Статті в журналах з теми "Chechen imprints"

The purpose of the research is a commission test of the efficacy of the supramolecular complex of ivermectin at gastrointestinal strongylatoses of horses.Materials and methods. The commission experiment was performed in June 2019 in the North Caucasian Federal District of the Chechen Republic. The efficacy of the supramolecular complex of ivermectin was evaluated on 20 horses of different breeds in the Seradin Equestrian Center. To determine the rate of gastrointestinal nematode infection in horses, we collected fresh feces in the morning, made tissue imprints from perianal folds and examined them by the Fülleborn's method using a saturated solution of sodium chloride.Results and discussion. The coproovoscopic examination determined a 100% infection of horses with Strongylates and 40.0% infection with Oxyuris sp., with 488.7±24.4 strongylates eggs and 16.9±0.84 Oxyuris sp. eggs found in 1 g of feces, respectively. Seven and 15 days after the supramolecular complex of ivermectin administered to the horses from the first test group at a dose of 0.15 mg/kg for the active substance (7.5 mg/kg for the drug) in a mixture with mixed feed, we did not find any Strongylata eggs or Oxyuris sp. eggs in feces or on tissue imprints. Insufficient efficacy was obtained in the horses from the second test group after being treated with the active substance of ivermectin at a dose of 0.15 mg/kg. The strongylate egg number decreased on average by 244.3±12.21, namely, by 50.1%, and no Oxyuris sp. eggs were found. The efficacy against Oxyuris sp. was 100%. The horses consumed the mixture of drugs with feed readily. There were no side effects after the drugs applied. Thus, we established the high efficacy of the supramolecular complex of ivermectin against gastrointestinal strongylatoses, and the convenience of its use in a mixture with feed to untamed herd horses individually and by group feeding.

This paper presents an approach to fabricate nanoscale gratings by direct imprint on silicon substrate. Imprint conditions that affect the transcription accuracy, such as imprint temperature and pressure, are discussed, and the profile of the imprinted 80nm width gratings with a 250 nm pitch is checked by SEM. High fidelity and fine uniformity demonstrate that nanoimprint is an economical and efficient method to fabricate nanoscale gratings.

ABSTRACT Objectives: To experimentally evaluate the efficacy of a standard sterilization protocol employed during reuse of disposable helical stone baskets. Methods: Study performed on 20 helical stone baskets: 10 were used in the initial validation process, contaminated with Escherichia coli ATCC 25922 and imprinted on Müeller-Hinton media; 10 catheters were contaminated with Geobacillus stearothermophilus ATCC 7953, processed, inoculated in TSB and incubated in a water bath at a temperature of 55°C. Bacterial growth was evaluated after 1, 3, 5 and 7 days. After sterilization, stone baskets were also opened and closed 40 times to check for functional problems. All plastic and basket parts were carefully checked for damages. Results: After the 72-hour incubation period, there was growth of E. coli ATCC 25922 in 100% of imprints. After the sterilization process and up to 7 days incubation period on a blood agar plate, there was no growth of G. stearothermophilus ATCC 7953 or any other bacteria. There were no functional problems or damage to baskets after the sterilization process. Conclusion: The ethylene oxide system is efficacious and safe for sterilization of disposable helical stone baskets. However, further clinical studies are required and should provide more safety information.

Цифровые преобразования региональных социально-экономических систем определяют долгосрочные тренды экономического роста и финансовой стабильности отдельных территориальных образований. Глобальные тенденции по «оцифровке» экономических и финансовых отношений накладывают свой отпечаток на вектор регионального развития национальных экономик. Подобные вопросы являются актуальными в том числе и для России. В этой связи данная статья направлена на выявление особенностей и проблем в процессах цифровизации региональной банковской системы и рынка банковских услуг по показателям диджитализации и финансовой доступности Чеченской Республики. Рассмотрена необходимость и основные факторы цифровой трансформации обособленной экономики. Определены понятия цифровые финансы и финансовая доступность, а также отражена связь между данными сферами в современных условиях. Проанализированы показатели информатизации Чеченской Республики. Также проведена оценка обеспеченности Региона банковскими услугами. Выявлена степень взаимосвязи между индикаторами информатизации региона и уровнем цифровизации рынка банковских услуг с точки зрения доступности сети Интернет и развитости дистанционного банковского обслуживания. Digital transformations of regional socio-economic systems determine long-term trends in economic growth and financial stability of individual territorial entities. Global trends in the “digitization” of economic and financial relations impose their imprint on the vector of regional development of national economies. Such issues are also relevant for Russia. In this regard, this article is aimed at identifying features and problems in the digitalization processes of the regional banking system and the banking services market in terms of digitisation and financial accessibility of the Chechen Republic. The necessity and main factors of digital transformation of isolated economy are considered. The concepts of digital finance and financial accessibility are defined, as well as the connection between these areas in modern conditions. Indicators of informatization of the Chechen Republic were analyzed. The Region’s banking services were also assessed. The degree of interaction between indicators of informatization of the region and the level of digitalization of the banking services market in terms of Internet accessibility and the development of remote banking services was revealed.

This article analyzes how Moscow has extended its rule over Chechnia since the beginning of this century. Within the larger understanding of this rule as imperial in form, the current distinct contractual relationship between the Russian center and Chechnia is substantiated as one based on kinship. I argue that the Putin-Kadyrov relationship is a generic case of patronage but highlight the local imprint that such relations acquire by tracing how Chechen kinship practices inform this case.

The article is devoted to the study of sacred symbols represented in the petroglyphs of Chechnya and widely used in the material culture of the local population of the ancient and late medieval era: in the decoration of metal products, the ornament of carpets and ceramics. The author believes that sacred symbolism is reflected in spiritual culture. The circle, the cross, the spiral and other sacred symbols have been embodied in a variety of forms in oral folk art, dance culture, ritual traditions, the Nart epic, thereby defining the stylistic features of the culture of the North Caucasus. Sacred meanings are imprinted not only in the images of dancing anthropomorphic figures on the walls of residential and combat towers, but also the pattern of their movements and gestures repeats the outlines of ancient symbols, thereby testifying to the ritual nature of the origin of folk dance and many genres of oral folk art. The methodological basis of the research is a set of general historical, ethnographic and archaeological research methods, the use of which is determined by the nature of the material being studied. Thus, the internal space and structure of the phenomena of spiritual culture correspond to the forms of the main sacred symbols that existed in the culture of the peoples of the region in ancient times, thereby creating a special style of North Caucasian culture, which is characterized by inner sacredness. The reflection of mythological plots and symbols in petroglyphs and bronze plastics of the Koban culture of late Bronze and early iron testifies to the deep antiquity of folk dance and many genres of oral folk art of the population of the North Caucasus and speaks about the close intertwining of the phenomena of material and spiritual culture in that period, about the sacredness of being in its representations. Ritualism penetrates into all spheres of life (labor, funeral rite, wedding ceremony), protecting the ancient man from all bad things.

