bluuebunny/crossref_metadata_2025 huggingface dataset:
De Interpretatione
Authors: Weidemann Hermann
Published: February 2014

Both the title of this treatise (in Greek: Peri Hermêneias, in Latin: De Interpretatione) and its traditional placement as the second of Aristotle's logical writings (neither of which is due to Aristotle himself) are highly misleading. What, on the one hand, De Interpretatione deals with is not, as its title suggests, a theory of interpretation, but rather a theory of statement-making sentences of different sorts and the logical relations that obtain between them; and what, on the other hand, this theory aims at is not, as suggested by the place which De Interpretatione traditionally occupies in the Organon between the Categories and the Prior Analytics, providing preliminaries to the study of syllogistic by analyzing statement-making sentences as possible parts of syllogisms, but rather underpinning the study of dialectical debates by examining such sentences as possible members of contradictory pairs. Among other things, De Interpretatione deals with symbols or signs, truth, bivalence, determinism, modal logic, and modal statements.
Aristotle's Philosophical Method
Authors: Reeve C. D. C.
Published: February 2014

A problem (problêma) is posed: Is pleasure choiceworthy, or not? The answerer claims that yes, it is (or, alternatively, that no, it is not). The questioner must refute him by asking questions—by offering him premises (protaseis) to accept or reject. The questioner succeeds if he forces the answerer to accept a proposition contrary to the one he undertook to defend, and fails if the answerer always accepts or rejects premises in a way consistent with that proposition. To a first approximation, dialectic is the distinctive method of Aristotelian philosophy. At the heart of dialectic is the dialectical deduction (dialektikos sullogismos). This article discusses Aristotle's philosophical method, focusing on dialectical premises, endoxa (reputable beliefs), and aporiai (puzzles). It also examines the uses of dialectic in intellectual training (gumnasia), ordinary discussion (enteuxeis), and the philosophical sciences, as well as in regard to scientific starting points or first principles (archai). The article concludes by returning to dialectic and philosophy and an important difference between them.
Aristotle on Heuristic Inquiry and Demonstration ofWhat it is
Authors: Chiba Kei
Published: February 2014

In the Posterior Analytics, Aristotle develops a theory of demonstration as a way of gaining causal knowledge of things or events (pragmata) under the general plan of constructing both an ideal structure for demonstrative science and a unified, comprehensive theory of heuristic inquiry. The Aristotelian idea of “demonstrative science” is derived from his attempt to characterize the conditions for “knowledge simpliciter (epistêmê haplôs),” that is, causal and necessary knowledge. This article first shows that Aristotle's inquiry theory is a heuristic theory and as such yields scientific knowledge within the scope of his theory of demonstration, and then examines the difficulties which arise concerning the relation between demonstration and definition. In particular, if demonstrations and definitions turn out to be unrelated in terms of their objects, predications, or methods, Aristotle's general plan will be a failure. The article explores how Aristotle attempts to construct a demonstration of what it is. Finally, by analysing his new theory of definition, the article considers how far he has succeeded in developing his heuristic demonstrative inquiry theory.
Aristotle on the Infinite
Authors: Coope Ursula
Published: February 2014

In Physics, Aristotle starts his positive account of the infinite by raising a problem: “[I]f one supposes it not to exist, many impossible things result, and equally if one supposes it to exist.” His views on time, extended magnitudes, and number imply that there must be some sense in which the infinite exists, for he holds that time has no beginning or end, magnitudes are infinitely divisible, and there is no highest number. In Aristotle's view, a plurality cannot escape having bounds if all of its members exist at once. Two interesting, and contrasting, interpretations of Aristotle's account can be found in the work of Jaako Hintikka and of Jonathan Lear. Hintikka tries to explain the sense in which the infinite is actually, and the sense in which its being is like the being of a day or a contest. Lear focuses on the sense in which the infinite is only potential, and emphasizes that an infinite, unlike a day or a contest, is always incomplete.
Aristotle on the Separability of Mind
Authors: Miller Fred D.
Published: February 2014

