Tagging

As opposed to traditional nomads, backpackers, or tourists, digital nomads are defined as Internet-enabled remote workers, who maintain a focus on connectivity and productivity even in leisure. This essay discusses the relationship between Instagram and the digital nomad from a theoretical perspective, proposing a critique of the aesthetics and urban politics that underlie this figure. Inspired by recent theories that combine geopolitical and technological insight with a speculative approach, the article positions the digital nomad as a cultural avatar of contemporary neoliberalism, which celebrates a depoliticized aesthetics of work and helps establish a material geography of globalization through social media. In particular, the essay leverages the concept of tagging (not only intended as the use of hashtags like #digitalnomad, #solotraveller, or #remotework, but also geotagging) as a tool for cultural critique, discussing Instagram as a key site of intersection between the imaginary appeal of the traveling entrepreneur and the material effects of globalized gentrification. The conclusion provocatively suggests that, with the increasing economic and geopolitical influence of digital nomadism, Instagram might become a site of negotiation of the figure’s culture and aesthetics, potentially steering them toward a more radical re-imagination of borders and life beyond work. By offering a cultural critique of the digital nomad, the essay contributes to critical discourse on Instagram as a cultural platform.

How is Barack Obama represented in popular culture? More than the United States’ 44th president, he is also a lens through which we can examine politics, art, comics, and music in various contexts. The essays in this collection focus on the buildup to the 2008 election as well as Obama’s first year as president, a brief historical moment in which "Obama" was synonymous with possibility. The contributors represent a variety of scholarly fields such as film, journalism, mass communication, popular culture and African American studies, each adding a unique perspective on Obama’s relationship to American culture.

Im öffentlichen Raum sind Mitteilungen an allen möglichen und
unmöglichen Orten zu finden, nicht zuletzt auf den Hosenböden
mancher Passanten. Aber auch an gebauter Infrastruktur finden sich
Mitteilungen: Bilder, Texte und Mischungen aus beidem. Dabei ist
die Lesbarkeit von Bildern und Texten unterschiedlich hoch, da sie
unterschiedliche Mengen kulturellen Vorwissens benötigen.
Graffiti stehen im öffentlichen Raum neben Textilien, Tattoos, Verpackungen und anderen Mitteilungsmedien. Dabei vereint die
Gruppe der En-Passant-Medien die verschiedensten Objekte, mit
deren Hilfe die Präsentation von Themen im öffentlichen Raum auf
den verschiedensten Trägermedien geschieht.

This collection investigates the publics of the hashtag. Taking cues from critical public sphere theory, contributors are interested in publics that break beyond the mainstream – in other publics. They are interested in the kinds of publics that do politics in a way that is rough and emergent, flawed and messy, and ones in which new forms of collective power are being forged on the fly and in the shadow of loftier mainstream spheres.
Hashtags are deictic, indexical – yet what they point to is themselves, their own dual role in ongoing discourse. Focusing on hashtags used for topics from Ferguson, Missouri, to Australian politics, from online quilting communities to labour protests, from feminist outrage to drag pop culture, this collection follows hashtag publics as they trend beyond Twitter into other spaces of social networking such as Facebook, Instagram, and Tumblr as well as other media spaces such as television, print, and graffiti.

This short chapter examines the inherent contradictions of graffiti often thought of in simple polarities, such as legal vs. illegal, or art vs. vandalism. My aim is to challenge these conceptual binaries by focusing on one of the most enduring and least understood aspects of graffiti writing, namely the tag. The impetus for this comes from the photo on the cover of this book, a provocative legal piece produced with an 'illegal aesthetics', i.e. tags. The chapter starts by contextualizing my own first 'reading' of graffiti tags, then talks about how the 'writing' of graffiti is practiced, and concludes with a detailed discussion of TWIST (Barry McGee) and AMAZE's (Josh Lazcano) collage of graffiti tags that vividly represents the contradictions of this subculture and its reception from the public. This chapter attempts to glorify in a small way, the most basic, and arguably the most hated, form of graffiti-the tag. Graffiti tags represent the science of style-the aestheticized repetitive practice of writing the letters in a name in an effort to create a personal calligraphy. Tags are most often performed in public spaces under difficult circumstances and when done skillfully they are as beautiful as any mural. This is well known to the members of the subculture (and most who study it) but complete heresy to the rest of the world. Graffiti as we know it cannot exist without the tag. It is the essential component for learning, practicing and mastering the form of graffiti as vandalistic art. In the last two decades, as the mainstream has begrudgingly come to accept the artistic merit of graffiti murals or pieces, the notion that tags are done by unskilled

