Journal articles: 'American Silver articles' – Grafiati (2024)

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Ernest Hemingway was an American novelist and short story writer and journalist. His real name is Ernest Miller Hemingway. He is a Nobel and Pulitzer Prize-winning writer. He wrote his first articles in the school newspaper. In 1917, America was slowly joining World War I.Heminquey immediately enlisted in the army, but was not accepted because his left eye was weak. A year later, he entered the Red Crescent and volunteered to drive an ambulance. He was wounded in an explosion near the war, carrying an Italian soldier on his shoulder while he was wounded, and was wounded in the leg. After that, he was declared a hero in Italy and received the "Silver Medal of Honor". While in treatment in Milan, he fell in love with a nurse, and this love led him to write a masterpiece - "Goodbye, guns." Heminquey wrote mainly about his life experiences. This can be seen in "Goodbye, weapons". The writer, who reached the peak of his career with "Who the bells are ringing for", continued his life by participating in wars. Key words: famous writer, Chicago, Nobel laureate, author of short stories, story, old man, sea

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“And as for ‘art,’ well, philosophers differ. But it's widely believed by wise people that art and ego sit uncomfortably together.” Joseph Sobran, The National Review, 1991.Just when Madonna, the performer one critic recently referred to as a “schlockmistress,” seemed doomed to a future as the subject of scholarly articles on pop and post-modern aesthetics, she's in the news again with a coffee table best seller on the joys of sex with anything that moves and some things that don't. Madonna, the high priestess of American pop culture, has constructed a multi-million dollar performance empire, the success of which rests primarily on her extraordinary ability to behave outrageously and market it. Though pre-pubescent females are Madonna's most ardent and uncritical admirers, her concerts and films attract a heterogeneous crowd of men, women, gays, and straights–most of them under thirty. In spite of (or perhaps because of) her immense popular following, the press loathes her. Mainstream critics deplore her dissipated lifestyle, sexual athletics, and public exhibitionism, while avant-garde critics regard her performances as trendy schlock rather than legitimate art. This has little effect on Madonna except to increase curiosity about her (and therefore sales of the book and videotapes) among ordinary citizens who might otherwise be completely indifferent to the Madonna phenomenon.

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AbstractObjectivePain treatment is an essential component of care for elderly patients with advanced dementia. The objective of this study was to identify and analyze the different scales used for pain assessment in elderly persons diagnosed with dementia, in the literature available at the Latin American level.MethodA systematic review was performed on the existing scales for pain assessment in elderly people diagnosed with Alzheimer's disease, vascular dementia, and dementia with Lewy bodies.Results226 articles were retrieved from the PUBMED, BIREME, and Scielo databases, of which a total of 10 articles entered the systematic review. The instruments identified in these publications were PAINAD, Abbey, McGill, and PACSLAC, while the Colored Pain Scale, Faces Pain Scale, and VAS scales were used as the silver standard. In Spanish, the Abbey scale, and in Portuguese, the PACSLAC scale showed the best reliability and validity coefficients.Significance of resultsIt is concluded that there are only two appropriate scales for the assessment of pain in people with dementia in the region of interest of this study. It is recommended to generate more evidence for a more accurate assessment of pain in people with dementia.

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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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This article discusses historical evidence from the Potosi mint and Massachusetts Bay mint that illustrates the importance of the resource endowment (in this case silver) for the provision of small change. We show that the availability of silver was fundamental in shaping incentives. The relative scarcity of silver in Massachusetts Bay contributed to the small scale of the mint's operations, and implied that neither the monetary authority nor the mintmaster faced a significant tradeoff between drawing seigniorage from the mint and the production of small-denomination coins. In contrast, in the Viceroyalty of Peru, the abundance of silver, and the consequent large level of production of the mint's heavy peso coin, heightened the tradeoff between the fiscal and monetary objectives of the coinage. We suggest that these incentives negatively affected the production of fractionary coinage in the Peruvian viceroyalty, whereas in Massachusetts Bay the production of small-denomination coins was the norm.

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I thank Co-Editors Ass. Prof. Dr. Jože Kropivšek and Prof. Dr. Katarina Čufar for the opportunity to serve as an Editorial Board member of Les/Wood, an international journal firmly grounded in the broad sweep of Slovene wood science and technology. The Editorial Board works to extend the relevance and impact of Les/Wood within and beyond Slovenia to the international community of wood science and technology in the broadest sense. We see the journal as a tool to support research and development of specific technologies, as well as to develop common terminology. I would like to use this opportunity to sketch out how I came to be involved with wood science in Slovenia. In retrospect that involvement seems inevitable, but the path was not always clear at the time! After completing my postgraduate education in plant pathology and mycology in the USA in 1982, I accepted my current position as supervisory plant physiologist for the USDA Forest Service, a US federal land management agency with a strong commitment to research & development and to international forestry. Throughout my career, my personal research has involved tree growth and wood decay in response to injury, infection, and environmental change. These tree responses affect forest health, the economic value of wood for art and industry, the tree-ring record of environmental conditions, and the performance of trees in urban and community environments. My USDA FS mentor and colleague Dr. Walter Shortle met Prof. Dr. Niko Torelli and Prof. Dr. Katarina Čufar at the IAWA conference in Hamburg (1983) and at the IUFRO World Conference 1996 in Ljubljana, where the two of them were local organizers. Afterwards they obtained a joint Yugoslav American Project, “Possible alterations of wood in air polluted trees”, which defined my earlier collaborations with Professor Torelli and Katarina Čufar on silver fir decline in Slovenia and Europe. Later, Katarina Čufar, Dr. Tom Levanič, and I identified changes in the climatic responses of silver fir in Slovenia and of red spruce in the northeastern US. I also worked with Dr. Primož Oven on special considerations for the health and safety of city trees. Later, Katarina Čufar and I both served on the Executive Council of the Tree Ring Society, an international association for dendrochronological research. We co-taught a tree biology section at the Dendro Fieldweek as part of the World Dendro conference 2010 in Finland. We found that our combination of research experience both intensified and broadened our understanding and presentation of wood structure and function. Since then, we have worked to provide Slovene students and scientists a platform to share techniques and experiences that both extend the science and community of scientists in the international research community. As an active researcher, I see Les/Wood as noteworthy because of the potential breadth of articles reporting on topics from wood mechanical properties to technologies and industrial processing to underlying anatomy and the biological processes that result in wood formation and preservation. In addition to the high level of scholarship and technical expertise within Les/Wood, I find collegiality of spirit, openness of approach, and pride of history and context. These qualities lift up and support ongoing and future research for Slovenia, its geographic surroundings, and the broader world research community. I’m excited at the prospect of Les/Wood extending its traditional strengths to meet the critical need for wood science to optimize wood utilization, ecological understanding, and cultural patrimony.

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This article investigates the reason why groups of merchants operating from the Dutch Republic, particularly from Amsterdam, decided to take part in the exploitation of the Spanish Empire, through a very particular type of activity, that of the slave trade. We argue that Amsterdam-based merchants were heavily engaged, through various organizational forms, in supplying Spanish American markets with enslaved Africans. This participation was rewarded with a path for access to Spanish American silver, at the time the essential exchange mechanism for entry and expansion in the Mediterranean and Asian trades.

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The study of law and religion has exploded around the world. This article, prepared in celebration of the silver jubilee of the Ecclesiastical Law Society, traces the development of law and religion study in the United States. Despite its long tradition of strict separation of Church and state, and despite its long allegiance to legal positivism and intellectual secularisation, the United States has emerged as a world leader of the new interdisciplinary field of law and religion. Hundreds of American scholars, from different confessions and professions, are now at work in this field, and two dozen major research centres and journals have been established at American law schools. After canvassing some of the main themes and trends in American law and religion scholarship today, this article concludes with a brief reflection on some of the main challenges before Christian scholars who work in the field of ecclesiastical law.1

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This article examines how millennial (and apocalyptic) prophecy in contemporary conspiracy theory culture is both constructed from, and in turn produces, material things. Influential radio host and filmmaker Alex Jones (b. 1974), constructs his prophecies of imminent “Fall of America,” engineered by a shadowy cabal of Satan-worshiping socialists, from material things—ammunition purchases, birth certificates, chemtrails and extreme weather. At the same time, his prophecies in turn nurture an industry producing water filters, “seed banks,” and freeze-dried food for the “preppers” who would survive—material expressions of their millenarianism. These processes illuminate how material concerns actively construct worlds of belief, whether religious or apparently secular.

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This article presents new estimations of per capita GDP in colonial times for the two pillars of the Spanish empire: Mexico and Peru. We find dynamic economies as evidenced by increasing real wages, urbanization, and silver mining. Their growth trajectories are such that both regions reduced the gap with respect to Spain; Mexico even achieved parity at times. While experiencing swings in growth, the notable turning point is in 1780s as bottlenecks in production and later, the independence wars reduced economic activity. Our results question the notion that colonial institutions impoverished Latin America.

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Abstract This article presents evidence from archival sources that allows us to reconstruct the commercial networks that permitted the continuous flow of silver and gold from northern New Spain to Asia during the early modern era. These networks obtained various consumer goods – fabrics, spices, porcelain – that were then introduced into Spanish American markets. The narrative follows the bullion through its journey from the production center in San Luis Potosi to the Pacific and Asia. This vantage point contributes to the construction of a polycentric view within the framework of global history by assessing the role played by the American and Asiatic possessions of the Hispanic Empire in the first globalization. Using a methodological framework provided by social network analysis, the article presents a study of two commercial networks based in New Spain and extending to the Philippines and Peru. The essay underlines the role merchants played in mobilizing precious metals to accelerate exchanges and generate extraordinary profit margins.

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This article shows some important aspects of a worldwide, historical phenomenon: the globalization of commerce and art which started in the second half of the sixteenth century and had the American, Asian and European territories of the Hispanic Monarchy as main protagonist during the Early Modern Era. The international exchanges -basically, American silver in return for more or less luxurious goods from Asia- that followed the discovery by Urdaneta, in 1565, of the “tornaviaje” between Manila and Acapulco had a profound influence on the forms of production and consumption in both the Old World and the New. Spanish economists and economic historians have probably underscored the historical significance of these unprecedented interactions. The central role played by the Viceroyalty of New Spain in this globalization has perhaps not been properly valued either.

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During the early months of 1919, the term “Reconstruction,” of concern to few but historians and the friends and foes of D.W. Griffith in the years immediately preceding the Great War, was again on the lips of Americans. Alabama State Federation of Labor President, William L. Harrison, noted that “Since the signing of the Armistice, and the cessation of hostilities, the questions of reconstruction and re-adjustment are being diligently studied by the people generally.” Out of the war, he argued, came “new and progressive ideas on reconstruction.” He was right. As the war ended, dozens of books and articles bearing titles like Reconstructing America, Democracy and Reconstruction, and Social Reconstruction joined a new journal called Reconstruction: A Herald of the New Time. This literature celebrated the role that a strong federal government had played in helping workers secure the right to join unions during the war, and it laid out hopeful plans for what the government might do to solve the “labor question” after the war. Such ideas helped convince Harrison's counterpart, Florida State Federation of Labor President John H. Mackey, that the postwar era would bring “a silver ray which carries with it wondrous tidings for the uplift of the masses.”

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ABSTRACT Aim Silver colloidal nanoparticles have been incorporated into acrylic resins to induce antimicrobial properties. However, as additives, they can influence the mechanical properties of the final product. Mechanical properties are also dependent on different curing cycles. The aim of this study was to evaluate flexural strength of a denture base resin incorporated with different concentrations of silver colloidal nanoparticles subjected to two different curing cycles. Materials and methods Lucitone 199 denture base resin was used into which silver colloidal nanoparticles were incorporated at 0.5 and 5% by polymer mass. Specimens devoid of nanoparticles were used as controls. A total of 60 specimens were fabricated and divided into two groups. Each group was divided into three subgroups consisting of 10 specimens each. The specimens were fabricated according to American Dental Association (ADA) specification No. 12 and tested for flexural strength using universal testing machine. Results Silver colloidal nanoparticle incorporation at 0.5% concentration increased the mean flexural strength in both curing cycles by 7.5 and 4.4%, respectively, when compared with the control group. Conclusion The study suggested that the mean flexural strength value of 0.5% silver colloidal nanoparticles in denture base resin was above the value of the control group both in short and long curing cycles, which makes it clinically suitable as a denture base material. However, at 5% concentration, the statistically significant amount of decrease in flexural strength compared with the value of control group both in short and long curing cycles gives it a questionable prognosis. Clinical significance The specimens incorporated with the antimicrobial agent 0.5% silver colloidal nanoparticles and processed by long curing cycles showed significant increase in its flexural strength compared with the control group, which makes it clinically suitable as a denture base material. How to cite this article Munikamaiah RL, Jain SK, Pal KS, Gaikwad A. Evaluation of Flexural Strength of Polymethyl Methacrylate modified with Silver Colloidal Nanoparticles subjected to Two Different Curing Cycles: An in vitro Study. J Contemp Dent Pract 2018;19(3):262-268.

