Cloud animation

Clouds are animate forms, shifting and evanescent, mutable and always in movement. They have also long been a subject of imagery, especially painting, because paint, most notably watercolour, as John Constable knew, seeped into thick drawing papers much as a cloud seeped itself through the sky. The drama of clouds in the 20th century was seized by film and it is striking to note that many Hollywood Studio logos use clouds. Clouds from Constable to the Hollywood logos are Romantic clouds. They drift and float, produce ambience and mood, along with weather. But the cloud appears in the digital age too, in more ways than one. Clouds have been constituted digitally by commercial animation studios and used as main characters in cartoons; they are available in commercial applications, such as architecture and landscaping packages; they have been made and represented by art animators. This body of work, kitsch and dumb as some of it is, is treated in this article as emblematic of an age in which the digital cloud looms as a new substance. The cloud in the digital age is a source of form, like a 3D printer, a source of any imaginable form. As such it comes to be less a metaphor of something else and more a generator of a metaphor that is itself. Now we live alongside – and even inside - a huge cloud metaphor that is The Cloud. In what ways do the clouds in the sky speak across to the platform and matter that is called The Cloud? What is at work in the digitalising of clouds in animation, and the production of animation through the technologies of the Cloud? Are we witnessing the creation of a synthetic heaven into which all production has been relocated and the digital clouds make all the moves? Keywords Cloud, day-dreaming, dust, digital, metaphor, Romanticis

Visual arguments in film

Nuestro objetivo es señalar algunas diferencias entre los argumentos verbales y visuales, y promover la perspectiva retórica de la argumentación, yendo más allá de la relevancia de la lógica y de la pragmática. En nuestra opinión, si ha de ser racional y aceptable como argumentación (visual), un film debe dirigirse a espectadores que tienen creencias informadas sobre el tema visto en la pantalla y sobre las limitaciones y las convenciones del medio. En nuestras reflexiones, aplicamos el análisis retórico al cine como un acto simbólico, humano y comunicativo que a veces puede entenderse como un argumento trazado visualmente. Como mezcla de estímulos visuales, auditivos y verbales, el film exige una interpretación y una (re)construcción activas y complejas. Nuestra sugerencia es concentrarse en cinco elementos diferentes, pero relacionados entre sí. La reconstrucción y la evaluación del argumento visual se basarán en esos elementos, y todo el proceso constituirá una argumentación visual.Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation

Garotas de loja, história social e teoria social [Shop Girls, Social History and Social Theory]

Shop workers, most of them women, have made up a significant proportion of Britain’s labour force since the 1850s but we still know relatively little about their history. This article argues that there has been a systematic neglect of one of the largest sectors of female employment by historians and investigates why this might be. It suggests that this neglect is connected to framings of work that have overlooked the service sector as a whole as well as to a continuing unease with the consumer society’s transformation of social life. One element of that transformation was the rise of new forms of aesthetic, emotional and sexualised labour. Certain kinds of ‘shop girls’ embodied these in spectacular fashion. As a result, they became enduring icons of mass consumption, simultaneously dismissed as passive cultural dupes or punished as powerful agents of cultural destruction. This article interweaves the social history of everyday shop workers with shifting representations of the ‘shop girl’, from Victorian music hall parodies, through modernist social theory, to the bizarre bombing of the Biba boutique in London by the Angry Brigade on May Day 1971. It concludes that progressive historians have much to gain by reclaiming these workers and the service economy that they helped create

Identifying and prioritizing strategies for comprehensive liver cancer control in Asia

