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The presentation of a text to a reading public may provide evidence, either of an accommodation to the expectations of anticipated readers, or of new ways to read a text. How a text was received by a scribe, as well as how, why, and in what circumstances the text was then presented, remain among the underlying considerations in any study of manuscripts. The role of ‘paratexts’, that is, all those elements in text presentation other than the main text, in the extraordinary range of new text formats and new types of books created in late antiquity and the early middle ages, will be considered in this paper. I consider three categories of text: history, law and scripture. Continuities and innovations in relation to possible precedents and models will be explored, as well as how particular examples of extant manuscripts reflect scribes’ imaginative engagement with the potential needs of new readers. [ABSTRACT FROM AUTHOR]

This study aims to discuss the philosophy of the anti-colonial domination narrative narrative in the narrative "Pistachio" speech, which reveals the civilizational and cultural dimensions of the North and the South, taking this narrative as a model, as an anti-racism and anti-chauvronistic discourse and a post-colonial creative narrative of colonialism at their different levels, as it is based on geographical and historical dimensions of South Sudan at the end of the nineteenth century. The research problem in reading this speech lies in the close intertwining of colonial civilizational visions based on religious, cultural and economic cognitive loads of the control of the culturally superior white man over those without it, specifically lions in Africa. This study raises questions, including: What is the nature of the relationship established by the colonial actor at the human level politically, culturally, religiously and socially by those on whom this act falls, and how are these civilizational dimensions formed as a suprandist discourse based on a system of religious and cultural sayings, and affects the construction of personalities and their effectiveness in civilizational and humanitarian confrontation and confrontation? To answer the main research question, the study used the sayings of cultural criticism, and the critical and cultural starting points of colonial theory and beyond. This study was divided into four axes, dealing with the first axis: addressing strategy and naming forms, the second: the semia of the body in the orbits of nois and violence, the third: the grotesque space and its symbolic representations, and the fourth: the encounter of the ego and the other and the power of the format. One of the results of the study, after analyzing the subject, body, and grotesk, and the encounter of the ego and the other, was the ability of the narrative discourse to reveal and expose the values and cultural and civilizational foundations of Western colonialism in exchange for the state of human and cultural depresssion of the people of the African continent, and the role of these principles and values in promoting the culture of exalification; The address "Pistachio Slaves" also formed a prominent semantic actor and the head of pointing out the discourse of Western domination [ABSTRACT FROM AUTHOR]

Background: B-cell maturation antigen (BCMA)-targeted T cell-redirecting immunotherapies, including Chimeric Antigen Receptor (CAR) T-cell therapy and T-cell engagers have demonstrated remarkable success in treating relapsed/refractory (RR) multiple myeloma (MM), a malignancy of plasma cells. However, a significant challenge is the severe side effects associated with T-cell overactivation, leading to cytokine release syndrome and neurotoxicity in MM patients undergoing such therapies. Bispecific NK cell engagers (NKCEs) may offer a promising alternative by redirecting NK cell cytotoxic activity towards tumor cells without triggering cytokine release syndrome. Methods: In this study, we designed a series of BCMA × CD16 NKCEs that simultaneously engage BCMA and CD16 on MM and NK cells, respectively. We evaluated the functionality of these NKCEs in vitro with respect to their molecular design. Results: Our results indicate that the format design of NKCEs influences their functionalities, underscoring the importance of format selection in optimizing NKCE-based therapies for MM. This study provides valuable insights for developing next-generation NKCEs and advancing therapeutic strategies for MM and potentially other malignancies. [ABSTRACT FROM AUTHOR]

Since the 2000s, so-called cloud computing infrastructures have had a profound impact on the capitalist relationship among labor, software, and organizations. This infrastructuring did not only affect the outsourcing of servers and databases but extends to the on-demand delivery of middleware and operating systems through so-called platforms-as-a-service (PaaS). As a result, the capitalist relationship between labor, organization, power, and software has shifted – both regarding the ways in which software development is organized and the ways in which work processes are organized through software. Such a shift is particularly evident in the development and application of so-called customer relationship management (CRM) software, which is used to plan and record sales and work processes. No longer limited to performance measurement and automated management within sales processes, the widely used Salesforce CRM software is leveraged to document and assess the work performance of employees meticulously, among other applications. To demonstrate how PaaS became central organizational media by reformatting labor and power asymmetries, the paper provides a critical analysis of the CRM software of Salesforce and the various actors and interfaces entangled with its PaaS. Thereby, the paper develops a critical media theoretical framework to analyze how the political economy of adapting PaaS is entangled with power dependencies between organizations and the labor of coding and implementing. Drawing on a platform historiographical analysis of Salesforce developer interfaces, the paper shows how organizational hierarchies and asymmetries manifest in the work of implementing specific sets of operational rules in software development (the work of formatting) and the platform capitalist standardization of work coordination in existing organizations (the formatting of work). [ABSTRACT FROM AUTHOR]