tudy of philopatry and dispersal of pied flycatchers Ficedula hypoleuca was launched on the Courish Spit (SE Baltic) in 1981. Since then, ca. 9,000 nestlings were ringed at different sites in the Russian part of the Courish Spit. A total of 557 individuals ringed as pulli were recaptured in subsequent seasons in the study area. Both males and females are more often recaptured in the plots where they were ringed than in other plots. These results were interpreted in the framework of the hypothesis forwarded by Löhrl (1959) and supported by Berndt & Winkel (1979). These authors suggested that cavity nesters (pied flycatchers and collared flycatchers F. albicollis) imprint their future local breeding area during the period of postfledging exploration. Birds that survive until the next spring, return to these imprinted areas to breed. A similar study done by Sokolov et al. (1984) on the Courish Spit in an open nesting species, the chaffinch Fringilla coelebs, confirmed this finding. We assumed that juvenile pied flycatchers disperse for varying distances during their postfledging movements and imprint a local area, some 1–5 kilometres in diameter. This area is the goal of their migration next spring. It is suggested that in spring, yearlings are non–randomly distributed in respect to the area they have imprinted as juveniles. Recently, Vysotsky (2000, 2001) re–analysed the same data on philopatry of pied flycatchers on the Courish Spit and forwarded an alternative hypothesis. He suggests that juveniles, both males and females, do not imprint any local area during the postfledging period, but are distributed randomly across the area of several dozens of kilometres in spring. Vysotsky was able to show that distribution of distances of natal dispersal did not differ from the random pattern the study plot which was an 8.5 km long line of nest boxes along the Courish Spit. The aim of this study was to test these two alternative hypotheses. To do so, we set up nine new study plots in 2000. Over 800 nest–boxes were made available for the birds (in addition to the old 400) in the 44 km long area. We recaptured pied flycatchers returning for breeding during four years, 2000–2003. The distribution of natal dispersal distances was compared with the null model which assumes that pied flycatchers settle randomly in the study area. We took all nest boxes from which pied flycatchers successfully fledged in a particular year and all next boxes where we were able to capture either a male or a female in the subsequent year, and calculated the distances between each pair of such nest boxes. Simulations were run separately for each sex. Theoretical distributions already include control efficiency. If some nest boxes were not checked in some year, or if we failed to capture one or both members of a breeding pair, we did not include this nest box inthe model. Some birds could settle outside the study plot. Therefore, the theoretical distribution may underestimate the actual range of natal dispersal, but is unlikely to overestimate it. The number of females ringed as nestlings and recaptured as one–year–old birds was 43. The distribution of their natal distances (mean 6,8 km, SE = 0,81; median 5,4 km) was not significantly different from the pattern predicted by the null model (Wilcoxon matched pairs test: z = 1,25; p = 0,21). Conversely, males settled significantly closer to their natal nest box (n = 83; mean 4,3 km, SE = 0,57; median 2,5 km) than predicted by the model (Wilcoxon matched pairs test: z = 2,45; p = 0,014). For example, 24% of males settle within one km from their natal site, as compared with 7% predicted by the model. Males are found with a greater than chance probability within the 7 km zone around their natal site. The hypothesis by Vysotsky (2000) can thus be rejected for pied flycatcher males. Pied flycatcher females are known to settle at larger distances from their natal nest box. The very fact that were controlled 83 males and only 43 females suggests, assumed that sex ratio at fledging is close to being equal and that true survival rates during the first year of life do not differ greatly between the sexes, that many females emigrated from of our study plot. This does not mean that juvenile females do not imprint a home area during the postfledging period, as suggested by Vysotsky (2000). We think that the reason for this is not the inadequate navigational ability of the females but the fact that they were attracted by a prospecting male at some distance from their migratory destination and settle there. Such intercepting was suggested by Fedorov (1996) for Acrocephalus warblers, and it may exist in other migratory passerines. This is supported by the data on natal site fidelity from Spain which show that in Spanish pied flycatcher populations, recruitment rate did not differ between female and male juveniles (Potti & Montalvo, 1991). Females from these southern populations have a limited chance to be attracted by prospecting males in even more southern areas.

In this paper, an electrochemical sensor for epinephrine (EP), a neurotransmitter was developed by anchoring molecularly imprinted polymeric matrix (MIP) on the surface of gold-coated quartz crystal electrode of electrochemical quartz crystal microbalance (EQCM) using starch nanoparticles (Starch NP) — reduced graphene oxide (RGO) nanocomposite as polymeric format for the first time. Use of EP in therapeutic treatment requires proper dose and route of administration. Proper follow-up of neurological disorders and timely diagnosis of them has been found to depend on EP level. The MIP sensor was developed by electrodeposition of starch NP-RGO composite on EQCM electrode in presence of template EP. As the imprinted sites are located on the surface, high specific surface area enables good accessibility and high binding affinity to template molecule. Differential pulse voltammetry (DPV) and piezoelectrogravimmetry were used for monitoring binding/release, rebinding of template to imprinted cavities. MIP-coated EQCM electrode were characterized by contact angle measurements, AFM images, piezoelectric responses including viscoelasticity of imprinted films, and other voltammetric measurements including direct (DPV) and indirect (using a redox probe) measurements. Selectivity was assessed by imprinting factor (IF) as high as 3.26 (DPV) and 3.88 (EQCM). Sensor was rigorously checked for selectivity in presence of other structurally close analogues, real matrix (blood plasma), reproducibility, repeatability, etc. Under optimized conditions, the EQCM-MIP sensor showed linear dynamic ranges (1–10[Formula: see text][Formula: see text]M). The limit of detection 40 ppb (DPV) and 290 ppb (EQCM) was achieved without any cross reactivity and matrix effect indicating high sensitivity and selectivity for EP. Hence, an eco-friendly MIP-sensor with high sensitivity and good selectivity was fabricated which could be applied in “real” matrices in a facile manner.

