Artigos de revistas sobre o tema "What energy drink works the best"

Abstract: The design and construction of a multi-drink vending machine is the primary goal of this little project. This machine's function is to offer people a wide variety of goods, including water, drinks, coffee, tea, etc. A machine that can sell things is a vending machine.Different products are being produced in what is more akin to an automated process without the need for man handling that we typically see in busy cities. These systems are now accessible in some of the best-rated restaurants and hotels in India as well as MNCs. In most systems the operation are carried manually by the operator in which the billing and change making is carried out by the \sowner who running the shop or restaurant. There are strict requirements for interactive gadgets used in public settings, including user-friendly interfaces. This model's vending machine is made using plywood, fevicol gum, a DC motor, and other materials. batteries, etc.

Environmental regulations and sustainable developments are forcing industries to assess, optimize and improve their processes to minimize costs and increase the efficiency of industrial sustainability dimension. This effect is more evident in the food industries due to the high impact that this sector has on environmental and economical sustainability, considering the primary role of packaging systems, the huge water consumption both for the production and the cleaning processes or the energy utilization related to the treatment plant or to the raw material production. Thus, the aim of this study was to review the current state of soft drink supply chains with respect to industrial sustainability issues. For this reason, a comprehensive literature review was performed to understand what sustainable best practices and key performance indicators are largely applied to soft drink supply chains and then a comparison with two soft drink case studies was proposed to identify if there is a positive correlation between the literature and practical activities. The proposed case studies were thoroughly analyzed highlighting how the production process impacts on sustainability and pointing out potential best practices and key performance indicators. The key conclusion of this study is, on the one hand, to depict the current set of sustainable best practices and key performance indicators which companies performed according to the literature review and, therefore, revise the actual body of the literature, and, on the other hand, to figure out which of these best (or proper) practices and key performance indicators are also implemented in the real world, helping companies to make decisions.

Abstract Historians tend to assume that in pre-modern Europe people avoided the water, as too unsafe, risky and generally unhealthy to drink. This assumption is clearly flawed: early modern Europeans knew, through experience, which waters were ‘best’ and to take certain precautions when it came to the consumption of water. Town councils enacted legislation to ensure water quality as well as more pro-active measures to keep water sources clean. Extensive and expensive water works in many larger towns and the presence of water-carriers suggests a demand for drinking water. And yet the history of both water control measures and drinking practices before the onslaught of Asian cholera and the bacteriological revolution in the nineteenth century have yet to be written. As a contribution towards filling this gap, this study seeks to understand the radically changing nature of medical advice on water consumption between 1450 and 1750, and what it can tell us about the place of water in early modern society. To do this, we consider printed dietary regimens and guides to good health and long life, a successful, varied and changing genre. They offer privileged access to the circulation of knowledge regarding water, in the context of the everyday regulation of food and drink in the maintenance of health. We explain why water went from being considered ‘the vilest of beverages’ in the mid-fifteenth century, the consumption of which, though necessary, had to be carefully regulated, to a ‘universal medicine’ three hundred years later, able to prevent and cure disease. In the process, wine gave way to water as the preferred healthy drink—at least, for medical authors. We relate the medical advice to the different local conditions (such as river water quality), practices (use of cisterns, boiling or filtering) and fashions (cold-drinking) discussed in the medical literature. If water’s very banality means that it is often invisible in the written evidence, the regimens provide ample evidence of the importance of drinking water and of changing attitudes and practices over the course of the early modern period.

INTRODUCTION A developer who had chronic asthma as a child built the first LEED® (Leadership in Energy and Environmental Design) Platinum certified apartment complex in Idaho. He has also heard from two residents that their asthma no longer resulted in attacks due to eliminating triggers in the interior environment. Eight years and a dozen multifamily affordable housing projects later, the LEED consultant on these projects has gathered insight on best practices, lessons learned and strategies that result in resident, owner and project team satisfaction. Ten projects have achieved LEED Platinum certification (two more are still under construction, but are on track for Platinum), and the HERS (Home Energy Rating System) scores are as low as 48. Feedback has been collected on what works, what doesn't and what matters most: from low energy bills to living in a healthy home and not having asthma attacks. These projects debunk the assumptions that energy efficiency adds too much cost or that green homes are only for the wealthy.

The thirty journal articles dealing with the relationship between climate change and agriculture (the latter is treated in general, i.e., as an industry) and which have gained >1000 citations are thought to be sources of the most precious information on the noted relationship. They were published between 1994 and 2011. Many are authored by West European and North American experts. The most-cited articles are attributed to three major themes and eight particular topics, and the best-explored topic is the influence of climate change on agriculture. Moreover, they provide some essential information about the strong relation of both agriculture and climate change to energy transition. The general frame characterizing complex interactions of climate change and agriculture development is proposed on the basis of the most-cited works, but it needs further detail, improvement, and update. The considered articles are basic sources with historical importance.

Energy security is an international concern for all countries in the world, particularly, for the policymakers looking for the wellbeing of citizens. While proper methods to measure energy security without ignoring the different aspects and multidimensional interplay is necessary, the need for an objective evaluation with numerical indicators is of utmost importance. This research covers these gaps by providing a detailed numerical method to formulate an energy security index that is globally comprehensive, but also nationally applicable to all countries in the world. This implies to include all needed aspects and dimensions of energy security. Results of this research show the global performance of all countries in the world in energy security and the performance of these countries in each of the 15 dimensions that articulate energy security. Germany and the United States performed best in the world, when it comes to overall energy security levels, whereas the Central African Republic and Turkmenistan are on the lowest end of performance. Conclusions show that there is not a single way for development and enhancing energy security but rather different alternatives and options. Countries need to learn from each other to identify what works best for their context and implement these strategies in order to enhance energy security.

Improving the energy efficiency of electricity systems is important for lowering environmental damage and promoting sustainable growth. In recent years, reinforcement learning (RL) methods have become useful for finding the best ways to use energy in many areas. The point of this study is to look into how RL algorithms can be used to make electricity systems more energy efficient. The study looks into how RL algorithms can be used to make electricity systems more efficient by lowering waste, making the best use of energy, and maximizing energy use. The study suggests a new way to use RL methods to change things like power sharing, load scheduling, and resource allocation on the fly in order to keep system performance high while using as little energy as possible. Some important parts of the study method are creating RL models that work with electricity systems and their limitations, as well as coming up with the right payment functions to help people learn how to behave in ways that use less energy. Extensive models and real-world studies on sample electrical systems are used to test how well the suggested method works. According to the study's results, using RL algorithms can lead to big changes in how efficiently energy is used, with cuts in energy use running from [insert exact number range]. The study also shows how flexible and scalable RL-based solutions are when it comes to different system setups and operating scenarios. Overall, this study adds to the growing amount of research on energy efficiency by showing how RL algorithms can be used to solve difficult problems in electrical systems. Practical plans can be made to improve energy efficiency and promote sustainability in a wide range of businesses and uses based on what this study has taught us.

Distributed Power Generation and Energy Storage Systems (DPG-ESSs) are crucial to securing a local energy source. Both entities could enhance the operation of Smart Grids (SGs) by reducing Power Loss (PL), maintaining the voltage profile, and increasing Renewable Energy (RE) as a clean alternative to fossil fuel. However, determining the optimum size and location of different methodologies of DPG-ESS in the SG is essential to obtaining the most benefits and avoiding any negative impacts such as Quality of Power (QoP) and voltage fluctuation issues. This paper’s goal is to conduct comprehensive empirical studies and evaluate the best size and location for DPG-ESS in order to find out what problems it causes for SG modernization. Therefore, this paper presents explicit knowledge of decentralized power generation in SG based on integrating the DPG-ESS in terms of size and location with the help of Metaheuristic Optimization Algorithms (MOAs). This research also reviews rationalized cost-benefit considerations such as reliability, sensitivity, and security studies for Distribution Network (DN) planning. In order to determine results, various proposed works with algorithms and objectives are discussed. Other soft computing methods are also defined, and a comparison is drawn between many approaches adopted in DN planning.

AbstractThe use of competition and the associated increase in choice in health care is a popular reform model, adopted by many governments across the world. Yet it is also a hotly contested model, with opponents seeing it, at best, as a diversion of energy or a luxury and, at worst, as leading to health care inequality and waste. This paper subjects the use of competition in health care to scrutiny. It begins by examining the theoretical case and then argues that only by looking at evidence can we understand what works and when. The body of the paper examines the evidence for England. For 25 years the United Kingdom has been subject to a series of policy changes which exogenously introduced and then downplayed the use of competition in health care. This makes England a very useful test bed. The paper presents the UK reforms and then discusses the evidence of their impact, examining changes in outcomes, including quality, productivity and the effect on the distribution of health care resources across socio-economic groups. The final section reflects on what can be learnt from these findings.

This paper proposes a wind/PV hybrid energy system matching design method, which is based on backward inference. According to the method, the system can be matched based on the users’ need of energy combined with the local weather conditions and the total cost of the system devices is the smallest. Meanwhile, engineers and designers can work out the power from solar battery and wind turbine which meets the users’ need most economically. The paper uses the concept of “efficient time” which means the time it needs to generate the acquired energy when the generator works in its full power. Based on the users’ need, the power of solar battery and wind turbine can be calculated. What is more, combined with the local latitude and longitude, the best proportion for each kind of energy can be worked out. We take Changchun city of China as an example. It is showed in the result that the backward-inference method is more suitable to the users’ need and we evaluated it by the HOMER program [1], the result proves it is feasible. Also, the result of the method can be used as the input data of the HOMER program for designers and engineers to enhance the accuracy as well as to cut down the design difficulty. In the end, using the theory, our team has developed a system for the Wind/PV hybrid system matching design.

Yves Klein (1928–1962) is best known for his intensely blue monochromatic works made with International Klein Blue (IKB), a synthetic ultramarine blue pigment bound in a poly(vinyl acetate) binder. However, he also made monochromes in other colors, including red and pink, the pigments of which have never been elucidated. Analysis of one sculpture, three paintings, and one screenprint by micro-Fourier transform infrared spectroscopy (µ-FTIR), Raman and surface-enhanced Raman (SERS) spectroscopies, portable X-ray fluorescence spectroscopy (p-XRF), and scanning electron microscopy (SEM) coupled with energy dispersive X-ray spectrometry (EDX), revealed that Klein used, knowingly or unknowingly, a variety of pink and red pigments, including Para Red, rhodamine 6G, rhodamine B, eosin Y, and alizarin lakes. The unexpected variety of pigments contrasts with his use of a single blue pigment and suggests he may not have held a singular vision of what constituted an iconic red or pink color.

Child protection was traditionally based on a presumption that the mother best knows what is in the best interest of her child. The discourse began to be questioned in the Czech Republic in the 1990s, followed by efforts to bring interests and needs of children into focus, as well as the ways in which they can be taken into account in the assessment process as a basis for intervention. This paper aimed to identify key features of the child-centered approach in the professional discourse of the Czech child protection and to analyze the conditions of its application. The goal was achieved through qualitative thematic analysis of professional texts in the area of social and legal protection of children since 1990 and also of legislative and methodological materials regulating child protection. This paper shows the changing of the paradigm in the social and legal protection of children and points out the shortcomings in social work practice. The reason for optimism may be the fact that an umbrella body of state administration for child protection is aware of shortcomings and, in the form of projects focusing on various topics of social work with families, works to improve competences and knowledge.

Public procurement procedures facilitate the purchase of products, services, or civil works by public administrations. In Poland, they follow the national rules specified in the Public Procurement Act. Public procurement aims to ensure a transparent and competitive purchasing process, effective use of public resources, equal treatment of all tenderers, and supply of the best products and services. Various aspects of tender evaluation often determine public procurement and the actual process. Of fundamental importance are price and quality. The Polish mining industry is very mature and includes many stakeholders, such as underground, surface, and borehole mines. Public procurement in the mining industry is specialised and involves complex contracts between the contracting authority and the contractor. Additionally, the mining industry involves very high-risk levels and requires special safety efforts. Therefore, this article presents the analysis results related to evaluating offers in public tenders in the most prominent Polish enterprises of the mining industry. The results indicated what procedures should be carried out and what offer evaluation criteria are essential. The emphasis was placed on ensuring that the selection of offers in this industry are not based only on one criterion: price.

To reduce the negative impacts of stall and surge on compressor performance, a novel combined casing treatment (CCT) structure with axial skewed slots and injection groove is proposed in this paper. The aerodynamic performance, as well as the mechanisms of loss generation, of a transonic axial compressor with NASA Rotor 67 are investigated numerically. The simulation results indicate that, compared with individual casing treatment method, the CCT works effectively with regard to operation performance. The stall margin (SM) is increased by 14.7% with 1.12% decrease in the peak efficiency. The interaction of axial skewed slots and injection groove can be explained by the enhancement of exchange flow in slots and axial motion of fluid. As a result, the leakage flow near the blade tip is eliminated and the flow separation is further suppressed. What is more, an analysis of entropy generation is also conducted. The results reveal that the effect of CCT on loss reduction mainly concentrates in the tip part of the blade, with the loss decrease about 14.46% compared with the original rotor. The best control effect can be expected by appropriate match between geometrical parameters of axial skewed slots and mass flow rate of injection from the parameter analysis.

Abstract: Nowadays there are many assistants like Google voice assistant , Alexa…etc. Humanoid assistant is a assistant which move freely with you while assisting in your daily task such as informing you about today’s weather. We have deeply studied some of the best research papers on Robotic, Machine learning and some very necessities of AutoML, so in order to get to a conclusion of what works the best for us. We have also studied about many other research papers on voice assistant as to how to create a basic voice assistant. The main idea behind this project is to make a bot which can move freely that can assist you in day-to-day tasks. It will respond and talk to you like your own friend. It will also work as your personal house assistant. In this project we have basically worked on robotics. The aim of our project is to make a virtual Voice Assistant bot. The main motive is to first design the Humanoid and then program the features using our knowledge of programming. The working is based on Arduino microcontroller and Raspberry Pi microprocessor. The code is simulated on software (IDE) and later we interfaced with the hardware. We picked this as our design as robotics has come a long way and has become a part of our everyday life and also has a wide compass in the engineering field. For us the main task was to make such a model such a model in an similar a way, where the tasks are performed in an automated way so as to save time and costs.

PurposeSince universities adopted a “Student as Customer” approach, student consumer behavior is a field of study which has become crucial. In the European higher education area, more understanding is needed on International students, and more precisely on Erasmus students. The purpose of this paper is to validate a multidimensional scale to assess Erasmus students’ value expectations (i.e. expected value) on the basis of costs and benefits in their choices as consumers of an academic experience abroad.Design/methodology/approachA survey conducted on a sample of 192 students from 50 universities show the role of functional, social and emotional values along with costs of time and effort in the perceived value of an Erasmus experience.FindingsAfter validating the five scales, the results show that social and emotional are the aspects were students’ expected value dimensions are the highest, as the Erasmus experience is expected to enrich their studies and enable them to boost their self-confidence, while functionally helping them to find a job in the future. Concerning the sacrifices, the Erasmus experience has a high cost with regard to effort, time and energy, but students are willing to go through it: an Erasmus stay is seen as a good investment, whose benefits will be reaped in the long run.Originality/valueThe contribution of this paper comes from the scope and the target: a multidimensional trade-off approach to the expected value of the Erasmus experience. Other works have already depicted the educational experience through the value concept, but none, to the best of the authors’ knowledge, has measured expected value on the pre-purchase phase for Erasmus students.

In this paper, one discusses the conditions favourable for sustainable development, limitations of it in the social reality and the sense of implementing it everywhere. The author points out that sustainable development has always taken place in nature thanks to the mechanisms of self-regulation and the laws of nature. However, what is new is the idea of sustainable development in the social reality. Balancing inequalities to the end, i.e. until the state of permanent equilibrium of social systems is achieved, leads to stagnation. Because the source of sustainable development is throwing off equilibrium, and stabilization kills development. He also indicates that the idea of sustainable development was not born out of ecological, but economic reasons, and still serves mainly economic, not ecological purposes. It works best in the sphere of the economy. Nevertheless, it is implemented everywhere with a better or worse result, because the world fashion for sustainable development and its mythologization has prevailed. One sees in it a panacea for all social problems. In fact, it is a tool of self-regulation in social systems that ensure the survival of them. There is a feedback loop between sustainable development and globalization. Sustainable development contributes to globalization, and globalization promotes sustainable development. However, only until one reaches some critical moment. Then, globalization begins to hinder sustainable development and eventually makes it unfeasible. The condition for the implementation of sustainable development is the freedom provided by the democratic system. Therefore, it works best in a liberal democracy. Unfortunately, this democracy is already collapsing. It has taken on a caricature form that makes difficult for people to live and for governments to exercise power. Therefore, one replaces it by totalitarian or fascist regimes, which for different reasons gives greater hope for a better functioning of the state. However, totalitarianism limits freedom significantly and fascism, in addition, raises legitimate fear due to negative historical experiences. There is no place for sustainable development in these regimes. That is why many researchers and politicians want to stop fascism and bring about sanitation of democracy with New Enlightenment, New Metanoia, and New Humanism. In such way, they want to enable further sustainable development.

_ Humans and oil are alike in that the inner will to move from a comfortable spot—be it a sofa or a shale pore—often requires the application of outer motivation. It could be the hunger pangs prompting a reach for a donut or the pesky roommate—natural gas—lifting the hefty crude bead on its way to the surface in response to a pressure differential. So, what is a human to do when the oil needs a little extra convincing to leave its sofa? Artificial lift has long provided the swift kick needed to get and keep oil moving in conventional resources. Its story in unconventional resources is one of countless hours spent in the field figuring out that what works in one basin may not necessarily work in another and that what works today to economically lift oil to the surface will change over the life of the well. In this first part of a two-part series, we look at how the artificial-lift sector has adapted to producing unconventional resources. The second part of the series to publish in November will crack open the lift toolbox to take a deeper look at the techniques and technologies under development or new to the market. Steep Learning Curve While the life cycle of conventional oil and gas development is well documented, the rush of unconventional wells that kicked off in 2009 brought with it a whole slew of new challenges, like highly tortuous wellbores and solids production, spurring a greater appreciation for the intricacies of field development. “There was a steep learning curve in the early stages of producing from unconventional reservoirs. As operators continue to develop these reservoirs and push the envelope by drilling longer laterals with more-complex deviation profiles, artificial lift must keep adapting,” said Thomas Anderson, vice president of rod-lift solutions and PCS Ferguson at Champion X. “What worked last week needs to be tweaked to perform even better to handle the challenges we’ll face next week. It’s a constant evolution and we’re continually working to evolve our fit-for-purpose technologies, processes, and services to meet tomorrow’s challenges.” The remarkable growth of the US shale industry over the past 13 years has been, in part, built on the foundation of conventional oil and gas techniques and technologies. “Existing lift methods have been redefined based on newer production challenges not present in traditional vertical wells. Well geometry, landing depth, tight casing size, longer lateral draining higher production rates, and increased oil/gas rate are just a few of the new challenges in unconventional wells,” said Humberto Machado, global product line director for artificial lift at Weatherford. “The lesson learned here is the integrated planning and the development of an artificial-lift strategy that allows scalability, rapid deployment, robust and simple to operate, minimal infrastructure, and ability to match decline curve. This requires significant trial-and-error efforts to develop best practices, and operational guidelines to enhance overall system reliability,” he added. This redefinition, along with a little adaptation, and a whole lot of experimentation has developed a new toolbox unique to its role in the production process.

The purpose of life is to discover your gift. The work of life is to develop it. The meaning of life is to give your gift away. - David S. Viscott, American psychiatrist Steering by the Stars History is a guide to navigation in perilous times. History is who we are and why we are the way we are. - David McCullough, American historian I recently read a “thought piece” in a major magazine that was a fictional account of how a new CEO would address his or her company’s employees while simultaneously restructuring the company’s units to deal with the pandemic. The fictitious CEO focused on prioritizing two things: treating the employees with respect while rewarding their loyalty and contributions and taking the necessary actions to maintain and improve engagement and sales for the company’s customers. This story is a reminder of the effect the pandemic has on businesses - all businesses. When the need to hire, utilize, and retain the very best talent is absolutely essential, do talented people really need to be micromanaged and endlessly evaluated? Or should we have the confidence to let them do their jobs? As I have mentioned in past columns, we (the big we - the oil and gas industry) will emerge leaner and a lot meaner when this storm finally passes. Employment, promotions, career mobility, and access to capital will become much more competitive. Our next generation, the students, need to understand and accept this. Young professionals need to realize that being a best-in-class performer may not be an option, and yes, layers of management will disappear as we rely on people to self-motivate and self-optimize their performance. We must also focus on what our customers want, namely energy security, diversity of access to energy, a lower-carbon future, and assurances that we are “walking the walk” on ESG issues. ESG stands for environmental, social, and corporate governance, in case you forgot. Each of these is both desirable and achievable - and need I restate that this is what our customers want? So how do we “steer by the stars?” Start with the obvious: If you can’t see the stars, you may want to wait until you do. Most importantly, this method works - crudely perhaps, and certainly not with the precision or reliability of GPS, but we aren’t trying to thread a needle. We are trying to ensure the significance of our industry and the livelihoods of our people. Understanding how to get where we need to be is the most essential element to getting there. We have the talent, technology, and infrastructure to provide a vital energy component. We need to make sure that we are “steering” toward our customers and toward a future where we continue to make a significant social and economic impact on the global economy.

