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Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 29 липня 2024

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1

Vereen, Endia. "Trademark Protection in Bankruptcy Proceedings: A Closer Look at Lubrizol and its Progeny." Pittsburgh Journal of Technology Law and Policy 15, no. 1 (February 10, 2015): 57–76. http://dx.doi.org/10.5195/tlp.2014.156.

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When the worlds of bankruptcy and intellectual property licenses converge, licensees are placed in potentially dangerous positions. The seminal case on this issue, Lubrizol Enterprises, Inc. v. Richmond Metal Finishers, Inc., stands for the proposition that when a licensor rejects an intellectual property license as "executory," the licensee no longer has the right to rely on provisions within the agreement with the debtor for continued use of the technology. To countermand the negative effects of Lubrizol, Congress amended the Bankruptcy Code, but intentionally omitted trademarks from the definition of intellectual property. This omission has produced a string of conflicting case law, leaving trademark licensees in a precarious position with few options for recourse. This Note discusses the Intellectual Property Bankruptcy Protection Act and trademark protection specifically, and details the circuit split created by Sunbeam Products, Inc. v. Chicago American Manufacturing. This Note focuses on the implications of the circuit split, and concludes by providing some suggestions for how courts can resolve this issue in the future.
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2

Diaz, Lorena, Juan Solano, Rafael Rios, Lina P. Carvajal, Jose M. Munita, Sandra Rincon, Cesar Arias, and Jinnethe Reyes. "1214. High Frequency of Genes Encoding Resistance to Heavy Metals in Methicillin-Resistant Staphylococcus aureus (MRSA) Endemic Lineages From South America." Open Forum Infectious Diseases 5, suppl_1 (November 2018): S368. http://dx.doi.org/10.1093/ofid/ofy210.1047.

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Abstract Background MRSA-USA300 is a community-associated clone that has spread worldwide, becoming the most successful clone in the USA. Since 2005, the MRSA-USA300 Latin-American Variant (USA300-LV) has disseminated in community and hospitals in Northern South America. Phylogenetic analysis revealed that USA300-LV is not derived from the USA300 (NA-USA300) but rather, the two clones diverged from a common ancestor. During their evolution, NA-USA300 strains incorporated the ACME element and USA300-LV acquired a copper and mercury resistance mobile element designated COMER. Interestingly, contamination by heavy metals in South American has been recently highlighted and could be driving the selection of resistant genetic lineages. We investigated the frequency of merA, merB, and copB in genomes of clinical isolates of S. aureus from Latin America (LA). Methods The presence of merA/merB and copB encoding mercury and copper resistance, respectively, were investigated in 515 S. aureus sequenced genomes recovered from bacteremic patients in hospitals from nine Latin American hospitals trough BLAST searches. Results The prevalence of merAB in S. aureus was 35% (181 out of 515 genomes). Interestingly, among 181 merAB-positive S. aureus, 174 were MRSA (96%). Moreover, 71%, 60%, 59%, and 51% of MRSA genomes from Peru, Ecuador, Colombia, and Venezuela, respectively, harbored mercury resistance genes. Similarly, 65%, 60%, and 22% of MRSA genomes from Ecuador, Colombia, and Venezuela, contained the copB gene. Among 174 MRSA harboring merAB, ST8 and ST5 were the most predominant lineages in (43% and 45% of genomes, respectively). In contrast, among 95 MRSA carrying copB, ST8 was the most frequent lineage (96% of isolates). MRSA from countries with high prevalence of mercury genes showed association with ST5 and ST8. 88% of Colombian and 87% of Ecuadorian MRSA harboring merAB belonged to ST8 lineage, whereas ST5 was predominant in 88% of Peruvian MRSA. In Venezuela, ST5 and ST8 were found in 44% and 33%, respectively, of MRSA positive for merAB. Conclusion High levels of mercury in rivers of Colombia, Ecuador and Peru has been reported. Thus, the prevalence of heavy metal resistance genes in MRSA clinical isolates suggest an adaptation of endemic genotypes to heavy metal contamination caused by activities like metal mining. Disclosures J. M. Munita, Pfizer: Grant Investigator, Research grant. C. Arias, Merck & Co., Inc.: Grant Investigator, Research support. MeMed: Grant Investigator, Research support. Allergan: Grant Investigator, Research support.
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3

CLEGG, A. J. "A review of “Metals Handbook Desk Edition” (American Society for Metals, 1985.) [Pp. 1294.] Price £96.00. A review of “Metal Selector: Computer Software developed by the American Society for Metals and Physical Sciences Inc”. Price £440." International Journal of Production Research 24, no. 1 (January 1986): 242–43. http://dx.doi.org/10.1080/00207548608928109.

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4

Fails, Danielle, and Michael Spencer. "Abstract 3914: Antibodies: The key to spatial mass spectrometry success." Cancer Research 82, no. 12_Supplement (June 15, 2022): 3914. http://dx.doi.org/10.1158/1538-7445.am2022-3914.

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Abstract As multiplex immunofluorescent assays continue to be used more frequently than ever, their success almost exclusively relies on the quality and performance of the antibodies used. One of the most popular methods, imaging mass cytometry (IMC), primarily differs from traditional methods in that it uses 1) metal labels rather than fluorescent tags and 2) allows for the addition of all primary antibodies at one time rather than sequentially. Success in IMC, however, can be hindered by loss of antibody activity, poor optimization, or insufficient testing post-conjugation. The aim of this study was to assess whether thoroughly analyzing antibody activity before and after metal conjugation could serve as a predictor for success in IMC.Carrier-free antibodies (Bethyl Laboratories, Inc.) were conjugated using Fluidigm’s Maxpar® X8 Antibody Labelling Kits. Metal-antibody pairings were designated based on the protein’s expression level. Post-conjugation activity testing was performed on tissue microarrays using both citrate and tris HIER methods. Initial DAB testing was done first to observe any loss of signal, followed by IF testing using Dylight-conjugated secondary antibodies, to determine exposure time limitations. Initial testing concentration for each target was based off the validated working concentration provided on the data sheet for each antibody. If a loss of activity was observed, further IF testing was performed to recover activity via titration experiments. Optimal exposure times were obtained for each sample using the Vectra Polaris imaging system. The conjugates were then assessed in IMC using Fluidigm’s Hyperion System.A set of 60 antibodies were evaluated with 30% showing decreased activity post-conjugation, ranging from a minor reduction of signal to complete loss. Exposure times taken from each target were determined to be a valid predictor of success in IMC. A sliding scale showed that targets with <200ms exposure times would be successful while those with >300ms failed. Furthermore, several antibodies that showed a complete loss of signal post-conjugation were able to recover that signal via an increase in antibody concentration.The utilization of pre- and post-conjugation activity tests on metal-conjugated antibodies provides key insights on imaging mass cytometry outcomes. Exposure times from IF serve as one of the most crucial predictors for success. Additionally, the use of increased concentration gradients for first-pass “failed” antibodies can often recover any loss of activity. This loss of activity wastes time and money if not identified prior to use in imaging mass cytometry experiments. Building this sort of assessment into early IMC experiment planning can yield a streamlined approach to testing and evaluating potential IMC targets. Citation Format: Danielle Fails, Michael Spencer. Antibodies: The key to spatial mass spectrometry success [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 3914.
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5

SHATWELL, D., J. A. CLIFFORD, D. ECHAVARRÍA, G. IRUSTA, and D. LOPEZ. "Discoveries of Low-Sulfidation Epithermal Au-Ag Veins at Cerro Negro, Deseado Massif, Argentina." SEG Discovery, no. 85 (April 1, 2011): 1–23. http://dx.doi.org/10.5382/segnews.2011-85.fea.

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ABSTRACT Exploration by Andean Resources Ltd. in the Cerro Negro district of southern Argentina between March 2005 and July 2010 delineated resources of 2.54 Moz gold and 23.5 Moz silver in three low-sulfidation epithermal vein deposits. Two of these, Eureka West and Bajo Negro, are new discoveries; the third deposit, Vein Zone, had been explored previously. Additional measured and indicated resources of 2.7 Moz Au have been estimated by current owners Goldcorp Inc. for three other discoveries at Cerro Negro: San Marcos, Mariana Norte, and Mariana Central. The total gold resource for the project is 5.3 Moz Au measured and indicated, plus 1.24 Moz inferred. Andean completed a positive feasibility study into an underground and open pit mining operation in July 2010, based on reserves of 2.07 Moz Au and 20.6 Moz Ag at Eureka, Bajo Negro, and Vein Zone. The study concluded that these deposits can produce an average of 200,000 oz of gold and 1.8 Moz of silver per year for 10 years, which would make Cerro Negro the largest gold producer in the Deseado Massif without considering resources or production from the other three deposits. The deposits are hosted by Late Jurassic volcanic and probable intrusive rocks of the Deseado Massif in which Triassic-Cretaceous extension created the structures which control the precious metal vein deposits. Four of the five new discoveries were found through geologic mapping, but pioneering work by previous explorers also contributed; the two most recent discoveries do not crop out. Geophysical studies helped to define drill targets and are likely to be increasingly important in future exploration. A key ingredient in Andean’s success was a willingness to drill test targets identified by a skilled and dedicated, largely Argentine, exploration team, supported by Australian and North American-based management.
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6

Jia, Qingying, Qiang Sun, Fan Yang, Amir Peyman Soleymani, Jasna Jankovic, and Cortney Mittelsteadt. "Facile Synthesis of Supported Ir-Based OER Electrocatalysts Via Sputtering." ECS Meeting Abstracts MA2023-01, no. 36 (August 28, 2023): 2024. http://dx.doi.org/10.1149/ma2023-01362024mtgabs.

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Hydrogen has been regarded as a promising energy carrier for renewable energy systems with net zero emissions [1]. However, the vast majority of industrial hydrogen has been produced from fossil fuels with high carbon dioxide (CO2) emissions [2]. An emerging method for hydrogen production potentially free of greenhouse gas emissions (so-called green hydrogen) is water electrolysis coupled to renewable energy sources such as wind, solar, hydropower, etc [3]. Among several water electrolysis technologies, proton exchange membrane water electrolyzers (PEMWEs) are the most promising due to several inherent advantages [4]. However, the large amount of iridium (Ir) used in current PEMWEs versus the limited amount of Ir resource on earth impedes large-scale and sustainable deployment of PEMWEs [5]. Lowering the amount of Ir used to efficiently catalyze the oxygen evolution reaction (OER) at PEMWE anodes might be achieved through the development of novel electrocatalysts. One strategy to reduce the Ir content of PEMWE anodes is to put Ir onto a support. This strategy can not only reduce the Ir content by improving Ir utilization in comparison with unsupported Ir-based electrocatalysts, but also decrease the Ir packing density [6]. Low Ir packing density is required for electrocatalyst layers with low Ir-contents to be sufficiently thick to ensure robust interfaces between the electrocatalyst layer and the porous transport layer (PTL) and membrane [7]. This strategy has two critical steps: (1) finding/developing a robust support and (2) depositing Ir onto the support with desired morphology with a method that is affordable, scalable, and manufacturable [8]. Here we report a one-step deposition of Ir onto nanoscale tungsten-doped titanium dioxide (W-TiO2) powders via sputtering. Characterization shows that Ir is deposited onto the surface of W-TiO2 (Figure 1) in the mixed form of metallic Ir and Ir oxides with particle sizes smaller than 2 nm. The catalyst exhibits an OER mass activity twice that of Ir black in acidic media. Powder conductivity measurements confirm that the electrocatalyst is electrically conductive (~24 S/cm) despite the low conductivity of the W-TiO2 powders (~1×10-4 S/cm). Our study suggests that sputtering is a feasible deposition method for large-scale production of supported Ir-based OER electrocatalysts. Acknowledgement. This study is sponsored by internal funding from Plug Power. The sputter was done at Exothermics Inc., 14 Columbia Dr, Amherst, NH 03031 References [1] Hydrogen for Net-Zero. In A critical cost-competitive energy vector. Edited by. Hydrogen Council, McKinsey & Company; 2021. [2] IEA (2021), Global Hydrogen Review 2021, IEA, Paris (available via the Internet at: https://www.iea.org/reports/global-hydrogen-review-2021) [3] Emonts, B., Müller, M., Hehemann, M., Janßen, H., Keller, R., Stähler, M., ... & Kasselmann, S. (2022). A Holistic Consideration of Megawatt Electrolysis as a Key Component of Sector Coupling. Energies, 15(10), 3656. [4] Zhang, K., Liang, X., Wang, L., Sun, K., Wang, Y., Xie, Z., ... & Zou, X. (2022). Status and perspectives of key materials for PEM electrolyzer. Nano Research Energy, 1(3), e9120032. [5] Mittelsteadt, C. (Invited) Ir Strangelove: Or How I Learned to Stop Worrying and Embrace the PEM. ECS Meeting Abstracts MA2022-01, 1335-1335 (2022). [6] Bernt, M., Hartig‐Weiß, A., Tovini, M. F., El‐Sayed, H. A., Schramm, C., Schröter, J., ... & Gasteiger, H. A. (2020). Current challenges in catalyst development for PEM water electrolyzers. Chemie Ingenieur Technik, 92(1-2), 31-39. [7] Bernt, M., Siebel, A., & Gasteiger, H. A. (2018). Analysis of voltage losses in PEM water electrolyzers with low platinum group metal loadings. Journal of The Electrochemical Society, 165(5), F305. [8] Jia, Q., Ghoshal, S., Li, J., Liang, W., Meng, G., Che, H., ... & Mukerjee, S. (2017). Metal and metal oxide interactions and their catalytic consequences for oxygen reduction reaction. Journal of the American Chemical Society, 139(23), 7893-7903. Figure 1
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7

Cohen, Michael, Shakir Hasan, Stephen Li, and Christina Loh. "Abstract 79: Enabling fast and convenient immune profiling of fresh and long-term stabilized human whole blood samples with CyTOF." Cancer Research 84, no. 6_Supplement (March 22, 2024): 79. http://dx.doi.org/10.1158/1538-7445.am2024-79.

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Abstract Accurate phenotyping of immune cells in whole blood (WB) from patients with cancer is critical for making disease prognoses and monitoring clinical efficacy of immunotherapies. Fresh WB must be analyzed within 24 hours of collection to minimize changes in cellular composition. However, WB collection and cytometric analysis are often performed at different sites, which can result in sample processing delays. Several WB preservation reagents have been developed to address this challenge, including PROT1 (Smart Tube Inc.) and Cytodelics Whole Blood Cell Stabilizer (Cytodelics). However, not all antibody panels are compatible with these reagents. A CyTOF® panel was developed to be compatible with these commercial WB stabilizers and for use in pharmaceutical and clinical research. CyTOF flow cytometry uses metal-tagged antibodies to identify cellular and functional phenotypes. Advantages and features of CyTOF technology enable rapid design and application of 50-plus-marker panels and convenient workflows in which samples can be stained and acquired in a single tube. Compensation is not required since CyTOF flow cytometry has low signal spillover and no autofluorescence. Moreover, antibody cocktails and stained samples can be frozen for later use and acquisition. Thus, CyTOF technology overcomes major hurdles of fluorescence-based cytometry and provides a streamlined and flexible workflow in clinical research. The CyTOF panel contains 20 antibodies to identify over 30 immune cell populations. For easy customization, there are more than 30 additional open channels to analyze markers of interest. The panel works with fresh and stabilized WB samples and is amenable to different staining and acquisition workflows. To show the flexibility of sample staining and stabilization, WB from three healthy donors was assessed using two stabilization workflows. First, fresh WB samples were stained with the antibody panel, followed by PROT1 or Cytodelics stabilization and storage at -80 °C. The second workflow involved immediate stabilization/fixation of WB with PROT1 or Cytodelics and storage at -80 °C. Subsequently, the samples for the second workflow were thawed, surface stained, and acquired. To reduce technical variability from staining, the antibodies were pooled together and frozen at -80 °C as single-use aliquots. Furthermore, all samples were barcoded and acquired as a single tube to reduce variability from sample acquisition. The CyTOF panel developed for broad immune profiling is compatible with WB stabilizers, which overcomes traditional and logistical challenges with WB processing and acquisition. Furthermore, freezing antibody cocktails is a unique feature of CyTOF flow cytometry, ensuring batch-to-batch consistency in clinical research. Thus, CyTOF workflows enable swift and convenient analysis of WB samples. For Research Use Only. Not for use in diagnostic procedures. Citation Format: Michael Cohen, Shakir Hasan, Stephen Li, Christina Loh. Enabling fast and convenient immune profiling of fresh and long-term stabilized human whole blood samples with CyTOF [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 1 (Regular Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(6_Suppl):Abstract nr 79.
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Fiser, Wesley, Ramesh Mazhari, Christian Nagy, Heather Young, and Jonathan Reiner. "Abstract 13425: Low Income Patients With Myocardial Infarction Are Less Likely to Receive a Drug Eluting Stent Than Patients From High Income Areas." Circulation 132, suppl_3 (November 10, 2015). http://dx.doi.org/10.1161/circ.132.suppl_3.13425.

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Introduction: Choosing a bare metal stent (BMS) vs a drug eluting stent (DES) during STEMI intervention is an important and complex decision that must be made quickly. The on-call physician who is often unfamiliar with the patient (pt) must incorporate both qualitative and quantitative medical factors, as well as estimate the pt's ability to adhere to a prolonged dual antiplatelet strategy. We examined disparities between device allocation (BMS vs DES) and pt socio-demographic factors in a diverse population treated at an urban hospital. Hypothesis: Patient socioeconomic status is an influential factor in stent selection during STEMI. Methods: Records from 332 consecutive pts undergoing percutaneous coronary intervention for STEMI were retrospectively reviewed. Demographic data included: age, gender, ZIP code, stent type, self-identified race, and health insurance status. Logistical regression models were used to identify significant co-variables. Results: The mean age was 55.5 yrs (42% African American (AA), 45% White (W), 13% other). Of the 332 pts, 176 (53%) received BMS and 140 (42%) received DES; and 49% of W pts received DES vs 33% AA (adj OR 0.74, CI 0.41-1.31). Using 2010 U.S. Census Bureau data, median household income (inc) was estimated using home ZIP code (range $21,633-$214,219), and pts were then stratified into inc quartiles. Compared to the highest inc quartile, pts in the lowest quartile were more likely to be AA (72% vs 20%, p <0.0001) and female (34% vs 16%, p =0.01). Nearly all patients were insured (93%), with no differences among inc groups. Strikingly, pts residing in the highest inc quartile were significantly more likely to receive a DES than those residing in the lowest inc quartile (57% vs 33%, adj. OR 2.67, 95% CI 1.27-5.63, p =0.004). The impact of inc on stent choice was strongest with AA (adj. OR 4.37, 95% CI 1.20-15.93, p =0.008), compared to W (adj. OR 1.15, 95% CI 0.34-3.92, p =0.32). Gender, age, and insurance status did not influence stent choice. Conclusions: DES were less frequently implanted in STEMI pts residing in low inc areas, suggesting that quickly made, non-quantitative, socioeconomic assessments may have important ramifications in stent selection. The fact that this effect was primarily seen in AA pts warrants further evaluation.
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9

Brandt, Marisa Renee. "Cyborg Agency and Individual Trauma: What Ender's Game Teaches Us about Killing in the Age of Drone Warfare." M/C Journal 16, no. 6 (November 6, 2013). http://dx.doi.org/10.5204/mcj.718.