In De Anima, Aristotle addresses the problem of whether the mind is separable from the body. In book I, he broaches the broader question of whether the affections of the soul, including emotion, desire, and perception, are separable from the body. In book II, Aristotle follows his explication of the general definition of the soul with the remark that “neither the soul nor certain parts of it, if it naturally has parts, are separable from the body. Yet nothing prevents some [parts from being separable], because they are not the actualizations of any body.” By “parts,” Aristotle means separable faculties or powers, including nutrition, perception, mind, and desire. The issue of separability is signalled at the beginning of the treatment of mind in book III. If mind alone turned out to be separable from the body, the study of the soul would not belong exclusively to physics but would spill over into first philosophy. This would imply either that psychology consists of two separate sciences, or else that first philosophy and physics are not mutually exclusive.
BeingQuaBeing
Authors: Shields Christopher
Published: February 2014

According to Aristotle, there is a science (epistêmê) that studies being qua being, and the attributes belonging to it in its own right. This claim, which opens Metaphysics IV 1, is both surprising and unsettling—surprising because Aristotle seems elsewhere to deny the existence of any such science, and unsettling because his denial seems very plausibly grounded. He claims that each science studies a unified genus, but denies that there is a single genus for all beings; claims which evidently conspire against the science. Aristotle announces: “[I]f there is no genus of being and every science requires its own genus, then there is no science of being.” This seems, moreover, to be precisely the conclusion he draws in his Eudemian Ethics, where Aristotle maintains that we should no more look for a general science of being than we should look for a general science of goodness. This article looks at three problems about the science of being qua being: The Possibility Problem, the Extension Problem, and the Intension Problem.
Substances, Coincidentals, and Aristotle's Constituent Ontology
Authors: Loux Michael J.
Published: February 2014

As Aristotle sees it, familiar sensible particulars give rise to a certain philosophical project, one common to his materialist predecessors, Parmenides, Plato, and Aristotle himself. The project gets variously labeled: We are to identify the “elements and principles of beings,” the “elements of beings,” and “the principles of beings.” What Aristotle is calling elements and principles are obviously explanatory items, but the project is not concerned with just any explanatory items—only those explanatory of the being of familiar sensibles. This idea comes out in another of his characterizations of the project. Aristotle speaks of identifying the substance of a familiar particular, and argues that the substance of a thing is the cause of its being, so the project is one of identifying the principles and causes of the being of familiar objects. This article, which deals with substances, coincidentals, and Aristotle's constituent ontology, examines the roots of Aristotle's constituent approach to questions of character and discusses his treatment of efficient causality.
Conceptions of Happiness in theNicomachean Ethics
Authors: Irwin T. H.
Published: February 2014

Aristotle begins the Nicomachean Ethics by asking what the final good for human beings is. He identifies this final good with happiness, and in the rest of Book I, asks what happiness is. In I 7, Aristotle reaches an “outline” of an answer, claiming that the human good (that is, happiness) is activity of the soul in accordance with the best and most perfect (or complete) virtue in a perfect life. But he does not say what the best and most perfect virtue is. Towards the end of the last book of the Ethics, Aristotle seems to answer this question by arguing that the best and most perfect virtue is theoretical wisdom (sophia), exercised in theoretical study or contemplation (theôria) of universal and necessary truths about the universe. He believes that self-sufficiency follows from finality. This article considers Aristotle's conception of happiness, its relation to other goods, happiness as fulfillment of the human function, a monist conception of happiness, complete life, the counting condition, rational life, and moral virtue.
Aristotle on Becoming Good: Habituation, Reflection, and Perception
Authors: Kraut Richard
Published: February 2014

The Greek noun for which “virtue” and “excellence” are often used as translations—aretê (plural: aretai)—is cognate to the name of the god of war, Ares (called “Mars” in Latin) and, centuries prior to Aristotle, designated the manliness or valor of a warrior. But by the fifth and fourth centuries BC, it had acquired a much wider connotation and extension. Aristotle insists that there is one virtue of thought—the one he calls phronêsis (often translated as “practical wisdom”)—which is intimately tied to the virtues of character: One cannot have any of those ethical virtues (justice, courage, moderation) without having phronêsis; and one cannot have phronêsis unless one also has those ethical virtues. This article discusses Aristotle's views on becoming good, focusing on habituation, reflection, and perception, and also examines virtues of character and virtues of thought, Socratic intellectualism, cleverness, the stages of ethical development, and mid-level goals.
Meaning: Ancient Comments on Five Lines of Aristotle
Authors: Sorabji Richard
Published: February 2014