As libraries shift to a more electronic than physical existence, OPACs, or online public access catalog, and ILS, or integrated library systems, will need to be updated to reflect current user needs and search methods to continue to provide a high level of customer service and accessibility of materials. Web 2.0 technologies are increasingly becoming integrated into online library websites and tagging programs are one such technology that meet several needs of libraries and users alike. By adopting a tagging program into the OPAC, libraries can improve accessibility of all materials in their collection with a single program that is created by the user, for the user with little to no negative impact. In this literature review, the benefits and drawbacks of including tagging in library OPACs will be examined, as well as theories for improvement of tagging services and additional potential issues will be discussed.

As Control Process is a Key Part in project life cycle and it is Success this Thesis will show How to utilize BIM Technology in Progress Monitoring, Project Control, Estimation and Budgeting rather than Traditional Manual method used in Construction Industry till now by do the Followings:

1- Creating Workflow for Progress Monitoring based on BIM Technology which is based on Three Concepts WBS, Tags, Object Identifier (Member Mark).

2- Make the Model more intelligent by adding Additional Information such as Progress data through Tags.

3-Link BIM Model with Primavera P6 by using Object Identifier as Activity Code.

4- Reflect and Present Construction Project in a Virtual environment so each Element has a scope to enable us to understand three Important Parameter Cost, Time, Quality and Quantity needed to Build this element in Real through Quantification Engine of AECOsim and Integration of Part and BOQ Item (Component) and Calculation Formula. these Quantification Process Complies with Quantity Surveying method, Method of Measurement and Quantity Surveying Standards and that enable us to capture Progress in an effective Way.

5-Bentley Authoring Solution (AECOsim Building Designer V8) program used as Quantification Engine to develop Project Takeoff and for Progress Monitoring, Excel Spread Sheet for Estimation and Sharing data, Primavera P6 as Management Program to Generate Progress Report, Synchro Pro for 4D Simulation of Progress.

O objetivo deste artigo é traçar um panorama atual dos métodos
de representação e recuperação de conteúdo nos blogs, desde suas primeiras manifestações até o contexto atual para apresentar alternativas colaborativas de gerenciamento de informação baseadas na folksonomia e propor que as práticas hipertextuais na web 2.0 têm seus padrões alterados devido à participação de qualquer usuário na representação e na recuperação de informação.

This article o ers a philosophical account of a range of urban phenomena that are integral to the visual fabric of the modern city and, at the same time, external to the visual order administered by the city’s rulers. Explaining why the common terms of “gra ti” and “street art” are too narrow for discussing the plurality of the illicit visual forms that populate the city’s space, I coin the alternative term “streetography” and aim at a new understanding of its visual e cacy. This is done by showing that the key for deciphering the streetograph’s unique visuality is its form of embeddedness in the street and, in a corollary manner, the form of visual experience—the kinds of viewing—that the street opens for the urban viewer.
Streetographs always operate within the city’s given visual order and as such the question of their e cacy is addressed here in terms of the streetograph’s relationship to that hegemonic visual rule whose basic traits are also clari ed. Developing an understanding of this relationship, the article thus addresses the following questions: What kind of resistance can streetographs provide to the kind of optics that governs the modern urban space? Can streetographs evoke an alternative kind of spectatorship that disrupts the sovereign’s imagination? And, more speci cally, in an epoch in which streetographs are regularly absorbed into capitalist aesthetics— advertising, cinema, social media—how can they allow us to rethink the possibility of resisting the measure of a global capitalist visual system?