This paper studies love fraud or romance scamming as scripted communication within a commercial transaction frame. The main participants are the seller (fraudster), buyer (victim), goods (long-term romantic relationship), and money (paid by the victim). The data for this study were collected from 53 conversations between fraudsters and the author. The romance scamming frame was activated by language and lexical choices and geared to winning her trust. The process took place in stages or subframes that guided the victim towards the payment of a large sum of money. These subframes also corresponded to the different ‘subformats’ of an authentic script or ‘format’ used by romance scammers in West Africa.

Abstract Background Cost-effectiveness analyses of health technologies have become a part of the decision-making process in healthcare policies. Nevertheless, economic results are not always presented in comprehensible formats for non-technical audiences, such as the general population, healthcare professionals or decision-makers. The purpose of this study was to observe which formats best convey the key message of an economic evaluation, and which are best received by two different audiences. Methods The summary of a hypothetical cost-effectiveness analysis was edited in different formats: infographic, plain language text and video-abstract for the general population; executive summary and policy brief for a specialized population, i.e. clinicians, clinical and non-clinical managers, or methodologists in health-technology assessment. Participants were randomly shown one of the formats, and data on objective and subjective comprehension, and perceived usefulness/acceptability were gathered by means of online questionnaires. Statistical differences between formats within each audience were analysed. Results In the general population (N = 324), objective comprehension was statistically significantly better for infographic than for video-abstract (p = 0.005), and for plain text than for video-abstract (p = 0.024). There were no differences in subjective comprehension, but video-abstract was considered statistically significantly more useful to understand the information than plain text (p = 0.011). In the specialized population (N = 100), no statistically significant differences were observed for objective and subjective comprehension, although policy brief was perceived as statistically significantly more useful than executive summary (p = 0.005). Conclusions A balance between effectivity of conveying the message and attractivity of the format needs to be sought, to facilitate non-technical audiences’ understanding of economic data and, consequently, perceive decision-making processes as more transparent and legitimate. The infographic and policy brief could be robust ways to present economic data to the general public and specialized audience, respectively.

Background: Cost-effectiveness analyses of health technologies have become a part of the decision-making process in healthcare policies. Nevertheless, economic results are not always presented in comprehensible formats for non-technical audiences, such as the general population, healthcare professionals or decision-makers. The purpose of this study was to observe which formats best convey the key message of an economic evaluation, and which are best received by two different audiences. Methods: The summary of a hypothetical cost-effectiveness analysis was edited in different formats: infographic, plain language text and video-abstract for the general population; executive summary and policy brief for a specialized population, i.e. clinicians, clinical and non-clinical managers, or methodologists in health-technology assessment. Participants were randomly shown one of the formats, and data on objective and subjective comprehension, and perceived usefulness/acceptability were gathered by means of online questionnaires. Statistical differences between formats within each audience were analysed. Results: In the general population (N = 324), objective comprehension was statistically significantly better for infographic than for video-abstract (p = 0.005), and for plain text than for video-abstract (p = 0.024). There were no differences in subjective comprehension, but video-abstract was considered statistically significantly more useful to understand the information than plain text (p = 0.011). In the specialized population (N = 100), no statistically significant differences were observed for objective and subjective comprehension, although policy brief was perceived as statistically significantly more useful than executive summary (p = 0.005). Conclusions: A balance between effectivity of conveying the message and attractivity of the format needs to be sought, to facilitate non-technical audiences' understanding of economic data and, consequently, perceive decision-making processes as more transparent and legitimate. The infographic and policy brief could be robust ways to present economic data to the general public and specialized audience, respectively. [ABSTRACT FROM AUTHOR]