The opening five lines of On Interpretation 1 contain Aristotle's influential account of the meaning of verbs and names, in which he describes them as signs of mental experiences that are in turn likenesses of actual things. The passage occasioned much comment from the ancient commentators, and among modern philosophers the resulting tradition has been criticized by Hilary Putnam. Many modern philosophers hold that thinking involves having representations, and there is discussion (e.g., Michael Tye) of whether these representations should be likenesses of what is thought, or rather some kind of symbols. On a view espoused by Jerry Fodor, the symbols constituting thought form a special language of thought, mentalese, which is different from any natural language, and on another (Norman Malcolm, Hilary Putnam), representations are not needed for thought at all. Where Aristotle stands on these issues depends on how the five lines are taken. The lines treat two things as symbols and one as a likeness. Images play an important role in Aristotle's account of meaning.
Pious Domesticities
Authors: Deane Jennifer
Published: February 2014

Among the few unbroken historical threads traceable across the European Middle Ages is the centrality of home to medieval imaginations. This essay thus focuses on how medieval women and men enacted piety in their various types of households, both imaginatively and physically; how they understood those actions; and the ways in which gender inflected their beliefs and behaviors. It explores practices that have been treated largely in historiographical isolation from each other, including private devotions and sanctified labor; the repurposing of existing structures for pious communities; material enhancements to domestic spirituality; and meditative transcendence of household spaces. In a dazzling constellation of alternatives to the stark choice of either “Mary or Martha,” pious domesticities offered medieval people deeply gendered ways to fuse the active and contemplative, and in so doing, to make Christ at home.
Gender and the Initial Christianization of Northern Europe (to 1000 CE)
Authors: Bitel Lisa
Published: February 2014

Traditional histories of Europe's initial Christianization have focused on clerical preaching and the establishment of church institutions. However, by looking through the lens of gender at Christianity as men and women alike came to live it on a daily basis, historians can gain a better idea of the extent of women's participation in historical religious changes. Men and women carried Christianity to Europe—in the form of beliefs, rituals, and doctrines, but also as objects, relationships, spaces, and daily routines—over many centuries.
Gender at the Medieval Millennium
Authors: Berman Constance H.
Published: February 2014

The turn of the first millennium was once seen by feminist historians like Jo Ann Kay McNamara as the beginning of an inexorable decline in the power and status of medieval women, particularly with the celibate clergy’s assertion of hegemony as a third gender, but new evidence shows that this was only a short-term setback. While new technologies, like water-powered mills, may initially have been resisted as a means of extracting new rent, they freed up peasant women for more productive activities, including textile production. As noblemen intent on asserting their masculinity joined the Crusades, women who ruled the estates in their absence found new power and authority. Women contributed to the consolidation of political power and economic growth by using clerics to keep written records, building religious establishments, and promoting commercial institutions like the Champagne fairs. Their contribution to the “takeoff” of western society, however, has rarely been noted.
Later Medieval Law in Community Context
Authors: Kelleher Marie
Published: February 2014

During the central and late Middle Ages, European lawmakers and jurists began to make intensive use of the principles of both Roman and canon law in their legislation and court decisions. Embedded in these legal principles were ideas about gender that would have a profound effect on litigation involving women. The substantive law that emerged during this legal renaissance helped to define women's place in medieval society, but equally important were the new law's procedural rules, which allowed reputation to be taken into account in legal proceedings, thereby rendering women's self-representation critical in determining the outcomes of their court cases. An examination the interaction of learned law and community knowledge encourages us to see medieval women as active participants in their own fates, as well as in a major shift in legal culture that would shape European women's legal status more generally.
Rural Economies
Authors: Whittle Jane
Published: February 2014