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During the War on Terror, the United States military has been conducting an increasing number of foreign campaigns by remote control using drones—also called unmanned aerial vehicles (UAVs) or remotely piloted vehicles (RPVs)—to extend the reach of military power and augment the technical precision of targeted strikes while minimizing bodily risk to American combatants. Stationed on bases throughout the southwest, operators fly weaponized drones over the Middle East. Viewing the battle zone through a computer screen that presents them with imagery captured from a drone-mounted camera, these combatants participate in war from a safe distance via an interface that resembles a video game. Increasingly, this participation takes the form of targeted killing. Despite their relative physical safety, in 2008 reports began mounting that like boots-on-the-ground combatants, many drone operators seek the services of chaplains or other mental health professionals to deal with the emotional toll of their work (Associated Press; Schachtman). Questions about the nature of the stress or trauma that drone operators experience have become a trope in news coverage of drone warfare (see Bumiller; Bowden; Saleton; Axe). This was exemplified in May 2013, when former Air Force drone pilot Brandon Bryant became a public figure after speaking to National Public Radio about his remorse for participating in targeted killing strikes and his subsequent struggle with post-traumatic stress (PTS) (Greene and McEvers). Stories like Bryant’s express American culture’s struggle to understand the role screen-mediated, remotely controlled killing plays in shifting the location of combatants’s sense of moral agency. That is, their sense of their ability to act based on their own understanding of right and wrong. Historically, one of the primary ways that psychiatry has conceptualized combat trauma has been as combatants’s psychological response losing their sense of moral agency on the battlefield (Lifton).This articleuses the popular science fiction novel Ender's Game as an analytic lens through which to examine the ways that screen-mediated warfare may result in combat trauma by investigating the ways in which it may compromise moral agency. The goal of this analysis is not to describe the present state of drone operators’s experience (see Asaro), but rather to compare and contrast contemporary public discourses on the psychological impact of screen-mediated war with the way it is represented in one of the most influential science fiction novels of all times (The book won the Nebula Award in 1985, the Hugo Award in 1986, and appears on both the Modern Library 100 Best Novels and American Library Association’s “100 Best Books for Teens” lists). In so doing, the paper aims to counter prevalent modes of critical analysis of screen-mediated war that cannot account for drone operators’s trauma. For decades, critics of postmodern warfare have denounced how fighting from inside tanks, the cockpits of planes, or at office desks has removed combatants from the experiences of risk and endangerment that historically characterized war (see Gray; Levidow & Robins). They suggest that screen-mediation enables not only physical but also cognitive and emotional distance from the violence of war-fighting by circumscribing it in a “magic circle.” Virtual worlds scholars adopted the term “magic circle” from cultural historian Johan Huizinga, who described it as the membrane that separates the time and space of game-play from those of real life (Salen and Zimmerman). While military scholars have long recognized that only 2% of soldiers can kill without hesitation (Grossman), critics of “video game wars” suggest that screen-mediation puts war in a magic circle, thereby creating cyborg human-machine assemblages capable of killing in cold blood. In other words, these critics argue that screen-mediated war distributes agency between humans and machines in such a way that human combatants do not feel morally responsible for killing. In contrast, Ender’s Game suggests that even when militaries utilize video game aesthetics to create weapons control interfaces, screen-mediation alone ultimately cannot blur the line between war and play and thereby psychically shield cyborg soldiers from combat trauma.Orson Scott Card’s 1985 novel Ender’s Game—and the 2013 film adaptation—tells the story of a young boy at an elite military academy. Set several decades after a terrible war between humans and an alien race called the buggers, the novel follows the life of a boy named Ender. At age 6, recruiters take Andrew “Ender” Wiggin from his family to begin military training. He excels in all areas and eventually enters officer training. There he encounters a new video game-like simulator in which he commands space ship battalions against increasingly complex configurations of bugger ships. At the novel’s climax, Ender's mentor, war hero Mazer Rackham, brings him to a room crowded with high-ranking military personnel in order to take his final test on the simulator. In order to win Ender opts to launch a massive bomb, nicknamed “Little Doctor”, at the bugger home world. The image on his screen of a ball of space dust where once sat the enemy planet is met by victory cheers. Mazer then informs Ender that since he began officer training, he has been remotely controlling real ships. The video game war was, "Real. Not a game" (Card 297); Ender has exterminated the bugger species. But rather than join the celebration, Ender is devastated to learn he has committed "xenocide." Screen-mediation, the novel shows, can enable people to commit acts that they would otherwise find heinous.US military advisors have used the story to set an agenda for research and development in augmented media. For example, Dr. Michael Macedonia, Chief Technology Officer of the Army Office for Simulation, Training, and Instrumentation told a reporter for the New York Times that Ender's Game "has had a lot of influence on our thinking" about how to use video game-like technologies in military operations (Harmon; Silberman; Mead). Many recent programs to develop and study video game-like military training simulators have been directly inspired by the book and its promise of being able to turn even a six-year-old into a competent combatant through well-structured human-computer interaction (Mead). However, it would appear that the novel’s moral regarding the psychological impact of actual screen-mediated combat did not dissuade military investment in drone warfare. The Air Force began using drones for surveillance during the Gulf War, but during the Global War on Terror they began to be equipped with weapons. By 2010, the US military operated over 7,000 drones, including over 200 weapons-ready Predator and Reaper drones. It now invests upwards of three-billion dollars a year into the drone program (Zucchino). While there are significant differences between contemporary drone warfare and the plot of Ender's Game—including the fact that Ender is a child, that he alone commands a fleet, that he thinks he is playing a game, and that, except for a single weapon of mass destruction, he and his enemies are equally well equipped—for this analysis, I will focus on their most important similarities: both Ender and actual drone operators work on teams for long shifts using video game-like technology to remotely control vehicles in aerial combat against an enemy. After he uses the Little Doctor, Mazer and Graff, Ender's long-time training supervisors, first work to circumvent his guilt by reframing his actions as heroic. “You're a hero, Ender. They've seen what you did, you and the others. I don't think there's a government on Earth that hasn't voted you their highest metal.” “I killed them all, didn't I?” Ender asked. “All who?” asked Graff. “The buggers? That was the idea.” Mazer leaned in close. “That's what the war was for.” “All their queens. So I killed all their children, all of everything.” “They decided that when they attacked us. It wasn't your fault. It's what had to happen.” Ender grabbed Mazer's uniform and hung onto it, pulling him down so they were face to face. “I didn't want to kill them all. I didn't want to kill anybody! I'm not a killer! […] but you made me do it, you tricked me into it!” He was crying. He was out of control. (Card 297–8)The novel up to this point has led us to believe that Ender at the very least understands that what he does in the game will be asked of him in real life. But his traumatic response to learning the truth reveals that he was in the magic circle. When he thinks he is playing a game, succeeding is a matter of ego: he wants to be the best, to live up to the expectations of his trainers that he is humanity’s last hope. When the magic circle is broken, Ender reconsiders his decision to use the Little Doctor. Tactics he could justify to win the game, reframed as real military tactics, threaten his sense of himself as a moral agent. Being told he is a hero provides no solace.Card wrote the novel during the Cold War, when computers were coming to play an increasingly large role in military operations. Historians of military technology have shown that during this time human behavior began to be defined in machine-like, functionalist terms by scientists working on cybernetic systems (see Edwards; Galison; Orr). Human skills were defined as components of large technological systems, such as tanks and anti-aircraft weaponry: a human skill was treated as functionally the same as a machine one. The only issue of importance was how all the components could work together in order to meet strategic goals—a cybernetic problem. The reasons that Mazer and Graff have for lying to Ender suggest that the author believed that as a form of technical augmentation, screen-mediation can be used to evacuate individual moral agency and submit human will to the command of the larger cybernetic system. Issues of displaced agency in the military cyborg assemblage are apparent in the following quote, in which Mazer compares Ender himself to the bomb he used to destroy the bugger home world: “You had to be a weapon, Ender. Like a gun, like the Little Doctor, functioning perfectly but not knowing what you were aimed at. We aimed you. We're responsible. If there was something wrong, we did it” (298). Questions of distributed agency have also surfaced in the drone debates. Government and military leaders have attempted to depersonalize drone warfare by assuring the American public that the list of targets is meticulously researched: drones kill those who we need killed. Drone warfare, media theorist Peter Asaro argues, has “created new and complex forms of human-machine subjectivity” that cannot be understood by considering the agency of the technology alone because it is distributed between humans and machines (25). While our leaders’s decisions about who to kill are central to this new cyborg subjectivity, the operators who fire the weapons nevertheless experience at least a retrospective sense of agency. As phenomenologist John Protevi notes, in the wake of wars fought by modern military networks, many veterans diagnosed with PTS still express guilt and personal responsibility for the outcomes of their participation in killing (Protevi). Mazer and Graff explain that the two qualities that make Ender such a good weapon also create an imperative to lie to him: his compassion and his innocence. For his trainers, compassion means a capacity to truly think like others, friend or foe, and understand their motivations. Graff explains that while his trainers recognized Ender's compassion as an invaluable tool, they also recognized that it would preclude his willingness to kill.It had to be a trick or you couldn't have done it. It's the bind we were in. We had to have a commander with so much empathy that he would think like the buggers, understand them and anticipate them. So much compassion that he could win the love of his underlings and work with them like a perfect machine, as perfect as the buggers. But somebody with that much compassion could never be the killer we needed. Could never go into battle willing to win at all costs. If you knew, you couldn't do it. If you were the kind of person who would do it even if you knew, you could never have understood the buggers well enough. (298)In learning that the game was real, Ender learns that he was not merely coming to understand a programmed simulation of bugger behavior, but their actual psychology. Therefore, his compassion has not only helped him understand the buggers’ military strategy, but also to identify with them.Like Ender, drone operators spend weeks or months following their targets, getting to know them and their routines from a God’s eye perspective. They both also watch the repercussions of their missions on screen. Unlike fighter pilots who drop bombs and fly away, drone operators use high-resolution cameras and fly much closer to the ground both when flying and assessing the results of their strikes. As one drone operator interviewed by the Los Angeles Times explained, "When I flew the B-52, it was at 30,000 to 40,000 feet, and you don't even see the bombs falling … Here, you're a lot closer to the actual fight, or that's the way it seems" (Zucchino). Brookings Institute scholar Peter Singer has argued that in this way screen mediation actually enables a more intimate experience of violence for drone operators than airplane pilots (Singer).The second reason Ender’s trainers give for lying is that they need someone not only compassionate, but also innocent of the horrors of war. The war veteran Mazer explains: “And it had to be a child, Ender,” said Mazer. “You were faster than me. Better than me. I was too old and cautious. Any decent person who knows what warfare is can never go into battle with a whole heart. But you didn't know. We made sure you didn't know" (298). When Ender discovers what he has done, he loses not only his innocence but his sense of himself as a moral agent. After such a trauma, his heart is no longer whole.Actual drone operators are, of course, not kept in a magic circle, innocent of the repercussions of their actions. Nor do they otherwise feel as though they are playing, as several have publicly stated. Instead, they report finding drone work tedious, and some even play video games for fun (Asaro). However, Air Force recruitment advertising makes clear analogies between the skills they desire and those of video game play (Brown). Though the first generations of drone operators were pulled from the ranks of flight pilots, in 2009 the Air Force began training them from the ground. Many drone operators, then, enter the role having no other military service and may come into it believing, on some level, that their work will be play.Recent military studies of drone operators have raised doubts about whether drone operators really experience high rates of trauma, suggesting that the stresses they experience are seated instead in occupational issues like long shifts (Ouma, Chappelle, and Salinas; Chappelle, Psy, and Salinas). But several critics of these studies have pointed out that there is a taboo against speaking about feelings of regret and trauma in the military in general and among drone operators in particular. A PTS diagnosis can end a military career; given the Air Force’s career-focused recruiting emphasis, it makes sense that few would come forward (Dao). Therefore, it is still important to take drone operator PTS seriously and try to understand how screen-mediation augments their experience of killing.While critics worry that warfare mediated by a screen and joystick leads to a “‘Playstation’ mentality towards killing” (Alston 25), Ender's Game presents a theory of remote-control war wherein this technological redistribution of the act of killing does not, in itself, create emotional distance or evacuate the killer’s sense of moral agency. In order to kill, Ender must be distanced from reality as well. While drone operators do not work shielded by the magic circle—and therefore do not experience the trauma of its dissolution—every day when they leave the cyborg assemblage of their work stations and rejoin their families they still have to confront themselves as individual moral agents and bear their responsibility for ending lives. In both these scenarios, a human agent’s combat trauma serves to remind us that even when their bodies are physically safe, war is hell for those who fight. This paper has illustrated how a science fiction story can be used as an analytic lens for thinking through contemporary discourses about human-technology relationships. However, the US military is currently investing in drones that are increasingly autonomous from human operators. This redistribution of agency may reduce incidence of PTS among operators by decreasing their role in, and therefore sense of moral responsibility for, killing (Axe). Reducing mental illness may seem to be a worthwhile goal, but in a world wherein militaries distribute the agency for killing to machines in order to reduce the burden on humans, societies will have to confront the fact that combatants’s trauma cannot be a compass by which to measure the morality of wars. Too often in the US media, the primary stories that Americans are told about the violence of their country’s wars are those of their own combatants—not only about their deaths and physical injuries, but their suicide and PTS. To understand war in such a world, we will need new, post-humanist stories where the cyborg assemblage and not the individual is held accountable for killing and morality is measured in lives taken, not rates of mental illness. ReferencesAlston, Phillip. “Report of the Special Rapporteur on Extrajudicial, Summary, or Arbitrary Executions, Addendum: Study on Targeted Killings.” United Nations Human Rights Council (2010). Asaro, Peter M. “The Labor of Surveillance and Bureaucratized Killing: New Subjectivities of Military Drone Operators”. Social Semiotics 23.2 (2013): 196-22. Associated Press. “Predator Pilots Suffering War Stress.” Military.com 2008. Axe, David. “How to Prevent Drone Pilot PTSD: Blame the ’Bot.” Wired June 2012.Bowden, Mark. “The Killing Machines: How to Think about Drones.” The Atlantic Sep. 2013.Brown, Melissa T. Enlisting Masculinity: The Construction of Gender in US Military Recruiting Advertising during the All-Volunteer Force. London: Oxford University Press, 2012. Bumiller, Elisabeth. “Air Force Drone Operators Report High Levels of Stress.” New York Times 18 Dec. 2011: n. pag. Card, Orson Scott. Ender’s Game. Tom Doherty Associates, Inc., 1985. Chappelle, Wayne, D. Psy, and Amber Salinas. “Psychological Health Screening of Remotely Piloted Aircraft (RPA) Operators and Supporting Units.” Paper presented at the Symposium on Mental Health and Well-Being across the Military Spectrum, Bergen, Norway, 12 April 2011: 1–12. Dao, James. “Drone Pilots Are Found to Get Stress Disorders Much as Those in Combat Do.” New York Times 22 Feb. 2013: n. pag. Edwards, Paul N. The Closed World: Computers and the Politics of Discourse in Cold War America. Cambridge: MIT Press, 1997.Galison, Peter. “The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision.” Critical Inquiry 21.1 (1994): 228.Gray, Chris Hables “Posthuman Soldiers in Postmodern War.” Body & Society 9.4 (2003): 215–226. 27 Nov. 2010.Greene, David, and Kelly McEvers. “Former Air Force Pilot Has Cautionary Tales about Drones.” National Public Radio 10 May 2013.Grossman, David. On Killing. Revised. Boston: Back Bay Books, 2009. Harmon, Amy. “More than Just a Game, But How Close to Reality?” New York Times 3 Apr. 2003: n. pag. Levidow, Les, and Robins. Cyborg Worlds: The Military Information Society. London: Free Association Books, 1989. Lifton, Robert Jay. Home from the War: Vietnam Veterans: Neither Victims nor Executioners. New York: Random House, 1973. Mead, Corey. War Play: Video Games and the Future of Armed Conflict. Boston: Houghton Mifflin Harcourt, 2013. Orr, Jackie. Panic Diaries: A Genealogy of Panic Disorder. Durham: Duke University Press, 2006.Ouma, J.A., W.L. Chappelle, and A. Salinas. Facets of Occupational Burnout among US Air Force Active Duty and National Guard/Reserve MQ-1 Predator and MQ-9 Reaper Operators. Air Force Research Labs Technical Report AFRL-SA-WP-TR-2011-0003. Wright-Patterson AFB, OH: Air Force Research Laboratory. 2011.Protevi, John. “Affect, Agency and Responsibility: The Act of Killing in the Age of Cyborgs.” Phenomenology and the Cognitive Sciences 7.3 (2008): 405–413. Salen, Katie, and Eric Zimmerman. Rules of Play: Game Design Fundamentals. Cambridge, MA: MIT Press, 2003. Saleton, William. “Ghosts in the Machine: Do Remote-Control War Pilots Get Combat Stress?” Slate.com Aug. 2008. Schachtman, Nathan. “Shrinks Help Drone Pilots Cope with Robo-Violence.” Wired Aug. 2008.Silberman, Steve. “The War Room.” Wired Sep. 2004: 1–5.Singer, P.W. Wired for War: The Robotics Revolution and Conflict in the Twenty-First Century. New York: Penguin Press, 2009. Zucchino, David. “Drone Pilots Have Front-Row Seat on War, from Half a World Away.” Los Angeles Times 21 Feb. 2010: n. pag.
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Mauldin, Raymond, Stephen Smith, Sarah Wigley, Antonia Figueroa, and Clinton McKenzie. "Archaeological Investigations within San Pedro Springs Park (41BX19), San Antonio, Bexar County, Texas." Index of Texas Archaeology: Open Access Gray Literature from the Lone Star State 2015, no. 1 (2015). http://dx.doi.org/10.21112/ita.2015.1.1.

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The University of Texas at San Antonio Center for Archaeological Research (UTSA-CAR) contracted with Adams Environmental, Inc. to provide archaeological services to Capital Improvement Management (CIMS) of the City of San Antonio (COSA) related to the archaeological investigation of selected areas of San Pedro Springs Park in San Antonio, Bexar County, Texas. The CAR conducted archaeological testing at this National Register Site, 41BX19, from early December 2013 to mid-January of 2014. The goals of archaeological investigations were to identify and investigate any proto-historic and historic archaeological deposits associated with Colonial Period occupants of the area, including evidence of the first acequia and associated dam, and the location of the first presidio and villa. In addition, CAR was tasked with the investigation of any prehistoric cultural deposits encountered. This project was performed by staff archaeologists from the CAR. It was conducted under Texas Antiquities Permit No. 6727, with Dr. Steve Tomka serving as Principal Investigator (PI), and Kristi Nichols and Stephen Smith serving as Project Archaeologists. Dr. Tomka departed from UTSA shortly after the completion of fieldwork. At that time, Dr. Raymond Mauldin of CAR assumed PI responsibilities for the project. One hundred and eleven shovel tests, eleven 1-x-1 m test units, two 50-x-50 cm units, two backhoe trenches, and several auger holes were excavated during this effort. Minimal artifactual evidence of colonial occupants was noted during the archaeological investigations. Several Native American bone tempered sherds that could reflect either Late Prehistoric Leon Plain or Goliad ware were recovered. However, no Spanish Majolicas or lead glazed wares were uncovered, and no gunflints were identified in the lithic assemblage. Due to various utility lines and other obstructions, backhoe trenches to search for the acequia and associated dam could not be excavated. It is likely that areas proposed for investigation of the acequia and associated dam have been disturbed by aforementioned utility lines as well as earlier construction within the park. No evidence of the specific location of the first presidio or villa was located. Shovel testing and test units revealed the presence of historic and prehistoric use of the park, though mixing of historic and prehistoric material, as well as other disturbances (e.g., rodents), was common in the deposits. However, there was an increase in prehistoric material with depth as revealed in shovel testing results. Shovel testing located Feature 1, a burned rock feature that possibly was associated with a sheet midden, as well as several areas with high densities of prehistoric materials. Test excavations, based on these shovel tests, suggest that Feature 1 is a discrete feature that lies below a widespread, low-density distribution of burned rock. Shovel testing also identified a high-density cluster of lithic, bone, and burned rock. The excavation of a 1-x-1 m test unit (TU 4) in this area produced over 4,000 pieces of debitage, with over 50% of this total coming from three levels. Burned rock, a variety of tools, faunal material, and charcoal were present throughout these levels. Temporal placement of deposits relied on artifact typologies (e.g., ceramic types, lithic projectile points, lithic tool types) as well as two charcoal and four bone collagen radiocarbon dates. Artifact typologies suggest occupation as early as the Early Archaic as reflected by a possible Guadalupe tool. A series of Late Archaic Points (Castroville, Frio, Marcos, and Montell) and Late Prehistoric point forms (Edwards, Perdiz, and Scallorn) are present from several areas. In addition, a possible Middle Archaic La Jita point was recovered. The bone tempered Native American wares could date as early as AD 1250, though they could also reflect proto-historic or colonial age materials. Other ceramics primarily suggest a mid-nineteenth- to midtwentieth- century occupation. Using the midpoints of the 1-sigma distribution, calibrated radiocarbon dates show use of San Pedro Park from as early as 100 AD (CAR 345; 1905 +/- 22 Radiocarbon Years Before Present [RCYBP]) to as recently as the early twentieth century. The more recent end of that range is a function of two late dates from two different areas of the park. The first of these is on a bison bone (CAR 344) that returned a date of 158 +/- 23 RCYBP. The second is on a bone consistent with a bison-sized animal (CAR 346) that produced a date of 155 +/- 23 RCYBP. The corrected, calibrated dates for these two samples range from AD 1670 to the early 1940s using the 1-sigma spread. The wide range of these dates is related to the flat calibration curve late in time. However, the most probable date range (ca. 36% probability) for these two dates is between AD 1729 and 1779, with a roughly 48% probability that they date prior to AD 1779. Limited testing suggests that, with a few specific exceptions, the upper 30-40 cm of San Pedro Park is extensively disturbed. However, though some disturbances are present, at least three areas have materials in what appears to be good context. These include material dating to the Late Archaic, Late Prehistoric, and possibly the Proto-historic or Colonial Period. Based on historic maps, previous work, and the current investigation, CAR proposes a series of management areas for San Pedro Park. If work in these management areas follows these suggestions for various limits on subsurface impacts, CAR recommends that renovation activities within the park be allowed to proceed. The Texas Historical Commission (THC), in a letter dated February 4, 2015, agreed with these recommendations. Finally, CAR provides several recommendations for public education facilities within the park. In accordance with the THC Permit specifications and the Scope of Work for this project, all field notes, analytical notes, photographs, and other project related documents, along with a copy of the final report, will be curated at the CAR. After quantification and completion of analysis, and in consultation with THC and the COSA Office of Historic Preservation, artifacts possessing little scientific value were discarded pursuant to Chapter 26.27(g)(2) of the Antiquities Code of Texas. Artifact classes discarded specific to this project included samples of burned rock and snail shell, all unidentifiable metal, soil samples, and recent (post-1950) material.
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Heise, Franka. ""I’m a Modern Bride": On the Relationship between Marital Hegemony, Bridal Fictions, and Postfeminism." M/C Journal 15, no. 6 (October 12, 2012). http://dx.doi.org/10.5204/mcj.573.

