Thats classified: class politics and adolescence in twin peaks

Twin Peaks arguably paved the way for the television programmes currently popular with adolescent audiences, like The OC and Veronica Mars and, in it, many of the issues and representational strategies in those later programmes have their earlier manifestation. Specifically, the Twin Peaks plotline evinces a set of cultural anxieties about class-difference. Twin Peaks creates a cultural microcosm of American society that is paradoxically writ large by the limited parameters of an isolated community. Within a constricted space, characters are depicted as both individuals and as archetypes of a class location.

Telephones, Voice Recorders, Microphones, Phonographs: A Media Archaeology of Sonic Technologies in Twin Peaks

This article argues that sonic technologies, such as telephones, voice recorders and phonographs, alongside more (audio)visual ones such as flickering fluorescent lights, videos, and the television sets are crucial to the world of Twin Peaks, and constitute this world as both a communications network with portals to the unknown, and an accumulation of recordings of ghosted voices and entities, perhaps finding its ultimate expression in the backwards reprocessed speech in the Black Lodge. This lodge can be understood as a space in which there are nothing but recordings, albeit now on a cosmic, spiritual and demonic level. Using a media archaeological approach to these devices in the series, this paper will argue that they were already operating by a media archaeological logic, generating the world of Twin Peaks as a haunted archive of sonic and other mediations.

David Bowie, brinquedos adultos e outras dimensões estranhas do universo de Twin Peaks

The article is based fundamentally on the authors' participation in the International Conference “I’ll See You Again in 25 Years: The return of Twin Peaks and generations of cult TV”, held on 21 and 22 May 2015, at the School of Arts and Media, at the University of Salford in England. Starting from there, it makes an irregular discussion of issues and working angles around the television series launched in 1990, a work by David Lynch and Mark Frost. Some issues gain particular attention: 1) the relations of the series to the album Outside (1995) by David Bowie; 2) the population of adult toys related to the series, as derivative products, driven by fans in their most playful exercises of affection and remembrance. Despite the article’s intentionally adopted tone of an “academic report”, it can evoke rich theoretical questions in a field of objects that are in a complex upgrade process and have to be subsequently treated according to more regular methodological procedures, seeking further theoretical and epistemological clarifications

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

Aplicabilidade do modelo twin peaks á regulaçao financeira em Portugal

A supervisão de um mundo financeiro muito diversificado e complexo tornou-se uma prioridade e um assunto em destaque desde o despoletar da crise financeira em 2007. O relatório de Larosiere(2009), que surge a pedido da União Europeia, defende que o Twin Peaks é o modelo que melhor resposta pode dar ao mundo financeiro globalizado, complexo e interligado. Este relatório esteve mesmo na base da nova estrutura da supervisão da União Europeia. Por outro lado, acabou por motivar as alterações nos Estados-membros que já estavam em curso, como é o caso do Reino Unido que terminou, em 2013, o processo de adoção de um modelo de supervisão por objetivos. a Holanda já desde 2007 que odotou o Twin Peaks e é a garnde referencia europeia da aplicabilidade do modelo. Protugal procura acompanhar os requesitos da supervisão da Uniao Europeia, ainda com mais atenção, após os escândalos de fraude no setor bancário Portugues. Portugal, que mantem ainda hoje um Modelo Setorial já com alguns ajustamentos, lançou uma consulta publica sobre a proposta de alteração do atual modelo para o Twin Peaks. O estado de emergência financeira em que o pais entrou adiou a discussão sobre esse tema, nunca se concretizou a sua adoção até á data. O presente trabalho visa analisr, por um lado, a efetiva aplicabilidade deste Modelo no sistema financeiro português, extraindo as alterações que implicaria e as vantagens e desvantagens da sai implementação, utilizando como base comparativa os modelos implementados na Holanda e, mais recentemente, no Reino Unido. O modelo Twin Peaks proposto tem grandes semelhancas com o Holandes,criando atraves do Conselho Nacional de Supervisores Financeiros o elo de ligacao entre os restantes agentes de forma assegurar o sucesso na definicao dos objetivos e interligados (fator critico para o sucesso do modelo).Efetivamente,os fatores que justificaram a alteracao do Modelo na Holanda e Reino Unido estao presents,na sua maioria,na economia portuguesa. Na literature, encontramos diversos fatores que validam a aplicacao do Modelo Twin Peaks a regulacao financeira portuguesa, nao obstante levantaram/se ainda reservas quanto a validadedacapacidade de interligacao de uma Europa com um modelo cada vez mais sectorial com os estados membros protocolados ao Twin peaks e a capacidade de definicao de objetivos e amplitude de atuacao de cada agente nacional.

Geology of the Pacoima Area, Los Angeles County, California

The Pacoima area is located on an isolated hill in the northeast section of the San Fernando, the northeast portion of the Pacoima Quadrangle, Los Angeles County, California. Within it are exposed more than 2300 feet of Tertiary rocks, which comprise three units of Middle Miocene (?) age, and approximately 950 feet of Jurassic (?) granite basement. The formations are characterized by their mode of occurrence, marine and terrestial origin, diverse lithology, and structural features.