Almost 30 years since the last UK nuclear test, it remains necessary regularly to underwrite the safety and effectiveness of the National Nuclear Deterrent. To do so has been possible to date because of the development of continually improving science and engineering tools running on ever more powerful high-performance computing platforms, underpinned by cutting-edge experimental facilities. While some of these facilities, such as the Orion laser, are based in the UK, others are accessed by international collaboration. This is most notably with the USA via capabilities such as the National Ignition Facility, but also with France where a joint hydrodynamics facility is nearing completion following establishment of a Treaty in 2010. Despite the remarkable capability of the science and engineering tools, there is an increasing requirement for experiments as materials age and systems inevitably evolve further from what was specifically trialled at underground nuclear tests (UGTs). The data from UGTs will remain the best possible representation of the extreme conditions generated in a nuclear explosion, but it is essential to supplement these data by realizing new capabilities that will bring us closer to achieving laboratory simulations of these conditions. For high-energy-density physics, the most promising technique for generating temperatures and densities of interest is inertial confinement fusion (ICF). Continued research in ICF by the UK will support the certification of the deterrent for decades to come; hence the UK works closely with the international community to develop ICF science. UK Ministry of Defence © Crown Owned Copyright 2020/AWE. This article is part of a discussion meeting issue ‘Prospects for high gain inertial fusion energy (part 1)'.

Purpose The relationship between returns and trading volume is central in financial economics because it has both a theoretical interest and important practical implications with regard to the structure of financial markets and the level of speculation activity. The aim of this study is to provide new insights into the association between returns and trading volume by investigating their kernel (instantaneous) causality. The empirical analysis relies on time series data from 22 commodities futures markets (agricultural, energy and metals) in the USA. Design/methodology/approach Non-parametric (local linear) regressions are applied to daily data on returns and on trading activity; generalized correlation measures are computed and their differences are subjected to formal statistical testing. Findings The results suggest that raw returns are likely to kernel-cause volume and volume is likely to kernel-cause price volatility. The patterns of causal order are generally in line with what is stipulated by the relevant theory, they provide guidance for model specification and they appear to explain the empirical evidence on temporal (lag-lead) causality between the same pairs of variables obtained in earlier works. Originality/value The concept of kernel causality has very recently become a part of the toolkit for econometric/statistical analysis. To the best of the author’s knowledge, this is the first study that relies on the notion of kernel (instantaneous) causality to provide new evidence on a relationship that is of keen interest to investors, professional economists and policymakers.

Abstract: Whenever I want to try something new, it is very difficult to choose. Sometimes it's scary because new things I've never tried end up giving me a skin problem. We know that the information we need is behind each product, but it is really difficult to define that ingredient list unless you are a pharmacist. You may relate to this situation. So instead of buying and trusting the best, why not use data science to help us predict what might be right? We will create a content-based recommendation system where the content will be the chemical components of cosmetics. Specifically, we will process a list of 1472 cosmetic ingredients in sephora using WORD EMBEDDING, and visualize the similarity of the ingredient using a machine learning method called t-SNE and a collaborative library called Bokeh. In a world focused on the need to sell a large growing number of goods, quality, visual appearance, texture, taste, taste etc. it becomes an important factor in supporting the development of the global economy. As a result, different types of food additives have been developed and are still being developed and used to achieve those purposes. Next, the purpose of this paper is to introduce the design and implementation of a new software package for embedded systems that can support the customer in the food purchasing system. The advanced software package works on the platform and uses the cloud optical character (NLP) MACHINE learning algorithm. The details related to the product you are interested in and provided on request to customers are: name and product ingredients code, risks associated with each food supplement, source of each food component, soap, limit of daily use. and side effects, dietary restrictions etc. Technology: NLP(Natural Language Processing)

This article analyzes the reflection on the myth of Faust in the work of Eduardas Mieželaitis (1919–1997). The author’s initial hypothesis that the interpretation of this myth can be used as another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic Soviet existence is tested. Together with other signs of existential self-abuse (such as the metaphors of “the ringed bird” and “the masked word”), this could help answer the question of whether the description of the 1920s generation (Alfonsas Nyka-Niliūnas, Bronius Krivickas, etc.) as “tragic” would fit Mieželaitis. Intertextuality is the best way to describe the nature of the analysis and socio-criticism would describe the interpretation of the results.E. Mieželaitis was (and still is) one of the most intertextual Lithuanian authors. The use of the “alien word” in his texts was a conceptual position of the poet’s creative consciousness. For him the world’s culture has become a central topic, and his texts have been occupied by the masters of arts and sciences of antiquity, Renaissance, or New Age, as well as modern European authors, Oriental classics, Bible quotations, paraphrases, allusions and other forms of culture. For the poet, Goethe’s Faust is one of such foundational texts, even if the Soviet era did not favor the “myths of the great contemplation” (Vytautas Kubilius). The forever relevant myth of Faust raises a fundamental question of person’s life choice – what one is prepared to sacrifice for one’s purpose, and what the results of that “sacrifice” are. But in the Soviet times Mieželaitis did not focus on this myth as a “symbol of the duality of human’s nature” – his human is rather one-dimensional and monolithic, full of positive energy directed towards technological progress and an absolute belief in the cognitive powers of man. This is the exact aspect that Faust embodies in Mieželaitis’ works, as if it was his “new man”, the product of the Enlightenment era. Mieželaitis did not care about the moment of negotiations between Faust and Mephistopheles – for him there could easily be no Mephistopheles. However, in late works (Postskriptumai, 1986; Gnomos, 1987; Laida, 1992), where the poet reflects on his life and creative path, there are many signs of disillusionment with the myth of human omnipotence as the results of his labor have turned against him – he wanted to create a heaven, but got a hell in the form of Hiroshima. It is at this point that Mephistopheles dominates the duet with Faust, but in general they have both become a “common place” and their function is limited by the text’s aesthetic figurativeness.My conclusion is that eventually the rich allusions to Faust in Mieželaitis’ works did not translate into reflections on the essence or meaning of being – he was not concerned with the problematics of human’s choices, duality, or contradictions. Thus, my initial expectation that the interpretation of the Faust myth may be another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic existence in the Soviet times was essentially not confirmed. And that could have been another argument for adding him to the social group of the 1920s.On the other hand, looking from the distant present, it is my opinion that Mieželaitis is still a part of the tragic generation, as the whole generation – whether they retreated to the West, or remained in Soviet Lithuania, collaborated or resisted – became hostages of the Second World War and the Soviet occupation.

In order to establish an innovation culture, a set of organizational procedures and practices called “Innovation Management”, which may differ among companies, should be followed. At the enterprise level, systematic innovation management becomes more complicated. A number of works covering various aspects of this subject have been published. However, a systematic synthesis of all of these contributions is still lacking in management literature. In this review, we aim to analyze and classify the main contributions published on the topic of innovation management systems/standards in management literature, seeking to discover the gaps which still remain in the literature, and to outline future avenues of research in this domain. More than 70 articles in Innovation Management Systems/Standards (IMS/St) studies published in peer-reviewed journals during 2006–2020 are reviewed and analyzed systematically by searching the science databases ScienceDirect, Scopus and Emerald, etc., and using Google Scholar and Mendeley Elsevier to identify related terms. A complete and accurate view of the latest literature on IMS/St is provided, which identifies the main topics developed in the management literature on IMS/St, as well as significant gaps, and demonstrates the low maturity level of the current state of the field. This paper contributes theoretically to the development of literature on IMS/St and provides a clear understanding of the state of the field during the period 2006–2020, shedding light on the research needed in the future in this field of study. From a managerial perspective, it can help companies to better understand the implications of IMS/St, and to harvest the best benefits from the implementation of IMS/St. Our study also answers these three important questions: 1. What are the main topics developed in the management literature on IMS/St so far? 2. Are innovation management standards mature from a practical point of view? 3. What are the main research gaps in management literature, and how could future avenues of research be shaped?

Purpose The purpose of this paper is to discuss architecture that produces spatial experience with which children and young adults are able to interact, giving them a great sense of positive energy that translates into actual healing. This type of architecture is few in number but can create a transition toward sustainable healing. Design/methodology/approach Spatial experience was evident in the architectural practice of the ancient world. Back then architects considered what moods should they give to spaces that best suit their functions. In our contemporary world, this trail of thinking is replaced by architecture that do not connect with the user’s psychology. The paper will prove that there are few architects today who are willing to exert an effort in providing the right moods for their buildings with a sustainable vibe. The paper will discuss this point by taking four examples of architecture specialized in healing young adults and children. Findings Through analysis of the case studies, the paper reveals the importance of spatial experience approach in producing meaningful architecture that connects with the user. The paper shows that it is through this approach that important moments of architectural history was made as well as the works of famous architects of our times. Originality/value The research redefines how should we look at architectural history through spatial experience analysis. It also gives us an insight into how architects become famous today through their unique design process that continue to be successful and admired by ordinary users not just specialists. The research is not limited to this paper, but currently expanding to include other case studies of different building types.

Abstract: Agriculture is the field that assumes a significant part in working on our nation'seconomy. Horticulture is the one that brought forth human advancement. India is an agrarian nation and its economy is generally founded on crop efficiency. Henceforth we can say that farming can be the spine of all business in our country. This undertaking will assist the ranchers with knowing the yield of their harvestbefore developing onto the horticultural field and subsequently assist them with settlingon the fitting choices. It endeavors to address the issue by building a model of an intuitive expectation framework. Execution of such a framework with a simple to- utilize online realistic UI and the AI calculation will be completed. The consequences of the expectation will be made accessible to the rancher. The choice of yields will rely on the various boundaries, for example, market cost, creation rate, and the different government strategies. Furthermore, the harvests can be cultivated in like manner utilizing state of the soil, climate projections, and the examination of water expected to develop the specific yields lossless. The irregular woodland calculation is utilized. By investigating this large number of issues and issueslike climate, temperature, mugginess, precipitation, dampness, there could be noappropriate arrangement and innovations to defeat what is going on looked by us. Stepby step the number of inhabitants in India is developing and the usefulness of the yieldshould be expanded to take care of the populace. The application expects to foresee crop yield so it could assist ranchers with picking the best seeds for plantation. Randombackwoods is the most well known and strong directed AI calculation equipped for performing both order and relapse assignments, that work by building a huge number of choice trees during preparing time and producing a result of the class that is the method of the classes (arrangement) or mean forecast (relapse) of the singular trees. The idea of this paper is to carry out the harvest yielding technique with the goalthat this strategy helps in tackling numerous agribusiness and ranchers issues. This works on our Indian economy by expanding the yield pace of harvest creation.

Abstract There are a lot of energy saving devices for ships on the market, but few have seen wide adoption on naval ships, with one exception: the bulbous bow. The bulbous bow was developed for naval ships in the early 20th century and is now widespread on a variety of ship designs. Many have wondered if the effect of the bulbous bow — reducing the resistance of a ship by reducing the bow wave — could be replicated somehow at the stern — by reducing the stern wave. This is exactly what is done by a novel and patented energy saving device called Hull Vane®. Invented by Dutch hydrodynamicist Dr Peter van Oossanen for an America’s Cup sailing yacht in the early 21st century, research over the years has shown that this wing-shaped appendage works best on ships that combine a relatively high displacement with a relatively high top speed requirement — even if most sailing hours are done at half speed. Examples are certain offshore vessels, superyachts, patrol vessels and naval ships. On offshore patrol vessels, the resistance reduction from the Hull Vane® ranges typically from 10 to 20% over the entire useful speed range. In this paper, the working principles of the Hull Vane® will be described to give a better under-standing of the device. An overview will be given of the work carried out on naval ships and coastguard ships (25 to 142 m), based on Computational Fluid Dynamics studies, model tests and full-scale applications. The question ‘Why?’ will be answered by translating the hydrodynamic effects to concrete capability improvements for naval ships: a lower fuel consumption, a longer range, reduced signature, a higher top speed and improved seakeeping. The question ‘When?’ will zoom in on whether a Hull Vane® is something to be included in a newbuild or if it is something to be retrofitted to an existing ship. Finally the answer to the question ‘How?’ will explain the process of either integrating a Hull Vane® in a newbuild project or retrofitting it during a midlife upgrade of an existing ship.

Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.

IN THE SHADOW OF THE PALMS: The Selected Works of David Eugene Smith by Tristan Abbey, ed. Alexandria, VA: Science Venerable Press, 2022. xii + 155 pages, including a Glossary of Biosketches. Paperback; $22.69. ISBN: 9781959976004. *David Eugene Smith (1860-1944) may not be a household name for readers of this journal, but he deserves to be better known. An early-twentieth-century world traveler and antiquarian, his collaboration with publisher and bibliophile George Arthur Plimpton led to establishing the large Plimpton and Smith collections of rare books, manuscripts, letters, and artefacts at Columbia University in 1936. He was one of the founders (1924) and an early president (1927) of the History of Science Society, whose main purpose at the time was supporting George Sarton's ongoing management of the journal ISIS, begun a dozen years earlier. Smith also held several offices in the American Mathematical Society over the span of two decades and was a charter member (1915) and President (1920-1921) of the Mathematical Association of America (MAA). *Smith is best known, however, for his pioneering work in mathematics education, both nationally and internationally. In 1905, he proposed setting up an international commission devoted to mathematics education (now the International Commission on Mathematical Instruction) to explore issues of common concern to mathematics teachers on all levels, worldwide. He was actively involved in reviving this organization after its dissolution during the First World War and served as its President from 1928 to 1932. Nationally, Smith was instrumental in inaugurating the field of mathematics education, advancing this discipline professionally both in his role as mathematics professor at the prestigious Teachers College, Columbia University (1901-1926) and as an author of numerous best-selling mathematics textbooks for elementary and secondary schools. These texts were not focused solely on mathematical content; they also dealt substantively with teaching methodology, applications, rationales for studying the material, and significant historical developments. *Throughout his life Smith championed placing mathematics within the wider liberal arts setting of the humanities, highlighting history, art, and literary connections in his many talks, articles, and textbooks. For him there was no two-cultures divide, as it later came to be known. While acknowledging the value of utilitarian arguments for studying mathematics (he himself published a few textbooks with an applied focus), he considered such a rationale neither sufficient nor central. For him, mathematics was to be studied first of all for its own sake, appreciating its beauty, its reservoir of eternal truths, and its training in close logical reasoning. But again, for him this did not mean adopting a narrow mathematical focus. In particular, given his wide-ranging interest in how mathematics developed in other places and at other times, he tended to incorporate historical narratives in whatever he wrote. *This interest led him later in life to write a popular two-volume History of Mathematics. The first volume (1923) was a chronological survey from around 2200 BC to AD 1850 that focused on the work of key mathematicians in Western and non-Western cultures; the second volume (1925) was organized topically around subjects drawn from the main subfields of elementary mathematics. His History of Mathematics was soon supplemented by a companion Source Book in Mathematics (1929), which contained selected excerpts in translation from mathematical works written between roughly 1475 and 1875. Smith wrote at a time when the history of mathematics was beginning to expand beyond the boundaries of Greek-based Western mathematics to include developments from non-Western cultures (Egyptian, Babylonian, Indian, Chinese, Japanese, and Arabic), a trend he approved of and participated in professionally. *Smith's interest in broader issues extended even to exploring possible linkages between religion and mathematics. His unprecedented parting address to members of the MAA as its outgoing President is titled "Religio Mathematici," a reflection on mathematics and religion that was reproduced a month later as a ten-page article in The American Mathematical Monthly (1921) and subsequently reprinted several times. Smith's article "Mathematics and Religion" appearing in the National Council of Teachers of Mathematics' sixth yearbook Mathematics in Modern Life (1931) touched on similar themes. These two essays maintain that mathematics and religion are both concerned with infinity, with eternal truths, with valid reasoning from assumptions, and with the existence of the imaginary and higher dimensions, "the great beyond," enabling one to draw fairly strong parallels between them. Thus, a deep familiarity with these facets of mathematics may help one to appreciate the essentials of religion. Mathematics itself was thought of in quasi-religious terms, as "the Science Venerable." Smith's farewell address partly inspired Francis Su in his own presidential retirement address to the MAA in 2017 and in its 2020 book-length expansion Mathematics for Human Flourishing (see PSCF 72, no. 3 [2020]: 179-81). Su's appreciation of Smith's ideas also led him to contribute a brief Foreword to the booklet under review, to which we now turn. *First a few publication details: In the Shadow of the Palms is an attractive booklet produced as a labor of love by someone obviously enamored with his subject. Tristan Abbey is a podcaster with broad interests that include being a "math history enthusiast," but whose primary professional experience up to now has been focused on the environmental politics of energy and mineral resources. This work is the initial (and so far the only) offering by a publication company Abbey set up. Its name, Science Venerable Press, was chosen in honor of Smith's designation for mathematics. *One might classify this work non-pejoratively as a coffee-table booklet. It contains 50 excerpts (Su terms them "short meditations") from a wide range of Smith's writings, selected, categorized, and annotated by Abbey, along with full-page reproductions of eight postcards mailed back home by Smith on his world travels, and two photos, including Smith's Columbia-University-commissioned portrait. Smith's excerpted writing occupies only 109 of the total 167 pages, nearly two dozen of which are less than half full. The amply spaced text appears on 3.25 inches of the 7 inch-wide pages, the outer margins being reserved for Abbey's own auxiliary notes explaining references and allusions that appear in the excerpt. This gives the book lots of white space; in fact, eighteen pages of the booklet are completely blank. Another nine pages contain 75 short biographical sketches of mathematicians taken from Smith's historical writings; these are unlinked to any of the excerpts, but they do indicate the breadth of his historical interests. Unfortunately, no index of names or subjects is provided for the reader who wants to learn whether a person or a topic is treated anywhere in the booklet; the best one can do in this regard is consult the titles Abbey assigns the excerpts in the Table of Contents. *The booklet gives a gentle introduction to Smith's views on mathematics, mathematics education, and the history of mathematics. The excerpts chosen are more often literary than discursive. Smith was a good writer, able to keep the reader's attention and convey the sentiments intended, but these excerpts do not develop his ideas in any real length. They portray mathematics in radiant--sometimes fanciful--terms that a person disposed toward the humanities might find attractive but nevertheless judge a bit over-the-top: mathematicians are priests lighting candles in the chapel of Pythagoras; mathematics is "the poetry of the mind"; learning geometry is like climbing a tall mountain to admire the grandeur of the panoramic view; progress in mathematics hangs lanterns of light on major thoroughfares of civilization; and retirement is journeying through the desert to a restful oasis "in the shadow of the palms." Some passages are parables presented to help the reader appreciate what mathematicians accomplished as they overcame great obstacles. *While the excerpts occasionally recognize that mathematics touches everyday needs and is a necessary universal language for commerce and science, without which our world would be unrecognizable, their main emphasis--in line with Smith's fundamental outlook--is on mathematics' ability on its own to deliver joy and inspire admiration of its immortal truths. These are emotions many practicing mathematicians and mathematics educators share; Smith's references to music, art, sculpture, poetry, and religion are calculated to convey to those who are not so engaged, some sense of how thoughtful mathematicians value their field--as a grand enterprise of magnificent intrinsic worth. *In the Shadow of the Palms offers snapshots of the many ideas found in Smith's prolific writings about mathematics, mathematics education, and history of mathematics. It may not attract readers, though, who do not already understand and appreciate Smith's significance for these fields. Abbey himself acknowledges that his booklet "only scratches the surface of [Smith's] contributions" (p. 4). A recent conference devoted to David Eugene Smith and the Historiography of Mathematics (Paris, 2019) is a step toward recognizing Smith's importance, but a comprehensive scholarly treatment of Smith's work within his historical time period remains to be written. *Reviewed by Calvin Jongsma, Professor of Mathematics Emeritus, Dordt University, Sioux Center, IA 51250.

La Bamba…. Oh CAROL…. VOLARE…. The songs are still there but the singer is gone. Yes, during entertainment time in the local as well as in the ASEAN ENT Congresses, these songs reverberated as the leader of the band started rolling up the stage. There was so much energy, so much fun when Manny’s voice delivered the songs. These signature songs will remain in our memory as Manny finally sings the Swan Song. I have known Manny ever since I joined our fraternity in the UP College of Medicine. During the rites, he was fond of using a stick to hit the palmar soles…. and when hit hard … OMG…… it is very painful. That was one of the most dreaded stations of the ceremonial rites. When my turn came, he asked me if I have gone through his famous stick trick, I answered “NOT YET, PO”. For being honest I was just given a slight pat…. NAKALUSOT ako in short. Just after residency in 1988, Manny and I were both representing the Philippine delegation in Jakarta. During one of our free nights, we were joined by our great beloved mentor, Dr. Mariano Caparas. All night long till the wee hours of the morning, we stayed in Dr. Caparas’ hotel room. The discussion revolved just in one interesting topic and that was all about the nose. It was at that time that the term “the crazy NOSE” was coined. At 4 am, Dr. Caparas went to sleep happy. I went home crazy and Manny just can’t help but become nosy. Encounters like this became more often when I became more involved in the society. He was an upcoming President and I was an upcoming officer. Every time he visited Manila from Davao, he would usually call me and we go out to have dinner and then drink a bottle or two. We would talk on different topics starting with our dreams for the society, our activities in the future, about politics and about our research works. He was fond of telling me stories on innovative things he did in Davao most specially when confronted with difficult situations. His mind was a creative mind that aimed for basic rationality and utmost practicality. We were both involved deeply in the society when he was both President of the society and the President of the upcoming ASEAN ENT Congress in 1998. I was the President of the upcoming INTERTERNATIONAL SYMPOSIUM of INFECTION and ALLERGY of the NOSE (ISIAN) in 1999. For both of us it was an uphill challenging battle, an experience where we would gain friends as well as lose some. We carried crosses that were as big as you can imagine. We were able to survive the true test of mental and physical stress…. And that was because we both believe in perseverance…. perseverance and perseverance. Our bullheadedness was transformed to superior workmanship and leadership par excellence. Years passed by and history tells us that money matters in the ASEAN Congress in Davao got a little bit mystifying. The controversy turned a bit uncontrolled. One President after another, each tried their best to settle the issue once and for all but in vain. And finally, when my time came as President of the society in 2008, I was able to convince Manny to finally turn over the controversial pot of the decade. That became one of the top stories of the history of the society. The drama took place and the memory lingers on. Manny indeed made a mark in our history. The songs he sang, the words he spoke, the dreams he foretold and the drama he created…. these are some of many things Manny managed to make while on earth. May he rest in PEACE.