Petroleum products being transported through pipelines can be easily targeted by economic and political saboteurs. Unmanned Aerial Vehicle (UAV) heralds a new technology on pipeline safety, surveillance, surveying mapping, assessment and safety for the oil and gas industry. With the advent of this technology, leaks, corrosion, third party interference and other faults leading to the loss of life, environmental pollution can be checked. This review highlights the state of the technology and benefits of UAV to the Nigeria oil and gas industry. The Nigeria oil and gas industry vested with over 2,300,000 barrels of crude oil daily production has over 9000km pipeline route which is prone to rupture from leaks, corrosion and vandalism. The industry will benefit from a flexible compatible and adaptable UAV platform with a multispectral and hyper spectral sensor for extensive safety, real-time imagery within a localized small to medium spatial scale, over larger expanse of space and time. The technology is adjured cheaper for inspection mission over traditional methods. Adoption of these technology would improve the environmental imprints of the oil and gas companies operating in the Niger Delta, and cases of pipeline vandalism and unrest might be lessened.

Recently published studies have shown that microfluidic devices fabricated by in-house three-dimensional (3D) printing, computer numerical control (CNC) milling and laser engraving have a good quality of performance. The 3-in-1 3D printers, desktop machines that integrate the three primary functions in a single user-friendly set-up are now available for computer-controlled adaptable surface processing, for less than USD 1000. Here, we demonstrate that 3-in-1 3D printer-based micromachining is an effective strategy for creating microfluidic devices and an easier and more economical alternative to, for instance, conventional photolithography. Our aim was to produce plastic microfluidic chips with engraved microchannel structures or micro-structured plastic molds for casting polydimethylsiloxane (PDMS) chips with microchannel imprints. The reproducability and accuracy of fabrication of microfluidic chips with straight, crossed line and Y-shaped microchannel designs were assessed and their microfluidic performance checked by liquid stream tests. All three fabrication methods of the 3-in-1 3D printer produced functional microchannel devices with adequate solution flow. Accordingly, 3-in-1 3D printers are recommended as cheap, accessible and user-friendly tools that can be operated with minimal training and little starting knowledge to successfully fabricate basic microfluidic devices that are suitable for educational work or rapid prototyping.

The presented work’s aim is the application of low-power laser treatment for the enhancement of interfacial micromechanical adhesion between polyamide 6 (filled with glass fiber) and aluminum. A fiber laser beam was used to prepare micro-patterns on aluminum sheets. The micro-structuring was conducted in the regime of 50, 100, 200 and 300 mm/s laser beam speeds, for both sides. The joining process was realized in an injection molding process. Metallic inserts were surface engraved and overmolded in one-side and two-side configurations. A lap shear test was used to examine the strength of the joints. Engraved metallic surfaces and adequate imprints on polyamide side were checked by optical microscope with motorized stages, and roughness parameters were also determined. Microscopic observations made it possible to describe the grooves’ shape and to conclude that a huge recast melt was formed when the lowest laser beam speed was applied; thus, the roughness parameter Ra reached the highest value of 16.8 μm (compared to 3.5 μm obtained for the fastest laser speed). The maximum shear force was detected for a sample prepared with the lowest scanning speed (one-sides joints), and it was 883 N, while for two-sided joints, the ultimate force was 1410 N (for a scanning speed of 200 mm/s).

Abstract Background: Infected bone is often intractable. An ideal approach is to simultaneously eradicate infection and repair the bone defect. The development of osteoinductive bone graft composites to control antibiotic drug release would be useful for the treatment of intractable bone infections. Objectives: To develop a rat model of osteomyelitis for assessing osteoinductive bone graft scaffolds containing antibiotics and a bone morphogenetic protein. Methods: Si-imprinted calcium phosphate is a new hydroxyapatite derivative used in fabricating bone scaffolds. Vancomycin and bone morphogenetic protein-2 (BMP-2) were loaded onto scaffolds of Si-imprinted calcium phosphate using an established method. The efficiency of the scaffold as a drug carrier system was assessed in vivo. Osteomyelitis was induced in rats by infection of the tibial epiphysis with Staphylococcus aureus (BAA 1680). The success of inducing disease was checked after 4 weeks using bacterial culture and radiography. A 10 mm metaphysis bone was surgically removed and replaced with a drug-loaded scaffold. Histology and X-ray imaging were used to evaluate the implants at 8 weeks post implantation. Results: We successfully established a rat model of osteomyelitis. The causative bacteria were effectively eradicated by vancomycin released from the implants. Enhanced bone formation was observed for the implant samples containing vancomycin and BMP-2 compared with those containing either vancomycin or BMP2 alone. Conclusions: The newly developed bone scaffold has potential as a vehicle for therapeutic agents to treat bone diseases.

A novel single-piece all-solid-state ion-selective electrode (SC/ISE) based on carbon-screen printed is introduced. Polyaniline (PANI) is dissolved in a membrane cocktail that contains the same components used for making a conventional ion-selective polyvinyl chloride (PVC) matrix membrane. The membrane, having the PANI, is directly drop-casted on a carbon substrate (screen-printed-carbon electrode). PANI was added to act as an intermediary between the substrate and the membrane for the charge transfer process. Under non-equilibrium sensing mechanism, the sensors revealed high sensitivity towards 2,4-dichlorophenol (DCP) over the linearity range 0.47 to 13 µM and a detection limit 0.13 µm. The selectivity was measured by the modified separate solution method (MSSM) and showed good selectivity towards 2,4-DCP over the most commonly studied ions. All measurements were done in 30 mm Tris buffer solution at a pH 5.0. Using constant-current chronopotentiometry, the potential drift for the proposed electrodes was checked. Improvement in the potential stability of the SPE was observed after the addition of PANI in the sensing membrane as compared to the corresponding coated-wire electrode (membrane without PANI). The applicability of the sensor has been checked by measuring 2,4-DCP in different water samples and the results were compared with the standard HPLC method.