To demonstrate the role of safety valves in enhancing the safety characteristics of lithium-ion cells, this study conducts a set of abusive testing including accelerating rate calorimetry testing, overheating testing, and overcharge testing. Additionally, the influence of safety valves on cells with different states of health (100%, 90%, and 80% SOH) and formats (14,650, 18,650, and 22,650) is investigated. The results reveal that safety valves have a substantial influence on the thermal runaway behaviour of cells. They effectively mitigate the risks and hazards associated with thermal runaway during overheating and ARC conditions. Beyond that, the presence of a safety valve can prevent thermal runaway triggered by overcharge. It is observed that cells with lower SOH and/or smaller diameters are more prone to experiencing earlier thermal runaway. Furthermore, this research finds that the influence of safety valves is more pronounced in cells with less degradation and/or smaller formats. [ABSTRACT FROM AUTHOR]

To accurately quantify and analyze the hierarchical structure and combination characteristics of the spatial distribution of formats and to understand the evolutionary trend of format clusters, two Shanghai central districts were studied as examples. Based on the perspective of geographical proximity, the spatial correlations of different format functions were calculated and analyzed. Considering the differences of spatial correlations between different format functions, the geographical proximity correlations between format points were obtained through weighted calculations, to construct the format correlation network. Finally, the community detection algorithm was applied to identify format clusters and analyze the functional structural characteristics. The results show that format clusters in the two urban central districts have different characteristics due to the various development orientations. Compared with the People's Square central district, Lujiazui central district increases the format clusters dominated by business office functions and financial insurance functions. Basic functions such as retail/wholesale functions and food service functions are key elements in forming format clusters. As the number and size of format clusters grow, the dominant functions of format clusters evolve from a monolithic functional profile to a multiple functions profile. [ABSTRACT FROM AUTHOR]

Bispecific antibodies (bsAb) and multispecific antibodies (msAb) encompass a diverse variety of formats that can concurrently bind multiple epitopes, unlocking mechanisms to address previously difficult-to-treat or incurable diseases. Early assessment of candidate developability enables demotion of antibodies with low potential and promotion of the most promising candidates for further development. Protein-based therapies have a stringent set of developability requirements in order to be competitive (e.g. high-concentration formulation, and long half-life) and their assessment requires a robust toolkit of methods, few of which are validated for interrogating bsAbs/msAbs. Important considerations when assessing the developability of bsAbs/msAbs include their molecular format, likelihood for immunogenicity, specificity, stability, and potential for high-volume production. Here, we summarize the critical aspects of developability assessment, and provide guidance on how to develop a comprehensive plan tailored to a given bsAb/msAb.

The author, who has many years of practical experience of popular TV-programs creative producing, actualizes the problems of creative personnel management. The purpose of modern creative management assumes not only the integration of the media journalists’ convergent skills, but also the development of their creative abilities in original content development. Creativity is a semantically broad conception. By exploring empirical practice, the author identifies the most topical problems emphasizing the need of developing new approaches to creative management. The overabundance of definitions blurs the value criteria of post-industrial production of the screen shows. There is a collision of two aesthetic paradigms: innovative, Art Nouveau aesthetics, and “repetitive” postmodern aesthetics, proclaiming the creative value of variations. The method of variations demonstrates the author's individuality through predecessors' achievements, adapting other people's creative discoveries. Skills of “primary” and “secondary” creativeness represent a new type of media competencies. Interactive methods, gamification, multi-level brainstorming, discursive switching techniques make it possible to improve new criteria for media professionalism in the era of the upcoming creative economy.

Facility location selection and internal layout planning are critical strategic decisions for long-term sustainability. This study identified the most feasible location and optimal layout for a commercial bedroom furniture manufacturing facility through a seven-phase evaluation of Istanbul, Ankara, Izmir, and Bursa. The Analytical Hierarchy Process (AHP) and PROMETHEE were used for city and district selection, with AHP calculating criteria weights and PROMETHEE ranking alternatives. The Borda Count Method aggregated MCDM results, selecting Istanbul as the optimal city and Dudullu Organized Industrial Zone (O.I.Z.) as the most favorable district. The CORELAP method developed an optimal singlestory layout for a 2688 m² production and assembly facility, enhancing production flow, reducing material handling costs, and improving efficiency. These findings underscore the importance of strategic facility location and layout planning in improving the furniture industry's competitiveness and sustainability. The practical implications of this research are significant, as the findings can be directly applied to improve the competitiveness of the furniture industry. The study offers a comprehensive framework for strategic decision-making, providing valuable insights and a systematic approach applicable to similar problems in various sectors. [ABSTRACT FROM AUTHOR]