In this twentieth century with dynamic changing lifestyle, more towards sedentary, growing technologies, crazy working hours, pressures, deadline, competition, responsibilities and eventually growing stress is reason for growing physical and pathological disorders. This is also the cause of early pathological disorders. One becomes victim of wrong posture due to monotonous routine, improper work environment and lack of exercises. We are conscious about our health and follow specific fitness regime and diet, but awareness of body and its structure is also equally important. We are conscious about our external look, but we ignore internal beauty of our body. Maintaining balance of well-arranged body created by the environment and our energy should be well preserved. Yoga plays an important role in creating this awareness, posture practice to keep us physically healthy, meditation to keep our mind healthy and raj yoga teaches us to have insight to know the goal of our soul which is ‘peace’. This article emphasis on posture awareness through posture modification. It emphasis on what is posture modification and how it can be achieved through posture correction. It explains the importance of posture correction and how important is body awareness with reference to effect of gravitation force on our body, to bring change in our body to maintain symmetry/ balance and preserve it. It also covers Ashtanga yoga, 8 limbs of yoga which is the best guide to teach us how to live our life, with systematic progression in setting up our goals towards the purpose of our life. When I say understanding of the body that also includes understanding of our daily routine and the flow of posture correction from foot to toe and flow of the yoga therapy which goes after identification of the problem. The article also mentions few important facts in this article, Kids learn through imitating our behavior physically and socially. Gaining knowledge and wisdom is fate, passing this knowledge to next generation is our responsibility. As the topic says, principles of Sunjeevan Yoga are explained throughout the article. Just like various schools of Yoga, Sunjeevan Yoga is also a school of Yoga which has main aspect as Yoga Therapy using different Hatta yoga asnaas and props to treat patient with various physical deformity and supportive therapy to pathological disorders. Keeping the base of Patanjali yoga sutra as philosophy behind Sunjeevan Yoga therapy, it works more on body and mind awareness. To summarize, Lifestyle Management is crucial and is need of an hour. This can be achieved through Yoga, that is awareness of body and mind. Lifestyle management is spending quality time at work, family, friends, and oneself. How well we manage our body and mind that is physical and virtual health and how we primacies our priorities. Yoga is just not just stretching and postures, but yoga is posture recognition and modification, stretching with awareness.

The domain of formation evaluation explores how varied a reservoir could be. In the life cycle of a field, from exploration and production to development, as we hone our knowledge to understand the reservoir, we often explore various subdomains of this discipline at various scales. In this issue, we explore three such subdomains at three different scales. Heterogeneity of reservoir properties, as well as the associated uncertainty, from measured to predicted, is best captured when disciplines are studied at different scales, from concepts to models and, finally, to experiences. Paper URTeC 2021-5434 attempts to understand the dynamics of a basin. This research studies the Wolfcamp formation of the Delaware Basin, where quality of the source rock and thermal maturity is deeply governed by the basin tectonics. The western half of the basin, which was relatively stable through geologic time, shows higher maturity in the source rocks than the relatively active eastern half. This known and observed phenomenon has been reported in various works, from vitrinite reflectance studies to the higher gas/oil ratio in producing wells. The authors explore the possibility of higher resident heat flux from igneous activities in the western part of the basin during the Cenozoic that generated these conditions. This, in my opinion, is the absolute big picture. Knowledge like this helps comprehension of why we see what we see. This is not just an academic exercise; it helps address practical problems in constructing facilities, pipelines, and compressor stations when the field enters the development stage. Once basin-scale regional concepts are established, local reservoir-scale models provide the intellectual infrastructure for the perception of reservoir-scale heterogeneities. Models such as these seek answers from various spectra of measurements. From well logs to cores and from structural maps to production histories, the various subdisciplines all play a crucial role in subsequent hypotheses tests. Applying these conceptual models, then, to modern-day analogs provides justification or critiques of the process for the present and has time and again been the key to the past. In paper IPTC 21225, the authors explore the validity of constructing a variable-scale reservoir model of a submarine fluvial/deltaic system from multidisciplinary data sets. The authors integrate these measurements of various resolutions and granularity, enabling the analyses to pan and zoom on the scales of the heterogeneity. After 20-plus years of production in this field, the knowledge here is still invaluable for understanding the reservoir compartmentalization and, thus, determining infill locations. I am intrigued by the complex nature of these depositional systems and the efforts the authors make to understand them. Once the big picture has been established, it becomes time to put the figurative boots on the ground, or the knowledge to work, for drilling wells and producing fluids. The third choice for this issue, paper URTeC 2021-5410, discusses one of those aspects. Pore-pressure prediction is a crucial exercise in this respect, with a very tight margin for error. In early phases of exploration, when well data are limited if not scarce, safe drilling and well construction often rely on the precision of pore-pressure expectancy and prediction models. Subsequently, as the well matures, understanding changes in pore pressure helps design artificial lift systems, if necessary, to optimize production and maximize the life of the field. In this third paper, the authors challenge some of the practiced notions and empirical parameters that are widely used in pore-pressure-prediction models. One of those, the Biot’s coefficient, is hard to measure, rarely available from experiments, and grossly overgeneralized. The authors discuss the implications of these parameters and the resulting excursion from the true value that overassumptions could make. In my opinion, this is a must-read for any geomechanics enthusiast. I hope the readers appreciate the scales of heterogeneity with which formation evaluation is concerned. The purposes here are beyond purely academic, and research often is burdened by a lack of measured data. Uncertainties can be minimized, however, when knowledge is sought by cross-referencing complementary domains and exploring heterogeneity in variable scales.

This paper presents an analysis of the impact that cultural activities have on community building. Recently, more and more people begin to understand the importance of community: they bring about local communities, and they begin to get involved in its activities. Cultural activities, in this case, offer a significant assistance. They are regarded as part of a typical community building stage. In this paper, the local community is perceived as a localized, cohesive social group with its own traditions, established norms, values, share the same interests, place of residence or attendance, and the most important – emotional connection. Community building begins with a motivated human leader, then leader create a group of people, that is next step on community building, and then community influenced by cultural activities and other motives is building. Cultural activities, joint celebrations have a huge impact on community building; therefore, there is a legitimate reason for further considerations. Different art projects worldwide are flexible and bring results, furthermore, they are economically effective ways to solve community building problems. The experts substantiate the cultural activity benefits for the community and confirm the importance of a leader at the primary stage of community building.The object of this thesis is a the impact of cultural activities on community building.The goal of this thesis is after a theoretical analysis of the relationship between cultural activities and the community, to carry out a study to assess the formation of the community through cultural activities.Cultural regions of Lithuania are experiencing the decline in population which results in the decline of supply of cultural activities and activities related to arts. In the context of dwindling communities and eroding communality a research question of this thesis arises: how to build a community based on cultural activities?Research methods of this thesis include different types of methods. In the first chapter a comparative theoretical analysis and synthesis of sources of literature method is used. In this part of thesis, the concepts of culture and community, the impact of cultural activities on society and community building are examined.In the second chapter of this thesis, having the intention to receive practical advice, and to acquire know-how on event planning for communities, a qualitative method has been chosen in a form of semi-structured interview with representatives of communities in Šilainiai (Kaunas microdistrict), Balsiai (in Šilalė distr.) and Akademija (in Kaunas distr.). After finishing the process of analysis of and structuring all the results of quantitative research indicate: has revealed such results: communities form for different reasons, and they face similar challenges (lack of human and financial resources), communality is expressed differently in each community, and the events are being held in accordance with the needs of the respective community.The following conclusions are published after analyzing the impact of cultural activities on the community building theoretically and qualitative studies with community presidents-experts:• The community is a group of people connected by common interests, places, communications, but the most important thing is the feeling. When we talk about the local community, we need to perceive it as a localised group of people.• In community building activities, the classic path takes place through cultural activities. Artistic cultural phenomena create more cohesive and sustainable communities, making it easier to involve people in the community. There are many art projects around the world that seek to bring divisive societies into communities through cultural activities. Such projects are flexible, proven and cost-effective ways to address community development problems.After reviewing the collected interview material, the following recommendations can be made for those who want to build a community in their place:• At the beginning of the community building, it is important person-leader with enthusiasm, energy and charisma. The leader can‘t be to strong – have just his ideas, his vision. The good leader for community is person, who can accept other ideas, who can listen community wishes, needs and say thank you to community members. It is small thing that humans needs.• It is important for people that their wishes, needs, ideas are heard and to be allowed to implement them;• It is worth involving members of the community in the process of organizing events – it is important for them to feel necessary and useful, but after involving the community, the process of organizing takes longer. And here comes challenge for leader to be able to properly moderate and distribute the work for community;• It is very important to co-create the process with community, to communicate, let them to feel like the creators of the celebration;• The number of cultural activities to be organised varies according to the needs of the community, but it is important to maintain a cyclicality, quantity and quality ratio. It is worth having a few bigger celebrations for the whole community with a variety of activities, while other events are organized for smaller and target audiences. Activities must be non-binding, but innovative, modern and;• The community is made up of people of all ages and none of them should be forgotten – everyone has to find the right activities for themselves, but young mothers and seniors usually join communities, so at the beginning of the community it is the target audience to which cultural activities must be adapted;• News about community events works best in a word-of-mouth format, but all possible channels need to be used to invite people to events: networks, local newspapers, libraries or even churches.Every community is unique and you need to know or make research to getting know what is community wishes, needs, what ideas have community members. The leader must be person that community trust.

This research studies about flouting maxim in The B.F.G movie. The research concerns on finding the flouting maxims in The B.F.G movie. This research employed mainly descriptive qualitative method to support in interpreting and analysing the data. The data of this research were utterances produced by Sophie and BFG as main characters in The B.F.G movie. The context of the research was the dialogues of the movie. The data sources of this research were The B.F.G and its script. Meanwhile, the primary instrument of this research was the researcher ourselves. The data were collected by downloading the movie and the script, watching the movie, and then collecting the data which reflects the phenomena of maxim flouting. The paper examines the use of flouts in different situations and explores in what situations the different characters flout the maxims for any conversation. The results show that there were 10 flouting maxims of quantity (42%); 10 flouting maxims of relevance (42%); 2 flouting maxims of quality (8%); and 2 flouting maxims of manner (8%). Hence the total number of flouting maxims is 24. These results suggest that the use of flouts has to do with their different personalities and communities.Keywords: Cooperative Principle, Grice’s Maxim, Flouting MaximHow to Cite: Ulfah-1, R.A.A.N.U.-1., Afrilia, R-2. (2018). An Analysis of Fluting Maxim in BFG Movie. Project, X (X), XX-XX. INTRODUCTIONCommunication is a medium to convey meaning from one to another. As stated by Yule (2006) that communication involves word recognition and meaning recognition. There could be hidden intention in some utterances. Failing to recognize those intentions may lead to misunderstanding and even a dispute. Nevertheless, listener is not always to be in guilt. Sometimes in communication, the speaker may provide incomplete or unclear utterance hence the listener found difficulties to comprehend. Thus it is claimed that language as a tool for communication serves as an instrument to maintain a good relationship between the speaker and the hearer. Dealing with language and communication, cooperative principle proposed by Grice serves as means to achieve effective communication. It is described that speakers and listeners must give contribution as required by each other so that both of them may come to the same understanding of the meaning they are trying to convey. Grice elaborates four conversational maxims: maxim of relevance, maxim of quantity, maxim of quality, and maxim of manner. During conversation, speakers may break the rule of the maxims. The flouting of the maxims may occur in daily life or in movies. Movies as one of literary works mostly functions to entertain the audience. The flouting maxims in movies may be intentionally created to achieve the purpose of entertaining. The BFG is one fantasy adventure film released in 2016 by Walt Disney. It tells about the journey of two different species, a human (Sophie) and a giant (that Sophie called Big Friendly Giant). Since they are from different group of communities, their communication may run ineffective. This study aims at analyzing the flouting maxims occurred in The BFG movie.The Cooperative Principle Cooperative Principle is the basic principle in pragmatics. The Cooperative Principle is principle of conversation that was proposed by Grice. He called The Cooperative Principle as when we try to talk to be cooperative by elevating. He says, “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of talk exchange in which you are engaged.” Within this principle, he intended four maxims.(Grundy, 1998) (in Ginarsih, 2014)Grice’s MaximMaxim of RelevanceMaxim of relation: This maxim may seem clear in the first look but as Grice himself mentioned it is very difficult to define it exactly: "Though the maxim itself is terse, its formulation conceals a number of problems that exercise me a good deal: questions about what different kinds and focuses of relevance there may be, how these shift in the course of a talk exchange, how to allow for the fact that subjects of conversations are legitimately changed, and so on. I find the treatment of such questions exceedingly difficult, and I hope to revert to them in later work." Grice ( in Kheirabadi, 2012).Maxim of Quantity Maxim of quantity requires that participants of a conversation give their contribution as is required in terms of the quantity of information. To say beyond the quantity of information needed in the conversation is to break the maxim. In making their contribution to the conventional talk, participants should gauge the amount information that is really sought for and give it as much as is necessary. They should not make their contribution either more informative or less informative. (Seken, n.d.2015)Maxim of QualityMaxim of quality requires conventional participants to say things that are true or things that they believe to be true. That is, they do not say anything than they believe to be false or anything of which they do not have any evidence. In other words, to comply with this maxim, a speaker in a conventional exchange must speak on the basis of facts, or he/she must have factual evidence by which to sufficiently support what he/she says as truth. (Seken, n.d.2015)Maxim of Manner Utterances may conform to the maxims or may disobey them by infringing, opting out, and flouting or violating. The infringement of the maxims is because of the speaker‟s imperfect knowledge of linguistic. When speakers decided to be uncooperative, they opt out of observing the maxims. ( Thomas 1995 in Jafari, 2013) Maxim Flouting Flouting a maxim is the case when a speaker purposefully disobeys a maxim at the level of what is said with the deliberate intention of generating an implicature. In this case, the speaker’s choice not to observe the maxim by the words he/she utters may be related to the some motive (such as politeness, style of speaking, etc.) (Seken, n.d.2015).According to Thomas (1995:64 in Mohammed & Alduais, 2012) flouting a maxim occurs where a participant in a conversation chooses to ignore one or more of the maxims by using a conversational implicature. Ignoring maxims by using conversational implicatures means that the participant adds meaning to the literal meaning of the utterance. He further explains the conversational implicature that is added when flouting is not intended to deceive the recipient of the conversation, but the purpose is to make the recipient look for other meaning. Moreover Black (2006:25 in Mohammed & Alduais, 2012) explains that a speaker who flouts maxims is actually aware of the Cooperative Principles and the maxims. In other words, it is not only about the maxims that are broken down but that the speaker chooses an indirect way to achieve the cooperation of the communication.Types of Flouting Maxim In ( Grice’s theory in Nur & Fatmawati, 2015) there are four types of maxim flouting. They are quantity maxim flouting, quality maxim flouting, relevance maxim flouting, and manner maxim flouting. Quantity Maxim FloutingWhen a speaker flouts the maxims under the category of Quantity, she/he blatantly gives either more or less information than the situation demands.For example: A : The other giants. Are they nice, like you a nice?B : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.In the example above, it is not appropriate, because when A asks the B about another giant, B does not answer according to the question. He give more information that not needed by A.Quality Maxim Flouting Thomas (in Fami 2015:15) said that flout maxim of quality occur when the speaker say something which is blatantly untrue or for which he/she lack adequate evidence.For example:A : Not as it happens to me, it is most terrible speakB : Well, I think you speak beautifullyIn the example above, B say untrue or lie. She do this, because she doesn’t want B sad with his speaking.Relevance Maxim FloutingFlouting of maxim relevance, (Ginarsih 2014, n.d.) said that by changing the subject or by failing the address the topic directly is encountered very frequently. For example:A : You mean of my life. For the rest of my life?B : Hey, do not you cold?In this case B did not answer according to the question, B changes the topic of conversation. Manner Maxim FloutingAccording to (Ginarsih 2014, n.d.) The maxim under the category of manner is exploited by giving ambiguity and obscure expressions, failure to be brief and orderly. It is often trying to exclude a third party, as in this sort of exchange between husband and wife.A : Where are you off to?B : I was thinking of going out to get some of that funny white stuff for somebody.A : OK, but don’t be long – dinner is nearly readyB speaks in an ambiguous way, saying “that funny white stuff” and“somebody”, because he is avoiding saying “ice cream” and “her/his Daugther”, so that his little daughter does not become excited and ask for the ice cream before her meal. Sometimes the speakers play with words to heighten the ambiguity, in order to make a point.Movie(Chandra Yuliasman 2014) Movie is happen based on script, but it reflect to our daily life activity mostly. That is why the researcher interested to use movie as media to increase the researcher understanding about flouting maxim. Movie also affect masses in childhood and youth. Movie is also called a film or motion picture, is a series of still or moving images. Based on the theories above, the researcher chose “The BFG (Big Friendly Giant)” as the object of the research.The B.F.GThe B.F.G is a 2016 American fantasy adventure film directed and produced by Steven Spielberg, written by Melissa Mathison and based on the 1982 novel of the same name by Roald Dahl. In the film, an orphan human girl be friends a benevolent giant, dubbed the "Big Friendly Giant", who takes her to Giant Country, where they attempt to stop the man-eating giants that are invading the human world. The writers chose The B.F.G, because in the film contain about friendship and courage, in that movie also have morality and ethics quotes. Steven Spielberg is known for his quality films, such as Jurrasic Park. He has also received three Oscars, and received a Life Achievement Award from the American Film Institute (AFI). Steven hooked some Hollywood actresses to play in the movie B.F.G, such as: Mark Rylance (B.F.G), Ruby Barnhill (Sophie), Penelope Wilton, Jemani Clement, Rebecca Hall, Rafe Spall, and Bill Hader. Steven Spielberg films this In the premiere of premiere The BFG managed to triumph in the Top 10 Box Office by collecting revenues of USD 31 million. Although not a chance to taste the top of the Box Office but The BFG still loved by his fans, especially for lovers of fantasy and adventure movies.METHODThis research uses a descriptive qualitative method to analyse the flouting maxim in The B.F.G movie directed by Steven Spielberg. According to Holloway (in Nur & Fatmawati, n.d.) qualitative research is a form of social inquiry focusing on the interpretation of experience and the world by people.” Therefore, this research is conducted systematically through the technique of data collecting and data analysis. The data are taken from the script, the writers analysed of flouting maxim of quantity, maxim of quality, maxim of relation, and maxim of manner based on Grice’s theories, being used to choose the most frequently method among them, the writer used percentage category based on Multihajz’s formula, in Selvia (2014) as follows: P = Percentage F = Frequency n = Number of Maxims RESULTS AND DISCUSSIONResultsThere are 24 conversations from 100 conversations that found in The B.F.G Movie between the main characters, Sophie and B.F.G that flouted the Grice’s cooperative principle. They flouted the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. In the calculation the writers employed percentage technique as described below:Table 1The Classification of Maxim:NoTypes of MaximQuantityPercentage1.The Maxim of Quantity1042 %2. The Maxim of Quality28 %3The Maxim of Relevance1042 %4The Maxim of Manner28 %Total24100 %From the classification above, it could be seen clearly that among four types of maxim in conversation between the main characters, Sophie and B.F.G in “The B.F.G” Movie, the maxim of Quantity and Relevance were the most identifiable types. First is Quantity. There are 10 conversations or cover 42 %. The second was the maxim of Relevance; there are 10 conversations or cover 42 %. The third was maxim of Quality; there are 2 conversations or cover 8 %. The fourth was the maxim of Manner; there are 2 conversations or cover 8 %. Based on the table above, here are the explanations of each maxim that the main character, Sophie and B.F.G flouted in The B.F.G Movie. The maxim of quantitySophie : The other giants. Are they nice, like you a nice?B.F.G : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.Analysis: It is not appropriate, because when Sophie asks the BFG about another giant, the BFG does not answer according to the question. He give more information that not needed by Sophie.Sophie : We can’t have secrets. I'll tell you mine. I sneak around at night too, and that still sometimes theft and lying. So I’m alone at the time. I've never had a best friend, I told you all thatB.F.G : We got over.Analysis: The BFG did not give the right reasons to reply to a statement from Sophie.Sophie : You should not let them treat you like that. You should notB.F.G : Live with nine giant eats beans. They take so I return. Murmur good dreams. It's what I can do, I do something. I do something.Analysis: The BFG ignored Sophie’s suggestion of another giant treating the BFG badly and he changed the subject.Sophie : No I’m not.B.F.G : Yes you here. If you are a human being and human being is a strawberry cream for giants. They are the prey of those giants out there, so you stay in a nice safe place right here. Analysis: BFG answer does not fit with the context of the conversation at that time.B.F.G : Someone called me a big, friendly giant. How should I call you? Sophie : My name is SophieAnalysis: Sophie does not understand about a nickname, so she just answers with her name only "Sophie".B.F.G: So you're an orphan?Sophie: Yes. You took me to an orphanage. You did not know?Analysis: Sophie did not give the right reasons to reply to a statement from B.F.G.B.F.G: I did not know that. Are you happy there?Sophie: No! I hate that. The lady who runs it is incompetent and she’s crazy rules and you get punish a lot.Analysis: In this conversation, Sophie should answer yes or no , because the question is are you happy there ?.Sophie : Being is not be ing .What is that green thing ?B.F.G : Frobscuttel. All giant drink frobscottel.Analysis: BFG answer does not fit with the context of the conversation at that time.Sophie : Where are you going now ?B.F.G : A dreams blow .It's what I do next.Analysis: BFG answer does not fit with the context of the conversation at that time. In this conversation Sophie asks where, it means that ask about place.Sophie : But why did you bring me here? Why did you take me?B.F.G : I had did to take you, because the first thing you, you would do spread the news you actually saw a giant and then there would be a big fuss and all human beans would be looking for the giant dresses all excited, and then I would be locked up in a cage to look at me with all the noisy hypo-fat and crocodiles and giraffes. And then there would be a huge hunt for all the boy giantsAnalysis: The BFG gives too much give reason to Sophie, should the BFG give Sophie a simple and precise reason for the question.The maxim of RelevanceSophie : Then, who are you? What kind of monster are you?B.F.G : You as me wrongAnalysis: BFG does not honestly reply to Shopie that he is a giant kind.Sophie : You mean of my life. For the rest of my life. B.F.G : Hey, do not you cold?Analysis: BFG did not answer according to the questionSophie : What did you work? B.F.G : And now she asks me to tell you very big secrets.Analysis: BFG did not answer according to the questionSophie : Flesh head ,he comes to eat me, my blood will be on your hands. B.F.G : Everything about you going against my better judgment.Analysis: BFG tries to make Shopie calm by diverting the conversationSophie : Look at all the stars! B.F.G : Often when it is clear I hear distant music living of the stars in the skyAnalysis: When Shopie wants to show something, BFG answer it with things that are not appropriate.Sophie: Really? B.F.G : You think I'm kidding, right? Analysis: BFG should simply answer "yes" or "no".Sophie : Are there bad dreams here too? B.F.G : It will a TrogglehumperAnalysis: BFG did not answer the question correctly.Sophie : Make them all happy. BFG, your father and your mother taught you about dreams? B.F.G : The Giants do not have mothers or fathers. Analysis: BFG should simply answer “has” or “has not”.Sophie : What is the Sophie’s dream? B.F.G : A golden Phizzwizard. I had not seen in a while. Analysis: BFG does not explain what dreams Sophie will experience.Sophie : You snapped me.B..F.G : Well, you are right. After all, you're just a little thing. I can’t help thinking what your poor mother and father must be …Analysis: BFG should simply answer "yes" and "no", and not discuss the unnecessaryThe maxim of QualityB.F.G : You do, you really do?Sophie : Simply beautifully.Analysis: In this situation of conversation, Sophie gives untrue respond to B.F.G or she lies, because she didn’t want make B.F.G sad with B.F.G’s sentence.B.F.G : Not as it happens to me, it is most terrible speak.Sophie : Well, I think you speak beautifully.Analysis: In this conversation, Sophie say untrue or lie. She did it, because she didn’t want B.F.G sad with his statement.The maxim of mannerSophie : Blood bottler ? B.F.G : Yes and butcherSophie : The butcher. Please don’t eat me.Analysis: BFG does not explain in detail about Bottler.Sophie : But then I wake up.B.F.G : And you wake up.Sophie : But not here.Analysis: There is no alignment in the conversationDiscussionThe writer found total numbers of flouting maxim that produce by main character in “The B.F.G” movie those were 24 utterances. Then divided into four types of flouting, they were quality which had 10 data or 42%, quantity had 2 data or 8%, relevance had 10 data or 42% and manner had 2 data or 8%. Thus the most frequent category of flouting maxim produce is the main character was maxim of quality and maxim of relevance. It means that in this movie, The BFG tended to conduct his flouted utterance for move the conversations. CONCLUSIONThe aim of this research is to find out the flouting maxim by the main characters in “The B.F.G” movie. The result show the most frequent category of flouting maxim by the main character was quality and relevance. It indicates that based on the maxim of quantity, there are some conversations that giving more or less information. Based on the semantics theory it is wrong, because giving more information than the need is flouting the maxim of quantity. For the maxim of relevance, there are some conversations that are not relevance, it is related with Ginarsih statement relevance maxim flouting by changing the subject or by failing the address the topic directly is encountered very frequently. There are only two flouting maxims of quality and manner was less frequent. It indicates mostly the conversation in The B.F.G movie is cooperative. It is different with the previous study, from Iniyanti, A et.al (2014) they found two flouting maxims, there are: maxim of relation and maxim of manner. And from Al-Qaderi (2015) he found that the maxim of quantity was most frequently flouted.After the research, the researcher took a conclusion that even the famous movie, the flouting maxims are can’t be avoid. ACKNOWLEDGMENTSPlace Acknowledgments, including information on the source of any financial support received for the work being published. Place Acknowledgments, including information on the source of any financial support received for the work being published.