The great majority of the population of medieval Europe lived and worked in the countryside. This article examines gender differences in access to land (the key resource), in patterns of work or "the gender division of labor," and in wage earning and wage payments. Work in agriculture, textile production, and food processing is discussed, as well as the nature of domestic work or housework. Although evidence of everyday life is slight or nonexistent in many periods and regions, it is possible to discern important changes across the medieval period in women's access to land and the gendered organization of work. Commercialization, demographic trends, and technological change all had an impact. Nonetheless, continuities in the type of work women did are also striking, particularly their exclusion from high-status and profitable activities, and their consistently low wages.
Toward the Witch Craze
Authors: Stokes Laura
Published: February 2014

The early modern witch craze could never have taken place without crucial transformations in elite attitudes toward magic that opened the ears of judges to popular witch fears. The groundwork for these transformations was laid during the generations of social upheaval and papal schism that followed the Black Death, but the turning point came with demonological innovations in the early fifteenth century. These innovations coincided with a revolution in criminal justice that armed judges with powerful tools for extracting all manner of confessions at a time when they were increasingly disposed to lend credence to the accusations of the populace against suspected witches.
Women and Gender in Canon Law
Authors: McDougall Sara
Published: February 2014

Canon law, the law of the church, defined men and women as distinct and different. Nevertheless, particularly in marriage, canon law also endorsed several important equalities for spouses, irrespective of gender. This article seeks out the balance between gender equalities and inequalities in marriage as found in legal theory and in legal practice, in canon law and in canon law courts. The law itself called for a contradictory positioning of men and women as husbands and wives in a relationship that required both a hierarchical structure and at the same time equality. Ecclesiastical judges practiced a complex implementation of these rules. The article will examine the place of gender in canon law and legal practice concerning marriage in three stages: marriage formation, married life, and dissolution.
“Betwixt and Between” Worlds
Authors: Rogers Holly
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Video art can be highly intermedial. Image and sound are recorded and projected simultaneously, so the user can create live, audiovisual work. This chapter argues that the audience engagement encouraged by video art has changed significantly since it became commercially available. Early video works involved interactivity, intermediality, and the closed-circuit feed. They were often part of multimedia events rather than appearing on their own; therefore the early years of video work can be placed within a temporal, historical liminality. More recent pieces form a coherent body of work. Often shown on flat screens in darkened rooms, they offer predetermined audiovisual narratives that immerse visitors, placing them within a spatial liminality between the video world and the gallery space. Although context is vital to both styles, the activation of space and the audiovisual relationships within it are articulated and activated very differently.
Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films
Authors: Kronengold Charles
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004 Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue, Breaking News reveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.
Chinese Rock ‘n’ Roll Film and Cui Jian on Screen
Authors: Xiao Ying
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
Classical Music for the Posthuman Condition
Authors: Kramer Lawrence
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Classical music has traditionally denied the relationship of technology to the body, something on which it has always uneasily depended. That denial is well-nigh impossible to maintain today, because of the increasing assimilation of music delivery systems with the “posthuman” condition of machine-human interfaces. Bodies are no longer fully separable from machines, if indeed they ever were. The migration of music to digital media collapses the effect of auditory distance that formed the unspoken basis of music’s relationship to the human. This reorientation necessitates far-reaching changes in our conceptions of classical music, the musical work, the listening body, and the act of performance.
Cue the Big Theme? The Sound of the Superhero
Authors: Halfyard Janet K.
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. The most successful superheroes of modern cinema are Superman and Batman. This chapter considers the changes wrought by digital technology in their cinematic construction and the impact on their music. The relationship between action, heroic theme, and the iconography of the superhero demonstrates a significant shift in how thematic music is employed in the more recent Batman and Superman films. This chapter contrasts musical and visual construction of the title characters in Superman (Richard Donner, 1978) and Batman (Tim Burton, 1989) with the treatment of the same characters in Batman Begins (Christopher Nolan, 2005) and Superman Returns (Bryan Singer, 2006). The problem of superheroic action and the musical solutions that analog films employed to address the limitations on representing the superheroes’ abilities is then contrasted with the subsequent decoupling of heroic action and musical theme in the later films, in which digital technology allows more convincing presentation of superheroic powers.
Implications of Interactivity
Authors: Collins Kasey
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores concepts of interactivity as they relate to sound production in video games. A guiding assumption of the chapter is that interactivity is a definitive paper of new digital aesthetics in general and gaming in particular. And yet, the question of interactivity has not been addressed with sufficient stringency in scholarly research. At the heart of the chapter are these questions: What makes interactive sound different from noninteractive sound? Where does interacting with sound fit into our understanding of our experience of sound and music in media? How do we begin to approach interactive sound from a theoretical perspective? The implications of interactivity are examined, specifically the notion of sound as a feedback device and as a control mechanism. . In these ways the chapter works toward a more comprehensive understanding of sounds in new media contexts that addresses their particularity in interactive contexts rather than resting on previous assumptions about the primacy of sounds as narrative devices.
No Country for Old Music
Authors: Burwell Carter
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. A meditation on the convergence of sound design and music in film, using the Coen Brothers' No Country For Old Men as an example.
Remaking the Urban
Authors: Bull Michael