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Introduction This article aims to explore some of the ideological discourses that reinforce marriage as a central social and cultural institution in US-American society. Andrew Cherlin argues that despite social secularisation, rising divorce rates and the emergence of other, alternative forms of love and living, marriage “remains the most highly valued form of family life in American culture, the most prestigious way to live your life” (9). Indeed, marriage in the US has become an ideological and political battlefield, with charged debates about who is entitled to this form of state-sanctioned relationship, with the government spending large sums of money to promote the value of marriage and the highest number of people projected to get married (nearly 90 per cent of all people) compared to other Western nations (Cherlin 4). I argue here that the idea of marriage as the ideal form for an intimate relationship permeates US-American culture to an extent that we can speak of a marital hegemony. This hegemony is fuelled by and reflected in the saturation of American popular culture with celebratory depictions of the white wedding as public performance and symbolic manifestation of the values associated with marriage. These depictions contribute to the discursive production of weddings as “one of the major events that signal readiness and prepare heterosexuals for membership in marriage as an organizing practice for the institution of marriage” (Ingraham 4). From the representation of weddings as cinematic climax in a huge number of films, to TV shows such as The Bachelor, Bridezillas and Race to the Altar, to the advertisement industry and the bridal magazines that construct the figure of the bride as an ideal that every girl and woman should aspire to, popular discourses promote the desirability of marriage in a wide range of media spheres. These representations, which I call bridal fictions, do not only shape and regulate the production of gendered, raced, classed and sexual identities in the media in fundamental ways. They also promote the idea that marriage is the only adequate framework for an intimate relationship and for the constitution of an acceptable gendered identity, meanwhile reproducing heterosexuality as norm and monogamy as societal duty. Thus I argue that we can understand contemporary bridal fictions as a symbolic legitimation of marital hegemony that perpetuates the idea that “lifelong marriage is a moral imperative” (Coontz 292). Marital Hegemony By drawing on Gramsci’s term and argument of cultural hegemony, I propose that public, political, religious and popular discourses work together in intersecting, overlapping, ideologically motivated and often even contradictory ways to produce what can be conceptualised as marital hegemony. Gramsci understands the relationship between state coercion and legitimation as crucial to an understanding of constituted consensus and co-operation. By legitimation Gramsci refers to processes through which social elites constitute their leadership through the universalizing of their own class-based self-interests. These self-interests are adopted by the greater majority of people, who apprehend them as natural or universal standards of value (common sense). This ‘hegemony’ neutralizes dissent, instilling the values, beliefs and cultural meanings into the generalized social structures. (Lewis 76-77)Marital hegemony also consists of those two mechanisms, coercion and legitimation. Coercion by the social elites, in this case by the state, is conducted through intervening in the private life of citizens in order to regulate and control their intimate relationships. Through the offering of financial benefits, medical insurance, tax cuts and various other privileges to married partners only (see Ingraham 175-76), the state withholds these benefits from all those that do not conform to this kind of state-sanctioned relationship. However, this must serve as the topic of another discussion, as this paper is more interested in the second aspect of hegemony, the symbolic legitimation. Symbolic legitimation works through the depiction of the white wedding as the occasion on which entering the institution of marriage is publicly celebrated and marital identity is socially validated. Bridal fictions work on a semiotic and symbolic level to display and perpetuate the idea of marriage as the most desirable and ultimately only legitimate form of intimate, heterosexual relationships. This is not to say that there is no resistance to this form of hegemony, as Foucault argues, eventually there is no “power without resistances” (142). However, as Engstrom contends, contemporary bridal fictions “reinforce and endorse the idea that romantic relationships should and must lead to marriage, which requires public display—the wedding” (3). Thus I argue that we can understand contemporary bridal fictions as one key symbolic factor in the production of marital hegemony. The ongoing centrality of marriage as an institution finds its reflection, as Otnes and Pleck argue, in the fact that the white wedding, in spite of all changes and processes of liberalisation in regard to gender, family and sexuality, “remains the most significant ritual in contemporary culture” (5). Accordingly, popular culture, reflective as well as constitutive of existing cultural paradigms, is saturated with what I have termed here bridal fictions. Bridal representations have been subject to rigorous academic investigation (c.f. Currie, Geller, Bambacas, Boden, Otnes and Pleck, Wallace and Howard). But, by using the term “bridal fictions”, I seek to underscore the fictional nature of these apparent “representations”, emphasising their role in producing pervasive utopias, rather than representing reality. This is not to say that bridal fictions are solely fictive. In fact, my argument here is that these bridal fictions do have discursive influence on contemporary wedding culture and practices. With my analysis of a bridal advertisement campaign later on in this paper, I aim to show exemplarily how bridal fictions work not only in perpetuating marriage, monogamy and heteronormativity as central organizing principles of intimate life. But moreover, how bridal fictions use this framework to promote certain kinds of white, heterosexual, upper-class identities that normatively inform our understanding of who is seen as entitled to this form of state-sanctioned relationship. Furthermore my aim is to highlight the role of postfeminist frames in sustaining marital hegemony. Second Wave feminism, seeing marriage as a form of “intimate colonization” (in Finlay and Clarke 416), has always been one of the few sources of critique in regard to this institution. In contrast, postfeminist accounts, now informing a significant amount of contemporary bridal fictions, evoke marriage as actively chosen, unproblematic and innately desired state of being for women. By constructing the liberated, self-determined figure of the postfeminist bride, contemporary bridal fictions naturalise and re-modernise marriage as framework for the constitution of modern feminine identity. An analysis of postfeminist bridal identities, as done in the following, is thus vital to my argument, because it highlights how postfeminist accounts deflect feminism’s critique of marriage as patriarchal, political and hegemonic institution and hence contribute to the perpetuation and production of marital hegemony. The Postfeminist Bride Postfeminism has emerged since the early 1990s as the dominant mode of constructing femininities in the media. Angela McRobbie understands postfeminism as “to refer to an active process by which feminist gains of the 1970s and 80s come to be undermined”, while simultaneously appearing to be “a well-informed and even well-intended response to feminism” (“Postfeminism” 255). Based on the assumption that women nowadays are no longer subjected to patriarchal power structures anymore, postfeminism actively takes feminism into account while, at the same time, “undoing” it (McRobbie “Postfeminism” 255). In contemporary postfeminist culture, feminism is “decisively aged and made to seem redundant”, which allows a conscious “dis-identification” and/or “forceful non-identity” with accounts of Second Wave feminism (McRobbie Aftermath 15). This demarcation from earlier forms of feminism is particularly evident with regard to marriage and wedding discourses. Second wave feminist critics such as Betty Friedan (1973) and Carole Pateman were critical of the influence of marriage on women’s psychological, financial and sexual freedom. This generation of feminists saw marriage as a manifestation of patriarchal power, which is based on women’s total emotional and erotic loyalty and subservience (Rich 1980), as well as on “men’s domination over women, and the right of men to enjoy equal sexual access to women” (Pateman 1988 2). In contrast, contemporary postfeminism enunciates now that “equality is achieved, in order to install a whole repertoire of new meanings which emphasise that it [feminism] is no longer needed, it is a spent force” (McRobbie “Postfeminism” 255). Instead of seeing marriage as institutionlised subjugation of women, the postfeminist generation of “educated women who have come of age in the 1990s feel that the women’s liberation movement has achieved its goals and that marriage is now an even playing field in which the two sexes operate as equal partners” (Geller 110). As McRobbie argues “feminism was anti-marriage and this can now to be shown to be great mistake” (Aftermath 20). Accordingly, postfeminist bridal fictions do not depict the bride as passive and waiting to be married, relying on conservative and patriarchal notions of hegemonic femininity, but as an active agent using the white wedding as occasion to act out choice, autonomy and power. Genz argues that a characteristic of postfemininities is that they re-negotiate femininity and feminism no longer as mutually exclusive and irreconcilable categories, but as constitutive of each other (Genz; Genz and Brabon). What I term the postfeminist bride embodies this shifted understanding of feminism and femininity. The postfeminist bride is a figure that is often celebrated in terms of individual freedom, professional success and self-determination, instead of resting on traditional notions of female domesticity and passivity. Rather than fulfilling clichés of the homemaker and traditional wife, the postfeminist bride is characterised by an emphasis on power, agency and pleasure. Characteristic of this figure, as with other postfemininities in popular culture, is a simultaneous appropriation and repudiation of feminist critique. Within postfeminist bridal culture, the performance of traditional femininity through the figure of the bride, or by identification with it, is framed in terms of individual choice, depicted as standing outside of the political and ideological struggles surrounding gender, equality, class, sexuality and race. In this way, as Engstrom argues, “bridal media’s popularity in the late 20th and early 21st centuries in the United States as indicative of a postfeminist cultural environment” (18). And although the contemporary white wedding still rests on patriarchal traditions that symbolise what the Second Wave called an “intimate colonization” (such as the bride’s vow of obedience; the giving away of the bride by one male chaperone, her father, to the next, the husband; her loss of name in marriage etc.), feminist awareness of the patriarchal dimensions of marriage and the ritual of the wedding is virtually absent from contemporary bridal culture. Instead, the patriarchal customs of the white wedding are now actively embraced by the women themselves in the name of tradition and choice. This reflects a prevailing characteristic of postfeminism, which is a trend towards the reclamation of conservative ideals of femininity, following the assumption that the goals of traditional feminist politics have been attained. This recuperation of traditional forms of femininity is one key characteristic of postfeminist bridal culture, as Engstrom argues: “bridal media collectively have become the epitomic example of women’s culture, a genre of popular culture that promotes, defends, and celebrates femininity” (21). Bridal fictions indeed produce traditional femininity by positioning the cultural, social and historical significance of the wedding as a necessary rite of passage for women and as the most important framework for the constitution of their (hetero)sexual, classed and gendered identities. Embodied in its ritual qualities, the white wedding symbolises the transition of women from single to belonging, from girlhood to womanhood and implicitly from childlessness to motherhood. However, instead of seeing this form of hegemonic femininity as a product of unequal, patriarchal power relations as Second Wave did, postfeminism celebrates traditional femininity in modernised versions. Embracing conservative feminine roles (e.g. that of the bride/wife) is now a matter of personal choice, individuality and freedom, characterised by awareness, knowingness and sometimes even irony (McRobbie “Postfeminism”). Nevertheless, the wedding is not only positioned as the pinnacle of a monogamous, heterosexual relationship, but also as the climax of a (female) life-story (“the happiest day of the life”). Combining feminist informed notions of power and choice, the postfeminist wedding is constructed as an event which supposedly enables women to act out those notions, while serving as a framework for gendered identity formation and self-realisation within the boundaries of an officialised and institutionalised relationship. “Modern” Brides I would like to exemplarily illustrate how postfeminism informs contemporary bridal fictions by analysing an advertising campaign of the US bridal magazine Modern Bride that paradigmatically and emblematically shows how postfeminist frames are used to construct the ‘modern’ bride. These advertisements feature American celebrities Guiliana Rancic (“host of E! News”), Daisy Fuentes (“host of Ultimate Style”) and Layla Ali, (“TV host and world champion”) stating why they qualify as a “modern bride”. Instead of drawing on notions of passive femininity, these advertisements have a distinct emphasis on power and agency. All advertisements include the women’s profession and other accomplishments. Rancic claims that she is a modern bride because: “I chased my career instead of guys.” These advertisements emphasise choice and empowerment, the key features of postfeminism, as Angela McRobbie (“Postfeminism”) and Rosalind Gill argue. Femininity, feminism and professionalism here are not framed as mutually exclusive, but are reconciled in the identity of the “modern” bride. Marriage and the white wedding are clearly bracketed in a liberal framework of individual choice, underpinned by a grammar of self-determination and individualism. Layla Ali states that she is a modern bride: “Because I refuse to let anything stand in the way of my happiness.” This not only communicates the message that happiness is intrinsically linked to marriage, but clearly resembles the figure that Sharon Boden terms the “super bride”, a role which allows women to be in control of every aspect of their wedding and “the heroic creator of her big day” while being part of a fairy-tale narrative in which they are the centre of attention (74). Agency and power are clearly visible in all of these ads. These brides are not passive victims of the male gaze, instead they are themselves gazing. In Rancic’s advertisement this is particularly evident, as she is looking directly at the viewer, where her husband, looking into another direction, remains rather face- and gazeless. This is in accord with bridal fictions in general, where husbands are often invisible, serving as bystanders or absent others, reinforcing the ideal that this is the special day of the bride and no one else. Furthermore, all of these advertisements remain within the limited visual repertoire that is common within bridal culture: young to middle-aged, heterosexual, able-bodied, conventionally attractive women. The featuring of the non-white bride Layla Ali is a rare occasion in contemporary bridal fictions. And although this can be seen as a welcomed exception, this advertisement remains eventually within the hegemonic and racial boundaries of contemporary bridal fictions. As Ingraham argues, ultimately “the white wedding in American culture is primarily a ritual by, for, and about the white middle to upper classes. Truly, the white wedding” (33). Furthermore, these advertisements illustrate another key feature of bridal culture, the “privileging of white middle- to upper-class heterosexual marriage over all other forms” (Ingraham 164). Semiotically, the discussed advertisements reflect the understanding of the white wedding as occasion to perform a certain classed identity: the luscious white dresses, the tuxedos, the jewellery and make up, etc. are all signifiers for a particular social standing. This is also emphasised by the mentioning of the prestigious jobs these brides hold, which presents a postfeminist twist on the otherwise common depictions of brides as practising hypergamy, meaning the marrying of a spouse of higher socio-economic status. But significantly, upward social mobility is usually presented as only acceptable for women, reinforcing the image of the husband as the provider. Another key feature of postfeminism, the centrality of heterosexual romance, becomes evident through Daisy Fuentes’ statement: “I’m a modern bride, because I believe that old-school values enhance a modern romance.” Having been liberated from the shackles of second wave feminism, which dismissed romance as “dope for dupes” (Greer in Pearce and Stacey 50), the postfeminist bride unapologetically embraces romance as central part of her life and relationship. Romance is here equated with traditionalism and “old school” values, thus reinforcing sexual exclusiveness, traditional gender roles and marriage as re-modernised, romantic norms. Angela McRobbie describes this “double entanglement” as a key feature of postfeminism that is comprised of “the co-existence of neo-conservative values in relation to gender, sexuality and family life […] with processes of liberalisation in regard to choice and diversity in domestic, sexual and kinship relations” (“Postfeminism” 255–56). These advertisements illustrate quite palpably that the postfeminist bride is a complex figure. It is simultaneously progressive and conservative, fulfilling ideals of conservative femininity while actively negotiating in the complex field of personal choice, individualism and social conventions; it oscillates between power and passivity, tradition and modern womanhood, between feminism and femininity. It is precisely this contradictory nature of the postfeminist bride that makes the figure so appealing, as it allows women to participate in the fantasy world of bridal utopias while still providing possibilities to construct themselves as active and powerful agents. Conclusion While we can generally welcome the reconfiguration of brides as powerful and self-determined, we have to remain critical of the postfeminist assumption of women as “autonomous agents no longer constrained by any inequalities or power imbalances whatsoever” (Gill 153). Where marriage is assumed to be an “even playing field” as Geller argues (110), feminism is no longer needed and traditional marital femininity can be, once again, performed without guilt. In these ways postfeminism deflects feminist criticism with regard to the political dimensions of marital femininity and thus contributes to the production of marital hegemony. But why is marital hegemony per se problematic? Firstly, by presenting marital identity as essential for the construction of gendered identity, bridal fictions leave little room for (female) self-definition outside of the single/married binary. As Ingraham argues, not only “are these categories presented as significant indices of social identity, they are offered as the only options, implying that the organization of identity in relation to marriage is universal and in no need of explanation” (17). Hence, by positioning marriage and singledom as opposite poles on the axis of proper femininity, bridal fictions stigmatise single women as selfish, narcissistic, hedonistic, immature and unable to attract a suitable husband (Taylor 20, 40). Secondly, within bridal fictions “weddings, marriage, romance, and heterosexuality become naturalized to the point where we consent to the belief that marriage is necessary to achieve a sense of well-being, belonging, passion, morality and love” (Ingraham 120). By presenting the white wedding as a publicly endorsed and visible entry to marriage, bridal fictions produce in fundamental ways normative notions about who is ‘fit’ for marriage and therefore capable of the associated cultural and social values of maturity, responsibility, ‘family values’ and so on. This is particularly critical, as postfeminist identities “are structured by, stark and continuing inequalities and exclusions that relate to ‘race’ and ethnicity, class, age, sexuality and disability as well as gender” (Gill 149). These postfeminist exclusions are very evident in contemporary bridal fictions that feature almost exclusively young to middle-aged, white, able-bodied couples with upper to middle class identities that conform to the heteronormative matrix, both physically and socially. By depicting weddings almost exclusively in this kind of raced, classed and gendered framework, bridal fictions associate the above mentioned values, that are seen as markers for responsible adulthood and citizenship, with those who comply with these norms. In these ways bridal fictions stigmatise those who are not able or do not want to get married, and, moreover, produce a visual regime that determines who is seen as entitled to this kind of socially validated identity. The fact that bridal fictions indeed play a major role in producing marital hegemony is further reflected in the increasing presence of same-sex white weddings in popular culture. These representations, despite their message of equality for everyone, usually replicate rather than re-negotiate the heteronormative terms of bridal culture. This can be regarded as evidence of bridal fiction’s scope and reach in naturalising marriage not only as the most ideal form of a heterosexual relationship, but increasingly as the ideal for any kind of intimate relationship. References Bambacas, Christyana. “Thinking about White Weddings.” Journal of Australian Studies 26.72 (2002): 191–200.The Bachelor, ABC, 2002–present. Boden, Sharon. Consumerism, Romance and the Wedding Experience. Houndsmills: Palgrave Macmillan, 2003. Bridezillas, We TV, 2004–present. Cherlin, Andrew. The-Marriage-Go-Round. The State of Marriage and the Family in America Today. New York: Vintage, 2010. Coontz, Stephanie. Marriage. A History. New York: Penguin, 2005. Currie, Dawn. “‘Here Comes the Bride’: The Making of a ‘Modern Traditional’ Wedding in Western Culture.” Journal of Comparative Family Studies 24.3 (1993): 403–21. Engstrom, Erika. The Bride Factory. Mass Portrayals of Women and Weddings. New York: Peter Lang, 2012. Fairchild Bridal Study (2005) 27 May 2012. ‹http://www.sellthebride.com/documents/americanweddingsurvey.pdf›. Finlay, Sara-Jane, and Victoria Clarke. “‘A Marriage of Inconvenience?’ Feminist Perspectives on Marriage.” Feminism & Psychology 13.4 (2003): 415–20. Foucault, M. (1980) “Body/Power and Truth/Power” in Gordon, C. (ed.) Michel Foucault: Power/Knowledge, Harvester, U.K. Friedan, Betty. The Feminine Mystique. Ringwood: Penguin Books, 1973. Geller, Jaqlyn. Here Comes the Bride. Women, Weddings, and the Marriage Mystique. New York: Four Walls Eight Windows, 2001. Genz, Stéphanie. Postfemininities in Popular Culture. New York: Palgrave, 2009. Genz, Stéphanie, and Benjamin Brabon. Postfeminsm. Cultural Texts and Theories. Edinburgh: Edinburgh University Press, 2009. Gill, Rosalind. “Postfeminist Media Culture. Elements of a Sensibility.” European Journal of Cultural Studies 10.2 (2007): 147–66. Gramsci, Antonio. Selections from the Prison Notebooks. London: Lawrence and Wishart, 1971. Howard, Vicki. Brides, Inc. American Weddings and the Business of Tradition. Philadelphia: U of Pen Press, 2006. Ingraham, Chrys. White Weddings. Romancing Heterosexuality in Popular Discourse. New York: Routledge, 1999. Lewis, Jeff. Cultural Studies. London: Sage, 2008. McRobbie, Angela. “Post-Feminism and Popular Culture.” Feminist Media Studies 4.3 (2004): 255– 64. McRobbie, A. (2009). The Aftermath of Feminism. Gender, Culture and Social Change. London: Sage. Modern Bride, Condé Nast. Otnes, Cele, and Elizabeth Pleck. Cinderella Dreams. The Allure of the Lavish Wedding. Berkeley: U of California P, 2003. Pateman, Carole. The Sexual Contract. Cambridge: Polity Press, 1988. Pearce, Lynn, and Jackie Stacey. Romance Revisited. London: Lawrence and Wishart, 1995. Race to the Altar, NBC, 2003. Rich, Adrienne. “Compulsory Heterosexuality and Lesbian Existence.” Signs Summer.5 (1980): 631–60. Taylor, Anthea. Single Women in Popular Culture. The Limits of Postfeminism. New York: Palgrave Macmillan, 2012. Wallace, Carol. All Dressed in White. The Irresistible Rise of the American Wedding. London: Penguin Books, 2004. Advertisements Analysed Guiliana Rancic. 29 Sept. 2012 ‹http://slackerchic.blogspot.de/2008/06/im-modern-bride-because-my-witness-was.html›. Daisy Fuentes. 29 Sept. 2012 ‹http://slackerchic.blogspot.de/2008/06/im-modern-bride-because-my-witness-was.html›. Layla Ali. 29 Sept. 2012 ‹http://slackerchic.blogspot.de/2008/06/im-modern-bride-because-my-witness-was.html›.
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Hackett, Lisa J., and Jo Coghlan. "Why <em>Monopoly</em> Monopolises Popular Culture Board Games." M/C Journal 26, no. 2 (April 26, 2023). http://dx.doi.org/10.5204/mcj.2956.