In order to assess how effective information systems are, end-user computing satisfaction (EUCS) is essential. This study evaluates EUCS among 354 employees of the Iraqi Kurdistan Region's (KRI) Ministry of Higher Education and Scientific Research. Through factor analysis, the findings indicate 16-item instrument measuring five core components: content, accuracy, format, ease of use, and timeliness. The results show important patterns and connections, emphasizing how important it is to improve these parts in order to increase user satisfaction. Accuracy had the highest impact on user satisfaction (Standardized Beta = 0.347, p < 0.001), and timeliness were particularly important, while format and ease of use had a direct impact on usability. This study gives useful information for improving IT infrastructure and user support. This will help the Ministry create a better, more efficient, and easier-to-use computer environment that meets the needs and expectations of the workforce. In the end, this will lead to higher productivity and user satisfaction. [ABSTRACT FROM AUTHOR]

What is the relationship between Michael Ventris' decipherment of Linear B and his architecture? The British architect who—against all philologists, archaeologists, and linguists—deciphered the ancient script is still renowned as a decipherer but a long-forgotten figure in the realm of architecture. This article compares the two operations; deciphering (writing) and drawing with the use of a series of his drawings (many of which have never been published before). Through a formal analysis of the various types of grids coming from his work on architecture and on the decipherment, this piece claims that Ventris used the construction of maps (Guides) of the modern buildings of London as an exercise for the mapping of the signs of Linear B. The argument rests on how certain operations of architecture can be understood outside architecture. (What counts as architectural?) On the one hand, it adds to the fascinating story of Michael Ventris and the decipherment of Linear B. On the other hand, it contributes to our understanding of the radical operation of pattern recognition in the predigital (analogical) world of architecture. [ABSTRACT FROM AUTHOR]

The TV anthology series, which enjoyed significant popularity in the past but has been scarce amidst the dominance of episodic series and serials in the 2000s and early 2010s, seemed to experience a kind of renaissance after the international success of Black Mirror (Channel 4, 2011–2014; Netflix, 2016–present), followed by other popular shows like Room 104 (HBO, 2017–2020) and Philip K. Dick's Electric Dreams (Channel 4/Amazon Prime Video, 2017–2018). The anthology format differs from series and serials in that its seasons consist of packages of episodes that are not connected by a narrative throughline, but instead feature a different plot, cast, and story world in each installment, raising the question of whether they can really be described in terms of 'seriality'. This article explores the serial qualities of the anthology format and the source of poetic unity that grants cohesion to the multifarious episodes bound together in this type of show. In the absence of narrative accumulation, alternative qualities of seriality are examined and several 'anthological markers' are identified. Ultimately, this article argues for a poetic peculiarity of the format that is determined by a dynamic interplay between a single creative purpose and episodic variety and experimentation. [ABSTRACT FROM AUTHOR]

This study aimed to test the utility of ammonium persulfate (APS) oxidised nanofibrillated cellulose (NFC) as an additive for chitosan- and alginate-based biopolymer films that could eventually be used as paper coatings for food packaging applications. Sodium alginate and chitosan were used as the base for the films. Various concentrations of APS oxidised NFC ranging from 0% to 10% were used as a reinforcing agent, resulting in six combinations of either alginate-NFC or chitosan-NFC composite films. Biofilms were tested for their mechanical properties (tensile strength and strain), grease barrier properties, air permeability, water vapour permeability, and degradation in the soil. Overall, when using the ammonium persulfate oxidation pretreatment method, the best performance of the films was estimated with the addition of 2.5% NFC.