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Background. This bibliometric analysis is aimed at reviewing the research pattern on the use of silver diamine fluoride (SDF) in dentistry using various citation metrics. Methods. A well-curated search was conducted on Elsevier’s Scopus database for the relevant literature on SDF published between 1969 and 2021. Bibliographic information such as information related to citations, bibliographic data, abstracts, keywords, and other relevant information was extracted using different combinations of keywords (“silver diamine fluoride” OR “Silver Diamine Fluorides” OR “Diamine Fluoride” OR “Silver Fluoride”). Analysis and visualization of the selected documents and related data were performed using various tools and software including MS Excel, MS Access, Bibexcel, VOS viewer, Biblioshiny, and Gephi. VOS Viewer was utilized for the Graph Modeling Language (GML) to generate graphical representations of the data. Furthermore, network graphs were generated to assess the various associations between research themes, countries, organizations, authors, journals, and citations. Results. The initial search yielded 662 documents, of which 410 were chosen for analysis. 252 records were deemed irrelevant. The chosen records consisted of journal articles ( n = 351 ), conference papers ( n = 14 ), book chapters ( n = 1 ), and review articles ( n = 44 ). The results showed that there was an upward trend in the research on SDF, and a substantial increase was observed in the citation index after 2014. Researchers from the United States of America, Hong Kong, and Japan were the top contributors, with organizations and authors from the Faculty of Dentistry, University of Hong Kong, leading the way in citations and productivity. Conclusion. The bibliometric analysis provides valuable information regarding the total number of publications on SDF and their citation details. It also identifies the leading countries and organizations involved in the research on SDF and provides a comprehensive analysis of the research trends related to SDF.

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Independent and integrated identity is coveted by every human being. Each one longs to be called an intelligent, aware, talented, responsive and creative individual. Black men and women are no exception .The two needs of home and wholeness; for which they yearn; are not available to them on this earth. And they lose in the game of searching identity. But it is well said that EVERY CLOUD HAS A SILVER LINING. The present article pinpoints self-esteem and desires of the identify as the core of her protagonists. Sethe,protagonist of the novel Beloved prefers to kill her daughter rather than to re-slave her .Sethe finds that the prevailing definitions of women,mother and wife are challenged by her racist masters…but it is SHE WHO EXERTS HER IDENTY BY PAVING THE TORTOUS PATH..AND REFUTES ALL OBSTACLES WHICH she was sure that being black and women she can never get love and status.

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ABSTRACT Aim The aim of this study was to investigate the inclusion of silver nanoparticles (Ag NPs) in the mineral trioxide aggregate (MTA) composition to know which changes will result in the radiopacity of the material. Materials and methods The experiment was performed according to the American National Standard Institute/American Dental Association specification no. 57/2000 and ISO 6876/2001. Five plates with five holes measuring 1 mm in depth and 5 mm in internal diameter were filled according to the different experimental groups as follows: white mineral trioxide aggregate (WMTA) + NP50 – W MTA with liquid Ag NP 50 ppm, WMTA + NP30 – W MTA with liquid Ag NP 30 ppm, WMTA + NP22 – W MTA with liquid Ag NP 22 ppm, WMTA + NPP – white MTA with liquid Ag NP and powder 1%, WMTA (control). After filling the plates, they were kept in an incubator at 37°C in relative humidity for setting. Each sample was positioned along an aluminum step-wedge placed above the Opteo digital sensor system. The image was divided into four quadrants, and three readings were made for each quadrant to render the average of each quadrant. The resulting data were submitted to Kruskal–Wallis and Dunn's tests. Results The results showed statistically significant differences between WMTA + NP30, WMTA + NP22, and WMTA + NPP interactions compared with WMTA (control) (p < 0.05). The radiopacity was in descending order: WMTA + NPP, WMTA + NP22, WMTA + NP30, MTA + NP50, and WMTA. Conclusion Silver NPs changed the radiopacity of WMTA, being more evident in WMTA + NP powder at 1% weight. Clinical significance The low radiopacity of MTA makes it difficult for any radiographic observation. The Ag NPs appear as an alternative, being an excellent radiopacifier as they have excellent antimicrobial property and relatively low toxicity. How to cite this article Mendes MSS, Resende LD, Pinto CA, Raldi DP, Cardoso FGR, Habitante SM. Radiopacity of Mineral Trioxide Aggregate with and without Inclusion of Silver Nanoparticles. J Contemp Dent Pract 2017;18(6):448-451.

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This article will discuss the development of a research concierge service aimed at supporting the unique data needs of researchers at each stage of the research lifecycle. Although based on work at one institution, a North American academic 4-year research university, the presented strategies are transferable to many different types of institutions. The concept behind this service emerged when staff members from the Office of Research, Information Technology, and University Libraries embarked on an endeavour, by way of a newly formed collaborative working group, to identify disparate research support services around campus. Steps will be suggested to assess and align existing support services as well as uncover gaps in service within an institution. A review of organisational models from other institutions with complementary services will also be included. The article will also examine the challenges faced by our institution in creating this collaborative group and the new service approach.

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Abstract The question of the scope and application of the doctrine of clean hands by investment tribunals is controversial. This article examines how scholars, international courts and tribunals and investment tribunals have analysed the concept. I will show that while the doctrine has rarely been used by international tribunals, they have nonetheless recognised and applied the clean hands doctrine in several awards. I will critically assess the reasoning of the Yukos award and, most importantly, the recent South American Silver Limited award, which have both held that the clean hands doctrine is not a general principle of law. I will argue, like many writers, that the doctrine should be considered as a general principle of international law. The article examines this concept and describes how such principles emerge on the international plane in a manner different from general principles grounded in the domestic laws of States.

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The article describes the activities of Miles Sherover, an American entrepreneur, president of the Hanover Sales Corporation, who served as a sales agent of the Spanish Republic in the United States in 1937-1938. During the study period, M. Sherover, being authorized by the Government of the Second Republic, participated in a number of initiatives of the leadership of the Spanish Republic, such as Spanish-American negotiations on the security of the finances and property of American companies in Spain and the sale of silver reserves of the Bank of Spain to the United States in order to pay for the purchase of military equipment, civilian goods and raw materials with the proceeds. In addition to being as a middleman between the Spanish Republic and the United States in the trade, M. Sherover was actively engaged in political activities, the consequences of which discredited the Embassy of the Republic in Washington, as the Spanish Ambassador Fernando de los Rios, who was wary of the entrepreneur, regularly reported to the Prime Minister of the Spanish Republic Juan Negrin and Foreign Minister Julio Alvarez del Vayo. In general, the activities of Miles Sherover were contradictory: in order to help the Second Republic, he was engaged not only in issues of Spanish-American trade during the war, but also was carried out active political activities that went beyond his official powers and put the diplomacy of the Second Republic in the United States in a difficult position

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This article aims to open the discussion of U.S. imperialism and Chinese comprador intermediaries in the Pacific to an enlarged historical analysis of inherited empires. Beginning with the formation of trans-Pacific Spanish commerce and the specialized role of Chinese intermediary commercial brokers, I introduce the notion of the comprador Pacific as a historical framework to understand the succession of imperial states, overlapping racializations, and the maintenance of a territorial assemblage bridging Asia and the Americas. The figure of the Chinese comprador is centered as a social and cultural icon of the enduring material circuits of Pacific empires. The article combines a commodity history of silver with a social history of the Chinese middleman occupation, along with exemplary biographical vignettes of key figures involved in imperial succession in the comprador Pacific.

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This article examines a representation of convict leasing in an unexpected and seemingly inconsequential place—an amusem*nt park. Located in Branson, Missouri, the popular 1880s-themed Silver Dollar City proudly claims to offer historical education and entertainment through “realistic” constructions of the past. One of the park’s oldest and most popular attractions is the Flooded Mine ride, where park guests travel in “mine carts” through a depiction of a flooding mine, trying to “help the sheriff” by shooting laser light guns at kitschy animatronic convict laborers who are trying to escape. We first examine the Flooded Mine as a unique form of penal spectatorship, arguing that riders are able to enjoy the lighthearted mockery of the convict laborers’ suffering through a process of moral disengagement. Second, we use the lens of collective memory in an endeavor to expose the processes of remembering and forgetting at work in Silver Dollar City. We argue that the simulations of the past constructed in the park are not an apolitical platform for entertainment, but rather work to produce a narrative that perpetuates a kind of white nostalgia that erases black suffering. While ostensibly displaying a story of convict labor, the Flooded Mine depicts all the prisoners as white men, effectively performing an historical erasure of chattel slavery and its transmutation into convict leasing. By obscuring the incalculable pain produced by convict leasing and incarceration, the dissimulation allows riders to avoid any ethical engagement with these systems of racialized control.

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This article examines the relationship between the Central Intelligence Agency and the Hollywood film industry from 1947 to 1959. Surprisingly, the CIA was almost entirely absent from American cinema screens during this period, and their public profile in other popular media, including television and the press, was virtually nonexistent. This conspicuous lacuna of publicity coincided with what some scholars have termed the “Golden Age” of US covert action – an era of increasing CIA intervention in Italy, Iran and Guatemala, to name only the most prominent examples. How was it that the CIA managed to maintain such a low public profile and in the process evade popular scrutiny and questions of accountability during such an active period of its history? Utilizing extensive archival research in film production files and the records of the CIA themselves, this article suggests that Hollywood filmmakers adhered to the CIA's policy of blanket secrecy for three interrelated reasons. First, it suggests that the predominance of the so-called “semidocumentary” approach to the cinematic representation of US intelligence agencies during this period encouraged filmmakers to seek government endorsem*nt and liaison in order to establish the authenticity of their portrayals. Thus the CIA's refusal to cooperate with Hollywood during this period thwarted a number of attempts by filmmakers to bring an authentic semidocumentary vision of their activities to the silver screen. Second, up until the liberalization of American defamation law in the mid-1960s, Hollywood studio legal departments advised producers to avoid unendorsed representations of US government departments and officials through fear of legal reprisal. Finally, this article suggests that the film-industry censor – the Production Code Administration – was instrumental in reinforcing Hollywood's reliance upon government endorsem*nt and cooperation. This latter point is exemplified by Joseph Mankiewicz's controversial adaptation of Graham Greene's The Quiet American. Overturning existing scholarship, which argues that CIA officer Edward Lansdale played a decisive role in transforming the screenplay of Greene's novel, this article suggests that Mankiewicz's alterations were made primarily to appease the Production Code Administration.

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Burton Y. Berry gave a unique silver tetradrachm to the American Numismatic Society in 1959. The obverse of the coin bears the diademed and draped bust of a Ptolemaic king wearing sideburns, and, in the left field behind the king's portrait, a six-pointed star or comet (*). The reverse bears an eagle facing left on a thunderbolt, an inscription ΠΤΟΛΕΜΑΙΟϒ ΒΑΣΙΛΕΩΣ (“of Ptolemy the king”), a six-pointed star or comet in the right field, and a monogram (ΠΑ) in the left field in front of the eagle. Dawson Kiang first published the tetradrachm in 1962. Dating it to the reign of Ptolemy VI Philometor (180–145 BCE), Kiang supposed that the portrait was an effigy of that monarch. In this article, I shall identify the portrait with Ptolemy V Epiphanes and submit a new hypothesis about the origin of his surname in 199/8 BCE.

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In February 1539, Mexico City was the stage of a lavish two-day festival meant to commemorate the Truce of Nice, signed the year before between Emperor Charles V and King Francis I of France at Aigues-Mortes. In this article, I analyze Bernal Díaz del Castillo’s description of a performance by “more than fifty” blacks with “their king and queen”, all “wearing great riches of gold and precious stones and pearls and silver.” This article argues that the black participants of this festival most likely belonged to a Catholic confraternity, which not only would demonstrate that black confraternities were brought to the Americas very early, but also that, as in the Iberian Peninsula, they were used by members as vehicles of social mobility and agency from the start of imperial expansion. Juxtaposing this and other black performances with instances of perceived black resistance to Spanish domination, the article shows how confraternities could offer blacks a space where they could continue some of their ancestral festive prac­tices without being perceived as a threat to colonial order.