CLIMATE CHANGE ADAPTATION IN NIGERIA AND ITS CHALLENGES IN AGRICULTURAL SECTOR: EMPIRICAL INFORMATION

Abstract

Climate change impacts and its challenges depend on a range of the climate parameters’ changes. It also depends on the country’s social, cultural, geographical and economic backgrounds. The location and size of, and the characteristics relief in Nigeria give rise to a variety of climates ranging from tropical rainforest climate along
the coasts to the sahel climate to the northern parts of the country. Climate change is also threatening not only the sustainable development of socio-economic activities of any nation but also to the totality of human existence. Presently, Nigerians has started to feel the effects and challenges of climate change as the frequency and intensity of extreme events like floods, rainfall and drought have increased. The challenges of climate change in Nigeria have brought about the destruction of many economic and non-economic institutions including rural houses and economic trees worth millions of naira by a wind storm. This is one of the resultant effects of climate
change. Presently, due to climate change there are many agricultural farming systems adaptation by rural communities/farmers in Nigeria.

Key words: climate change, adaptation, agriculture, Nigeria

By;

*Nzeh, Emeka Celestine, ****Eboh, Rita Ogugua, *Eboh, Eric, **Nweze, Noble, ***Nzeh, Chika, *****Orebiyi, Julius and *****Lemchi, Jones

*African Institute for Applied Economics (AIAE), No. 54 Nza Street,
Independence Layout, Enugu, Enugu State, Nigeria

Email: nzecelestine@yahoo.com

**Department of Agricultural Economics, University of Nigeria, Nsukka

***Our Saviour Institute of Science and Technology (OSISATECH) Polytechnic,Enugu, Enugu State, Nigeria

****Centre for Entrepreneurship and Development Research, University of Nigeria, Nsukka.

*****Department of Agricultural Economics, Federal University of Technology,Owerri

The Lead author, Nzeh, Emeka Celestine is a Research Fellow with African Institute for Applied Economics, Enugu, Nigeria.

Nous nous concentrons sur l'exemple de la capitale espagnole pour étudier l'usage politique qui est fait de la notion de « paysage urbain », depuis 2015 jusqu'à aujourd'hui. Plus particulièrement, le présent article revient sur la mise en place progressive de programmes municipaux d'art urbain qui viennent offrir une toute autre esthétique que celle à laquelle les habitants de Madrid étaient accoutumés : depuis quarante ans, les murs étaient surtout peuplés d'écritures, typographiques, mais aussi manuscrites, propres au graffiti. Cette « ville brouillon » allait à l'encontre de l'esthétisation du quotidien et de l'expérience urbaine, qui semble marquer l'idéologie contemporaine dominante. À l'inverse, le street art, tel qu'il est entendu par nombre de municipalités, peut devenir l'une des clefs de la ville grandiose, de « la ville chef-d'oeuvre ».

Nos enfocamos en el ejemplo de la capital española con un estudio del uso político de la noción de "paisaje urbano", desde el año 2015 hasta el día de hoy. Más concretamente, el presente artículo analiza la implementación progresiva de programas municipales de arte urbano que ofrece una nueva estética completamente distinta a la que estaban acostumbrados los habitantes de Madrid: durante cuarenta años, las paredes se poblaron principalmente de escritura, tanto tipográfica como manuscrita, con el graffiti. Esta "ciudad borrador" iba en contra de la estetización de la vida cotidiana y de la experiencia urbana, que parece marcar la ideología contemporánea dominante. Por el contrario, el street art, tal y como lo entienden muchos municipios, puede convertirse en una de las claves de la grandiosa ciudad, de la "ciudad obra maestra".

We focus on the example of the Spanish capital to study the political use of the notion of "urban landscape" from 2015 until today. More specifically, this article looks at the gradual implementation of municipal urban art programmes which offer a completely different aesthetic than the one the inhabitants of Madrid were used to. For forty years, the walls were mainly covered with writing, both typographical and handwritten, and with graffiti. This "draft city" went against the aestheticization of everyday life and urban experience, which seems to mark the dominant contemporary ideology. In contrast, street art, as understood by many local councils, can become one of the keys of the grandiose city, the "masterpiece city".

