Wt) counterparts showed augmented pulmonary arterial pressure associated with markedly suppressed endothelial-dependent vasodilation, increased endothelial remodeling and vessel obliterations, formation of plexiform-like lesions and a higher degree of perivascular fibrosis. In contrast, medial wall muscularization was similarly increased in both types of mice. Moreover, HIV mice displayed an impaired immune response to parasite eggs in the lung, as suggested by decreased pulmonary leukocyte infiltration, small-sized granulomas, and augmented residual egg burden. Notably, vascular changes in co-exposed mice were associated with increased expression of proinflammatory and profibrotic cytokines, including IFN-γ and IL-17A in CD4+ and γδ T cells and IL-13 in myeloid cells. Collectively, our study shows for the first time that combined pulmonary persistence of HIV proteins and Schistosoma eggs, as it may occur in co-infected people, alters the cytokine landscape and targets the vascular endothelium for aggravated pulmonary vascular pathology. Furthermore, it provides an experimental model for the understanding of pulmonary vascular disease associated with HIV and Schistosoma co-morbidity.

ABSTRACT Introduction Bacterial sepsis is a life-threatening disease and a significant clinical problem caused by host responses to a microbial infection. Sepsis is a leading cause of death worldwide and, importantly, a significant cause of morbidity and mortality in combat settings, placing a considerable burden on military personnel and military health budgets. The current method of treating sepsis is restricted to pathogen identification, which can be prolonged, and antibiotic administration, which is, initially, often suboptimal. The clinical trials that have been performed to evaluate bacterial separation as a sepsis therapy have been unsuccessful, and new approaches are needed to address this unmet clinical need. Materials and Methods An inertial-based, scalable spiral microfluidic device has been created to overcome these previous deficiencies through successful separation of infection-causing pathogens from the bloodstream, serving as a proof of principle for future adaptations. Fluorescent imaging of fluorescent microspheres mimicking the sizes of bacteria cells and blood cells as well as fluorescently stained Acinetobacter baumannii were used to visualize flow within the spiral. The particles were imaged when flowing at a constant volumetric rate of 0.2 mL min−1 through the device. The same device was functionalized with colistin and exposed to flowing A. baumannii at 0.2 mL h−1. Results Fluorescent imaging within the channel under a constant volumetric flow rate demonstrated that smaller, bacteria-sized microspheres accumulated along the inner wall of the channel, whereas larger blood cell–sized microspheres accumulated within the center of the channel. Additionally, fluorescently stained A. baumannii displayed accumulation along the channel walls in agreement with calculated performance. Nearly 106 colony-forming units of A. baumannii were extracted with 100% capture efficiency from flowing phosphate-buffered saline at 0.2 mL h−1 in this device; this is at least one order of magnitude more bacteria than present in the blood of a human at the onset of sepsis. Conclusions This type of bacterial separation device potentially provides an ideal approach for treating soldiers in combat settings. It eliminates the need for immediate pathogen identification and determination of antimicrobial susceptibility, making it suitable for rapid use within low-resource environments. The overall simplicity and durability of this design also supports its broad translational potential to improve military mortality rates and overall patient outcomes.

We report on the isolation of the previously-uncultured Neocallimastigomycota SK4 lineage, by two independent research groups, from a wild aoudad sheep rumen sample (Texas, USA) and an alpaca fecal sample (Baden-Württemberg, Germany). Isolates from both locations showed near-identical morphological and microscopic features, forming medium-sized (2–5 mm) white filamentous colonies with a white center of sporangia, on agar roll tubes and a heavy biofilm in liquid media. Microscopic analysis revealed monocentric thalli, and spherical polyflagellated zoospores with 7–20 flagella. Zoospore release occurred through an apical pore as well as by sporangial wall rupturing, a duality that is unique amongst described anaerobic gut fungal strains. Isolates were capable of growing on a wide range of mono-, oligo-, and polysaccharide substrates as the sole carbon source. Phylogenetic assessment based on the D1–D2 28S large rRNA gene subunit (D1–D2 LSU) and internal transcribed spacer-1 (ITS-1) regions demonstrated high sequence identity (minimum identity of 99.07% and 96.96%, respectively) between all isolates; but low sequence identity (92.4% and 86.7%, respectively) to their closest cultured relatives. D1–D2 LSU phylogenetic trees grouped the isolates as a new monophyletic clade within the Orpinomyces–Neocallimastix–Pecoramyces–Feramyces–Ghazallamyces supragenus group. D1–D2 LSU and ITS-1 sequences recovered from the obtained isolates were either identical or displayed extremely high sequence similarity to sequences recovered from the same aoudad sheep sample on which isolation was conducted, as well as several sequences recovered from domestic sheep and few other herbivores. Interestingly, members of the SK4 clade seem to be encountered preferably in animals grazing on summer pasture. We hence propose accommodating these novel isolates in a new genus, Aestipascuomyces (derived from the Latin word for “summer pasture”), and a new species, A. dupliciliberans. The type strain is Aestipascuomycesdupliciliberans strain R4.

AbstractIn the samples collected from the asteroid Ryugu, magnetite displays natural remanent magnetization due to nebular magnetic field, whereas contemporaneously grown iron sulfide does not display stable remanent magnetization. To clarify this counterintuitive feature, we observed their nanoscale magnetic domain structures using electron holography and found that framboidal magnetites have an external magnetic field of 300 A m−1, similar to the bulk value, and its magnetic stability was enhanced by interactions with neighboring magnetites, permitting a disk magnetic field to be recorded. Micrometer-sized pyrrhotite showed a multidomain magnetic structure that was unable to retain natural remanent magnetization over a long time due to short relaxation time of magnetic-domain-wall movement, whereas submicron-sized sulfides formed a nonmagnetic phase. These results show that both magnetite and sulfide could have formed simultaneously during the aqueous alteration in the parent body of the asteroid Ryugu.

ABSTRACTThe human fungal pathogenCandida albicanscauses lethal systemic infections because of its ability to grow and disseminate in a host. TheC. albicansplasma membrane is essential for virulence by acting as a protective barrier and through its key roles in interfacing with the environment, secretion of virulence factors, morphogenesis, and cell wall synthesis. Difficulties in studying hydrophobic membranes have limited the understanding of how plasma membrane organization contributes to its function and to the actions of antifungal drugs. Therefore, the role of the recently discovered plasma membrane subdomains termed the membrane compartment containing Can1 (MCC) was analyzed by assessing the virulence of asur7Δ mutant. Sur7 is an integral membrane protein component of the MCC that is needed for proper localization of actin, morphogenesis, cell wall synthesis, and responding to cell wall stress. MCC domains are stable 300-nm-sized punctate patches that associate with a complex of cytoplasmic proteins known as an eisosome. Analysis of virulence-related properties of asur7Δ mutant revealed defects in intraphagosomal growth in macrophages that correlate with increased sensitivity to oxidation and copper. Thesur7Δ mutant was also strongly defective in pathogenesis in a mouse model of systemic candidiasis. The mutant cells showed a decreased ability to initiate an infection and greatly diminished invasive growth into kidney tissues. These studies on Sur7 demonstrate that the plasma membrane MCC domains are critical for virulence and represent an important new target for the development of novel therapeutic strategies.IMPORTANCECandida albicans, the most common human fungal pathogen, causes lethal systemic infections by growing and disseminating in a host. The plasma membrane plays key roles in enablingC. albicansto growin vivo, and it is also the target of the most commonly used antifungal drugs. However, plasma membrane organization is poorly understood because of the experimental difficulties in studying hydrophobic components. Interestingly, recent studies have identified a novel type of plasma membrane subdomain in fungi known as the membrane compartment containing Can1 (MCC). Cells lacking the MCC-localized protein Sur7 display broad defects in cellular organization and response to stressin vitro. Consistent with this,C. albicanscells lacking theSUR7gene were more susceptible to attack by macrophages than cells with the gene and showed greatly reduced virulence in a mouse model of systemic infection. Thus, Sur7 and other MCC components represent novel targets for antifungal therapy.

Placental under‐perfusion is a hallmark of preeclampsia. Alterations in the maternal circulation have been well documented in preeclamptic mothers, however treatment options remain limited. An imbalance in angiogenic factors (via the VEGF pathway) favoring a vasoconstrictory phenotype and inadequate vascular remodeling contribute to the maternal hypertension. Delivery of LTP VEGFR2 nanoparticles shows normalization in mean arterial pressure, uterine vessel myogenic reactivity, and fetal growth restriction. We previously demonstrated that LTP nanoparticles seeded with plasmid for VEGFR2 improved MAP and vascular reactivity. The goals of these studies were to validate the maternal and fetal safety of our nanoparticle delivery system. The reduced uterine perfusion pressure rat model (RUPP) is used to investigate preeclampsia pathology with nonsense plasmid for VEGFR2 nanoparticles. In the RUPP Sprague‐Dawley dams, silver clips are placed on the abdominal aorta (0.2mm ID) and the utero‐ovarian arteries (0.1mm ID) on pregnancy day 14. SHAM rats undergo surgery without clip placement. On the same day as RUPP surgery, LTP nanoparticles with nonsense plasmid for VEGFR2 are injected into the uterine wall. On day 21 of gestation an anesthetized blood pressure is measured via carotid catheter then resistance‐sized uterine arteries (< 300μm) are harvested for study in an isobaric arteriograph. Resistance‐sized uterine arteries from nonsense VEGFR2 LTP nanoparticle treated RUPP rats displayed increased myogenic response to intraluminal pressure increases. Animals treated with nonsense plasmid for VEGFR2 were also hypertensive, similar to untreated RUPP (100.4±5.8 Hg). Finally, RUPP rats injected with non‐sense VEGR2 LTP nanoparticles displayed growth restriction comparable to untreated RUPP rats. . In conclusion, uterine injection of LTP nanoparticles with nonsense plasmid for VEGFR2 did not significantly alter resistance‐sized uterine artery myogenic responsiveness, maternal blood pressure or fetal weights in RUPP animals, thus pathology of RUPP remained intact. SHAM animals showed no changes to uterine artery myogenic reactivity, MAP and fetal outcomes. These data suggest LTP nanoparticles themselves did not detrimentally alter pregnancy outcomes. Additionally these results increase support for the efficacy of LTP nanoparticles as a novel gene therapy device to treat preeclampsia.