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AbstractThe historical waterfront of Shanghai known as the Bund, one of the most impressive architectural landscapes in Asia, was described in the 1930s inFortunemagazine as having “the tallest buildings outside the American continent; the biggest hoard of silver in the world” and being “the cradle of new China”.1At a time when the US economy was in ruins and much of China was besieged by civil war, Shanghai's foreign concessions provided a safe haven for Chinese and foreign investors. With the influx of hot money, Shanghai experienced an unprecedented building boom. Notable among these real estate developers was Sir Ellice Victor Elias Sassoon (1881–1961, hereafter Victor Sassoon) who transferred much of his wealth from India to Shanghai and then transformed the Shanghai skyline. Inspired by American skyscrapers, Sassoon decided to build the first skyscraper in Shanghai, which would also be the first in the Eastern hemisphere, even though Shanghai's muddy ground had never supported a building of that height before. This article documents how the evolution of treaty port architecture in China owed much to Victor Sassoon. Its innovations – from the advent of skyscrapers, with their Art Deco style and mixed-use function, to the engineering methods and financial arrangements that built them – bore Sassoon's stamp. As will be seen, Sassoon's experiment paid off handsomely.

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In September 2014 Andrey Konchalovskiy's White Nights of Postman Alexey Tryapitsyn won Silver Lion for the Best Director at the Venice Film Festival. European critics and advanced public have regularly marked endowments of the Soviet and Russian film director. Throughout his career he has received numerous awards at prestigious European film festivals. There are Crystal Globe in Karlovy Vary for the Romance for Lovers (1974), Grand Prix at Cannes for Sibiriada (1979), the main prizes of San Sebastian for Uncle Vanya (1971) and Homer and Eddie (1989). Meanwhile, Konchalovsky's success among American mass audience and critics has been much more modest, though Andrey Konchalovsky was the first in the early 1980s, since the time of the first wave of Russian 1910-20's emigration, who attempted to connect deeply national, Russian spirit with Hollywood production technology-oriented international strategy in his works. Being established in the Soviet Union as an esteemed author, Konchalovskiy decided to change the film industry to start over his career. Nowadays, in the context of the festival success in the European and Soviet/Russian cinema circles and the lack of attention in the United States, a question arises, if one can consider this attempt as successful one. In this article the author tries identify Russian national motives, which the filmmaker has introduced into Hollywood culture through his creative method, and those originally Hollywood themes and topics that have appeared for the first time in the works of the recognized Soviet director. Basing on Konchalovskys American works the author tries to elicit creative value in their national and transnational synthesis and expose the extent of their productivity and sensemaking.

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Abstract This article reconsiders the recent turn in political theory to love as a countercapital affect, helping us endure when hope has lost its salience. The article offers the concept of “necromance” to attend to the ways the popular configuration of love as life-giving often overlooks how in the history of slavery and liberal empire love operates as life-taking. Distinct from necromancy, necromance is not a process of reviving the dead but of bringing subjects in ever closer proximity to the dead. Grounded in a reading of W. E. B. Du Bois’s romantic novel The Quest of the Silver Fleece (1911), particularly its vision of a cooperative economy and its response to the evolving meaning of love in American culture at the end of the nineteenth century, necromance is both a structure of feeling and a form of writing. As a resource for activism indebted to the creative powers of melancholic attachments, necromance contests the common conception that in order for grievances to become social movements or collective insurgencies they must be framed to create feelings of outrage, not of grief. By working inside existing conditions of irrevocable loss, necromantic love registers the feeling that the revolution is already here.

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Those natures which, when they meet, quickly lay hold on and mutually affect one another we call affined. This affinity is sufficiently striking in the case of alkalis and acids which, although they are mutually antithetical … most decidedly seek and embrace one another, modify one another, and together form a new substance … It is in just this way that truly meaningful friendships can arise among human beings: for antithetical qualities make possible a closer and more intimate union.Goethe, Elective affinities (1809)A linear mode of historical understanding relegated alchemy to a ‘pre-scientific’ era, with the enlightenment's New Chemistry creating a break between ‘empirical’ and ‘scientific’ metallurgies. Similarly, Bolivia's early Republican silver-production has been regarded as ‘stagnant’ and ‘colonial’ from the ‘modern’ perspective of late nineteenth century liberalism. This article questions both periodisations by documenting an ‘alchemical renaissance’ in Bolivian silver-refining methods during the first part of the 19th century. The relaunch of Alonso Barba's ‘hot method’ of amalgamation in copper cauldrons (1609), and its associated technical discourses, expressed a creole desire for an independent ‘modernity’. This rediscovery of a seventeenth century technology, carried out shortly before the Independence War in the Potosí provinces (Chichas), and slightly later in Oruro and Carangas, is distinguished from the version reinvented in Central Europe by Ignaz von Born (1786), as well as from two pre-Bornian experiments in Potosí and New Spain. Its nineteenth century consolidation was, in part, a little-known reaction to Nordenflicht's failure to introduce the new European method of rotating barrels to the Andes during the 1790s. The article shows that this ‘alchemy of modernity’ held its ground for several decades, suggesting a fresh approach to America's postcolonial ambiguities from the perspective of a comparative history of technology.

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This article deals with interpretations of images on silver ecclesiastical objects from the Southern Andes dating from the 17th and 18th centuries. The silverworks communicate contents on a nonverbal level and are integrated into ritual acts in the context of church services; this facilitates associations with non-Christian beliefs. If the images are studied by means of a combination of various analytical levels, transcultural processes become apparent in the images on the objects studied, and meanings emerge that would not have been brought to light by simple image analysis. This applies particularly to the comparison with possible indigenous meanings of European images, which enables a much more comprehensive interpretation. Depending on the beholder, the images may be interpreted as expressing continuity, i.e., as representations of indigenous beliefs; as expressing discontinuity, i.e., as representations of Christian beliefs; or as the result of a transfer of meaning encompassing and combining both belief systems, thus enabling a new way of “reading” them. However, a transcultural process of regional relocation and use of cultural elements is not only visible in the images; it is also illustrated by the ecclesiastical silverworks in the Americas as such, given the European influence manifest in them.

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Abstract This article explores the decades-long influence of the Comics Code on American comic books’ storytelling form by identifying the interpretive processes underlying the Code’s application and adapting the Code as a theoretical model for approaching the narrative structure and implied ethical stance within 1950s Superman comics. Instead of treating the Comics Code as a series of regulations seemingly interpreted arbitrarily, this article explores how interpretive issues were framed by figures such as Charles Murphy, Leonard Darvin and John Goldwater to identify ‘the spirit and intent of the Code’ and resolve challenges such as distinguishing between the ‘spirit’ and ‘letter’ of the Code, identifying interpretive authority outside the Code, weighing past interpretive precedent and locating authorial ‘intent’. Ambiguities and aporia within the Code’s language demanded that administrators reconstruct the Code’s possible meanings and conceptualize ‘justice’ by distinguishing between the Code’s general preferences and actual prohibitions, resolving terminological nuance and prioritizing conflicting stipulations. Administrators’ efforts to balance competing stipulations regarding characters’ physical unattractiveness, criminality, justice and institutional authority shaped comics’ storytelling form and perpetuated ambiguities that comic creators could ‐ intentionally or unintentionally ‐ exploit. Where Silver Age DC Comics have often been viewed as sacrificing psychological complexity to plotting and social conformity, this article argues that the plotting intricacy in several 1950s Comics-Code era Superman comics in fact enabled writers to present a more complex rendering of moral issues. Where the Comics Code explicitly forbade that ‘crimes’ be ‘presented in such a way as to create sympathy for the criminal’, the Comics Code’s own textually unstable meaning ‐ coupled with the narrative complexity of the stories’ plotting, shifting points of view and situational and dramatic irony ‐ enabled 1950s Superman writers to create sympathy for a supposed ‘criminal’, depict the frequent inaccuracy of assumed knowledge and introduce moral ambiguity, all while arguably ‘following’ the Code.

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Ювелирное искусство народа саха исследуется в статье в междисциплинарном аспекте: изучаются истоки его возникновения, этнокультурные связи народов Евразии по материалам археологических памятников Позднего Средневековья, искусствоведческая характеристика украшений (традиции и новаторские черты в современном искусстве якутских ювелиров). В основу работы положен анализ находок из археологических раскопок якутских погребений XIV-XVIII вв., предметов из фондов музеев Республики Саха (Якутия) и Американского музея естественной истории в Нью-Йорке, а также авторских ювелирных изделий современных мастеров. Подробное изучение ансамбля якутских украшений и отдельных его частей содержится в трудах этнографов Ф. М. Зыкова, В. П. Дьяконовой и др. Классификация украшений, описание техники и способов обработки металла, к которым обращались эти авторы, не входят в задачи данной статьи. Металлические украшения древних якутов, найденные в археологических памятниках, рассматриваются нами в сравнительно-историческом аспекте и соотносятся с изделиями древних кочевников Центральной и Передней Азии, Китая и Южной Сибири. Якутское ювелирное искусство приобрело устойчивые формы, орнаментальный декор и национальное своеобразие в XVII-XIX вв. На современном этапе сохраняется многовековая традиция изготовления ансамбля украшений, но параллельно развивается творчество дизайнеров-ювелиров по созданию оригинальных художественных произведений, вырабатывающих неповторимый стиль этномодерна. The article examines the jewelry of the Sakha people from an interdisciplinary perspective. It examines its origins and sources; considers the ethno-cultural relations of the peoples of Eurasia, based on the materials of archaeological monuments from the late Middle Ages; and considers art history (traditions and innovative features in the modern art of Yakut jewelers). The work is based on archaeological excavations of Yakut burials of the 16th through 18th centuries, items from the collections of the museums of the Republic of Sakha (Yakutia), and the American Museum of Natural History in New York, as well as the author’s jewelry created by modern masters. A detailed study of Yakut jewelry and its individual parts is contained in the works of the ethnographers F. M. Zykov, V. P. Diakonova, and others, and the classification of jewelry and descriptions of the techniques and methods of metal processing that these scholars provided are not considered in this article. On the other hand, metal ornaments of ancient Yakuts found in archaeological sites are analyzed in a comparative historical context and correlated with the products of ancient nomads from Central and Western Asia, China and Southern Siberia. Yakut jewelry art acquired stable forms, ornamental design and national distinctiveness in the 17th - 19th centuries. The traditional Yakut way of making an ensemble of jewelry has been preserved, but at the same time, jewelry designers have also been creating original works of art that develop a unique “ethnomodern” style.

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This article focuses on the underwater cultural heritage (UCH) located across the Pacific Ocean by sampling three temporal themes: living heritage and traditional indigenous cultural heritage, the global connections of the Manila Galleon trade, and the modern warfare of World War II (WWII). Many of the traditional cultural practices (living heritage) and tangible cultural heritage related to indigenous people of the Pacific are coastal and sea related. Their world encompasses the sea, which was not seen as a barrier as but a much-used connection to people occupying the thousands of islands. The Pacific contains an extensive maritime cultural heritage, including UCH, which reflects the cultural identity of people living in the region. From the 16th to 18th centuries, the Spanish Empire prospered through an elaborate Asia-Pacific trade network. The Manila Galleon trade between Manila, Philippines, and Acapulco, Mexico, connected into the existing Atlantic trade transporting commodities such as porcelain, silver, spices and textiles from Asia to the Americas and Spain. Of the 400 known voyages between 1565 and 1815, approximately 59 shipwrecks occurred, of which only a handful of galleons have been investigated. The scale of WWII heritage in the Pacific region reflects the intensity and impacts of global conflicts fought across the world’s largest ocean. Associated UCH includes near shore defensive infrastructure, landing and amphibious assault craft, submerged aircraft, and a wide range of ships and submarines, auxiliary, combatant and non-military casualties alike. Twentieth century warfare involved massive losses of material. The legacy of submerged battlefields in the Pacific is complex. Interest is high in the discovery of naval UCH, but critical aspects are often intertwined. Archaeology, history, reuse, memorialisation (gravesites), tourism, unexploded ordnance, environmental threat (fuel oil), ownership and salvage all shape what we can learn from this resource.