The cichlids of Africa present many challenges to the taxonomist. Diverse systematic problems at three levels in cichlid phylogeny form the subject matter of this dissertation. At the most general level, I summarize current morphological evidence that supports cichlid monophyly and the most-inclusive groups of cichlids. With this review as a framework, I argue that the most phylogenetically primitive African cichlid is Heterochromis multidens, a little-known large cichlid from the Zaire River basin. I redescribe this monotypic genus and species and illustrate much of its osteology. It possesses a distinctive suite of derived characters, but is uniquely primitive among African cichlids in infraorbital morphology and other features.

At a less inclusive phylogenetic level, I examine the controversy over the monophyletic status of the "species flock" of haplochromine cichlids in Lake Malawi. A derived type of anal-fin markings present in a subset of the Malawian fauna is shared with many non-Malawian haplochromines, indicating that the species flock of Lake Malawi is not monophyletic. The two (or more) faunal components of Lake Malawi are ecologically distinct.

The remaining major parts of the study are concerned with particular assemblages of haplochromine cichlids in Lake Malawi. I present a detailed phylogenetic analysis of the Cyrtocara livingstonii species-group of ambush predators, and characterize a new species in the group. I also describe three new species of haplochromines with three lateral spots and present a key to the three-spot assemblage. Intralacustrine dispersion of Malawi cichlids is briefly addressed in appended material.

Le niveau lexical du traitement des langues naturelles correspond aux traitements
centrés sur la notion de mot. Le matériau de base de l'ingénierie linguistique étant le
texte, parlé ou écrit, et le texte étant fait de mots, on conçoit facilement que le niveau lexical  soit  fondamental.  Il  est  en  fait  relié,  de  près  ou  de  loin,  à  la  totalité  de  ce  vaste domaine. Nous passerons donc en revue des sujets très variés. Cet examen sera l'occasion d'exercer une évaluation critique à différents niveaux. Nous  envisagerons  les  principaux  traitements  du  point  de  vue  de  leurs  objectifs  applicatifs  comme  du  point  de  vue  des  résultats  obtenus.  Nous  nous  intéresserons  ensuite aux outils de base qui ont été élaborés en vue de ces traitements et qui font partie de l'acquis des recherches : il s'agit de données linguistiques, des dictionnaires par  exemple,  et  d'outils  méthodologiques,  tels  que  des  formalismes.  Enfin,  pour  donner  un  aperçu  des  perspectives  de  recherche  actuellement  ouvertes,  nous évoquerons  brièvement  les  principaux  cadres  méthodologiques  qui  constituent l'arrière-plan de tous ces travaux.

We present a general and simple method to adapt an existing NLP tool in order to enable it to deal with historical varieties of languages. This approach consists basically in expanding
the dictionary with the old word variants and in retraining the tagger with a small training corpus. We implement this approach for Old Spanish. The results of a thorough evaluation over the extended tool show that using this method an almost state-of-the-art performance is obtained, adequate to carry out quantitative studies in the humanities: 94.5% accuracy for the main part of speech and 92.6% for lemma. To our knowledge, this is the first time that such a strategy is adopted to annotate historical language varieties and we believe that it could be used as well to deal with other non-standard varieties of languages.