Abstract Introduction/Background Polyarteritis nodosa (PAN) was first described in 1866 as a necrotising vasculitis predominantly involving medium-sized arteries. It is a multiorgan disorder which can cause a range of symptoms from cutaneous ulcers to gastrointestinal haemorrhage. For many patients, the cause remains elusive, however a close relationship has been demonstrated between PAN and hepatitis B infection. We describe a case of a 45-year-old who presented with acute abdomen to the emergency department. She was admitted under the general surgical team and common surgical conditions were ruled out. Imaging later revealed coeliac and splenic pseudoaneurysm. Description/Method A 45-year-old woman presented with acute epigastric pain. It was colicky in nature and radiated to the right upper quadrant with some associated vomiting. On examination she looked unwell with a tachycardia but normal blood pressure and temperature. The abdomen was rigid with positive Murphy’s sign. There were no joint or skin anomalies. She was admitted under the surgical team for further investigation. Bloods tests revealed a raised C-reactive protein (CRP) of 60mg/L. Full blood count, amylase levels, liver and renal function were all normal. Despite antibiotic treatment her clinical condition did not improve. A Computed Tomographic (CT) scan was performed which reported stenosis of the coeliac trunk and dilatation of the coeliac artery. This was accompanied by periarterial inflammatory change. A CT angiogram confirmed a coeliac pseudoaneurysm with evidence of a dissection flap and splenic pseudoaneurysm. Vessel wall thickening was noted, and these changes were in keeping with a vasculitis. At this point the rheumatology team was involved and further investigations were requested. Anti-Neutrophilic Cytoplasmic Autoantibody (ANCA), Rheumatoid Factor (RF), Anti-Nuclear Antibody (ANA), syphilis and Hepatitis B, C were all negative. Urine dipstick was clear. A diagnosis of polyarteritis nodosa (PAN) was made and high dose prednisolone was started. She went on to have six cyclophosphamide infusions. Despite immunosuppression and moderate strength analgesia, she had ongoing abdominal pain. Further imaging revealed a thrombus within the coeliac pseudoaneurysm and so treatment-dose low molecular weight heparin was commenced. Her case was also discussed with the hepato-pancreato-biliary surgical team. They confirmed there was no evidence of bowel ischaemia and surgical intervention was deemed too high risk. 6 monthly CT scans to monitor the pseudoaneurysms were advised. Once the cyclophosphamide infusions were completed, she was started on azathioprine as maintenance therapy. A PET scan was organised which showed no active disease. Discussion/Results Given our patients presentation and CT findings, PAN was felt to be the best fit clinical diagnosis. The differential diagnoses to consider here were Takayasu arteritis and mycotic aneurysms. Given our patient’s age, and absence of both clinical and biochemical features of sepsis meant that PAN seemed a more likely explanation. PAN affects small to medium vessels and causes transmural necrotising inflammation of the arteries. The exact pathogenesis is unclear, but the inflammatory process causes weakening of the arterial wall, leading to aneurysmal dilatation and possible rupture. As a result, the organs perfused by these arteries are at risk of becoming ischaemic. This weakening of the artery usually occurs at bifurcation points and mostly is seen in the liver or kidney. The overall incidence of aneurysmal rupture is thought to be rare. Clinical features of PAN vary widely but the most common symptoms are fever, malaise and weight loss. The next most common presentation is an acute peripheral neuropathy or mononeuritis multiplex. Abdominal pain as a presentation of PAN is seen in less than 40% of cases. Typically, the pain comes on after meals due to mesenteric arteritis. Coeliac artery involvement is rare, particularly with the presence of stenosis and thrombosis as in our patient. No definitive management criteria exist but aneurysms bigger than 2cm can be considered for surgery. However, most aneurysms decrease in size with immunosuppression. Angiography is the imaging modality of choice for PAN as it has a sensitivity and specificity of 89% and 90%, respectively. Initial treatment consists of glucocorticoids and patients with severe disease have improved survival with combination of steroids with cyclophosphamide. Once remission has been attained the steroids can be tapered gradually. Generally, PAN has a low relapse rate but in high-risk patients, maintenance therapy, such as azathioprine, can be introduced. Key learning points/Conclusion Although PAN is a well-known form of vasculitis, unusual presentation can occur as in our patient. Abdominal pain is a common symptom resulting in attendances to the emergency department. Our patient was initially thought to have cholecystitis, but she showed no clinical improvement despite standard treatments. A subsequent CT scan then displayed the abnormalities of her coeliac artery. This demonstrates an important lesson of keeping initial differential diagnoses wide and undertaking further investigations until an answer is found. In our patient this was particularly important as she did not display any typical constitutional symptoms of fatigue or fevers usually seen with systemic vasculitides. Another essential point is, once the diagnosis of PAN has been made and treatment initiated, if the patient continues to complain of symptoms, further imaging should be undertaken. There are two main reasons that this would occur in PAN, the first being rupture of the original aneurysm resulting in end organ ischemia. If this is present urgent surgical intervention may be required. The second is development of thrombosis within the aneurysm, as was the case in our patient. As with most multisystem diseases a Multidisciplinary Team (MDT) approach is vital. An MDT approach allows prompt diagnosis and initiation of correct treatment which is needed with any systemic vasculitis. In this case, use of a specialist HPB surgical team was crucial in aiding decisions for biopsy, surgical intervention and frequency of surveillance scans. Lastly, a diagnosis of any chronic rheumatic condition can negatively impact on the patient’s quality of life. Multiple hospital visits, serial scans and the burden of medication can take its toll on patients. Thus, it is good practice to enquire of the patient’s mental health at appointments and decisions around medical care should be shared with the patient.

Abstract This study presents a novel one-pot synthesis method to generate positively charged gold nanoparticles (+) Au NPs, utilizing the thiol-containing amino acid cysteine as a capping agent. The resulting Cys-Au NPs displayed a self-assembled monolayer of uniformly sized gold nanoparticles with a diameter of 36 nM and demonstrated a distinct color change and absorbance shift from 530 to 512 nm when exposed to E.coli, enabling the development of a colorimetric biosensor for rapid and reliable detection of the bacteria. Cys-Au NPs were characterized using spectroscopy, SEM (scanning electron microscopy), and X-ray diffractometer analysis, and the photophysical properties of the particles towards E. coli were investigated through absorption spectroscopy and colorimetric tests.The electrostatic binding between Cys-Au NPs and the negatively charged E. coli cell wall facilitated the sensor's specificity. The biosensor exhibited a detection limit of 2.2 × 10² CFU/mL, with a linear detection range between 2.2 × 10¹ and 2.2 × 10⁴ CFU/mL. The sensor's applicability extends to the detection of E.coli in potable water, presenting significant potential in food safety and clinical diagnostics. This innovative detection method provides a quick and efficient means of identifying E.coli in water samples, offering broad applications in various fields, including rapid bacterial detection, food safety, and clinical diagnostics.

ObjectivesANCA-associated vasculitides (AAV) affect small- and medium-sized blood vessels. In active disease, vessel wall infiltrates are mainly composed of monocytes and macrophages. Immune checkpoint molecules are crucial for the maintenance of self-tolerance and the prevention of autoimmune diseases. After checkpoint inhibitor therapy, the development of autoimmune vasculitis has been observed. However, defects of immune checkpoint molecules in AAV patients have not been identified yet.MethodsMonocytes and monocyte-derived macrophages from AAV patients and healthy age-matched controls were tested for surface expression of immunoinhibitory checkpoint programmed cell death ligand-1 (PD-L1). Using in vitro co-culture approaches, the effect of monocyte PD-L1 expression on CD4+ T cell activation and proliferation was tested.ResultsMonocytes from AAV patients displayed lower PD-L1 expression and a defective PD-L1 presentation upon activation, an effect that was correlated with disease activity. Lower PD-L1 expression was due to increased lysosomal degradation of PD-L1 in AAV monocytes. We identified a reduced expression of CMTM6, a protein protecting PD-L1 from lysosomal breakdown, as the underlying molecular defect. PD-L1low AAV monocytes showed increased stimulatory capacity and induced T cell activation and proliferation. Inhibiting lysosomal function corrected this phenotype by increasing PD-L1, thus normalizing the pro-stimulatory behavior of AAV monocytes.ConclusionsThis study identifies a defect of the immunoinhibitory checkpoint PD-L1 in monocytes from patients with AAV. Low expression of CMTM6 results in enhanced lysosomal degradation of PD-L1, thus providing insufficient negative signaling to T cells. Correcting this defect by targeting lysosomal function may represent a novel strategy to treat AAV.