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Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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(2012). Multicultural Education through Expressive Methods in Early Childhood Education. Ludwig, M. ., Marklein, M. ., & Song, M. (2016). Arts Integration: A Promising Approach to Improving Early Learning. American Institutes for Research. Macdonald, A., & Lowrie, T. (2011). Developing measurement concepts within context : Children ’ s representations of length. 27–42. https://doi.org/10.1007/s13394-011-0002-7 Mans, M. (2002). Playing The Music- Comparing Perfomance of Children’s Song and dance in Traditional and Contemporary Namibian Education. In The Arts in Children’s Live (pp. 71–86). Kluwer Academic Publishers. Maričić, S. M., & Stamatović, J. D. (2017). The Effect of Preschool Mathematics Education in Development of Geometry Concepts in Children. 8223(9), 6175–6187. https://doi.org/10.12973/eurasia.2017.01057a Missall, K., Hojnoski, R. L., Caskie, G. I. L., & Repasky, P. (2015). 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Journal of Experimental Child Psychology, 115(3), 405–421. https://doi.org/10.1016/j.jecp.2013.03.007 Pantoja, N., Schaeffer, M. W., Rozek, C. S., Beilock, S. L., & Levine, S. C. (2020). Children’s Math Anxiety Predicts Their Math Achievement Over and Above a Key Foundational Math Skill. Journal of Cognition and Development, 00(00), 1–20. https://doi.org/10.1080/15248372.2020.1832098 Papadakis, Stamatios, Kalogiannakis, M., & Zaranis, N. (2017). Improving Mathematics Teaching in Kindergarten with Realistic Mathematical Education. Early Childhood Education Journal, 45(3), 369–378. https://doi.org/10.1007/s10643-015-0768-4 Papadakis, Stamatios, Kalogiannakis, M., & Zaranis, N. (2018). The effectiveness of computer and tablet assisted intervention in early childhood students’ understanding of numbers. An empirical study conducted in Greece. 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Athens Journal of Education, 7(2), 153–167. https://doi.org/10.30958/aje.7-2-2 Thippana, J., Elliott, L., Gehman, S., Libertus, K., & Libertus, M. E. (2020). Parents’ use of number talk with young children: Comparing methods, family factors, activity contexts, and relations to math skills. Early Childhood Research Quarterly, 53, 249–259. https://doi.org/10.1016/j.ecresq.2020.05.002 Tsai, Y. (2017). Taiwanese Traditional Musical Idioms Meet Western Music Composition: An Analytical and Pedagogical Approach to Solo Piano Works by Tyzen Hsiao. http://aquila.usm.edu/dissertations/1398 Upadhyaya, D. (2017). Benefits of Music and Movement in young children. Furtados School of Music. https://www.linkedin.com/pulse/benefits-music-movement-young-children-dharini-upadhyaya Vennberg, H., Norqvist, M., Bergqvist, E., Österholm, M., Granberg, C., & Sumpter, L. (2018). 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The development of High Temperature Superconductors (HTS) conductors makes it possible to build very high field superconducting magnets up to at least 25 T. Previously, the only way to obtain a steady field of 25 T for research would be to use water cooled copper solenoids. To achieve 25 T in a 50 mm working space would require about 10 MW of power with a large water cooling plant to carry away the heat. With such high powers involved it is difficult to have a stable and quiet magnetic field environment in which to make sensitive measurements such as NMR. Both capital and operating costs are high so few such facilities exist worldwide. This makes a superconducting magnet of 25 T a very attractive proposition. Figure 1 shows that the critical current of HTS as compared to NbTi and NbSn . The latter can be used up to a limit of about 20 T at 4.2 K. The HTS on the other hand shows the potential of much higher fields. The two main issues in magnet design are the maximum critical current and the maximum stress that a conductor or coil structure can support. For the inner sections of the coil the forces are modest but as the diameter increases towards the outside of the coil hoop stress becomes the dominant issue. [Formula: see text] Cryogenic has built a magnet system with first generation BSCCO conductor. It is designed to run at 4.2 K. It has a three section design, two of conventional superconductor and one of HTS. • The outer winding is made from NbTi giving a field of 9 T, in a bore of 225 mm. The coil is made from 21 km of NbTi wire graded from 1 to 0.6 mm diameter. • A middle coil of NbSn bronze route conductor providing a field of 14 T in 140 mm diameter. • An inner set of HTS coils. These are in the form of 3 coaxial windings made from silver matrix BSCCO conductor supplied by American Superconductor. This conductor has a critical current of 100 A at 77 K in zero field. At 4 K in low field the current is very much higher. The set of three BSCCO windings has a gauss per amp of 157 and when run on its own at a current of 300 A provides a field of 4.7 T, although currents above 275 A begin to show significant resistive losses in the conductor. The inner BSCCO coils are separately powered from the outer magnet. In a test of the full magnet system the BSCCO coil is ramped up at various background fields up to 13 T. The resulting voltage loss across the BSCCO is shown in Fig. 2. This test shows that the BSCCO conductor can operate up to 275 A quite successfully independent of the background field with just a slight increase in resistive losses presumably from the joints between conductor being magneto-resistive or due to flux flow in the conductor. [Formula: see text] Since the BSCCO coils were made new 2nd generation conductors have become available made from thin films of YBCO on a stainless steel backing. These have a much higher effective current density. A 4 mm wide tape of BSCCO is 0.4 mm thick but carries a similar current to an YBCO tape of 0.01 mm or even 0.05 mm thickness. Table 1 shows the properties of different conductors compared. Interestingly the conductors are not just higher current density but also more flexible and stronger in tension. [Formula: see text] A new coil has now been produced from 0.1 mm Super Power material of a size that can fit inside the existing winding so that the combination can produce above 6 T providing a total field of 20 T at 4.2 K in a working bore of 38 mm. Now that the new 2nd generation YBCO based conductors have become available it is intended to exchange the BSCCO coils for YBCO windings which will allow this magnet to operate at much higher fields of up to 25 T. At this field it will be the highest field superconducting magnet worldwide. The magnet is housed in a liquid helium cryostat. To reduce helium consumption a powerful 2nd stage cryocooler is fitted to the cryostat. The first stage cools a shield around the liquid helium to 45 K. The second stage has a cooling power of 1.5 W at 4.2 K and is used to recondense helium gas evolved from the magnet. In operation, with no current in the leads to the cryocooler it is able to condense more gas than that evolved from the cryostat so the liquid helium level will increase with time. Except at the highest currents the cryostat is a zero loss magnet system. A cross section of cryostat and magnet is show in Fig 3. [Formula: see text] The power required for the cryocooler is 6.5 kW while that for the magnet power supplies and ancillary electronics is 2 kW giving a combined power requirement of 8.5 kW. This compares very favourably with the typical value of 10 MW required by a water cooled copper solenoid to achieve the same field. Note from Publisher: This article contains the abstract only.

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ABSTRACT The important role of Chinese demand for silver in stimulating worldwide silver-mining and shaping the first truly global trading system has become commonly recognised in the world history scholarship. The commercial dynamism of China during the 16th-19th centuries was integrally related to the importation of foreign silver, initially from Japan but principally from Latin America. Yet the significance of imports of Latin American silver for the Chinese economy changed substantially over these three centuries in tandem with the rhythms of China's domestic economy as well as the global trading system. This article traces these changes, including the adoption of a new standard money of account—the yuan—derived from the Spanish silver peso coin.

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ABSTRACTNew global history studies have provided theoretical models related to different paths of economic growth and consumer behaviour between East Asia (mainly China and Japan) and Europe during the period of the first industrialisation. However, more research challenging the Eurocentric views of the origins of globalisation is needed. In this article, I examine the exchanges of Chinese silks and porcelains and European wines and liquors for American silver through the Swedish Grill Company. This company had extensive business activities in Canton and Macao establishing strategic links and intermediation with other relevant companies from China, Manila, Seville and Marseille. On the global level, such exchanges played a crucial role for the accumulation of American silver in China during the Qing dynasty, and the outflows of Chinese goods to the Americas and Europe fostered market integration and globalisation that occurred earlier than 1820.

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This article is dedicated to analyze of modern tendency of wold commodity market of jewelry industry. At the article the determine of jewelry. At the article was analyzed modern value of raw material of jewelry industry: gold and silver. The main gold and silver mining countries were determined, were analyzed the value of mining and consumption of gold and silver. The market of gold can be viewed from both side as finance market and as raw market. Gold mining is global business with deals on all continents, accepts Antarctica. For many countries, mining of gold is factor of economic development, foreign investment. Mining of gold gets currencies and tax, transport. Market of gold, as raw market has such tendency: large field of gold is at some countries: China (average specific gravity 12,4%), USA (average specific gravity 7,14%), Russia (average specific gravity 7, 42%), Australia (average specific gravity 8,66%). At these countries are watched noticeable and constant growth in production of gold. The main of golden custom is jewelry - average specific gravity 45,60%. The main customer of golden is jewelry industry of India (746 t), Turkey (153t), Saudi Arabia (109t), Russia (109t) and USA (179t). These countries are the main producer of golden jewelries. Another raw market jewelry is silvery market. The world silver market is very monopolized. The main region of mining is countries of Latin America. The main silver mining countries are Mexico (average specific gravity 22,60%), Peru (average specific gravity 17,32%), China (average specific gravity 10,88%). The main field of consumer of silver in electronic industries, photos, and only at third point is jewelry. Consumption of silver of jewelry is not large. Last year such tendency are observed: falling of silver mining rates. It means rather falling of silver reserves, but improve recycling of silver. Also rather rates of silver custom, The most falling is at manufacture of jewelries and silver plate. Investment to silver is very actual. As source of statistic information are using of international organization report: World Gold Council, World Silver Institute.

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Abstract The article argues that international policy diffusion should also be understood as one of the many foreign policy instruments, and that it is a rather versatile one, as it can be coupled to most or perhaps all traditional foreign policy instruments: political, economic, cultural, and military. It also proposes that the exportation of Brazilian policy innovations may be regarded as the backbone of Lula da Silva’s foreign policy (2003-2010), as it was central to: (a) the manufacturing of a renewed international identity for the country; (b) the promotion of post-liberal regionalism in Latin America; (c) the defence of new or expanded roles for international organizations, which was a central priority for Brazilian foreign policy in that period; (d) the revitalisation of the South-South coalition; (e) the presidential diplomacy; and (f) the promotion of systematic bilateral cooperation with Latin American and African countries.

