The role of geographical proximity in the establishment and development of science parks – evidence from Nanjing, China

The emergence of science parks is a relatively new phenomenon in China. Apart from the widely debated topics of university–industry linkages, collaboration among firms and spontaneous/policy-driven science parks, the development of science parks in China also has several distinguishing characteristics, such as their ambiguous linkage with urban expansion and their hierarchical structuring pattern. This paper attempts to discuss the motivation and efficiency of spatial proximity in science park development and to explore the role of universities in science parks, the function of science parks as a government project and a case study of location choice by on-site firms. The qualitative analysis, based on in-depth interviews with tenant firm managers and district-level government officers in Jiangning, Nanjing, is used as a basis for discussion.

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

Heroes on the home front : heroism and virtue in post-9/11 American cinema /

This thesis is intended to contribute to critical discussion of the American male hero in mainstream American war and action films post September 11, 2001 . The thesis investigates how these heroes' behaviour echoes a patriotic, conservative construction of the modern American as created through speeches given by George W. Bush in the wake of the events of September 11, 2001 . The thesis examines the hero in six primary sources: the war films We Were Soldiers, Behind Enemy Lines and The Great Raid and the action films Collateral Damage, Man on Fire and The Punisher. By analyzing the ideological subtext, political content, visual strategies and generic implications of the films, as well as the binary constructions of a selection of Bush speeches, and by reviewing historical representations of American male heroes on film produced in the wake of political events, the thesis concludes that the six films mobilize the USA's conservative viewpoint towards war and military action, and in concert with the speeches, contribute to an ongoing militarization of visual culture. Both systems echo a dangerous ideological fantasy of American history, life and patriotism.

Fade to black : picturing mortality in contemporary popular film /

This thesis attempts to understand representations of death in contemporary popular film within a framework that posits mortality as a category of particular social and political importance for the way we understand both individual subjectivity and social responsibility in the postmodern cultural moment. It addresses concerns over the social organizing categories of time and space, and performs a sustained consideration of predominant themes related to the popular representation of death, such as contingency, existential.meaning, and temporal finitude. Death consciousness and social consciousness are shown to be not just intertwined, but also vitally dependent on one another, and the analyses undertaken are ultimately aimed at making these intersections explicit in order • l to think through their potential implications for challenging consumer capitalist hegemony and envisioning the possibility of progressive social change through the lens of our mortality.

The encounter with the real and post-Soviet trauma : fantasy construction in Russian popular cinema /

This thesis examines the impact of the Soviet Union's collapse on the Russian Symbolic as represented through popular cinema of the post-Soviet period. The disintegration of the USSR in 1991 became one of the most traumatic experiences for many Russian people. The trauma of the collapse of the Soviet Union penetrated the everyday reality of the Russian Symbolic, leaving the traces-symptoms in different cultural fonns like literature, arts, television and cinema. Because popular culture usually reacts very quickly to any social, political and economical shifts in society, it is an excellent barometer for deeper changes in society. Focusing on postSoviet popular cinema, this thesis analyzes the symptoms of cultural and individual trauma occasioned by the momentous changes of the 1990's. This study is grounded in post-analytic theory of Jacques Lacan and its interpretation by Slavoj Zizek, which emphases the traumatic encounter with the Real as a "hard core" of our reality. According to this paradigm, a new chain of signifiers is structured around the traumatic breach in the Symbolic, initiating a process of fantasy construction to deal with consequences of trauma and, thus, to support our Symbolic order. This thesis examines three major fantasy constructions - drinking, traveling to a "happy land" and family reunion and money - in popular films by Alexander Rogozhkin, Yurij Mamin, Georgij Shengelia, Dmitrij Astrakhan, Valerij Todorovskij, Alexej Balabanov, Sergej Bodrov Jr. and Petr Buslov. According to Zizek, enjoyment underlies any fantasy constructions, and that is why after the intrusion of the Real every individual and culture should go through the process of fantasizing about some substitutes which can help to minimize the traumatic effect and which can lead to a partial enjoyment. By analyzing the fantasies about drinking, "happy land", reconstruction of the family bonds and money in Russian popular cinema since 1991, this thesis demonstrates how the traumatic engagement with the Real affected the everyday lives of Russian people, and how individuals tried to fill the gap, the lack, in the post-Soviet Symbolic and "return" the lost feeling of unity and plenitude.