The article examines the phenomenon of domestic television series and its role in shaping the current broadcasting content of the main Russian channels. A new term, “imperial” TV series, is introduced to characterize a significant segment of such screen products, exhibiting a specific set of creative and organizational features, as well as chronological and plot characteristics. Typically, these series are set in the late nineteenth and early twentieth centuries and have an adventurous detective orientation. An important stylistic feature of this format is the setting: in most of these series, the plot is “anchored” to Saint Petersburg, the capital of the Russian Empire during the indicated time period. This circumstance is not only creative in nature but also allows for shooting most episodes in the plein-air of Saint Petersburg with the “participation” of preserved architectural monuments or in authentic-era interiors required by the plot. Additionally, a distinctive feature of this format is the reliance on both classical literary works (A. Conan Doyle) and works by contemporary authors (A. Chizh and others) who successfully develop this genre and thematic direction. В статье рассматривается феномен отечественного телесериала и его роль в формировании текущего эфирного контента основных российских каналов. Автор предлагает ввести новый термин, характеризующий значительный сегмент подобной экранной продукции — «имперский» телесериал. Под ним подразумевается контент, обладающий определенным набором творческих и организационных признаков, а также хронологическими и сюжетными характеристиками. По времени действия подобные сериалы относятся, как правило, к рубежу конца ХIХ – начала ХХ веков, имеют авантюрно-детективную направленность. Важной стилистической чертой такого формата является место действия: в большинстве таких сериалов фабула «привязана» к Санкт-Петербургу, столице российской империи в обозначенный нами временной период. Подобное обстоятельство носит не только креативный характер, но и напрямую связано с историческими локациями, то есть с возможностями снимать большинство эпизодов либо на петербургском пленэре с «участием» сохранившихся архитектурных памятников, либо в соответствующих аутентичных интерьерах, требуемых по сюжету эпохи. Кроме того, отличительной чертой подобного формата является сюжетная опора как на классические литературные произведения (А. Конан-Дойль), так и на произведения современных авторов (А. Чиж, Л. Юзефович и другие), успешно разрабатывающих данное жанровое и тематическое направление.

The study explores the nature of adaptations made on an experiential product, a TV series, that enters a foreign market, and investigates the perceptions of foreign consumers concerning the adapted experiential product in two parts. The first part content analyses the nature of adaptations based on comparisons of the contents of the original and adapted versions of the TV series, while the second part content analyses consumers' perceptions of the adapted TV series based on their social media entries. The first part reveals three broad categories of adaptations, namely contextual, cultural, and competitive. The second part indicates that the familiarity with the original TV series and the distinct genre were influential on consumers' evaluation of and satisfaction with the adapted TV series. [ABSTRACT FROM AUTHOR]

Copyright of Media Research / Zeszyty Prasoznawcze is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Transversal media move. They move with ease across a variety of interfaces, formats, materials, software, hardware, uses, and communities of practice.1 In this article, transversal media is an umbrella term used to classify media objects with the same underlying form that takes shape across a variety of materialities through freeze and flow states. Specific to 3D data, 3D transversal media are a distinct media type that have emerged from the development and proliferation of 3D media technologies, specifically the 3D printer, 3D scanner, and extended reality (XR) devices. The central characteristic of 3D transversal media is the ability to move back and forth across digital and atomic forms. Transversality offers an alternative to understanding and speaking of the digital and atomic as opposites, while also acknowledging the differences and similarities across those material transmutations. For instance, the same 3D transversal media object can be many things simultaneously: an animation on a screen, an object inside a virtual reality experience, a 3D-printed plastic figurine, a projected hologram, and more. This article tracks the complexities of 3D transversal media when they move across their individual and networked states, and moreover, the linked cultural and technological significance of that movement. This approach reveals how technology and media can inherit and reproduce hegemonic cultural ideologies and practices—whether intentional or not. To concretize this, the article concludes with a case study on Thutmose's well-known bust of Nefertiti, now a 3D transversal object, and how its transversal affordances converge and interact with global cultural politics—specifically in this case, those related to colonialism and imperialism. [ABSTRACT FROM AUTHOR]

In the current context of social media, vertical video has become an emerging format for sharing content. From the perspective of audio-visual communication, the proliferation of mobile devices has promoted the popularity of the vertical video format on social platforms. This trend raises the need to understand its relationships, implications and influence. Objective: In this context, this research focuses on analyzing images on three leading platforms: TikTok, Instagram Reels and YouTube Shorts. Methodology: A comparative study was carried out on the three social platforms to know the characteristics and variables of genre, image (format, type, camera placement, recording space, shots, scenes, montage, continuity, audio and overlays) and time (structure, order and duration), and in total 1,194 audio-visual pieces were studied. Conclusions: From the sample it can be deduced that in the three social platforms moving images of vertical format predominate, of the entertainment genre, of a scene, recorded with the camera at eye level, indoors, with open shots and sequence, with continuity with cuts, with a linear and chronological structure, with music, with superimpositions on the image, and of variable duration. [ABSTRACT FROM AUTHOR]

