Spectatorship and the war on terror:creating consensus through global audiences

This paper considers the staging of violence, atrocities, and sexuality in the conduct of the war on terror. The piece discusses the manner in which the terms of the war on terror appear to shut down possible debate and examines the rhetorical and representational strategies that cause this. The paper argues that the war on terror includes a cultural project that seeks to create a consenting global audience. This cultural project appears more diffuse and less immediately instrumental than the military and diplomatic activities of this global battle. The piece argues that it is through the circulation of open secrets and accounts of torture and abuse that a global audience is constructed as both witness and participant in the practices and objectives of the war and that this positioning is designed to corral audience understanding into the suggested narratives of the proponents of the war. Este documento considera el escenario de la violencia, las atrocidades y la sexualidad en la conducta de la guerra contra el terror. El artículo plantea la manera en que los términos de la guerra contra el terror parecen suspender un posible debate y examina las estrategias retóricas y representativas que causaron esto. El documento plantea que la guerra contra el terror incluye un proyecto cultural que busca crear una audiencia global de común acuerdo. Este proyecto cultural parece más difuso y menos útil en el momento, que las actividades militares y diplomáticas de esta batalla global. El artículo sostiene que es mediante la circulación de secretos abiertos y de informes sobre la tortura y el abuso, que se forma una audiencia global tanto testigos como participantes de las prácticas y los objetivos de la guerra y que esa posición está designada a encerrar el conocimiento de la audiencia dentro de los relatos sugeridos por los proponentes de guerra.

Microstructure-based inherent anisotropy of asphalt mixtures

Asphalt mixtures have been demonstrated to be anisotropic materials in both laboratory and field tests. The anisotropy of asphalt mixtures consists of inherent anisotropy and stress-induced anisotropy. In previous work, the inherent anisotropy of asphalt mixtures was quantified by using only the inclination angles of the coarse aggregate particles in the asphalt mixtures. However, the inclination of fine aggregates also has a contribution to the inherent anisotropy. Moreover, the contribution to the inherent anisotropy of each aggregate may not be the same as in the previous work but will depend on the size, orientation, and sphericity of the aggregate particle. This paper quantifies the internal microstructure of the aggregates in asphalt mixtures by using an aggregate-related geometric parameter, the vector magnitude. The original formulation of the vector magnitude, which addresses only the orientation of coarse aggregates, is modified to account for not only the coarse aggregate orientation, but also the size, orientation, and sphericity of coarse and fine aggregates. This formulation is applied to cylindrical lab-mixed lab-compacted asphalt mixture specimens varying in asphalt binder type, air void content, and aging period. The vertical modulus and the horizontal modulus are also measured by using nondestructive tests. A relationship between the modified vector magnitude and the modulus ratio of the vertical modulus to the horizontal modulus is developed to quantify the influence of the inherent microstructure of the aggregates on the anisotropy of the mixtures. The modulus ratio is found to depend solely on the aggregate characteristics including the inclination angle, size, and sphericity, and it is independent of the asphalt binder type, air void content, and aging period. The inclination angle, itself, proves to be insufficient to quantify the inherent anisotropy of the asphalt mixtures. © 2011 American Society of Civil Engineers.

Contradictions inherent in the management of natural and industrial disasters

These days people keep wondering whether the world is more dangerous now than it was before. Do natural disasters really happen more frequently or is it just that the damage they cause that has become greater? The situation is not quite clear. As a result of the globalizing world and advanced communication infrastructure, the number of known / reported catastrophes is relatively high, but that does not necessarily mean there has been an actual increase in frequency. The red mud spill in Hungary was a special combination of industrial and natural disasters. This is one of the reasons why it is very hard to pinpoint who is responsible for the event. Natural disasters tend to raise questions about responsibility that are different from those concerning industrial catastrophes. Interestingly enough, however, nature often plays an important role in industrial disasters. The present article is concerned with how the issues of responsibility are handled in the case of industrial disasters.