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Introduction Since the early 2000s, and especially since the onset of COVID-19 and long periods of lockdown, board games have seen a revival in popularity. The increasing popularity of board games are part of what Julie Lennett, a toy industry analyst at NPD Group, describes as the “nesting trend”: families have more access to entertainment at home and are eschewing expensive nights out (cited in Birkner 7). While on-demand television is a significant factor in this trend, for Moriaty and Kay (6), who wouldn’t “welcome [the] chance to turn away from their screens” to seek the “warmth and connection you get from playing games with live human family and friends?” For others, playing board games can simply be about nostalgia. Board games have a long history not specific to one period, geography, or culture. Likely board games were developed to do two things – teach and entertain. This remains the case today. Historically, miniature versions of battles or hunts were played out in what we might recognise today as a board game. Trade, war, and science impacted on their development, as did the printing press, which allowed for the standardisation of rules. Chess had many variations prior to the fifteenth century. Similarly, the Industrial Revolution allowed for the mass production of board games, boosting their popularity across nations, class, and age (Walker 13). Today, regardless of or because of our digital lives, we are in a “board game renaissance” (Booth 1). Still played on rainy days, weekends, and holidays, we now also play board games in dedicated game board cafés like the Haunted Game Café in America, the Snakes and Lattes in Canada, or the Mind Café in Singapore. In the board game café Draughts in the UK, customers pay £5 to select and play one of 800 board games, including classics like Monopoly and Cluedo. These cafes are important as they are “helping manufacturers to understand the kind of games that appeal to the larger section of players” (Atrizton). COVID-19 caused board game sales to increase. The global market was predicted to increase by US$1 billion in 2021, compared to 2020 (Jarvis). Total sales of board games in Australia are expected to reach AU$86 million in 2023, an almost 10 per cent increase from the preceding year (Statista "Board Games – Australia"). The emergence of Kickstarter, a global crowdfunding platform which funds new board games, is filling the gap in the contemporary board game market, with board games generating 20 per cent of the total funding raised (Carter). Board games are predicted to continue to grow, with the global market revenue record at US$19 billion dollars in 2022, a figure that is expected to rise to US$40 billion within 6 years (Atrizton). If the current turn towards board games represents a desire to escape from the digital world, the Internet is also contributing to the renaissance. Ex-Star Trek actor Wil Wheaton hosts the popular Web series TableTop, in which each episode explains a board game that is then played, usually with celebrities. The Internet also provides “communities” in which fans can share their enthusiasm, be it as geek culture or cult fandom (Booth 2). Booth provides an eloquent explanation, however, for the allure of face-to-face board games: “they remind us of our face-to-face past, and recall a type of pre-digital luddism where we can circle around the ‘campfire’ of the game board” (Booth 1-2). What makes a board game successful is harder to define. Phillip Orbanes, an American game designer and former vice-president of research and development at Parker Brothers, has attempted to elucidate the factors that make a good board game: “make the rules simple and unambiguous … don’t frustrate the casual player … establish a rhythm … focus on what’s happening off the board … give ‘em chances to come from behind … [and] provide outlets for latent talents” (Orbanes 52-55). Orbanes also says it is important to understand that what “happens off the board is just as important to the experience as the physical game itself” (Orbanes 51). Tristan Donovan contends that there are four broad stages of modern board games, beginning with the folk era when games had no fixed author, their rules were mutable, and local communities adapted the game to suit their sensibilities. Chess is an example of this, with the game only receiving the fixed rules we know today when tournaments and organisations saw the need for a singular set of rules. Mass production of games was the second stage, marking “the single biggest shift in board game history – a total flip in how people understood, experienced and played board games. Games were no long[er] malleable objects owned by the commons, but products created usually in the pursuit of profit” (Donovan 267). An even more recent development in game boards was the introduction of mass produced plastics, which reduced the cost of board game construction and allowed for a wider range of games to be produced. This was particularly evident in the post-war period. Games today are often thought of as global, which allows gamers to discover games from other regions and cultures, such as Catan (Klaus Teuber, 1995), a German game that may not have enjoyed its immense success if it were not for the Internet. Board game players are broadly categorised into two classes: the casual gamer and the hobby or serious gamer (Rogerson and Gibbs). The most popular game from the mass production era is Monopoly, the focus of this article. The History of Monopoly Monopoly was designed and patented by American Elizabeth Magie (1866-1948) in 1902, and was originally called The Landlord’s Game. The game was based on the anti-monopoly taxation principles of Henry George (1839-1897), who argued that people should own 100 per cent of what they make and the land should belong to everyone. Land ownership, considered George, only benefitted land owners, and forces working people to pay exorbitant rent. Magie’s original version of the game was designed to demonstrate how rents enrich property owners and impoverish tenants. Renters in Australia’s property market today may recognise this side of ruthless capitalism. In 1959 Fidel Castro thought Monopoly “sufficiently redolent of capitalism” that he “ordered the ­destruction of every Monopoly set in Cuba” (McManus). Magie, however, was not credited with being the original inventor of Monopoly: rather, this credit was given to Charles Darrow. In 2014, the book The Monopolist: Obsession, Fury, and the Scandal behind the World's Favorite Board Game by Mary Pilon re-established Magie as the inventor of Monopoly, with her role and identity unearthed by American Ralph Anspach (1926-2022), an Adam Smith economist, Polish-German refugee, and anti-Vietnam protestor. According to Pilon, Magie, a suffragette and progressive economic and political thinker, was a Georgist advocate, particularly of his anti-monopolist policies, and it was this that informed her game’s narrative. An unmarried daughter of Scottish immigrants, she was a Washington homeowner, familiar with the grid-like street structure of the national capital. Magie left school at 13 to help support her family who were adversely impacted upon by the Panic of 1873, which saw economic collapse because of falling silver prices, railroad speculation, and property losses. She worked as a stenographer and teacher of Georgist single tax theory. Seeking a broader platform for her economic ideas, and with the growing popularity of board games in middle class homes, in 1904 Magie secured a patent for The Landlord’s Game, at a time when women only held 1 per cent of US patents (Pilon). The original game included deeds and play money and required players to earn wages via labour and pay taxes. The board provided a circular path (as opposed to the common linear path) in which players circled through rental properties and railroads, and could acquire food, with natural reserves (oil, coal, farms, and forests) unable to be monopolised. However, she created two sets of rules – the monopoly rules familiar to today’s players, and anti-monopoly rules in which tensions over human greed and altruism could be played out by participants. Magie started her own New York firm to manufacture and distribute the game, continued the struggle for women’s equality, and raged against wealthy monopolists of the day such as Andrew Carnegie (Pilon). By the late 1920, the game, mostly referred to as the ‘monopoly’ game, was popular, but many who played the game were playing handmade versions, likely unaware of the original Landlord’s Game. In 1931, mass-produced versions of the game, now titled Finance, began to appear, with some changes, including the ability to purchase properties, along with rule books. Occurring at the same time as the emergence of fixed-price goods in large department stores, the game, which now included chance cards, continued to be popular. It was Charles Darrow who sold Monopoly to Parker Brothers, even if he did not invent it. Darrow was introduced to one of the variants of the game and became obsessed with the game, which now featured the Community Chest and Free Parking, but his version did not have a set of rules. An unemployed ex-serviceman with no college education, Darrow struggled to provide for his family. By 1932, America was in the grip of the Great Depression, with housing prices collapsing and squatting common in large American cities. Befriending an artist, Darrow sought to provide a more dynamic and professional version of the game and complete it with a set of rules. In 1933, Darrow marketed his version of the game, titled Mr Monopoly, and it was purchased by Parker Brothers for US$7,000 in 1935. Magie received just US $500 (Farzan). Monopoly, as it was rebranded, was initial sold for $2 a game, and Parker Brothers sold 278,000 games in the first year. In 1936, consumers purchased 1.7 million editions of the game, generating millions of dollars in profits for Parker Brothers, who prior to Monopoly were on the brink of collapse (Pilon). Mary Pilon’s The Monopolists also reveals the struggle of Ralph Anspach in the 1970s to sell his Anti-Monopoly board games, which Parker Brothers fought in the courts. Anspach’s game sought to undermine the power of capitalist monopolies, which he had witnessed directly and negatively impact on fuel prices in America in the early 1970s. Hence the aim was to produce a game with an anti-monopolist narrative grounded in the free-market thinking of Adam Smith. Players were rewarded by breaking monopoly ownerships of utilities such as railroads and energy and metal reserves. In preparing his case against Parker Brothers, Anspach “accidentally discovered the true history of the game”, which began with Magie’s Landlord’s Game. Magie herself had battled with Parker Brothers in order to be “credited as the real originator of the game” and, like Anspach, reveal how Parker Brothers had changed the anti-capitalist narrative of the game, making it the “exact opposite” of its original aims (Landlordsgame). Anspach’s court room version of his battle with Parker Brothers was published in 2000, titled Monopolygate: During a David and Goliath Battle, the Inventor of the Anti-Monopoly® Game Uncovers the Secret History of Monopoly®. Monopoly Today Monopoly is now produced by Hasbro. It is the highest selling board game of all time, with an estimated 275 million units of Monopoly sold (Lee). Fan bases are clearly large too: the official Monopoly Facebook accounts report 9.9m likes (Facebook), and 68% of American households report owning a version of Monopoly (Statista "Which"). At the end of the twentieth century it was estimated that 550 million, or one in 12 people worldwide, had played the game (Guinness World Records "Most Popular"). Today it is estimated that Monopoly has been played by more than one billion people, and the digital Monopoly version has had over 100 million downloads (Johnson). The ability to play beloved board games with a computer opponent or with other players via the Internet arguably adds to the longevity of classic board games such as Monopoly. Yet research shows that despite Monopoly being widely owned, it is often not played as much as other games in people’s homes (d'Astous and Gagnon 84). D’Astous and Gagnon found that players in their study chose Monopoly to play on average six times a year, less than half the times they played Cluedo (13 times a year) or Scrabble (15 times). As Michael Whelan points out, Magie’s original goal was to make a statement about capitalism and landlords: a single player would progress round the board building an empire, whilst the others were doomed to slowly descend into bankruptcy. It was “never meant to be fun for anyone but the winner” (Whelan). Despite Monopoly’s longevity and impressive sales record, it is perhaps paradoxical to find that it is not a particularly popular or enjoyed game. Board Game Geek, the popular board game Website, reports in 2023 that the average rating for Monopoly by over 33,000 members is just 4.4 out of 10, and is ranked the 23,834th most popular game on the site (Board Game Geek). This is mirrored in academic studies: for example, when examining Orbane’s tenets for a good board game, d’Astous and Gagnon (84) found that players' appreciation of Monopoly was generally low. Not only is appreciation low for the game itself, it is also low for player antics during the game. A 2021 survey found that Monopoly causes the most fights, with 20% of households reporting “their game nights with friends or family members are often or always disrupted by competitive or unfriendly behaviour”, leading to players or even the game itself being banned (Lemore). Clearly Orbane’s tenet that the game “generates fun” is missing here (Orbanes 52). Commentators ask why Monopoly remains the best-selling board game of all time when the game has the “astonishing ability to sow seeds of discord” (Berical). Despite the claims that playing Monopoly causes disharmony, the game does allow for player agency. Perhaps more than any other board game, Monopoly is subjected to ‘house rules’. Buzzfeed reported 15 common house rules that many people think are official rules. In 2014 the official Monopoly Facebook page posted a video claiming that “68% of Americans have never read the official game rules” and that “49% of Americans had admitted to playing with their own ‘house rules’”. A look through these rules reveals that players are often trying to restore the balance of power in the game, or in other words increase the chance that a player can win. Hasbro has embraced these rules by incorporating some of them into the official rules. By incorporating players' amendments to the game, Hasbro can keep the Monopoly relevant. In another instance, Hasbro asked fans to vote on new tokens, which led to the thimble token being replaced with a Tyrannosaurus Rex. This was reversed in 2022 when nostalgic fans lobbied for the thimble’s return. Hasbro has also been an innovator by creating special rules for individual editions: for example, the Longest Game Ever edition (2019) slows players down by using only a single dice and has an extended game board. This demonstrates that Hasbro is keen to innovate and evolve the game to meet player expectations. Innovation and responsiveness to fans is one way that Hasbro has maintained Monopoly’s position as highest-selling board game. The only place the original Monopoly rules seem to be played intact are at the official competitions. Collecting and Nostalgia The characteristics of Monopoly allow for a seemingly infinite number of permutations. The places on the board can be real or fictional, making it easily adaptable to accommodate different environments. This is a factor in Monopoly’s longevity. The number of Monopoly editions are endless, with BoardGameGeek listing over 1,300 versions of the game on its site. Monopoly editions range from collector and commemorative editions to music, television, and film versions, actor-based editions, sports club editions, editions tied to toy franchises, animal lover editions, country editions, city editions, holiday editions, car brand editions, motor bike editions, as well as editions such as Monopoly Space, editions branded to popular confectionary, Ms Monopoly, and Go Green Monopoly. Each of these contain their own unique modifications. The Go Green version includes greenhouses, dice are made from FSC-certified wood from well-managed forests, tokens are made with plant-based plastic derived from sugarcane, a renewable raw material, and players can vie to have monopolistic control over renewable energy firms, solar farms, and bike paths. Licencing agreements allows Hasbro to leverage two sets of popular culture fans and collectors simultaneously: fans of Monopoly and its different versions, and fans of the Monopoly branded collectable, such as the Elvis Collector’s edition and Breaking Bad Monopoly. Apart from licencing, what else explains the longevity of Monopoly? Fred Davis demonstrates that nostalgia is an important sociological phenomenon, allowing consumers to re-imagine the past via iconic items including toys. Generation Y, also known as Millennials or digital natives, a cohort born between 1982 and 1994 who have grown up with technology as part of their everyday lives, are particularly interested in ‘heritage-inspired’ goods (Marchegiani and Phau). These consumers enjoy the past with a critical eye, drawn by the aesthetic properties of nostalgic goods rather than a direct personal connection (Goulding 575). Popular culture items are a site of widespread collecting behaviour (Geraghty 2). Belk argues that our possessions are used to construct our social selves. Collectors are a special kind of consumer: where consumers use and discard goods as needed, collectors engage with goods as special objects to be maintained and preserved (Belk 254), which is often achieved through ritualistic behaviour (McCracken 49). This is not to say that items in a collection are removed from use entirely: often being used in the normal manner, for example, clothing collectors will wear their items, yet take care of them in the a way they see akin to conservatorship (Hackett). Collections are often on display, often using the flexibility of the Internet as showground, as is the case with Neil Scallon’s world record collection of Monopoly’s 3,554 different versions of the game (World of Monopoly). Monopoly has low barriers to entry for a collector, as many sets retail at a low price-point, yet there are a few sets which are very expensive. The most expensive Monopoly set of all time retailed for US$2 million, and the cost was mainly borne out of the luxurious materials used: “the board is made from 23 carat gold, rubies and sapphires top the chimneys of the solid gold houses and hotels and the dice have 42 full cut diamonds for spots” (Guinness World Records "Most Expensive"). Conclusion The recent resurgence in board game popularity has only served to highlight Monopoly’s longevity. Through clever marketing and leveraging of nostalgia and popular culture fandoms, Hasbro has managed to retain Monopoly’s position as the number one board game, in sales figures at least. Despite its popularity, Monopoly suffers from a reputation as a conduit for poor player behaviour, as one person triumphs at the downfall of the other players. The game dynamics punish those whom fortune did not reward. In this regard, Elizabeth Magie’s initial aim of teaching about the unfairness of capitalism can be considered a resounding success. In re-establishing her role as a feminist and inventor at the turn of the century, embraced by progressive left-wingers of the 1930s, her story as much as that of Monopoly is a valuable contribution to modern popular culture. References Atrizton. Board Games Market – Global Outlook & Forecast 2023-2028. 2023. Belk, Russell W. "Collectors and Collecting." Handbook of Material Culture. Eds. Christopher Tilley et al. London: Sage, 2006. 534-45. Berical, Matt. "Monopoly Is a Terrible Game. Quit Playing It." Fatherly 4 Mar. 2020. Birkner, Christine. "Get on Board." Adweek 3-10 Apr. 2017: 7. Board Game Geek. "Monopoly." 2023. Booth, Paul. Game Play: Paratextuality in Contemporary Board Games. Bloomsbury, 2015. Buzzfeed. "15 Monopoly Rules That Aren't Actually Rules: Settled That 'Free Parking' Debate." Buzzfeed 27 Mar. 2014. Carter, Chase. "Tabletop Games Have Made over $1.5 Billion on Kickstarter." Dicebreaker 13 Dec. 2022. D'Astous, Alain, and Karine Gagnon. "An Inquiry into the Factors That Impact on Consumer Appreciation of a Board Game." Journal of Consumer Marketing 24.2 (2007): 80-89. Davis, Fred. Yearning for Yesterday: A Sociology of Nostalgia. New York: Free Press, 1979. Donovan, Tristan. "The Four Board Game Eras: Making Sense of Board Gaming’s Past." Catalan Journal of Communication & Cultural Studies 10.2 (2018): 265-70. Facebook. "Monopoly." 1 Mar. 2023. Farzan, Antonia Noori. "The New Monopoly ‘Celebrates Women Trailblazers,’ But the Game’s Female Inventor Still Isn’t Getting Credit." Washington Post 11 Sep. 2019. Geraghty, Lincoln. Cult Collectors. Routledge, 2014. Goulding, Christina. "Romancing the Past: Heritage Visiting and the Nostalgic Consumer." Psychology and Marketing 18.6 (2001): 565-92. Guinness World Records. "Most Expensive Board Game of Monopoly." 30 Jan. 2023. ———. "Most Popular Board Game." 30 Jan. 2023. Hackett, Lisa J. "‘Biography of the Self’: Why Australian Women Wear 1950s Style Clothing." Fashion, Style and Popular Culture 9.1-2 (2022). Johnson, Angela. "13 Facts about Monopoly That Will Surprise You." Insider 27 June 2018. Landlordsgame. "Landlord's Game History, Monopoly Game History." 2021. Lee, Allen. "The 20 Highest Selling Board Games of All Time." Money Inc 11 Mar. 2023. Lemore, Chris. "Banned from Game Night: ‘Monopoly’ Leads to the Most Fights among Family, Friends." Study Finds 2021. Marchegiani, Christopher, and Ian Phau. "Personal and Historical Nostalgia—a Comparison of Common Emotions." Journal of Global Marketing 26.3 (2013): 137-46. McCracken, Grant. Culture and Consumption: New Approaches to the Symbolic Character of Consumer Goods and Activities. Bloomington: Indiana UP, 1988. McManus, James. "Do Not Collect $200." New York Times, 2015. 10. Moriarity, Joan, and Jonathan Kay. Your Move: What Board Games Teach Us about Life. Sutherland House, 2019. Orbanes, Phil. "Everything I Know about Business I Learned from Monopoly." Harvard Business Review 80.3 (2002): 51-131. Pilon, Mary. The Monopolists: Obsession, Fury, and the Scandal Behind the World's Favorite Board Game. Bloomsbury, 2015. Rogerson, Melissa J., and Martin Gibbs. "Finding Time for Tabletop: Board Game Play and Parenting." Games and Culture 13.3 (2018): 280-300. Statista. "Board Games – Australia." 25 Mar. 2023. ———. "Which of These Classic Board Games Do You Have at Home?" Statista-Survey Toys and Games 2018 (2018). Walker, Damian Gareth. A Book of Historic Board Games. Lulu.com, 2014. Whelan, Michael. "Why Does Everyone Hate Monopoly? The Secret History behind the World's Biggest Board Game." Dicebreaker 26 Aug. 2021. World of Monopoly. "Neil Scallan's World Record List of Official Monopolu Items." 2016.
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Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (March 7, 2016). http://dx.doi.org/10.5204/mcj.1033.