One of the main problems in studying the Ekven burial ground is determining its age and cultural affiliation. From the very first years of its research to the present, the typology of harpoon tips and the stylistic analysis of ornaments on bone items constitute the basis for solving the corresponding range of issues. This approach allowed defining that the burial ground belongs to the early phase of the sequence of the Neo-Eskimo cultures, namely the Old Bering Sea culture. Meanwhile, an analysis of the ceramic collection of the Ekven burial ground shows that the site contains only ceramics typical of the late Birnirk culture, characterized by circular and arched ornamental patterns. This differentiate the Ekven burial ground from other reference sites of the ancient Bering Sea culture located on the American side of the Bering Strait and containing ceramics that preserve the ancient traditions of Paleo-Eskimo ceramics, characterized by linear and “checked” imprints on the vessels surfaces. Such situation is rather contradictory and requires some explanation. Apparently, the materials from the Ekven burial ground have not yet been fully understood, and research to determine its cultural affiliation needs to be continued. The article provides a brief overview of the materials related to the establishment of cultural and chronological affiliation of the burial ground, summarizes the data on its absolute dating and the results of the analysis of its ceramics. Several possibilities for resolving the contradictions that arose after studying the Ekven ceramic collection are discussed.

The article presents the results of an empirical study of employees of the penitentiary system, the purpose of which was to study their psychological resistance to the impact of destructive factors of professional activity and the development of a psychocorrectional program. The professional activity of employees of the penal system is associated with the impact of various kinds of stress factors, the main of which is interaction with convicts with different levels of psychological and pedagogical neglect and criminal infection, which leaves an imprint on the employee's personality and destructive changes, and therefore the study the psychological stability of the penitentiary system employees to the impact of destructive factors of professional activity is of particular relevance for the penitentiary department. Having studied the psychological characteristics of employees and determined the destructive factors of professional activity, the authors checked the presence of a statistical relationship between the studied phenomena using Spearman's correlation coefficient, which made it possible to develop a psychocorrectional program for psychological support of this category of employees of the penal system. Also, within the framework of the developed psychocorrectional program, the main directions of work on the prevention and correction of destructive behavior are given, which in turn will increase the efficiency of the professional activities of penitentiary officials, improve the social and psychological climate within the team, and prevent discipline among the employees of the penal system.

Molecularly imprinted polymer (MIP) receptors have been synthesized, characterized, and applied as new selective receptors in solid-contact ion selective electrodes (ISEs) towards non-dissociated 3,5-dihydroxytoluene (orcinol). Two monomers, namely methacrylic acid (MAA) and acrylamide (AA), were used in the preparation of MIP receptors. Graphene (Gr) was used as the solid contact material between the sensing membrane and the electrical contact substrate. Based on non-equilibrium sensing mechanism, the proposed sensors reveal observably enhanced detection sensitivity towards orcinol with detection limits 1.7 × 10−5 and 3.3 × 10−6 M for sensors based on MIP/MAA and MIP/AA, respectively. The selectivity coefficients measured by the modified separate solution method (MSSM) for the proposed sensors showed good selectivity towards orcinol over most common other phenols and inorganic anions. All measurements were made in the presence of 30 mM phosphate buffer solution (PBS) with a pH of 7.0. Potential stability for the proposed sensors was tested by constant-current chronopotentiometry. No water films were formed between the sensing membrane and the electron conductor substrate. The applicability of MIP/MAA incorporated ISE has been checked by recovery test of orcinol in the presence of soil matrix and by standard addition method.

Wood was a crucial resource for prehistoric societies, for instance, as timber for house construction and as fuel. In the case of the exceptionally large Chalcolithic Tripolye ‘mega-sites’ in central Ukraine, thousands of burnt buildings, indicating huge population agglomerations, hint at such a massive use of wood that it raises questions about the carrying capacity of the sensitive forest-steppe environment. In this contribution, we investigate the wood demand for the mega-site of Maidanetske (3990–3640 BCE), as reconstructed based on wood charcoal data, wood imprints on daub and the archaeo-magnetometry-based settlement plan. We developed a regional-scale model with a fuzzy approach and applied it in order to simulate the potential distribution and extent of woodlands before and after Chalcolithic occupation. The model is based upon the reconstructed ancient land surface, soil information derived from cores and the potential natural woodland cover reconstructed based on the requirements of the prevailing ancient tree species. Landscape scenarios derived from the model are contrasted and cross-checked with the archaeological empirical data. We aim to understand whether the demand for wood triggered the site development. Did deforestation and consequent soil degradation and lack of resources initiate the site’s abandonment? Or, alternatively, did the inhabitants develop sustainable woodland management strategies? Starting from the case study of Maidanetske, this study provides estimates of the extent of human impact on both carrying capacity and landscape transformations in the sensitive transitional forest-steppe environment. Overall, the results indicate that the inhabitants of the Chalcolithic site did not suffer from a significant shortage in the wood resource at any time of inhabitation in the contexts of the different scenarios provided by the model. An exception is given by the phase of maximum house construction and population within a scenario of dry climatic conditions.

A noticeable fact about the giant luminous arcs, which have been detected in a few high-redshift clusters of galaxies (see contributions by Petrosian and by Mellier in this volume), is that they seem to be segments of almost perfectly circular rings – in one case spanning about one third of a circle. If this is a characteristic property of these arcs, they cannot be segments of randomly-oriented three-dimensional rings, which, when viewed from a random direction, should look acircular in most cases. Perhaps the most generic source for a circular ring is a limb-brightened luminous shell – as in planetary nebulae and supernova remnants. Such shells can naturally arise, for example, from explosion-generated shocks which cooled and fragmented into stars. If the sources are shells, and the arcs are either resolved or their thickness is determined by the seeing conditions (and by the CCD pixle size), there is a very general upper-limit on the possible surface-brightness contrast between the arcs and the regions encompassed by them. For the detected arcs, without any special finetuning, this limit is ≃ 3. It might become twice as big if the shell is transparent and the interior is opaque. This limit could exclude the shell model if the preliminary claims for a detected contrast greater than 10 are confirmed. It is interesting to note that the famous ring nebula presents a similar problem. We checked several mechanisms, such as stimulated radiation, which could, in principle, enhance the observed contrast while retaining the spherical symmetry; if such a mechanism is responsible for the enhanced contrast, it should show clear imprints on the spectrum. The figure shows the surface-brightess profile for a shell of thickness d.