Vulnerable children, stigmatised smokers : The social construction of target audiences in media debates on policies regulating smoking in vehicles

Acknowledgements S.H., S.S. and S.D. developed the study concept and gained funding for the work. S.H. developed the study design. J.B. and H.W. drafted the manuscript. J.B. and H.W. developed the coding frame and coded the articles. S.H., S.S. and S.D. critically revised the manuscript. Funding The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This project was funded by Cancer Research UK (C47682/A16930) and the Scottish School of Public Health Research. Sheila Duffy is Chief Executive of ASH Scotland. Heide Weishaar and Shona Hilton are funded by the UK Medical Research Council as part of the Informing Healthly Public Policy programme (MC_UU12017-15) at the MRC/CSO Social and Public Health Sciences Unit, University of Glasgow. The authors declare no additional conflicting interest.

Adapting Arthur: The transformations and adaptations of Wirnt von Graffenberg's Wigalois

The stories of King Arthur and his noble knights have fascinated audiences for many centuries and continue to being retold and fashioned to attract modern audiences. Amongst these stories is the tale of Wigalois, the son of the reputable Gawain. This dissertation traces the story of Wigalois across different languages, cultures, and media in order to show how this is a shared German-Yiddish narrative. Furthermore, this dissertations challenges traditional understanding of adaptation within a diachronic and teleological framework by uncovering dialogical and dynamic processes inherent in this narrative tradition. Using the theoretical framework of a combined Adaptation Studies and Medieval Literature Studies’ notions of unstable texts my argumentation focuses on eight specific examples: Wirnt von Grafenberg’s Wigalois (1st half 13th ct.), Italian murals from the fourteenth century, Wigoleis von dem Rade (1483/93), Viduvilt (Yiddish, 16th ct.), Johann Christoph Wagenseil’s Belehrung der Jüdisch-Teutschen Red- und Schreibart (Yiddish and German, 1715), Gabein (Yiddish, 1789), the illustrations by Ludwig Richter (before 1851), and Die phantastischen Abenteuer der Glücksritters Wigalois (Comic, German, 2011).

The Business of Museums and the Engagement of 21st Century Audiences

Within the sub-theme of Collaboration, Partnerships, and Mergers – the author will create an engaging discussion with attendees on how the of business of museums lends itself to building collaborative and viable business partnerships which can be beneficial both in terms of revenue and audience engagement. A second element will examine through case studies how organizations such as the Oxford University Museum Partnership, The Lightbox Museum and Gallery as well as the British Museum and Museum of London retool and refocus their commercial interests to build sustainable partnerships and mergers with non-museum sector organizations to expand their retail and enterprising activities. Attendees and participants will gain an insight into these trends and methods currently being used by both large museum and small independent museums in the UK to grow their audiences through none traditional methods. Similarly, the author will demonstrate how non-traditional enterprising approaches to stewardship and education can demonstrate the public value of museums in an age when limited funding and competition for resources require museums to become more creative and collaborative outside their traditional roles, whilst continuing to engage and capitalize on the growing sophistication of 21st century audiences.

Audiovisual Storytelling and Ideological Horizons : Audiences, Cultural Contexts and Extra-textual Meaning Making