Over recent years Web 2.0 has brought information into the hands of the public, and we are increasingly seeing non-professionals doing sophisticated information tasks not merely for work, research or personal interest, but also for leisure – and even pleasure. This paper looks at an online fanfiction repository, Archive of Our Own (AO3), and investigates the ways that media fans have co-opted new technologies to build a ‘curated folksonomy’ (Bullard 2014), in order to organise the fanworks (fan-created creative works) uploaded by fans to the website. Run by volunteers, the site is a fascinating example of how passion, and even obsession, can bring amateur knowledge workers together collaboratively with users to build an intricate ‘democratic indexing’ system (Hidderley and Rafferty 1997; Rafferty and Hidderley 2007). Through methods of tag analysis and interviews, the paper explores how Archive of Our Own’s curated folksonomy allows fans to make full and creative use of their own original, freeform tags, while also building a highly granular and sophisticated taxonomy which, though highly labour-intensive to maintain, serves the community by maintaining a high degree of accuracy while also preserving the folksonomic properties of freeform tagging. As well as building a functioning taxonomy, through standardising its nomenclature, and facilitating the discoverability of AO3’s collections to its users, these amateur knowledge workers see their domain expertise and knowledge organisation labour as a type of fanwork that ‘gives back to the community’, in lieu of other creative works such as fanfiction and fanart.

Prenant au sérieux la « métaphysique empirique » de l’architecture du Web, nous entendons saisir les entités qu’elle distingue. Il ne s’agit donc pas de reconduire ainsi des distinctions classiques. Le travail réalisé par les architectes du Web ressortit à l’ingénierie. Pour cette raison, nous posons les linéaments d’une approche processuelle de l’ontologie, intégrant en son sein les opérations de distinction et d’explicitation qui conduisent à faire émerger des types ontologiques. Cette réflexion est rapportée à plusieurs exemples abordés au cours de la première partie, des folksonomies aux ontologies informatiques, en passant par les principes architecturaux du Web. Enfin, nous prenons en compte la pluralité des modalités d’accès afin d’étendre à l’échelle du Web tout entier la réflexion sur la dynamique ontologique au cours de laquelle surgissent de nouvelles distinctions. Un pour rendre compte de la sémantique des URI est suggéré qui s’appuie sur la sémantique bi-dimensionnelle de Robert Stalnaker, étendue à la multi-dimensionnalité et repensée dans une optique dégagée de son ancrage exclusif dans la question du vrai.

A cidade de São Paulo, no Brasil, exibe em sua paisagem uma manifestação visual urbana de construção estética singular, realizada de forma ilegal na fachada e no topo de edifícios e monumentos, denominada pixação. O presente estudo busca investigar quais efeitos de sentido são produzidos no espaço público a partir da presença massiva dessa manifestação e compreender processos comunicacionais e identitários construídos neste espaço, em uma análise localizada na região central da cidade.

Se, all'alba del IV millennio, un archeologo rinvenisse le vestigia di una qualsiasi città dell'Italia contemporanea, soffocata, in quegli stessi giorni, da metri di pomici e ceneri vulcaniche, o, per non circostanziare geograficamente l'ipotetica catastrofe, dal fango, farebbe non poca fatica a decifrare la maggior parte dei segni e delle scritte di carattere alfanumerico che, inevitabilmente, rinverrebbe sui muri delle abitazioni e dei palazzi graziati dalla sciagura. E a poco, se non a nulla, gli potrebbero essere d'ausilio gli sforzi di altri studiosi: semiologi, antropologi, calligrafi, paleografi, filologi, linguisti, sociologi e storici riu-scirebbero a rendere solo apparentemente meno ardua l'impresa, che difficilmente po-trebbe essere compiuta in modo soddisfacente. Per questi specialisti infatti, anche se dotati della più raffinata sensibilità psicologica per l'uomo dei nostri tempi, non sarebbe per nulla facile ripetere l'exploit del gesuita Raffaele Garrucci, abile, verso la metà del XIX secolo, ad avviare lo studio e dunque la decriptazione dei cosiddetti graffiti "non autorizzati" che gli intonaci e le pietre di Pompei avevano salvaguardato per quasi duemila anni. Scritte realizzate liberamente e spontaneamente sulla pelle della città campana dai suoi stessi abitanti, dalla gente comune, ma anche dai cittadini di rango, che per con-tenuto si distinguevano da quelle ufficiali, cioè comandate o disposte dalle istituzioni amministrative o politiche. Frasi, parole, sigle eseguite nei più disparati caratteri, dipinte, tracciate a carbone o incise secondo una consuetudine comune a qualsiasi città romana dell'epoca, Urbe compresa.