Over the last several decades, a number of experimental studies have demonstrated that a large transmural post‐myocardial infarction (MI) scar, primarily in rats, contains areas with surviving cardiac myocytes which are remotely separated from the remaining non‐infarcted myocardium of the left ventricular (LV) free wall. However, until now, a little attention was paid to the condition of such cardiac myocytes as well to the microenvironment in which they resided. Accordingly, our current investigation has been undertaken in order to thoroughly characterize these cells and their surroundings during development and maturation of the post‐MI scar. A large transmural MI (greater than 50% of the LV free wall) was induced in 12‐month‐old male Sprague‐Dawley rats by permanent ligation of the left coronary artery. The rats were euthanized 3 days, 1, 2, 4, 8 and 12 weeks after MI, and their hearts were collected for evaluation. The histological cross‐sections taken from mid‐ventricular level of the hearts were stained with various histological and immunofluorescence techniques. Digital imaging and quantitative image analysis were conducted using an Olympus BX53 fluorescence microscope equipped with a DP72 digital camera and Image‐Pro Analyzer 7 software. We found that between day 3 and 12 weeks post‐MI, the infarcted/scarred area of the LV free wall has retained the small isolated groups of two regionally distinct populations of surviving cardiac myocytes: 1) subendocardial and 2) subepicardial (perivenous). The analysis of fractional tissue volume content within the same‐sized post‐MI scars revealed that surviving cardiac myocytes occupied relatively similar volume after 4, 8 and 12 weeks (3.3±0.4%, 3.1±0.8% and 2.4±0.4%, respectively). However, while the mean cross‐sectional area of subepicardial (perivenous) myocyte showed a significant increase between 1 and 12 weeks post‐MI (251.7±22.6 μm2 vs. 325.4±8.5 μm2, P≤0.05), the mean area of subendocardial myocytes underwent a marked reduction during the same period (208.4±9.4 μm2 vs. 152.8±10.7 μm2, P≤0.01). A substantial atrophy of subendocardial myocytes was associated with a progressive accumulation of fibro‐elastic extracellular matrix around these cells. At the same time, an apparent enlargement of perivenous (subepicardial) myocytes coincided with development of the well‐defined microcirculatory network in the vicinity of such myocytes. Despite the opposite dynamics in the changes of the cell size, both populations of surviving cardiac myocytes displayed the presence of contractile proteins organized in sarcomeres, myocyte‐to‐myocyte coupling via the intercalated discs and gap junctions as well as existence of focal glycogen deposits in the cytoplasm. Therefore, our findings are the first to emphasize the fact that the post‐MI scar of middle‐aged rats has two regionally distinct populations of surviving cardiac myocytes, which can be considered for further investigation as a potential source of the endogenous contractile cells suitable for restoration of the functional myocardium in place of the scar tissue.

Abstract Background Severe lung infection can lead to brain dysfunction and neurobehavioral disorders. The mechanisms that regulate the lung-brain axis of inflammatory response to respiratory infection are incompletely understood. This study examined the effects of lung infection causing systemic and neuroinflammation as a potential mechanism contributing to blood–brain barrier (BBB) leakage and behavioral impairment. Methods Lung infection in mice was induced by instilling Pseudomonas aeruginosa (PA) intratracheally. We determined bacterial colonization in tissue, microvascular leakage, expression of cytokines and leukocyte infiltration into the brain. Results Lung infection caused alveolar-capillary barrier injury as indicated by leakage of plasma proteins across pulmonary microvessels and histopathological characteristics of pulmonary edema (alveolar wall thickening, microvessel congestion, and neutrophil infiltration). PA also caused significant BBB dysfunction characterized by leakage of different sized molecules across cerebral microvessels and a decreased expression of cell–cell junctions (VE-cadherin, claudin-5) in the brain. BBB leakage peaked at 24 h and lasted for 7 days post-inoculation. Additionally, mice with lung infection displayed hyperlocomotion and anxiety-like behaviors. To test whether cerebral dysfunction was caused by PA directly or indirectly, we measured bacterial load in multiple organs. While PA loads were detected in the lungs up to 7 days post-inoculation, bacteria were not detected in the brain as evidenced by negative cerebral spinal fluid (CSF) cultures and lack of distribution in different brain regions or isolated cerebral microvessels. However, mice with PA lung infection demonstrated increased mRNA expression in the brain of pro-inflammatory cytokines (IL-1β, IL-6, and TNF-α), chemokines (CXCL-1, CXCL-2) and adhesion molecules (VCAM-1 and ICAM-1) along with CD11b + CD45+ cell recruitment, corresponding to their increased blood levels of white cells (polymorphonuclear cells) and cytokines. To confirm the direct effect of cytokines on endothelial permeability, we measured cell–cell adhesive barrier resistance and junction morphology in mouse brain microvascular endothelial cell monolayers, where administration of IL-1β induced a significant reduction of barrier function coupled with tight junction (TJ) and adherens junction (AJ) diffusion and disorganization. Combined treatment with IL-1β and TNFα augmented the barrier injury. Conclusions Lung bacterial infection is associated with BBB disruption and behavioral changes, which are mediated by systemic cytokine release.

Things would never be the same again. As sales went through the roof, with some breathless estimates in the region of a 200% increase overnight, marketers practically wet their pants at the phenomenal success of the chocolate bar seen by millions in ET: the Extraterrestrial. That was back in 1982. Though not the first instance of product placement ‘at the movies’, the strategic placement of Reese’s Pieces in ET is often hailed as the triumphant marketing moment heralding the onset of the era of embedded advertising in popular media. Today, much media consumption is characterised by aggressive branding strategies. We’ve all seen ostentatious product wrangling – the unnatural handling of items (especially chocolate bars and bottled drinks) to best display their logo (regardless of considerations of verisimilitude, or even common sense), and ungainly product mentions in dialogue (who can forget the early Jude Law shocker Shopping?) that have passed into the realm of satire. In television and feature filmmaking, props bearing corporate trademarks not only supplement, but often sustain production budgets. Some programs appear to be entirely contrived around such sponsors. Australian commercial television makes no secret of the increasingly non-existent line between ‘entertainment’ and ‘advertising’, though it still purports to describe ‘lifestyle’ shows as ‘reality’ television. With the introduction of technologies like TiVO which enable consumers to skip over ads, the move is from ‘interruptive’ style advertising between programs or segments, to products insinuated in the décor – and increasingly scripts – of programs themselves, with correspondent online shopping opportunities for digital consumers. An entire industry of middle-people – sometimes euphemistically self-described as ‘prop houses’ – has sprung up to service the lucrative product placement industry, orchestrating the insertion of branded products into television and films. The industry has grown to such an extent that it holds an annual backpatting event, the Product Placement Awards, “to commemorate and celebrate product placement” in movies, television shows, music etc. But ‘advertising by stealth’ is not necessarily passively accepted by media consumers – nor media makers. The shoe-horning of brands and their logos into the products of popular culture not only defines the culture industry today, but also characterises much of the resistance to it. ‘Logo-backlash’ is seen as an inevitable response to the incursion of brands into public life, an explicit rejection of the practice of securing consumer mindshare, and subvertisements and billboard liberation activities have been mainstays of culture jamming for decades now. However, criticism of product placement remains highly problematic: when the Center for the Study of Commercialism argued that movies have become “dangerously” saturated with products and suggested that full disclosure in the form of a list, in a film’s credits, of paid product appearances, many noted the counterproductivity of such an approach, arguing that it would only result in further registration – and hence promotion – of the brand. Not everyone subscribes to advertising’s ‘any news is good news’ thesis, however. Peter Conheim and Steve Seidler decided to respond to the behemoth of product placement with a ‘catalogue of sins’. Their new documentary Value Added Cinema meticulously chronicles the appearance of placed products in Hollywood cinema. Here they discuss the film, which is continuing to receive rave reviews in the US and Europe. Danni Zuvela: Can you tell me a little about yourselves? Peter: I’m a musician and filmmaker living in the San Francisco Bay Area who wears too many hats. I play in three performing and recording groups (Mono Pause, Wet Gate, Negativland) and somehow found the time to sit in front of a Mac for six weeks to edit and mix VALUE-ADDED CINEMA. Because Steve is a persuasive salesperson. Steve: I’ve been a curator for the past decade and a half, showing experimental works week after week, month after month, year after year, at the Pacific Film Archive. It was about time to make a tape of my own and Peter was crazy enough to indulge me. DZ: Why product placement? Why do you think it’s important? Where did this documentary come from? S: Steven Spielberg released Minority Report last year and it just raised my hackles. The film actually encourages the world it seems to critique by stressing the inter-relationship of his alleged art with consumerism in the present day and then extending that into a vision of the future within the film itself. In other words, he has already realized the by-product of an alarming dystopia of surveillance, monolithic policing, and capital. That by-product is his film. The rumor mill says that he was reimbursed to the tune of $25 million for the placements. So not only can he not see a constructive path out of dystopia, a path leading toward a more liberating future, he makes millions from his exhausted imagination. What could be more cynical? But Spielberg isn’t alone within the accelerating subsumption of mainstream cinema into the spectacle of pure consumption. He’s just more visible than most. But to consider product placements more directly for a moment: during the past few years, mainstream cinema has been little more than an empty exercise in consumerist viewership. The market-driven incentives that shape films, determining story-lines, exaggerating cultural norms, striving toward particular demographics, whatever, have nothing to do with art or social change and everything to do with profit, pandering, and promulgation. Movies are product placements, the product is a world view of limitless consumption. Value-Added Cinema is about the product-that-announces-itself, the one we recognize as a crystallization of the more encompassing worldview, the sole commodity, spot-lit, adored, assimilated. So why Value-Added Cinema? You’ve got to start somewhere. DZ: Can you tell me a bit about the production process – how did you go about getting the examples you use in the film? Were there any copyright hassles? P: Steve did nearly all of the legwork in that he spent weeks and weeks researching the subject, both on-line and in speaking to people about their recollections of product placement sequences in films they’d seen. He then suffered through close to a hundred films on VHS and DVD, using the fast-forward and cue controls as often as possible, to locate said sequences. We then sat down and started cutting, based at first on