"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Exploring the Current State of Grades 4 to 8 Science Education in Ontario

This study sought to explore the current state of Grades 4 to 8 science education in Ontario from the perspective of Junior/Intermediate (J/I) teachers. The study’s methodology was a sequential 2-phased mixed methods explanatory design denoted as QUAN (qual)  qual. Data were collected from an online survey and follow-up interviews. J/I teachers (N = 219) from 48 school boards in Ontario completed a survey that collected both quantitative and qualitative data. Interviewees were selected from the survey participant population (n = 6) to represent a range of teaching strategies, attitudes toward teaching science, and years of experience. Survey and interview questions inquired about teacher attitudes toward teaching science, academic and professional experiences, teaching strategies, support resources, and instructional time allotments. Quantitative data analyses involved the descriptive statistics and chi-square tests. Qualitative data was coded inductively and deductively. Academic background in science was found to significantly influence teachers’ reported level of capability to teach science. The undergraduate degrees held by J/I science teachers were found to significantly influence their reported levels of capability to teach science. Participants identified a lack of time allocated for science instruction and inadequate equipment and facilities as major limitations on science instruction. Science in schools was reported to be of a “second-tiered” value to language and mathematics. Implications of this study include improving undergraduate and preservice experiences of elementary teachers by supporting their science content knowledge and pedagogical content knowledge.

Motion Segmentation And Meanshift Assisted Contour Refinement For Airborne Video

This paper presents methods for moving object detection in airborne video surveillance. The motion segmentation in the above scenario is usually difficult because of small size of the object, motion of camera, and inconsistency in detected object shape etc. Here we present a motion segmentation system for moving camera video, based on background subtraction. An adaptive background building is used to take advantage of creation of background based on most recent frame. Our proposed system suggests CPU efficient alternative for conventional batch processing based background subtraction systems. We further refine the segmented motion by meanshift based mode association.

Influence of Interface Surface Geometries In The Tensile Characteristics Of Friction Welded Joints From Aluminium Alloys

Friction welding is a solid state joining process that produces coalescence in materials, using the heat developed between surfaces through a combination of mechanical induced rubbing motion and applied load. In rotary friction welding technique heat is generated by the conversion of mechanical energy into thermal energy at the interface of the work pieces during rotation under pressure. Traditionally friction welding is carried out on a dedicated machine because of its adaptability to mass production. In the present work, steps were made to modify a conventional lathe to rotary friction welding set up to obtain friction welding with different interface surface geometries at two different speeds and to carry out tensile characteristic studies. The surface geometries welded include flat-flat, flat-tapered, tapered-tapered, concave-convex and convex-convex. A comparison of maximum load, breaking load and percentage elongation of different welded geometries has been realized through this project. The maximum load and breaking load were found to be highest for weld formed between rotating flat and stationary tapered at 500RPM and the values were 19.219kN and 14.28 kN respectively. The percentage elongation was found to be highest for weld formed between rotating flat and stationary flat at 500RPM and the value was 21.4%. Hence from the studies it is cleared that process parameter like “interfacing surface geometries” of weld specimens have strong influence on tensile characteristics of friction welded joints

Fusion of motion segmentation algorithms

Many algorithms have been developed to achieve motion segmentation for video surveillance. The algorithms produce varying performances under the infinite amount of changing conditions. It has been recognised that individually these algorithms have useful properties. Fusing the statistical result of these algorithms is investigated, with robust motion segmentation in mind.