Based on three years of ethnographic research undertaken in London amongst a loose network of what British Transport Police term 'serious graffiti vandals', this article considers how we might conceive theoretically of the interrelationships between graffiti writing, urban space and social control. The article proceeds in two parts. By way of introduction, the first half of the article delineates some of the major subcultural elements that comprise the day-today practice of graffiti writing as it exists in present-day London. The second half of the article engages the theoretical work of Henri Lefebvre. It is suggested that graffiti can be understood as simultaneously disrupting authoritative spatial orderings, whilst superimposing its own alternative social geography onto the city.

W artykule przedstawiono podstawowe zagadnienia dotyczące anotacji korpusów tekstowych. Omówiono istniejące standardy anotacji, przedstawiono przykładowe znaczniki i dokonano ewaluacji możliwości wykorzystania znakowanych korpusów tekstów specjalistycznych do półautomatycznej ekscerpcji terminologii.

This article focuses on videography as a method for conducting research, as a means of communicating findings about tags and tagging to the public, and an opportunity to re-evaluate previously-collected empirical material.

Based on ongoing explorative videographic research, I discuss how the video medium can be used to go beyond the mere visual representation of tags as singular expressions and elucidate otherwise hidden aspects of both tags (works) and tagging (practice) that may contribute to diversify the widespread perception in the public of these phenomena solely as vandalism.

The article further delves into some of the technical aspects of creating a particular video, including overlays that represent the mental process taking place when looking for tags. With a point of departure in this video work, I lay out how recollections of certain tags that had previously been recorded photographically turned out to be false when images of the works were revisited as part of the video editing. Becoming aware of this is in part interesting because misremembering works might impact the future collection of empirical material, as recollections of previously-found tags influence the researcher when looking for further tags.

The research reported in this article examines Noun Phrase (NP) syntactic complexity in the writing of Spanish EFL secondary school learners in Grades 7, 8, 11 and 12 in the International Corpus of Crosslinguistic Inter-language. Two methods were combined: a manual parsing of NPs and an automatic analysis of NP indices using the Tool for the Automatic Analysis of Syntactic Sophistication and Complexity (TAASSC). Our results revealed that it is in premodifying slots that syntactic complexity in NPs develops. We argue that two measures, (i) nouns and modifiers (a syntactic complexity index) and (ii) determiner + multiple premodification + head (a NP type obtained as a result of a corpus-driven analysis), can be used as indices of syntactic complexity in young Spanish EFL learner language development. Besides offering a learner-language-driven taxonomy of NP syntactic complexity, the paper underscores the strength of using combined methods in SLA research.

We survey those domains of natural language processing where the  notion of  word  can  be  considered  as  the  fundamental  unit.  We  examine  the  results aimed  at,  the  results  achieved,  the  data  acquired  and  the  methods  used  in these domains. Our ambition is  that  this  critical  evaluation  could  contribute  to orientating research and development effort into directions leading to applicative results.

This article canvasses practitioner and decision-maker perspectives of the influences of electronic monitoring (EM) in processes of desistance from crime, with a particular focus on their views of its use with young people aged 16 to 25 years old. Presenting findings from a qualitative mixed methods study, we offer a bounded exploration of the views of different actors working in the Scottish criminal justice field, which are framed and analysed here through the lenses of desistance scholarship.