groupings Steve had made (a bunch of fast food references, etc.). Using these as a springboard, we quickly realized the narrative potential inherent in all these “narrative film” clips , and before long we were linking sequences and making them refer to one another, sort of allowing a “plot” to evolve. And copyright hassles? Not yet! I say... bring ‘em on! I would be more than happy to fight for the existence of this project, and one of the groups I am in, Negativland, has a rather colourful history of “fair use” battles in the music arena (the most nefarious case, where the band was sued by U2 and their big-label music lawyers over a parody we made happened before I came on board, but there’s been some skirmishes since). We have folks who would be happy to help defend this sort of work in a court of law should the occasion arise. DZ: Can you talk to me about the cultural shift that’s occurred, where the old ‘Acme’ propmaster has been replaced by ‘product peddler’? What is this symptomatic of, and what’s its significance now? S: In the past, privacy existed because there were areas of experience and information that were considered off limits to exploitation. A kind of tacit social contract assumed certain boundaries were in place to keep corporate (and State) meddling at bay and to allow an uncontaminated space for disengaging from culture. Nowadays the violation of boundaries is so egregious it’s hard to be sure that those boundaries in fact exist. Part of that violation has been the encroachment, at every conceivable level, of daily experience by all manner of corporate messages—urinal strainers with logos, coffee jackets with adverts, decals on supermarket floors, temporary tattoos on random pedestrians. Engagement with corporate predation is now foisted on us 24 hours a day. It’s the GPS generation. The corporations want to know where we “are” at all times. Again: in the past there was a certain level of decorum about the sales pitch. That decorum has vanished and in its place is the inter-penetration of all our waking moments by the foghorn of capital. If that foghorn gets loud enough, we’ll never get any sleep. DZ: How do you think product placement affects the integrity of the film? P: Well, that’s definitely a question of the moment, as far as audience reactions to our screenings have been thus far. It really depends on the work itself, doesn’t it? I think we would be highly judgmental, and perhaps quite out of line, if we dismissed out of hand the idea of using actual products in films as some sort of rule. The value of using an actual product to the narrative of a film can’t be discounted automatically because we all know that there are stories to be told in actual, marketed products. Characterizations can develop. If a flustered James Cagney had held up a bottle of Fred’s Cola instead of Pepsi in the climactic shot of One, Two, Three (Billy Wilder’s 1963 Coke-executive comedy), it wouldn’t have resonated very well. And it’s an incredibly memorable moment (and, some might say, a little dig at both cola companies). But when you get into something like i am sam, where Sean Penn’s character not only works inside a Starbucks, and is shown on the job, in uniform and reading their various actual coffee product names aloud, over and over again, but also rides a bus with a huge Nike ad on the side (and the camera tracks along on the ad instead of the bus itself), plus the fact that he got onto that bus underneath an enormous Apple billboard (not shown in our work, actually), or that his lawyer has a can of Tab sitting on an entirely austere, empty table in front of a blank wall and the camera tracks downward for no other discernable purpose than to highlight the Tab can… you can see where I’m going with this. The battle lines are drawn in my mind. PROVE to me the value of any of those product plugs on Penn’s character, or Michelle Pfeiffer’s (his lawyer). DZ: What do you make of the arguments for product placement as necessary to, even enhancing, the verisimilitude of films? Is there a case to be made for brands appearing in a production design because they’re what a character would choose? S: It’s who makes the argument for product placements that’s troublesome. Art that I value is a sort of problem solving machine. It assumes that the culture we currently find ourselves strapped with is flawed and should be altered. Within that context, the “verisimilitude” you speak of would be erected only as a means for critique--not to endorse, venerate, or fortify the status quo. Most Hollywood features are little more than moving catalogs. P: And in the case of Jurassic Park that couldn’t be more explicit – the “fake” products shown in the amusement park gift shop in the film are the actual tie-in products available in stores and in Burger King at that time! Another film I could mention for a totally different reason is The Dark Backward (1991). Apparently due to a particular obsession of the director, the film is riddled with placements, but of totally fake and hilarious products (i.e. Blump’s Squeezable Bacon). Everyone who has seen the film remembers the absurdist products… couldn’t Josie and the Pussycats have followed this format, instead of loading the film with “funny” references to literally every megacorporation imaginable, and have been memorable for it? DZ: What do you think of the retroactive insertion of products into syndicated reruns of programs and films (using digital editing techniques)? Is this a troubling precedent? P: Again, to me the line is totally crossed. There’s no longer any justification to be made because the time and space of the original television show is lost at that point, so any possibility of “commentary” on the times, or development of the character, goes right out the window. Of course I find it a troubling precedent. It’s perhaps somewhat less troubling, but still distressing, to know that billboards on the walls of sports stadiums are being digitally altered, live, during broadcast, so that the products can be subtly switched around. And perhaps most disturbingly, at least here in the states, certain networks and programs have begun cross-dissolving to advertisements from program content, and vice-versa. In other words, since the advertisers are aware that the long-established “blackout” which precedes the start of advertising breaks on TV causes people to tune out, or turn the volume off, or have their newfangled sensing devices “zap” the commercial… so they’re literally integrating the start of the ad with the final frames of the program instead of going black, literally becoming part of the program. And we have heard about more reliance of products WITHIN the programs, but this just takes us right back to TV’s past, where game show contestants sat behind enormous “Pepsodent” adverts pasted right there on the set. History will eat itself… DZ: Could you imagine a way advertisers could work product placement into films where modern products just don’t fit, like set in the past or in alternate universes (Star Wars, LOTR etc)? P: Can’t you? In fact, it’s already happening. Someone told us about the use of products in a recent set-in-the-past epic… but the name of the film is escaping me. S: And if you can’t find a way to insert a product placement in a film than maybe the film won’t get made. The problem is completely solved with films like Star Wars and Lord of the Rings—most of the characters are available in the store as action figures making them de facto placements. In Small Soldiers just about every toy-sized character was, in fact, nicely packaged by Hasbro. DZ: What is the role of the logo in product placement? S: There are the stars, and there are the many supporting roles—the logo is just one of them. We’re hoping to see this category at the next Oscars. P: And categories like “Best Song” are essentially product placement categories already… DZ: I’ve heard about the future of product placement being branding in computer games, interactive shop-at-home television – what other visions of the (branded) future can you imagine? P: The future is now. If you can’t watch a documentary on so-called public television in this country without having text boxes pop up on screen to suggest “related” web sites which “might be of interest” to the viewer, you’re already well on the way to being part of a branded environment. Computer games already have ads built-in, and shop-at-home already seems plenty interactive (and isn’t internet shopping, also?). I think if the various mega-corporations can not only convince people to wear clothing emblazoned with their logo and product name, but so successfully convince us to pay for the privilege of advertising them, then we are already living in a totally branded future. Where else can it go? It may seem a trite statement but, to my mind, wearing an entire Nike outfit is the ultimate. At least the British ad company called Cunning Stunts actually PAYS their human billboards… but those folks have to agree to have the company logo temporarily tattooed onto their foreheads for three hours as they mingle in public. I’m not joking about this. DZ: Is there any response to product placement? How can audiences manage their interactions with these texts? S: Films have been boycotted for culturally heinous content, such as racist and homophobic characters. Why not boycott films because of their commodity content? Or better yet boycott the product for colluding with the filmmakers to invade your peace of mind? What I hope Value-Added Cinema does is sensitize us to the insinuation of the products, so that we critically detect them, rather than passively allow them to pass before us. When that happens, when we’re just insensate recipients of those advertising ploys, we’re lost. DZ: Do you have anything to add to contemporary debates on culture jamming, especially the charge that culture jamming’s political power is limited by its use of logos and signs? Anne Moore has written that detourning ads ends up just re-iterating the logo - “because corporate lifeblood is profit, and profit comes from name recognition”, culture jammers are “trafficking in the same currency as the corporations” – what do you think of this? P: It’s an interesting assertion. But the best culture jams I’ve seen make total mincemeat of the product being parodied; just as you can’t simply discount the use of actual products in films in the context of a narrative, you can’t NOT try to reclaim the use of a brand-name. Maybe it’s a dangerous comparison because “reclaiming” use of the word Coke is not like reclaiming the use of the word “queer”, but there’s something to it, I think. Also, I wear t-shirts with the names of bands I like sometimes (almost always my friends’ bands, but I suppose that’s beside the point). Am I buying into the advertising concept? Yes, to a certain extent, I am. I guess to me it’s about just what you choose to advertise. Or what you choose to parody. DZ: Do you have any other points you’d like to make about product placement, advertising by stealth, branding, mindshare or logos? P: I think what Steve said, that above all we hope with our video to help make people aware of how much they are advertised to, beyond accepting it as a mere annoyance, sums it up. So far, we’ve had some comments at screenings which indicate a willingness of people to want to combat this in their lives, to want to “do something” about the onslaught of product placement surrounding them, in films and elsewhere. Works Cited ET: The Extraterrestrial. Dir. Steven Spielberg. Prod. Kathleen Kennedy & Steven Spielberg, M. Universal Pictures 1982. Shopping. Dir. Paul Anderson. Prod. Jeremy Bolt , M. Concorde Pictures,1993. http://www.cspinet.org/ http://www.productplacementawards.com/ Links http://www.cspinet.org/ http://www.productplacementawards.com/ Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Zuvela, Danni. "An Interview with the Makers of Value-Added Cinema" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/03-valueadded.php>. APA Style Zuvela, D. (2003, Jun 19). An Interview with the Makers of Value-Added Cinema. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/03-valueadded.php>

