Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.

Recruitment bias and clinical characterstics of participants with severe cerebral palsy in a cross-sectional survey

Aim.  This article is a report of recruitment bias in a sample of 5–25-year-old patients with severe cerebral palsy.

Background.  The way in which study participants are recruited into research can be a source of bias.

Method.  A cross-sectional survey of 5–25-year-old patients with severe cerebral palsy using standardized questionnaires with parents/carers was undertaken in 2007/2008. A case register was used as the sampling frame, and 260 families were approached: 178/260 (68%) responded and 82/260 families never replied (non-respondents). Among responders: 127/178 (71%) opted in to the study, but only 123/127 were assessed, and 82/178 were opted out (or refused). Multivariable logistic regression giving odds ratios was used to study the association between participant characteristics and study outcomes (responders vs. non-responders; opting in vs. opting out; assessed vs. eligible, but not assessed).

Results.  Responders (compared with non-responders) were significantly more likely to have a family member with cerebral palsy who was male and resident in more affluent areas. Families who opted in (compared with those opting out and refusing) were more likely to have a family member with cerebral palsy and intellectual impairment and to reside in certain geographical areas. Families who were actually assessed (compared with all eligible, but not assessed) were more likely to have a family member with cerebral palsy and intellectual impairment.

Conclusion.  Several sources of bias were identified during recruitment for this study. This has implications for the interpretation and conclusions of surveys of people with disabilities and complex needs.

Cinematic and Architectonic Space in Tarkovsky's Solaris

Architecture plays an important role in Andrei Tarkovsky’s films in defining the atmosphere of a space and memory of a place. This paper is a study of how the settings in Tarkovsky’s Solaris (1972) are used to provoke and convey feelings to the audience through architectonic space depicting the city, library, home and aspects of the home such as paintings and mirrors. The rooms depicted in Solaris (Fig. 1) are filled with symbolism and detail. They are imbued with a poetic quality rarely seen in cinema. The everyday places of city, library and home in Solaris are given an emotional depth not usually found in these spaces in reality. Solaris is an anomaly among Tarkovsky’s films in that the majority of the narrative takes place in an enclosed built set. Rarely do Tarkovsky spaces exert so much control over the actors’ movements within a meticulously designed and detailed set. This paper analyses how the director uses constructed sets in Solaris to confront our perception of memories, dreams and reality.
The intent of this study is to gain better understanding of the link between architecture and other art forms such as painting and cinema through spatial analysis. This study also relates to our imagination and how we perceive architectonic space portrayed through cinematic images. The architectural theory of Juhani Pallasmaa forms the basis of this paper.

Purification, characterization and molecular cloning of chymotrypsin inhibitor peptides from the venom of Burmese Daboia russelii siamensis

One novel Kunitz BPTI-like peptide designated as BBPTI-1, with chymotrypsin inhibitory activity was identified from the venom of Burmese Daboia russelii siamensis. It was purified by three steps of chromatography including gel filtration, cation exchange and reversed phase. A partial N-terminal sequence of BBPTI-1, HDRPKFCYLPADPGECLAHMRSF was obtained by automated Edman degradation and a Ki value of 4.77. nM determined. Cloning of BBPTI-1 including the open reading frame and 3' untranslated region was achieved from cDNA libraries derived from lyophilized venom using a 3' RACE strategy. In addition a cDNA sequence, designated as BBPTI-5, was also obtained. Alignment of cDNA sequences showed that BBPTI-5 exhibited an identical sequence to BBPTI-1 cDNA except for an eight nucleotide deletion in the open reading frame. Gene variations that represented deletions in the BBPTI-5 cDNA resulted in a novel protease inhibitor analog. Amino acid sequence alignment revealed that deduced peptides derived from cloning of their respective precursor cDNAs from libraries showed high similarity and homology with other Kunitz BPTI proteinase inhibitors. BBPTI-1 and BBPTI-5 consist of 60 and 66 amino acid residues respectively, including six conserved cysteine residues. As these peptides have been reported to have influence on the processes of coagulation, fibrinolysis and inflammation, their potential application in biomedical contexts warrants further investigation. © 2013 Elsevier Inc.

Optimization of image quality and dose for Varian aS500 electronic portal imaging devices (EPIDs)

This study was carried out to investigate whether the electronic portal imaging (EPI) acquisition process could be optimized, and as a result tolerance and action levels be set for the PIPSPro QC-3V phantom image quality assessment. The aim of the optimization process was to reduce the dose delivered to the patient while maintaining a clinically acceptable image quality. This is of interest when images are acquired in addition to the planned patient treatment, rather than images being acquired using the treatment field during a patient's treatment. A series of phantoms were used to assess image quality for different acquisition settings relative to the baseline values obtained following acceptance testing. Eight Varian aS500 EPID systems on four matched Varian 600C/D linacs and four matched Varian 2100C/D linacs were compared for consistency of performance and images were acquired at the four main orthogonal gantry angles. Images were acquired using a 6 MV beam operating at 100 MU min(-1) and the low-dose acquisition mode. Doses used in the comparison were measured using a Farmer ionization chamber placed at d(max) in solid water. The results demonstrated that the number of reset frames did not have any influence on the image contrast, but the number of frame averages did. The expected increase in noise with corresponding decrease in contrast was also observed when reducing the number of frame averages. The optimal settings for the low-dose acquisition mode with respect to image quality and dose were found to be one reset frame and three frame averages. All patients at the Northern Ireland Cancer Centre are now imaged using one reset frame and three frame averages in the 6 MV 100 MU min(-1) low-dose acquisition mode. Routine EPID QC contrast tolerance (+/-10) and action (+/-20) levels using the PIPSPro phantom based around expected values of 190 (Varian 600C/D) and 225 (Varian 2100C/D) have been introduced. The dose at dmax from electronic portal imaging has been reduced by approximately 28%, and while the image quality has been reduced, the images produced are still clinically acceptable.