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Анотація:
Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assumed that the re-imagining of cultural material for children will involve a process of “dumbing down” that strips the original text of its complexity so that it is more easily consumed by young audiences (see Semenza; Kellogg; Hastings; and Napolitano). This is especially the case when children’s films draw from texts—or genres—that are specifically associated with an adult readership. This paper explores such an interplay between children’s and adult’s culture with reference to the re-imagining of the horror genre in children’s animated film. Recent years have seen an inrush of animated films that play with horror tropes, conventions, and characters. These include Frankenweenie (2012), ParaNorman (2012), Hotel Transylvania (2012), Igor (2008), Monsters Inc. (2001), Monster House (2006), and Monsters vs Aliens (2009). Often diminishingly referred to as “kiddie horror” or “goth lite”, this re-imagining of the horror genre is connected to broader shifts in children’s culture, literature, and media. Anna Jackson, Karen Coats, and Roderick McGillis, for instance, have written about the mainstreaming of the Gothic in children’s literature after centuries of “suppression” (2); a glance at the titles in a children’s book store, they tell us, may suggest that “fear or the pretence of fear has become a dominant mode of enjoyment in literature for young people” (1). At the same time, as Lisa Hopkins has pointed out, media products with dark, supernatural, or Gothic elements are increasingly being marketed to children, either directly or through product tie-ins such as toys or branded food items (116-17). The re-imagining of horror for children demands our attention for a number of reasons. First, it raises questions about the commercialisation and repackaging of material that has traditionally been considered “high culture”, particularly when the films in question are seen to pilfer from sites of the literary Gothic such as Mary Shelley’s Frankenstein (1818) or Bram Stoker’s Dracula (1897). The classic horror films of the 1930s such as James Whale’s Frankenstein (1931) also have their own canonical status within the genre, and are objects of reverence for horror fans and film scholars alike. Moreover, aficionados of the genre have been known to object vehemently to any perceived simplification or dumbing down of horror conventions in order to address a non-horror audience. As Lisa Bode has demonstrated, such objections were articulated in many reviews of the film Twilight, in which the repackaging and simplifying of vampire mythology was seen to pander to a female, teenage or “tween” audience (710-11). Second, the re-imagining of horror for children raises questions about whether the genre is an appropriate source of pleasure and entertainment for young audiences. Horror has traditionally been understood as problematic and damaging even for adult viewers: Mark Jancovich, for instance, writes of the long-standing assumption that horror “is moronic, sick and worrying; that any person who derives pleasure from the genre is moronic, sick and potentially dangerous” and that both the genre and its fans are “deviant” (18). Consequently, discussions about the relationship between children and horror have tended to emphasise regulation, restriction, censorship, effect, and “the dangers of imitative violence” (Buckingham 95). As Paul Wells observes, there is a “consistent concern […] that horror films are harmful to children, but clearly these films are not made for children, and the responsibility for who views them lies with adult authority figures who determine how and when horror films are seen” (24). Previous academic work on the child as horror viewer has tended to focus on children as consumers of horror material designed for adults. Joanne Cantor’s extensive work in this area has indicated that fright reactions to horror media are commonly reported and can be long-lived (Cantor; and Cantor and Oliver). Elsewhere, the work of Sarah Smith (45-76) and David Buckingham (95-138) has indicated that children, like adults, can gain certain pleasures from the genre; it has also indicated that children can be quite media savvy when viewing horror, and can operate effectively as self-censors. However, little work has yet been conducted on whether (and how) the horror genre might be transformed for child viewers. With this in mind, I explore here the re-imagining of horror in two children’s animated films: Frankenweenie and ParaNorman. I will consider the way horror tropes, narratives, conventions, and characters have been reshaped in each film with a child’s perspective in mind. This, I argue, does not make them simplified texts or unsuitable objects of pleasure for adults; instead, the films demonstrate that the act of re-imagining horror for children calls into question long-held assumptions about pleasure, taste, and the boundaries between “adult” and “child”. Frankenweenie and ParaNorman: Rewriting the Myth of Childhood Innocence Frankenweenie is a stop-motion animation written by John August and directed by Tim Burton, based on a live-action short film made by Burton in 1984. As its name suggests, Frankenweenie re-imagines Shelley’s Frankenstein by transforming the relationship between creator and monster into that between child and pet. Burton’s Victor Frankenstein is a young boy living in a small American town, a creative loner who enjoys making monster movies. When his beloved dog Sparky is killed in a car accident, young Victor—like his predecessor in Shelley’s novel—is driven by the awfulness of this encounter with death to discover the “mysteries of creation” (Shelley 38): he digs up Sparky’s body, drags the corpse back to the family home, and reanimates him in the attic. This coming-to-life sequence is both a re-imagining of the famous animation scene in Whale’s film Frankenstein and a tender expression of the love between a boy and his dog. The re-imagined creation scene therefore becomes a site of negotiation between adult and child audiences: adult viewers familiar with Whale’s adaptation and its sense of electric spectacle are invited to rethink this scene from a child’s perspective, while child viewers are given access to a key moment from the horror canon. While this blurring of the lines between child and adult is a common theme in Burton’s work—many of his films exist in a liminal space where a certain childlike sensibility mingles with a more adult-centric dark humour—Frankenweenie is unique in that it actively re-imagines as “childlike” a film and/or work of literature that was previously populated by adult characters and associated with adult audiences. ParaNorman is the second major film from the animation studio Laika Entertainment. Following in the footsteps of the earlier Laika film Coraline (2009)—and paving the way for the studio’s 2014 release, Boxtrolls—ParaNorman features stop-motion animation, twisted storylines, and the exploration of dark themes and spaces by child characters. The film tells the story of Norman, an eleven year old boy who can see and communicate with the dead. This gift marks him as an outcast in the small town of Blithe Hollow, which has built its identity on the historic trial and hanging of an “evil” child witch. Norman must grapple with the town’s troubled past and calm the spirit of the vengeful witch; along the way, he and an odd assortment of children battle zombies and townsfolk alike, the latter appearing more monstrous than the former as the film progresses. Although ParaNorman does not position itself as an adaptation of a specific horror text, as does Frankenweenie, it shares with Burton’s film a playful intertextuality whereby references are constantly made to iconic films in the horror genre (including Halloween [1978], Friday the 13th [1980], and Day of the Dead [1985]). Both films were released in 2012 to critical acclaim. Interestingly, though, film critics seemed to disagree over who these texts were actually “for.” Some reviewers described the films as children’s texts, and warned that adults would likely find them “tame and compromised” (Scott), “toothless” (McCarthy) or “sentimental” (Bradshaw). These comments carry connotations of simplification: the suggestion is that the conventions and tropes of the horror genre have been weakened (or even contaminated) by the association with child audiences, and that consequently adults cannot (or should not) take pleasure in the films. Other reviewers of ParaNorman and Frankenweenie suggested that adults were more likely to enjoy the films than children (O’Connell; Berardinelli; and Wolgamott). Often, this suggestion came together with a warning about scary or dark content: the films were deemed to be too frightening for young children, and this exclusion of the child audience allowed the reviewer to acknowledge his or her own enjoyment of and investment in the film (and the potential enjoyment of other adult viewers). Lou Lumenick, for instance, peppers his review of ParaNorman with language that indicates his own pleasure (“probably the year’s most visually dazzling movie so far”; the climax is “too good to spoil”; the humour is “deliciously twisted”), while warning that children as old as eight should not be taken to see the film. Similarly, Christy Lemire warns that certain elements of Frankenweenie are scary and that “this is not really a movie for little kids”; she goes on to add that this scariness “is precisely what makes ‘Frankenweenie’ such a consistent wonder to watch for the rest of us” (emphasis added). In both these cases a line is drawn between child and adult viewers, and arguably it is the film’s straying into the illicit area of horror from the confines of a children’s text that renders it an object of pleasure for the adult viewer. The thrill of being scared is also interpreted here as a specifically adult pleasure. This need on the part of critics to establish boundaries between child and adult viewerships is interesting given that the films themselves strive to incorporate children (as characters and as viewers) into the horror space. In particular, both films work hard to dismantle the myths of childhood innocence—and associated ideas about pleasure and taste—that have previously seen children excluded from the culture of the horror film. Both the young protagonists, for instance, are depicted as media-literate consumers or makers of horror material. Victor is initially seen exhibiting one of his home-made monster movies to his bemused parents, and we first encounter Norman watching a zombie film with his (dead) grandmother; clearly a consummate horror viewer, Norman decodes the film for Grandma, explaining that the zombie is eating the woman’s head because, “that’s what they do.” In this way, the myth of childhood innocence is rewritten: the child’s mature engagement with the horror genre gives him agency, which is linked to his active position in the narrative (both Norman and Victor literally save their towns from destruction); the parents, meanwhile, are reduced to babbling stereotypes who worry that their sons will “turn out weird” (Frankenweenie) or wonder why they “can’t be like other kids” (ParaNorman). The films also rewrite the myth of childhood innocence by depicting Victor and Norman as children with dark, difficult lives. Importantly, each boy has encountered death and, for each, his parents have failed to effectively guide him through the experience. In Frankenweenie Victor is grief-stricken when Sparky dies, yet his parents can offer little more than platitudes to quell the pain of loss. “When you lose someone you love they never really leave you,” Victor’s mother intones, “they just move into a special place in your heart,” to which Victor replies “I don’t want him in my heart—I want him here with me!” The death of Norman’s grandmother is similarly dismissed by his mother in ParaNorman. “I know you and Grandma were very close,” she says, “but we all have to move on. Grandma’s in a better place now.” Norman objects: “No she’s not, she’s in the living room!” In both scenes, the literal-minded but intelligent child seems to understand death, loss, and grief while the parents are unable to speak about these “mature” concepts in a meaningful way. The films are also reminders that a child’s first experience of death can come very young, and often occurs via the loss of an elderly relative or a beloved pet. Death, Play, and the Monster In both films, therefore, the audience is invited to think about death. Consequently, there is a sense in each film that while the violent and sexual content of most horror texts has been stripped away, the dark centre of the horror genre remains. As Paul Wells reminds us, horror “is predominantly concerned with the fear of death, the multiple ways in which it can occur, and the untimely nature of its occurrence” (10). Certainly, the horror texts which Frankenweenie and ParaNorman re-imagine are specifically concerned with death and mortality. The various adaptations of Frankenstein that are referenced in Frankenweenie and the zombie films to which ParaNorman pays homage all deploy “the monster” as a figure who defies easy categorisation as living or dead. The othering of this figure in the traditional horror narrative allows him/her/it to both subvert and confirm cultural ideas about life, death, and human status: for monsters, as Elaine Graham notes, have long been deployed in popular culture as figures who “mark the fault-lines” and also “signal the fragility” of boundary structures, including the boundary between human and not human, and that between life and death (12). Frankenweenie’s Sparky, as an iteration of the Frankenstein monster, clearly fits this description: he is neither living nor dead, and his monstrosity emerges not from any act of violence or from physical deformity (he remains, throughout the film, a cute and lovable dog, albeit with bolts fixed to his neck) but from his boundary-crossing status. However, while most versions of the Frankenstein monster are deliberately positioned to confront ideas about the human/machine boundary and to perform notions of the posthuman, such concerns are sidelined in Frankenweenie. Instead, the emphasis is on concerns that are likely to resonate with children: Sparky is a reminder of the human preoccupation with death, loss, and the question of why (or whether, or when) we should abide by the laws of nature. Arguably, this indicates a re-imagining of the Frankenstein tale not only for child audiences but from a child’s perspective. In ParaNorman, similarly, the zombie–often read as an articulation of adult anxieties about war, apocalypse, terrorism, and the deterioration of social order (Platts 551-55)—is re-used and re-imagined in a childlike way. From a child’s perspective, the zombie may represent the horrific truth of mortality and/or the troublesome desire to live forever that emerges once this truth has been confronted. More specifically, the notion of dealing meaningfully with the past and of honouring rather than silencing the dead is a strong thematic undercurrent in ParaNorman, and in this sense the zombies are important figures who dramatise the connections between past and present. While this past/present connection is explored on many levels in ParaNorman—including the level of a town grappling with its dark history—it is Norman and his grandmother who take centre stage: the boundary-crossing figure of the zombie is re-realised here in terms of a negotiation with a presence that is now absent (the elderly relative who has died but is still remembered). Indeed, the zombies in this film are an implicit rebuke to Norman’s mother and her command that Norman “move on” after his grandmother’s death. The dead are still present, this film playfully reminds us, and therefore “moving on” is an overly simplistic and somewhat disrespectful response (especially when imposed on children by adult authority figures.) If the horror narrative is built around the notion that “normality is threatened by the Monster”, as Robin Wood has famously suggested, ParaNorman and Frankenweenie re-imagine this narrative of subversion from a child’s perspective (31). Both films open up a space within which the child is permitted to negotiate with the destabilising figure of the monster; the normality that is “threatened” here is the adult notion of the finality of death and, relatedly, the assumption that death is not a suitable subject for children to think or talk about. Breaking down such understandings, Frankenweenie and ParaNorman strive not so much to play with death (a phrase that implies a certain callousness, a problematic disregard for human life) but to explore death through the darkness of play. This is beautifully imaged in a scene from ParaNorman in which Norman and his friend Neil play with the ghost of Neil’s recently deceased dog. “We’re going to play with a dead dog in the garden,” Neil enthusiastically announces to his brother, “and we’re not even going to have to dig him up first!” Somewhat similarly, film critic Richard Corliss notes in his review of Frankenweenie that the film’s “message to the young” is that “children should play with dead things.” Through this intersection between “death” and “play”, both films propose a particularly child-like (although not necessarily child-ish) way of negotiating horror’s dark territory. Conclusion Animated film has always been an ambiguous space in terms of age, pleasure, and viewership. As film critic Margaret Pomeranz has observed, “there is this perception that if it’s an animated film then you can take the little littlies” (Pomeranz and Stratton). Animation itself is often a signifier of safety, fun, nostalgia, and childishness; it is a means of addressing families and young audiences. Yet at the same time, the fantastic and transformative aspects of animation can be powerful tools for telling stories that are dark, surprising, or somehow subversive. It is therefore interesting that the trend towards re-imagining horror for children that this paper has identified is unfolding within the animated space. It is beyond the scope of this paper to fully consider what animation as a medium brings to this re-imagining process. However, it is worth noting that the distinctive stop-motion style used in both films works to position them as alternatives to Disney products (for although Frankenweenie was released under the Disney banner, it is visually distinct from most of Disney’s animated ventures). The majority of Disney films are adaptations or re-imaginings of some sort, yet these re-imaginings look to fairytales or children’s literature for their source material. In contrast, as this paper has demonstrated, Frankenweenie and ParaNorman open up a space for boundary play: they give children access to tropes, narratives, and characters that are specifically associated with adult viewers, and they invite adults to see these tropes, narratives, and characters from a child’s perspective. Ultimately, it is difficult to determine the success of this re-imagining process: what, indeed, does a successful re-imagining of horror for children look like, and who might be permitted to take pleasure from it? Arguably, ParaNorman and Frankenweenie have succeeded in reshaping the genre without simplifying it, deploying tropes and characters from classic horror texts in a meaningful way within the complex space of children’s animated film. References Berardinelli, James. “Frankenweenie (Review).” Reelviews, 4 Oct. 2012. 6 Aug. 2014 ‹http://www.reelviews.net/php_review_template.php?identifier=2530›. Bode, Lisa. “Transitional Tastes: Teen Girls and Genre in the Critical Reception of Twilight.” Continuum: Journal of Media & Cultural Studies 24.5 (2010): 707-19. Bradshaw, Peter. “Frankenweenie: First Look Review.” The Guardian, 11 Oct. 2012. 6 Aug. 2014 ‹http://www.theguardian.com/film/2012/oct/10/frankenweenie-review-london-film-festival-tim-burton›. Buckingham, David. Moving Images: Understanding Children’s Emotional Responses to Television. Manchester and New York: Manchester University Press, 1996. Cantor, Joanne. “‘I’ll Never Have a Clown in My House’ – Why Movie Horror Lives On.” Poetics Today 25.2 (2004): 283-304. Cantor, Joanne, and Mary Beth Oliver. “Developmental Differences in Responses to Horror”. The Horror Film. Ed. Stephen Prince. New Brunswick, NJ: Rutgers UP, 2004. 224-41. Corliss, Richard. “‘Frankenweenie’ Movie Review: A Re-Animated Delight”. Time, 4 Oct. 2012. 6 Aug. 2014 ‹http://entertainment.time.com/2012/10/04/tim-burtons-frankenweenie-a-re-animated-delight/›. Frankenweenie. Directed by Tim Burton. Walt Disney Pictures, 2012. Graham, Elaine L. Representations of the Post/Human: Monsters, Aliens and Others in Popular Culture. Manchester: Manchester UP, 2002. Hastings, A. Waller. “Moral Simplification in Disney’s The Little Mermaid.” The Lion and the Unicorn 17.1 (1993): 83-92. Hopkins, Lisa. Screening the Gothic. Austin: U of Texas P, 2005. Jackson, Anna, Karen Coats, and Roderick McGillis. “Introduction.” The Gothic in Children’s Literature: Haunting the Borders. Eds. Anna Jackson, Karen Coats, and Roderick McGillis. New York: Routledge, 2008. 1-14. Jancovich, Mark. “General Introduction.” Horror: The Film Reader. Ed. Mark Jancovich. London: Routledge, 2002. 1-19. Kellogg, Judith L. “The Dynamics of Dumbing: The Case of Merlin.” The Lion and the Unicorn 17.1 (1993): 57-72. Leitch, Thomas. “Twelve Fallacies in Contemporary Adaptation Theory.” Criticism 45.2 (2003): 149-71. Lemire, Christy. “‘Frankenweenie’ Review: Tim Burton Reminds Us Why We Love Him.” The Huffington Post, 2 Oct. 2012. 6 Aug. 2014 ‹http://www.huffingtonpost.com/2012/10/03/frankenweenie-review-tim-burton_n_1935142.html›. Lumenick, Lou. “So Good, It’s Scary (ParaNorman Review)”. New York Post, 17 Aug. 2012. 3 Jun. 2015 ‹http://nypost.com/2012/08/17/so-good-its-scary/›. McCarthy, Todd. “Frankenweenie: Film Review.” The Hollywood Reporter, 20 Sep. 2012. 6 Aug. 2014 ‹http://www.hollywoodreporter.com/movie/frankenweenie/review/372720›. Napolitano, Marc. “Disneyfying Dickens: Oliver & Company and The Muppet Christmas Carol as Dickensian Musicals.” Studies in Popular Culture 32.1 (2009): 79-102. O’Connell, Sean. “Middle School and Zombies? Awwwkward!” Washington Post, 17 Aug. 2012. 3 Jun. 2015 ‹http://www.washingtonpost.com/gog/movies/paranorman,1208210.html›. ParaNorman. Directed by Chris Butler and Sam Fell. Focus Features/Laika Entertainment, 2012. Platts, Todd K. “Locating Zombies in the Sociology of Popular Culture”. Sociology Compass 7 (2013): 547-60. Pomeranz, Margaret, and David Stratton. “Igor (Review).” At the Movies, 14 Dec. 2008. 6 Aug. 2014 ‹http://www.abc.net.au/atthemovies/txt/s2426109.htm›. Scott, A.O. “It’s Aliiiive! And Wagging Its Tail: ‘Frankenweenie’, Tim Burton’s Homage to Horror Classics.” New York Times, 4 Oct. 2012. 6 Aug. 2014 ‹http://www.nytimes.com/2012/10/05/movies/frankenweenie-tim-burtons-homage-to-horror-classics.html›. Semenza, Gregory M. Colón. “Teens, Shakespeare, and the Dumbing Down Cliché: The Case of The Animated Tales.” Shakespeare Bulletin 26.2 (2008): 37-68. Shelley, Mary. Frankenstein, or, The Modern Prometheus. Hertfordshire: Wordsworth Editions, 1993 [1818]. Smith, Sarah J. Children, Cinema and Censorship: From Dracula to the Dead End Kids. London: I.B. Tauris, 2005. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Eds. Robert Stam and Alessandra Raengo. Oxford: Blackwell, 2005. 1-52. Wells, Paul. The Horror Genre: From Beelzebub to Blair Witch. London: Wallflower, 2000. Whelehan, Imelda. “Adaptations: the Contemporary Dilemmas.” Adaptations: From Text to Screen, Screen to Text. Eds. Deborah Cartmell and Imelda Whelehan. London: Routledge, 1999. 3-19. Wolgamott, L. Kent. “‘Frankenweenie’ A Box-Office Bomb, But Superior Film.” Lincoln Journal Star, 10 Oct. 2012. 18 Aug. 2014 ‹http://journalstar.com/entertainment/movies/l-kent-wolgamott-frankenweenie-a-box-office-bomb-but-superior/article_42409e82-89b9-5794-8082-7b5de3d469e2.html›. Wood, Robin. “The American Nightmare: Horror in the 70s.” Horror: The Film Reader. Ed. Mark Jancovich. London: Routledge, 2002. 25-32.
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Rogers, Ian, Dave Carter, Benjamin Morgan, and Anna Edgington. "Diminishing Dreams." M/C Journal 25, no. 2 (April 25, 2022). http://dx.doi.org/10.5204/mcj.2884.