IntroductionThis short article examines contemporary artistic use of walkie-talkies across two projects: Saturday (2002) by Sabrina Raaf and Walk That Sound (2014) by Lukatoyboy. Drawing on Dominic Pettman’s notion of sonic intimacy, I argue that both artists incorporate walkie-talkies as part of their explorations of mediated wandering, and in ways that seek to capture sonic ambiances and intimacies. One thing that is striking about both these works is that they rethink what’s possible with walkie-talkies; both artists use them not just as low-tech, portable devices for one-to-one communication over distance, but also—and more strikingly—as (covert) recording equipment for capturing, while wandering, snippets of intimate conversation between passers-by and the “voice” of the surrounding environment. Both artworks strive to make the familiar strange. They prompt us to question our preconceived perceptions of, and affective engagements with, the people and places around us, to listen more attentively to the voices of others (and the “Other”), and to aurally inhabit in new ways the spaces and places we find ourselves in and routinely pass through.The walkie-talkie is an established, simple communication device, consisting of a two-way radio transceiver with a speaker and microphone (in some cases, the speaker is also used as the microphone) and an antenna (Wikipedia). Walkie-talkies are half-duplex communication devices, meaning that they use a single radio channel: only one radio on the channel can transmit at a time, but many can listen; when a user wishes to talk, they must turn off the receiver and turn on the transmitter by pressing a push-to-talk button (Wikipedia). In some models, static—known as squelch—is produced each time the push-to-talk button is depressed. The push-to-talk button is a feature of both projects: in Saturday, it transforms the walkie-talkie into a cheap, portable recorder-transmitter. In Walk That Sound, rapid fire exchanges of conversation using the push-to-talk button feature strongly.Interestingly, walkie-talkies were developed during World War Two. While they continue to be used within certain industrial settings, they are perhaps best known as a “quaint” household toy and “fun tool” (Smith). Early print ads for walkie-talkie toys marketed them as a form of both spyware for kids (with the Gabriel Toy Co. releasing a 007-themed walkie-talkie set) and as a teletechnology for communication over distance—“how thrilling to ‘speak through space!’”, states one ad (Statuv “New!”). What is noteworthy about these early ads is that they actively promote experimental use of walkie-talkies. For instance, a 1953 ad for Vibro-Matic “Space Commander” walkie-talkies casts them as media transmission devices, suggesting that, with them, one can send and receive “voice – songs – music” (Statuv “New!”). In addition, a 1962 ad for the Knight-Kit walkie-talkie imagines “you’ll find new uses for this exciting walkie-talkie every day” (Statuv “Details”). Resurgent interest in walkie-talkies has seen them also promoted more recently as intimate tools “for communication without asking permission to communicate” (“Nextel”); this is to say that they have been marketed as devices for synchronous or immediate communication that overcome the limits of asynchronous communication, such as texting, where there might be substantial delays between the sending of a message and receipt of a response. Within this context, it is not surprising that Snapchat and Instagram have also since added “walkie-talkie” features to their messaging services. The Nextel byline, emphasising “without asking permission”, also speaks to the possibilities of using walkie-talkies as rudimentary forms of spyware.Within art practice that explores mediated forms of wandering—that is, walking while using media and various “remote transmission technologies” (Duclos 233)—walkie-talkies hold appeal for a number of reasons, including their particular aesthetic qualities, such as the crackling or static sound (squelch) that one encounters when using them; their portability; their affordability; and, the fact that, while they can be operated on multiple channels, they tend to be regarded primarily as devices that permit two-way, one-to-one (and therefore intimate, if not secure) remote communication. As we will see below, however, contemporary artists, such as the aforementioned earlier advertisers, have also been very attentive to the device’s experimental possibilities. Perhaps the best known (if possibly apocryphal) example of artistic use of walkie-talkies is by the Situationist International as part of their explorations in urban wandering (a revolutionary strategy called dérive). In the Situationist text from 1960, Die Welt als Labyrinth (Anon.), there is a detailed account of how walkie-talkies were to form part of a planned dérive, which was organised by the Dutch section of the Situationist International, through the city of Amsterdam, but which never went ahead:Two groups, each containing three situationists, would dérive for three days, on foot or eventually by boat (sleeping in hotels along the way) without leaving the center of Amsterdam. By means of the walkie-talkies with which they would be equipped, these groups would remain in contact, with each other, if possible, and in any case with the radio-truck of the cartographic team, from where the director of the dérive—in this case Constant [Nieuwenhuys]—moving around so as to maintain contact, would define their routes and sometimes give instructions (it was also the director of the dérive’s responsibility to prepare experiments at certain locations and secretly arranged events.) (Anon.) This proposed dérive formed part of Situationist experiments in unitary urbanism, a process that consisted of “making different parts of the city communicate with one another.” Their ambition was to create new situations informed by, among other things, encounters and atmospheres that were registered through dérive in order to reconnect parts of the city that were separated spatially (Lefebvre quoted in Lefebvre and Ross 73). In an interview with Kristin Ross, Henri Lefebvre insists that the Situationists “did have their experiments; I didn’t participate. They used all kinds of means of communication—I don’t know when exactly they were using walkie-talkies. But I know they were used in Amsterdam and in Strasbourg” (Lefebvre quoted in Lefebvre and Ross 73). However, as Rebecca Duclos points out, such use “is, in fact, not well documented”, and “none of the more well-known reports on situationist activity […] specifically mentions the use of walkie-talkies within their descriptive narratives” (Duclos 233). In the early 2000s, walkie-talkies also figured prominently, alongside other media devices, in at least two location-based gaming projects by renowned British art collective Blast Theory, Can You See Me Now? (2001) and You Get Me (2008). In the first of these projects, participants in the game (“online players”) competed against members of Blast Theory (“runners”), tracking them through city streets via a GPS-enabled handheld computer that runners carried with them. The goal for online players was to move an avatar they created through a virtual map of the city as multiple runners “pursued their avatar’s geographical coordinates in real-time” (Leorke). As Dale Leorke explains, “Players could see the locations of the runners and other players and exchange text messages with other players” (Leorke 27), and runners could “read players’ messages and communicate directly with each other through a walkie-talkie” (28). An audio stream from these walkie-talkie conversations allowed players to eavesdrop on their pursuers (Blast Theory, Can You See Me Now?).You Get Me was similarly structured, with online players and “runners” (eight teenagers who worked with Blast Theory on the game). Remotely situated online players began the game by listening to the “personal geography” of the runners over a walkie-talkie stream (Blast Theory, You Get Me). They then selected one runner, and tracked them down by navigating their own avatar, without being caught, through a virtual version of Mile End Park in London, in pursuit of their chosen runner who was moving about the actual Mile End Park. Once their chosen runner was contacted, the player had to respond to a question that the runner posed to them. If the runner was satisfied with the player’s answer, conversation switched to “the privacy of a mobile phone” in order to converse further; if not, the player was thrown back into the game (Blast Theory, You Get Me). A key aim of Blast Theory’s work, as I have argued elsewhere (Wilken), is the fostering of interactions and fleeting intimacies between relative and complete strangers. The walkie-talkie is a key tool in both the aforementioned Blast Theory projects for facilitating these interactions and intimacies.Beyond these well-known examples, walkie-talkies have been employed in productive and exploratory ways by other artists. The focus in this article is on two specific projects: the first by US-based sound artist Sabrina Raaf, called Saturday (2002) and the second by Serbian sound designer Lukatoyboy (Luka Ivanović), titled Walk That Sound (2014). Sonic IntimaciesThe concept that gives shape and direction to the analysis of the art projects by Raaf and Lukatoyboy and their use of walkie-talkies is that of sonic intimacy. This is a concept of emerging critical interest across media and sound studies and geography (see, for example, James; Pettman; Gallagher and Prior). Sonic intimacy, as Dominic Pettman explains, is composed of two simultaneous yet opposing orientations. On the one hand, sonic intimacy involves a “turning inward, away from the wider world, to more private and personal experiences and relationships” (79). While, on the other hand, it also involves a turning outward, to seek and heed “the voice of the world” (79)—or what Pettman refers to as the “vox mundi” (66). Pettman conceives of the “vox mundi” as an “ecological voice”, whereby “all manner of creatures, agents, entities, objects, and phenomena” (79) have the opportunity to speak to us, if only we were prepared to listen to our surroundings in new and different ways. In a later passage, he also refers to the “vox mundi” as a “carrier or potentially enlightening alterity” (83). Voices, Pettman writes, “transgress the neat divisions we make between ‘us’ and ‘them’, at all scales and junctures” (6). Thus, Pettman’s suggestion is that “by listening to the ‘voices’ that lie dormant in the surrounding world […] we may in turn foster a more sustainable relationship with [the] local matrix of specific existences” (85), be they human or otherwise.This formulation of sonic intimacy provides a productive conceptual frame for thinking through Raaf’s and Lukatoyboy’s use of walkie-talkies. The contention in this article is that these two projects are striking for the way that they both use walkie-talkies to explore, simultaneously, this double articulation or dual orientation of sonic intimacy—a turning inwards to capture more private and personal experiences and conversations, and a turning outwards to capture the vox mundi. Employing Pettman’s notion of sonic intimacy as a conceptual frame, I trace below the different ways that these two projects incorporate walkie-talkies in order to develop mediated forms of wandering that seek to capture place-based sonic ambiances and sonic intimacies.Sabrina Raaf, Saturday (2002)US sound artist Sabrina Raaf’s Saturday (2002) is a sound-based art installation based on recordings of “stolen conversations” that Raaf gathered over many Saturdays in Humboldt Park, Chicago. Raaf’s work harks back to the early marketing of walkie-talkie toys as spyware. In Raaf’s hands, this device is used not for engaging in intimate one-to-one conversation, but for listening in on, and capturing, the intimate conversations of others. In other words, she uses this device, as the Nextel slogan goes, for “communication without permission to communicate” (“Nextel”). Raaf’s inspiration for the piece was twofold. First, she has noted that “with the overuse of radio frequency bands for wireless communications, there comes the increased occurrence of crossed lines where a private conversation becomes accidentally shared” (Raaf). Reminiscent of