The basement complex is composed of intrusive granite, small masses of granodiorite and a granodiorite gneiss with the development of schistosity in sections. During the long period of erosion of the metamorphics, the granitic rocks were exposed and may have provided clastic constituents for the overlying formations.

As a result of rapid sedimentation in a transitional environment, the Middle Miocene Twin Peaks formation was laid down unconformably on the granite. This formation is essentially a large thinning bed of gray to buff pebble and cobble conglomerate grading to coarse yellow sandstone. The contact of conglomerate and granite is characterized by its faulted and depositional nature.

Beds of extrusive andesite, basalt porphyry, compact vesicular amygdaloidal basalts, andesite breccia, interbedded feldspathic sands and clays of terrestial origin, and mudflow breccia comprise the Pacoima formation which overlies the Twin Peaks formation unconformably. A transgressing shallow sea accompanied settling of the region and initiated deposition of fine clastic sediments.

The marine Topanga (?) formation is composed of brown to gray coarse sandstone grading into interbedded buff sandstones and gray shales. Intrusions of rhyolitedacite and ash beds mark continued but sporatic volcanism during this period.

The area mapped represents an arch in the Tertiary sediments. Forces that produced the uplift of the granite structural high created stresses that were relieved by jointing and faulting. Vertical and horizontal movement along these faults has displaced beds, offset contacts and complicated their structure. Uplift and erosion have exposed the present sequence of beds which dip gently to the northeast. The isolated hill is believed to be in an early stage of maturity.

O presente e o futuro da supervisão das instituições financeiras em Portugal

Dissertação de Mestrado apresentada ao Instituto Superior de Contabilidade e Administração do Porto para a obtenção do grau de Mestre em Contabilidade e Finanças sob orientação do Doutor Armindo Licínio da Silva Macedo “Esta versão contém críticas e sugestões dos elementos do júri”.

Sociétés de fictions

Le concept des Sociétés de fictions élaboré dans le cadre de ce mémoire vise l’exploration de la médiation à l’ère du numérique. Pour penser les modalités de fictions littéraires avec l’idée qu’elles puissent former des sociétés distinctes, ce travail d’analyse propose d’examiner diverses fictions, plus précisément des expressions gothiques américaines en littérature contemporaine, afin d’en extraire un mode de pensée significatif. Dans le dessein d’analyser la manière dont ces fictions se relient entre elles, cette recherche se focalise sur le rapport qu’entretient la fiction littéraire avec la technologie ainsi qu’avec divers modes de diffusion et de médiation. Afin de comprendre comment les mécanismes du discours positionnent des œuvres de fictions les unes par rapport aux autres, ces fictions individuées seront d’abord examinées au sein d’une société qui leur est propre. Ceci mènera à exposer en quoi et comment les rapports qu’entretient l’humain avec la littérature et la technologie se reconfigurent par le biais de nouvelles formes de médiations. La présente réflexion se penche ainsi sur les modes d’interactions des fictions qui s’organisent en sociétés afin de pouvoir analyser comment le glissement du paradigme de l’imprimé et des supports matériels, à l’âge du numérique, peut se traduire par une manière inédite de penser notre relation au littéraire. En somme, cette réflexion sur la mobilité des formes et des plateformes liées aux fictions et à leur société devrait permettre de mieux analyser les individus qui inventent et consomment ces fictions, leur univers social ainsi que leur rapport intime à la technologie et ses médiations. Ces sociétés de fictions deviennent alors une clé pour comprendre notre rapport à la virtualisation de nos univers sociaux. Entre les sociétés de fictions et les sociétés des Hommes se noue un lien substantiel laissant entrevoir une véritable co-évolution de ces univers distincts. Les principales œuvres de fiction étudiées et citées seront celles du romancier et scénariste américain Bret Easton Ellis, plus précisément les romans Less Than Zero et Imperial Bedrooms. Il sera également question de la série télévisuelle Twin Peaks, diffusée sur la chaîne ABC en 1990 et réalisée par David Lynch, ainsi que d’une nouvelle de John Cheever, The enormous radio, parue en 1947, dans le New Yorker.

Temporal and spatial evolution of laser ablated plasma from YBa2Cu3O7

YBa2Cu307 target was laser ablated, and the time-of-flight (TOF) distributions of Y, Y+., and YO in the resultant plasma were investigated as functions of distance from the target and laser energy density using emission spectroscopy. Up to a short distance from the target (-1.5 cm), TOF distributions show twin peaks for Y and YO, while only single-peak distribution is observed for Y+. At greater distances (>1.5 cm) all of them exhibit single-peak distribution. The twin peaks are assigned to species corresponding to those generated directly/m the vicinity of target surface and to those generated from collisional/recombination process.

Time Resolved Analysis of C2 Emission from Laser Induced Graphite Plasma in Helium Atmosphere

We report time resolved study of C2 emission from laser produced carbon plasma in presence of ambient helium gas. The 1.06µm: radiation from a Nd:YAG laser was focused onto a graphite target where it·produced a transient plasma. We observed double peak structure in the time profile of C2 species. The twin peaks were observed only after a threshold laser fluence. It is proposed that the faster velocity component in the temporal profiles originates mainly due to recombination processes. The laser fluence and ambient gas dependence of the double peak intensity distribution is also reported.