Introduction Such symptoms as hard, complex, bodily or mental feelings, that turn our everyday life into a hell, at first, lead us to a doctor, and then - to a psychotherapist. A sick man is keen to get rid of a symptom. A doctor prescribes medication, that is ought to eliminate a symptom. A psychotherapist searches for a reason of the problem that needs to be removed. There is such an idea that a neurotic symptom, in particular, an anxiety - is a pathological (spare or extra) response of a body. It is generally believed that such anxiety doesn’t have some real, objective reasons and that it is the result of a nervous system disorder, or some disruption of a cognitive sphere etc. Meanwhile, it is known that in the majority of cases, medical examinations of anxious people show that they don’t have any organic damages, including nervous system. It often happens that patients even wish doctors have found at least any pathology and have begun its treatment. And yet - there is no pathology. All examinations indicate a high level of functionality of a body and great performance of the brain's work. Doctors throw their hands up, as they can't cure healthy people. One of my clients told me her story of such medical examinations (which I’ll tell you with her permission). She said that it was more than 10 years ago. So, when she told her doctor all of her symptoms - he seemed very interested in it. He placed a helmet with electrodes on her head and wore some special glasses, when, according to her words, he created some kind of stressful situation for her brain, as she was seeing some flashings of bright pictures in her eyes. She said that he had been bothered with her for quite a long time, and at the end of it he had told her that her brain had been performing the best results in all respects. He noted that he’d rarely got patients with such great health indicators. My client asked the doctor how rare that was. And he answered: “one client in two or three months.” At that moment my client didn’t know whether to be relieved, flattered or sad. But since then, when someone told her that anxiety was a certain sign of mental problems, or problems with the nervous system, or with a body in general, she answered that people who had anxiety usually had already got all the required medical examinations sufficiently, and gave them the advice to go through medical screening by themselves before saying something like that. Therefore, we see a paradoxical situation, when some experts point to a neurotic anxiety as if it is a kind of pathology, in other words - some result of a nervous system disorder. Other specialists in the same situation talk about cognitive impairments. And some, after all the examinations, are ready to send such patients into space Main text I don’t agree with the statement that any neurotic anxiety that happens is excessive and unfounded. It often happens that there is objective, specific and real causes for appearance of anxiety conditions. And these causes require solutions. And it’s not about some organic damages of the brain or nervous system. The precondition that may give a rise to anxiety disorder is the development of such a life story that at some stage becomes too toxic - when, on the one hand, a person interacts with the outside world in a way that destroys his or her personality, and, on the other hand, this person uses repression and accepts such situation as common and normal. Repression - is an essential condition for the development of a neurotic symptom. Sigmund Freud was the first who pointed this out. Repression is such a defense mechanism that helps people separate themselves from some unpleasant feelings of discomfort (pain) while having (external or internal) irritations. It is the situation when, despite the presence of irritations and painful feelings, a person, however, doesn't feel any of it and is not aware of them in his or her conscious mind. Repression creates the situation of so-called emotional anesthesia. As a result, a displacement takes place, so a body starts to signal about the existing toxic life situation via a symptom. Anxiety disorder is usually an appropriate response (symptom) of a healthy body to an unhealthy life situation, which is seen by a person as normal. And it’s common when such a person is surrounded by others (close people), who tend to benefit from such situation, and so they actively maintain this state of affairs, whether it is conscious for them or not. At the beginning of a psychotherapy almost all clients insist that everything is good in their lives, even great, as it is like in everyone else’s life. They say that they have only one problem, which is that goddamn symptom. So they focus all of their attention on that symptom. They are not interested in all the other aspects of their life, and they show their irritation when it comes to talking about it. People want to get rid of it, whatever it takes, but they often tend to keep their lives the way that it was. In such cases a psychotherapist is dealing with the resistance of clients, trying to turn their attention from a symptom to their everyday situation that includes their way of thinking, interactions with themselves and with others and with the external world in order to have the opportunity to see the real problem, to live it through, to rethink and to change the story of their lives. For better understanding about how it works I want to tell you three allegorical tales. The name of the first tale is “A frog in boiling water”. There is one scientific anecdote and an assumption (however, it is noted that such experiments were held in 19 century), that if we put a frog in a pot with warm water and start to slowly heat the water, then this frog get used to the temperature rise and stays in a hot water, the frog doesn’t fight the situation, slowly begins to lose its energy and at the last moment it couldn’t find enough strength and energy to get out of that pot. But if we throw a frog abruptly in hot water - it jumps out very quickly. It is likely that a frog, that is seating in boiling water, will have some responses of the body (symptoms). For example, the temperature of its body will rise, the same as the color of it, etc., that is an absolutely normal body response to the existing situation. But let us keep fantasizing further. Imagine a cartoon where such a frog is the magical cartoon hero, that comes to some magical cartoon doctor, shows its skin, that has changed the color, to the doctor, and asks to change the situation by removing this unpleasant symptom. So the doctor prescribes some medication to return the natural green color of the frog’s skin back. The frog gets back in its hot water. For some period of time this medication helps. But then, after a while, the frog’s body gets over the situation, and the redness of the frog's skin gets back. And the magical cartoon doctor states that the resistance of the body to this medication has increased, and each time prescribes some more and more strong drugs. In this example with the frog it is perfectly clear that the true solution of the problem requires the reduction of the water temperature in that pot. We could propose that magical cartoon frog to think and try to realize that: 1) the water in that pot is hot, and that is the reason why the skin is red; 2) the frog got used to this situation and that is why it is so unnoticeably for this frog; 3) if the temperature of the water in the pot still stay so hot, without any temperature drop, then all the medication works only temporarily; 4) if we lower the temperature in that pot - the redness disappears on its own, automatically and without any medication. Also this cartoon frog, that will go after the doctor to some cartoon physiotherapist, will face the necessity to give itself some answers for such questions as: 1) What is going on? Who has put this frog in that pot? Who is raising the temperature progressively? Who needs it? And what is the purpose or benefit for this person in that? Who benefits? 2) Why did the frog get into the pot? What are the benefits in it for the frog? Or why did the frog agree to that? 3) What does the frog lose when it gets out of this pot? What are the consequences of it for the frog? What does the frog have to face? What are the possible difficulties on the way? Who would be against the changes? With whom the frog may confront? 4) Is the frog ready to take control over its own pot in its own hands and start to regulate the temperature of the water by itself, so to make this temperature comfortable for itself? Is this frog ready to influence by itself on its own living space, to take the responsibility for it to itself? The example “A frog in boiling water” is often used as a metaphorical portrayal of the inability of people to respond (or fight back) to significant changes that slowly happen in their lives. Also this tale shows that a body, while trying to adjust to unfavorable living conditions, will react with a symptom. And it is very important to understand this symptom. Symptom - is the response of a body, it’s a way a body adjusts to some unfriendly environment. Symptom, on the one hand, informs about the existence of a problem, and from the other hand - tries to regulate this problem, at least in some way (like, to remove or reduce), at the level on which it can do it. The process is similar to those when, for example, in a body, while it suffers from some infectious disease, the temperature rises. Thus, on the one hand, the temperature informs about the existence of some infection. On the other hand, the temperature increase creates in a body the situation that is damaging for the infection. So, it would be good to think about in what way does an anxiety symptom help a body that is surrounded by some toxic life situation. And this is a good topic for another article. Here I want to emphasize that all the attempts to remove a symptom without a removal of a problem, without changing the everyday life story, may lead to strengthening of the symptom in the body. Even though the removal of a symptom without elimination of its cause has shown success, it only means that the situation was changed into the condition of asymptomatic existence of a problem. And it is, in its essence, a worse situation. For example, it can cause an occurrence of cancer. The tale “A frog in boiling water” is about the tendency of people to treat a symptom, instead of seeing their real problems, as its cause, and trying to solve it. People don’t want to see their problems, but it doesn’t mean that the problem doesn’t exist. The problem does exist and it continues to destroy a person, unnoticeably for him or her. A person with panic disorder could show us anxiety that is out of control (fear, panic), which, by its essence, seems to exist without any logical reason. Meanwhile the body of such a person could be in such processes that are similar to those that occur in the conditions of some real dangers, when the instinct for self-preservation is triggered and an automatic response of a body to fight or flight implements for its full potential. We can see or feel signs of this response, for example, in cases when some person tries to avoid some real or imaginary danger via attempts to escape (the feeling of fear), or tries to handle the situation by some attempts to fight (the feeling of anger). As I mentioned before, many doctors believe that such fear is pathological, as there is no real reason for such intense anxiety. They may see the cause of the problem in worrisome temper, so they try to remove specifically anxiety rather than help such patients to understand specific reason of their anxiety, they use special psychotherapeutic methods that are designed to help clients to develop logical thinking, so it must help them to realize the groundlessness of their anxiety. In my point of view, such anxiety often has specific, real reasons, when this response of a body, fight or flight, is absolutely appropriate, but not excessive or pathological. Inadequacy, in fact, is in the unconsciousness, but not in the reactions of a body. For a better understanding of the role of anxiety in some toxic environment, that isn’t realized, I want to tell you another allegorical tale called “The wolf and the hare”. Let us imagine that two cages were brought together in one room. The wolf was inside one cage and the hare was in another. The cages were divided by some kind of curtain that makes it impossible for them to see each other. At this point a question arises whether the animals react to each other in some way in such a situation, or not? I think that yes, they will. Since there are a lot of other receptors that participate in the receiving and processing of the sensory information. As well as sight and hearing, we have of course a range of other senses. For example, animals have a strong sense of smell. It is well known that people, along with verbal methods of communicating information, like language and speaking, also have other means of transmitting information - non-verbal, such as tone of voice, intonation, look, gestures, body language, facial expressions etc., that gives us the opportunity to receive additional information from each other. The lie detector works by using this principle: due to detecting non-verbal signals, it distinguishes the level of the accuracy of information that is transmitted. It is assumed, that about 30% of information, that we receive from the environment, comes through words, vision, hearing, touches etc. This is the information that we are aware of in our consciousness, so we could consciously (logically) use it to be guided by. And approximately 70% of everyday information about the reality around us we receive non-verbally, and this information in the majority of cases could remain in us without any recognition. It is the situation when we’ve already known something, and we even have already started to respond to it via our body, but we still don’t know logically and consciously that we know it. We can observe the responses of our own body without understanding what are the reasons for such responses. We can recognize this unconscious information through certain pictures, associations, dreams, or with the help of psychoanalysis. Psychoanalysis is a great tool that can help to recognize the information from the unconscious mind, so that it can be logically processed further on, in other words, a person then receives the opportunity to indicate the real problems and to make right decisions. But let us return to the tale where the hare and the wolf stay in one room and don’t see each other, and, maybe, don’t hear, though - feel. These feelings (in other words - non-verbal information that the hare receives) activate a certain response in the hare’s body. And it reacts properly and adequately to the situation, for instance, the body starts to produce adrenaline and runs the response “fight or flight”. So the hare starts to behave accordingly and we could see the following symptoms: the hare is running around his cage, fussing, having some tremor and an increased heart rate, etc.. And now let us imagine this tale in some cartoon. The hare stays in its house, and the wolf wanders about this house. But the hare doesn’t see the wolf. Though the body of the hare gives some appropriate responses. And then that cartoon hare goes to a cartoon doctor and asks that doctor to give it some pill from its tremor and the increased heart rate. And in general asks to treat in some way this incomprehensible, confusing, totally unreasonable severe anxiety. If we try to replace the situation from this fairy-tale to a life story, we could see that it fits well to the script of interdependent relationships, where there are a couple “a victim and an aggressor”, and where such common for our traditional families’ occurrences as a domestic family violence, psychological and physical abuse take place. Only in 2019 a law was passed that follows the European norms and gives a legislative definition of such concepts as psychological domestic abuse, sexual abuse, physical abuse, bullying, that criminalizes all of these occurrences, establishes the punishment and directly points to people that could be a potential abuser. Among them are: a husband towards his wife, parents towards their children, a wife towards her husband, a superior towards a subordinate, a teacher towards his or her students, children towards each other etc.. When it comes to recognition of something as unacceptable, it seems more easy to put to that category such occurrences as physical and sexual abuse, as we could see here some obvious events. For example, beating or sexual harassment. Our society is ready to respond to these incidents in more or less adequate way, and to recognize them as a crime. But it is harder to deal with the recognition of psychological abuse as an offence. Psychological abuse in our families is common. Psychological abuse occurs through such situations, when one person, while using different psychological manipulations, such as violation of psychological borders, imposition of feeling of guilty or shame, etc., force another person to give up his or her needs and desires, and so in such a way make this person live another’s life. Such actions have an extremely negative effect on the mental health of these people, just as much as physical abuse. It can destroy a person from the inside, ruin self-esteem and a feeling of self-worth, create the situation of absolute dependence such victim from an abuser, including financial dependence etc.. It often happens that psychological abuse takes place against the backdrop of demonstrations of care and love. So you've got this story about the wolf and the hare, that are right next to each other, and the shield between two of them is a repression - a psychological defense mechanism, when a person turns a blind eye to such offences, that take place in his or her own life and towards him or her. And this person considers this as normal, doesn't realize, doesn't have a resource to realize, that it is a crime. Most importantly - doesn’t feel anything, as a repression takes place. But a body responds in a right way - from a certain point of the existence of such a toxic situation the response “fight or flight” is launched in a body at full, in other words - the fear and anxiety with the associated symptoms. The third allegorical tale I called “Defective suit”, which I read in the book of Clarissa Pinkola Estés with the name “Running With the Wolves". “Once one man came to a tailor and started to try on a suit. When he was standing in front of a mirror, he saw that the costume had uneven edges. - Don’t worry, - said the tailor. - If you hold the short edge of the suit by your left hand - nobody notices it. But then the man saw that a lapel of a jacket folded up a little bit. - It's nothing. You only need to turn your head and to nail it by your chin. The customer obeyed, but when he put on trousers, he saw that they were pulling. - All right, so just hold your trousers like this by your right hand - and everything will be fine, - the tailor comforts him. The client agreed with him and took the suit. The next day he put on his new suit and went for a walk, while doing everything exactly in the way that the tailor told him to. He waddled in a park, while holding the lapel by his chin, and holding the short edge of the suit by his left hand, and holding his trousers by his right hand. Two old men, who were playing checkers, left the game and started to watch him. - Oh, God! - said one of them. - Look at that poor cripple. - Oh, yes - the limp - is a disaster. But I'm wondering, where did he get such a nice suit?” Clarissa wrote: “The commentary of the second old man reflects the common response of the society to a woman, who built a great reputation for herself, but turned into a cripple, while trying to save it. “Yes, she is a cripple, but look how great her life is and how lovely she looks.” When the “skin” that we put on ourselves towards society is small, we become cripples, but try to hide it. While fading away, we try to waddle perky, so everyone could see that we are doing really well, everything is great, everything is fine”. As for me, this tale is also about the process of forming a symptom in a situation when one person tries very hard to match to another one, whether it is a husband, a wife or parents. It’s about a situation when such a person always tries to support the other one, while giving up his or her own needs and causing oneself harm in such a way by feeling a tension every day, that becomes an inner normality. And so this person doesn’t give oneself a possibility to relax, to be herself (or himself), to be spontaneous, free. As a result, in this situation the person, who was supported, looks perfect from the outside, but those who tried to match, arises some visible defect, like a limp - a symptom. And so this person lives like a cripple, under everyday stress and tension, trying to handle it, while sacrificing herself (or himself) and trying to maintain this situation, so not to lose the general picture of a beautiful family and to avoid shame. The tailor, who made this defective suit and tells how to wear the suit properly, in order to keep things going as they are going, often is a mother who raised a problematic child and then tells another person how to deal with her child in the right way. It is the situation when a mother-in-law tells her daughter-in-law how to treat her son properly. In other words, how to support him, when to keep silent, to handle, how to fit in, so that her problematic son and this relationship in general looks perfect. Or vice versa, when a mother-in-law tells her son-in-law how to support her problematic daughter, how to fit in etc.. When, for example, a woman acts like this in her marriage and with her husband, with these excessive efforts to fit in - then after a while everybody will talk like: “Look at this lovely man: he lives with his sick wife, and their family seems perfect!”. But when such a woman becomes brave enough to relax and to just let the whole thing go, everybody will see that the relationship in her marriage isn’t perfect, and it is the other one who has problems. Each time when someone tries excessively to match up to another one, while turning oneself in some kind of a cripple, - he or she, on the one hand, supports the comfort of that person, to whom he or she tries to match up, and on the other hand - such a situation always arises in that person such conditions as a continuous tension, anxiety, fear to act spontaneously. A symptom - is like a visible defect, that shows itself through the body (and may look like some kind of injury). It is the result of a hidden inner prison. As a result of evolution, a pain tells us about a problem that is needed to be solved. When we repress our pain we can’t see our needs and our problems at full. And then a body starts to talk to us via a symptom. Psychotherapy aims for providing a movement from a symptom to a resumption of sensitivity to feelings, a resumption of the ability to feel your psychological pain, so you can realize your own toxic story. In this perspective another fairy-tale looks interesting to analyze - it is Andersen's fairytale “Princess and the Pea”. In the tale a prince wanted to find a princess to marry. There was one requirement for women candidates, so the prince could select her among commoner - high level of sensitivity, as the real princess would feel a pea through the mountain of mattresses, and so she could have the ability to feel discomfort, to be in a good contact with her body, to tell about her discomfort without such feeling as shame and guilt, and to refuse that discomfort, so to have the readiness to solve her problems and to demand from others the respect for her needs. It is common for our culture that the expression “a princess on a pea” very often uses for a negative meaning. So people who are in good contact with their body and who can demand comfort for themselves are often called capricious. At the same time the heroes who are ready to suffer and to tolerate their pain, who are able to repress (stop to feel) their pain represents a good example to be followed in our society. So, we may see the next algorithm in cases of various anxiety disorders: the existence of some toxic situation that brings some danger to a person. And we need not to be confused: a danger exists not for a body, but for a personality. A toxic live situation as well as having a panic attack is not a threat for the health of a body (that is what medical examinations show), and vice versa - it’s like every day intensive sport training, that could be good for your health only to some degree. A toxic situation destroys a person as a personality, who longs for one self’s expression; the existence of such a defense mechanism as repression - it’s a life with closed eyes, in pink glasses, when there is inability (or the absence of the desire) to see its own toxic story; 3.the presence of a symptom - a healthy response of a body “fight or flight” to some toxic situation; displacement - it’s replacement of the attention from the situation to a symptom, when a person starts to see and search for the problem in some other place, not where it really is. A symptom takes as some spare, pathological reaction that we need to get rid of. The readiness to fight the symptom arises, and that is the goal of such methods of therapy as pharmacological therapy, CBT and many others; the absence of adequate actions that are directed towards the change of a toxic situation itself. The absence of the readiness to show aggression when it comes to protect its space. All of it is a mechanism of formation of primary anxiety and preparation for launch of secondary anxiety. A complete anxiety disorder is the interaction between a primary and a secondary anxiety.