In this short review, we discuss how Earth’s climatological and geological history and also how the shadows of galactic black holes might reveal our Universe’s past evolution. Specifically we point out that a pressure singularity that occurred in our Universe’s past might have left its imprint on Earth’s geological and climatological history and on the shadows of cosmological black holes. Our approach is based on the fact that the H0 tension problem may be resolved if some sort of abrupt physics change occurred in our Universe 70–150 Myrs ago, an abrupt change that deeply affected the Cepheid parameters. We review how such an abrupt physics change might have been caused in our Universe by a smooth passage of it through a pressure finite-time singularity. Such finite-time singularities might occur in modified gravity and specifically in F(R) gravity, so we show how modified gravity might drive this type of evolution, without resorting to peculiar cosmic fluids or scalar fields. The presence of such a pressure singularity can distort the elliptic trajectories of bound objects in the Universe, causing possible geological and climatological changes on Earth, if its elliptic trajectory around the Sun might have changed. Also, such a pressure singularity affects directly the circular photon orbits around supermassive galactic black holes existing at cosmological redshift distances, thus the shadows of some cosmological black holes at redshifts z≤0.01, might look different in shape, compared with the SgrA* and M87* supermassive black holes. This feature however can be checked experimentally in the very far future.

Infertility considered as a multifactorial condition; the small nuclear ribonucleoprotein polypeptide N (SNRPN) gene is an imprinted gene. However, abnormal imprinting of this gene due to the methylation may result in abnormal function or silencing of the gene. Main aim of this study is to investigate the methylation present at the promoter of (SNRPN) gene and its role as a risk factor for male infertility. Sixty- three infertile males with age mean (32.28 ± 6.88 years) and 13 fertile males as a control age mean (34.07 ± 6.52 years) were investigated. Whole genomic DNA was extracted, DNA integrity was checked using β-globin gene as an internal control. The targeted region was amplified by polymerase chain reaction (PCR) technique. In addition, the SNRPN gene's promoter methylation was qualitatively detected using Real time polymerase chain reaction (qPCR) utilizing two sets of primers: methylated and un-methylated. Results reveled that all of the 63 infertile males were experiencing decrease in sperm concentration 9.42 ± 8.70 million/ml, reduced progressive motility 2.89 ± 5.45% as well as strange sperm morphology 27.06 ± 16.50%, while the values in the control group are normal. The results of the current investigation showed that the promoter of SNRPN was hypermethylated in some samples 22.7%, somewhat methylated in others 20.4%, and unmethylated in other samples 56.8% from infertile samples, while none of the 13 control samples had any methylation. These findings suggest that SNRPN gene may be associated with the negative changes in semen parameters, which could lead to male infertility.

AbstractThis research article demonstrates the synthesis, characterization, and electrochemical evaluation of a molecularly imprinted polymer (MIP) on the surface of silanized graphene oxide (silanized GO), which is nanostructured and used to quantify 17‐estradiol (E2) in wastewater. As characterization methods, X‐ray diffraction (XRD), Raman spectroscopy, dynamic scattering light (DSL), scanning electron microscope (SEM), and Fourier transform infrared spectroscopy (FTIR) were utilized to examine the synthesized GO, silanized GO, MIP‐GO composite, and non‐imprinted polymer (NIP)–GO (NIP‐GO) composite. FTIR results confirmed the successful synthesis of GO composites. Raman study confirmed the synthesis of monolayer silanized GO, MIP‐GO composite, and NIP‐GO composite. Surface morphology revealed that after polymerization, the surface of silanized GO sheet‐like morphology is covered with nanoparticles. Adsorption kinetics studies revealed that adsorption follows the pseudo‐second‐order kinetics. Further, we studied the performance of a MIP‐GO‐based sensor by optimizing the effects of pH, scan rate, and incubation period. The linear calibration was achieved between the oxidation peak current and E2 concentration from 0.1 to 0.81 ppm, with a detection limit of 0.037 ppm. The selectivity of the MIP‐GO composite was also checked by using other estrogens, and it was found that E2 is 3.3, 0.5, and 1.4 times more selective than equilin, estriol, and estrone, respectively. The composite was successfully applied to the wastewater samples for the detection of E2, and a good percentage of recoveries were achieved. It suggests that the reported composite can be applied to real samples.Practitioner Points An innovative electrochemical sensor was developed for selective detection of 17‐estradiol through molecularly imprinted polymer fabricated on the surface of silanized GO (MIP‐GO composite). The developed method was comprehensively validated and found to be linear in the range of 0.1 to 0.8 ppm of 17‐estradiol, with 0.037 ppm of limit of detection and 0.1 ppm of limit of quantification, respectively. The developed MIP‐GO‐composite‐based electrochemical sensor was found 3.3, 0.5, and 1.4 times more selective for 17‐estradiol than equiline, estriol, and estrone, respectively. The applicability of a developed sensor was also checked on wastewater samples, and a good percent recovery was obtained.

ObjectiveThe offspring of women with gestational diabetes mellitus (GDM) have a high predisposition to developing type 2 diabetes during childhood and adulthood. The aim of the study was to evaluate how GDM exposure in the second half of pregnancy contributes to hepatic glucose intolerance through a mouse model.MethodsBy creating a GDM mouse model, we tested glucose and insulin tolerance of offspring by intraperitoneal glucose tolerance test (IPGTT), insulin tolerance test (ITT), and pyruvate tolerance test (PTT). In addition, we checked the expression of genes IGF2/H19, FoxO1, and DNMTs in the mouse liver by RT-qPCR. Pyrosequencing was used to detect the methylation status on IGF2/H19 differentially methylated regions (DMRs). In vitro insulin stimulation experiments were performed to evaluate the effect of different insulin concentrations on HepG2 cells. Moreover, we detect the interaction between FoxO1 and DNMT3A by chromatin immunoprecipitation–quantitative PCR (Chip-qPCR) and knock-down experiments on HepG2 cells.ResultsWe found that the first generation of GDM offspring (GDM-F1) exhibited impaired glucose tolerance (IGT) and insulin resistance, with males being disproportionately affected. In addition, the expression of imprinted genes IGF2 and H19 was downregulated in the livers of male mice via hypermethylation of IGF2-DMR0 and IGF2-DMR1. Furthermore, increased expression of transcriptional factor FoxO1 was confirmed to regulate DNMT3A expression, which contributed to abnormal methylation of IGF2/H19 DMRs. Notably, different insulin treatments on HepG2 demonstrated those genetic alterations, suggesting that they might be induced by intrauterine hyperinsulinemia.ConclusionOur results demonstrated that the intrauterine hyperinsulinemia environment has increased hepatic FoxO1 levels and subsequently increased expression of DNMT3A and epigenetic alterations on IGF2/H19 DMRs. These findings provide potential molecular mechanisms responsible for glucose intolerance and insulin resistance in the first male generation of GDM mice.