Francis Ford Coppola’s film The Conversation (1974), in which surveillance expert Harry Caul (Gene Hackman) records the conversation of a couple as they walk through crowded Union Square in San Francisco, Raaf used a combination of walkie-talkies, CB radios, and “various other forms of consumer spy […] technology in order to actively harvest such communication leaks” (Raaf). The second source of inspiration was noticing the “sheer quantity of non-phone, low tech, radio transmissions that were constantly being sent around [the] neighbourhood”, transmissions that were easily intercepted. These conversations were eclectic in composition and character:The transmissions included communications between gang members on street corners nearby and group conversations between friends talking about changes in the neighbourhood and their families. There were raw, intimate conversations and often even late night sex talk between potential lovers. (Raaf)What struck Raaf about these conversations, these transmissions, was that there was “a furtive quality” to most of them, and “a particular daringness to their tone”.During her Saturday wanderings, Raaf complemented her recordings of stolen snippets of conversation with recordings of the “voice” of the surrounding neighbourhood—“the women singing out their windows to their radios, the young men in their low rider cars circling the block, the children, the ice cream carts, etc. These are the sounds that are mixed into the piece” (Raaf).Audience engagement with Saturday involves a kind of austere intimacy of its own that seems befitting of a surveillance-inspired sonic portrait of urban and private life. The piece is accessed via an interactive glove. This glove is white in colour and about the size of a large gardening glove, with a Velcro strap that fastens across the hand, like a cycling glove. The glove, which only has coverings for thumb and first two fingers (it is missing the ring and little fingers) is wired into and rests on top of a roughly A4-sized white rectangular box. This box, which is mounted onto the wall of an all-white gallery space at the short end, serves as a small shelf. The displayed glove is illuminated by a discrete, bent-arm desk lamp, that protrudes from the shelf near the gallery wall. Above the shelf are a series of wall-mounted colour images that relate to the project. In order to hear the soundtrack of Saturday, gallery visitors approach the shelf, put on the glove, and “magically just press their fingertips to their forehead [to] hear the sound without the use of their ears” (Raaf). The glove, Raaf explains, “is outfitted with leading edge audio electronic devices called ‘bone transducers’ […]. These transducers transmit sound in a very unusual fashion. They translate sound into vibration patterns which resonate through bone” (Raaf).Employing this technique, Raaf explains, “permits a new way of listening”:The user places their fingers to their forehead—in a gesture akin to Rodin’s The Thinker or of a clairvoyant—in order to tap into the lives of strangers. Pressing different combinations of fingers to the temple yield plural viewpoints and group conversations. These sounds are literally mixed in the bones of the listener. (Raaf) The result is a (literally and figuratively) touching sonic portrait of Humboldt Park, its residents, and the “voice” of its surrounding neighbourhoods. Through the unique technosomatic (Richardson) apparatus—combinations of gestures that convey the soundscape directly through the bones and body—those engaging with Saturday get to hear voices in/of/around Humboldt Park. It is a portrait that combines sonic intimacy in the two forms described earlier in this article. In its inward-focused form, the gallery visitor-listener is positioned as a voyeur of sorts, listening into stolen snippets of private and personal relationships, experiences, and interactions. And, in its outward-focused form, the gallery visitor-listener encounters a soundscape in which an array of agents, entities, and objects are also given a voice. Additional work performed by this piece, it seems to me, is to be found in the intermingling of these two form of sonic intimacy—the personal and the environmental—and the way that they prompt reflection on mediation, place, urban life, others, and intimacy. That is to say that, beyond its particular sonic portrait of Humboldt Park, Saturday works in “clearing some conceptual space” in the mind of the departing gallery visitor such that they might “listen for, if not precisely to, the collective, polyphonic ‘voice of the world’” (Pettman 6) as they go about their day-to-day lives.Lukatoyboy, Walk That Sound (2014)The second project, Walk That Sound, by Serbian sound artist Lukatoyboy was completed for the 2014 CTM festival. CTM is an annual festival event that is staged in Berlin and dedicated to “adventurous music and art” (CTM Festival, “About”). A key project within the festival is CTM Radio Lab. The Lab supports works, commissioned by CTM Festival and Deutschlandradio Kultur – Hörspiel/Klangkunst (among other partnering organisations), that seek to pair and explore the “specific artistic possibilities of radio with the potentials of live performance or installation” (CTM Festival, “Projects”). Lukatoyboy’s Walk That Sound was one of two commissioned pieces for the 2014 CTM Radio Lab. The project used the “commonplace yet often forgotten walkie-talkie” (CTM Festival, “Projects”) to create a moving urban sound portrait in the area around the Kottbusser Tor U-Bahn station in Berlin-Kreuzberg. Walk That Sound recruited participants—“mobile scouts”—to rove around the Kottbusser Tor area (CTM Festival, “Projects”). Armed with walkie-talkies, and playing with “the array of available and free frequencies, and the almost unlimited amount of users that can interact over these different channels”, the project captured the dispatches via walkie-talkie of each participant (CTM Festival, “Projects”). The resultant recording of Walk That Sound—which was aired on Deutschlandradio (see Lukatoyboy), part of a long tradition of transmitting experimental music and sound art on German radio (Cory)—forms an eclectic soundscape.The work juxtaposes snippets of dialogue shared between the mobile scouts, overheard mobile phone conversations, and moments of relative quietude, where the subdued soundtrack is formed by the ambient sounds—the “voice”—of the Kottbusser Tor area. This voice includes distant traffic, the distinctive auditory ticking of pedestrian lights, and moments of tumult and agitation, such as the sounds of construction work, car horns, emergency services vehicle sirens, a bottle bouncing on the pavement, and various other repetitive yet difficult to identify industrial sounds. This voice trails off towards the end of the recording into extended walkie-talkie produced static or squelch. The topics covered within the “crackling dialogues” (CTM Festival, “Projects”) of the mobile scouts ranged widely. There were banal observations (“I just stepped on a used tissue”; “people are crossing the street”; “there are 150 trains”)—wonderings that bear strong similarities with French writer Georges Perec’s well-known experimental descriptions of everyday Parisian life in the 1970s (Perec “An Attempt”). There were also intimate, confiding, flirtatious remarks (“Do you want to come to Turkey with me?”), as well as a number of playfully paranoid observations and quips (“I like to lie”; “I can see you”; “do you feel like you are being recorded?”; “I’m being followed”) that seem to speak to the fraught history of Berlin in particular as well as the complicated character of urban life in general—as Pettman asks, “what does ‘together’ signify in a socioeconomic system so efficient in producing alienation and isolation?” (92).In sum, Walk That Sound is a strangely moving exploration of sonic intimacy, one that shifts between many different registers and points of focus—much like urban wandering itself. As a work, it is variously funny, smart, paranoid, intimate, expansive, difficult to decipher, and, at times, even difficult to listen to. Pettman argues that, “thanks in large part to the industrialization of the human ear […], we have lost the capacity to hear the vox mundi, which is […] the sum total of cacophonous, heterogeneous, incommensurate, and unsynthesizable sounds of the postnatural world” (8). Walk That Sound functions almost like a response to this dilemma. One comes away from listening to it with a heightened awareness of, appreciation for, and aural connection to the rich messiness of the polyphonic contemporary urban vox mundi. ConclusionThe argument of this article is that Sabrina Raaf’s Saturday and Lukatoyboy’s Walk That Sound are two projects that both incorporate walkie-talkies in order to develop mediated forms of wandering that seek to capture place-based sonic ambiances and sonic intimacies. Drawing on Pettman’s notion of “sonic intimacy”, examination of these projects has opened consideration around voice, analogue technology, and what Nick Couldry refers to as “an obligation to listen” (Couldry 580). In order to be heard, Pettman remarks, and “in order to be considered a voice at all”, and therefore as “something worth heeding”, the vox mundi “must arrive intimately, or else it is experienced as noise or static” (Pettman 83). In both the projects discussed here—Saturday and Walk That Sound—the walkie-talkie provides this means of “intimate arrival”. As half-duplex communication devices, walkie-talkies have always fulfilled a double function: communicating and listening. This dual functionality is exploited in new ways by Raaf and Lukatoyboy. In their projects, both artists turn the microphone outwards, such that the walkie-talkie becomes not just a device for communicating while in the field, but also—and more strikingly—it becomes a field recording device. The result of which is that this simple, “playful” communication device is utilised in these two projects in two ways: on the one hand, as a “carrier of potentially enlightening alterity” (Pettman 83), a means of encouraging “potential encounters” (89) with strangers who have been thrown together and who cross paths, and, on the other hand, as a means of fostering “an environmental awareness” (89) of the world around us. In developing these prompts, Raaf and Lukatoyboy build potential bridges between Pettman’s work on sonic intimacy, their own work, and the work of other experimental artists. For instance, in relation to potential encounters, there are clear points of connection with Blast Theory, a group who, as noted earlier, have utilised walkie-talkies and sound-based and other media technologies to explore issues around urban encounters with strangers that promote reflection on ideas and experiences of otherness and difference (see Wilken)—issues that are also implicit in the two works examined. In relation to environmental awareness, their work—as well as Pettman’s calls for greater sonic intimacy—brings renewed urgency to Georges Perec’s encouragement to “question the habitual” and to account for, and listen carefully to, “the common, the ordinary, the infraordinary, the background noise” (Perec “Approaches” 210).Walkie-talkies, for Raaf and Lukatoyboy, when reimagined as field recording devices as much as remote transmission technologies, thus “allow new forms of listening, which in turn afford new forms of being together” (Pettman 92), new forms of being in the world, and new forms of sonic intimacy. Both these artworks engage with, and explore, what’s at stake in a politics and ethics of listening. Pettman prompts us, as urban dweller-wanderers, to think about how we might “attend to the act of listening itself, rather than to a specific sound” (Pettman 1). His questioning, as this article has explored, is answered by the works from Raaf and Lukatoyboy in effective style and technique, setting up opportunities for aural attentiveness and experiential learning. However, it is up to us whether we are prepared to listen carefully and to open ourselves to such intimate sonic contact with others and with the environments in which we live.ReferencesAnon. “Die Welt als Labyrinth.” Internationale Situationiste 4 (Jan. 1960). International Situationist Online, 19 June 2019 <https://www.cddc.vt.edu/sionline/si/diewelt.html>Blast Theory. “Can You See Me Now?” Blast Theory, 19 June 2019 <https://www.blasttheory.co.uk/projects/can-you-see-me-now/>.