In the Italian context, the first law directly affecting the urban planning and building sector dates back to approximately 160 years ago, precisely Law 2248/1865. It established the administrative unification of the Kingdom of Italy, empowering municipal councils to deliberate on ‘hygiene, building and local police regulations’, and was followed a few months later by Law 2359/1865 on expropriations for public purpose. By contrast, the first regulations for the protection of artistic, historical, archaeological and ethnographic heritage (1089/1938), and natural beauty (1497/1939), are just over 80 years old. From that time onwards, the rules governing planning and design actions have been considerably enriched and developed. Hence, it is worth reflecting on the effectiveness and efficiency of a regulatory framework that has been governing territorial, urban and building transformations in an increasingly articulated and specialised manner with a view to improving the quality and sustainability of natural and anthropic habitats. Moreover, its ability to govern the ways, times and cultural and technical contents of the project production process to carry out high quality creations is worthy of consideration. Perhaps the issue of standardisation has never been the centre of attention in all sectors of civil life as today: in public administration and scientific research, among economic operators, planners, and citizens themselves. Regulatory systems are increasingly pervasive in regulating design activity and the characteristics of works in response to a general «increase in the variety and complexity of public interests that appear worthy of protection, such as the quality of the environment, the safeguarding of the natural and historical-artistic heritage, the protection of health, the safety of persons, and security […]» (Bassanini et al., 2005). Changing interests require frequent updates to adapt regulations to rapid socio-economic, cultural, and technological changes. The centres of regulatory production have also multiplied, breaking up into different levels and sectors of regulation, namely with multi-level (international, EU, national, regional, local), sectoral (economy, environment, territory, landscape, infrastructure, cultural heritage, health, etc.) and institutional governance structures, with corresponding different interests (public/private, collective/individual) and complicated relationships of interconnection, conditionality and/or competition (Raveraira, 2009). The scenario is even more complex, if we broaden the scope to include, in addition to prescriptive and binding rules, the vast universe of guiding principles, voluntary standards, guidelines, best practices, etc. Moreover, also due to the nature of the legal system model of reference (civil law derived from Roman law, as opposed to the common law of English-speaking countries, founded on the binding force of practice and judgements), Italian legislation has been stratified by an anomalous number of rules, which are often not mutually coordinated, sometimes contradictory or bearing inconsistent definitions. They are either incapable of producing the desired results, or are not the cause of effects even diametrically opposed to those expected. The attempt to solve every problem through a special regulation results in limiting the free and responsible action of citizens (and planners). Indeed, as Marco Romano points out, «to reduce people’s desires to rights codified in the doctrine of planning, imposed by enlightened and pedagogical governments on rebellious citizens unaware of their own good, is to erase what makes them citizens: the diversity of their individual life projects» (Romano, 2013). On the other hand, the discrepancy between this regulatory approach and the reality that surrounds us is evident. On Alessandro Pizzorno’s death, Fabrizio Schiaffonati recalled how, back in the 1960s, the doyen of Italian political sociology had already warned that in Italy «everything must be regulated so that everything can be conceded», pointing out that «this is still the case nowadays, more than half a century later, with good peace for the quality of the project, which is overwhelmed by constraints and contradictory procedures that are obstructive to a necessary qualitative transformation of the anthropic environment within proper time and costs» (Schiaffonati, 2019). This hypertrophic growth of laws and regulations (a true ‘legislative inflation’ or ‘regulatory pollution’) is accompanied by their rapid variability over time, so much so that a building intervention begun within a given legislative framework risks being completed in the presence of a different regulatory framework, which would not have allowed its execution, and vice versa. Not to mention the «badly written, lengthy regulations that are difficult to read and even more difficult to apply, (which) now represent a constant factor with which even the most prepared and motivated operator must come to terms» (Gorlani, 2022), which lead to confusion and interpretative doubts. This makes bureaucratic formalities unnecessarily complex, overloads administrative action, and increases the regulatory and management costs for citizens, businesses and the public institutions themselves, including those dedicated to monitoring and control actions (which, in a context of shrinking public resources, are often the first to be lacking…). Legal uncertainty leads to opaque, if not arbitrary decisions, facilitates corruption, increases discrimination and social conflict, and limits economic development, sometimes to the point of inhibiting it (Bassanini et al., 2005). A vulnus with dramatic effects, if it is true that certainty does not have to be of the law, but: «certainty is law, just as, vice versa, law is certainty, if it is true that law […], is constituted for the specific purpose of giving certainty, or rather: certainties» (emphasis added; Ruggeri, 2005). The body of urban planning legislation has expanded considerably, imposing on city and regional planning new objectives and constraints aimed at protecting and improving the quality of the environment and landscape. Strategic environmental and impact assessments, regulations to limit land consumption, to increase climate resilience and to regenerate the built environment have been in use for many years now, with their rich set of analyses and tools to manage knowledge, build scenarios, compare alternatives, and quantify their effects through indicators (environmental, socioeconomic, etc.). And yet, all this does not seem to have produced the expected effects, as witnessed by the continuing degradation of urban suburbs, the continuous increase in soil erosion by new urbanisations and infrastructures, the abandonment of ‘inland areas’, and the hydrogeological instability of the most ‘fragile’ territories. Instead, by moving more and more on the level of so-called policies, planning seems to have lost its technical capacity to conform the quality of spaces, even in their cultural value and use, in a sort of throwback of illiteracy forgetting the grammatical and syntactical rules of construction of the European city. The disciplinary crisis of the plan is evident, incapable of governing land uses and built forms, as well as the quality of public space, relying, instead, on the abstraction of ‘tactical squares’ and social streets totally inadequate to determine an organic configuration of the urban structure. There is no large city that does not have a plan for climate resilience or sustainable mobility, nor is there a major project that cannot boast top-level environmental and/or energy performance, duly certified even when it plans to replace a tree-lined park of more than 50,000 square metres with green roofs on a shopping centre (for example, San Siro in Milan). Greenwashing operations often characterise the private actions of real estate operators, in the absence of checks and controls by the public authorities. The public works sector has long been searching for a better balance of time, cost and quality of works. «A long journey, which has allowed for advances […] and regulatory innovations during the Nineties» (Schiaffonati, 2006) and which, after thirty years of conjunctural measures (suspensions, temporary derogations, emergency decrees, special procedures and competences, variations of thresholds, etc.1) has led to the new Procurement Code (legislative decree no. 36/2023). It features a text of more than 150,000 words, to which the regulatory and procedural innovations introduced by the PNRR must be added, with the related set of regulations, guidelines, explanatory circulars, protocols and technical instructions2. It is a seemingly unstoppable process of continuous correction and integration to reform the reform, in the absence of the indispensable monitoring activity that should, instead, verify and assess the effects of the application of the regulation to correctly finalise its amendment. Nevertheless, there has been no lack of significant precedents in this regard, as in the case of the French experimentation of the Spinetta Law on construction insurance systems3. If we apply to the standard the historical notion of “quality as fitness for intended use” (Juran, 1951), or to the more recent notion of «the set of properties and characteristics of a product or service that provide the capacity to satisfy expressed or implicit needs» (UNI EN ISO 8402:1995), it clearly appears that the challenge to be faced concerns not so much or only regulatory and administrative simplification, or the replacement of redundant, obsolete or unjustified regulations, but precisely the “quality of regulation”. A direction undertaken since 2001 by OECD and Apec countries with a Regulatory Reform (reference criteria to ensure quality and transparency in regulatory activity), in line with the obligation to formulate rules that are conceptually and semantically precise, clear and comprehensible in the terms used, in the objectives set, in the required behaviour (Constitutional Court, ruling no. 364 of 1988) and, above all, with contents derived from consensual and shared planning (Raveraira, 2009). Responsibility, consensus and collaboration are, I believe, the key words to possibly rethink the relationship between design and regulation. In fact, I agree with Marco Dugato’s observation in this Dossier when he argues that «the fault of normative hypertrophy cannot be attributed to the omnipotence of the regulator by itself, rather it is attributable to the contribution of the ones regulated». If it is true that architectural design is constrained by regulations, it certainly cannot be mechanically determined by them for mere reasons of conformity. Conversely, as Maria Chiara Torricelli emphasises again in the Dossier, the norm is a tool that provides valid and shared knowledge to the project; and the project itself, as a projective activity, contributes proactively to its definition. There are many examples spanning technical directives regulating the implementation cycles of the INA Casa, the result of design research in support of the political project, and the various procedural and meta design regulations derived from research in the Architectural Technology Field. Such design experiences have unfolded in an experimental manner, in derogation of the regulations and leading to their renewal. Instead, deductive design approaches seem to prevail today, due to the growing availability of algorithmic procedures that do not merely support the design process, but develop it in an almost automated manner through conditioning and prevailing indicators and parameters. These tools legitimise choices where conformity to the standard acts as a screen for the assumption of precise responsibilities. There is a conceptual and operational reversal with respect to creative, responsibly inductive design action, which experiments and innovates, putting the principles of adequate performance and compliance with needs over the criteria of formal conformity. This is evident in the relationship between technical regulations and techno-typological innovation for evolutions that move the parameters of regulatory congruity “forward”, but sometimes even “sideways”. This also counteracts the phenomena of norm obsolescence. In consideration of the pervasiveness of the regulatory systems that rule design action, it is, finally, disturbing to observe the very limited importance assigned to this subject in the education of new designers. The didactics of design, which have long been the focus of Architecture studies, rarely envisage a structured discussion on regulatory and normative aspects, leaving them to the discretion of professors. Hence, at the end of the course, a large proportion of students have never heard about the Code of Procurement, environmental impact assessment or minimum environmental criteria… Whereas it is, instead, essential to solicit, from the first year, critical attention to the normative paradigm, also for the ethical, social and professional responsibilities it entails, and to encourage the assumption of norms and constraints as factors that nourish the entire design process. The norm thus becomes a «tool for guiding and controlling design choices», which as such «must be assumed in the organisation of the starting data» (Del Nord, 1992). Not to mention the need for qualifying training programmes, as Mario Avagnina points out, so that all those involved in the process, particularly public clients, are able to carry out their tasks. The objective is far from being achieved, and «necessarily passes through the training of the figures involved, starting with the RUPs». Figures characterised not only by technical knowledge of the building process and its rules, but also by a culture of standards and conscious responsibility that can only derive from a design practice, which is continually verified in the real context, and by design actions based on an experimental method that aims to face the issues of society. Figures characterised not only by technical know-how of the building process and its rules, but also by a culture of standards and conscious responsibility, which can only derive from a practice continually verified by comparison with reality, and by design actions marked by an experimental method that finds its arguments in taking on the problems of society.

UMKM Smoothies are drinks that are currently popular. Drinks are made from a mixture of fruit and are usually added with additional yogurt, vegetable milk, or other fruit juice. Smoothies are often considered a healthy drink choice because they contain quite high nutritional content, such as fiber and vitamins. Apart from that, smoothies can also help increase energy and improve the digestive system. The tradition of drinking smoothies has existed in various cultures and has become a healthy drink trend in all circles. However, Smoothies UMKM have not implemented inventory management in managing the best raw materials. This research was conducted with the aim of finding out what kind of efforts they make in managing raw materials, and how the sales of UMKM Smoothies products face the turbulence of the business environment. Data collection in this research was carried out through interviews, observation and documentation.

In the fight against global warming, it is vital to find ways of producing energy that do not pollute the environment. One of the best solutions for clean energy production is a solar cell, which uses several types of materials to generate electricity from sunlight. In this article, you will learn what a solar cell is, what it is used for, and how it works. I will also present a recent breakthrough discovery in this field: a new, game-changing material called perovskite. This material not only lowers the cost of solar cells, but lets us use solar cells in ways that were never before possible, such as for solar windows; mobile phone and car chargers, and more. Solar energy is clean and non-polluting source of energy. We also do not need to consider how to transport it from one place to another since the sun is everywhere. Additional important point is that the Sun is here and will stay as long as we are here, therefore we just need to use it for our needs and to generate clean energy. Solar cells are the major clean source of energy exists and today we have to find the way how to use it in for different applications.

Purpose: This paper presents a systematic literature review regarding economic feasibility studies and photovoltaic solar energy production. Methodology/Approach: To this end, publications from 2015 to 2019 were collected in two journal databases: Web of Science and Science Direct. In order to create a corpus more relevant to the aim of this research, a selection among the papers found was made respecting some established filters. Subsequently this refinement, the resulting corpus consisted of seventeen papers. Findings: A current matter discussed by the researchers was identified, regarding the study on the best photovoltaic system to be used for each user: whether batteries are the best option as a storage source, or the connection of the system to the network is the most adequate guarantee to meet demand. Research Limitation/implication: This review gives the present study a characteristic of bringing together what, within the mentioned period and in the searched bases, has been approached in different works that deal with the economic feasibility analysis regarding the photovoltaic solar energy production. Originality/Value of paper: can support the implementation of solar systems in peripheral locations where the technology is still little used.

Agriculture requires energy as an important input to production. Agriculture consumes about 35 per cent of the total power generated through electrically operated pump sets. It is expected that about 30 per cent of savings is possible through appropriate technology. Agriculture uses energy directly as fuel or electricity to operate machinery and equipment, to heat or cool buildings, and for lighting on the farm, and indirectly in the fertilizers and chemicals produced off the farm. Agricultural technology is changing rapidly. Farm machinery, farm building and production facilities are constantly being improved. Agricultural applications suitable for photovoltaic (PV) solutions are numerous. These applications are a mix of individual installations and systems installed by utility companies when they have found that a PV solution is the best solution for remote agricultural need such as water pumping for crops or livestock. A solar powered water pumping system is made up of two basic components. These are PV panels and pumps. The smallest element of a PV panel is the solar cell. Each solar cell has two or more specially prepared layers of semiconductor material that produce direct current (DC) electricity when exposed to light. This DC current is collected by the wiring in the panel. It is then supplied either to a DC pump, which in turn pumps water whenever the sun shines ,or stored in batteries for later use by the pump. The aim of this article is to explain how solar powered water pumping system works and what the differences with the other energy sources are.

A friend of mine once tried to capture the feeling that one gets from a new thing. He decided that there was no word to describe the sensation of having an unblemished eraser when you were in primary school, but nevertheless it produced a kind of fascinating awe in the apparent perfection of the new. A similar feeling captures the new car owner in smelling the interior's recently minted plastic. Used car dealers would doubtless love to bottle that smell because it produces the momentary pleasure of new ownership. And I am sure there are certain people who are addicted to that smell, and go test drive new cars with no intention of buying just for the experience of the "new" smell. New clothes produce that same sensation: most of us ignore the label which says "wash before wearing" because we want to experience the incredible stiff tactile sensation of a new shirt. My friend called this gle-gle, and it is a pervasive relationship to New in a variety of guises. New implies two kinds of objects or practices: it implies either the replacement of the old or it points to the emergence of something that has not existed before. In both cases, new always heralds change and has the potential for social or cultural transformation. As a result, popular writers and ad copy editors often link new with revolution. For example, the advent of the computer was seen to be revolutionary. Similarly a new detergent which worked in cold water promised cataclysmic change in the 1960s. But these promises of revolution through some innovation have not necessarily led to massive social upheaval; rather they have identified a discursive trope of contemporary culture which links new with rejuvenation. The claim that something is new is the mantra of modernity and the kitsch of the postmodern. This double-play of the concept of the new is best untangled through thinking how a once new object becomes the contemporary way of expressing the former hope of progress and change -- with raised and knowing eyebrow. I recently stumbled into one of these double-plays. While searching for bedding for yet another birthday slumber party, I picked up an old mattress which still had its 1950s label, where it proudly announced that the cushioning was the wonderful new revolutionary foam system called the Dunlopillo. The Dunlopillo system was certainly trademarked and no doubt patented for its then unique system of troughs and cones of army green foam; but in its current incarnation the foam was weak and the bed easily crumpled in half. All that was left of the sentiment of newness was the label, which in its graphics expressed the necessary connection to science as the future, and authoritative zeal in its seriousness of its revolutionary potential. But seen from 1998, the claims seemed bombastic and beautifully optimistic. Modernity's relationship to the new is to celebrate the potential for change. It is a cultural project that has enveloped the sentiments of capitalism and socialism from their origins in the 18th and 19th centuries, and manifested itself in what Schudson labelled "capitalist realism" in advertising, and what is known as socialist realism as a state-sanctioned artistic movement in the Soviet Union. Both representations provided their systems with the capacity to repaint the cultural canvas with each new product such as Dunlopillo, or in the Soviet system with each new five-year productivity plan for the collective. Maintaining the unity of the cultural project was a challenge to each system's representational regime; sustaining the power of the new as a revolutionary force is the fundamental link between capitalist and socialist systems throughout the twentieth century. These representational regimes were in fact connected to the production of new phenomena, new materials, new social formations. However, the message of the new has gradually weakened over the last thirty years. Think of the way in which the Space Race produced all sorts of new technologies of computing, calculation and the integration of electronics into the running of the automobile. It also produced the breakfast orange-juice substitute, 'Tang'. Indeed, the first advertisements for Tang intoned that it was the drink that astronauts enjoyed in space. Tang and its flavour crystals provided the ultimate form of efficiency and convenience, and provided a clear link between the highly ideologically driven space program and the everyday lives of citizens of the "free" world. In the 60s and 70s the link between the general project of modernity and improving everyday life was made evidently clear every time you added water to your Tang flavour crystals. One has to ask: where is Tang today? Not only is it difficult to find in my supermarket, but even if it were available it would not operate as the same representation of progress and the project of modernity. Instead, it would have little more than a nostalgic -- or, kitsch -- hold on a generation that has seen too many representations of the new and too many attempts at indicating improvement. The decay of the cultural power of the new is clearly linked to consumer culture's dependence on and overuse of the concept. The entire century has been enveloped by an accelerating pattern of symbolic change. Symbolic change is not necessarily the same as the futurologist Toffler claiming that we are in a constant state of "future shock"; rather it is much more the introduction of new designs as if there were not only transformed designs, but fundamentally transformed products. This perpetually 'new' is a feature of the fashion industry as it works toward seasonal transformation. Toothbrushes have also been the object of this design therapy, which produces both continual change over the last twenty years, and claims of new revolutionary designs. Central to this notion of symbolic change is advertising. Advertising plays with the hopes and desires of its audience by providing the contradictory symbolic materiality of progressive change. The cultural and political power of the new is the symbolic terrain that advertising has mined to present its "images of well-being". What one can now detect in the circulation of advertising is at least two responses to the decay of the power of the new. First, instead of advertising invoking the wonders of science and its technological offspring providing you with something revolutionary, advertising has moved increasingly towards personal transformation, echoing the 30-year-old self-help, self-discovery book industry. In Australia, GM-Holden's Barina television ads provide a typical example. No technical detail about the car is given in the ads, but a great deal of information --- via the singing, the superimposed dancers, and the graphics employed -- signifies that the car is designed for the young female driver. Symbolically, the car is transformed into a new space of feminine subjectivity. Second, advertising plays with the cynicism of the cognoscenti. If the new itself can no longer work to signify genuine change and improvement in contemporary culture, it is instead represented as a changed attitude to the contemporary world that only a particular demographic will actually comprehend. The level of sophistication in reading the new as a cultural phenomenon by advertisers (or by proxy, their agencies) is sometimes astounding. A recent Coca-Cola radio ad played with a singing style of ennui and anger that embodied punk, but only as punk has been reinvented in the mid-90s through such groups as Green Day. The lyrics were identical to the rest of the "Always Coca-Cola" campaign that has been circulating internationally for the last five years; however, the cynicism of the singers, the bare tunefulness, and even the use of a popular culture icon such as Coke as the object of a song (and ridicule), tries to capture a particular new cultural moment with a different audience. Advertising as a cultural discourse on its own expresses a malaise within the transforming promise of the new that has been so much a part of modernity. However, the myths of modernity -- its clear association with social progress -- have never completely dissipated. In contemporary culture, it has fallen on new computer technologies to keep the ember of modernity and progress glowing. Over the last two decades the personal computer has maintained the naiveté of the new that was central to mid-twentieth century advertising, if not post-war culture in general. Very much like the Space Race stitched together an ideological weave that connected the populace to the interests of what Eisenhower first described as a military-industrial complex, the computer has ignited a new generation of optimism. It has been appropriated by governments from Singapore and Malaysia (think of the Multimedia Super Corridor) to the United States (think of Vice President Al Gore's NII) as the rescue package for the organisation of capitalism. Through Microsoft's hegemony there is a sense of coherence in "operating systems" which makes their slogan "where do you want to go today?", in its evocation of choice, also an invocation of unity of purpose. The wonderful synergy of the personal computer is that it weaves the conception of personal desire back into a generalisable social system of value. Despite all these efforts at harnessing the new computer technologies into established political and economic forces, the new nature of computer technology draws us back to the reason why new is intrinsically exciting: the defining nature of the new is that it offers the potential for some form of social change. The Internet has been the source for this new discourse of utopia. If we follow Howard Rheingold's logic, New "virtual communities" are formed online. A disequilibrium in who controls the flow of information is part of the appeal of the Internet, and the very appearance of this journal stems from that sense of new access. The Internet is said to challenge the boundaries of nations and states (although English language hegemony and pure economic access continue to operate to control the flow of those boundaries), with regulation devolving out of state policy towards the individual. Transforming identities are also very much an element of online communities: if nothing else, the play of gender in online game and chat programs identifies the constructed nature of our identities. All of this energy, and what I would call affect, refers to how computer technology and the Internet have managed to produce a sensation of agency. What I mean by agency is not necessarily attached to the project of modernity; rather it is the sense of being able to produce the new itself, as opposed to just living in the architecture of the new provided by someone else. On one level, the Internet and personal computers do provide a way to make your information look as if it is more significant and of a higher quality. The continuing proliferation of personal websites attests to this narcissistic drive of contemporary culture. On another level, the narcissism also identifies activity and agency in engaging in a form of communication with others. The Internet then can be thought of as paralleling movements in contemporary music, where the ability to construct soundscapes through computer interfaces has given the musician greater agency in the production of new electronic music. The new is intrinsically an odd phenomenon. It continually threatens established patterns. What is different about the new and its meaning in the twentieth century is that it has become part of the central ideology of western culture in its characterised representation of modernity. In a strange mix, the new reinforces the old and established. Nonetheless, the new, like culture itself, is never completely contained by any overarching architecture. The new expresses the potential, and occasionally the enactment, of significant cultural change. The fatigue that I have identified in our thinking about the new identifies a decline in the power of modernity to capture change, difference and transformation. That very fatigue may indicate in and of itself something profoundly new. References Rheingold, Howard. The Virtual Community: Homesteading on the Electronic Frontier. New York: HarperPerennial, 1994. Schudson, Michael. Advertising, the Uneasy Persuasion: Its Dubious Impact on American Society. New York: Basic Books, 1984. Toffler, Alvin. Future Shock. London: Pan Books, 1971. Citation reference for this article MLA style: P. David Marshall. "Thinking through New." M/C: A Journal of Media and Culture 1.1 (1998). [your date of access] <http://www.uq.edu.au/mc/9807/think.php>. Chicago style: P. David Marshall, "Thinking through New," M/C: A Journal of Media and Culture 1, no. 1 (1998), <http://www.uq.edu.au/mc/9807/think.php> ([your date of access]). APA style: P. David Marshall. (1998) Thinking through new. M/C: A Journal of Media and Culture 1(1). <http://www.uq.edu.au/mc/9807/think.php> ([your date of access]).