Invaders, Launchpads and Hybrids: The Importance of Transmediality in British Science Fiction Film in the 1950s

With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.

Self-reported psychosocial needs and health-related quality of life of colorectal cancer survivors

Purpose of the research
To investigate the prevalence and nature of unmet needs among colorectal cancer (CRC) survivors and the relationship between needs and quality of life (QoL).

Methods and sample
Using the Northern Ireland Cancer Registry (NICR) as a sampling frame and working in collaboration with primary care physicians or GPs, the Cancer Survivors Unmet Needs (CaSUN) questionnaire and the Quality of Life in Adult Cancer Survivors Scale (QLACS) were posted to a randomly selected sample of 600 CRC survivors.

Key results
Approximately 69% (413/600) met eligibility criteria for participating in the study; and 30% (124/413) responded to the survey. A comparative analysis of NICR data between respondents and non-respondents did not indicate any systematic bias except that respondents appeared to be younger (65 years vs. 67 years). Approximately 60% of respondents reported having no unmet needs, with 40% reporting one or more unmet health and social care needs such as fear of recurrence, information needs, difficulty obtaining travel insurance and car parking problems. QoL was significantly lower for CRC survivors who reported an unmet need. Highest scores (poorer QoL) were reported for fatigue, welfare benefits and distress recurrence.

Conclusions
Overall, the majority of CRC survivors who had care needs appeared to have needs that were mainly psychosocial in nature and these unmet needs were related to poorer QoL.

Advanced design optimization of cold-formed steel portal frame buildings

The design optimization of cold-formed steel portal frame buildings is considered in this paper. The objective function is based on the cost of the members for the main frame and secondary members (i.e., purlins, girts, and cladding for walls and roofs) per unit area on the plan of the building. A real-coded niching genetic algorithm is used to minimize the cost of the frame and secondary members that are designed on the basis of ultimate limit state. It iis shown that the proposed algorithm shows effective and robust capacity in generating the optimal solution, owing to the population's diversity being maintained by applying the niching method. In the optimal design, the cost of purlins and side rails are shown to account for 25% of the total cost; the main frame members account for 27% of the total cost, claddings for the walls and roofs accounted for 27% of the total cost.

Like branches in a river : viagens estrada afora e cidade adentro no cinema americano

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos Americanos), Universidade de Lisboa, Faculdade de Letras

Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.

Memória e ficção narrativa: a história alemã revisitada através da literatura e do cinema

O presente trabalho procura, de forma sucinta, descrever o processo de confronto da nação alemã com o seu passado nacional-socialista, um processo que se tem vindo a desenrolar num âmbito político, jurídico e social desde há mais de seis décadas. Pretende-se ainda argumentar que o período em que a Alemanha viveu sob o domínio nazi, elemento incontornável da própria narrativa nacional, tem sido amplamente representado quer na literatura, quer no cinema, tanto por sujeitos da chamada primeira geração, como também pelas gerações que nasceram após 1945, indivíduos cuja influência do passado familiar e/ou interesse pela memória histórica do país constituem a matriz das suas obras.

War and propaganda in the XXth Century

Propaganda represented the sacrifice of soldiers in war and praised the power of the country. It has been around these images that all over the world entire populations were mobilized on the expectation of victory. Through the static image of printed posters or the newspaper news projected in cinemas all over the globe, governments sought to promote a patriotic spirit, encouraging the effort of individual sacrifice by sending a clear set of messages that directly appealed to the voluntary enlistment in the armies, messages that explained the important of rationing essential goods, of the intensification of food production or the purchase of war bonds, exacerbating feelings, arousing emotions and projecting an image divided between the notion of superiority and the idea of fear of the opponent. From press, in the First World War, to radio in World War II, to television and cinema from the 1950s onwards, propaganda proved to be a weapon as deadly as those managed by soldiers in the battlefield. That’s why it is essential to analyse and discuss the topic of War and Propaganda in the Twentieth Century. This conference is organized by the IHC and the CEIS20 and is part of the Centennial Program of the Great War, organized by the IHC, and the International Centennial Program coordinated by the Imperial War Museum in London.

Reforms of the pre-graduate curriculum for medical students: the Bologna process and beyond.

For several years, all five medical faculties of Switzerland have embarked on a reform of their training curricula for two reasons: first, according to a new federal act issued in 2006 by the administration of the confederation, faculties needed to meet international standards in terms of content and pedagogic approaches; second, all Swiss universities and thus all medical faculties had to adapt the structure of their curriculum to the frame and principles which govern the Bologna process. This process is the result of the Bologna Declaration of June 1999 which proposes and requires a series of reforms to make European Higher Education more compatible and comparable, more competitive and more attractive for Europeans students. The present paper reviews some of the results achieved in the field, focusing on several issues such as the shortage of physicians and primary care practitioners, the importance of public health, community medicine and medical humanities, and the implementation of new training approaches including e-learning and simulation. In the future, faculties should work on several specific challenges such as: students' mobility, the improvement of students' autonomy and critical thinking as well as their generic and specific skills and finally a reflection on how to improve the attractiveness of the academic career, for physicians of both sexes.

Photograph of Rev. and Mrs. Wright and Family signed to Mrs. Mary Bell [n.d.]

An undated black and white studio portrait of Rev. and Mrs. Wright and family presented to Mrs. Mary Bell. The photograph is mounted in a decorative board frame and bears the handwritten inscription "Mrs. Mary Bell from Mrs. and Rev. Wright" on the reverse. This photograph was included in memorabilia owned by the Richard Bell family of St. Catharines, Ontario.

The ambivalent identity of Wong Kar-wai's cinema

Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.