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores the creation of an urban sonic aesthetic through a critical analysis of Apple iPod use. Based on original ethnographic material, it chapter explores the differing audiovisual ways in which urban space is mediated through communication technologies like the Apple iPod. It divides the experience of urban space into Fordist aesthetics and hyper-post-Fordist aesthetics and strategies and situates these aesthetic “moments” within a critical analysis informed by the work of a range of urban and critical theorists. In doing so, the chapter re-evaluates the meaning of an everyday audiovisual aesthetic that challenges accepted explanations of urban aesthetic experience, such as flânerie and the cosmopolitan subject that is located in the works of Auge, Benjamin, Sennett, Simmel, and others.
Title Sequences for Contemporary Television Serials
Authors: Davison Annette
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter focuses on the main title sequences of recent television serials commissioned by the North American premium cable channel Home Box Office. At around 90 seconds’ duration, these sequences buck the trend much in evidence elsewhere on television of minimizing such elements drastically and placing such identifiers later in the show. An exploration of the functions and characteristics of television title sequences is followed by an introduction to commercial television marketing and approaches to the audiovisual. The chapter then provides detailed analyses of the title sequences for The Sopranos (1997-2007), with music by Alabama3/A3 (“Woke Up This Morning”) and Six Feet Under (2001-05), with music by Thomas Newman. The relationship between the aesthetic character of the sequences and the institutional context of the serials in question is explored, suggesting that such sequences function as signifiers of the commissioning channel's brand identity.
Multichannel Gaming and the Aesthetics of Interactive Surround
Authors: Kerins Mark
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
Music Video Transformed
Authors: Korsgaard Mathias Bonde
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter asks what music video has become today and how its audiovisual aesthetics have changed online. It suggests that music videos generally through process of remediation content more actively than any other media form, performing the dual function of “visualizing music” (by recasting a song visually) and “musicalizing vision” (by structuring images according to musical logic). The discussion identifies and provides an overview of several new music video types that have come into existence online, placing them in five categories. In particular, the chapter focuses on interactive music videos and music video apps through close analyses of both Arcade Fire’s interactive video “We Used to Wait” and Björk’s interactive “app album” Biophilia. Both of these actively challenge what we have come to expect of music videos while still performing some familiar functions, prompting us to consider whether they are even music videos.
Notes on Sound Design in Contemporary Animated Films
Authors: Thom Randy
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Contemporary animated films are not the cartoons of yore. For the sound designer, an advantage of working on animated films today is the opportunity for early collaboration between sound designer and animators. The sound designer must consider the appropriateness of sound mix with visual style: “Each film calls for its own sound design aesthetic.” Coraline and recent animated films by Robert Zemeckis choose simplicity (no elaborate background, no complex layering of sounds) to match the storytelling. The Incredibles and Bolt have complex, multilayered sound; the point in each case is to achieve clarity.
On Soundscape Methods and Audiovisual Sensibility
Authors: Järviluoma Helmi , Vikman Noora
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Soundscape concepts have been employed for more than 20 years to enrich audiovisual studies. They have also been debated extensively. This chapter addresses soundscape as shifting, processual, historical, and produced in contingent situations. It focuses on a specific aspect of methodology that is useful for considering how to advance research on the audiovisual: methods in motion. Soundscape studies have stressed that researchers sometimes need to leave the “laboratory” and venture into fieldwork. Some of the recent developments in the “marriage” of soundscape and audiovisual studies are described, with three goals: (1) to direct attention to soundscape studies as the art and scholarly study of listening, (2) to introduce the sensory memory walk, and (3) to introduce the listening walk. Sound studies are increasingly employed as a basis for developing multisensory methodologies of studying times, spaces, and materialities to relocate sensate users of space at the center of the researcher’s attention.
Pixar and the Animated Soundtrack
Authors: Goldmark Daniel
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.
Sound and Vision:
Authors: Auslander Philip
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Referring to the relationship between visual and audible dimensions of music performance as an “economy” suggests that they may not work hand-in-hand. There can be competition for the audience’s attention and to influence its understanding of the performance. Relationships between sight and sound can be normative or traditional, or challenge norms. The “traditionalist” view emphasizes visible causality: what the audience sees should provide information about how the sound is being produced and perhaps about the musician’s affective state. Visual information that does not contribute to this is interference. The relative value of sound and visual information varies by genre. But even performers operating within traditionalist values sometimes challenge them by manipulating the relationship between the auditory and visual aspects in ways that go against the grain. An example is the use of light shows in both psychedelic rock and classical music concerts in the late 1960s and early 1970s.
Sounding Out Film
Authors: Connor Steven
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film sound has been recruited to the à voir, the ‘to-be-seen’ in an appropriation of the audible into the visible. This chapter attempts to characterize the principles of excess represented by sound and to account for sound’s seeming unaccountability of in cinema. Vision fixes, but sound expands and dissolves. It is not natural to identify “points of audition” the same way that we naturally identify point of view. Where cinematic seeing is reflexive, cinema sound lacks this quality, because sound always seems added to film, suggesting that even the talking cinema remains deaf to its sounds. Vision is always framed and contained; film sound is not. Cinema sound is always bodily, but the body is always diffuse and intermittent. Cinematic vision is an order of correlation; sound implies the mutative commixture of substances. Sound is the warrant of cinema’s capacity to come to life, bringing to life an hors-corps, the body of a body-beyond-cinema.
The Audiovisual Construction of Transgender Identity in Transamerica
Authors: Välimäki Susanna
Published: February 2014