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Анотація:
Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or provocations concerning music’s commercial and social future. What is convened in this era (pre-2017 blockchain music discourse and practice) is the potential for change: a type of widespread, broadly discussed, reimagination of the 21st-century music industries, productive precisely because near-future applications suggest the realisation of what Baym et al. call dreams. In this article, we aim to examine the Web3 music field as it lies some years later. Taking the latter half of 2021 as our subject, we present a survey of where music then resided within Web3, focussing on how the dreams of Baym et al. have morphed and evolved, and materialised and declined, in the intervening years. By investigating the discourse and functionality of 2021’s current crop of music NFTs—just one thread of music Web3’s far-reaching aspiration, but a potent and accessible manifestation nonetheless—we can make a detailed analysis of concept-led application. Volatility remains throughout the broader sector, and all of the projects listed here could be read as conditionally short-term and untested, but what they represent is a series of clearly evolved case studies of the dream, rich precisely because of what is assumed and disregarded. WTF Is an NFT? Non-fungible tokens inscribe indelible, unique ledger entries on a blockchain, detailing ownership of, or rights associated with, assets that exist off-chain. Many NFTs take the form of an ERC-721 smart-contract that functions as an indivisible token on the Ethereum blockchain. Although all ERC-721 tokens are NFTs, the inverse is not true. Similar standards exist on other blockchains, and bridges allow these tokens to be created on alternative networks such as Polygon, Solana, WAX, Cardano and Tezos. The creation (minting) and transfer of ownership on the Ethereum network—by far the dominant chain—comes with a significant and volatile transaction cost, by way of gas fees. Thus, even a “free” transaction on the main NFT network requires a currency and time investment that far outweighs the everyday routines of fiat exchange. On a technical level, the original proposal for the ERC-721 standard refers to NFTs as deeds intended to represent ownership of digital and physical assets like houses, virtual collectibles, and negative value assets such as loans (Entriken et al.). The details of these assets can be encoded as metadata, such as the name and description of the asset including a URI that typically points to either a file somewhere on the Internet or a file hosted via IPFS, a decentralised peer-to-peer hosting network. As noted in the standard, while the data inscribed on-chain are immutable, the asset being referred to is not. Similarly, while each NFT is unique, multiple NFTs could, in theory, point to a single asset. In this respect ERC-721 tokens are different from cryptocurrencies and other tokens like stable-coins in that their value is often contingent on their accurate and ongoing association with assets outside of the blockchain on which they are traded. Further complicating matters, it is often unclear if and how NFTs confer ownership of digital assets with respect to legislative or common law. NFTs rarely include any information relating to licencing or rights transfer, and high-profile NFTs such as Bored Ape Yacht Club appear to be governed by licencing terms held off-chain (Bored Ape Yacht Club). Finally, while it is possible to inscribe any kind of data, including audio, into an NFT, the ERC-721 standard and the underpinning blockchains were not designed to host multimedia content. At the time of writing, storing even a low-bandwidth stereo audio file on the ethereum network appears cost-prohibitive. This presents a challenge for how music NFTs distinguish themselves in a marketplace dominated by visual works. The following sections of this article are divided into what we consider to be the general use cases for NFTs within music in 2021. We’ve designated three overlapping cases: audience investment, music ownership, and audience and business services. Audience Investment Significant discourse around NFTs focusses on digital collectibles and artwork that are conceptually, but not functionally, unique. Huge amounts of money have changed hands for specific—often celebrity brand-led—creations, resulting in media cycles of hype and derision. The high value of these NFTs has been variously ascribed to their high novelty value, scarcity, the adoption of NFTs as speculative assets by investors, and the lack of regulatory oversight allowing for price inflation via practices such as wash-trading (Madeline; Das et al.; Cong et al.; Le Pennec, Fielder, and Ante; Fazil, Owfi, and Taesiri). We see here the initial traditional split of discourse around cultural activity within a new medium: dual narratives of utopianism and dystopianism. Regardless of the discursive frame, activity has grown steadily since stories reporting the failure of Blockchain to deliver on its hype began appearing in 2017 (Ellul). Early coverage around blockchain, music, and NFTs echoes this capacity to leverage artificial scarcity via the creation of unique digital assets (cf Heap; Tomaino). As NFTs have developed, this discourse has become more nuanced, arguing that creators are now able to exploit both ownership and abundance. However, for the most part, music NFTs have essentially adopted the form of digital artworks and collectibles in editions ranging from 1:1 or 1:1000+. Grimes’s February 2021 Mars NFT pointed to a 32-second rotating animation of a sword-wielding cherubim above the planet Mars, accompanied by a musical cue (Grimes). Mars sold 388 NFTs for a reported fixed price of $7.5k each, grossing $2,910,000 at time of minting. By contrast, electronic artists Steve Aoki and Don Diablo have both released 1:1 NFT editions that have been auctioned via Sotheby’s, Superrare, and Nifty Gateway. Interestingly, these works have been bundled with physical goods; Diablo’s Destination Hexagonia, which sold for 600 Eth or approximately US$1.2 million at the time of sale, proffered ownership of a bespoke one-hour film hosted online, along with “a unique hand-crafted box, which includes a hard drive that contains the only copy of the high-quality file of the film” (Diablo). Aoki’s Hairy was much less elaborate but still promised to provide the winner of the $888,888 auction with a copy of the 35-second video of a fur-covered face shaking in time to downbeat electronica as an Infinite Objects video print (Aoki). In the first half of 2021, similar projects from high-profile artists including Deadmau5, The Weekend, Snoop Dogg, Eminem, Blondie, and 3Lau have generated an extraordinary amount of money leading to a significant, and understandable, appetite from musicians wanting to engage in this marketplace. Many of these artists and the platforms that have enabled their sales have lauded the potential for NFTs to address an alleged poor remuneration of artists from streaming and/or bypassing “industry middlemen” (cf. Sounds.xyz); the millions of dollars generated by sales of these NFTs presents a compelling case for exploring these new markets irrespective of risk and volatility. However, other artists have expressed reservations and/or received pushback on entry into the NFT marketplace due to concerns over the environmental impact of NFTs; volatility; and a perception of NFT markets as Ponzi schemes (Poleg), insecure (Goodin), exploitative (Purtill), or scammy (Dash). As of late 2021, increased reportage began to highlight unauthorised or fraudulent NFT minting (cf. TFL; Stephen), including in music (Newstead). However, the number of contested NFTs remains marginal in comparison to the volume of exchange that occurs in the space daily. OpenSea alone oversaw over US$2.5 billion worth of transactions per month. For the most part, online NFT marketplaces like OpenSea and Solanart oversee the exchange of products on terms not dissimilar to other large online retailers; the space is still resolutely emergent and there is much debate about what products, including recently delisted pro-Nazi and Alt-Right-related NFTs, are socially and commercially acceptable (cf. Pearson; Redman). Further, there are signs this trend may impact on both the willingness and capacity of rightsholders to engage with NFTs, particularly where official offerings are competing with extant fraudulent or illegitimate ones. Despite this, at the time of writing the NFT market as a whole does not appear prone to this type of obstruction. What remains complicated is the contested relationship between NFTs, copyrights, and ownership of the assets they represent. This is further complicated by tension between the claims of blockchain’s independence from existing regulatory structures, and the actual legal recourse available to music rights holders. Music Rights and Ownership Baym et al. note that addressing the problems of rights management and metadata is one of the important discussions around music convened by early blockchain projects. While they posit that “our point is not whether blockchain can or can’t fix the problems the music industries face” (403), for some professionals, the blockchain’s promise of eliminating the need for trust seemed to provide an ideal solution to a widely acknowledged business-to-business problem: one of poor metadata leading to unclaimed royalties accumulating in “black boxes”, particularly in the case of misattributed mechanical royalties in the USA (Rethink Music Initiative). As outlined in their influential institutional research paper (partnered with music rights disruptor Kobalt), the Rethink Music Initiative implied that incumbent intermediaries were benefiting from this opacity, incentivising them to avoid transparency and a centralised rights management database. This frame provides a key example of one politicised version of “fairness”, directly challenging the interest of entrenched powers and status quo systems. Also present in the space is a more pragmatic approach which sees problems of metadata and rights flows as the result of human error which can be remedied with the proper technological intervention. O’Dair and Beaven argue that blockchain presents an opportunity to eliminate the need for trust which has hampered efforts to create a global standard database of rights ownership, while music business researcher Opal Gough offers a more sober overview of how decentralised ledgers can streamline processes, remove inefficiencies, and improve cash flow, without relying on the moral angle of powerful incumbents holding on to control accounts and hindering progress. In the intervening two years, this discourse has shifted from transparency (cf. Taghdiri) to a practical narrative of reducing system friction and solving problems on the one hand—embodied by Paperchain, see Carnevali —and ethical claims reliant on the concept of fairness on the other—exemplified by Resonate—but with, so far, limited widespread impact. The notion that the need for b2b collaboration on royalty flows can be successfully bypassed through a “trustless” blockchain is currently being tested. While these earlier projects were attempts to either circumvent or fix problems facing the traditional rights holders, with the advent of the NFT in particular, novel ownership structures have reconfigured the concept of a rights holder. NFTs promise fans an opportunity to not just own a personal copy of a recording or even a digitally unique version, but to share in the ownership of the actual property rights, a role previously reserved for record labels and music publishers. New NFT models have only recently launched which offer fans a share of IP revenue. “Collectors can buy royalty ownership in songs directly from their favorite artists in the form of tokens” through the service Royal. Services such as Royal and Vezt represent potentially massive cultural shifts in the traditional separation between consumers and investors; they also present possible new headaches and adventures for accountants and legal teams. The issues noted by Baym et al. are still present, and the range of new entrants into this space risks the proliferation, rather than consolidation, of metadata standards and a need to put money into multiple blockchain ecosystems. As noted in RMIT’s blockchain report, missing royalty payments … would suggest the answer to “does it need a blockchain?” is yes (although further research is needed). However, it is not clear that the blockchain economy will progress beyond the margins through natural market forces. Some level of industry coordination may still be required. (18) Beyond the initial questions of whether system friction can be eased and standards generated without industry cooperation lie deeper philosophical issues of what will happen when fans are directly incentivised to promote recordings and artist brands as financial investors. With regard to royalty distribution, the exact role that NFTs would play in the ownership and exploitation of song IP remains conceptual rather than concrete. Even the emergent use cases are suggestive and experimental, often leaning heavily on off-chain terms, goodwill and the unknown role of existing legal infrastructure. Audience and Business Services Aside from the more high-profile NFT cases which focus on the digital object as an artwork providing a source of value, other systemic uses of NFTs are emerging. Both audience and business services are—to varying degrees—explorations of the utility of NFTs as a community token: i.e. digital commodities that have a market value, but also unlock ancillary community interaction. The music industries have a longstanding relationship with the sale of exclusivity and access tailored to experiential products. Historically, one of music’s most profitable commodities—the concert ticket—contains very little intrinsic value, but unlocks a hugely desirable extrinsic experience. As such, NFTs have already found adoption as tools of music exclusivity; as gateways into fan experiences, digital communities, live events ticketing and closed distribution. One case study incorporating almost all of these threads is the Deathbats club by American heavy metal band Avenged Sevenfold. Conceived of as the “ultimate fan club”, Deathbats is, according to the band’s singer M. Shadows, “every single thing that [fans] want from us, which is our time, our energy” (Chan). At the time of writing, the Deathbats NFT had experienced expected volatility, but maintained a 30-day average sale price well above launch price. A second affordance provided by music NFTs’ ability to tokenise community is the application of this to music businesses in the form of music DAOs: decentralised autonomous organisations. DAOs and NFTs have so far intersected in a number of ways. DAOs function as digital entities that are owned by their members. They utilise smart contracts to record protocols, votes, and transactions on the blockchain. Bitcoin and Ethereum are often considered the first DAOs of note, serving as board-less venture capital funds, also known as treasuries, that cannot be accessed without the consensus of their members. More recently, DAOs have been co-opted by online communities of shared interests, who work towards an agreed goal, and operate without the need for leadership. Often, access to DAO membership is tokenised, and the more tokens a member has, the more voting rights they possess. All proposals must pass before members, and have been voted for by the majority in order to be enacted, though voting systems differ between DAOs. Proposals must also comply with the DAO’s regulations and protocols. DAOs typically gather in online spaces such as Discord and Zoom, and utilise messaging services such as Telegram. Decentralised apps (dapps) have been developed to facilitate DAO activities such as voting systems and treasury management. Collective ownership of digital assets (in the form of NFTs) has become commonplace within DAOs. Flamingo DAO and PleasrDAO are two well-established and influential examples. The “crypto-backed social club” Friends with Benefits (membership costs between $5,000 and $10,000) serves as a “music discovery platform, an online publication, a startup incubator and a kind of Bloomberg terminal for crypto investors” (Gottsegen), and is now hosting its own curated NFT art platform with work by the likes of Pussy Riot. Musical and cross-disciplinary artists and communities are also exploring the potential of DAOs to empower, activate, and incentivise their communities as an extension of, or in addition to, their adoption and exploration of NFTs. In collaboration with Never Before Heard Sounds, electronic artist and musical pioneer Holly Herndon is exploring ideological questions raised by the growing intelligence of AI to create digital likeness and cloning through voice models. Holly+ is a custom voice instrument that allows users to process pre-existing polyphonic audio through a deep neural network trained by recordings of Holly Herndon’s voice. The output is audio-processed through Holly Herndon’s distinct vocal sound. Users can submit their resulting audio to the Holly+ DAO, to whom she has distributed ownership of her digital likeness. DAO token-holders steward which audio is minted and certified as an NFT, ensuring quality control and only good use of her digital likeness. DAO token-holders are entitled to a percentage of profit from resales in perpetuity, thereby incentivising informed and active stewardship of her digital likeness (Herndon). Another example is LA-based label Leaving Records, which has created GENRE DAO to explore and experiment with new levels of ownership and empowerment for their pre-existing community of artists, friends, and supporters. They have created a community token—$GENRE—for which they intend a number of uses, such as “a symbol of equitable growth, a badge of solidarity, a governance token, currency to buy NFTs, or as a utility to unlock token-gated communities” (Leaving Records). Taken as a whole, the spectrum of affordances and use cases presented by music NFTs can be viewed as a build-up of interest and capital around the technology. Conclusion The last half of 2021 was a moment of intense experimentation in the realms of music business administration and cultural expression, and at the time of writing, each week seemed to bring a new high-profile music Web3 project and/or disaster. Narratives of emancipation and domination under capitalism continue to drive our discussions around music and technology, and the direct link to debates on ecology and financialisation make these conversations particularly polarising. High-profile cases of music projects that overstep norms of existing IP rights, such as Hitpiece’s attempt to generate NFTs of songs without right-holders’ consent, point to the ways in which this technology is portrayed as threatening and subversive to commercial musicians (Blistein). Meanwhile, the Water and Music research DAO promises to incentivise a research community to “empower music-industry professionals with the knowledge, network and skills to do more collaborative and progressive work with technology” through NFT tokens and a DAO organisational structure (Hu et al.). The assumption in many early narratives of the ability of blockchain to provide systems of remuneration that musicians would embrace as inherently fairer is far from the reality of a popular discourse marked by increasing disdain and distrust, currently centred on NFTs as lacking in artistic merit, or even as harmful. We have seen all this talk before, of course, when jukeboxes and player pianos, film synchronisation, radio, recording, and other new communication technologies steered new paths for commercial musicians and promised magical futures. All of these innovations were met with intense scrutiny, cries of inauthentic practice, and resistance by incumbent musicians, but all were eventually sustained by the emergence of new forms of musical expression that captured the interest of the public. On the other hand, the road towards musical nirvana passes by not only the more prominent corpses of the Digital Audio Tape, SuperAudio, and countless recording formats, but if you squint and remember that technology is not always about devices or media, you can see the Secure Download Music Initiative, PressPlay, the International Music Registry, and Global Repertoire Databases in the distance, wondering if blockchain might correct some of the problems they dreamed of solving in their day. The NFT presents the artistic and cultural face of this dream of a musical future, and of course we are first seeing the emergence of old models within its contours. While the investment, ownership, and service phenomena emerging might not be reminiscent of the first moment when people were able to summon a song recording onto their computer via a telephone modem, it is important to remember that there were years of text-based chat rooms before we arrived at music through the Internet. It is early days, and there will be much confusion, anger, and experimentation before music NFTs become either another mundane medium of commercial musical practice, or perhaps a memory of another attempt to reach that goal. References Aoki, Steve. “Hairy.” Nifty Gateway 2021. 16 Feb. 2022 <https://niftygateway.com/marketplace/collection/0xbeccd9e4a80d4b7b642760275f60b62608d464f7/1?page=1>. Baym, Nancy, Lana Swartz, and Andrea Alarcon. "Convening Technologies: Blockchain and the Music Industry." International Journal of Communication 13.20 (2019). 13 Feb. 2022 <https://ijoc.org/index.php/ijoc/article/view/8590>. Barnett, C. “Convening Publics: The Parasitical Spaces of Public Action.” The SAGE Handbook of Political Geography. Eds. K.R. Cox., M. Low, and J. Robinson. London: Sage, 2008. 403–418. Blistein, Jon. "Hitpiece Wants to Make Every Song in the World an NFT. But Artists Aren't Buying It." Rolling Stone 2022. 14 Feb, 2022 <https://www.rollingstone.com/music/music-news/hitpiece-nft-song-controversy-1294027/>. Bored Ape Yacht Club. "Terms & Conditions." Yuga Labs, Inc. 2020. 14 Feb. 2022 <https://boredapeyachtclub.com/#/terms>. Carnevali, David. "Paperchain Uses Defi to Speed Streaming Payments to Musicians; the Startup Gets Streaming Data from Music Labels and Distributors on Their Artists, Then Uses Their Invoices as Collateral for Defi Loans to Pay the Musicians More Quickly." Wall Street Journal 2021. 16 Feb. 2022 <https://www.wsj.com/articles/paperchain-uses-defi-to-speed-streaming-payments-to-musicians-11635548273>. Chan, Anna. “How Avenged Sevenfold Is Reinventing the Fan Club with Deathbats Club NFTs”. NFT Now. 2021. 16 Feb. 2022 <https://avengedsevenfold.com/news/nft-now-avenged-sevenfold-reinventing-fan-club-with-deathbats-club/>. Cong, Lin William, Xi Li, Ke Tang, and Yang Yang. “Crypto Wash Trading.” SSRN 2021. 15 Feb. 2022 <https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3530220>. Das, Dipanjan, Priyanka Bose, Nicola Ruaro, Christopher Kruegel, and Giovanni Vigna. "Understanding Security Issues in the NFT Ecosystem." ArXiv 2021. 16 Feb. 2022 <https://arxiv.org/abs/2111.08893>. Dash, Anil. “NFTs Weren’t Supposed to End like This.” The Atlantic 2021. 16 Feb. 2022 <https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/>. Diablo, Don. “Destination Hexagonia.” SuperRare 2021. 