IntroductionThis paper is concerned with recent attempts to develop the creative economy in rural Scotland. Research shows that the creative economy is far from self-organising, and that an appropriate institutional landscape is important to its development (Andersson and Henrekson). In Scotland, there is a proliferation of support mechanisms – from those designed to help creative entrepreneurs improve their business, management, or technical expertise, to infrastructure projects, to collective capacity-building. In rural Scotland, this support landscape is particularly cluttered. This article tackles the question: How do rural creative entrepreneurs negotiate this complex funding and support landscape, and how do they aid the development of the rural creative economy ‘from below’? From Creative Industries to the Creative EconomyThe creative industries have been central to the UK’s economic growth strategy since the 1990s. According to the Centre for Economics and Business Research the creative industries contributed £5.9bn to the economy in 2013 (CEBR 17). In the last five years there have been significant improvements in ICTs, leading to growth in digital creative production, distribution, and consumption. The established creative industries, along with the nascent ‘digital industries’ are often grouped together as a separate economic sector – the ‘creative economy’ (Nesta A Manifesto for the Creative Economy).Given its close association with creative city discourses (see Florida 2002), research on the creative economy remains overwhelmingly urban-focused. As a result of this urban bias, the rural creative economy is under-researched. Bell and Jayne (209) note that in the last decade a small body of academic work on the rural creative economy has emerged (Harvey et al.; White). In particular, the Australian context has generated a wealth of discussion as regards national and regional attempts to develop the rural creative economy, the contribution of ‘creativity’ to rural economic and social development, sustainability and resilience, and the role that individual creative practitioners play in developing the rural creative economy (see Argent et al.; Gibson, Gibson and Connell; Waitt and Gibson).In the absence of suitable infrastructure, such as: adequate transport infrastructure, broadband and mobile phone connectivity, workspaces and business support, it often falls to rural creative practitioners themselves to ‘patch the gaps’ in the institutional infrastructure. This paper is concerned with the ways in which rural creative practitioners attempt to contribute to the development of the creative economy ‘from below’. ICTs have great potential to benefit rural areas in this respect, by “connecting people and places, businesses and services” (Townsend et al. Enhanced Broadband Access 581).The Scottish InfrastructureSince 1998, cultural policy has been devolved to Scotland, and has fallen under the control of the Scottish Government and Parliament. In an earlier examination of a Scottish creative business support agency, I noted that the Scottish Government has adopted a creative industries development strategy broadly in line with that coming out of Westminster, and subsequently taken up worldwide, and that the Scottish institutional infrastructure is extremely complex (Schlesinger et al.). Crucially, the idea of ‘intervention’, or, the availability of a draw-down programme of funding and support that will help creative practitioners develop a business from their talent, is key (Schlesinger).The main funder for Scottish artists and creative practitioners is Creative Scotland, who distribute money from the Scottish Government and the National Lottery. Highlands and Islands Enterprise (HIE) also offer funding and support for creative practitioners working in the Highlands and Islands region. Further general business support may be drawn down from Business Gateway (who work Scotland-wide but are not creative-industries specific), or Scottish Enterprise (who work Scotland-wide, are not creative-industries specific, and are concerned with businesses turning over more than £250,000 p.a.). Additionally, creative-sector specific advice and support may be sought from Cultural Enterprise Office (based in Glasgow and primarily serving the Central Belt), Creative Edinburgh, Dundee or Stirling (creative networks that serve their respective cities), the Creative Arts and Business Network (based in Dumfries, serving the Borders), and Emergents (based in Inverness, dealing with rural craftspeople and authors).MethodologyThe article draws on material gathered as part of three research projects, all concerned with the current support landscape for creative practitioners in Scotland. The first, ‘Supporting Creative Business’ was funded by the Arts and Humanities Research Council, the second, ‘Towards a model of support for the rural creative industries’ was funded by the University of Glasgow and the third, ‘The effects of improved communications technology of rural creative entrepreneurs’ funded by CREATe, the Research Council's UK Centre for the Study of Copyright and New Business Models in the Creative Economy.In all three cases, the research was theoretically and practically informed by the multi-sited ethnographies of cultural, creative and media work conducted by Moeran (Ethnography at Work, The Business of Ethnography) and Mould et al. Whilst the methodology for all three of my projects was ethnography, the methods utilised included interviews (n=23) – with interviewees drawn from across rural Scotland – participant and non-participant observation, and media and document analysis. Interviewees and study sites were accessed via snowball sampling, which was enabled by the measure of continuity between the three projects. This paper draws primarily on interview material and ethnographic ‘vignettes’. All individuals cited in the paper are anonymised in line with the University of Glasgow’s ethics guidelines.Cities, Creativity, and ‘Buzz’As noted earlier, cities are seen as the driving force behind the creative industries; and accordingly, much of the institutional infrastructure that supports the rural creative industries is modelled on urban systems of intervention. Cities are seen as breeding grounds for creativity by virtue of what Storper and Venables call their ‘buzz’ – consider, for example, the sheer numbers of creative practitioners that congregate in cities, the presence of art schools, work spaces and so on. Several of the creative practitioners I spoke to identified the lack of ‘buzz’ as one key difference between working in cities and working from rural places:It can be isolating out here. There are days when I miss art school, and my peers. I really valued their support and just the general chit chat and news. […] And having everything on your doorstep. (Visual artist, Argyll)Of course, rural creatives didn’t equate the ‘buzz’ of activity in cities with personal or professional creative success. Rather, they felt that developing a creative business was made easier by the fact that most funders and support agencies were based in Scotland’s Central Belt. The creatives resident there were able to take advantage of that proximity and the relationships that it enabled them to build, but also, the institutional landscape was supplemented by the creative ‘buzz’, which was difficult to quantify and impossible to replicate in rural areas.Negotiating the Funding and Support LandscapeI spoke to rural creative practitioners about whether the institutional infrastructure – in this case, relevant policy at national and UK level, funding and support agencies, membership bodies etcetera – was adequate. A common perspective was that the institutional infrastructure was extremely complex, which acted as a barrier for creatives seeking funding and support:Everything