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Introduction A snapshot, not unlike countless photographs likely to be found in any number of family albums, shows two figures sitting on a park bench: an elderly and amiable looking man grins beneath the rim of a golf cap; a young boy of twelve smiles wide for the camera — a rather banal scene, captured on film. And yet, this seemingly innocent and unexceptional photograph was the site of a remarkable and wide ranging discourse — encompassing American conservatism, celebrity politics, and the end of the Cold War — as the image circulated around the globe during the weeklong state funeral of Ronald Wilson Reagan, 40th president of the United States. Taken in 1997 by the young boy’s grandfather, Ukrainian immigrant Yakov Ravin, during a chance encounter with the former president, the snapshot is believed to be the last public photograph of Ronald Reagan. Published on the occasion of the president’s death, the photograph made “instant celebrities” of the boy, now a twenty-year-old college student, Rostik Denenburg and his grand dad. Throughout the week of Reagan’s funeral, the two joined a chorus of dignitaries, politicians, pundits, and “ordinary” Americans praising Ronald Reagan: “The Great Communicator,” the man who defeated Communism, the popular president who restored America’s confidence, strength, and prosperity. Yes, it was mourning in America again. And the whole world was watching. Not since Princess Diana’s sudden (and unexpected) death, have we witnessed an electronic hagiography of such global proportions. Unlike Diana’s funeral, however, Reagan’s farewell played out in distinctly partisan terms. As James Ridgeway (2004) noted, the Reagan state funeral was “not only face-saving for the current administration, but also perhaps a mask for the American military debacle in Iraq. Not to mention a gesture of America’s might in the ‘war on terror.’” With non-stop media coverage, the weeklong ceremonies provided a sorely needed shot in the arm to the Bush re-election campaign. Still, whilst the funeral proceedings and the attendant media coverage were undeniably excessive in their deification of the former president, the historical white wash was not nearly so vulgar as the antiseptic send off Richard Nixon received back in 1994. That is to say, the piety of the Nixon funeral was at once startling and galling to many who reviled the man (Lapham). By contrast, given Ronald Reagan’s disarming public persona, his uniquely cordial relationship with the national press corps, and most notably, his handler’s mastery of media management techniques, the Reagan idolatry was neither surprising nor unexpected. In this brief essay, I want to consider Reagan’s funeral, and his legacy, in relation to what cultural critics, referring to the production of celebrity, have described as “fame games” (Turner, Bonner & Marshall). Specifically, I draw on the concept of “flashpoints” — moments of media excess surrounding a particular personage — in consideration of the Reagan funeral. Throughout, I demonstrate how Reagan’s death and the attendant media coverage epitomize this distinctive feature of contemporary culture. Furthermore, I observe Reagan’s innovative approaches to electoral politics in the age of television. Here, I suggest that Reagan’s appropriation of the strategies and techniques associated with advertising, marketing and public relations were decisive, not merely in terms of his electoral success, but also in securing his lasting fame. I conclude with some thoughts on the implications of Reagan’s legacy on historical memory, contemporary politics, and what neoconservatives, the heirs of the Reagan Revolution, gleefully describe as the New American Century. The Magic Hour On the morning of 12 June 2004, the last day of the state funeral, world leaders eulogized Reagan, the statesmen, at the National Cathedral in Washington, D.C. Among the A-List political stars invited to speak were Margaret Thatcher, former president George H. W. Bush and, to borrow Arundhati Roi’s useful phrase, “Bush the Lesser.” Reagan’s one-time Cold War adversary, Mikhail Gorbachev, as well as former Democratic presidents, Jimmy Carter and Bill Clinton were also on hand, but did not have speaking parts. Former Reagan administration officials, Supreme Court justices, and congressional representatives from both sides of the aisle rounded out a guest list that read like a who’s who of the American political class. All told, Reagan’s weeklong sendoff was a state funeral at its most elaborate. It had it all—the flag draped coffin, the grieving widow, the riderless horse, and the procession of mourners winding their way through the Rotunda of the US Capitol. In this last regard, Reagan joined an elite group of seven presidents, including four who died by assassination — Abraham Lincoln, James Garfield, William McKinley and John F. Kennedy — to be honored by having his remains lie in state in the Rotunda. But just as the deceased president was product of the studio system, so too, the script for the Gipper’s swan song come straight out of Hollywood. Later that day, the Reagan entourage made one last transcontinental flight back to the presidential library in Simi Valley, California for a private funeral service at sunset. In Hollywood parlance, the “magic hour” refers to the quality of light at dusk. It is an ideal, but ephemeral time favored by cinematographers, when the sunlight takes on a golden glow lending grandeur, nostalgia, and oftentimes, a sense of closure to a scene. This was Ronald Reagan’s final moment in the sun: a fitting end for an actor of the silver screen, as well as for the president who mastered televisual politics. In a culture so thoroughly saturated with the image, even the death of a minor celebrity is an occasion to replay film clips, interviews, paparazzi photos and the like. Moreover, these “flashpoints” grow in intensity and frequency as promotional culture, technological innovation, and the proliferation of new media outlets shape contemporary media culture. They are both cause and consequence of these moments of media excess. And, as Turner, Bonner and Marshall observe, “That is their point. It is their disproportionate nature that makes them so important: the scale of their visibility, their overwhelmingly excessive demonstration of the power of the relationship between mass-mediated celebrities and the consumers of popular culture” (3-4). B-Movie actor, corporate spokesman, state governor and, finally, US president, Ronald Reagan left an extraordinary photographic record. Small wonder, then, that Reagan’s death was a “flashpoint” of the highest order: an orgy of images, a media spectacle waiting to happen. After all, Reagan appeared in over 50 films during his career in Hollywood. Publicity stills and clips from Reagan’s film career, including Knute Rockne, All American, the biopic that earned Reagan his nickname “the Gipper”, King’s Row, and Bedtime for Bonzo provided a surreal, yet welcome respite from television’s obsessive (some might say morbidly so) live coverage of Reagan’s remains making their way across country. Likewise, archival footage of Reagan’s political career — most notably, images of the 1981 assassination attempt; his quip “not to make age an issue” during the 1984 presidential debate; and his 1987 speech at the Brandenburg Gate demanding that Soviet President Gorbachev, “tear down this wall” — provided the raw materials for press coverage that thoroughly dominated the global mediascape. None of which is to suggest, however, that the sheer volume of Reagan’s photographic record is sufficient to account for the endless replay and reinterpretation of Reagan’s life story. If we are to fully comprehend Reagan’s fame, we must acknowledge his seminal engagement with promotional culture, “a professional articulation between the news and entertainment media and the sources of publicity and promotion” (Turner, Bonner & Marshall 5) in advancing an extraordinary political career. Hitting His Mark In a televised address supporting Barry Goldwater’s nomination for the presidency delivered at the 1964 Republican Convention, Ronald Reagan firmly established his conservative credentials and, in so doing, launched one of the most remarkable and influential careers in American politics. Political scientist Gerard J. De Groot makes a compelling case that the strategy Reagan and his handlers developed in the 1966 California gubernatorial campaign would eventually win him the presidency. The centerpiece of this strategy was to depict the former actor as a political outsider. Crafting a persona he described as “citizen politician,” Reagan’s great appeal and enormous success lie in his uncanny ability to project an image founded on traditional American values of hard work, common sense and self-determination. Over the course of his political career, Reagan’s studied optimism and “no-nonsense” approach to public policy would resonate with an electorate weary of career politicians. Charming, persuasive, and seemingly “authentic,” Reagan ran gubernatorial and subsequent presidential campaigns that were distinctive in that they employed sophisticated public relations and marketing techniques heretofore unknown in the realm of electoral politics. The 1966 Reagan gubernatorial campaign took the then unprecedented step of employing an advertising firm, Los Angeles-based Spencer-Roberts, in shaping the candidate’s image. Leveraging their candidate’s ease before the camera, the Reagan team crafted a campaign founded upon a sophisticated grasp of the television industry, TV news routines, and the medium’s growing importance to electoral politics. For instance, in the days before the 1966 Republican primary, the Reagan team produced a five-minute film using images culled from his campaign appearances. Unlike his opponent, whose television spots were long-winded, amateurish and poorly scheduled pieces that interrupted popular programs, like Johnny Carson’s Tonight Show, Reagan’s short film aired in the early evening, between program segments (De Groot). Thus, while his opponent’s television spot alienated viewers, the Reagan team demonstrated a formidable appreciation not only for televisual style, but also, crucially, a sophisticated understanding of the nuances of television scheduling, audience preferences and viewing habits. Over the course of his political career, Reagan refined his media driven, media directed campaign strategy. An analysis of his 1980 presidential campaign reveals three dimensions of Reagan’s increasingly sophisticated media management strategy (Covington et al.). First, the Reagan campaign carefully controlled their candidate’s accessibility to the press. Reagan’s penchant for potentially damaging off-the-cuff remarks and factual errors led his advisors to limit journalists’ interactions with the candidate. Second, the character of Reagan’s public appearances, including photo opportunities and especially press conferences, grew more formal. Reagan’s interactions with the press corps were highly structured affairs designed to control which reporters were permitted to ask questions and to help the candidate anticipate questions and prepare responses in advance. Finally, the Reagan campaign sought to keep the candidate “on message.” That is to say, press releases, photo opportunities and campaign appearances focused on a single, consistent message. This approach, known as the Issue of the Day (IOD) media management strategy proved indispensable to advancing the administration’s goals and achieving its objectives. Not only was the IOD strategy remarkably effective in influencing press coverage of the Reagan White House, this coverage promoted an overwhelmingly positive image of the president. As the weeklong funeral amply demonstrated, Reagan was, and remains, one of the most popular presidents in modern American history. Reagan’s popular (and populist) appeal is instructive inasmuch as it illuminates the crucial distinction between “celebrity and its premodern antecedent, fame” observed by historian Charles L. Ponce de Leone (13). Whereas fame was traditionally bestowed upon those whose heroism and extraordinary achievements distinguished them from common people, celebrity is a defining feature of modernity, inasmuch as celebrity is “a direct outgrowth of developments that most of us regard as progressive: the spread of the market economy and the rise of democratic, individualistic values” (Ponce de Leone 14). On one hand, then, Reagan’s celebrity reflects his individualism, his resolute faith in the primacy of the market, and his defense of “traditional” (i.e. democratic) American values. On the other hand, by emphasizing his heroic, almost supernatural achievements, most notably his vanquishing of the “Evil Empire,” the Reagan mythology serves to lift him “far above the common rung of humanity” raising him to “the realm of the divine” (Ponce de Leone 14). Indeed, prior to his death, the Reagan faithful successfully lobbied Congress to create secular shrines to the standard bearer of American conservatism. For instance, in 1998, President Clinton signed a bill that officially rechristened one of the US capitol’s airports to Ronald Reagan Washington National Airport. More recently, conservatives working under the aegis of the Ronald Reagan Legacy Project have called for the creation of even more visible totems to the Reagan Revolution, including replacing Franklin D. Roosevelt’s profile on the dime with Reagan’s image and, more dramatically, inscribing Reagan in stone, alongside Washington, Jefferson, Lincoln and Teddy Roosevelt at Mount Rushmore (Gordon). Therefore, Reagan’s enduring fame rests not only on the considerable symbolic capital associated with his visual record, but also, increasingly, upon material manifestations of American political culture. The High Stakes of Media Politics What are we to make of Reagan’s fame and its implications for America? To begin with, we must acknowledge Reagan’s enduring influence on modern electoral politics. Clearly, Reagan’s “citizen politician” was a media construct — the masterful orchestration of ideological content across the institutional structures of news, public relations and marketing. While some may suggest that Reagan’s success was an anomaly, a historical aberration, a host of politicians, and not a few celebrities — Bill Clinton, George W. Bush, and Arnold Schwarzenegger among them — emulate Reagan’s style and employ the media management strategies he pioneered. Furthermore, we need to recognize that the Reagan mythology that is so thoroughly bound up in his approach to media/politics does more to obscure, rather than illuminate the historical record. For instance, in her (video taped) remarks at the funeral service, Margaret Thatcher made the extraordinary claim — a central tenet of the Reagan Revolution — that Ronnie won the cold war “without firing a shot.” Such claims went unchallenged, at least in the establishment press, despite Reagan’s well-documented penchant for waging costly and protracted proxy wars in Afghanistan, Africa, and Central America. Similarly, the Reagan hagiography failed to acknowledge the decisive role Gorbachev and his policies of “reform” and “openness” — Perestroika and Glasnost — played in the ending of the Cold War. Indeed, Reagan’s media managed populism flies in the face of what radical historian Howard Zinn might describe as a “people’s history” of the 1980s. That is to say, a broad cross-section of America — labor, racial and ethnic minorities, environmentalists and anti-nuclear activists among them — rallied in vehement opposition to Reagan’s foreign and domestic policies. And yet, throughout the weeklong funeral, the divisiveness of the Reagan era went largely unnoted. In the Reagan mythology, then, popular demonstrations against an unprecedented military build up, the administration’s failure to acknowledge, let alone intervene in the AIDS epidemic, and the growing disparity between rich and poor that marked his tenure in office were, to borrow a phrase, relegated to the dustbin of history. In light of the upcoming US presidential election, we ought to weigh how Reagan’s celebrity squares with the historical record; and, equally important, how his legacy both shapes and reflects the realities we confront today. Whether we consider economic and tax policy, social services, electoral politics, international relations or the domestic culture wars, Reagan’s policies and practices continue to determine the state of the union and inform the content and character of American political discourse. Increasingly, American electoral politics turns on the pithy soundbite, the carefully orchestrated pseudo-event, and a campaign team’s unwavering ability to stay on message. Nowhere is this more evident than in Ronald Reagan’s unmistakable influence upon the current (and illegitimate) occupant of the White House. References Covington, Cary R., Kroeger, K., Richardson, G., and J. David Woodward. “Shaping a Candidate’s Image in the Press: Ronald Reagan and the 1980 Presidential Election.” Political Research Quarterly 46.4 (1993): 783-98. De Groot, Gerard J. “‘A Goddamed Electable Person’: The 1966 California Gubernatorial Campaign of Ronald Reagan.” History 82.267 (1997): 429-48. Gordon, Colin. “Replace FDR on the Dime with Reagan?” History News Network 15 December, 2003. http://hnn.us/articles/1853.html>. Lapham, Lewis H. “Morte de Nixon – Death of Richard Nixon – Editorial.” Harper’s Magazine (July 1994). http://www.harpers.org/MorteDeNixon.html>. Ponce de Leon, Charles L. Self-Exposure: Human-Interest Journalism and the Emergence of Celebrity in America, 1890-1940. Chapel Hill: U of North Carolina P, 2002. Ridgeway, James. “Bush Takes a Ride in Reagan’s Wake.” Village Voice (10 June 2004). http://www.villagevoice.com/issues/0423/mondo5.php>. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Cambridge: Cambridge UP, 2000. Zinn, Howard. The Peoples’ History of the United States: 1492-Present. New York: Harper Perennial, 1995. Citation reference for this article MLA Style Howley, Kevin. "Always Famous: Or, The Electoral Half-Life of Ronald Reagan." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/17-howley.php>. APA Style Howley, K. (Nov. 2004) "Always Famous: Or, The Electoral Half-Life of Ronald Reagan," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/17-howley.php>.

