Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

Projecting the prison: the depiction of the uncanny in The Shawshank Redemption

The space of the prison is no longer on the margins in relation to societal `centres', but instead acts as an adjunct to the urban environment. With the disappearance of the Gothic prison from the archi-texture of contemporary cities, the meaning conveyed by its façade has lost much of its potency. It is now contemporary prison drama, as opposed to the physical façade, that represents the interface between the public and the prison. This article explores a dramatic representation of the prison (The Shawshank Redemption) through the lens of Freud's (1919/1955) notion of the uncanny and Bachelard's (1958/1994) poetics of domestic space. Incarceration, as depicted in film and television, reinforces the `place myths' of the prison (Shields, 1991). Contemporary prison drama portrays the prison as a marginal space in much the way that the Gothic façades of the 19th-century prison projected a particular message. The prison, as depicted on screen, is a simulacrum. It is a facsimile of an architectural idea that only ever existed as a façade - a façade that occluded as much as it projected.

The completeness and soundness of temporal theories

Generally speaking, the term temporal logic refers to any system of rules and symbolism for representing and reasoning about propositions qualified in terms of time. In computer science, particularly in the domain of Artificial Intelligence, there are mainly two known approaches to the representation of temporal information: modal logic approaches including tense logic and hybrid temporal logic, and predicate logic approaches including temporal arguement method and reified temporal logic. On one hand, while tense logic, hybrid temporal logic and temporal argument method enjoy formal theoretical foundations, their expressiveness has been criticised as not power enough for representing general temporal knowledge; on the other hand, although reified temporal logic provides greater expressive power, most of the current systems following the temporal reification lack of complete and sound axiomatic theories. With there observations in mind, a new reified temporal logic with clear syntax and semantics in terms of a sound and complete axiomatic formalism is introduced in this paper, which retains all the expressive power of temporal reification.

Representations of multicultural identities in British Cinema

This paper explores the transnational and interstitial dimensions of cultural production in Britain today, and the representation of migrant and diasporic identities in contemporary mainstream British cinema. The box office success of films like Gurindha Chadha’s Bhaji on the Beach (1993) and Bend it Like Beckham (2002) and East is East (Daniel O’Donnell 1999) and their precursors My Beautiful Launderette (Stephen Frears 1985), Sammy and Rosie Get Laid (Stephen Frears 1987) and the TV mini-series Buddha of Suburbia (Roger Mitchell 1993) seem to celebrate and articulate a set of values around hybridity and alterity: a discourse of multiculturalism. This paper will engage with a series of key questions. Are there ideological values implicit within and common to all these texts? Can we map a rhetoric or discourse of multiculturalism within popular culture? Do mainstream representations of immigrant identities represent a discourse of resistance, a decolonising global culture or is this Western brand of multiculturalism still located within an Orientalising gaze? In what ways are multiculturalism and postcolonialism overlapping and yet opposing rhetorics? [From the Author]

Development of an in-situ, non-destructive ultrasonic monitoring technique for solder pastes

This paper concerns the use of a non-destructive ultrasonic technique for characterising the rheological properties of solder paste and specifically, the use of through-mode microsecond ultrasonic pulses for evaluation of viscoelastic properties of paste materials at the molecular level. Ultrasonic techniques are a widely used and a reliable form of non-destructive testing of materials. This is because techniques such as ultrasounds while used for testing or monitoring material properties, has offered immense benefits in applications where access to the sample is restricted or when handling the sample for testing could interfere with the monitoring or analysis process. Very often, this would mean that the measurements taken are not a true representation of the behaviour of the material (due to externally incorporated changes into the material's physical state during the removal or testing process). Ultrasonic based techniques are being increasingly used for quality control and production monitoring functions which requires evaluation of the changes in material properties over wide range of industrial applications such as cement paste quality, plastic/polymer extrusion process, dough, and even sugar content in beverage drinks. In addition, ultrasound techniques are of great interest for their capacity to take rapid measurements in systems which are optically opaque. The viscometer and rheometer are two of the most widely used rheological instruments used in industry for monitoring the quality of solder pastes, during the production and packaging stage. One of the potential limitations of viscometer and rheometer based measurements is that the collection and preparation of the solder paste samples can irreversibly alter the structure and flow behaviour of the sample. Hence the measurement may not represent the actual quality of the whole production batch. Secondly, rheological measurements and the interpretation of rheological data is a very technical and time consuming process, which requires professionally trained R&D personnel. It is for these reasons that materials suppliers (who formulate and produce solder pastes) and solder paste consumers (especially, contract electronics manufacturers) are keen to see the development of simple, easy to use and accurate techniques for the theological characterisation of solder pastes. The results from the work show that the technique can be used by R&D personnel involved in paste formulation and manufacture to monitor the batch-to-batch quality and consistency.