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter discusses audiovisual communication and the construction of transgender subjectivity in the film Transamerica (dir. Duncan Tucker, 2005), which portrays a male-to-female transgender woman’s journey of self-discovery and parenthood while driving with a teenage son across America. Combining audiovisual analysis with queer and transgender studies, the film is interpreted as a queering—or more precisely, a transgendering—of the standard road movie format, adopted as the means of depicting the culmination of the protagonist’s gender transition. The analysis focuses on how the journey trope of transgenderness is constructed in the film music and sound. Special attention is devoted to the use of American country music to symbolize an identity in transition, the use of music encoded for ethnic identity to highlight transgender people’s social status and create a potentially progressive space of intersectionality and multiculturality, and gendered play in uses of the human voice.
Polarization and Ideology: Partisan Sources of Low Dimensionality in Scaled Roll Call Analyses
Authors: Aldrich John H. , Montgomery Jacob M. , Sparks David B.
Published: February 2014

In this article, we challenge the conclusion that the preferences of members of Congress are best represented as existing in a low-dimensional space. We conduct Monte Carlo simulations altering assumptions regarding the dimensionality and distribution of member preferences and scale the resulting roll call matrices. Our simulations show that party polarization generates misleading evidence in favor of low dimensionality. This suggests that the increasing levels of party polarization in recent Congresses may have produced false evidence in favor of a low-dimensional policy space. However, we show that focusing more narrowly on each party caucus in isolation can help researchers discern the true dimensionality of the policy space in the context of significant party polarization. We re-examine the historical roll call record and find evidence suggesting that the low dimensionality of the contemporary Congress may reflect party polarization rather than changes in the dimensionality of policy conflict.
Influence of Early and Delayed Transplantation of Paddy on Physicochemical, Pasting, Cooking, Textural, and Protein Characteristics of Milled Rice
Authors: Singh Narpinder , Paul Priyanka , Virdi Amardeep Singh , Kaur Parmeet , Mahajan Gulshan
Published: February 2014