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Abstract Background Connections between China and the new Spanish colonies in America are known for an exchange of silver for silks and porcelains. That also medicinal drugs and medicinal knowledge crossed the Pacific Ocean is hardly known or discussed. Myroxylon balsamum (L.) Harms var. pereirae (Royle) Harms (“New World“ or “Peruvian balsam“) is a botanical balsam that has a long history of medicinal use, particularly as antiseptic and for wound healing. Except for a Chinese article discussing the reception of balsam in China and Japan, no scientific studies on its impact in China and Japan and the channels of transfer from the Americas to Asia exist. Methods Description: (1) This section provides a general introduction into Commiphora gileadensis (“Old World” balsam) as a medicinal category and discusses the specific medicinal properties of Myroxylon balsamum (L.) Harms var. pereirae (Royle) Harms. The section “Historical research and uses” provides a brief survey on some historical analyses of balsam. Aim, design, setting: (2) Applying a comparative textual and archaeological analysis the article critically examines Chinese and Japanese sources (texts, maps) to show (i) what Chinese and Japanese scholars knew about balsam, (ii) where and how it was used, and (iii) to identify reasons why the “digestion” of knowledge on balsam as a medicinal developed so differently in China and Japan. Results and discussion This chapter discusses the introduction of “Peruvian balsam” into, its uses as a medicinal as well as its scholarly reception in early modern China and Japan and introduces the channels of transmission from Spanish America to Asia. It is shown that Myroxylon balsamum (L.) Harms var. pereirae (Royle) Harms was partly a highly valued substance imported from the Americas into China and Japan. But the history of the reception of medicinal knowledge on Peruvian balsam was significantly different in China and Japan. Conclusions In Japan, the knowledge on Myroxylon balsamum was continuously updated, especially through mediation of Dutch physicians; Japanese scholars, doctors and pharmacists possessed a solid knowledge on this balsam, its origin and its medicinal uses. In China, on the contrary, there was no further “digestion” or development of the knowledge on either Myroxylon balsamum (L.) Harms var. pereirae (Royle) Harms or Commiphora gileadensis. By the late nineteenth century, related medicinal and even geographic knowledge had mostly been lost. The interest in “balsam” in late Qing scholarship was pure encyclopaedic and philosophic.

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Abstract Aim This article evaluates the effect of incorporating different concentrations of silver nanoparticles as an antimicrobial agent on the flexural and impact strength of heat-cured denture base resin. Material and Methods A total of 80 specimens of polymethyl methacrylate resin were fabricated (40 for flexural strength and 40 for impact strength). Specimens were fabricated using stainless steel die of dimension 65 mm × 10 mm × 2.5 mm as per the American Dental Association specification no. 12, and 50 mm × 6 mm × 4 mm as per ISO 1567:1999 for flexural strength and impact strength, respectively, and were divided into four groups (A, B, C, and D) based on the concentrations of silver nanoparticles (0%, 2.5%, 5%, and 10%). The specimens were subjected to three-point bending test and Izod impact tester for testing flexural and impact strength, respectively. Data obtained was compiled and analyzed using one-way analysis of variance and post hoc tests. Results Results showed that for both the properties, maximum strength was observed in group A (control) followed by groups B and C, and minimum was observed in group D. A statistically significant difference in flexural strength was found among all the groups, whereas no statistically significant difference in impact strength was found among any of the groups. Conclusion Within the limitations of this in vitro study, it was concluded that though incorporation of silver nanoparticles exhibited no effect on the impact strength of heat cure denture base resin, it decreased the flexural strength, so it should be used cautiously.

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On October 15th, 2007, Kathleen Casey-Kirschling became the first Baby Boomer to ride the "silver tsunami" by applying for her social security benefits. Riding a wave is an appropriate analogy for Baby Boomers given the expectations they have for their later years. Now, just as it was in the original 2003 Behavioral Determinants article, the answer to the question, “Can this generation of Americans expect to achieve a satisfying, high- quality life as older adults?” is still a resounding yes. But now, there is greater clarity and more specific detail as to exactly what the Baby Boomer generation should, and can, be doing to insure that they have the quality of life as older adults that they have become accustomed to in their younger years. To that end, this article will examine the updated recommendations for physical activity and psychological elements associated with healthy aging.

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Since winning the Academy Award for Best Picture in 1968, Norman Jewison’s In the Heat of the Night has been considered a landmark of Hollywood civil rights cinema. In Virgil Tibbs, generally considered the silver screen’s first Black detective, Sidney Poitier captured widespread anger over the glacial pace of social change in the early 1960s. Yet In the Heat of the Night also works to reproduce post-war Hollywood’s narrative regionalization of racism, in which discrimination, racial violence, and forms of institutional and structural racism are construed as distinctly southern phenomena. With emphasis on specific production decisions involving Stirling Silliphant’s screenplay, Jewison’s directorial choices, and the calculations of industry executives, this article considers how Hollywood’s “redneckification” of racism works to efface not only histories of racism in the American North and West but also the Canadian racism which marked Jewison’s Toronto childhood and animated his anti-racist sensibilities as a filmmaker.

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This paper rests on how the two bestseller horror novels chosen to compare actually connect to each other. It reviews twin interspecies relationships. The first one is a young adult debut novel The Silver Kiss (2009) by English born American author Annette Curtis Klause. It was published in 1990 and republished in 2009 with two additional short stories, “The Summer of Love” and “The Christmas Cat.” Michigan Library Association picked it as the ‘Best Book of the Year Honor Book‘ in 1990. School Library Journal too gave it place among the Best Books in the same year and American Library Association, in 1991, considered it among the Best Books for Young Adults. The other is also a debut work Let the Right One In (original Swedish: Lat denratteKomma in), also known as Let Me In (2004). It is a vampire fiction novel written by Swedish writer John Ajvide Lindqvist and translated by Ebba Segerberg into English (2008).The subject of both the works taken into consideration here is loss, relationships and vampires. ‘Species’ means type or class of individuals sharing common characteristics, whereas inter-species means taking place between species. The Silver Kiss unfolds the tale of the teenager heroine Zoe’s life, taking into account her mother’s battle with cancer and death. She is very courageous, but all alone. She is in need of someone who can hold her in sleepless nights. Late one night, she takes a walk around the garden where she meets the dashing and silver haired Simon. He realizes the agony of desolation and death and Zoe’s pensive contemplation of her sinking mother. Both of them become reconciled to emotional loss via their budding inter-relation and are strongly concerned for each other. Let the Right One In revolves around the affinity betwixt Oskar Eriksson, who is twelve years of age and an age-old vampire in the figure of Eli who also happens to be a child. Oskar is all the time teased in school by a bunch of bullies, who take pleasure in inflicting severe pain and shame upon him. With Eli’s support, he is able to retaliate against his cuss harassers. A distinctive impression of vampirism has been created by both Klause and Lindqvist together. Connectively, the inferno strikes one with all the returning warmth. Details of the figures’ everyday lives have been shared with the readers appealingly. Initially, the whole lot of selves give the impression of being unattached, after all they come to be interrelated before long. By-and-large, the novels under discussion in this place are manifold and come up with the matters in question for the reviewers to ponder over. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0771/a.php" alt="Hit counter" /></p>

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Abstract Epidemiological surveillance programs such as digital contact tracing have been touted as a silver bullet that will free the American public from the strictures of social distancing, enabling a return to school, work, and socializing. This Article assesses whether and under what circ*mstances the United States ought to embrace such programs. Part I analyzes the constitutionality of programs like digital contact tracing, arguing that the Fourth Amendment’s protection against unreasonable searches and seizures may well regulate the use of location data for epidemiological purposes, but that the legislative and executive branches have significant latitude to develop these programs within the broad constraints of the ``special needs'' doctrine elaborated by the courts in parallel circ*mstances. Part II cautions that the absence of a firm warrant requirement for digital contact tracing should not serve as a green light for unregulated and mass digital location tracking. In light of substantial risks to privacy, policy makers must ask hard questions about efficacy and the comparative advantages of location tracking versus more traditional means of controlling epidemic contagions, take seriously threats to privacy, tailor programs parsimoniously, establish clear metrics for determining success, and set clear plans for decommissioning surveillance programs.