16 Feb. 2022 <https://superrare.com/artwork-v2/d%CE%BEstination-h%CE%BExagonia-by-don-diablo-23154>. Entriken, William, Dieter Shirley, Jacob Evans, and Nastassia Sachs. “EIP-721: Non-Fungible Token Standard.” Ethereum Improvement Proposals, 2022. 16 Feb. 2022 <https://arxiv.org/abs/2111.08893>. Fashion Law, The. “From Baby Birkins to MetaBirkins, Brands Are Facing Issues in the Metaverse.” 2021. 16 Feb. 2022 <https://www.thefashionlaw.com/from-baby-birkins-to-metabirkins-brands-are-being-plagued-in-the-metaverse/>. Fazli, Mohammah Amin, Ali Owfi, and Mohammad Reza Taesiri. "Under the Skin of Foundation NFT Auctions." ArXiv 2021. 16 Feb. 2022 <https://arxiv.org/abs/2109.12321>. Friends with Benefits. “Pussy Riot Drink My Blood”. 2021. 28 Jan. 2022 <https://gallery.fwb.help/pussy-riot-drink-my-blood>. Gough, Opal. "Blockchain: A New Opportunity for Record Labels." International Journal of Music Business Research 7.1 (2018): 26-44. Gottsegen, Will. “What’s Next for Friends with Benefits.” Yahoo! Finance 2021. 16 Feb. 2022 <https://au.finance.yahoo.com/news/next-friends-benefits-204036081.html>. Heap, Imogen. “Blockchain Could Help Musicians Make Money Again.” Harvard Business Review 2017. 16 Feb. 2022 <https://hbr.org/2017/06/blockchain-could-help-musicians-make-money-again>. Herndon, Holly. Holly+ 2021. 1 Feb. 2022 <https://holly.mirror.xyz>. Hu, Cherie, Diana Gremore, Katherine Rodgers, and Alexander Flores. "Introducing $STREAM: A New Tokenized Research Framework for the Music Industry." Water and Music 2021. 14 Feb. 2022 <https://www.waterandmusic.com/introducing-stream-a-new-tokenized-research-framework-for-the-music-industry/>. Leaving Records. “Leaving Records Introducing GENRE DAO.” Leaving Records 2021. 12 Jan. 2022 <https://leavingrecords.mirror.xyz/>. LePenne, Guénolé, Ingo Fiedler, and Lennart Ante. “Wash Trading at Cryptocurrency Exchanges.” Finance Research Letters 43 (2021). Gottsegen, Will. “What’s Next for Friend’s with Benefits?” Coin Desk 2021. 28 Jan. 2021 <https://www.coindesk.com/layer2/culture-week/2021/12/16/whats-next-for-friends-with-benefits>. Goodin, Dan. “Really Stupid ‘Smart Contract’ Bug Let Hacker Steal $31 Million in Digital Coin.” ARS Technica 2021. 16 Feb. 2022 <https://arstechnica.com/information-technology/2021/12/hackers-drain-31-million-from-cryptocurrency-service-monox-finance/>. Grimes. “Mars.” Nifty Gateway 2021. 16 Feb. 2022 <https://niftygateway.com/itemdetail/primary/0xe04cc101c671516ac790a6a6dc58f332b86978bb/2>. Newstead, Al. “Artists Outraged at Website Allegedly Selling Their Music as NFTS: What You Need to Know.” ABC Triple J 2022. 16 Feb. 2022 <https://www.abc.net.au/triplej/news/musicnews/hitpiece-explainer--artists-outraged-at-website-allegedly-selli/13739470>. O’Dair, Marcus, and Zuleika Beaven. "The Networked Record Industry: How Blockchain Technology Could Transform the Record Industry." Strategic Change 26.5 (2017): 471-80. Pearson, Jordan. “OpenSea Sure Has a Lot of Hitler NFTs for Sale.” Vice: Motherboard 2021. 16 Feb. 2022 <https://www.vice.com/en/article/akgx9j/opensea-sure-has-a-lot-of-hitler-nfts-for-sale>. Poleg, Dror. In Praise of Ponzis. 2021. 16 Feb. 2022 <https://www.drorpoleg.com/in-praise-of-ponzis/>. Purtill, James. “Artists Report Discovering Their Work Is Being Stolen and Sold as NFTs.” ABC News: Science 2021. 16 Feb. 2022 <https://www.abc.net.au/news/science/2021-03-16/nfts-artists-report-their-work-is-being-stolen-and-sold/13249408>. Rae, Madeline. “Analyzing the NFT Mania: Is a JPG Worth Millions.” SAGE Business Cases 2021. 16 Feb. 2022 <https://sk-sagepub-com.ezproxy.lib.rmit.edu.au/cases/analyzing-the-nft-mania-is-a-jpg-worth-millions>. Redman, Jamie. “Political Cartoonist Accuses NFT Platforms Opensea, Rarible of Being 'Tools for Political Censorship'.” Bitcoin.com 2021. 16 Feb. 2022 <https://news.bitcoin.com/political-cartoonist-accuses-nft-platforms-opensea-rarible-of-being-tools-for-political-censorship/>. Rennie, Ellie, Jason Potts, and Ana Pochesneva. Blockchain and the Creative Industries: Provocation Paper. Melbourne: RMIT University. 2019. Resonate. "Pricing." 2022. 16 Feb. 2022 <https://resonate.is/pricing/>. Rethink Music Initiative. Fair Music: Transparency and Payment Flows in the Music Industry. Berklee Institute for Creative Entrepreneurship, 2015. Royal. "How It Works." 2022. 16 Feb. 2022 <https://royal.io/>. Stephen, Bijan. “NFT Mania Is Here, and So Are the Scammers.” The Verge 2021. 15 Feb. 2022 <https://www.theverge.com/2021/3/20/22334527/nft-scams-artists-opensea-rarible-marble-cards-fraud-art>. Sound.xyz. 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Chavdarov, Anatoliy V. "Special Issue No. – 10, June, 2020 Journal > Special Issue > Special Issue No. – 10, June, 2020 > Page 5 “Quantative Methods in Modern Science” organized by Academic Paper Ltd, Russia MORPHOLOGICAL AND ANATOMICAL FEATURES OF THE GENUS GAGEA SALISB., GROWING IN THE EAST KAZAKHSTAN REGION Authors: Zhamal T. Igissinova,Almash A. Kitapbayeva,Anargul S. Sharipkhanova,Alexander L. Vorobyev,Svetlana F. Kolosova,Zhanat K. Idrisheva, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00041 Abstract: Due to ecological preferences among species of the genus GageaSalisb, many plants are qualified as rare and/or endangered. Therefore, the problem of rational use of natural resources, in particular protection of early spring plant species is very important. However, literary sources analysis only reveals data on the biology of species of this genus. The present research,conducted in the spring of 2017-2019, focuses on anatomical and morphological features of two Altai species: Gagealutea and Gagea minima; these features were studied, clarified and confirmed by drawings and photographs. The anatomical structure of the stem and leaf blade was studied in detail. The obtained research results will prove useful for studies of medicinal raw materials and honey plants. The aforementioned species are similar in morphological features, yet G. minima issmaller in size, and its shoots appear earlier than those of other species Keywords: Flora,gageas,Altai species,vegetative organs., Refference: I. Atlas of areas and resources of medicinal plants of Kazakhstan.Almaty, 2008. II. Baitenov M.S. Flora of Kazakhstan.Almaty: Ġylym, 2001. III. DanilevichV. G. ThegenusGageaSalisb. of WesternTienShan. PhD Thesis, St. Petersburg,1996. IV. EgeubaevaR.A., GemedzhievaN.G. The current state of stocks of medicinal plants in some mountain ecosystems of Kazakhstan.Proceedings of the international scientific conference ‘”Results and prospects for the development of botanical science in Kazakhstan’, 2002. V. Kotukhov Yu.A. New species of the genus Gagea (Liliaceae) from Southern Altai. Bot. Journal.1989;74(11). VI. KotukhovYu.A. ListofvascularplantsofKazakhstanAltai. Botan. Researches ofSiberiaandKazakhstan.2005;11. VII. KotukhovYu. The current state of populations of rare and endangered plants in Eastern Kazakhstan. Almaty: AST, 2009. VIII. Kotukhov Yu.A., DanilovaA.N., AnufrievaO.A. Synopsisoftheonions (AlliumL.) oftheKazakhstanAltai, Sauro-ManrakandtheZaisandepression. BotanicalstudiesofSiberiaandKazakhstan. 2011;17: 3-33. IX. Kotukhov, Yu.A., Baytulin, I.O. Rareandendangered, endemicandrelictelementsofthefloraofKazakhstanAltai. MaterialsoftheIntern. scientific-practical. conf. ‘Sustainablemanagementofprotectedareas’.Almaty: Ridder, 2010. X. Krasnoborov I.M. et al. The determinant of plants of the Republic of Altai. Novosibirsk: SB RAS, 2012. XI. Levichev I.G. On the species status of Gagea Rubicunda. Botanical Journal.1997;6:71-76. XII. Levichev I.G. A new species of the genus Gagea (Liliaceae). Botanical Journal. 2000;7: 186-189. XIII. Levichev I.G., Jangb Chang-gee, Seung Hwan Ohc, Lazkovd G.A.A new species of genus GageaSalisb.(Liliaceae) from Kyrgyz Republic (Western Tian Shan, Chatkal Range, Sary-Chelek Nature Reserve). Journal of Asia-Pacific Biodiversity.2019; 12: 341-343. XIV. Peterson A., Levichev I.G., Peterson J. Systematics of Gagea and Lloydia (Liliaceae) and infrageneric classification of Gagea based on molecular and morphological data. Molecular Phylogenetics and Evolution.2008; 46. XV. Peruzzi L., Peterson A., Tison J.-M., Peterson J. Phylogenetic relationships of GageaSalisb.(Liliaceae) in Italy, inferred from molecular and morphological data matrices. Plant Systematics and Evolution; 2008: 276. XVI. Rib R.D. Honey plants of Kazakhstan. Advertising Digest, 2013. XVII. Scherbakova L.I., Shirshikova N.A. Flora of medicinal plants in the vicinity of Ust-Kamenogorsk. Collection of materials of the scientific-practical conference ‘Unity of Education, Science and Innovation’. Ust-Kamenogorsk: EKSU, 2011. XVIII. syganovA.P. PrimrosesofEastKazakhstan. Ust-Kamenogorsk: EKSU, 2001. XIX. Tsyganov A.P. Flora and vegetation of the South Altai Tarbagatay. Berlin: LAP LAMBERT,2014. XX. Utyasheva, T.R., Berezovikov, N.N., Zinchenko, Yu.K. ProceedingsoftheMarkakolskStateNatureReserve. Ust-Kamenogorsk, 2009. XXI. Xinqi C, Turland NJ. Gagea. Flora of China.2000;24: 117-121. XXII. Zarrei M., Zarre S., Wilkin P., Rix E.M. Systematic revision of the genus GageaSalisb. (Liliaceae) in Iran.BotJourn Linn Soc.2007;154. XXIII. Zarrei M., Wilkin P., Ingroille M.J., Chase M.W. A revised infrageneric classification for GageaSalisb. (Tulipeae; Liliaceae): insights from DNA sequence and morphological data.Phytotaxa.2011:5. View | Download INFLUENCE OF SUCCESSION CROPPING ON ECONOMIC EFFICIENCY OF NO-TILL CROP ROTATIONS Authors: Victor K. Dridiger,Roman S. Stukalov,Rasul G. Gadzhiumarov,Anastasiya A. Voropaeva,Viktoriay A. Kolomytseva, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00042 Abstract: This study was aimed at examining the influence of succession cropping on the economic efficiency of no-till field crop rotations on the black earth in the zone of unstable moistening of the Stavropol krai. A long-term stationary experiment was conducted to examine for the purpose nine field crop rotation patterns different in the number of fields (four to six), set of crops, and their succession in crop rotation. The respective shares of legumes, oilseeds, and cereals in the cropping pattern were 17 to 33, 17 to 40, and 50 to 67 %. It has been established that in case of no-till field crop cultivation the economic efficiency of plant production depends on the set of crops and their succession in rotation. The most economically efficient type of crop rotation is the soya-winter wheat-peas-winter wheat-sunflower-corn six-field rotation with two fields of legumes: in this rotation 1 ha of crop rotation area yields 3 850 grain units per ha at a grain unit prime cost of 5.46 roubles; the plant production output return and profitability were 20,888 roubles per ha and 113 %, respectively. The high production profitabilities provided by the soya-winter wheat-sunflower four-field and the soya-winter-wheat-sunflower-corn-winter wheat five-field crop rotation are 108.7 and 106.2 %, respectively. The inclusion of winter wheat in crop rotation for two years in a row reduces the second winter wheat crop yield by 80 to 100 %, which means a certain reduction in the grain unit harvesting rate to 3.48-3.57 thousands per ha of rotation area and cuts the production profitability down to 84.4-92.3 %. This is why, no-till cropping should not include winter wheat for a second time Keywords: No-till technology,crop rotation,predecessor,yield,return,profitability, Refference: I Badakhova G. Kh. and Knutas A. V., Stavropol Krai: Modern Climate Conditions [Stavropol’skiykray: sovremennyyeklimaticheskiyeusloviya]. Stavropol: SUE Krai Communication Networks, 2007. II Cherkasov G. N. and Akimenko A. S. Scientific Basis of Modernization of Crop Rotations and Formation of Their Systems according to the Specializations of Farms in the Central Chernozem Region [Osnovy moderniz atsiisevooborotoviformirovaniyaikh sistem v sootvetstvii so spetsi-alizatsiyeykhozyaystvTsentral’nogoChernozem’ya]. Zemledelie. 2017; 4: 3-5. III Decree 330 of July 6, 2017 the Ministry of Agriculture of Russia “On Approving Coefficients of Converting to Agricultural Crops to Grain Units [Ob utverzhdeniikoeffitsiyentovperevoda v zernovyyee dinitsysel’s kokhozyaystvennykhkul’tur]. IV Dridiger V. K., About Methods of Research of No-Till Technology [O metodikeissledovaniytekhnologii No-till]//Achievements of Science and Technology of AIC (Dostizheniyanaukiitekhniki APK). 2016; 30 (4): 30-32. V Dridiger V. K. and Gadzhiumarov R. G. Growth, Development, and Productivity of Soya Beans Cultivated On No-Till Technology in the Zone of Unstable Moistening of Stavropol Region [Rost, razvitiyeiproduktivnost’ soiprivozdelyvaniipotekhnologii No-till v zone ne-ustoychivog ouvlazhneniyaStavropol’skogokraya]//Oil Crops RTBVNIIMK (Maslichnyyekul’turyNTBVNIIMK). 2018; 3 (175): 52–57. VI Dridiger V. K., Godunova E. I., Eroshenko F. V., Stukalov R. S., Gadzhiumarov, R. G., Effekt of No-till Technology on erosion resistance, the population of earthworms and humus content in soil (Vliyaniyetekhnologii No-till naprotivoerozionnuyuustoychivost’, populyatsiyudozhdevykhcherveyisoderzhaniyegumusa v pochve)//Research Journal of Pharmaceutical, Biological and Chemical Sciences. 2018; 9 (2): 766-770. VII Karabutov A. P., Solovichenko V. D., Nikitin V. V. et al., Reproduction of Soil Fertility, Productivity and Energy Efficiency of Crop Rotations [Vosproizvodstvoplodorodiyapochv, produktivnost’ ienergeticheskayaeffektivnost’ sevooborotov]. Zemledelie. 2019; 2: 3-7. VIII Kulintsev V. V., Dridiger V. K., Godunova E. I., Kovtun V. I., Zhukova M. P., Effekt of No-till Technology on The Available Moisture Content and Soil Density in The Crop Rotation [Vliyaniyetekhnologii No-till nasoderzhaniyedostupnoyvlagiiplotnost’ pochvy v sevoob-orote]// Research Journal of Pharmaceutical, Biological and Chemical Sciences. 2017; 8 (6): 795-99. IX Kulintsev V. V., Godunova E. I., Zhelnakova L. I. et al., Next-Gen Agriculture System for Stavropol Krai: Monograph [SistemazemledeliyanovogopokoleniyaStavropol’skogokraya: Monogtafiya]. Stavropol: AGRUS Publishers, Stavropol State Agrarian University, 2013. X Lessiter Frank, 29 reasons why many growers are harvesting higher no-till yields in their fields than some university scientists find in research plots//No-till Farmer. 2015; 44 (2): 8. XI Rodionova O. A. Reproduction and Exchange-Distributive Relations in Farming Entities [Vosproizvodstvoiobmenno-raspredelitel’nyyeotnosheniya v sel’skokhozyaystvennykhorganizatsiyakh]//Economy, Labour, and Control in Agriculture (Ekonomika, trud, upravleniye v sel’skomkhozyaystve). 2010; 1 (2): 24-27. XII Sandu I. S., Svobodin V. A., Nechaev V. I., Kosolapova M. V., and Fedorenko V. F., Agricultural Production Efficiency: Recommended Practices [Effektivnost’ sel’skokhozyaystvennogoproizvodstva (metodicheskiyerekomendatsii)]. Moscow: Rosinforagrotech, 2013. XIII Sotchenko V. S. Modern Corn Cultivation Technologies [Sovremennayatekhnologiyavozdelyvaniya]. Moscow: Rosagrokhim, 2009. View | Download DEVELOPMENT AND TESTING OF AUTONOMOUS PORTABLE SEISMOMETER DESIGNED FOR USE AT ULTRALOW TEMPERATURES IN ARCTIC ENVIRONMENT Authors: Mikhail A. Abaturov,Yuriy V. Sirotinskiy, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00043 Abstract: This paper is concerned with solving one of the issues of the general problem of designing geophysical equipment for the natural climatic environment of the Arctic. The relevance of the topic has to do with an increased global interest in this region. The paper is aimed at considering the basic principles of developing and the procedure of testing seismic instruments for use at ultralow climatic temperatures. In this paper the indicated issue is considered through the example of a seismic module designed for petroleum and gas exploration by passive seismoacoustic methods. The seismic module is a direct-burial portable unit of around 5 kg in weight, designed to continuously measure and record microseismic triaxial orthogonal (ZNE) noise in a range from 0.1 to 45 Hz during several days in autonomous mode. The functional chart of designing the seismic module was considered, and concrete conclusions were made for choosing the necessary components to meet the ultralow-temperature operational requirements. The conclusions made served for developing appropriate seismic module. In this case, the components and tools used included a SAFT MP 176065 xc low-temperature lithium cell, industrial-spec electronic component parts, a Zhaofeng Geophysical ZF-4.5 Chinese primary electrodynamic seismic sensor, housing seal parts made of frost-resistant silicone materials, and finely dispersed silica gel used as water-retaining sorbent to avoid condensation in the housing. The paper also describes a procedure of low-temperature collation tests at the lab using a New Brunswick Scientific freezing plant. The test results proved the operability of the developed equipment at ultralow temperatures down to -55°C. In addition, tests were conducted at low microseismic noises in the actual Arctic environment. The possibility to detect signals in a range from 1 to 10 Hz at the level close to the NLNM limit (the Peterson model) has been confirmed, which allows monitoring and exploring petroleum and gas deposits by passive methods. As revealed by this study, the suggested approaches are efficient in developing high-precision mobile seismic instruments for use at ultralow climatic temperatures. The solution of the considered instrumentation and methodical issues is of great practical significance as a constituent of the generic problem of Arctic exploration. Keywords: Seismic instrumentation,microseismic monitoring,Peterson model,geological exploration,temperature ratings,cooling test, Refference: I. AD797: Ultralow Distortion, Ultralow Noise Op Amp, Analog Devices, Inc., Data Sheet (Rev. K). Analog Devices, Inc. URL: https://www.analog.com/media/en/technical-documentation/data-sheets/AD797.pdf(Date of access September 2, 2019). II. Agafonov, V. M., Egorov, I. V., and Shabalina, A. S. Operating Principles and Technical Characteristics of a Small-Sized Molecular–Electronic Seismic Sensor with Negative Feedback [Printsipyraboty I tekhnicheskiyekharakteristikimalogabaritnogomolekulyarno-elektronnogoseysmodatchika s otritsatel’noyobratnoysvyaz’yu]. SeysmicheskiyePribory (Seismic Instruments). 2014; 50 (1): 1–8. DOI: 10.3103/S0747923914010022. III. Antonovskaya, G., Konechnaya, Ya.,Kremenetskaya, E., Asming, V., Kvaema, T., Schweitzer, J., Ringdal, F. Enhanced Earthquake Monitoring in the European Arctic. Polar Science. 2015; 1 (9): 158-167. 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Analytical comparison of seismic instruments for stationary surveys in the Arctic [Sravnitel’nyyanalizseysmicheskoyapparaturydlyastatsionarnykhnablyudeniy v Arktike]. DSYS. URL: https://dsys.ru/upload/id254_docPDF_FranzJosefLand.pdf(Date of access September 2, 2019). X. Dew point temperature calculator. Maple Tech. International LLC. URL: https://www.calculator.net/dew-point-calculator.html?airtemperature=20&airtemperatureunit=celsius&humidity=0.34&dewpoint=&dewpointunit=celsius&x=51&y=14(Date of access September 2, 2019). XI. Frolov, A. S. Matching of wave fields recorded by different geophysical receivers [Soglasovaniyevolnovykhpoley, poluchennykh s primeneniyemrazlichnoyregistriruyushcheyapparatury]. Abstracts IX International scientific and technical conference competition of young specialists “Geophysics-2013”. Saint-Petersburg: Gubkin University, 2013. 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F., Chirkin, I. A., Rizanov, E. G., LeRoy, S. D., Koligaev, S. O. Long-term monitoring of microseismic emissions: Earth tides, fracture distribution, and fluid content. SEG, APPG Interpretation. 2016: 4 (2): T191–T204. XIX. Laverov, N. P., Bogoyavlenskiy, V. I., Bogoyavlenskiy, I. V. Fundamental Aspects of Rational Management of the Petroleum and Gas Resources of the Arctic and the Russian Continental Shelf: Strategy, Prospects, and Problems [Fundamental’nyyeaspektyratsional’nogoosvoyeniyaresursovneftiigazaArktiki I shel’faRossii: strategiya, perspektivyi problem].Arktika: ekologiya I ekonomika [Arctic: Ecology and Economy]. 2016; 2 (22): 4-13. XX. Lee, P. Low Noise Amplifier Selection Guide for Optimal Noise Performance, Analog Devices, Inc., AN-940 Application Note. Analog Devices, Inc. URL: https://www.analog.com/media/en/technical-documentation/application-notes/AN-940.pdf(Date of access September 2, 2019). XXI. Markatis, N., Polychronopoulou, K., Tselentis, Ak. Passive seismic tomography: A passive concept actively evolving. First Break. 2012; 30 (7): 83-90. XXII. Matveev, I. V. and Matveeva, N. V. Portable seismic recorder “SEISAR-5” with very low energy consumption for autonomous work in harsh climatic conditions [Portativnyyseysmicheskiyregistrator «Seysar-5» s ochen’ nizkimenergopotrebleniyemdlyaavtonomnoyraboty v slozhnykhklimatic heskikhusloviyakh]. Nauka I tekhnologicheskierazrabotki (Science and Technological Developments). 2017; 96 (3): 33-40. [Special Issue “Applied Geophysics: New Developments and Results. Part 1. Seismology and Seismic Exploration]. DOI: 10.21455/std2017.3-3. XXIII. Mishra, R. The Temperature Ratings of Electronic Parts.Electronics Cooling magazine. URL: http://www.electronics-cooling.com/2004/02/the-temperature-ratings-of-electronic-parts(Date of access September 2, 2019). XXIV. Moore, Sue E.; Stabeno, Phyllis J.; Van Pelt, Thomas I. The Synthesis of Arctic Research (SOAR) project. 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View | Download COMPARATIVE ANALYSIS OF RESULTS OF TREATMENT OF PATIENTS WITH FOOT PATHOLOGY WHO UNDERWENT WEIL OPEN OSTEOTOMY BY CLASSICAL METHOD AND WITHOUT STEOSYNTHESIS Authors: Yuriy V. Lartsev,Dmitrii A. Rasputin,Sergey D. Zuev-Ratnikov,Pavel V.Ryzhov,Dmitry S. Kudashev,Anton A. Bogdanov, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00044 Abstract: The article considers the problem of surgical correction of the second metatarsal bone length. The article analyzes the results of treatment of patients with excess length of the second metatarsal bones that underwent osteotomy with and without osteosynthesis. The results of treatment of patients who underwent metatarsal shortening due to classical Weil-osteotomy with and without osteosynthesis were analyzed. The first group consisted of 34 patients. They underwent classical Weil osteotomy. The second group included 44 patients in whomosteotomy of the second metatarsal bone were not by the screw. When studying the results of the treatment in the immediate postoperative period, weeks 6, 12, slightly better results were observed in patients of the first group, while one year after surgical treatment the results in both groups were comparable. One year after surgical treatment, there were 2.9% (1 patient) of unsatisfactory results in the first group and 4.5% (2 patients) in the second group. Considering the comparability of the results of treatment in remote postoperative period, the choice of concrete method remains with the operating surgeon. Keywords: Flat feet,hallux valgus,corrective osteotomy,metatarsal bones, Refference: I. A novel modification of the Stainsby procedure: surgical technique and clinical outcome [Text] / E. Concannon, R. MacNiocaill, R. Flavin [et al.] // Foot Ankle Surg. – 2014. – Dec., Vol. 20(4). – P. 262–267. II. Accurate determination of relative metatarsal protrusion with a small intermetatarsal angle: a novel simplified method [Text] / L. Osher, M.M. Blazer, S. Buck [et al.] // J. Foot Ankle Surg. – 2014. – Sep.