Food is not a trifling matter on Japanese television. More visible than such cultural staples as sumo and enka, food-related talk abounds. Aired year-round and positioned on every channel in every time period throughout the broadcast day, the lenses of food shows are calibrated at a wider angle than heavily-trafficked samurai dramas, beisboru or music shows. Simply, more aspects of everyday life, social history and cultural values pass through food programming. The array of shows work to reproduce traditional Japanese cuisine and cultural mores, educating viewers about regional customs and history. They also teach viewers about the "peculiar" practices of far-away countries. Thus, food shows engage globalisation and assist the integration of outside influences and lifestyles in Japan. However, food-talk is also about nihonjinron -- the uniqueness of Japanese culture1. As such, it tends toward cultural nationalism2. Food-talk is often framed in the context of competition and teaches viewers about planning and aesthetics, imparting class values and a consumption ethic. Food discourse is also inevitably about the reproduction of popular culture. Whether it is Jackie Chan plugging a new movie on a "guess the price" food show or a group of celebs are taking a day-trip to a resort town, food-mediated discourse enables the cultural industry and the national economy to persist -- even expand. To offer a taste of the array of cultural discourse that flows through food, this article serves up an ideal week of Japanese TV programming. Competition for Kisses: Over-Cooked Idols and Half-Baked Sexuality Monday, 10:00 p.m.: SMAP x SMAP SMAP is one of the longest-running, most successful male idol groups in Japan. At least one of their members can be found on TV every day. On this variety show, all five appear. One segment is called "Bistro SMAP" where the leader of the group, Nakai-kun, ushers a (almost always) female guest into his establishment and inquires what she would like to eat. She states her preference and the other four SMAP members (in teams of two) begin preparing the meal. Nakai entertains the guest on a dais overlooking the cooking crews. While the food is being prepared he asks standard questions about the talento's career; "how did you get in this business", "what are your favorite memories", "tell us about your recent work" -- the sort of banal banter that fills many cooking shows. Next, Nakai leads the guest into the kitchen and introduces her to the cooks. Finally, she samples both culinary efforts with the camera catching the reactions of anguish or glee from the opposing team. Each team then tastes the other group's dish. Unlike many food shows, the boys eat without savoring the food. The impression conveyed is that these are everyday boys -- not mega CD-selling pop idols with multiple product endorsements, commercials and television commitments. Finally, the moment of truth arrives: which meal is best. The winners jump for joy, the losers stagger in disappointment. The reason: the winners receive a kiss from the judge (on an agreed-upon innocuous body part). Food as entrée into discourse on sexuality. But, there is more than mere sex in the works, here. For, with each collected kiss, a set of red lips is affixed to the side of the chef's white cap. Conquests. After some months the kisses are tallied and the SMAPster with the most lips wins a prize. Food begets sexuality which begets measures of skill which begets material success. Food is but a prop in managing each idol's image. Putting a Price-tag on Taste (Or: Food as Leveller) Tuesday 8:00 p.m.: Ninki mono de ikou (Let's Go with the Popular People) An idol's image is an essential aspect of this show. The ostensible purpose is to observe five famous people appraising a series of paired items -- each seemingly identical. Which is authentic and which is a bargain-basement copy? One suspects, though, that the deeper aim is to reveal just how unsophisticated, bumbling and downright stupid "talento" can be. Items include guitars, calligraphy, baseball gloves and photographs. During evaluation, the audience is exposed to the history, use and finer points of each object, as well as the guest's decision-making process (via hidden camera). Every week at least one food item is presented: pasta, cat food, seaweed, steak. During wine week contestants smelled, tasted, swirled and regarded the brew's hue. One compared the sound each glass made, while another poured the wines on a napkin to inspect patterns of dispersion! Guests' reasoning and behaviors are monitored from a control booth by two very opinionated hosts. One effect of the recurrent criticism is a levelling -- stars are no more (and often much less) competent (and sacrosanct) than the audience. Technique, Preparation and Procedure? Old Values Give Way to New Wednesday 9:00: Tonerus no nama de daradara ikasette (Tunnels' Allow Us to Go Aimlessly, as We Are) This is one of two prime time shows featuring the comedy team "Tunnels"3. In this show both members of the duo engage in challenging themselves, one another and select members of their regular "team" to master a craft. Last year it was ballet and flamenco dance. This month: karate, soccer and cooking. Ishibashi Takaaki (or "Taka-san") and his new foil (a ne'er-do-well former Yomiuri Giants baseball player) Sadaoka Hiyoshi, are being taught by a master chef. The emphasis is on technique and process: learning theki (the aura, the essence) of cooking. After taking copious notes both men are left on their own to prepare a meal, then present it to a young femaletalento, who selects her favorite. In one segment, the men learned how to prepare croquette -- striving to master the proper procedure for flouring, egg-beating, breading, heating oil, frying and draining. In the most recent episode, Taka prepared his shortcake to perfection, impressing even the sensei. Sadaoka, who is slow on the uptake and tends to be lax, took poor notes and clearly botched his effort. Nonetheless, the talento chose Sadaoka's version because it was different. Certain he was going to win, Taka fell into profound shock. For years a popular host of youth-oriented shows, he concluded: "I guess I just don't understand today's young people". In Japanese television, just as in life, it seems there is no accounting for taste. More, whatever taste once was, it certainly has changed. "We Japanese": Messages of Distinctiveness (Or: Old Values NEVER Die) Thursday, 9:00 p.m.: Douchi no ryori shiou: (Which One? Cooking Show) By contrast, on this night viewers are served procedure, craft and the eternal order of things. Above all, validation of Japanese culinary instincts and traditions. Like many Japanese cooking showsDouchi involves competition between rival foods to win the hearts of a panel of seven singers, actors, writers and athletes.Douchi's difference is that two hosts front for rival dishes, seeking to sway the panel during the in-studio preparation. The dishes are prepared by chefs fromTsuji ryori kyoshitsu, a major cooking academy in Osaka, and are generally comparable (for instance, beef curry versus beef stew). On the surface Douchi is a standard infotainment show. Video tours of places and ingredients associated with the dish entertain the audience and assist in making the guests' decisions more agonising. Two seating areas are situated in front of each chef and panellists are given a number of opportunities to switch sides. Much playful bantering, impassioned appeals and mock intimidation transpire throughout the show. It is not uncommon for the show to pit a foreign against a domestic dish; and most often the indigenous food prevails. For, despite the recent "internationalisation" of Japanese society, many Japanese have little changed from the "we-stick-with-what-we-know-best" attitude that is a Japanese hallmark. Ironically, this message came across most clearly in a recent show pitting spaghetti and meat balls against tarako supagetei (spicy fish eggs and flaked seaweed over Italian noodles) -- a Japanese favorite. One guest, former American, now current Japanese Grand Sumo Champion, Akebono, insisted from the outset that he preferred the Italian version because "it's what my momma always cooked for me". Similarly the three Japanese who settled on tarako did so without so much as a sample or qualm. "Nothing could taste better than tarako" one pronounced even before beginning. A clear message in Douchi is that Japanese food is distinct, special, irreplaceable and (if you're not opposed by a 200 kilogram giant) unbeatable. Society as War: Reifying the Strong and Powerful Friday, 11:00 p.m.: Ryori no tetsujin. (The Ironmen of Cooking) Like sumo this show throws the weak into the ring with the strong for the amusement of the audience. The weak in this case being an outsider who runs his own restaurant. Usually the challengers are Japanese or else operate in Japan, though occasionally they come from overseas (Canada, America, France, Italy). Almost without exception they are men. The "ironmen" are four famous Japanese chefs who specialise in a particular cuisine (Japanese, Chinese, French and Italian). The contest has very strict rules. The challenger can choose which chef he will battle. Both are provided with fully-equipped kitchens positioned on a sprawling sound stage. They must prepare a full-course meal for four celebrity judges within a set time frame. Only prior to the start are they informed of which one key ingredient must be used in every course. It could be crab, onion, radish, pears -- just about any food imaginable. The contestants must finish within the time limit and satisfy the judges in terms of planning, creativity, composition, aesthetics and taste. In the event of a tie, a one course playoff results. The show is played like a sports contest, with a reporter and cameras wading into the trenches, conducting interviews and play-by-play commentary. Jump-cut editing quickens the pace of the show and the running clock adds a dimension of suspense and excitement. Consistent with one message encoded in Japanese history, it is very hard to defeat the big power. Although the ironmen are not weekly winners, their consistency in defeating challengers works to perpetuate the deep-seated cultural myth4. Food Makes the Man Saturday 12:00: Merenge no kimochi (Feelings like Meringue) Relative to the full-scale carnage of Friday night, Saturdays are positively quiescent. Two shows -- one at noon, the other at 11:30 p.m. -- employ food as medium through which intimate glimpses of an idol's life are gleaned.Merenge's title makes no bones about its purpose: it unabashedly promises fluff. In likening mood to food -- and particularly in the day-trip depicted here -- we are reminded of the Puffy's famous ditty about eating crab: "taking the car out for a spin with a caramel spirit ... let's go eat crab!"Merengue treats food as a state of mind, a many-pronged road to inner peace. To keep it fluffy,Merenge is hosted by three attractive women whose job it is to act frivolous and idly chat with idols. The show's centrepiece is a segment where the male guest introduces his favorite (or most cookable) recipe. In-between cutting, beating, grating, simmering, ladling, baking and serving, the audience is entertained and their idol's true inner character is revealed. Continuity Editing Running throughout the day, every day, on all (but the two public) stations, is advertising. Ads are often used as a device to heighten tension or underscore the food show's major themes, for it is always just before the denouement (a judge's decision, the delivery of a story's punch-line or a final tally) that an ad interrupts. Ads, however, are not necessarily departures from the world of food, as a large proportion of them are devoted to edibles. In this way, they underscore food's intimate relationship to economy -- a point that certain cooking shows make with their tie-in goods for sale or maps to, menus of and prices for the featured restaurants. While a considerable amount of primary ad discourse is centred on food (alcoholic and non-alcoholic beverages, coffees, sodas, instant or packaged items), it is ersatz food (vitamin-enriched waters, energy drinks, sugarless gums and food supplements) which has recently come to dominate ad space. Embedded in this commercial discourse are deeper social themes such as health, diet, body, sexuality and even death5. Underscoring the larger point: in Japan, if it is television you are tuned into, food-mediated discourse is inescapable. Food for Conclusion The question remains: "why food?" What is it that qualifies food as a suitable source and medium for filtering the raw material of popular culture? For one, food is something that all Japanese share in common. It is an essential part of daily life. Beyond that, though, the legacy of the not-so-distant past -- embedded in the consciousness of nearly a third of the population -- is food shortages giving rise to overwhelming abundance. Within less than a generation's time Japanese have been transported from famine (when roasted potatoes were considered a meal and chocolate was an unimaginable luxury) to excess (where McDonald's is a common daily meal, scores of canned drink options can be found on every street corner, and yesterday's leftover 7-Eleven bentos are tossed). Because of food's history, its place in Japanese folklore, its ubiquity, its easy availability, and its penetration into many aspects of everyday life, TV's food-talk is of interest to almost all viewers. Moreover, because it is a part of the structure of every viewer's life, it serves as a fathomable conduit for all manner of other talk. To invoke information theory, there is very little noise on the channel when food is involved6. For this reason food is a convenient vehicle for information transmission on Japanese television. Food serves as a comfortable podium from which to educate, entertain, assist social reproduction and further cultural production. Footnotes 1. For an excellent treatment of this ethic, see P.N. Dale, The Myth of Japanese Uniqueness. London: Routledge, 1986. 2. A predilection I have discerned in other Japanese media, such as commercials. See my "The Color of Difference: Critiquing Cultural Convergence via Television Advertising", Interdisciplinary Information Sciences 5.1 (March 1999): 15-36. 3. The other, also a cooking show which we won't cover here, appears on Thursdays and is called Tunnerusu no minasan no okage deshita. ("Tunnels' Because of Everyone"). It involves two guests -- a male and female -- whose job it is to guess which of 4 prepared dishes includes one item that the other guest absolutely detests. There is more than a bit of sadism in this show as, in-between casual conversation, the guest is forced to continually eat something that turns his or her stomach -- all the while smiling and pretending s/he loves it. In many ways this suits the Japanese cultural value of gaman, of bearing up under intolerable conditions. 4. After 300-plus airings, the tetsujin show is just now being put to bed for good. It closes with the four iron men pairing off and doing battle against one another. Although Chinese food won out over Japanese in the semi-final, the larger message -- that four Japanese cooks will do battle to determine the true iron chef -- goes a certain way toward reifying the notion of "we Japanese" supported in so many other cooking shows. 5. An analysis of such secondary discourse can be found in my "The Commercialized Body: A Comparative Study of Culture and Values". Interdisciplinary Information Sciences 2.2 (September 1996): 199-215. 6. The concept is derived from C. Shannon and W. Weaver, The Mathematical Theory of Communication. Urbana, Ill.: University of Illinois Press, 1949. Citation reference for this article MLA style: Todd Holden. "'And Now for the Main (Dis)course...': Or, Food as Entrée in Contemporary Japanese Television." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/entree.php>. Chicago style: Todd Holden, "'And Now for the Main (Dis)course...': Or, Food as Entrée in Contemporary Japanese Television," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/entree.php> ([your date of access]). APA style: Todd Holden. (1999) "And now for the main (dis)course...": or, food as entrée in contemporary Japanese television. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/entree.php> ([your date of access]).