———. “You Get Me.” Blast Theory, 19 June 2019 <https://wwww.blasttheory.co.uk/projects/you-get-me/>.Cory, Mark E. “Soundplay: The Polyphonous Tradition of German Radio Art.” Wireless Imagination: Sound, Radio, and the Avant-garde. Eds. Douglas Kahn and Gregory Whitehead. Cambridge, MA: MIT P, 1992. 331–371.Couldry, Nick. “Rethinking the Politics of Voice.” Continuum 23.4 (2009): 579–582.CTM Festival. “About.” CTM Festival, 2019. 19 June 2019 <https://www.ctm-festival.de/about/ctm-festival/>.———. “Projects – CTM Radio Lab.” CTM Festival, 2019. 19 June 2019 <https://www.ctm-festival.de/projects/ctm-radio-lab/>.Duclos, Rebecca. “Reconnaissance/Méconnaissance: The Work of Janet Cardiff and George Bures Miller.” Articulate Objects: Voice, Sculpture and Performance. Eds. Aura Satz and Jon Wood. Bern: Peter Lang, 2009. 221–246. Gallagher, Michael, and Jonathan Prior. “Sonic Geographies: Exploring Phonographic Methods.” Progress in Human Geography 38.2 (2014): 267–284.James, Malcom. Sonic Intimacy: The Study of Sound. London: Bloomsbury, forthcoming.Lefebvre, Henri, and Kristin Ross. “Lefebvre on the Situationists: An Interview.” October 79 (Winter 1997): 69–83. Leorke, Dale. Location-Based Gaming: Play in Public Space. Singapore: Palgrave Macmillan, 2019.Lukatoyboy. “Walk That Sound – Deutschlandradiokultur Klangkunst Broadcast 14.02.2014.” SoundCloud. 19 June 2019 <https://soundcloud.com/lukatoyboy/walk-that-sound-deutschlandradiokultur-broadcast-14022014>.“Nextel: Couple. Walkie Talkies Are Good for Something More.” AdAge. 6 June 2012. 18 July 2019 <https://adage.com/creativity/work/couple/27993>.Perec, Georges. An Attempt at Exhausting a Place in Paris. Trans. Marc Lowenthal. Cambridge, MA: Wakefield Press, 2010.———. “Approaches to What?” Species of Spaces and Other Pieces. Rev. ed. Ed. and trans. John Sturrock. Harmondsworth, Middlesex: Penguin, 1999. 209–211.Pettman, Dominic. Sonic Intimacy: Voice, Species, Technics (Or, How to Listen to the World). Stanford, CA: Stanford UP, 2017.Raaf, Sabrina. “Saturday.” Sabrina Raaf :: New Media Artist, 2002. 19 June 2019 <http://raaf.org/projects.php?pcat=2&proj=10>.Richardson, Ingrid. “Mobile Technosoma: Some Phenomenological Reflections on Itinerant Media Devices.” The Fibreculture Journal 6 (2005). <http://six.fibreculturejournal.org/fcj-032-mobile-technosoma-some-phenomenological-reflections-on-itinerant-media-devices/>. Smith, Ernie. “Roger That: A Short History of the Walkie Talkie.” Vice, 23 Sep. 2017. 19 June 2019 <https://www.vice.com/en_us/article/vb7vk4/roger-that-a-short-history-of-the-walkie-talkie>. Statuv. “Details about Allied Radio Knight-Kit C-100 Walkie Talkie CB Radio Vtg Print Ad.” Statuv, 4 Jan. 2016. 18 July 2019 <https://statuv.com/media/74802043788985511>.———. “New! 1953 ‘Space Commander’ Vibro-Matic Walkie-Talkies.” Statuv, 4 Jan. 2016. 18 July 2019 <https://statuv.com/media/74802043788985539>.Wikipedia. “Walkie-Talkie”. Wikipedia, 3 July 2019. 18 July 2019 <https://en.wikipedia.org/wiki/Walkie-talkie>.Wilken, Rowan. “Proximity and Alienation: Narratives of City, Self, and Other in the Locative Games of Blast Theory.” The Mobile Story: Narrative Practices with Locative Technologies. Ed. Jason Farman. New York: Routledge, 2014. 175–191.

The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the old-fashioned way—despite the efforts of many technology companies over the last decade. Even the latest efforts from corporate giants such as Sony and Amazon (who appear to have solved many of the technical hurdles of electronic reading devices) have had little visible impact. The idea of electronic books, or e-books, remains the domain of geeky early adopters (“Have”). The reasons for this are manifold, but, arguably, a broader uptake of e-books has not occurred because cultural change is much more difficult than technological change and book readers have yet to be persuaded to change their cultural habits. Electronic reading devices have been around for as long as there have been computers with screens, but serious attempts to replicate the portability, readability, and convenience of a printed book have only been with us for a decade or so. The late 1990s saw the release of a number of e-book devices. In quick succession, the likes of the Rocket e-Book, the SoftBook and the Franklin eBookman all failed to catch on. Despite this lack of market penetration, software companies began to explore the possibilities—Microsoft’s Reader software competed with a similar product from Adobe, some publishers became content providers, and a niche market of consumers began reading e-books on personal digital assistants (PDAs). That niche was sufficient for e-reading communities and shopfronts to appear, with a reasonable range of titles becoming available for purchase to feed demand that was very much driven by early adopters. But the e-book market was and remains small. For most people, books are still regarded as printed paper objects, purchased from a bookstore, borrowed from a library, or bought online from companies like Amazon.com. More recently, the introduction of e-ink technologies (EPDs) (DeJean), which allow for screens with far more book-like resolution and contrast, has provided the impetus for a new generation of e-book devices. In combination with an expanded range of titles (and deals with major publishing houses to include current best-sellers), there has been renewed interest in the idea of e-books. Those who have used the current generation of e-ink devices are generally positive about the experience. Except for some sluggishness in “turning” pages, the screens appear crisp, clear and are not as tiring to read as older displays. There are a number of devices that have embraced the new screen technologies (mobileread) but most attention has been paid to three devices in particular—mainly because their manufacturers have tried to create an ecosystem that provides content for their reading devices in much the same way that Apple’s itunes store provides content for ipods. The Sony Portable Reader (Sonystyle) was the first electronic ink device to be produced by a mainstream consumers electronics company. Sony ties the Reader to its Connect store, which allows the purchase of book titles via a computer; titles are then downloaded to the Reader in the same way that an mp3 player is loaded with music. Sony’s most prominent competition in the marketplace is Amazon’s Kindle, which does not require users to have a computer. Instead, its key feature is a constant wireless connection to Amazon’s growing library of Kindle titles. This works in conjunction with US cellphone provider Sprint to allow the purchase of books via wireless downloads wherever the Sprint network exists. The system, which Amazon calls “whispernet,” is invisible to readers and the cost is incorporated into the price of books, so Kindle users never see a bill from Sprint (“Frequently”). Both the Sony Reader and the Amazon Kindle are available only in limited markets; Kindle’s reliance on a cellphone network means that its adoption internationally is dependent on Amazon establishing a relationship with a cellphone provider in each country of release. And because both devices are linked to e-bookstores, territorial rights issues with book publishers (who trade publishing rights for particular global territories in a colonial-era mode of operation that seems to ignore the reality of global information mobility (Thompson 74–77)) contribute to the restricted availability of both the Sony and Amazon products. The other mainstream device is the iRex Iliad, which is not constrained to a particular online bookstore and thus is available internationally. Its bookstore ecosystems are local relationships—with Dymocks in Australia, Borders in the UK, and other booksellers across Europe (iRex). All three devices use EPDs and share similar specifications for the actual reading of e-books. Some might argue that the lack of a search function in the Sony and the ability to write on pages in the Iliad are quite substantive differences, but overall the devices are distinguished by their availability and the accessibility of book titles. Those who have used the devices extensively are generally positive about the experience. Amazon’s Customer Reviews are full of positive comments, and the sense from many commentators is that the systems are a viable replacement for old-fashioned printed books (Marr). Despite the good reviews—which suggest that the technology is actually now good enough to compete with printed books—the e-book devices have failed to catch on. Amazon has been hesitant to state actual sales figures, leaving it to so-called analysts to guess with the most optimistic suggesting that only 30 to 50,000 have sold since launch in late 2007 (Sridharan). By comparison, a mid-list book title (in the US) would expect to sell a similar number of copies. The sales data for the Sony Portable Reader (which has been on the market for nearly two years) and the iRex iliad are also elusive (Slocum), suggesting that they have not meaningfully changed the landscape. Tellingly, despite the new devices, the e-book industry is still tiny. Although it is growing, the latest American data show that the e-book market has wholesale revenues of around $10 million per quarter (or around $40 million per year), which is dwarfed by the $35 billion in revenues regularly earned annually in the US printed book industry ("Book"). It’s clear that despite the technological advances, e-books have yet to cross the chasm from early adopter to mainstream usage (see IPDF). The reason for this is complex; there are issues of marketing and distribution that need to be considered, as well as continuing arguments about screen technologies, appropriate publishing models, and digital rights management. It is beyond the scope of this article to do justice to those issues. Suffice to say, the book industry is affected by the same debates over content that plague other media industries (Vershbow). But, arguably, the key reason for the minimal market impact is straightforward—technological change is relatively easy, but cultural change is much more difficult. The current generation of e-book devices might be technically very close to being a viable replacement for print on paper (and the next generation of devices will no doubt be even better), but there are bigger cultural hurdles to be overcome. For most people, the social practice of reading books (du Gay et al 10) is inextricably tied with printed objects and a print culture that is not yet commonly associated with “technology” (perhaps because books, as machines for reading (Young 160), have become an invisible technology (Norman 246)). E. Annie Proulx’s dismissive suggestion that “nobody is going to sit down and read a novel on a twitchy little screen. Ever” (1994) is commonly echoed when book buyers consider the digital alternative. Those thoughts only scratch the surface of a deeply embedded cultural practice. The centuries since Gutenberg’s printing press and the vast social and cultural changes that followed positioned print culture as the dominant cultural mode until relatively recently (Eisenstein; Ong). The emerging electronic media forms of the twentieth century displaced that dominance with many arguing that the print age was moved aside by first radio and television and now computers and the Internet (McLuhan; Postman). Indeed, there is a subtext in that line of thought, one that situates electronic media forms (particularly screen-based ones) as the antithesis of print and book culture. Current e-book reading devices attempt to minimise the need for cultural change by trying to replicate a print culture within an e-print culture. For the most part, they are designed to appeal to book readers as a replacement for printed books. But it will take more than a perfect electronic facsimile of print on paper to persuade readers to disengage with a print culture that incorporates bookshops, bookclubs, writing in the margins, touching and smelling the pages and covers, admiring the typesetting, showing