Milled rice of four indica cultivars (PR114, PR116, PR118, and PAU201) obtained from early (June 5 and 15) and delayed (June 25 and July 5) transplanted paddy was evaluated for physicochemical, pasting, cooking, and protein characteristics. During the grain‐filling and development stage, early transplanted paddy experienced average maximum and minimum temperatures of 32.8 and 22.3°C, respectively, against 30.8 and 15°C, respectively, for delayed transplanted paddy. Lightness (L*) value, protein content, and lipid content of milled rice were lower, whereas apparent amylose content, cooked grain hardness, final viscosity, and setback viscosity were higher in the delayed transplanted paddy. Whiteness of milled rice of PR114, PR116, and PR118 from delayed transplanted paddy was lower than milled rice from early transplanted paddy. PAU201 did not show any change in whiteness with delayed transplantation. Cooked rice of PAU201 showed exceptionally higher adhesiveness and lower hardness compared with other cultivars. Protein profiling showed a lower accumulation of prolamines in milled rice from PR114 and PAU201 upon delaying the transplantation from June 5 to July 5, whereas PR116 and PR118 showed a decrease in prolamine accumulation from transplantation on June 25. The changes in milled rice caused by delayed transplanting of paddy might be because of cool nighttime air temperature that affected the accumulation of starch, protein, and lipid.
Pyranose Oxidase from Trametes multicolor Impacts Dough and Bread Microstructure
Authors: Decamps Karolien , Joye Iris J. , Pareyt Bram , Courtin Christophe M. , Delcour Jan A.
Published: February 2014

Pyranose oxidase (P2O) improves wheat flour dough stability and bread quality. We related its effect on dough spread behavior to that on dough and bread crumb structure. Increasing P2O addition levels gradually reduced dough flow. High P2O addition levels further increased dough strength, significantly increased dough cell wall thickness, and decreased bread loaf volume. Taken together, affecting dough spread behavior impacts dough and bread (crumb) structure, and dough structure largely determines bread crumb structure.
Trichoderma spp. Improve Growth of Arabidopsis Seedlings Under Salt Stress Through Enhanced Root Development, Osmolite Production, and Na+ Elimination Through Root Exudates
Authors: Contreras-Cornejo Hexon Angel , Macías-Rodríguez Lourdes , Alfaro-Cuevas Ruth , López-Bucio José
Published: February 2014

Salt stress is an important constraint to world agriculture. Here, we report on the potential of Trichoderma virens and T. atroviride to induce tolerance to salt in Arabidopsis seedlings. We first characterized the effect of several salt concentrations on shoot biomass production and root architecture of Arabidopsis seedlings. We found that salt repressed plant growth and root development in a dose-dependent manner by blocking auxin signaling. Analysis of the wild type and eir1, aux1-7, arf7arf19, and tir1abf2abf19 auxin-related mutants revealed a key role for indole-3-acetic acid (IAA) signaling in mediating salt tolerance. We also found that T. virens (Tv29.8) and T. atroviride (IMI 206040) promoted plant growth in both normal and saline conditions, which was related to the induction of lateral roots and root hairs through auxin signaling. Arabidopsis seedlings grown under saline conditions inoculated with Trichoderma spp. showed increased levels of abscissic acid, L-proline, and ascorbic acid, and enhanced elimination of Na+ through root exudates. Our data show the critical role of auxin signaling and root architecture to salt tolerance in Arabidopsis and suggest that these fungi may enhance the plant IAA level as well as the antioxidant and osmoprotective status of plants under salt stress.
The First Report of Tomato spotted wilt virus on Gerbera and Chrysanthemun in Venezuela
Authors: Marys E. , Mejías A. , Rodríguez-Román E. , Avilán D. , Hurtado T. , Fernández A. , Zambrano K. , Garrido M. , Brito M.
Published: February 2014