works ok, the problem is that there’s so many different places to go to for advice, and so many different criteria that you have to meet if you wanted funding, and what’s your first port of call, and it’s just too complicated. I feel that as a rural artist I fall between the cracks […] am I a creative business, a rural creative business, or just a rural business? (Craftsperson, Shetland) Interviewees suggested that there were ‘gaps’ in the institutional infrastructure, caused not by the lack of appropriate policy, funders, or support agencies but rather by their proliferation and a sense of confusion about who to approach. Furthermore, funding agencies such as Creative Scotland have, in recent years, come under fire for the complexity of their funding and support systems:They have simplified their application process, but I just can’t be bothered trying to get anything out of Creative Scotland at the moment. I don’t find their support that useful and they directed me to Cultural Enterprise Office when I asked for advice on filling in the form and tailoring the application, and CEO were just so pushed for time, I couldn’t get a Skype with them. The issue with getting funding from anywhere is the teeny tiny likelihood of getting money, coupled with how time-consuming the application process is. So for now, I’m just trying to be self-sufficient without asking for any development funds. But I am not sure how sustainable that is. (Craftsperson, Skye, interview) There was a sense that ‘what works’ to enable urban creative practitioners to develop their practice is not necessarily sufficient to help rural creatives. Because most policymakers, funders and support bodies are based in the Central Belt, rural creatives feel that the challenges they face are poorly understood. One arts administrator summed up why, statingthe problem is that people in the Central Belt don’t get what we’re dealing with up here, unless they’ve actually lived here. The remoteness, poor transport links, internet and mobile access […] it impacts on your ability to develop your business. If I want to attend a course, some organisations will pay travel and accommodation. But they don’t account for the fact that if I travel from Eigg, I’ll need to work around the ferry times, which might mean two extra nights’ accommodation plus the cost of travel … we’re excluded from opportunities because of our location. (Arts administrator, the Small Isles) A further issue identified by several participants in this research is that funding and support agencies Scotland-wide tend to work to standardised definitions of the creative industries that privilege high-growth sectors (see Luckman). This led to many heritage and craft businesses feeling excluded. One local authority stakeholder told me,exactly what the creative industries are, well that might be obvious on paper but real life is a bit more complicated. Where do we put a craftsperson whose craft work is done in her spare time but pays just enough to stop her needing a second job? How do we tell people like this, who say they are in the creative industries, that they aren’t actually according to this criteria or that criteria? (Local authority stakeholder, Shetland, interview)Creating Virtual ‘Buzz’? The Potential of ICTsAccording to 2015 OFCOM figures (10-12), in rural Scotland 85.9% of households can receive broadband, and 6.3% can receive superfast. The Scottish Government’s ambition is to deliver superfast broadband to up to 90 per cent of premises in Scotland by March 2016, and to extend this to 95 per cent by 2017. Whilst the current landscape as regards broadband provision is far from ideal, there are signs that improved provision is profoundly affecting the way that rural creatives develop their practice, and the way they engage with the institutional infrastructure set up to support them.At an industry event run by HIE in July 2015, a diverse panel of rural creatives spoke of how they exploited the possibilities associated with improved ICTs in order to offset some of the aforementioned problems of working from rural and remote areas. As the event was conducted under Chatham House rules, the following is adapted from field notes,It was clear from the panel and the Q&A that followed that improved ICTs meant that creatives could access training and support in new ways–online courses and training materials, webinars, and one-on-one Skype coaching, training and mentoring. Whilst of course most people would prefer face-to-face contact in this respect, the willingness of training providers to offer online solutions was appreciated, and most of the creatives on the panel (and many in the audience) had taken advantage of these partial solutions. The rural creatives on the panel also detailed the tactics that they used in order to ‘patch the gaps’ in the institutional infrastructure:There were four things that emerged from the panel discussion, Q&A and subsequent conversations I had on how technology benefited rural creatives: peer support, proximity to decision-makers, marketing and sales, and heritage and provenance.In terms of peer support, the panel felt that improved connectivity allowed them to access ‘virtual’ peer support through the internet. This was particularly important in terms of seeking advice regarding funding, business support and training, generating new creative ideas, and seeking emotional support from others who were familiar with the strains of running a creative business.Rural creatives found that social media (in particular) meant that they had a closer relationship with ‘distant’ decision-makers. They felt able to join events via livestreaming, and took advantage of hash tagging to take part in events, ‘policy hacks’ and consultations. Attendees I spoke to also mentioned that prominent Government ministers and other decision-makers had a strong Twitter presence and made it clear that they were at times ‘open’ to direct communication. In this way, rural creatives felt that they could ‘make their voices heard’ in new ways.In terms of marketing and sales, panel members found social media invaluable in terms of building online ‘presence’. All of the panel members sold services and products through dedicated websites (and noted that improved broadband speeds and 3G meant that these websites were increasingly sophisticated, allowing them to upload photographs and video clips, or act as client ‘portals’), however they also sought out other local creatives, or creatives working in the same sector in order to build visible networks on social media such as Instagram, Twitter and Facebook. This echoes an interview I conducted with a designer from Orkney, who suggested that these online networks allowed designers to build a rapport with customers, but also to showcase their products and build virtual ‘buzz’ around their work (and the work of others) in the hope their designs would be picked up by bloggers, the fashion press and stylists.The designer on the panel also noted that social media allowed her to showcase the provenance of her products. As she spoke I checked her Twitter and Instagram feeds, as well as the feeds of other designers she was linked to; a large part of their ‘advertising’ through these channels entailed giving followers an insight into life on the islands. The visual nature of these media also allowed them to document how local histories of making had influenced their practice, and how their rural location had influenced their work. It struck me that this was a really effective way to capture consumers’ imaginations. As we can see, improved ICTs had a substantial impact on rural creatives’ practice. Not only did several of the panel members suggest that improved ICTs changed the nature of the products that they could produce (by enabling them to buy in different materials and tools, and cultivate