The research dealt with the topic (transformations of coding format in contemporary art) with regard to the path of the contemporary artist and the importance of his connection to his society. The research problem was determined by answering the following question: (What are the hypothetical requirements for the mind to carry out an aesthetic reading of the various art formats?) As for the second chapter, it included the theoretical framework, which contained two sections, the first included (the concept of communicative codes), while the second section included (the diversity of contemporary formation codes), while the third chapter was concerned with research procedures, and the fourth chapter contained the results and conclusions.

In order to assess how effective information systems are, end-user computing satisfaction (EUCS) is essential. This study evaluates EUCS among 354 employees of the Iraqi Kurdistan Region's (KRI) Ministry of Higher Education and Scientific Research. Through factor analysis, the findings indicate 16-item instrument measuring five core components: content, accuracy, format, ease of use, and timeliness. The results show important patterns and connections, emphasizing how important it is to improve these parts in order to increase user satisfaction. Accuracy had the highest impact on user satisfaction (Standardized Beta = 0.347, p < 0.001), and timeliness were particularly important, while format and ease of use had a direct impact on usability. This study gives useful information for improving IT infrastructure and user support. This will help the Ministry create a better, more efficient, and easier-to-use computer environment that meets the needs and expectations of the workforce. In the end, this will lead to higher productivity and user satisfaction.

Digital writings, like writings in general, are presented visually to the reader through different forms depending on the discourse of circulation and the distribution devices. These visual forms typical of certain discourses and appropriate to certain devices are generally identified as formats. The concept of format has long escaped attempts at definition in semiotics and linguistics. However, it is a key concept for the analysis of texts, because it is closely linked, on the one hand, to the writing medium and, on the other, to the genre of discourse. We then propose to analyze the format by observing newspapers on paper and digital media.

The article discusses the practice of visual reflection in the television content of the events that occur in Ukraine in the area of the contact lines. This is the novelty of analyzing the rich television content that fills the air for a specific period of time, starting from the end of February 2022. The author attempts to analyze and generalize the stylistics of the relevant reports going on the air by domestic media, determines their format and typology. The article outlines the genetic relationship of war correspondents’ materials with the general trends of world visual culture within the framework of the functioning model of show civilization. The issues of the adequacy of the presentation of informational “military” materials of the reality of the confrontation between the domestic armed forces and the Armed Forces of Ukraine are touched upon. The author critically analyzes a number of techniques for visualizing events from the point of view of their informational content, the visibility of the visual series offered by the domestic mass media, as well as the geographical identification of events related to the conduct of the Special Military Operation (SMO) on the territory of Ukraine. The general line of the Russian media on the constant coverage of what is happening in the relevant points of action of the Armed Forces of the Russian Federation, including the efficiency and speed of receiving news and facts from the areas of military clashes, is also analyzed. The practice of the current information actions of journalists and those media outlets that broadcast their materials is compared in the article with the historical experience of the information and propaganda work of the Soviet media during the Great Patriotic War. The author puts forward a number of proposals that could, if implemented, build a clearer system for the dissemination of information from the SMO zone.

A web documentary or an interactive documentary is a documentary film designed for the web, broadcast on the web and available for viewing on the web. It was born within communities of innovative thinkers who imagined new ways of shooting, creating and screening documentary films in the early 2000s, against a backdrop of democratizing Internet access and broadband. Dozens of projects were launched, especially between 2000 and 2015, renewing the documentary film genre thanks to the potential of digital technology and the Internet: the presence of text, graphic elements, and a whole range of services and options that allow the emergence of delinearized, sliding or playful narratives. However, from 2015 onwards, the web (or interactive) documentary will experience a clear downturn, which can be explained in several ways: it is technically difficult to create, share and archive; its content is generally serious or scholarly, which distances it from the commonly playful nature of cinema, but also from the most widespread uses of the web, which are essentially recreational; audiences sometimes have difficulty in understanding the proposals made to them; finally, with no economic model and therefore no commercial perspectives, funders will gradually begin to distance themselves from web (or interactive) documentaries