This chapter outlines a cultural critique of the Gangsta as an exemplary figure to investigate the performance of social media identity. The main goal of the chapter is to illustrate some of the implications that social media have on the contemporary dramatization of the criminal, here framed as a collective techno-cultural process at the threshold between social stigma and branding. Despite using the term "Gangsta," my intent is not to "fix" this figure as an identity or a class of people, but rather to identify a broad cultural context that emerges from a glocalized hip-hop imaginary, stemming from gangsta rap and evolving alongside trap and drill. The contribution is not intended as an empirical sociological study, but a critical cultural exploration of convergent media that bring together a glocalized gang culture and everyday social media interactions. In the second section, I outline my theoretical framework by identifying a point of convergence between recent studies of Instagram celebrities and criminological takes on the selective nature of gang identity. I also explore the relationship between the "dissing," a cultural form that is very relevant to the more aggressive sub-genres of rap, and the practice of tagging, a key affordance of social media platforms. In so doing, I frame social media tagging as a form of identity labelling. In light of the theory previously outlined, I explain how tagging is used alternately to enforce social stigma and engage in recursive branding. The final section examines the aforementioned forms of tagging more in detail, in relation to specific media ecologies of YouTube videos that feature compilations of Instagram Stories originally posted by emerging Italian rappers. Although it is aimed at offering an interdisciplinary contribution, this chapter adopts an admittedly media-focused perspective. Rather than producing more evidence about the use of social media by gangs, I comment on existing sociological insight in relation to the affordances and aesthetics of social media ecologies, re-problematizing certain forms of online interaction. By focusing on the commonplace practice of tagging in relation to the figure of the Gangsta, I emphasize how online labelling practices can be more fraught that they appear, emphasizing the need for further critical reflections on the stereotyping potential of social media branding practices.

Hashtags are used in Twitter to classify messages, propagate ideas and also to promote specific topics and people. In this paper, we present a linguistic-inspired study of how these tags are created, used and disseminated by the members of information networks. We study the propagation of hashtags in Twitter grounded on models for the analysis of the spread of linguistic innovations in speech communities, that is, in groups of people whose members linguistically influence each other. Differently from traditional ...

“Culture is full of surprises and one of the most recent is the sudden burst of interest in calligraphy”, said Harper’s Magazine in June 1975, in an article dedicated to the rise of tag and graffiti in the United States, in the 1970s. The mural signature can be seen as one of the last vestiges of calligraphic writing, at a time when typography is predominant in the scriptural landscape. Although it relies on a common code, the Latin alphabet in the West, it only provides a limited message which, when it is legible, can be referential or not. The tag, “communicating nothing except the gestural dexterity”, to quote François Chastenet, impedes our logocentric conception, our discursive habit: it compels us to look at the visual materiality of the writing and not so much at its semantic content. As the written form is at the core of the process, a study about the tag’s calligraphy, within the meaning of “beautiful handwriting”, from the Greek words kallos (beauty) and graphia (writing), seems appropriate. Or could it rather be considered as a cacography, employed here as a neologism, in the sense of an “ugly writing”? To sustain these grounds for thought, this article will be based on an examination of the occidental tag’s signifier and more specifically the ones from Madrid, questioning the notion of writing aesthetics, a fortiori of urban writing aesthetics.

External tagging of fish with electronic tags has been used for decades for a wide range of marine and freshwater species. In the early years of fish telemetry research, it was the most commonly used attachment method, but later internal implants became preferred. Recently, the number of telemetry studies using external tagging has increased, especially with the development of archival tags (data storage tags, DSTs), pop-up satellite archival tags (PSATs) and other environment-sensing tags. Scientific evaluations of the tagging method are rather scarce for most species. We identified 89 publications, reporting effects of external tagging for 80 different fish species, which constitute the main basis for this review. External attachment holds certain benefits compared to other tagging methods, for example, speed of application, and it may be the only option for fishes with a body shape unsuitable for surgical implantation, or when using tags with sensors recording the external environment. The most commonly reported problems with external tags are tissue damage, premature tag loss, and decreased swimming capacity, but the effects are highly context dependent and species specific. Reduced growth and survival have also been recorded, but direct mortality caused by external tagging seems rare. Most of the studies reviewed evaluate tag retention, survival, and tissue reactions. There is a general need for more research on the effects of external tagging of fish with electronic tags, but particularly there are few studies on predation risk, social interactions, and studies distinguishing capture and handling effects from tagging effects. For PSATs, especially those that are large relative to fish size, there are particular problems with a high proportion of premature tag losses, reduced swimming capacity, and likely increased predation, but there remains a paucity of tag effect studies related to the use of PSATs. Before embarking on a field study employing external tagging with electronic tags, we recommend the use of appropriate pilot studies, controlled where possible, to quantify potential impacts of tagging.