Gerbera (Gerbera jamesonii) and Chrysanthemum (family Asteraceae) are two of the top 10 cut flowers of the world, with great commercial value. Since 1998, Venezuela began a floral industry to produce and export fresh cut gerbera and chrysanthemum, with 40% of nurseries concentrated in Altos Mirandinos (Miranda State, north central region of the country). For the past 2 years, greenhouse-grown gerbera and chrysanthemum have been observed displaying symptoms resembling those associated with tospoviruses. Symptomatic plants showed concentric rings, irregular chlorotic blotches, and deformation on leaves. Disease incidence was estimated at 30%. Mechanical inoculation with extracts of symptomatic leaves reproduced the typical concentric ring symptoms on indicator plants Arachis hypogaea L. cv. San Martín, Capsicum chinense, and G. jamesonii 6 to 15 days after inoculation. In initial tests, leaves from each 30 symptomatic gerbera and chrysanthemum species from several greenhouse facilities in Altos Mirandinos reacted positively when tested by DAS-ELISA with polyclonal antisera (ATCC, Rockville, MD) raised against Tomato spotted wilt virus (TSWV). Total RNA was extracted with the RNeasy Plant Mini kit (QIAGEN, Hilden, Germany) from two gerbera and two chrysanthemum ELISA-positive samples. The TSWV coat protein gene was amplified by conventional reverse transcription (RT)-PCR using primers CP1 TSWV (TTAACTTACAGCTGCTTT) and CP2 TSWV (CAAAGCATATAAGAACTT) (1). A single DNA product of ~823 bp was amplified from all samples. RT-PCR products were directly sequenced in both orientations and sequences were deposited in GenBank (Accession Nos. KF146700 and KF146701 derived from chrysanthemum, KF146702 and KF146703 derived from gerbera). The resulting sequences showed over 99% identity with each other. and were found to be closely related (over 99%) with TSWV isolates deposited in GenBank originating from different hosts from France (FR693058, FR693055), Montenegro (GU339506, GU339508, GU355940), Italy (HQ830187), New Zealand (KC494501), South Korea (KC261967), and the United States (AY744476). To our knowledge, this is the first confirmed report of TSWV infecting gerbera and chrysanthemum in Venezuela. The relatively widespread occurrence of TSWV in Miranda State underscores the need for systematic surveys to assess its incidence and impact on ornamental crops so that appropriate management tactics can be developed.

Reference: (1) R. A. Mumford et al. J. Virol. Methods 57:109, 1996.
Comparison and Confirmation of Quantitative Trait Loci Conferring Partial Resistance to Rice Sheath Blight on Chromosome 9
Authors: Zuo S. M. , Zhu Y. J. , Yin Y. J. , Wang H. , Zhang Y. F. , Chen Z. X. , Gu S. L. , Pan X. B.
Published: February 2014

Sheath blight (SB), caused by Rhizoctonia solani, is one of the worst rice (Orzya sativa) diseases worldwide. Resistance to the SB disease in rice is a complex trait controlled by quantitative trait loci (QTLs). Through map integration, we found several previously identified SB resistance (SBR) QTLs reported in inconsistent regions on the long arm of chromosome 9. Five of them were detected on ‘Jasmine 85’ (J85), ‘Minghui 63’ (MH63), and ‘Lemont’ (LMNT) rice and were designated qSB-9J85-1, qSB-9J85-2, qSB-9MH63-1, qSB-9MH63-2, and qSB-9LMNT, respectively, in the present study. To further verify and physically map the five potential SBR QTLs, we introduced these SBR QTLs into a common susceptible variety (LMNT) and developed a few chromosomal segment substitution lines through marker-assisted selection. After artificial inoculation with the SB fungus, we were able to validate qSB-9J85-2 but not the other four SBR QTLs; whereas, on MH63, an SBR QTL designated qSB-9MH63-3 was confirmed in the region defined by markers Y83 and Y91.8 that included qSB-9J85-2, covering approximately 1,235 kb. Both qSB-9J85-2 and qSB-9MH63-3 appeared to be dominant resistance genes and contributed to similar levels to SB resistance, reducing SB disease severity by approximately 1.0 on a 0-to-9 SB disease rating system. After comparing with another confirmed SBR QTL (qSB-9TQ) from ‘Teqing’ rice (TQ), we conclude that qSB-9J85-2, qSB-9MH63-3, and qSB-9TQ are probably controlled by the same allelic resistance genes. These results will accelerate the utilization of this major SBR QTL and its map-based cloning.