Abstract: Audiovisual Storytelling and Ideological Horizons: Audiences, Cultural Contexts and Extra-textual Meaning Making In a society characterized by mediatization people are to an increasing degree dependent on mediated narratives as a primary means by which we make sense of our experience through time and our place in society (Hoover 2006, Lynch 2007, Hjarvard 2008, Hjarvard & Lövheim 2012). American media scholar Stewart Hoover points to symbols and scripts available in the media environment, what he call the “symbolic inventory” out of which individuals make religious or spiritual meaning (Hoover 2006: 55). Vernacular meaning-making embedded in everyday life among viewers’ dealing with fiction narratives in films and tv-series highlight a need for a more nuanced understanding of complex audiovisual storytelling. Moving images provide individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves using film as a resource for moral assessment and ideological judgments about life (Plantinga 2009, Johnston 2010, Axelson 2015). Important in this theoretical context are perspectives on viewers’ moral frameworks (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Avila 2007).This paper presentation will focus on ideological contested meaning making where audiences of different cultural background engage emotionally with filmic narratives, possibly eliciting ideological and spiritual meaning-making related to viewers’ personal world views. Through the example of the Homeland tv-series I want to discuss how spectators’ cultural, religious, political and ideological identities could be understood playing a role in the interpretative process of decoding content. Is it possible to trace patterns of different receptions of the multilayered and ambiguous story depicted in Homeland by religiously engaged Christians and Moslems as well as non-believers, in America, Europe and Middle East? How is the fiction narrative dealt with by spectators in the audience in different cultural contexts and how is it interpreted through the process of extra-text evaluation and real world2understanding in a global era preoccupied with war on terror? The presentation will also discuss methodological considerations about how to reach out to audiences anchored in different cultural context.

"Policy externalisation" inherent failure : international financial institutions' conditionality in developing countries

Conditionalities – i.e. ‘exchanging finance for policy reform’ in an asymmetrical relationship between the ‘donor’ and the ‘recipient’ – are central mechanisms of the reform programmes of international financial institutions (IFIs). As they are imposed by outside entities, they can also be viewed as ‘policy externalisation’, which is paradoxically a massive intrusion in the shaping of a country’s domestic policies. The resilience of such devices is remarkable, however. Indeed, in the early 1980s, many developing countries were facing balance of payments difficulties and called upon these international financial institutions for financial relief. In exchange for this relief, they devised economic reforms (fiscal, financial, monetary), which were the conditions for their lending. These reforms were not associated with better economic performance, and this led the IFIs to devise in the 1990s different reforms, which this time targeted the functioning of the government and its ‘governance’, economic problems being explained by governments’ characteristics (e.g., rent-seekers). The paper demonstrates the limitations of the device of conditionality, which is a crucial theoretical and policy issue given its stability across time and countries. These limitations stem from: i) the concept of conditionality per se - the mechanism of exchanging finance for reform; ii) the contents of the prescribed reforms given developing countries economic structure (typically commodity-based export structures) and the weakness of the concept of ‘governance’ in view of these countries’ political economies; and iii) the intrinsic linkages between economic and political conditionalities, whose limitations thus retroact on each other, in particular regarding effectiveness and credibility.

Adapting Victorian Gypsies for the Screen: Ethnicity, Otherness and (In)visibility in Neo-Victorian Popular Film

This paper aims at analysing the presence of gypsy characters in two neo-Victorian popular films, namely Joe Johnston’s The Wolfman (2010) and Guy Ritchie’s Sherlock Holmes: Game of Shadows (2011). The cultural construction of nineteenth-century gypsies, those “Others within Europe” (Boyarin 433) whose presence in Victorian fiction was peripheral, spectral and at times invisible (Nord 3-4), is simultaneously exploited and contested by these two neo-Victorian screen narratives to raise issues of otherness and invisibility on the screen. Setting off from the premise that screen texts, just like print texts, can also be participant in the neo-Victorian project of reimagining the underside of Victorian culture for contemporary audiences (Whelehan 273), this paper traces how the adaptation of Victorian gypsies for the screen, true to the palimpsestuous potential inherent to the process of adaptation (Hutcheon 6) and sharing the double drive between past and present which characterises the neo-Victorian genre (Arias and Pulham xiii; Shiller 539), hybridises our cultural memory of the Victorian Age on the screen while concurrently raises concerns over the persistent liminal status of gypsies in contemporary European culture. In particular, this paper illustrates how the tropes prototypically associated to gypsies (namely their nomadic lifestyle, mysticism, alienated existence or their perceived association to criminality) which can be traced back to Victorian culture are deployed on the neo-Victorian popular screen (with varyingly succesful outcomes) to comment on their (in)visibility in the European popular imagination.