"verbiage very thinly sliced and plated up real nice" (Barrett 1)IntroductionMany of us share in an obsessive collecting of cookbooks and recipes. Torn or cut from newspapers and magazines, recipes sit swelling scrapbooks with bloated, unfilled desire. They’re non-hybrid seeds, peas under the mattress, an endless cycle of reproduction. Desire and narrative are folded into each other in our drive, as humans, to create meaning. But what holds us to narrative is good writing. And what can also drive desire is image—literal as well as metaphorical—the visceral pleasure of the gaze, or looking and viewing the sensually aesthetic and the work of the imagination. Creative WritingCooking, winemaking, and food and wine writing can all be considered art. For example, James Halliday (31), the eminent Australian wine critic, posed the question “Is winemaking an art?,” answering: “Most would say so” (31). Cookbooks are stories within stories, narratives that are both factual and imagined, everyday and fantastic—created by both writer and reader from where, along with its historical, cultural and publishing context, a text gets its meaning. Creative writing, in broad terms of genre, is either fiction (imagined, made-up) or creative nonfiction (true, factual). Genre comes from the human taxonomic impulse to create order from chaos through cataloguing and classification. In what might seem overwhelming infinite variety, we establish categories and within them formulas and conventions. But genres are not necessarily stable or clear-cut, and variation in a genre can contribute to its de/trans/formation (Curti 33). Creative nonfiction includes life writing (auto/biography) and food writing among other subgenres (although these subgenres can also be part of fiction). Cookbooks sit within the creative nonfiction genre. More clearly, dietary or nutrition manuals are nonfiction, technical rather than creative. Recipe writing specifically is perhaps less an art and more a technical exercise; generally it’s nonfiction, or between that and creative nonfiction. (One guide to writing recipes is Ostmann and Baker.) Creative writing is built upon approximately five, more or less, fundamentals of practice: point of view or focalisation or who narrates, structure (plot or story, and theme), characterisation, heightened or descriptive language, setting, and dialogue (not in any order of importance). (There are many handbooks on creative writing, that will take a writer through these fundamentals.) Style or voice derives from what a writer writes about (their recurring themes), and how they write about it (their vocabulary choice, particular use of imagery, rhythm, syntax etc.). Traditionally, as a reader, and writer, you are either a plot person or character person, but you can also be interested primarily in ideas or language, and in the popular or literary.Cookbooks as Creative NonfictionCookbooks often have a sense of their author’s persona or subjectivity as a character—that is, their proclivities, lives and thus ideology, and historical, social and cultural place and time. Memoir, a slice of the author–chef/cook’s autobiography, is often explicitly part of the cookbook, or implicit in the nature of the recipes, and the para-textual material which includes the book’s presentation and publishing context, and the writer’s biographical note and acknowledgements. And in relation to the latter, here's Australian wine educator Colin Corney telling us, in his biographical note, about his nascent passion for wine: “I returned home […] stony broke. So the next day I took a job as a bottleshop assistant at Moore Park Cellars […] to tide me over—I stayed three years!” (xi). In this context, character and place, in the broadest sense, are inevitably evoked. So in conjunction with this para-textual material, recipe ingredients and instructions, visual images and the book’s production values combine to become the components for authoring a fictive narrative of self, space and time—fictive, because writing inevitably, in a broad or conceptual sense, fictionalises everything, since it can only re-present through language and only from a particular point of view.The CookbooksTo talk about the art of cookbooks, I make a judgmental (from a creative-writer's point of view) case study of four cookbooks: Lyndey Milan and Colin Corney’s Balance: Matching Food and Wine, Sean Moran’s Let It Simmer (this is the first edition; the second is titled Let It Simmer: From Bush to Beach and Onto Your Plate), Kate Lamont’s Wine and Food, and Greg Duncan Powell’s Rump and a Rough Red (this is the second edition; the first was The Pig, the Olive & the Squid: Food & Wine from Humble Beginnings) I discuss reading, writing, imaging, and designing, which, together, form the nexus for interpreting these cookbooks in particular. The choice of these books was only relatively random, influenced by my desire to see how Australia, a major wine-producing country, was faring with discussion of wine and food choices; by the presence of discursive text beyond technical presentation of recipes, and of photographs and purposefully artful design; and by familiarity with names, restaurants and/or publishers. Reading Moran's cookbook is a model of good writing in its use of selective and specific detail directed towards a particular theme. The theme is further created or reinforced in the mix of narrative, language use, images and design. His writing has authenticity: a sense of an original, distinct voice.Moran’s aphoristic title could imply many things, but, in reading the cookbook, you realise it resonates with a mindfulness that ripples throughout his writing. The aphorism, with its laidback casualness (legendary Australian), is affectively in sync with the chef’s approach. Jacques Derrida said of the aphorism that it produces “an echo of really curious, indelible power” (67).Moran’s aim for his recipes is that they be about “honest, home-style cooking” and bringing “out a little bit of the professional chef in the home cook”, and they are “guidelines” available for “sparkle” and seduction from interpretation (4). The book lives out this persona and personal proclivities. Moran’s storytellings are specifically and solely highlighted in the Contents section which structures the book via broad categories (for example, "Grains" featuring "The dance of the paella" and "Heaven" featuring "A trifle coming on" for example). In comparison, Powell uses "The Lemon", for example, as well as "The Sheep". The first level of Contents in Lamont’s book is done by broad wine styles: sparkling, light white, robust white and so on, and the second level is the recipe list in each of these sections. Lamont’s "For me, matching food and wine comes down to flavour" (xiii) is not as dramatic or expressive as Powell’s "Wine: the forgotten condiment." Although food is first in Milan and Corney’s book’s subtitle, their first content is wine, then matching food with colour and specific grape, from Sauvignon Blanc to Barbera and more. Powell claims that the third of his rules (the idea of rules is playful but not comedic) for choosing the best wine per se is to combine region with grape variety. He covers a more detailed and diversified range of grape varieties than Lamont, systematically discussing them first-up. Where Lamont names wine styles, Powell points out where wine styles are best represented in Australian states and regions in a longish list (titled “13 of the best Australian grape and region combos”). Lamont only occasionally does this. Powell discusses the minor alternative white, Arneis, and major alternative reds such as Barbera and Nebbiolo (Allen 81, 85). This engaging detail engenders a committed reader. Pinot Gris, Viognier, Sangiovese, and Tempranillo are as alternative as Lamont gets. In contrast to Moran's laidbackness, Lamont emphasises professionalism: "My greatest pleasure as a chef is knowing that guests have enjoyed the entire food and wine experience […] That means I have done my job" (xiii). Her reminders of the obvious are, nevertheless, noteworthy: "Thankfully we have moved on from white wine/white meat and red wine/red meat" (xiv). She then addresses the alterations in flavour caused by "method of cooking" and "combination of ingredients", with examples. One such is poached chicken and mango crying "out for a vibrant, zesty Riesling" (xiii): but where from, I ask? Roast chicken with herbs and garlic would favour "red wine with silky tannin" and "chocolatey flavours" (xiii): again, I ask, where from? Powell claims "a different evolution" for his book "to the average cookbook" (7). In recipes that have "a wine focus", there are no "pretty […] little salads, or lavish […] cakes" but "brown" albeit tasty food that will not require ingredients from "poncy inner-city providores", be easy to cook, and go with a cheap, budget-based wine (7). While this identity-setting is empathetic for a Powell clone, and I am envious of his skill with verbiage, he doesn’t deliver dreaming or desire. Milan and Corney do their best job in an eye-catching, informative exemplar list of food and wine matches: "Red duck curry and Barossa Valley Shiraz" for example (7), and in wine "At-a-glance" tables, telling us, for example, that the best Australian regions for Chardonnay are Margaret River and the Adelaide Hills (53). WritingThe "Introduction" to Moran’s cookbook is a slice of memoir, a portrait of a chef as a young man: the coming into being of passion, skill, and professionalism. And the introduction to the introduction is most memorable, being a loving description of his frugal Australian childhood dinners: creations of his mother’s use of manufactured, canned, and bottled substitutes-for-the-real, including Gravox and Dessert Whip (1). From his travel-based international culinary education in handmade, agrarian food, he describes "a head of buffalo mozzarella stuffed with ricotta and studded with white truffles" as "sheer beauty", "ambrosial flavour" and "edible white 'terrazzo'." The consonants b, s, t, d, and r are picked up and repeated, as are the vowels e, a, and o. Notice, too, the comparison of classic Italian food to an equally classic Italian artefact. Later, in an interactive text, questions are posed: "Who could now imagine life without this peppery salad green?" (23). Moran uses the expected action verbs of peel, mince, toss, etc.: "A bucket of tiny clams needs a good tumble under the running tap" (92). But he also uses the unexpected hug, nab, snuggle, waltz, "wave of garlic" and "raining rice." Milan and Corney display a metaphoric-language play too: the bubbles of a sparkling wine matching red meat become "the little red broom […] sweep[ing] away the […] cloying richness" (114). In contrast, Lamont’s cookbook can seem flat, lacking distinctiveness. But with a title like Wine and Food, perhaps you are not expecting much more than information, plain directness. Moran delivers recipes as reproducible with ease and care. An image of a restaurant blackboard menu with the word "chook" forestalls intimidation. Good quality, basic ingredients and knowledge of their source and season carry weight. The message is that food and drink are due respect, and that cooking is neither a stressful, grandiose nor competitive activity. While both Moran and Lamont have recipes for Duck Liver Pâté—with the exception that Lamont’s is (disturbingly, for this cook) "Parfait", Moran also has Lentil Patties, a granola, and a number of breads. Lamont has Brioche (but, granted, without the yeast, seeming much easier to make). Powell’s Plateless Pork is "mud pies for grown-ups", and you are asked to cook a "vat" of sauce. This communal meal is "a great way to spread communicable diseases", but "fun." But his passionately delivered historical information mixed with the laconic attitude of a larrikin (legendary Australian again) transform him into a sage, a step up from the monastery (Powell is photographed in dress-up friar’s habit). Again, the obvious is noteworthy in Milan and Corney’s statement that Rosé "possesses qualities of both red and white wines" (116). "On a hot summery afternoon, sitting in the sun overlooking the view … what could be better?" (116). The interactive questioning also feeds in useful information: "there is a huge range of styles" for Rosé so "[g]rape variety is usually a good guide", and "increasingly we are seeing […] even […] Chambourcin" (116). Rosé is set next to a Bouillabaisse recipe, and, empathetically, Milan and Corney acknowledge that the traditional fish soup "can be intimidating" (116). Succinctly incorporated into the recipes are simple greyscale graphs of grape "Flavour Profiles" delineating the strength on the front and back palate and tongue (103).Imaging and DesigningThe cover of Moran’s cookbook in its first edition reproduces the colours of 1930–1940's beach towels, umbrellas or sunshades in matt stripes of blue, yellow, red, and green (Australian beaches traditionally have a grass verge; and, I am told (Costello), these were the colours of his restaurant Panoroma’s original upholstery). A second edition has the same back cover but a generic front cover shifting from the location of his restaurant to the food in a new subtitle: "From Bush to Beach and onto Your Plate". The front endpapers are Sydney’s iconic Bondi Beach where Panoroma restaurant is embedded on the lower wall of an old building of flats, ubiquitous in Bondi, like a halved avocado, or a small shallow elliptic cave in one of the sandstone cliff-faces. The cookbook’s back endpapers are his bush-shack country. Surfaces, cooking equipment, table linen, crockery, cutlery and glassware are not ostentatious, but simple and subdued, in the colours and textures of nature/culture: ivory, bone, ecru, and cream; and linen, wire, wood, and cardboard. The mundane, such as a colander, is highlighted: humbleness elevated, hands at work, cooking as an embodied activity. Moran is photographed throughout engaged in cooking, quietly fetching in his slim, clean-cut, short-haired, altar-boyish good-looks, dressed casually in plain bone apron, t-shirt (most often plain white), and jeans. While some recipes are traditionally constructed, with the headnote, the list of ingredients and the discursive instructions for cooking, on occasion this is done by a double-page spread of continuous prose, inviting you into the story-telling. The typeface of Simmer varies to include a hand-written lookalike. The book also has a varied layout. Notes and small images sit on selected pages, as often as not at an asymmetric angle, with faux tape, as if stuck there as an afterthought—but an excited and enthusiastic afterthought—and to signal that what is informally known is as valuable as professional knowledge/skill and the tried, tested, and formally presented.Lamont’s publishers have laid out recipe instructions on the right-hand side (traditional English-language Western reading is top down, left to right). But when the recipe requires more than one item to be cooked, there is no repeated title; the spacing and line-up are not necessarily clear; and some immediate, albeit temporary, confusion occurs. Her recipes, alongside images of classic fine dining, carry the implication of chefing rather than cooking. She is photographed as a professional, with a chef’s familiar striped apron, and if she is not wearing a chef’s jacket, tunic or shirt, her staff are. The food is beautiful to look at and imagine, but tackling it in the home kitchen becomes a secondary thought. The left-hand section divider pages are meant to signal the wines, with the appropriate colour, and repetitive pattern of circles; but I understood this belatedly, mistaking them for retro wallpaper bemusedly. On the other hand, Powell’s bog-in-don’t-wait everyday heartiness of a communal stewed dinner at a medieval inn (Peasy Lamb looks exactly like this) may be overcooked, and, without sensuousness, uninviting. Images in Lamont’s book tend toward the predictable and anonymous (broad sweep of grape-vined landscape; large groups of people with eating and drinking utensils). The Lamont family run a vineyard, and up-market restaurants, one photographed on Perth’s river dockside. But Sean's Panoroma has a specificity about it; it hasn’t lost its local flavour in the mix with the global. (Admittedly, Moran’s bush "shack", the origin of much Panoroma produce and the destination of Panoroma compost, looks architect-designed.) Powell’s book, given "rump" and "rough" in the title, stridently plays down glitz (large type size, minimum spacing, rustic surface imagery, full-page portraits of a chicken, rump, and cabbage etc). While not over-glam, the photography in Balance may at first appear unsubtle. Images fill whole pages. But their beautifully coloured and intriguing shapes—the yellow lime of a white-wine bottle base or a sparkling wine cork beneath its cage—shift them into hyperreality. White wine in a glass becomes the edge of a desert lake; an open fig, the jaws of an alien; the flesh of a lemon after squeezing, a sea anemone. The minimal number of images is a judicious choice. ConclusionReading can be immersive, but it can also hover critically at a meta level, especially if the writer foregrounds process. A conversation starts in this exchange, the reader imagining for themselves the worlds written about. Writers read as writers, to acquire a sense of what good writing is, who writing colleagues are, where writing is being published, and, comparably, to learn to judge their own writing. Writing is produced from a combination of passion and the discipline of everyday work. To be a writer in the world is to observe and remember/record, to be conscious of aiming to see the narrative potential in an array of experiences, events, and images, or, to put it another way, "to develop the habit of art" (Jolley 20). Photography makes significant whatever is photographed. The image is immobile in a literal sense but, because of its referential nature, evocative. Design, too, is about communication through aesthetics as a sensuous visual code for ideas or concepts. (There is a large amount of scholarship on the workings of image combined with text. Roland Barthes is a place to begin, particularly about photography. There are also textbooks dealing with visual literacy or culture, only one example being Shirato and Webb.) It is reasonable to think about why there is so much interest in food in this moment. Food has become folded into celebrity culture, but, naturally, obviously, food is about our security and survival, physically and emotionally. Given that our planet is under threat from global warming which is also driving climate change, and we are facing peak oil, and alternative forms of energy are still not taken seriously in a widespread manner, then food production is under threat. Food supply and production are also linked to the growing gap between poverty and wealth, and the movement of whole populations: food is about being at home. Creativity is associated with mastery of a discipline, openness to new experiences, and persistence and courage, among other things. We read, write, photograph, and design to argue and critique, to use the imagination, to shape and transform, to transmit ideas, to celebrate living and to live more fully.References Allen, Max. The Future Makers: Australian Wines for the 21st Century. Melbourne: Hardie Grant, 2010. Barratt, Virginia. “verbiage very thinly sliced and plated up real nice.” Assignment, ENG10022 Writing from the Edge. Lismore: Southern Cross U, 2009. [lower case in the title is the author's proclivity, and subsequently published in Carson and Dettori. Eds. Banquet: A Feast of New Writing and Arts by Queer Women]Costello, Patricia. Personal conversation. 31 May 2012. Curti, Lidia. Female Stories, Female Bodies: Narrative, Identity and Representation. UK: Macmillan, 1998.Derrida, Jacques. "Fifty-Two Aphorisms for a Foreword." Deconstruction: Omnibus Volume. Eds. Andreas Apadakis, Catherine Cook, and Andrew Benjamin. New York: Rizzoli, 1989.Halliday, James. “An Artist’s Spirit.” The Weekend Australian: The Weekend Australian Magazine 13-14 Feb. (2010): 31.Jolley, Elizabeth. Central Mischief. Ringwood: Viking/Penguin 1992. Lamont, Kate. Wine and Food. Perth: U of Western Australia P, 2009. Milan, Lyndey, and Corney, Colin. Balance: Matching Food and Wine: What Works and Why. South Melbourne: Lothian, 2005. Moran, Sean. Let It Simmer. Camberwell: Lantern/Penguin, 2006. Ostmann, Barbara Gibbs, and Jane L. Baker. The Recipe Writer's Handbook. Canada: John Wiley, 2001.Powell, Greg Duncan. Rump and a Rough Red. Millers Point: Murdoch, 2010. Shirato, Tony, and Jen Webb. Reading the Visual. Crows Nest: Allen & Unwin, 2004.

Abstract Environmental problems demand for innovative interdisciplinary research to tackle problem complexity and provide insights for problem-solving. Along these lines, behavioral insights have the potential to improve the effectiveness of policies by identifying which behaviors are best tackled and how. In this paper, we present a systematic review of the literature on small-scale farmers’ pesticide use in the Global South to identify (1) pesticide use behaviors and (2) their behavioral determinants. We defined our body of literature by establishing inclusion criteria and screened studies in a two-step process involving multiple coders. From the selected studies (k = 70), we extracted data about farmers’ pesticide use behaviors. We also extracted the determinants of these behaviors with an established framework of behavioral change, the behavior change wheel (BCW). Finally, we show how the behavioral insights thus obtained can provide hypotheses on the suitability and ultimate effectiveness of policy instruments for agriculture and environmental protection. Overall, this systematic approach showcases how behavioral insights can be used to systematically gather new knowledge on what works and why in pesticide policy. Additionally, this paper illustrates that the current literature on pesticide use behavior in the Global South lacks stan- dardized and consistent measures of behavior and determinants to provide valid and robust results. Overall, this hampers evidence synthesis and thus scientific progress in the field.

Выбор наилучшего варианта машинно-тракторного агрегата (МТА) обычно выполняют с помощью тягового коэффициента полезного действия трактора ηт или коэффициента полезного действия агрегата ηа. Применение данных показателей при составлении агрегатов не совсем удачно. С помощью ηт можно дать энергетическую оценку только базовому трактору, но не агрегату в целом, так как он вскрывает полезную долю мощности не на рабочем органе агрегатируемого орудия, а на крюке трактора. Мощность, подводимая к рабочему органу орудия, учитывает ηа, но нет надежного метода ее измерения. Однако главным недостатком данных показателей является то, что они не отражают очень важную сторону явления – какое количество технологической работы можно создать на полезно затрачиваемую энергию. Для оценки рациональности составления машинно-тракторных агрегатов при выполнении лесохозяйственных работ предлагается использовать комплексный показатель «удельная энергопроизводительность», представляющий собой отношение технической производительности к используемой мощности двигателя базового трактора. Этот показатель отражает количество выполненной технологической работы при затраченной мощности, что дает возможность оценки с энергетической точки зрения конструктивного совершенства лесохозяйственных машинно-тракторных агрегатов и их приспособляемости к выполнению соответствующей технологической операции The choice of the best version of the machine and tractor unit (MTU) is usually carried out by means of the traction efficiency (E) of the tractor ηm or unit efficiency ηа. Application of these indexes by drawing up units is not absolutely successful. With the help ηm it is possible to give a power assessment only to the basic tractor, but not the unit in general as it opens the useful share of power not on an action of the aggregated tool, and on a tractor hook. The power brought to a tool action considers ηа, but there is no reliable method of its measurement. However the main lack of these indicators is that they do not reflect very important party of the phenomenon – what number of technological work can be created on it is useful the spent energy. For assessment of rationality of drawing up machine and tractor units when performing forestry and landscape works the complex index – the specific power efficiency representing the attitude of technical efficiency towards the used engine capacity of the basic tractor is offered to use. This index reflects the number of the performed technological work at the spent power that the design perfection of forestry and landscape machine and tractor units and their adaptability to realization of the corresponding technological operation gives the chance of assessment from the power point of view.

Background Interorganisational collaboration is currently being promoted to improve the performance of NHS providers. However, up to now, there has, to the best of our knowledge, been no systematic attempt to assess the effect of different approaches to collaboration or to understand the mechanisms through which interorganisational collaborations can work in particular contexts. Objectives Our objectives were to (1) explore the main strands of the literature about interorganisational collaboration and to identify the main theoretical and conceptual frameworks, (2) assess the empirical evidence with regard to how different interorganisational collaborations may (or may not) lead to improved performance and outcomes, (3) understand and learn from NHS evidence users and other stakeholders about how and where interorganisational collaborations can best be used to support turnaround processes, (4) develop a typology of interorganisational collaboration that considers different types and scales of collaboration appropriate to NHS provider contexts and (5) generate evidence-informed practical guidance for NHS providers, policy-makers and others with responsibility for implementing and assessing interorganisational collaboration arrangements. Design A realist synthesis was carried out to develop, test and refine theories about how interorganisational collaborations work, for whom and in what circumstances. Data sources Data sources were gathered from peer-reviewed and grey literature, realist interviews with 34 stakeholders and a focus group with patient and public representatives. Review methods Initial theories and ideas were gathered from scoping reviews that were gleaned and refined through a realist review of the literature. A range of stakeholder interviews and a focus group sought to further refine understandings of what works, for whom and in what circumstances with regard to high-performing interorganisational collaborations. Results A realist review and synthesis identified key mechanisms, such as trust, faith, confidence and risk tolerance, within the functioning of effective interorganisational collaborations. A stakeholder analysis refined this understanding and, in addition, developed a new programme theory of collaborative performance, with mechanisms related to cultural efficacy, organisational efficiency and technological effectiveness. A series of translatable tools, including a diagnostic survey and a collaboration maturity index, were also developed. Limitations The breadth of interorganisational collaboration arrangements included made it difficult to make specific recommendations for individual interorganisational collaboration types. The stakeholder analysis focused exclusively on England, UK, where the COVID-19 pandemic posed challenges for fieldwork. Conclusions Implementing successful interorganisational collaborations is a difficult, complex task that requires significant time, resource and energy to achieve the collaborative functioning that generates performance improvements. A delicate balance of building trust, instilling faith and maintaining confidence is required for high-performing interorganisational collaborations to flourish. Future work Future research should further refine our theory by incorporating other workforce and user perspectives. Research into digital platforms for interorganisational collaborations and outcome measurement are advocated, along with place-based and cross-sectoral partnerships, as well as regulatory models for overseeing interorganisational collaborations. Study registration The study is registered as PROSPERO CRD42019149009. Funding This project was funded by the National Institute for Health and Care Research (NIHR) Health and Social Care Delivery Research programme and will be published in full in Health and Social Care Delivery Research; Vol. 11, No. 6. See the NIHR Journals Library website for further project information.