off their bookshelves, and visibly identifying with their collections. The frequently made technical arguments (about flashing screens and reading in the bath (Randolph)) do not address the broader apprehension about a cultural experience that many readers do not wish to leave behind. It is in that context that booklovers appear particularly resistant to any shift from print to a screen-based format. One only has to engage in a discussion about e-books (or lurk on an online forum where one is happening) to appreciate how deeply embedded print culture is (Hepworth)—book readers have a historical attachment to the printed object and it is this embedded cultural resistance that is the biggest barrier for e-books to overcome. Although e-book devices in no way resemble television, print culture is still deeply suspicious of any screen-based media and arguments are often made that the book as a physical object is critical because “different types of media function differently, and even if the content is similar the form matters quite a lot” (Weber). Of course, many in the newspaper industry would argue that long-standing cultural habits can change very rapidly and the migration of eyeballs from newsprint to the Internet is a cautionary tale (see Auckland). That specific format shift saw cultural change driven by increased convenience and a perception of decreased cost. For those already connected to the Internet, reading newspapers online represented zero marginal cost, and the range of online offerings dwarfed that of the local newsagency. The advantage of immediacy and multimedia elements, and the possibility of immediate feedback, appeared sufficient to drive many away from print towards online newspapers.For a similar shift in the e-book realm, there must be similar incentives for readers. At the moment, the only advantages on offer are weightlessness (which only appeals to frequent travellers) and convenience via constant access to a heavenly library of titles (Young 150). Amazon’s Kindle bookshop can be accessed 24/7 from anywhere there is a Sprint network coverage (Nelson). However, even this advantage is not so clear-cut—there is a meagre range of available electronic titles compared to printed offerings. For example, Amazon claims 130,000 titles are currently available for Kindle and Sony has 50,000 for its Reader, figures that are dwarfed by Amazon’s own printed book range. Importantly, there is little apparent cost advantage to e-books. The price of electronic reading devices is significant, amounting to a few hundred dollars to which must be added the cost of e-books. The actual cost of those titles is also not as attractive as it might be. In an age where much digital content often appears to be free, consumers demand a significant price advantage for purchasing online. Although some e-book titles are priced more affordably than their printed counterparts, the cost of many seems strangely high given the lack of a physical object to print and ship. For example, Amazon Kindle titles might be cheaper than the print version, but the actual difference (after discounting) is not an order of magnitude, but of degree. For example, Randy Pausch’s bestselling The Last Lecture is available for $12.07 as a paperback or $9.99 as a Kindle edition (“Last”). For casual readers, the numbers make no sense—when the price of the reading device is included, the actual cost is prohibitive for those who only buy a few titles a year. At the moment, e-books only make sense for heavy readers for whom the additional cost of the reading device will be amortised over a large number of books in a reasonably short time. (A recent article in the Wall Street Journal suggested that the break-even point for the Kindle was the purchase of 61 books (Arends).) Unfortunately for the e-book industry, not is only is that particular market relatively small, it is the one least likely to shift from the embedded habits of print culture. Arguably, should e-books eventually offer a significant cost benefit for consumers, uptake would be more dramatic. However, in his study of cellphone cultures, Gerard Goggin argues against purely fiscal motivations, suggesting that cultural change is driven by other factors—in his example, new ways of communicating, connecting, and engaging (205–211). The few market segments where electronic books have succeeded are informative. For example, the market for printed encyclopedias has essentially disappeared. Most have reinvented themselves as CD-ROMs or DVD-ROMs and are sold for a fraction of the price. Although cost is undoubtedly a factor in their market success, added features such as multimedia, searchability, and immediacy via associated websites are compelling reasons driving the purchase of electronic encyclopedias over the printed versions. The contrast with the aforementioned e-book devices is apparent with encyclopedias moving away from their historical role in print culture. Electronic encyclopedias don’t try to replicate the older print forms. Rather they represent a dramatic shift of book content into an interactive audio-visual domain. They have experimented with new formats and reconfigured content for the new media forms—the publishers in question simply left print culture behind and embraced a newly emerging computer or multimedia culture. This step into another realm of social practices also happened in the academic realm, which is now deeply embedded in computer-based delivery of research and pedagogy. Not only are scholarly journals moving online (Thompson 320–325), but so too are scholarly books. For example, at the Macquarie University Library, there has been a dramatic increase in the number of electronic books in the collection. The library purchased 895 e-books in 2005 and 68,000 in 2007. During the same period, the number of printed books purchased remained relatively stable with about 16,000 bought annually (Macquarie University Library). The reasons for the dramatic increase in e-book purchases are manifold and not primarily driven by cost considerations. Not only does the library have limited space for physical storage, but Macquarie (like most other Universities) emphasises its e-learning environment. In that context, a single e-book allows multiple, geographically dispersed, simultaneous access, which better suits the flexibility demanded of the current generation of students. Significantly, these e-books require no electronic reading device beyond a standard computer with an internet connection. Users simply search for their required reading online and read it via their web browser—the library is operating in a pedagogical culture that assumes that staff and students have ready access to the necessary resources and are happy to read large amounts of text on a screen. Again, gestures towards print culture are minimal, and the e-books in question exist in a completely different distributed electronic environment. Another interesting example is that of mobile phone novels, or “keitai” fiction, popular in Japan. These novels typically consist of a few hundred pages, each of which contains about 500 Japanese characters. They are downloaded to (and read on) cellphones for about ten dollars apiece and can sell in the millions of copies (Katayama). There are many reasons why the keitai novel has achieved such popularity compared to the e-book approaches pursued in the West. The relatively low cost of wireless data in Japan, and the ubiquity of the cellphone are probably factors. But the presence of keitai culture—a set of cultural practices surrounding the mobile phone—suggests that the mobile novel springs not from a print culture, but from somewhere else. Indeed, keitai novels are written (often on the phones themselves) in a manner that lends itself to the constraints of highly portable devices with small screens, and provides new modes of engagement and communication. Their editors attribute the success of keitai novels to how well they fit into the lifestyle of their target demographic, and how they act as community nodes around which readers and writers interact (Hani). Although some will instinctively suggest that long-form narratives are doomed with such an approach, it is worthwhile remembering that, a decade ago, few considered reading long articles using a web browser and the appropriate response to computer-based media was to rewrite material to suit the screen (Nielsen). However, without really noticing the change, the Web became mainstream and users began reading everything on their computers, including much longer pieces of text. Apart from the examples cited, the wider book trade has largely approached e-books by trying to replicate print culture, albeit with an electronic reading device. Until there is a significant cost and convenience benefit for readers, this approach is unlikely to be widely successful. As indicated above, those segments of the market where e-books have succeeded are those whose social practices are driven by different cultural motivations. It may well be that the full-frontal approach attempted to date is doomed to failure, and e-books would achieve more widespread adoption if the book trade took a different approach. The Amazon Kindle has not yet persuaded bookloving readers to abandon print for screen in sufficient numbers to mark a seachange. Indeed, it is unlikely that any device positioned specifically as a book replacement will succeed. Instead of seeking to make an e-book culture a replacement for print culture, effectively placing the reading of books in a silo separated from other day-to-day activities, it might be better to situate e-books within a mobility culture, as part of the burgeoning range of social activities revolving around a connected, convergent mobile device. Reading should be understood as an activity that doesn’t begin with a particular device, but is done with whatever device is at hand. In much the same way that other media producers make content available for a number of platforms, book publishers should explore the potential of the new mobile devices. Over 45 million smartphones were sold globally in the first three months of 2008 (“Gartner”)—somewhat more than the estimated shipments of e-book reading devices. As well as allowing a range of communications possibilities, these convergent devices are emerging as key elements in the new digital mediascape—one that allows users access to a broad range of media products via a single pocket-sized device. Each of those smartphones makes a perfectly adequate e-book reading device, and it might be useful to pursue a strategy that embeds book reading as one of the key possibilities of this growing mobility culture. The casual gaming market serves as an interesting example. While hardcore gamers cling to their games PCs and consoles, a burgeoning alternative games market has emerged, with a different demographic purchasing less technically challenging games for more informal gaming encounters. This market has slowly shifted to convergent mobile devices, exemplified by Sega’s success in selling 300,000 copies of Super Monkey Ball within 20 days of its release for Apple’s iphone (“Super”). Casual gamers do not necessarily go on to become hardcore games, but they are gamers nonetheless—and today’s casual games (like the aforementioned Super Monkey Ball) are yesterday’s hardcore games of choice. It might be the same for reading. The availability of e-books on mobile platforms may not result in more people embracing longer-form literature. But it will increase the number of people actually reading, and, just as casual gaming has attracted a female demographic (Wallace 8), the instant availability of appropriate reading material might sway some of those men who appear to be reluctant readers (McEwan). Rather than focus on printed books, and book-like reading devices, the industry should re-position e-books as an easily accessible content choice in a digitally converged media environment. This is more a cultural shift than a technological one—for publishers and readers alike. Situating e-books in such a way may alienate a segment of the bookloving community, but such readers are unlikely to respond to anything other than print on paper. 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