Perceived spatial displacement of motion-defined contours in peripheral vision

The perceived displacement of motion-defined contours in peripheral vision was examined in four experiments. In Experiment 1, in line with Ramachandran and Anstis' finding [Ramachandran, V. S., & Anstis, S. M. (1990). Illusory displacement of equiluminous kinetic edges. Perception, 19, 611-616], the border between a field of drifting dots and a static dot pattern was apparently displaced in the same direction as the movement of the dots. When a uniform dark area was substituted for the static dots, a similar displacement was found, but this was smaller and statistically insignificant. In Experiment 2, the border between two fields of dots moving in opposite directions was displaced in the direction of motion of the dots in the more eccentric field, so that the location of a boundary defined by a diverging pattern is perceived as more eccentric, and that defined by a converging as less eccentric. Two explanations for this effect (that the displacement reflects a greater weight given to the more eccentric motion, or that the region containing stronger centripetal motion components expands perceptually into that containing centrifugal motion) were tested in Experiment 3, by varying the velocity of the more eccentric region. The results favoured the explanation based on the expansion of an area in centripetal motion. Experiment 4 showed that the difference in perceived location was unlikely to be due to differences in the discriminability of contours in diverging and converging pattems, and confirmed that this effect is due to a difference between centripetal and centrifugal motion rather than motion components in other directions. Our result provides new evidence for a bias towards centripetal motion in human vision, and suggests that the direction of motion-induced displacement of edges is not always in the direction of an adjacent moving pattern. (C) 2008 Elsevier Ltd. All rights reserved.

‘Anything can happen in the next half-hour’: Gerry Anderson’s transnational science fiction

Gerry Anderson’s 1960s puppet series have hybrid identities in relation to their medial, geographical, and production histories. This chapter ranges over his science fiction series from Supercar (1961) to Joe 90 (1968), arguing that Anderson’s television science fiction in that period crossed many kinds of boundary and border. Anderson’s television series were a compromise between his desire to make films for adults versus an available market for children’s television puppet programs, and aimed to appeal to a cross-generational family audience. They were made on film, using novel effects, for a UK television production culture that still relied largely on live and videotaped production. While commissioned by British ITV companies, the programs had notable success in the USA, achieving national networked screening as well as syndication, and they were designed to be transatlantic products. The transnational hero teams and security organisations featured in the series supported this internationalism, and simultaneously negotiated between the cultural meanings of Britishness and Americanness. By discussing their means of production, the aesthetic and narrative features of the programs, their institutional contexts, and their international distribution, this chapter argues that Anderson’s series suggest ways of rethinking the boundaries of British science fiction television in the 1960s.

Gravity well visibility in haptic interfaces for motion-impaired

Haptic computer interfaces provide users with feedback through the sense of touch, thereby allowing users to feel a graphical user interface. Force feedback gravity wells, i.e. attractive basins that can pull the cursor toward a target, are one type of haptic effect that have been shown to provide improvements in "point and click" tasks. For motion-impaired users, gravity wells could improve times by as much as 50%. It has been reported that the presentation of information to multiple sensory modalities, e.g. haptics and vision, can provide performance benefits. However, previous studies investigating the use of force feedback gravity wells have generally not provided visual representations of the haptic effect. Where force fields extend beyond clickable targets, the addition of visual cues may affect performance. This paper investigates how the performance of motion-impaired computer users is affected by having visual representations of force feedback gravity wells presented on-screen. Results indicate that the visual representation does not affect times and errors in a "point and click" task involving multiple targets.

Verbs in space: axis and direction of motion norms for 299 English verbs

A strong body of work has explored the interaction between visual perception and language comprehension; for example, recent studies exploring predictions from embodied cognition have focused particularly on the common representation of sensory—motor and semantic information. Motivated by this background, we provide a set of norms for the axis and direction of motion implied in 299 English verbs, collected from approximately 100 native speakers of British English. Until now, there have been no freely available norms of this kind for a large set of verbs that can be used in any area of language research investigating the semantic representation of motion. We have used these norms to investigate the interaction between language comprehension and low-level visual processes involved in motion perception, validating the norming procedure’s ability to capture the motion content of individual verbs. Supplemental materials for this study may be downloaded from brm.psychonomic-journals.org/content/supplemental.