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Swine semantics erupted into a linguistic battle between the two U.S. presidential candidates in the 2008 campaign over a lesser-known colloquialism “lipstick on a pig” reference in a speech by then Democratic presidential candidate, Barack Obama. This resulted in the Republicans sparring with the Democrats over the identification of the “swine” in question, claiming “sexism” and demanding an apology on behalf of then Governor Sarah Palin, the first female Republican vice presidential candidate. The Republican Party, fearful of being criticised for its own sexist and racist views (Kuhn par. 1), seized the opportunity to attack the Democrats with a proactive media campaign that made the lipstick comment a lead story in the media during a critical time less than two months before the election, derailing more serious campaign issues and focusing attention on Palin, who had just made her national political debut and whose level of experience was widely debated. Leskovec, Backstrom, and Kleinberg conducted a meme-tracking study for analysing news-cycle phrases in approximately 90 million stories from 1.6 million online sites spanning mainstream news to blogs during the final three months of the U.S. presidential election (1). They discovered that “lipstick on a pig” was “stickier” than other phrases and received “unexpectedly high popularity” (4). A simple Google search of “lipstick on a pig” resulted in 244,000 results, with more than half originating in 2008. Obama’s “Lipstick on a Pig” Reference During the final rounds of the 2008 U.S. presidential campaign, Democratic presidential candidate Barack Obama’s words at a widely televised campaign stop in Lebanon, Virginia, on 9 September, sparked a linguistic debate between the two major American political parties 56 days before Election Day. Obama attempted to debunk McCain’s strategy about change in the following statement:John McCain says he’s about change, too. [...] And so I guess his whole angle is, watch out, George Bush. Except for economic policy, healthcare policy, tax policy, education policy, foreign policy, and Karl Rove-style politics [...] That’s not change. That’s just calling some—the same thing, something different. But you know [...] you can put [...] lipstick on a pig. It’s still a pig (“Obama’s Take”).A reporter from The New York Times commented that it was clear to the audience that Obama’s “lipstick” phrase was a direct reference to McCain’s policies (Zeleny par. 5). Known as a well-educated, articulate speaker, perhaps one considered too professorial for mainstream America, Obama attempted to inject more folksy language and humour into his dialogue with the public. However, the Republicans interpreted the metaphor quite differently. Republicans Claim “Sexism” from a “Male Chauvinist Pig” The Republican contender John McCain and his entourage immediately took offence, claiming that the “pig” in question was a sexist comment referring to Palin, who was introduced on 29 August as the first female vice presidential candidate on the Republican ticket (“VP Pick”). A Republican National Committee spokeswoman quickly told the media, “Sarah Palin’s maverick record of reform doesn’t need any ‘dressing up,’ but the Obama campaign’s condescending commentary deserves some dressing down” (Chozick par. 8). McCain’s camp formed the Palin Truth Squad with 54 Republican women, primarily lawyers and politicians, on the same day as the metaphor was used, to counter negative media and Internet commentary about Palin (Harper A13). Almost immediately after Obama’s “lipstick” comment, McCain’s camp conducted a conference call with journalists and former Massachusetts Governor Jane Swift, a Republican and chair of the Palin Truth Squad, who stated the lipstick comment referred to Palin, “the only one of the four—the presidential and vice presidential candidates—who wears lipstick” (Kornblut and Shear par. 12). Another member of the Squad, Thelma Drake, then a Republican Representative from Virginia, said that “it’s hard for Barack Obama to paint himself as the agent of change if he harbors the same mindset that Palin and millions of women just like her, have been fighting against their whole lives” (Applegate par. 8). Swift and others also claimed Obama was referring to Palin since she had herself used a lipstick metaphor during her Republican National Convention speech, 3 Sepember: “I love those hockey moms. You know, they say the difference between a hockey mom and a pit bull? Lipstick” (“Palin’s Speech” par. 26). The Republicans also created an anti-Obama Web ad with the theme, “Ready to Lead? No. Ready to Smear? Yes,“ (Weisman and Slevin A01) with a compilation of video clips of Palin’s “lipstick” joke, followed by the latter part of Obama's “lipstick” speech, and CBS News anchorwoman, Katie Couric, talking about “sexism” in politics, that latter of which referred to an older clip referring to Hillary Clinton’s campaign for the White House. Both clips on Obama and Couric were taken out of context. CBS retaliated and released a statement that the network “does not endorse any candidate” and that “any use of CBS personnel in political advertising that suggests the contrary is misleading” (Silva par. 8). YouTube pulled the Republican Web ads stating that the cause was “due to a copyright claim” (Silva par. 7). Another porcine phrase became linked to Obama—“male chauvinist pig”—an expression that evolved as an outgrowth of the feminist movement in the 1960s and first appeared with the third word, “pig,” in the media in 1970 (Mansbridge and Flaster 261). BlogHer, a blog for women, posted “Liberal Chauvinist Pigs,” on the same day as Obama's speech, asking: “Does the expression male chauvinist pig come to mind?” (Leary par. 5) Other conservative blogs also reflected on this question, painting Obama as a male chauvinist pig, and chastising both the liberal media and the Democrats for questioning Palin’s credentials as a viable vice presidential candidate. Obama “Sexist Pig Gear” protest tee-shirts, buttons, and bumper stickers were sold online by Zazzle.com. Democratic Response to “Controversy” During a campaign stop in Norfolk, Virginia, the day after his “lipstick” comment, Obama called the Republican backlash the “latest made-up controversy by the John McCain campaign” and appealed for a return to more serious topics with “enough” of “foolish diversions” (“Obama Hits”). He stated that the Republicans “seize on an innocent remark, try to take it out of context, throw up an outrageous ad, because they know it’s catnip for the news media” (“Obama Hits”). Obama also referred to the situation as the “silly season of politics” in media interviews (James par. 8). Obama’s spokespeople rallied claiming that McCain played the “gender card about the use of a common analogy” (Kornblut and Shear par. 6). An Obama campaign spokesman distributed to the media copies of articles from a Chicago Tribune story in 2007 in which McCain applied the lipstick analogy about the healthcare strategy of Hillary Clinton, a previous female Democratic presidential contender (Chozick 11). Another Obama spokeswoman said that the porcine expression “was older than my grandfather’s grandfather,” (Zimmer par. 1) which also inspired the media and linguists to further investigate this claim. Evolution of “Lipstick on a Pig” This particular colloquial use of a “pig” evolved from a long history of porcine expressions in American politics. American political discourse has been rich with cultural references to porcine idioms with negative connotations. Pork barrels were common 19th-century household items used to store salt pork, and some plantation owners doled out the large barrels as rewards to slaves who then had to compete with each other to grab a portion (Maxey 693). In post-Civil War America, “pork barrel” became a political term for legislative bills “loaded with special projects for Members of Congress to distribute to their constituents back home as an act of largesse, courtesy of the federal taxpayer” (“Pork Barrel Legislation”). Today, “pork barrel” is widely used in the U.S., Australia, New Zealand, the United Kingdom, and other countries (“Definition Pork Barrel”) to refer to “government projects or appropriations yielding rich patronage benefits” (“Pork Barrel”). Conservative radio personality Rush Limbaugh coined the term, “porkulus,” as another expression for “pork barrel” by merging the words “pork and “stimulus,” while discussing President Obama’s economic stimulus package in January 2009 (Kuntz par. 1). Ben Zimmer, an American lexicologist, explained that “many porcine proverbs describe vain attempts at converting something from ugly to pretty, or from useless to useful” (par. 2). Zimmer and other writers investigated the heritage of “lipstick on a pig” over the past 500 years from “you can't make a silk purse from a sow’s ear,” “a hog in armour is still a hog,” and “a hog in a silk waistcoat is still a hog.” Zimmer connected the dots between the words “lipstick,” a 19th-century invention, and “pig” to a Los Angeles Times editor in 1926 who wrote: “Most of us know as much of history as a pig does of lipsticks” (par. 3). American Politicians Who Have Smeared “Lipstick on a Pig” Which American politicians had used “lipstick on a pig” before Obama? Both Democrats and Republicans have coloured their speech with this colloquialism to refer to specific issues, not specific people. In 2008, Elizabeth Edwards, wife of presidential hopeful John Edwards, used the porcine expression about McCain’s healthcare proposals at a Democratic campaign event and House Minority Leader John Boehner, a Republican, about weak Republican fundraising efforts during the same month (Covington and Curry par. 7-8). McCain ironically used the term twice to criticise Hillary Clinton’s healthcare proposals as “lipstick on a pig,” while they were both campaigning in 2007 (Covington and Curry par. 6). His statement received limited attention at the time. During a telephone interview in 2007, Obama also had used the pig analogy when referring to an “impossible assignment” George W. Bush gave to General Petraeus, who was then serving as the Multinational Forces Iraq Commander (Tapper par. 15). In 2004, Republican Vice President Richard Cheney applied a regional slant: “As we like to say in Wyoming, you can put all the lipstick you want on a pig, but at the end of the day it's still a pig,” about the national defence record of John Kerry, then a Democratic presidential nominee (Covington and Curry par. 4). A few months earlier that year, John Edwards, Democratic vice presidential candidate, scolded the Bush administration for putting “lipstick on a pig” on “lackluster job-creation numbers” (Covington and Curry par. 3). Representative Charles Rangel, a Democrat, identified the “pig” as a tax bill the same year (Siegel par. 15-16). In 1992, the late Governor of Texas, Ann Richards, a Democrat, who was known for colourful phrases, gave the pig a name when she said: “You can put lipstick on a hog and call it Monique, but it is still a pig,” referring to the Republican administration for deploying warships to protect oil tankers in the Middle East, effectively subsidizing foreign oil (Zimmer par. 4). A year earlier, when she introduced her first budget for Texas, she said: “This is not another one of those deals where you put lipstick on a hog and call it a princess” (Zimmer par. 4). The earliest reputed recorded use of an American politician using the phrase was Texas Democrat Jim Hightower, who applied it to depict the reorganisation of Ronald Reagan's Cabinet in 1986 (Macintyre 16). Time magazine reporters (Covington and Curry par. 2) and Zimmer (par. 3) claimed that a San Francisco radio personality, Ron Lyons, was one of the earliest quoted in print with “lipstick on a pig” about renovation plans for a local park in November 1985 in the Washington Post. Author of the Double-Tongued Dictionary, Grant Barrett, uncovered a 1980 article from a small Washington state newspaper as the earliest written record with an article that stated: “You can clean up a pig, put a ribbon on it’s [sic] tail, spray it with perfume, but it is still a pig” (Guzman par. 7). A book on communication also adopted the pig metaphor in its title in 2006, Lipstick on a Pig: Winning in the No-Spin Era by Someone Who Knows the Game, by Torie Clarke, who previously served as Assistant Secretary of Defense for Public Affairs under Donald Rumsfield during the early years of the G.W. Bush Administration. Media Commentary According to The New York Times (Leibovich and Barrett), “lipstick on a pig” was one of the most popular political buzzwords and phrases of 2008, along with others directly referring to Palin, “Caribou Barbie” and “Hockey Mom,” as well as “Maverick,” a popular term used by both McCain and Palin. Many journalists played on the metaphor to express disdain for negative political campaigns. A Wall Street Journal article asked: “What's the difference between a more hopeful kind of politics and old-fashioned attacks? Lipstick” (Chozick par. 1). International media also covered the Obama-McCain lipstick wars. The Economist, for example, wrote that the “descent of American politics into pig wrestling has dismayed America’s best friends abroad” (“Endless Culture War” par. 6). Bloggers claimed that Obama’s “lipstick” speech was influenced by copy and imagery from two leading American cartoonists. The Free Republic, self-acclaimed to be “the premier online gathering place for independent, grass-roots conservatism” (Freerepublic.com), claimed that Obama plagiarized almost verbatim the language leading into the “pig” comment from a Tom Toles cartoon that ran in the Washington Post on 5 Sepember (see fig. 1).Fig. 1. Toles, Tom. Cartoon. Washington Post. 5 Sep. 2008. 30 July 2010 Another cartoon by R. J. Matson appeared in the St. Louis Post Dispatch (see fig. 2) four days before Obama’s speech that depicted Palin not just as a pig wearing lipstick, but as one using pork barrel funding. The cartoon’s caption provides an interpretation of Palin's lipstick analogy: “Question: What’s the Difference Between a Hockey Mom Reformer and a Business-As-Usual Pork Barrel-Spending Politician? Answer: Lipstick.” Newsbusters.org blogger stated: “It’s not too far-fetched to say Team Obama is cribbing his stump speech laugh lines from the liberal funnies” (Shepherd par. 3). Fig 2. Matson, R. J. Cartoon. St. Louis Post Dispatch. 5 Sep. 2008. 30 July 2010 . A porcine American character known for heavy makeup and a starring role as one of the Muppets created by puppeteer Jim Henson in the 1970s, Miss Piggy still remains an American icon. She commented on the situation during an interview on the set of “Today,” an American television program. When the interviewer asked, “Were you surprised by all the hubbub this election season over your lipstick practices?,” Miss Piggy’s response was “Moi will not dignify that with a response” (Raphael par. 6-7). Concluding Comments The 2008 U.S. presidential election presented new players in the arena: the first African-American in a leading party and the first female Republican. During a major election, words used by candidates are widely scrutinised and, in this case, the “lipstick on a pig” phrase was misconstrued by the opposing party, known for conservative values, that latched onto the opportunity to level a charge of sexism against the more liberal party. Vocabulary about gender, like language about race, can become a “minefield” (Givhan M01). With today’s 24/7 news cycle and the blogosphere, the perceived significance of a political comment, whether innocent or not, is magnified through repeated analysis and commentary. The meme-tracking study by Leskovec, Backstrom, and Kleinberg observed that 2.5 hours was the typical time lag between stories originating in mainstream media and reaching the blogosphere (8); whereas only 3.5 percent of the stories began in blogs and later permeated into traditional media (9). An English author of the history of clichés and language, Julia Cresswell, stated that the “lipstick” term “seems to be another candidate for clichéhood” (61). Although usage of clichés can prove to cause complications as in the case of Obama’s lipstick reference, Obama was able to diffuse the Republican backlash quickly and make a plea to return to serious issues affecting voters. David Greenberg analysed Obama’s presidential win and explained: And although other factors, especially the tanking economy, obviously contributed more directly to his November victory, it would be a mistake to overlook the importance of his skill at mastering the politics of negative attacks. When Obama went negative against others, he carefully singled out aspects of his opponents’ characters that, he argued, American politics itself had to transcend; he associated his foes with the worst of the old politics and himself with the best of the new. When others fired at him, in contrast, he was almost always able to turn the criticisms back upon them—through feigned outrage, among other tactics—as perpetuating those selfsame blights on our politics (70). References Applegate, Aaron. “Rep. Drake Criticizes Obama for ‘Lipstick on a Pig’ Remark.” Virginia Pilot 10 Sep. 2008. 28 Jul. 2010. Chozick, Amy. “Obama Puts Different Twist on Lipstick.” Wall Street Journal 9 Sep. 2008. 30 Jul. 2010. Covington, Marti, and Maya Curry. “A Brief History of: ‘Putting Lipstick on a Pig.’” Time 11 Sep. 2008. 17 May 2010. Cresswell, Julia. “Let’s Hear it for the Cliché.” British Journalism Review 19.57 (2008): 57-61. “Endless Culture War.” The Economist 4 Oct. 2008: ABI/INFORM Global, ProQuest. 30 Jul. 2010. “Definition Pork Barrel.” Webster’s Online Dictionary. 30 Jul. 2010. freerepublic.com. “Welcome to Free Republic.” Free Republic 2009. 30 Jul. 2010. Givhan, Robin. “On the Subject of Race, Words Get in the Way.” Washington Post 20 Jan. 2008: M01. Greenberg, David. “Accentuating the Negative.” Dissent 56.2 (2009): 70-75. Guzman, Monica. “‘Lipstick on a Pig’ Finds Origin in Tiny State Newspaper.” Seattlepi.com 10 Sep. 2008. 17 May 2010. Harper, Jennifer. “Obama Comment Offends GOP Women; ‘Palin Truth Squad’ Sent Out to Counter ‘Lipstick on a Pig’ Remark.” Washington Times 10 Sep. 2008: A13. Huston, Warner Todd. “Did Obama Steal His Lip Stick on a Pig From a Political Cartoon?” Newsbusters.org 10 Sep. 2008. 15 Jul. 2010 . James, Frank. “Barack Obama on David Letterman.” Chicago Tribune 11 Sep. 2008. 15 Jul. 2010 http://www.swamppolitics.com/news/politics/blog/2008/09/barack_obama_on_david_letterma.html>. Kornblut, Anne E., and Michael D. Shear. “McCain Camp Sees an Insult in a Saying.” Washington Post 10 Sep. 2008. 30 Jul. 2010 AR2008090903531.html>. Kuhn, David P. “GOP Fears Charges of Racism, Sexism.” Politico.com 23 Feb. 2008. 4 Oct. 2010. Kuntz, Tom. “Porkulus.” NYTimes.com 8 Feb. 2009. 30 Jul. 2010. Leary, Anne. “Liberal Chauvinist Pigs.” BlogHer 9 Sep. 2008. 2 Oct. 2010. Leibovich, Mark, and Grant Barrett. “The Buzzwords of 2008.” New York Times 21 Dec. 2008. 29 Jul. 2010 http://www.nytimes.com/ref/weekinreview/buzzwords2008.html>. Leskovec, Jure, Lars Backstrom, and Jon Kleinberg. “Meme-tracking and the Dynamics of the News Cycle.” ACM SIGKDD International Conference on Knowledge Discovery and Data Mining, Paris, 28 Jun. 2009. 30 Jul. 2010 . Macintyre, Ben. “US Politics is Littered with Dawgs, Crawdaddys and Pigs in Lipstick.” The Times [London] 27 Sep. 2008: 16. Mansbridge, Jane, and Katherine Flaster. “Male Chauvinist, Feminist, Sexist, and Sexual Harassment: Different Trajectories in Feminist Linguistic Innovation.” American Speech 80.3 (Fall 2005): 256-279. Maxey, Chester Collins. “A Little History of Pork.” National Municipal Review, Volume VIII. Concord: Rumford Press, 1919. Google Books. 30 Jul. 2010. “Obama Hits Back Against McCain Campaign.” MSNBC 10 Sep. 2008. Televised Speech. 18 May 2010. “Obama’s Take on McCain's Version of Change.” CNN 9 Sep. 2009. YouTube.com. 17 May 2010. “Palin’s Speech at the Republican National Convention.” New York Times 3 Sep. 2008. 17 May 2010. “Pork Barrel.” Merriam-Webster Online Dictionary 2010. 30 Jul. 2010. “Pork Barrel Legislation.” C-SPAN Congressional Glossary. c-span.org. 17 May 2010. Raphael, Rina. “Miss Piggy: Obama Should Make Poodle First Pet” Today 13 Nov. 2008. MSNBC.com. 29 Jul. 2010. Shepherd, Ken. “Palin Shown As Lipsticked Pig in Cartoon Days Before Obama Remark.” NewsBusters.org 11 Sep. 2008. 30 Jul. 2010 . Siegel, Robert. “Putting Lipstick on a Pig.” National Public Radio 10 Sep. 2008. 16 Jul. 2010. Silva, Mark. “Katie Couric's 'Lipstick' Rescue: CBS.” Chicago Tribune 11 Sep. 2008. 30 Jul. 2010. Tapper, Jack. “A Piggish Debate: Power, Pop, and Probings from ABC News Senior White House Correspondent Jake Tapper.” ABC News 9 Sep. 2008. 29 Jul. 2010. “VP Pick Palin Makes Appeal to Women Voters.” NBC News, msnbc.com, and Associated Press 28 Aug. 2008. 30 Jul. 2010. Weisman, Jonathan, and Peter Slevin. “McCain Camp Hits Obama on More Than One Front.” Washington Post 11 Sep. 2008: A04. Zeleny, Jeff. “Feeling a Challenge, Obama Sharpens His Silver Tongue.” New York Times 10 Sep. 2008. 27 Jul. 2010. Zimmer, Ben. “Who First Put ‘Lipstick on a Pig’?” The Slate 10 Sep. 2008. 17 May 2010.