longer and more complex supply chains), they also noted that improved ICTs enabled them to cultivate new markets, to build stronger networks and to participate more fully in discussions with ‘distant’ policymakers and decision makers. Furthermore, ICTs were seen as acting as a proxy for ‘buzz’ for rural creatives, that is, face-to-face communication was still preferred, but savvy use of ICTs went some way to mitigating the problems of a rural location. This extends Storper and Venables’s conceptualisation of the idea, which understands ‘buzz’ as the often-intangible benefits of face-to-face contact.Problematically however, as Townsend et al. state, “rural isolation is amplified by the technological landscape, with rural communities facing problems both in terms of broadband access technologies and willingness or ability of residents to adopt these” (Enhanced Broadband Access 5). As such, the development activities of rural creatives are hampered by poor provision and a slow ‘roll out’ of broadband and mobile coverage. ConclusionsThis paper is concerned with recent attempts to develop the rural creative economy in Scotland. The paper can be read in relation to a small but expanding body of work that seeks to understand the distinctive formation of the rural creative industries across Europe and elsewhere (Bell and Jayne), and how these can best be developed and supported (White). Recent, targeted intervention in the rural creative industries speaks to concerns about the emergence of a ‘two tier’ Europe, with remote and sparsely-populated rural regions with narrow economic bases falling behind more resilient cities and city-regions (Markusen and Gadwa; Wiggering et al.), yet exactly how the rural creative industries function and can be further developed is an underdeveloped research area.In order to contribute to this body of work, this paper has sketched out some of the problems associated with recent attempts to develop the creative economy in rural Scotland. On a Scotland-wide scale, there is a proliferation of policies, funding bodies, and support agencies designed to organise and regulate the creative economy. In rural areas, there is also an ‘overlap’ between Scotland-wide bodies and rural-specific bodies, meaning that many rural creatives feel as if they ‘fall through the cracks’ in terms of funding and support. Additionally, rural creatives noted that Central Belt-based funders and support agencies struggled to fully understand the difficulties associated with making a living from a rural location.The sense of being distant from decision makers and isolated in terms of practice meant that many rural creatives took it upon themselves to develop the creative economy ‘from below’. The creatives that I spoke to had an array of ‘tactics’ that they used, some of which I have detailed here. In this short paper I have focused on one issue articulated within interviews – the idea of exploiting ICTs in order to build stronger networks between creatives and between creatives and decision makers within funding bodies and support agencies. Problematically, however, it was recognised that these creative-led initiatives could only do so much to mitigate the effects of a cluttered, piecemeal funding and support landscape.My research suggests that as it stands, ‘importing’ models from urban contexts is alienating and frustrating for rural creatives and targeted, rural-specific intervention is required. Research demonstrates that creative practitioners often seek to bring about social and cultural impact through their work, rather than engaging in creative activities merely for economic gain (McRobbie Be Creative, Rethinking Creative Economies; Waitt and Gibson). Whilst this is true of creatives in both urban and rural areas, my research suggests that this is particularly important to rural creatives, who see themselves as contributing economically, social and culturally to the development of the communities within which they are embedded (see Duxbury and Campbell; Harvey et al.). ‘Joined up’ support for this broad-based set of aims would greatly benefit rural creatives and maximise the potential of the rural creative industries.ReferencesAndersson, Martin, and Magnus Henrekson. "Local Competiveness Fostered through Local Institutions for Entrepreneurship." Research Institute on Industrial Economics Work Paper Series (2014), 0-57. Argent, Neil, Matthew Tonts, Roy Jones and John Holmes. “A Creativity-Led Rural Renaissance? Amenity-Led Migration, the Creative Turn and the Uneven Development of Rural Australia.” Applied Geography 44 (2013): 88-98.Bell, David, and Mark Jayne. "The Creative Countryside: Policy and Practice in the UK Rural Cultural Economy." Journal of Rural Studies 26.3 (2010): 209-18.Centre for Economic and Business Research. The Contribution of the Arts and Culture to the National Economy. London: CEBR, 2013. 1-13.Duxbury, Nancy, and Heather Campbell. “Developing and Revitalizing Rural Communities through Arts and Culture.” Small Cities Imprint 3.1 (2011): 1-7.Florida, Richard. The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life. London: Basic Books, 2002.Gibson, Chris. “Cultural Economy: Achievements, Divergences, Future Prospects.” Geographical Research 50.3 (2012): 282-290.Gibson, Chris, and Jason Connell. “The Role of Festivals in Drought-Affected Australian Communities.” Event Management 19.4 (2015): 445-459.Harvey, David, Harriet Hawkins, and Nicola Thomas. "Thinking Creative Clusters beyond the City: People, Places and Networks." Geoforum 43.3 (2012): 529-39.Luckman, Susan. Locating Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity. London: Palgrave Macmillan, 2012.McRobbie, Angela. Be Creative! London: Polity, 2016.———. “Rethinking Creative Economies as Radical Social Enterprise.” Variant 41 (2011): 32–33 Moeran, Brian. Ethnography at Work. London: A&C Black, 2007.———. The Business of Ethnography. London: Berg, 2005.Mould, Oliver, Tim Vorley, and Kai Liu. “Invisible Creativity? Highlighting the Hidden Impact of Freelancing in London's Creative Industries.” European Planning Studies 12 (2014): 2436-55.Nesta. Creative Industries and Rural Innovation. London: Nesta, 2007.———. A Manifesto for the Creative Economy. London: Nesta, 2013.Oakley, Kate. "Good Work? Rethinking Cultural Entrepreneurship." Handbook of Management and Creativity (2014): 145-59.O'Brien, Dave, and Peter Matthews. After Urban Regeneration: Communities, Policy and Place. London: Policy Press, 2015.Office of the Communications Regulator. Communications Market Report 2015. London: OFCOM, 2015. i-431.Schlesinger, Philip. “Foreword.” In Bob Last, Creativity, Value and Money. Glasgow: Cultural Enterprise Office, forthcoming 2016. 1-2.Schlesinger, Philip, Melanie Selfe, and Ealasaid Munro. Curators of Cultural Enterprise: A Critical Analysis of a Creative Business Intermediary. London: Springer, 2015. 1-134.Storper, Michael, and Anthony J. Venables. "Buzz: Face-to-Face Contact and the Urban Economy." Journal of Economic Geography 4.4 (2004): 351-70.Townsend, Leanne, Arjun Sathiaseelan, Gorry Fairhurst, and Claire Wallace. "Enhanced Broadband Access as a Solution to the Social and Economic Problems of the Rural Digital Divide." Local Economy 28.6 (2013): 580-95.Townsend, Leanne, Claire Wallace, Alison Smart, and Timothy Norman. “Building Virtual Bridges: How Rural Micro-Enterprises Develop Social Capital in Online and Face-to-Face Settings.” Sociologia Ruralis 56.1 (2016): 29-47.Waitt, Gordon, and Chris Gibson. “The Spiral Gallery: Non-Market Creativity and Belonging in an Australian Country Town.” Journal of Rural Studies 30 (2013): 75-85.White, Pauline. "Creative Industries in a Rural Region: Creative West: The Creative Sector in the Western Region of Ireland." Creative Industries Journal 3.1 (2010): 79-88.

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.