This paper studies love fraud or romance scamming as scripted communication within a commercial transaction frame. The main participants are the seller (fraudster), buyer (victim), goods (long-term romantic relationship), and money (paid by the victim). The data for this study were collected from 53 conversations between fraudsters and the author. The romance scamming frame was activated by language and lexical choices and geared to winning her trust. The process took place in stages or subframes that guided the victim towards the payment of a large sum of money. These subframes also corresponded to the different 'subformats' of an authentic script or 'format' used by romance scammers in West Africa. [ABSTRACT FROM AUTHOR]

Copyright of SOBRE Lab is the property of SOBRE Lab - de la Universidad de Granada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the last decade cinematic virtual reality (CVR) has been progressively developing as a meaningful vehicle for impactful and immersive narratives. Recent studies of CVR concepts and components have laid the ground for a CVR narrative theoretical framework that might assist researchers and practitioners to understand this type of virtual reality (VR) experience. While existing studies have isolated key features of CVR, a range of projects from different fields of work or in different stages of production have utilized a range of different screenwriting processes and strategies to address the affordances of this medium. In this article we seek to systematize the key findings of earlier studies into a narrative framework for CVR and to analyse how this framework is reflected in existent models and templates for writing a screenplay for CVR experiences. Furthermore, and based on this narrative framework, we also aim to contribute an exploratory approach to CVR screenwriting by proposing a variative and original screenwriting template. This template addresses the main limitations of the existent screenwriting templates and formats that we analyse in this study while also summoning the main advantages. [ABSTRACT FROM AUTHOR]

This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and some- times even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – and metaphor, specifically – are her primary design tool. Language works in tandem with image and form to create broader artistic meaning. [ABSTRACT FROM AUTHOR]

Most of Gong Xian's (1618–1689) long landscape handscrolls were originally structured as accordion albums. This article discusses the morphology and metamorphosis of the accordion folds as a painting format, and rethinks the issues of surface, depth, and depths of Chinese landscape from the perspective of the painter's conception of his work. In the process of landscaping the folds—as opposed to folding the landscapes, Gong Xian subordinated painting to discernable methodologies and sensitives that are inherently related to the folds. The accordion folds were not merely an environmental reference to the representation, but a painter's choice, an authorial impetus and method that effectuated the representation, and an act that realized a work in space. I argue that for Gong Xian, it was not the landscape per se but the painting format that was being represented. Meanwhile, I correlate the issue of format metamorphosis with the increasing ekphrasis in the painting treatises and catalogs compiled in early-modern and modern China to understand image, format, and discourse in a trilateral framework. [ABSTRACT FROM AUTHOR]

The article focuses on the discovery that the anonymous novel "Jicotencal" (1826) was likely authored by Cayetano Lanuza and examines the broader implications of this revelation. It highlights the achievements of Lanuza and his associates as participants in the intellectual and book trade circles of early 19th-century New York, shedding light on their publishing firm, Lanuza, Mendía y Compañía, and its role in the development of Spanish-language literature in the U.S.

A growing community is constructing a next-generation file format (NGFF) for bioimaging to overcome problems of scalability and heterogeneity. Organized by the Open Microscopy Environment (OME), individuals and institutes across diverse modalities facing these problems have designed a format specification process (OME-NGFF) to address these needs. This paper brings together a wide range of those community members to describe the cloud-optimized format itself—OME-Zarr—along with tools and data resources available today to increase FAIR access and remove barriers in the scientific process. The current momentum offers an opportunity to unify a key component of the bioimaging domain—the file format that underlies so many personal, institutional, and global data management and analysis tasks. [ABSTRACT FROM AUTHOR]

Benjamin Martin was an itinerant lecturer, instrument maker, and the author of a substantial number of textbooks mainly in the sciences. His biggest project, however, was The General Magazine of Arts and Sciences (1755–64), dedicated to the dissemination of knowledge to a broad audience. Rather than study Martin's works with regard to the history of science, this article examines his publications in terms of their highly self‐conscious engagement with form and format. While his textbooks are concerned with economic compression, his periodical General Magazine experiments with a special, unwieldy mode of seriality that brings to the fore the role of format as well as the precarious status of seriality for the purposes of knowledge dissemination. [ABSTRACT FROM AUTHOR]