16. Kurzfassung Vor dem Hintergrund der rasant zunehmenden Verbreitung von Anwendungen der Radio Frequency Identification (RFID) untersucht das Forschungsprojekt mögliche zukünftige Auswirkungen eines massenhaften Einsatzes von RFID-Tags im Konsumgüterbereich auf die Umwelt und die Abfallentsorgung. Der gegenwärtige Einsatz von RFID-Tags stellt die derzeitigen Entsorgungssysteme für Siedlungsabfall zwar vor keine nennenswerten Herausforderungen.

In studying categorization, cognitive science has focused primarily on cultural categorization, ignoring individual and institutional categorization. Because recent technological developments have made individual and institutional classification systems much more available and powerful, our understanding of the cognitive and social mechanisms that produce these systems is increasingly important. Furthermore, key aspects of categorization that have received little previous attention emerge from considering diverse types of categorization together, such as the social factors that create stability in classification systems, and the interoperability that shared conceptual systems establish between agents. Finally, the profound impact of recent technological developments on classification systems indicates that basic categorization mechanisms are highly adaptive, producing new classification systems as the situations in which they operate change.

The purpose of this paper is to investigate users’ knowledge and use of social networking sites and folksonomies to discover if social tagging and folksonomies, within the area of independent music, aid in its information retrieval and discovery. The sites examined in this project are MySpace, Lastfm, Pandora and Allmusic. In addition, the ways in which independent record labels utilise social networking sites for promotion are investigated. Three groups of participants were surveyed using questionnaires. These groups were music concert attendees, people who responded to online postings to social networking sites, and independent record companies. In addition interviews were held with digital music experts.

The results suggest that respondents use social networking sites for music discovery but are not generally aware of folksonomic approaches to music discovery. When users do use and contribute to the folksonomy, most respondents were found to tag for personal retrieval purposes rather than attempting to aid the retrieval purposes of the population of site users as a whole. The four record labels unanimously agreed that social networking sites are having a major impact on independent music discovery. Digital distribution has a major impact on independent record labels. It facilitates discovery but at the same time digital distribution creates new promotional dilemmas.

The project is small scale but the research area is a relatively novel one, and the results are interesting enough to share more generally in the hope that this project will stimulate further research activity in this area.

Based on several years of near-nightly excursions into London's disused, non-public, forgotten, subterranean and infrastructural spaces, this article considers the significance of discovering years-or even decades-old surviving traces of graffiti ('ghosts', in graffiti parlance) in situ. The article also draws on extensive ethnographic research into London's graffiti subculture, as well as in-depth semi-structured interviews with several generations of graffiti writers. The article proceeds in four parts. The first part reflects on three sources of methodological inspiration: unauthorised urban exploration and documentation; more-or-less formal archaeological studies of graffiti; and 'ghost ethnography', an emergent methodological orientation which places an emphasis on absence and the interpretation of material and atmospheric traces. The second part of the article considers recent theoretical work associated with the 'spectral turn'. Here, ghosts and haunting provide useful conceptual metaphors for thinking about lingering material and atmospheric traces of the past. The third part of the article offers some methodological caveats and reflections. The fourth and final part of the article seeks to connect theory and method, and asks what significance can be drawn from unauthorised encounters with graffiti 'ghosts'.

This research report examines the current uses of electronic monitoring (EM) tagging in the Scottish criminal justice system. The themes and findings presented here form one part of an EU-funded comparative research project1 involving five jurisdictions: England and Wales, Scotland, Belgium, Germany and the Netherlands. Significantly, this is the first comparative study of its kind in Europe. Criminologists Professor Gill McIvor and Dr Hannah Graham conducted the Scottish component of the research project, which spans a period of two years from May 2014 – April 2016. A range of key actors in the Scottish criminal justice field have been involved in this study as research participants