<p>Abstract</p> <p>Background</p> <p>Liver cancer is both common and burdensome in Asia. Effective liver cancer control, however, is hindered by a complex etiology and a lack of coordination across clinical disciplines. We sought to identify strategies for inclusion in a comprehensive liver cancer control for Asia and to compare qualitative and quantitative methods for prioritization.</p> <p>Methods</p> <p>Qualitative interviews (N = 20) with international liver cancer experts were used to identify strategies using Interpretative Phenomenological Analysis and to formulate an initial prioritization through frequency analysis. Conjoint analysis, a quantitative stated-preference method, was then applied among Asian liver cancer experts (N = 20) who completed 12 choice tasks that divided these strategies into two mutually exclusive and exhaustive subsets. Respondents' preferred plan was the primary outcome in a choice model, estimated using ordinary least squares (OLS) and logistic regression. Priorities were then compared using Spearman's Rho.</p> <p>Results</p> <p>Eleven strategies were identified: <it>Access to treatments; Centers of excellence; Clinical education; Measuring social burden; Monitoring of at-risk populations; Multidisciplinary management; National guidelines; Public awareness; Research infrastructure; Risk-assessment and referral</it>; and <it>Transplantation infrastructure</it>. Qualitative frequency analysis indicated that <it>Risk-assessment and referral </it>(85%), <it>National guidelines </it>(80%) and <it>Monitoring of at-risk populations </it>(80%) received the highest priority, while conjoint analysis pointed to <it>Monitoring of at-risk populations </it>(p < 0.001), <it>Centers of excellence </it>(p = 0.002), and <it>Access to treatments </it>(p = 0.004) as priorities, while <it>Risk-assessment and referral </it>was the lowest priority (p = 0.645). We find moderate concordance between the qualitative and quantitative methods (rho = 0.20), albeit insignificant (p = 0.554), and a strong concordance between the OLS and logistic regressions (rho = 0.979; p < 0.0001).</p> <p>Conclusions</p> <p>Identified strategies can be conceptualized as the ABCs of comprehensive liver cancer control as they focus on <it>Antecedents</it>, <it>Better care </it>and <it>Connections </it>within a national strategy. Some concordance was found between the qualitative and quantitative methods (e.g. <it>Monitoring of at-risk populations</it>), but substantial differences were also identified (e.g. qualitative methods gave highest priority to risk-assessment and referral, but it was the lowest for the quantitative methods), which may be attributed to differences between the methods and study populations, and potential framing effects in choice tasks. Continued research will provide more generalizable estimates of priorities and account for variation across stakeholders and countries.</p

Framing the Real: Lefèbvre and NeoRealist Cinematic Space as Practice

In 1945 Roberto Rossellini's Neo-realist Rome, Open City set in motion an approach to cinema and its representation of real life – and by extension real spaces – that was to have international significance in film theory and practice. However, the re-use of the real spaces of the city, and elsewhere, as film sets in Neo-realist film offered (and offers) more than an influential aesthetic and set of cinematic theories. Through Neo-realism, it can be argued that we gain access to a cinematic relational and multidimensional space that is not made from built sets, but by filming the built environment. On the one hand, this space allows us to "notice" the contradictions around us in our cities and, by extension, the societies that have produced those cities, while on the other, allows us to see the spatial practices operative in the production and maintenance of those contradictions. In setting out a template for understanding the spatial practices of Neo-realism through the work of Henri Lefèbvre, this paper opens its films, and those produced today in its wake, to a spatio-political reading of contemporary relevance. We will suggest that the rupturing of divisions between real spaces and the spaces of film locations, as well the blurring of the difference between real life and performed actions for the camera that underlies much of the central importance of Neo-realism, echoes the arguments of Lefèbvre with regard the social production of space. In doing so, we will suggest that film potentially had, and still has, a vital role to play in a critique of contemporary capitalist spatial practices

‘A Portrait of Lower Silesia’: Researching identity through collodion photography and memory narratives

In this article, I discuss a performance arts–based visual methodology based on the use of the archaic wet collodion photography. The collaboration between Street Collodion Art photography collective and myself, as a researcher, had two aims: to generate a large scale photographic and narrative portrait of Lower Silesia in Poland, and to explore identities in the region where nearly all of its inhabitants represent recent migrant populations. Data generated through this project include collodion portraits, their interpretations and narratives collected through unstructured interviews. Initial data analysis has generated identity narratives linked to work, place and belonging and ethnicity/nationality. In addition, in 2016 and 2017, three exhibitions of the portraits and a selection of edited stories took place in Lubin, Legnica and Wrocław attended by local inhabitants, including project participants. The examination of the arts-based methodology finds that the ritual character of the wet collodion photographic encounter has acted as a form of artistic intervention which, in generating memory narratives, enabled an articulation of social identities in the climate dominated by nationalist discourses. Such symbolic work emerging out of the project reveals a critical potential in the collaboration between the arts and social research. Furthermore, the project has shown that despite different traditions of practice, a collaboration between the artists and social researchers can yield rich data and access participants in ways that conventional methodologies cannot

Coping with a Crisis of Meaning: Televised Paranoia

Across all genres, television communicates a host of perceived dangers or risks to human survival as entertainment, responding and reproducing the victim and risk consciousness of the late twentieth and early twenty-first centuries. Terrorism has captured the imaginations of not only politicians but also producer/writers, and as a consequence of this, and the visual spectacle that war and terrorism provide, it has featured regularly and consistently in British and American television programming. This article presents the analysis of some British current affairs entertainment programming (film and documentary) broadcast by the BBC during the height of the misnamed ‘war on terror’. Through the analysis of these programmes, I will demonstrate a psycho-cultural approach to textual analysis informed by early object relations psychoanalysis. Being aware of the degree to which political elites have shaped what is known about the ‘war on terror’ allows us to apply knowledge of the political and historical context of these elites to understanding why the dominant ‘war on terror’ perspective is paranoid in character. I will offer an explanation of why a paranoid style predominates in terrorism related programming in my conclusion