Pigments of sediment cores of the Northwest European Continental Margin

In the context of the European OMEX Programme this investigation focused on gradients in the biomass and activity of the small benthic size spectrum along a transect across the Goban Spur from the outer Celtic Sea into Porcupine Abyssal Plain. The effects of food pulses (seasonal, episodic) on this part of the benthic size spectrum were investigated. Sediments sampled during eight expeditions at different seasons covering a range from 200 m to 4800 m water depth were assayed with biochemical bulk measurements: determinations of chloroplastic pigment equivalents (CPE), the sum of chlorophyll a and its breakdown products, provide information concerning the input of phytodetrital matter to the seafloor; phospholipids were analyzed to estimate the total biomass of small benthic organisms (including bacteria, fungi, flagellata, protozoa and small metazoan meiofauna). A new term 'small size class biomass' (SSCB) is introduced for the biomass of the smallest size classes of sediment-inhabiting organisms; the reduction of fluorescein-di-acetate (FDA) was determined to evaluate the potential activity of ester-cleaving bacterial exoenzymes in the sediment samples. At all stations benthic biomass was predominantly composed of the small size spectrum (90% on the shelf; 97-98% in the bathyal and abyssal parts of the transect). Small size class biomass (integrated over a 10 cm sediment column) ranged from 8 g C/m**2 on the shelf to 2.1 g C/m**2 on the adjacent Porcupine Abyssal Plain, exponentially decreasing with increasing water depth. However, a correlation between water depth and SSCB, macrofauna biomass as well as metazoan meiofauna biomass exhibited a significantly flatter slope for the small size classes in comparison to the larger organisms. CPE values indicated a pronounced seasonal cycle on the shelf and upper slope with twin peaks of phytodetrital deposition in mid spring and late summer. The deeper stations seem to receive a single annual flux maximum in late summer. SSCB and heterotrophic activity are significantly correlated to the amount of sediment-bound pigments. Seasonality in pigment concentrations is clearly followed by SSCB and activity. In contrast to macro- and megafauna which integrate over larger periods (months/years), the small benthic size classes, namely bacteria and foraminifera, proved to be the most reactive potential of the benthic communities to any perturbations on short time scales (days/weeks). The small size classes, therefore, occupy a key role in early diagenetic processes.

Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

Investigating brain connectivity heritability in a twin study using diffusion imaging data

Heritability of brain anatomical connectivity has been studied with diffusion-weighted imaging (DWI) mainly by modeling each voxel's diffusion pattern as a tensor (e.g., to compute fractional anisotropy), but this method cannot accurately represent the many crossing connections present in the brain. We hypothesized that different brain networks (i.e., their component fibers) might have different heritability and we investigated brain connectivity using High Angular Resolution Diffusion Imaging (HARDI) in a cohort of twins comprising 328 subjects that included 70 pairs of monozygotic and 91 pairs of dizygotic twins. Water diffusion was modeled in each voxel with a Fiber Orientation Distribution (FOD) function to study heritability for multiple fiber orientations in each voxel. Precision was estimated in a test-retest experiment on a sub-cohort of 39 subjects. This was taken into account when computing heritability of FOD peaks using an ACE model on the monozygotic and dizygotic twins. Our results confirmed the overall heritability of the major white matter tracts but also identified differences in heritability between connectivity networks. Inter-hemispheric connections tended to be more heritable than intra-hemispheric and cortico-spinal connections. The highly heritable tracts were found to connect particular cortical regions, such as medial frontal cortices, postcentral, paracentral gyri, and the right hippocampus.

A genome scan for eye color in 502 twin families: Most variation is due to a QTL on chromosome 15q

We have rated eye color on a 3-point scale (1=blue/grey, 2=hazel/green, 3=brown) in 502 twin families and carried out a 5-10 cM genome scan (400-757 markers). We analyzed eye color as a threshold trait and performed multipoint sib pair linkage analysis using variance components analysis in Mx. A lod of 19.2 was found at the marker D15S1002, less than 1 cM from OCA2, which has been previously implicated in eye color variation. We estimate that 74% of variance in eye color liability is due to this QTL and a further 18% due to polygenic effects. However, a large shoulder on this peak suggests that other loci affecting eye color may be telomeric of OCA2 and inflating the QTL estimate. No other peaks reached genome-wide significance, although lods >2 were seen on 5p and 14q and lods >1 were additionally seen on chromosomes 2, 3, 6, 7, 8, 9, 17 and 18. Most of these secondary peaks were reduced or eliminated when we repeated the scan as a two locus analysis with the 15q linkage included, although this does not necessarily exclude them as false positives. We also estimated the interaction between the 15q QTL and the other marker locus but there was only minor evidence for additive x additive epistasis. Elaborating the analysis to the full two-locus model including non-additive main effects and interactions did not strengthen the evidence for epistasis. We conclude that most variation in eye color in Europeans is due to polymorphism in OCA2 but that there may be modifiers at several other loci.