Veteranness : Representations of Combat-related PTSD in U.S. Popular Visual Media

Posttraumatic stress and PTSD are becoming familiar terms to refer to what we often call the invisible wounds of war, yet these are recent additions to a popular discourse in which images of and ideas about combat-affected veterans have long circulated. A legacy of ideas about combat veterans and war trauma thus intersects with more recent clinical information about PTSD to become part of a discourse of visual media that has defined and continues to redefine veteran for popular audiences. In this dissertation I examine realist combat veteran representations in selected films and other visual media from three periods: during and after World Wars I and II (James Allen from I Am a Fugitive from a Chain Gang, Fred Derry and Al Stephenson from The Best Years of Our Lives); after the Vietnam War (Michael from The Deer Hunter, Eriksson from Casualties of War), and post 9/11 (Will James from The Hurt Locker, a collection of veterans from Wartorn: 1861-2010.) Employing a theoretical framework informed by visual media studies, Barthes’ concept of myth, and Foucault’s concept ofdiscursive unity, I analyze how these veteran representations are endowed with PTSD symptom-like behaviors and responses that seem reasonable and natural within the narrative arc. I contend that veteran myths appear through each veteran representation as the narrative develops and resolves. I argue that these veteran myths are many and varied but that they crystallize in a dominant veteran discourse, a discursive unity that I term veteranness. I further argue that veteranness entangles discrete categories such as veteran, combat veteran, and PTSD with veteran myths, often tying dominant discourse about combat-related PTSD to outdated or outmoded notions that significantly affect our attitudes about and treatment of veterans. A basic premise of my research is that unless and until we learn about the lasting effects of the trauma inherent to combat, we hinder our ability to fulfill our responsibilities to war veterans. A society that limits its understanding of posttraumatic stress, PTSD and post-war experiences of actual veterans affected by war trauma to veteranness or veteran myths risks normalizing or naturalizing an unexamined set of sociocultural expectations of all veterans, rendering them voice-less, invisible, and, ultimately disposable.

Design of products to honor people post mortem

The cemeterial units, are places of social practices of everyday life and worship and the tomb where nostalgia can be externalized and the memory of the deceased revered. In Western societies we can find a category of artifacts meant to evoke the memory or honor the dead. In this paper we we mention three examples of products that enabled a reflection on the concepts that gave rise to their ways, and that risks to fit them into a new "material culture", in that it may have created a break with the traditional system codes and standards shared by companies, and its manifestations in relation to the physical creation of this category of products. This work offers a reflection on the Design Products.What probably makes it special is the field where it is located: the design of products in one post mortem memory. Usually made of granite rock or marble, have the form of plate or tablet, open book or rolled sheet. On one side have a photograph of the person who intend to honor and inscriptions. The thought of inherent design of this work put on one side the intricate set of emotions that this type of product can generate, and other components more affordable, and concerning the form, function and object interactions with users and with use environments. In the definition of the problem it was regarded as mandatory requirements: differentiation, added value and durability as key objectives.The first two should be manifested in the various components / product attributes. The aesthetic and material/structural durability of product necessarily imply the introduction of qualifying terms and quantitative weights, which positively influence the generation and evaluation of concepts based on the set of 10 principles for the project that originated a matrix as a tool to aid designing products. The concrete definition of a target audience was equally important. At this stage, the collaboration of other experts in the fields of psychology and sociology as disciplines with particular ability to understand individuals and social phenomena respectively was crucial. It was concluded that a product design to honor someone post mortem, should abandon the more traditional habits and customs to focus on identifying new audiences. Although at present it can be considered a niche market, it is believed that in the future may grow as well as their interest in this type of products.

Debating food production at dinner time: Mainstream audiences are invited to debate the ethics of agricultural practices in Brazil

In the rural areas of Brazil, a farmer runs his agricultural empire with a fierce hand: he exploits his workers and the land to their limits. Lack of sustainable land management leads to the pollution of rivers, changes in rain patterns, and exhaustion of the soil.