Appropriate complexity for the prediction of coastal and estuarine geomorphic behaviour at decadal to centennial scales

Coastal and estuarine landforms provide a physical template that not only accommodates diverse ecosystem functions and human activities, but also mediates flood and erosion risks that are expected to increase with climate change. In this paper, we explore some of the issues associated with the conceptualisation and modelling of coastal morphological change at time and space scales relevant to managers and policy makers. Firstly, we revisit the question of how to define the most appropriate scales at which to seek quantitative predictions of landform change within an age defined by human interference with natural sediment systems and by the prospect of significant changes in climate and ocean forcing. Secondly, we consider the theoretical bases and conceptual frameworks for determining which processes are most important at a given scale of interest and the related problem of how to translate this understanding into models that are computationally feasible, retain a sound physical basis and demonstrate useful predictive skill. In particular, we explore the limitations of a primary scale approach and the extent to which these can be resolved with reference to the concept of the coastal tract and application of systems theory. Thirdly, we consider the importance of different styles of landform change and the need to resolve not only incremental evolution of morphology but also changes in the qualitative dynamics of a system and/or its gross morphological configuration. The extreme complexity and spatially distributed nature of landform systems means that quantitative prediction of future changes must necessarily be approached through mechanistic modelling of some form or another. Geomorphology has increasingly embraced so-called ‘reduced complexity’ models as a means of moving from an essentially reductionist focus on the mechanics of sediment transport towards a more synthesist view of landform evolution. However, there is little consensus on exactly what constitutes a reduced complexity model and the term itself is both misleading and, arguably, unhelpful. Accordingly, we synthesise a set of requirements for what might be termed ‘appropriate complexity modelling’ of quantitative coastal morphological change at scales commensurate with contemporary management and policy-making requirements: 1) The system being studied must be bounded with reference to the time and space scales at which behaviours of interest emerge and/or scientific or management problems arise; 2) model complexity and comprehensiveness must be appropriate to the problem at hand; 3) modellers should seek a priori insights into what kind of behaviours are likely to be evident at the scale of interest and the extent to which the behavioural validity of a model may be constrained by its underlying assumptions and its comprehensiveness; 4) informed by qualitative insights into likely dynamic behaviour, models should then be formulated with a view to resolving critical state changes; and 5) meso-scale modelling of coastal morphological change should reflect critically on the role of modelling and its relation to the observable world.

French Autopathography

Reacting against the assumption that ill people ‘surrender’ their bodies to medicine, first-person illness narratives attempt to restore the patient’s voice to an often dehumanizing and bewildering medical experience. This special issue complements recent medical humanities scholarship on English-language illness narratives by investigating a distinctly rich tradition of French autopathography. Diverse approaches and methodologies will be used to consider first-person perspectives on a range of illnesses, disabilities and disorders, including AIDS, cancer, physical pain, mental health issues, anorexia, and locked-in syndrome. The issue aims to promote interdisciplinary dialogue across genres (literature, film, philosophy) and examine the creative potential that lies at the interface of medicine and the arts.

Globalization and the State in Contemporary Crime Fiction:A World of Crime

Why has crime fiction become a global genre? How do writers use crime fiction to reflect upon the changing nature of crime and policing in our contemporary world? This book argues that the globalization of crime fiction should not be celebrated uncritically. Instead, it looks at the new forms and techniques writers are using to examine the crimes and policing practices that define a rapidly changing world. In doing so, this collection of essays examines how the relationship between global crime, capitalism, and policing produces new configurations of violence in crime fiction – and asks whether the genre can find ways of analyzing and even opposing such violence as part of its necessarily limited search for justice both within and beyond the state.

Joseph Priestley: the man who drew time

The Joseph Priestley House Museum at Northumberland, Pennsylvania became interested in Priestley's pioneering timelines as a complement to his better known work in chemistry, electricity, biblical scholarship and political radicalism. Boyd Davis wrote this short article for the newsletter published by the Friends of the museum. The article concentrates on the connections between Priestley, his French contemporary Barbeu-Dubourg and Benjamin Franklin at the time of the struggle for American Independence, and Priestley's two key chronographic innovations: the use of drawn or printed lines to represent the duration of lives, and the associated use of dots to show when the dates of such lives are in doubt or dispute. Keywords: timeline, chronographics

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

French-greek machine translation of imperative sentences: issues in aspect and mood from a controlled language perspective

The present dissertation examines how grammatical aspect and mood are handled by machine translation (MT) systems within the scope of imperative sentences (orders, recommendations) when dealing with the language pair French-Greek (unidirectional, towards Greek). As the grammatical category of aspect is not expressed in the same way in both languages, choosing the correct aspect value when translating a verb from French to Greek can pose problems. We are interested in describing the types of errors that occur and their frequency in a corpus taken from texts pertaining to the security domain and from technical manuals, where imperative sentences are very common. In order to further delimit our research, our sample consists of sentences that comply with the general principles of simplicity and readability provided by several controlled language guidelines and aimed at higher translatability when having MT in mind. In a second phase, this study aims at discovering how modifying some of the control rules would help (or not) the MT systems better decide upon the translation of aspect and mood.

Communicating culture: strategic communication management of the contemporary art museums in the XXIth century, in Portugal: case studies: Museu Nacional de Arte Contemporânea: Lisboa; Museu de Arte Contemporânea de Serralves, no Porto; Museu de Arte Contemporânea de Elvas

Throughout the year and half of research developed during the times of crisis or economic crisis in Portugal due to the austerity measures, this thesis focuses on the cultural communication and museology in the area of cultural management in Portugal. With an ever growing number of research being developed over the world, this study is unique as it studies managerial diversity and organisational structures of Contemporary Art Museums that exist in Portugal but more importantly how they communicate their organizations within and beyond the Museum walls such as online or other technological media. As the communication management of the museums is one of aspects of culture in which cultural management intends to intervene. The research study that I proposed to analyse has at the forefront the intention to understand how the Contemporary Art Museums in Portugal manage their communication and respective organizations, whether they be a Public-Private/Foundation, State or Council run organizations but also understand if a strategic plan is designed and implemented in times of crisis, to withstand disruptive economic scenarios projected on a daily basis. The following Museums were selected due to the fact of being Contemporary Art Museums but also their respective diverse territorial distribution, one in the city capital of Portugal, Lisbon: MNAC – Museu Nacional de Arte Contemporânea, a stately run organisation; the second, in the north of Portugal: MACS – Museu de Arte Contemporânea de Serralves, a public/private organisation under the Foundation organics and the third Museum in interior central region of Portugal, Alentejo: MACE – Museu de Arte Contemporânea de Elvas, managed by the Elvas City Council.