-Oct., Vol. 53(5). – P. 548–556. III. Argerakis, N.G. The radiographic effects of the scarf bunionectomy on rearfoot alignment [Text] / N.G. Argerakis, L.Jr. Weil, L.S. Sr. Weil // Foot Ankle Spec. – 2015. – Apr., Vol. 8(2). – P. 89–94. IV. Bauer, T. Percutaneous forefoot surgery [Text] / T. Bauer // Orthop. Traumatol. Surg. Res. – 2014. – Feb., Vol. 100(1 Suppl.). – P. S191–S204. V. Biomechanical Evaluation of Custom Foot Orthoses for Hallux Valgus Deformity [Text] // J. Foot Ankle Surg. – 2015. – Sep.-Oct., Vol.54(5). – P. 852–855. VI. Chopra, S. Characterization of gait in female patients with moderate to severe hallux valgus deformity [Text] / S. Chopra, K. Moerenhout, X. Crevoisier // Clin. Biomech. (Bristol, Avon). – 2015. – Jul., Vol. 30(6). – P. 629–635. VII. Computer assisted planning and custom-made surgical guide for malunited pronation deformity after first metatarsophalangeal joint arthrodesis in rheumatoid arthritis: a case report [Text] / M. Hirao, S. Ikemoto, H. Tsuboi [et al.] // Comput. Aided Surg. – 2014. – Vol. 19(1-3). – P. 13–19. VIII. Correlation between static radiographic measurements and intersegmental angular measurements during gait using a multisegment foot model [Text] / D.Y. Lee, S.G. Seo, E.J. Kim [et al.] // Foot Ankle Int. – 2015. – Jan., Vol.36(1). – P. 1–10. IX. Correlative study between length of first metatarsal and transfer metatarsalgia after osteotomy of first metatarsal [Text]: [Article in Chinese] / F.Q. Zhang, B.Y. Pei, S.T. Wei [et al.] // Zhonghua Yi XueZaZhi. – 2013. – Nov. 19, Vol. 93(43). – P. 3441–3444. X. Dave, M.H. Forefoot Deformity in Rheumatoid Arthritis: A Comparison of Shod and Unshod Populations [Text] / M.H. Dave, L.W. Mason, K. Hariharan // Foot Ankle Spec. – 2015. – Oct., Vol. 8(5). – P. 378–383. XI. Does arthrodesis of the first metatarsophalangeal joint correct the intermetatarsal M1M2 angle? Analysis of a continuous series of 208 arthrodeses fixed with plates [Text] / F. Dalat, F. Cottalorda, M.H. Fessy [et al.] // Orthop. Traumatol. Surg. Res. – 2015. – Oct., Vol. 101(6). – P. 709–714. XII. Dynamic plantar pressure distribution after percutaneous hallux valgus correction using the Reverdin-Isham osteotomy [Text]: [Article in Spanish] / G. Rodríguez-Reyes, E. López-Gavito, A.I. Pérez-Sanpablo [et al.] // Rev. Invest. Clin. – 2014. – Jul., Vol. 66, Suppl. 1. – P. S79-S84. XIII. Efficacy of Bilateral Simultaneous Hallux Valgus Correction Compared to Unilateral [Text] / A.V. Boychenko, L.N. Solomin, S.G. Parfeyev [et al.] // Foot Ankle Int. – 2015. – Nov., Vol. 36(11). – P. 1339–1343. XIV. Endolog technique for correction of hallux valgus: a prospective study of 30 patients with 4-year follow-up [Text] / C. Biz, M. Corradin, I. Petretta [et al.] // J. OrthopSurg Res. – 2015. – Jul. 2, № 10. – P. 102. XV. First metatarsal proximal opening wedge osteotomy for correction of hallux valgus deformity: comparison of straight versus oblique osteotomy [Text] / S.H. Han, E.H. Park, J. Jo [et al.] // Yonsei Med. J. – 2015. – May, Vol. 56(3). – P. 744–752. XVI. Long-term outcome of joint-preserving surgery by combination metatarsal osteotomies for shortening for forefoot deformity in patients with rheumatoid arthritis [Text] / H. Niki, T. Hirano, Y. Akiyama [et al.] // Mod. Rheumatol. – 2015. – Sep., Vol. 25(5). – P. 683–638. XVII. Maceira, E. Transfer metatarsalgia post hallux valgus surgery [Text] / E. Maceira, M. Monteagudo // Foot Ankle Clin. – 2014. – Jun., Vol. 19(2). – P.285–307. XVIII. Nielson, D.L. Absorbable fixation in forefoot surgery: a viable alternative to metallic hardware [Text] / D.L. Nielson, N.J. Young, C.M. Zelen // Clin. Podiatr. Med. Surg. – 2013. – Jul., Vol. 30(3). – P. 283–293 XIX. Patient’s satisfaction after outpatient forefoot surgery: Study of 619 cases [Text] / A. Mouton, V. Le Strat, D. Medevielle [et al.] // Orthop. Traumatol. Surg. Res. – 2015. – Oct., Vol. 101(6 Suppl.). – P. S217–S220. XX. Preference of surgical procedure for the forefoot deformity in the rheumatoid arthritis patients–A prospective, randomized, internal controlled study [Text] / M. Tada, T. Koike, T. Okano [et al.] // Mod. Rheumatol. – 2015. – May., Vol. 25(3). – P.362–366. XXI. Redfern, D. Percutaneous Surgery of the Forefoot [Text] / D. Redfern, J. Vernois, B.P. Legré // Clin. Podiatr. Med. Surg. – 2015. – Jul., Vol. 32(3). – P. 291–332. XXII. Singh, D. Bullous pemphigoid after bilateral forefoot surgery [Text] / D. Singh, A. Swann // Foot Ankle Spec. – 2015. – Feb., Vol. 8(1). – P. 68–72. XXIII. Treatment of moderate hallux valgus by percutaneous, extra-articular reverse-L Chevron (PERC) osteotomy [Text] / J. Lucas y Hernandez, P. Golanó, S. Roshan-Zamir [et al.] // Bone Joint J. – 2016. – Mar., Vol. 98-B(3). – P. 365–373. XXIV. Weil, L.Jr. Scarf osteotomy for correction of hallux abducto valgus deformity [Text] / L.Jr. Weil, M. Bowen // Clin. Podiatr. Med. Surg. – 2014. – Apr., Vol.31(2). – P. 233–246. View | Download QUANTITATIVE ULTRASONOGRAPHY OF THE STOMACH AND SMALL INTESTINE IN HEALTHYDOGS Authors: Roman A. Tcygansky,Irina I. Nekrasova,Angelina N. Shulunova,Alexander I.Sidelnikov, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00045 Abstract: Purpose.To determine the quantitative echogenicity indicators (and their ratio) of the layers of stomach and small intestine wall in healthy dogs. Methods. A prospective 3-year study of 86 healthy dogs (aged 1-7 yrs) of different breeds and of both sexes. Echo homogeneity and echogenicity of the stomach and intestines wall were determined by the method of Silina, T.L., et al. (2010) in absolute values ​​of average brightness levels of ultrasound image pixels using the 8-bit scale with 256 shades of gray. Results. Quantitative echogenicity indicators of the stomach and the small intestine wall in dogs were determined. Based on the numerical values ​​characterizing echogenicity distribution in each layer of a separate structure of the digestive system, the coefficient of gastric echogenicity is determined as 1:2.4:1.1 (mucosa/submucosa/muscle layers, respectively), the coefficient of duodenum and jejunum echogenicity is determined as 1:3.5:2 and that of ileum is 1:1.8:1. Clinical significance. The echogenicity coefficient of the wall of the digestive system allows an objective assessment of the stomach and intestines wall and can serve as the basis for a quantitative assessment of echogenicity changes for various pathologies of the digestive system Keywords: Ultrasound (US),echogenicity,echogenicity coefficient,digestive system,dogs,stomach,intestines, Refference: I. Agut, A. Ultrasound examination of the small intestine in small animals // Veterinary focus. 2009.Vol. 19. No. 1. P. 20-29. II. Bull. 4.RF patent 2398513, IPC51A61B8 / 00 A61B8 / 14 (2006.01) A method for determining the homoechogeneity and the degree of echogenicity of an ultrasound image / T. Silina, S. S. Golubkov. – No. 2008149311/14; declared 12/16/2008; publ. 09/10/2010 III. Choi, M., Seo, M., Jung, J., Lee, K., Yoon, J., Chang, D., Park, RD. Evaluation of canine gastric motility with ultrasonography // J. of Veterinary Medical Science. – 2002. Vol. 64. – № 1. – P. 17-21. IV. Delaney, F., O’Brien, R.T., Waller, K.Ultrasound evaluation of small bowel thickness compared to weight in normal dogs // Veterinary Radiology and Ultrasound. 2003 Vol. 44, № 5. Р 577-580. V. Diana, A., Specchi, S., Toaldo, M.B., Chiocchetti, R., Laghi, A., Cipone, M. Contrast-enhanced ultrasonography of the small bowel in healthy cats // Veterinary Radiology and Ultrasound. – 2011. – Vol. 52, № 5. – Р. 555-559. VI. Garcia, D.A.A., Froes, T.R. Errors in abdominal ultrasonography in dogs and cats // J. of Small Animal Practice. – 2012. Vol. 53. – № 9. – P. 514-519. VII. Garcia, D.A.A., Froes, T.R. Importance of fasting in preparing dogs for abdominal ultrasound examination of specific organs // J. of Small Animal Practice. – 2014. Vol. 55. – № 12. – P. 630-634. VIII. Gaschen, L., Granger, L.A., Oubre, O., Shannon, D., Kearney, M., Gaschen, F. The effects of food intake and its fat composition on intestinal echogenicity in healthy dogs // Veterinary Radiology and Ultrasound. 2016. Vol. 57. № 5. P. 546-550 IX. Gaschen, L., Kircher, P., Stussi, A., Allenspach, K., Gaschen, F., Doherr, M., Grone, A. Comparison of ultrasonographic findings with clinical activity index (CIBDAI) and diagnosis in dogs with chronic enteropathies // Veterinary radiology and ultrasound. – 2008. – Vol. 49. – № 1. – Р. 56-64. X. Gil, E.M.U. Garcia, D.A.A. Froes, T.R. In utero development of the fetal intestine: Sonographic evaluation and correlation with gestational age and fetal maturity in dogs // Theriogenology. 2015. Vol. 84, №5. Р. 681-686. XI. Gladwin, N.E. Penninck, D.G., Webster, C.R.L. Ultrasonographic evaluation of the thickness of the wall layers in the intestinal tract of dogs // American Journal of Veterinary Research. 2014. Vol. 75, №4. Р. 349-353. XII. Gory, G., Rault, D.N., Gatel, L, Dally, C., Belli, P., Couturier, L., Cauvin, E. Ultrasonographic characteristics of the abdominal esophagus and cardia in dogs // Veterinary Radiology and Ultrasound. 2014. Vol. 55, № 5. P. 552-560. XIII. Günther, C.S. Lautenschläger, I.E., Scholz, V.B. Assessment of the inter- and intraobserver variability for sonographical measurement of intestinal wall thickness in dogs without gastrointestinal diseases | [Inter-und Intraobserver-Variabilitätbei der sonographischenBestimmung der Darmwanddicke von HundenohnegastrointestinaleErkrankungen] // Tierarztliche Praxis Ausgabe K: Kleintiere – Heimtiere. 2014. Vol. 42 №2. Р. 71-78. XIV. Hanazono, K., Fukumoto, S., Hirayama, K., Takashima, K., Yamane, Y., Natsuhori, M., Kadosawa, T., Uchide, T. Predicting Metastatic Potential of gastrointestinal stromal tumors in dog by ultrasonography // J. of Veterinary Medical Science. – 2012. Vol. 74. – № 11. – P. 1477-1482. XV. Heng, H.G., Lim, Ch.K., Miller, M.A., Broman, M.M.Prevalence and significance of an ultrasonographic colonic muscularishyperechoic band paralleling the serosal layer in dogs // Veterinary Radiology and Ultrasound. 2015. Vol. 56 № 6. P. 666-669. XVI. Ivančić, M., Mai, W. Qualitative and quantitative comparison of renal vs. hepatic ultrasonographic intensity in healthy dogs // Veterinary Radiology and Ultrasound. 2008. Vol. 49. № 4. Р. 368-373. XVII. Lamb, C.R., Mantis, P. Ultrasonographic features of intestinal intussusception in 10 dogs // J. of Small Animal Practice. – 2008. Vol. 39. – № 9. – P. 437-441. XVIII. Le Roux, A. B., Granger, L.A., Wakamatsu, N, Kearney, M.T., Gaschen, L.Ex vivo correlation of ultrasonographic small intestinal wall layering with histology in dogs // Veterinary Radiology and Ultrasound.2016. Vol. 57. № 5. P. 534-545. XIX. Nielsen, T. High-frequency ultrasound of Peyer’s patches in the small intestine of young cats / T. Nielsen [et al.] // Journal of Feline Medicine and Surgery. – 2015. – Vol. 18, № 4. – Р. 303-309. XX. PenninckD.G. Gastrointestinal tract. In Nyland T.G., Mattoon J.S. (eds): Small Animal Diagnostic Ultrasound. Philadelphia: WB Saunders. 2002, 2nd ed. Р. 207-230. XXI. PenninckD.G. Gastrointestinal tract. In: PenninckD.G.,d´Anjou M.A. Atlas of Small Animal Ultrasonography. Blackwell Publishing, Iowa. 2008. Р. 281-318. XXII. Penninck, D.G., Nyland, T.G., Kerr, L.Y., Fisher, P.E. Ultrasonographic evaluation of gastrointestinal diseases in small animals // Veterinary Radiology. 1990. Vol. 31. №3. P. 134-141. XXIII. Penninck, D.G.,Webster, C.R.L.,Keating, J.H. The sonographic appearance of intestinal mucosal fibrosis in cats // Veterinary Radiology and Ultrasound. – 2010. – Vol. 51, № 4. – Р. 458-461. XXIV. Pollard, R.E.,Johnson, E.G., Pesavento, P.A., Baker, T.W., Cannon, A.B., Kass, P.H., Marks, S.L. Effects of corn oil administered orally on conspicuity of ultrasonographic small intestinal lesions in dogs with lymphangiectasia // Veterinary Radiology and Ultrasound. 2013. Vol. 54. № 4. P. 390-397. XXV. Rault, D.N., Besso, J.G., Boulouha, L., Begon, D., Ruel, Y. Significance of a common extended mucosal interface observed in transverse small intestine sonograms // Veterinary Radiology and Ultrasound. 2004. Vol. 45. №2. Р. 177-179. XXVI. Sutherland-Smith, J., Penninck, D.G., Keating, J.H., Webster, C.R.L. Ultrasonographic intestinal hyperechoic mucosal striations in dogs are associated with lacteal dilation // Veterinary Radiology and Ultrasound. – 2007. Vol. 48. – № 1. – P. 51-57. View | Download EVALUATION OF ADAPTIVE POTENTIAL IN MEDICAL STUDENTS IN THE CONTEXT OF SEASONAL DYNAMICS Authors: Larisa A. Merdenova,Elena A. Takoeva,Marina I. Nartikoeva,Victoria A. Belyayeva,Fatima S. Datieva,Larisa R. Datieva, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00046 Abstract: The aim of this work was to assess the functional reserves of the body to quantify individual health; adaptation, psychophysiological characteristics of the health quality of medical students in different seasons of the year. When studying the temporal organization of physiological functions, the rhythm parameters of physiological functions were determined, followed by processing the results using the Cosinor Analysis program, which reveals rhythms with an unknown period for unequal observations, evaluates 5 parameters of sinusoidal rhythms (mesor, amplitude, acrophase, period, reliability). The essence of desynchronization is the mismatch of circadian rhythms among themselves or destruction of the rhythms architectonics (instability of acrophases or their disappearance). Desynchronization with respect to the rhythmic structure of the body is of a disregulatory nature, most pronounced in pathological desynchronization. High neurotism, increased anxiety reinforces the tendency to internal desynchronization, which increases with stress. During examination stress, students experience a decrease in the stability of the temporary organization of the biosystem and the tension of adaptive mechanisms develops, which affects attention, mental performance and the quality of adaptation to the educational process. Time is shortened and the amplitude of the “initial minute” decreases, personal and situational anxiety develops, and the level of psychophysiological adaptation decreases. The results of the work are priority because they can be used in assessing quality and level of health. Keywords: Desynchronosis,biorhythms,psycho-emotional stress,mesor,acrophase,amplitude,individual minute, Refference: I. Arendt, J., Middleton, B. Human seasonal and circadian studies in Antarctica (Halley, 75_S) – General and Comparative Endocrinology. 2017: 250-259. (http://dx.doi.org/10.1016/j.ygcen.2017.05.010). II. BalandinYu.P. A brief methodological guide on the use of the agro-industrial complex “Health Sources” / Yu.P. Balandin, V.S. Generalov, V.F. Shishlov. Ryazan, 2007. III. Buslovskaya L.K. Adaptation reactions in students at exam stress/ L.K. Buslovskaya, Yu.P. Ryzhkova. Scientific bulletin of Belgorod State University. Series: Natural Sciences. 2011;17(21):46-52. IV. Chutko L. S. Sindromjemocionalnogovygoranija – Klinicheskie I psihologicheskieaspekty./ L.S Chutko. Moscow: MEDpress-inform, 2013. V. Eroshina K., Paul Wilkinson, Martin Mackey. The role of environmental and social factors in the occurrence of diseases of the respiratory tract in children of primary school age in Moscow. Medicine. 2013:57-71. VI. Fagrell B. “Microcirculation of the Skin”. The physiology and pharmacology of the microcirculation. 2013:423. VII. Gurova O.A. Change in blood microcirculation in students throughout the day. New research. 2013; 2 (35):66-71. VIII. Khetagurova L.G. – Stress/Ed. L.G. Khetagurov. Vladikavkaz: Project-Press Publishing House, 2010. IX. Khetagurova L.G., Urumova L.T. et al. Stress (chronomedical aspects). International Journal of Experimental Education 2010; 12: 30-31. X. Khetagurova L.G., Salbiev K.D., Belyaev S.D., Datieva F.S., Kataeva M.R., Tagaeva I.R. Chronopathology (experimental and clinical aspects/ Ed. L.G. Khetagurov, K.D. Salbiev, S.D.Belyaev, F.S. Datiev, M.R. Kataev, I.R. Tagaev. Moscow: Science, 2004. XI. KlassinaS.Ya. Self-regulatory reactions in the microvasculature of the nail bed of fingers in person with psycho-emotional stress. Bulletin of new medical technologies, 2013; 2 (XX):408-412. XII. Kovtun O.P., Anufrieva E.V., Polushina L.G. Gender-age characteristics of the component composition of the body in overweight and obese schoolchildren. Medical Science and Education of the Urals. 2019; 3:139-145. XIII. Kuchieva M.B., Chaplygina E.V., Vartanova O.T., Aksenova O.A., Evtushenko A.V., Nor-Arevyan K.A., Elizarova E.S., Efremova E.N. A comparative analysis of the constitutional features of various generations of healthy young men and women in the Rostov Region. Modern problems of science and education. 2017; 5:50-59. XIV. Mathias Adamsson1, ThorbjörnLaike, Takeshi Morita – Annual variation in daily light expo-sure and circadian change of melatonin and cortisol consent rations at a northern latitude with large seasonal differences in photoperiod length – Journal of Physiological Anthropology. 2017; 36: 6 – 15. XV. Merdenova L.A., Tagaeva I.R., Takoeva E.A. Features of the study of biological rhythms in children. The results of fundamental and applied research in the field of natural and technical sciences. Materials of the International Scientific and Practical Conference. Belgorod, 2017, pp. 119-123. XVI. Ogarysheva N.V. The dynamics of mental performance as a criterion for adapting to the teaching load. Bulletin of the Samara Scientific Center of the Russian Academy of Sciences. 2014;16:5 (1): S.636-638. XVII. Pekmezovi T. Gene-environment interaction: A genetic-epidemiological approach. Journal of Medical Biochemistry. 2010;29:131-134. XVIII. Rapoport S.I., Chibisov S.M. Chronobiology and chronomedicine: history and prospects/Ed. S.M. Chibisov, S.I. Rapoport ,, M.L. Blagonravova. Chronobiology and Chronomedicine: Peoples’ Friendship University of Russia (RUDN) Press. Moscow, 2018. XIX. Roustit M., Cracowski J.L. “Non-invasive assessment of skin microvascular function in humans: an insight into methods” – Microcirculation 2012; 19 (1): 47-64. XX. Rud V.O., FisunYu.O. – References of the circadian desinchronosis in students. Ukrainian Bulletin of Psychoneurology. 2010; 18(2) (63): 74-77. XXI. Takoeva Z. A., Medoeva N. O., Berezova D. T., Merdenova L. A. et al. Long-term analysis of the results of chronomonitoring of the health of the population of North Ossetia; Vladikavkaz Medical and Biological Bulletin. 2011; 12(12,19): 32-38. XXII. Urumova L.T., Tagaeva I.R., Takoeva E.A., Datieva L.R. – The study of some health indicators of medical students in different periods of the year. Health and education in the XXI century. 2016; 18(4): 94-97. XXIII. Westman J. – Complex diseases. In: Medical genetics for the modern clinician. USA: Lippincott Williams & Wilkins, 2006. XXIV. Yadrischenskaya T.V. Circadian biorhythms of students and their importance in educational activities. Problems of higher education. Pacific State University Press. 2016; 2:176-178. View | Download TRIADIC COMPARATIVE ANALYSIS Authors: Stanislav A.Kudzh,Victor Ya. Tsvetkov, DOI: https://doi.org/10.26782/jmcms.spl.10/2020.06.00047 Abstract: The present study of comparison methods based on the triadic model introduces the following concepts: the relation of comparability and the relation of comparison, and object comparison and attributive comparison. The difference between active and passive qualitative comparison is shown, two triadic models of passive and active comparison and models for comparing two and three objects are described. Triadic comparison models are proposed as an alternative to dyadic comparison models. Comparison allows finding the common and the different; this approach is proposed for the analysis of the nomothetic and ideographic method of obtaining knowledge. The nomothetic method identifies and evaluates the general, while the ideographic method searches for unique in parameters and in combinations of parameters. Triadic comparison is used in systems and methods of argumentation, as well as in the analysis of consistency/inconsistency. Keywords: Comparative analysis,dyad,triad,triadic model,comparability relation,object comparison,attributive comparison,nomothetic method,ideographic method, Refference: I. AltafS., Aslam.M.Paired comparison analysis of the van Baarenmodel using Bayesian approach with noninformativeprior.Pakistan Journal of Statistics and Operation Research 8(2) (2012) 259{270. II. AmooreJ. E., VenstromD Correlations between stereochemical assessments and organoleptic analysis of odorous compounds. Olfaction and Taste (2016) 3{17. III. BarnesJ., KlingerR. Embedding projection for targeted cross-lingual sentiment: model comparisons and a real-world study. Journal of Artificial Intelligence Research 66 (2019) 691{742. doi.org/10.1613/jair.1.11561 IV. Castro-SchiloL., FerrerE.Comparison of nomothetic versus idiographic-oriented methods for making predictions about distal outcomes from time series data. Multivariate Behavioral Research 48(2) (2013) 175{207. V. De BonaG.et al. Classifying inconsistency measures using graphs. Journal of Artificial Intelligence Research 66 (2019) 937{987. VI. FideliR. La comparazione. Milano: Angeli, 1998. VII. GordonT. F., PrakkenH., WaltonD. The Carneades model of argument and burden of proof. Artificial Intelligence 10(15) (2007) 875{896. VIII. GrenzS.J. The social god and the relational self: A Triad theology of the imago Dei. Westminster: John Knox Press, 2001. IX. HermansH.J. M.On the integration of nomothetic and idiographic research methods in the study of personal meaning.Journal of Personality 56(4) (1988) 785{812. X. JamiesonK. G., NowakR. Active ranking using pairwise comparisons.Advances in Neural Information Processing Systems (2011) 2240{2248. XI. JongsmaC.Poythress’s triad logic: a review essay. Pro Rege 42(4) (2014) 6{15. XII. KärkkäinenV.M. Trinity and Religious Pluralism: The Doctrine of the Trinity in Christian Theology of Religions. London: Routledge, 2017. XIII. KudzhS. A., TsvetkovV.Ya. Triadic systems. Russian Technology Magazine 7(6) (2019) 74{882. XIV. NelsonK.E.Some observations from the perspective of the rare event cognitive comparison theory of language acquisition.Children’s Language 6 (1987) 289{331. XV. NiskanenA., WallnerJ., JärvisaloM.Synthesizing argumentation frameworks from examples. Journal of Artificial Intelligence Research 66 (2019) 503{554. XVI. PührerJ.Realizability of three-valued semantics for abstract dialectical frameworks.Artificial Intelligence 278 (2020) 103{198. XVII. SwansonG.Frameworks for comparative research: structural anthropology and the theory of action. In: Vallier, Ivan (Ed.). Comparative methods in sociology: essays on trends and applications.Berkeley: University of California Press, 1971 141{202. XVIII. TsvetkovV.Ya.Worldview model as the result of education.World Applied Sciences Journal 31(2) (2014) 211{215. XIX. TsvetkovV. Ya. Logical analysis and variable scales. Slavic Forum 4(22) (2018) 103{109. XX. Wang S. et al. Transit traffic analysis zone delineating method based on Thiessen polygon. Sustainability 6(4) (2014) 1821{1832. View | Download DEVELOPING TECHNOLOGY OF CREATING WEAR-RESISTANT CERAMIC COATING FOR ICE CYLINDER". JOURNAL OF MECHANICS OF CONTINUA AND MATHEMATICAL SCIENCES spl10, № 1 (28 червня 2020). http://dx.doi.org/10.26782/jmcms.spl.10/2020.06.00048.

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