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Precious metals are to mercantile capitalism what paper is to industrial capitalism and what plastic and electronics are to post-industrial capitalism—which is to say, the different materials and their specific textual forms become the dominant, if not always preferred, means of transferring and storing value or wealth in their respective capitalist phases. As a distinct “text,” what separates the precious metals from the materials that follow them is that they are seen as “natural money.” In Capital, for example, Karl Marx endorses Galiani’s view that “although gold and silver are not by Nature money, money is by Nature gold and silver”(92-3). Common enough even among contemporary economists, this view relies upon a conception of “Nature” and money that paper began to unsettle and that the new forms of plastic and electronic money altogether erase. Thus Marshall McLuhan early on proclaimed that the new electronic technologies put “the very concept of money [ . . . ] in jeopardy . . .” (138-9). Even if this is in part true—and I think it is—how does one explain the current proliferation of money thanks to plastic cards and electronic money? Georg Simmel, in his monumental The Philosophy of Money, provides one possible answer. Discussing the war between Spain and the Netherlands, Simmel generalizes “ . . . and one might say paradoxically that, the more it is really money in its essential significance, the less need there is for it to be money in a material sense”(171). Plastic and electronic technologies, far from threatening the “very concept of money,” have worked to free the “essential significance” of money from its previous material forms. Certain forms of money may indeed be in jeopardy but, precisely because of this, the concept of money is all the more necessary to the ideological harmony of post-industrial capitalism. It would even be going too far to say that the new plastic and electronic forms of exchange threaten the aura of money. Instead, it is more advantageous to see these differing materials and their textual forms as representing competing mythologies. As a starting point, consider the de a ocho reales (pieces-of-eight) often referred to as the Spanish or pillar dollar. Minted from silver that came from the Spanish Empire’s silver mines in the New World, it represents the peak of mercantile capitalism. On its obverse side is the image of two worlds between two columns, representing the Pillars of Hercules. Winding around the columns is a banner with the inscription “plus ultra” (more beyond). On one level, this promise was frighteningly true—estimates range from a staggering 145,000 to 165,000 tons of silver extracted from the New World by Europeans (Weatherford 100). And yet, the promise of infinite wealth is belied, ultimately, by the finite nature of the material being used to fashion this text. In contrast, consider the inscription found on the first coin minted in 1787 by the newly established United States of America. The one-cent copper coin bears the motto “Fugio MIND YOUR BUSINESS” and shows the sun above a sundial. The references to time (fugio or I fly) are clearly indebted to the axiom “time is money”, which comes from a founding father of the new nation, Benjamin Franklin, who, perhaps more than any other, lived out and popularized its revolutionary ideology. “Mind your business” is equally Franklinesque and equally expressive of the spirit necessary for the emergence of industrial capitalism. Nonetheless, the coin’s advice, like the Spanish dollar’s promise, contains its own instability. The relatively congenial warning that wasting your time will cost you money is undercut by the pugnacious double entendre contained in “mind your business”, which can also mean stay out of other people’s affairs. The double meaning of “mind your business” encapsulates a rationalist utopia of individual citizens who serve the common good simply by tending to their own gardens or minding their own businesses. In less than seventy-five years, America’s Civil War violently exposed the internal contradictions of such an aspiration. Switching the motto of the Spanish silver dollar with that of the American copper penny results in a jarring confusion that illustrates the ideological divide between mercantile and industrial capital that the two coins represent. The Spanish dollar promises infinite wealth based upon trade, an individual’s appetite for “more,” and access to scarce commodities (gold and silver). The American penny promises endless work based upon production, self-interest, and access to cheap commodities, such as copper. This American work ethic fueled a pathological amassing of wealth that is similar to and yet distinct from the mercantile period preceding it. The differences and similarities are like those that Marx finds between the miser and the capitalist: “This boundless greed after riches, this passionate chase after exchange-value, is common to the capitalist and the miser; but while the miser is merely a capitalist gone mad, the capitalist is a rational miser”(151). Adapting Marx’s comparison, then, it would be more accurate to say the mercantile capitalist is an unfinished capitalist, distracted from his purpose by the maddening allure of the miser’s horde. While the industrial capitalist, on the other hand, may be the truer capitalist, he is still a miser, albeit a rational one. If capitalists are going to realize their full potential as “rational misers” the history of America shows they can only achieve this with a medium of exchange that is cheaper, more accessible, and more disposable than copper or any other metal. Through paper currency, America not only financed its revolution, making it the first nation in the history of the world to do so, it also financed its westward expansion, the North’s victory in the Civil War, and it unleashed the productive capacities necessary for an industrial revolution that would surpass its European rivals. The design found on America’s modern one-dollar bill—which except for minor changes has remained the same since 1935—reveals a textual indeterminacy, like that found in the Spanish dollar and America’s revolutionary copper penny. The first aspect of its indeterminacy is in the nature of all paper currencies. Their cheap materials, relatively easy production, and fiat value make them attractive to counterfeiters as well as governments. To a degree unmatched by coins, paper money’s text is driven by anxieties over counterfeiting. For example, the signatures of the U.S. Treasurer and Secretary of the Treasury on the front of America’s paper currency are motivated in part by this anxiety. But the signing of an official’s name holds a deeper significance, one that separates paper currency from metal. Paper currency seems to call for a signature the way metal coins call for heads in profile. Metal coins, even when machine made, still evoke the artisan and his mode of production—circ*mscribed, organic, and coherent. The very real artisanship that goes into paper currency is lost in a surreal sea of printed signs—open, fragmented, and dreamlike. The signature, although mechanically reproduced, leaves the trace of a human hand and the individual to which it belongs. In a world where exchange value is created by artificial means that are essentially limitless, the signature is a reassuring reminder of human limits and authority. A different sort of tension is on the back of the dollar bill. Here the front and back of the Great Seal of the United States are on either side of a “ONE” in large letters at the center of the rectangular design. The contraries contained in the Great Seal—war and peace represented by the olive branch and arrows the eagle holds in its talons and the material and the spiritual aspects of life represented by the unfinished pyramid and the eye of the Deity that shines above it—draw the viewer into a web of triangular sight lines. The back of the Seal encircles an apparent triangle formed by the pyramid and the eye above it. The encircled triangle in the Seal’s front is subtler. It is made by the number thirteen which appears in the thirteen stars above the eagle’s head and the thirteen olive leaves and arrows held in the eagle’s talons. This triangular symmetry is reinforced by the four numeral 1s with “one” written across them that appear one in each corner of the bill’s design. These 1s create bisecting diagonal sight lines that connect with and pass through the “ONE” at the center of the rectangle, thereby cutting the rectangle into four symmetrical triangles. At the very least, all this (in)visible triangular symmetry could be called overdetermined—an excessive attempt to impress order on a chaotic world and to naturalize the text’s claim as “legal tender.” If, as Simmel maintains, “all money is credit” (Ingham 24), then by one line of reasoning, it would be easy for credit cards to acknowledge this truth. Instead, like the other monetary forms we have examined, their texts work to obfuscate the social character of exchange value and naturalize or mythologize their authority. Like paper money’s connection to the printing press, credit cards are also connected to a revolutionary technology, the petroleum industry. It is fitting that credit cards are made of plastic, a by-product of oil refineries, since they originated in the 1930s as a convenience to drivers provided by the major oil companies. Even as different businesses extended the use of credit cards, they have retained their early association with the world of travel and the pleasures of mobility—both physical and social. With the company’s origin in the travel business, the American Express credit card is uniquely positioned to exploit the pleasures of mobility, and the history of its credit card designs helps to illustrate some of the ideological shifting required of post-industrial capitalism. As Jack Weatherford points out in his History of Money, American Express made effective use of a card class system. Starting in 1958 with their purple card, the color of royalty, they sought to attract consumers with a feeling of exclusivity. Some years later, they switched to the famous green card, the color of American money. In 1966, they added the distinction of the gold card for elite members. As the numbers of gold card members swelled, they sought further distinctions, such as the black card that was quickly replaced by the platinum card (229). A striking aspect of these textual permutations, given the focus of this paper, is the credit company’s reliance on the security of older monetary forms, such as precious metals and American paper currency, to attract consumers. Now that credit cards rule supreme, it is hard to recall consumers’ earlier antipathy towards them. In 1971, after credit cards were well established, one study found that almost one-third of the families interviewed thought it was “bad business to use credit cards,” and even among credit card users, nearly one-fifth felt it was “bad” (Moore and Russell 78). In contrast, the design of the latest card by American Express, its blue card, boldly proclaims the apotheosis of credit—a blue hologram suspended in transparent plastic. Here is the ultimate medium: a transparency that promises to take its possessor at the speed of light into the depths of hyperspace. Beneath these specific historical texts, lies a deeper and more general ontological association between plastic and movement, which Roland Barthes uncovers in his ruminations upon the substance in Mythologies. In its protean ability to imitate life, plastic is “less a thing than the trace of a movement”(97). And Barthes maintains our new plastic mobility revolutionizes our relationship to life itself. The finite character of metal and paper for storing and transferring wealth were always more or less apparent. Precious metals were limited by the natural laws of scarcity—first come, first served. Paper promised a world of infinite wealth, but it always threatened to hyperinflate, collapsing into worthless piles. Sometimes implicitly or sometimes explicitly, paper still relied on nature’s scarcity in order to justify its claim to value. Plastic needs no such justification. As Barthes puts it, with plastic, “the hierarchy of substances is abolished: a single one replaces them all: the whole world can be plasticized . . .”(99). In a plastic world, there are no limits on what or how much we can produce. And in such a world, only an abstract and infinite medium of exchange, such as credit, can promise to return our alienated labor to us through the plasticized commodities it purchases. Works Cited Barthes, Roland. Mythologies. Trans. Anette Lavers. New York: Farrar, Straus and Giroux, 1990. Ingham, Geoffry. “’Babylonian Madness’: On the Historical and Sociological Origins of Money.” What Is Money? Ed. John Smithin. London: Routledge, 2000. 16-41. Marx, Karl. Capital Volume One. Ed. Frederick Engels. New York: International, 1987. McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge, Mass.: MIT Press, 1995. Moore, Carl H. and Alvin E. Russell. Money: Its Origin, Development and Modern Use. Jefferson, NC: McFarland, 1987. Simmel, Georg. The Philosophy of Money. Ed. David Frisby. Trans. Tom Bottomore and David Frisby. New York: Routledge, 1990. Weatherford, Jack. The History of Money. New York: Crown, 1997. Citation reference for this article MLA Style Rizzo, Sergio. "'Show Me the Money!'" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/09-rizzo.php>. APA Style Rizzo, S. (2004, Jan 12). 'Show Me the Money!'. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/09-rizzo.php>