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Introduction to innovative nano Electro Application Technique (nEAT) to improve the performance of alcoholic nanolime
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‘Sandrine Bonnaire regained’: space and mobility in Sans toit ni loi and Prendre le large.
Full text linkThis article considers the parallels that can be drawn between two characters portrayed by Sandrine Bonnaire at distinct junctures in her film career: Mona, a young homeless woman whose wanderings are recounted retrospectively after her frozen corpse is discovered at the start of Agnès Varda’s Sans toit ni loi/Vagabond (1985), and Édith, a middle-aged woman who relocates to Morocco to keep her job with an offshored French textile factory in Gaël Morel’s Prendre le large/Catch the Wind (2017). The author first considers Mona and Édith in the context of a stasis-mobility dynamic identified as central to both films, subsequently reflects on the political implications of their mobility and finally considers a more proximate notion of space, with reference to the theory of haptic visuality explored by Laura Marks (2000). Prendre le large illustrates the limits of the palimpsestic star image and, in counterpoint, the recuperative possibilities of a film depicting an immersive encounter with a foreign space. The article aims to demonstrate how the quite specific questions of labour and relocation broached in these films point to broader existential issues pertaining to identity and movement, as well as to consider what the two films, in dialogue with each other, might add to current debates around precarity in contemporary cinema
A holistic framework for assessing the uptake potential of EU-funded security research and innovation project results.
Full text linkThe Technology Readiness Level (TRL) has been adopted since 2014 within the European Union (EU) as a metric to evaluate the maturity of results from EU-funded research and innovation projects. This metric is crucial for distinguishing between innovation actions aimed at early-stage innovations and market-ready solutions. Ideally, EU-funded research and innovation projects should lead to the development of innovative concepts and technologies by EU industries, which in turn enhance security capabilities within EU member states. However, there is a notable challenge: the adoption rate of outcomes from EU-funded security research and innovation projects is not as high as expected. The current TRL maturity assessment method is insufficient in exposing the possible cause of the limited uptake by fully pointing out where the development is lacking. The TRL's limitations include a lack of comprehensive assessment from various perspectives especially in the civil security research and projects, which is necessary to bridge the gap, often referred to as the "valley of death," between project results and their effective adoption. To address these shortcomings, in the MultiRATE EU research project we propose a holistic framework that enhances the TRL scale by adding additional Readiness Levels (RLs) for a more complete evaluation of security projects. These include the Societal RL (SocRL), Security RL (SecRL), Legal, Privacy and Ethical RL (LPERL), Integration RL (IRL), Commercialisation RL (CRL), and Manufacturing RL (MRL). In this open letter, we explain the background of the design considerations of this framework. Our goal is to define and integrate these seven Readiness Level (RL) dimensions and an investment forecasting tool to support policy makers, practitioners, and investors in bridging the "valley of death" between research and adoptio
Men directed by Alex Garland United Kingdom/United States of America DNA Films, 2022 100 mins
No full textTears for Fears: the curse of the crying boy
No full textThe Crying Boy is a label used to describe a genre of inexpensive, mass-produced portrait print that were popular during the 1970s with working class families in the UK. In 1985-86 a tabloid newspaper, The Sun, published a series of hyperbolic stories reporting a ‘curse’ that was allegedly attached to this example of folk art. The source of the rumour were fire fighters who reported the frequent occurrence of undamaged examples of the prints at domestic property fires in one South Yorkshire mining community. The intervention of journalists introduced the idea of the ‘curse’ and added a supernatural/inexplicable element to the story. This article revises content from a summary account of the ‘crying boy’ narratives published in 2008 (Clarke 2008; Clarke 2011). This analysis updates the developing legend with new material including interviews with the journalists and the results of a content analysis of news coverage. It examines the specific role played by journalists in the evolution of the nascent contemporary legend from print to social media