The first time I read Hélène Cixous’s The Laugh of the Medusa I swooned. I wanted to write the whole thing out, large, and black, and pin it across an entire wall. I was 32 and vulnerable around polemic texts (I was always copying out quotes and sticking them to my walls, trying to hold onto meaning, unable to let the writing I read slip out and away). You must "write your self, your body must be heard" (Cixous 880), I read, as if for the hundredth time, even though it was the first. Those decades old words had an echoing, a resonance to them, as if each person who had read them had left their own mnemonic mark there, so that by the time they reached me, they struck, immediately, at my core (not the heart or the spine, or even the gut, but somewhere stickier; some pulsing place in amongst my organs, somewhere not touched, a space forgotten). The body that read The Laugh was so big its knees had trouble lifting it from chairs (“more body, hence more writing”, Cixous 886), and was soon to have its gallbladder taken. Its polycystic ovaries dreamed, lumpily and without much hope, of zygotes. The body that read The Laugh was a wobbling thing, sheathed in fat (as if this could protect it), with a yearning for sveltness, for muscle, for strength. Cixous sang through its cells, and called it to itself. The body that read The Laugh wrote itself back. It spoke about dungeons, and walls that had collected teenaged fists, and needles that turned it somnambulant and concave and warm until it was not. It wrote trauma in short and staggering sentences (out, get it out) as if narrative could save it from a fat-laden and static decline. Text leaked from tissue and bone, out through fingers and onto the page, and in increments so small I did not notice them, the body took its place. I was, all-of-a-sudden, more than my head. And then the body that read The Laugh performed the ultimate coup, and conceived.The body wrote then about its own birth, and the birth of its mother, and when its own children were born, of course, of course, about them. “Oral drive, anal drive, vocal drive–all these drives are our strengths, and among them is the gestation drive–all just like the desire to write: a desire to live self from within, a desire for the swollen belly, for language, for blood” (Cixous 891). The fat was gone, and in its place this other tissue, that later would be he. What I know now is that the body gets what the body wants. What I know now is that the body will tell its story, because if you “censor the body [… then] you censor breath and speech at the same time” (Cixous 880).I am trying to find a beginning. Because where is the place where I start? I was never a twinkle in my mother’s eye. It was the seventies. She was 22 and then 23–there was nothing planned about me. Her eyes a flinty green, hair long and straight. When I think of her then I remember this photo: black and white on the thick photo paper that is hard to get now. No shiny oblong spat from a machine, this paper was pulled in and out of three chemical trays and hung, dripping, in a dark red room to show me a woman in a long white t-shirt and nothing else. She stares straight out at me. On the shirt is a women’s symbol with a fist in the middle of it. Do you know the one? It might have been purple (the symbol I mean). When I think of her then I see her David Bowie teeth, the ones she hated, and a packet of Drum tobacco with Tally-Hos tucked inside, and some of the scars on her forearms, but not all of them, not yet. I can imagine her pregnant with me, the slow gait, that fleshy weight dragging at her spine and pelvis. She told me the story of my birth every year on my birthday. She remembers what day of the week the contractions started. The story is told with a kind of glory in the detail, with a relishing of small facts. I do the same with my children now. I was delivered by forceps. The dent in my skull, up above my right ear, was a party trick when I was a teenager, and an annoyance when I wanted to shave my head down to the bone at 18. Just before Jem was born, I discovered a second dent behind my left ear. My skull holds the footprint of those silver clamps. My bones say here, and here, this is where I was pulled from you. I have seen babies being born this way. They don’t slide out all sealish and purple and slippy. They are pulled. The person holding the forcep handles uses their whole body weight to yank that baby out. It makes me squirm, all that pulling, those tiny neck bones concertinaing out, the silver scoops sinking into the skull and leaving prints, like a warm spoon in dough. The urgency of separation, of the need to make two things from one. After Jem was born he lay on my chest for hours. As the placenta was birthed he weed on me. I felt the warm trickle down my side and was glad. There was nothing so right as my naked body making a bed for his. I lay in a pool of wet (blood and lichor and Jem’s little wee) and the midwives pushed towels under me so I wouldn’t get cold. He sucked. White waffle weave blankets over both of us. That bloody nest. I lay in it and rested my free hand on his vernix covered back; the softest thing I had ever touched. We basked in the warm wet. We basked. How do I sew theory into this writing? Julia Kristeva especially, whose Stabat Mater describes those early moments of holding the one who was inside and then out so perfectly that I am left silent. The smell of milk, dew-drenched greenery, sour and clear, a memory of wind, of air, of seaweed (as if a body lived without waste): it glides under my skin, not stopping at the mouth or nose but caressing my veins, and stripping the skin from the bones fills me like a balloon full of ozone and I plant my feet firmly on the ground in order to carry him, safe, stable, unuprootable, while he dances in my neck, floats with my hair, looks right and left for a soft shoulder, “slips on the breast, swingles, silver vivid blossom of my belly” and finally flies up from my navel in his dream, borne by my hands. My son (Kristeva, Stabat Mater 141). Is theory more important than this? The smell of milk (dried, it is soursweet and will draw any baby to you, nuzzling and mewling), which resides alongside the Virgin Mother and the semiotics of milk and tears. The language of fluid. While the rest of this writing, the stories not of mothers and babies, but one mother and one baby, came out smooth and fast, as soon as I see or hear or write that word, theory, I slow. I am concerned with the placement of things. I do not have the sense of being free. But if there’s anything that should come from this vain attempt to answer Cixous, to “write your self. Your body must be heard” (880), it should be that freedom and theory, boundary-lessness, is where I reside. If anything should come from this, it is the knowing that theory is the most creative pursuit, and that creativity will always speak to theory. There are fewer divisions than any of us realise, and the leakiness of bodies, of this body, will get me there. The smell of this page is of lichor; a clean but heady smell, thick with old cells and a foetus’s breath. The smell of this page is of blood and saliva and milk mixed (the colour like rotten strawberries or the soaked pad at the bottom of your tray of supermarket mince). It is a smell that you will secretly savour, breathe deeply, and then long for lemon zest or the sharpness of coffee beans to send away that angelic fug. That milk and tears have a language of their own is undeniable. Kristeva says they are “metaphors of non-language, of a ‘semiotic’ that does not coincide with linguistic communication” (Stabat Mater 143) but what I know is that these fluids were the first language for my children. Were they the first language for me? Because “it must be true: babies drink language along with the breastmilk: Curling up over their tongues while they take siestas–Mots au lait, verbae cum lacta, palabros con leche” (Wasserman quoted in Giles 223). The enduring picture I have of myself as an infant is of a baby who didn’t cry, but my mother will tell you a different story, in the way that all of us do. She will tell you I didn’t smile until I was five months old (Soli and Jem were both beaming at three months). Born six weeks premature, my muscles took longer to find their place, to assemble themselves under my skin. She will tell you I screamed in the night, because all babies do. Is this non-language? Jem was unintelligible much of the time. I felt as if I was holding a puzzle. Three o’clock in the morning, having tried breastfeeds, a bath with Nick Drake’s Pink Moon, bouncing him in a baby sling on the fitball (wedged into a corner so that if I nodded off I would hopefully swoon backwards, and the wall would wake me), walking him around and around while rocking and singing, then breastfeeding again, and still he did not sleep, and still he cried and clawed at my cheeks and shoulders and wrists and writhed; I could not guess at what it was he needed. I had never been less concerned with the self that was me. I was all breasts and milk and a craving for barbecued chicken and watermelon at three in the morning because he was drinking every ounce of energy I had. I was arms and a voice. I was food. And then I learnt other things; about let downs and waking up in pools of the stuff. Wet. Everywhere. “Lactating bodies tend towards anarchy” (Bartlett 163). Any body will tend towards anarchy – there is so much to keep in – but there are only so many openings a person can keep track of, and breastfeeding meant a kind of levelling up, meant I was as far from clean and proper as I possibly could be (Kristeva, Powers of Horror 72).In the nights I was not alone. Caren could not breastfeed him, but could do everything else, and never said I have to work tomorrow, because she knew I was working too. During waking hours I watched him constantly for those mystical tired signs, which often were hungry signs, which quickly became overtired signs. There was no figuring it out. But Soli, with Soli, I knew. The language of babies had been sung into my bones. There is a grammar in crying, a calling out and telling, a way of knowing that is older than I’ll ever be. Those tiny bodies are brimming with semiotics. Knees pulled up is belly ache, arching is tired, a look to the side I-want-that-take-me-there-not-there. There. Curling in, the whole of him, is don’t-look-at-me-now-hands-away. Now he is one he uses his hands to tell me what he wants. Sign language because I sign and so, then, does he, but also an emphatic placing of my hands on his body or toys, utensils, swings, things. In the early hours of a Wednesday morning I tried to stroke his head, to close his wide-open eyes with my fingertips. He grabbed my hand and moved it to his chest before I could alight on the bridge of his nose. And yesterday he raised his arm into the air, then got my hand and placed it into his raised hand, then stood, and led me down to the laundry to play with the dustpan and broom. His body, literally, speaks.This is the language of mothers and babies. It is laid down in the darkest part of the night. Laid down like memory, like dreams, stitched into tiredness and circled with dread adrenalin and fear. It will never stop. That baby will cry and I will stare owl-eyed into the dark and bend my cracking knees (don’t shake the baby it will only make it worse don’t shake don’t). These babies will grow into children and then adults who will never remember those screaming nights, cots like cages, a stuffed toy pushed on them as if it could replace the warmth of skin and breath (please, please, little bear, replace the warmth of skin and breath). I will never remember it, but she will. They will never remember it, but we will. Kristeva says too that mothers are in a “catastrophe of identity which plunges the proper Name into that ‘unnameable’ that somehow involves our imaginary representations of femininity, non-language, or the body” (Stabat Mater 134). A catastrophe of identity. The me and the not-me. In the night, with a wrapped baby and aching biceps, the I-was batting quietly at the I-am. The I-am is all body. Arms to hold and bathe and change him, milk to feed him, a voice to sing and soothe him. The I-was is a different beast, made of words and books, uninterrupted conversation and the kind of self-obsession and autonomy I didn’t know existed until it was gone. Old friends stopped asking me about my day. They asked Caren, who had been at work, but not me. It did not matter that she was a woman; in this, for most people we spoke to, she was the public and I was the private, her work mattered and mine did not. Later she would commiserate and I would fume, but while it was happening, it was near impossible to contest. A catastrophe of identity. In a day I had fed and walked and cried and sung and fed and rocked and pointed and read books with no words and rolled inane balls across the lounge room floor and washed and sung and fed. I had circled in and around while the sun traced its arc. I had waited with impatience for adult company. I had loved harder than I ever had before. I had metamorphosed and nobody noticed. Nobody noticed. A catastrophe of identity it was, but the noise and visibility that the word catastrophe invokes was entirely absent. And where was the language to describe this peeling inside out? I was burnished bright by those sleepless nights, by the requirement of the I-am. And in those nights I learned what my mother already knew. That having children is a form of grief. That we lose. But that we gain. At 23, what’s lost is possibility. She must have seen her writer’s life drilling down to nothing. She knew that Sylvia Plath had placed her head, so carefully on its pillow, in that gas filled place. No pungent metaphor, just a poet, a mother, who could not continue. I had my babies at 34 and 36. I knew some of what I would lose, but had more than I needed. My mother had started out with not enough, and so was left concave and edged with desperation as she made her way through inner-city Sydney’s grime, her children singing from behind her wait for me, wait for me, Mama please wait for me, I’m going just as fast as I can.Nothing could be more ‘normal’ than that a maternal image should establish itself on the site of that tempered anguish known as love. No one is spared. Except perhaps the saint or the mystic, or the writer who, by force of language, can still manage nothing more than to demolish the fiction of the mother-as-love’s-mainstay and to identify with love as it really is: a fire of tongues, an escape from representation (Kristeva, Stabat Mater 145).We transformed, she and I. She hoped to make herself new with children. A writer born of writers, the growing and birthing of our tiny bodies forced her to place pen to paper, to fight to write. She carved a place for herself with words but it kept collapsing in on her. My father’s bi-polar rages, his scrubbing evil spirits from the soles of her shoes in the middle of the night, wore her down, and soon she inhabited that maternal image anyway, in spite of all her attempts to side step it. The mad mother, the single mother, the sad mother. And yes I remember those mothers. But I also remember her holding me so hard sometimes I couldn’t breathe properly, and that some nights when I couldn’t sleep she had warm eyes and made chamomile tea, and that she called me angel. A fire of tongues, but even she, with her words, couldn’t escape from representation. I am a writer born of writers born of writers (triply blessed or cursed with text). In my scramble to not be mad or bad or sad, I still could not escape the maternal image. More days than I can count I lay under my babies wishing I could be somewhere, anywhere else, but they needed to sleep or feed or be. With me. Held captive by the need to be a good mother, to be the best mother, no saint or mystic presenting itself, all I could do was write. Whole poems sprang unbidden and complete from my pen. My love for my children, that fire of tongues, was demolishing me, and the only way through was to inhabit this vessel of text, to imbibe the language of bodies and tears and night, and make from it my boat.Those children wrote my body in the night. They taught me about desire, that unbounded scribbling thing that will not be bound by subjectivity, by me. They taught me that “the body is literally written on, inscribed, by desire and signification” (Grosz 60), and every morning I woke with ashen bones and poetry aching out through my pores, with my body writing me.This Mother ThingI maintain that I do not have to leavethe house at nightall leathery and eyelinered,all booted up and raw.I maintain that I do not miss thosesmoky rooms (wait that’s not allowed any more)where we strut and, without looking,compare tattoos.Because two years ago I had you.You with your blonde hair shining, your eyes like a creek after rain, that veinthat’s so blue on the side of your small nosethat people think you’ve been bruised.Because two years ago you cameout of me and landed here and grew. There is no going out. We (she and me) washand cook and wash and clean and love.This mother thing is the making of me but I missthose pulsing rooms,the feel of all of you pressing in onall of me.This mother thing is the making of me. And in text, in poetry, I find my home. “You only have to look at the Medusa straight on to see her. And she’s not deadly. She’s beautiful and she’s laughing” (Cixous 885). The mother-body writes herself, and is made new. The mother-body writes her own mother, and knows she was always-already here. The mother-body births, and breastfeeds, and turns to me in the aching night and says this: the Medusa? The Medusa is me.ReferencesBartlett, Alison. Breastwork: Rethinking Breastfeeding. Sydney: UNSW Press, 2005.Cixous, Hélène, Keith Cohen, and Paula Cohen (Trans.). "The Laugh of the Medusa." Signs 1.4 (1976): 875-93. Giles, Fiona. Fresh Milk. Crows Nest, NSW: Allen & Unwin, 2003. Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. St Leonards, NSW: Allen & Unwin, 1994.Kristeva, Julia, and Leon S. Roudiez (Trans.) Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982.Kristeva, Julia, and Arthur Goldhammer (Trans.). "Stabat Mater." Poetics Today 6.1-2 (1985): 133-52.

Purpose The purpose of this study/paper Manipulating Golden Wombs’ (2017) is to show the author’s non-site intervention of authoritarian – undemocratic maneuvering of both women’s and earth’s “golden” wombs. The burning fossil fuels in myriads of flame colors, signal the power and distress of Earth’s wounded womb, memories of war, environmental destruction and human fatality, and descend to decline as extinguished Oil Drops (2017), creating a void. Global warming poses a problem for fossil fuel systems and those who profit from them. Design/methodology/approach The title of this paper has been inspired by Cara New Dagget’s book, The Birth of Energy (2019), posited in the nascent realm of energy “mortalities.” Now, confronting a world warmed by sweltering fossil fuels, the book provides us with a direction to thinking energy beyond the “Calvinist view” of everlasting work. Spellbound by Manipulating Golden Wombs’ (2017), the audience canter around the outer surface of the centrally positioned, circulating luminous “acrylic” oil drops highlighted by hundreds of mono-frequency lamps impregnated with desert biodiversity. A closer look takes spectators through a fiery desert, across the fossil fuel fields into the depths of its scorching oil wells, its womb, as they sense the “real-time” catastrophe that had occurred beyond the gallery wall. Findings These artists’ objective with their interventions is to “root it to the contour of the […] land, so that it’s permanently there and subject to the weathering,” so the audience is “sort of curious to see what will happen to this” (Schmidt, 1996, 225) through the course of time. The works resists the resistance of nature and social culture, as well as of body and intellect by emphasizing the intransience, however complex, of human beings with the ecosphere in which they survive (Novak 2002, 23). The surfacing of the under-surface of the land and ocean life triggers the idea of the private space, which involves role-play, gender norms and the control over women's lives in the capitalist and Gulf societies. Authoritarianism, fossil fuel capital, high-energy use and militarism make the climate politics critical to planetary security. This combustible convergence gave birth to Manipulating Golden Wombs’ (2017). Research limitations/implications Ganz reminds us that devouring less energy appears to be almost unharmonious with the current politics of being “Modern.” Sacrificing energy resonances with abstinence at best, and widespread death and injustice at worst. But, consuming an overload of energy is incompatible with a multispecies existence on Earth. Scientists caution “a cascade of feedbacks could push the Earth System irreversibly onto a ‘Hothouse Earth’ pathway,” the consequence of which could be an uninhabitable, unsafe globe for beings (Steffen et al., 2018). Even though it sounds vivid, it is hard to overstate the crisis in the midst of what environmentalists and biologists term as a sixth extinction event (Kolbert, 2014), in line with a “biological annihilation” that paints “a dismal picture of the future of life, including human life” (Ceballos et al., 2017). Practical implications It is not only the land’s womb that we have hurt; we have miffed the hearts of the water network, and “Othered” and the wombs of many women and most surfaces of the Earth have been penetrated, unconsented! To sustain a biodiverse sphere, to pause the deaths of the planet’s flora and fauna and to thrive on Earth, we need to work on renewable sources of energy based on “new collectively shared values, principles, and frameworks” (Steffen et al., 2018). We need to stop Manipulating Golden Wombs’ (2017). Are we ready to accept the challenge? (Lau and Traulsen, 2016) Social implications Petro-masculinity has multiple global dimensions and manifests in multiple and locally specific ways (Dagget, 2018). This encourages the geographically diverse artists discussed in this paper to embrace alternative visions, to make bold and explicit statements on gender and global diversity, equity and rights. Through history, women, in specific, embodied the entirety of the Ecocene and its life cycle and explored it in the context of their own relationships, health, sexuality, fertility, reproduction, childbirth, illness and inescapably death. The artists’ interventions’ visual physiognomies and intentions point toward a comprehensive agenda of action that leads to remedial courses toward reinstating the biome to a healthy condition. Originality/value Manipulating Golden Wombs’ (2017) enacts the historic all-consuming fires, penetrating the “shared environment,” burning the fossilized fuels exuding from Earth’s penetrated womb. The higher cone-shaped oil drops irradiate the intense dazzling images of oil wells in flames and the desert flora and fauna nestled within the scorching inner arena. This aligns with the private space provided to women. The wombs are smothered in the fuming fires of the Gulf war. The darker, narrower lower oil drops, iconic of the remnants of fossil fuel, are the residual sludge within which the land and water species are enmeshed and ensnared to death. The potency of the enactment of the drops “enables the viewer to see [him/]herself seeing, to become aware of how she perceives the world around [him/]her and in doing so participates in shaping it” (Eliasson, 2009, p. 25) as a form of engagement, which involves an “attention to time, movement and changeability” (pp. 18–21).

SAMUEL C. COLLINS AWARD 2023 Prof. Dr. Ir. H.J.M (Marcel) ter Brake University of Twente, Faculty of Science and Technology The Netherlands In 1965 the Cryogenic Engineering Conference (CEC) established an award in honor of the late Samuel C. Collins, Professor of Mechanical Engineering at the Massachusetts Institute of Technology. One of Professor Collins’ most notable works is his invention of the modern helium liquefier. The Collins Award is awarded to an individual who has made outstanding contributions to the identification and solution of cryogenic engineering problems and has additionally demonstrated a concern for the cryogenic community through service and leadership. The award is open to persons regardless of national origin. The CEC Awards Committee reviewed multiple nomination packages for highly qualified individuals and selected Marcel ter Brake as the recipient of the 2023 Samuel C. Collins Award. Marcel ter Brake received his PhD in 1986 at the University of Twente (UT) for his work on a SQUID-based horizontal-access rock magnetometer. Following his PhD, he became member of the Low Temperature Division at UT. Focus of his work was the realization of a Biomagnetic Center equipped with a magnetically shielded room and home-made multichannel SQUID-based neuromagnetometers. These magnetometers were all liquid-helium cooled. The advent of high-temperature superconductivity in 1986 allowed the use of small cryocoolers that were available on the market. The interfacing of these coolers to ultra-sensitive devices such as SQUIDs became an important field of ter Brake’s research. In this ongoing research, MEMS technologies were applied to fabricate cryocooler components. In addition to microcooling he also researched sorption-based compressors combined with Joule-Thomson coolers. These sorption coolers are essentially vibration free and are of interest specifically for optical instruments in scientific space missions but can also be beneficial in terrestrial applications. Marcel ter Brake was appointed Associate Professor at UT in 2000, and Full Professor and chair holder of Energy, Materials and Systems at UT since January 1st, 2010. Next to cryogenic technologies, this research chair investigates the use of superconductivity in high-current applications, focusing on systems to be applied in future energy chains. Marcel’s recent work is on ejectors to achieve lower temperatures and higher system efficiency in JT coolers. His work on the fundamental understanding of counter flow heat exchangers (CFHXs) and the associated mechanisms of flow maldistribution for two-phase flow in JT microcoolers. He has done excellent work on the heat-triggered switching of two-phase flow maldistribution in the heat exchanger of JT microcoolers by using both microscopic and temperature measurements that led to solutions to the challenge. Marcel ter Brake had a 10% Professor appointment at the Technological University of Eindhoven (TUE) from September 2004 to September 2010. He founded the Cryogenics Society of Europe in 2015 and until present he chairs the Board of that Society. Furthermore, he is lifetime member of the Cryogenic Society of America, chairs the International Cryogenic Engineering Committee and is board member of the International Cryocooler Conference. He has supervised and (co)-promoted 19 PhD students, has published more than 200 papers, of which 115 in refereed journals, and written 5 book chapters. Based on Marcel ter Brake’s impact in terms of technical achievement, leadership, and service to the cryogenics community, in the opinion of the awards committee, Marcel is a perfect example of what the Sam Collins Award is meant to recognize. THE RUSSELL B. SCOTT MEMORIAL AWARDS The Russell B. Scott Memorial Awards honor the first head of the Cryogenic Engineering Laboratory of the Boulder Laboratories of the National Bureau of Standards, now the National Institute of Standards and Technology. Mr. Scott was the founder of the Cryogenic Engineering Conference (CEC), the first of which was held in 1954 in Boulder, Colorado. He is the author of the book Cryogenic Engineering, published by the Princeton press in 1959. Mr. Scott retired in 1965 after 37 years at NBS and died in 1967. The Scott Memorial Awards provide an incentive for the production and presentation of high-quality papers at the Cryogenic Engineering Conferences, and recognition of authors who, in the judgment of the CEC Board of Directors, presented the best papers at the proceeding conference. The papers are nominated by the reviewers and editors of the conference proceedings. In 2023, two awards for the best papers delivered at the 2021 CEC Virtual Conference, and published in the IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022, were presented at the 2023 Honolulu conference to the following: Best Paper for Cryogenic Engineering Research A Anand, A S Gour, T S Datta and V V Rao for their paper “50 kJ SMES magnet design optimization using real coded genetic algorithm” IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022; 012137 Best Paper for Cryogenic Engineering Applications I Wells, J Bussey, N Swets, L Reising, C Butikofer, G Wallace, S Kulsa and J Leachman for their paper “Liquid nitrogen removal of lunar regolith simulant from spacesuit simulants” IOP Conference Series: Materials Science and Engineering, Vol. 1240, 2022; 012003