Entangled political histories of twentieth-century West Africa: The case of Guinean exile networks

Following independence in 1958, hundreds of Guinean soldiers, students, and politicians fled their home country in order to build an opposition to President Sékou Touré in exile. This article examines how these exiles built regional and global networks in order to effect political change. In turn, West African states sought to manage exiles in order to apply political pressure on regional rivals. Despite their liminality in a region increasingly dominated by national politics and international organizations, exiles were at the centre of political contestations surrounding citizenship, sovereignty, and human rights that emerged in the three decades following decolonization. Their history underscores the importance of regional frameworks in shaping the post-colonial order in West Africa.

Signed zero forcing number and controllability for a networks system with a directed hypercube

The controllability for complex network system is to find the minimum number of leaders for the network system to achieve effective control of the global networks. In this paper, the problem of controllability of the directed network for a family of matrices carrying the structure under directed hypercube is considered. The relationship between the minimum number of leaders for the directed network system and the number of the signed zero forcing set is established. The minimum number of leaders of the directed networks system under a directed hypercube is obtained by computing the zero forcing number of a signed graph.

Measurement of Sea Waves

Sea waves constitute a natural phenomenon with a great impact on human activities, and their monitoring is essential for meteorology, coastal safety, navigation, and renewable energy from the sea. Therefore, the main measurement techniques for their monitoring are here reviewed, including buoys, satellite observation, coastal radars, shipboard observation, and microseism analysis. For each technique, the measurement principle is briefly recalled, the degree of development is outlined, and trends are prospected. The complementarity of such techniques is also highlighted, and the need for further integration in local and global networks is stressed.

Southeast Asia’s Colonial Port Cities in the 19th and 20th Centuries

Southeast Asia’s colonial ports often supplanted early trading emporiums within Asia, and by the 19th century a number of ports played important roles in European imperial networks, making them significant hubs not only regionally but also in global networks. Such ports included the British-administered Straits Settlement of Singapore, Penang, Malacca (now more commonly referred to as Melaka); the Dutch-administered Batavia, Semarang, and Makassar (in the Java Sea); the French-administered Saigon; and the Spanish (later American) administered Manila (in the South China Sea). Importantly, some of these ports had earlier histories as trading emporiums, but reached a highpoint of connectivity with global networks in the 19th and 20th centuries. These colonial port cities were not only hubs for trade and travelers but served as gateways or imperial bridgeheads connecting maritime centers to the peoples and economies of the port hinterlands, drawing them into a global (imperial) economy. The economic, political, and technological frameworks in colonial ports served to reinforce European control. Colonial port cities also played a role in knowledge circulations and the introduction of technologies, which changed transport and modes of production and urban planning. The colonial port cities of Southeast Asia were also important in terms of the strategic defense of European interests in the region. Regarded as entry points for technology and colonial capitalism, and often modeled with elements of European aesthetics and design, port cities could also be sites of urban development and planning. The development of residential enclaves, ethnic quarters, and commercial districts served to shape the morphology of the colonial ports of Asia. Colonial port city communities were oftentimes regarded as important sites of cultural exchange and hybridity. These port cities were often built on existing indigenous trading centers or fishing villages. Cosmopolitan in nature, and open to the movement of trading diasporas, port cities served as entry points for not only commercial communities, but in the 19th century saw the increased movement of European colonial administrators, scientists, writers, and travelers between ports. Another important influx was labor (convict, indentured, and free) throughout Southeast Asia’s ports. By the early 20th century, colonial ports were sites of new intellectual and social currents, including anticolonial sentiment, in part driven by the circulation of news and press and also, by diasporic community influences and interests. Following World War II, many colonial ports were revived as national ports. By exploring the colonial port cities of Southeast Asia along a number of themes it is possible to understand why scholars have often described the colonial port city as a “connecting force” (or bridgehead) linking ports and port communities (and economies) to the European imperial project and the global economy. An examination of the colonial port city of Southeast Asia offers scholars the potential to bridge numerous historical fields including, but not restricted to, imperial history, Southeast Asian history, maritime history, urban and sociocultural histories, and economic and labor histories.

Art and Ocean Objects of Early Modern Eurasia

During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide. Focusing on shells and pearls exchanged within local and global networks, this monograph compares and connects Asian, in particular Chinese, and European practices of oceanic exploitation in the framework of a transcultural history of art with an understanding of maritime material culture as gendered. Perceiving the ocean as mother of all things, as womb and birthplace, Chinese and European artists and collectors exoticized and eroticized shells' shapes and surfaces. Defining China and Europe as spaces entangled with South and Southeast Asian sites of knowledge production, source and supply between 1500 and 1700, the book understands oceanic goods and maritime networks as transcending and subverting territorial and topographical boundaries. It also links the study of globally connected port cities to local ecologies of oceanic exploitation and creative practices.

Proposal of a Tool for Determining Sub- and Main Dimension Indicators in Assessing Internal Logistics Readiness for Industry 4.0 within a Company

Key elements of Industry 4.0 are the digitization of products and production, enterprise information systems, robotic workplaces, communication infrastructure, and of course, employees. Industry 4.0 transforms production from stand-alone automated units to fully integrated automated and continuously optimized production environments. According to the prediction of Industry 4.0, new global networks will be created based on the interconnection of production equipment into CPS systems. These systems will be the basic building block of the so-called “smart factories”, and will be able to exchange information autonomously, trigger the necessary actions in response to current conditions and mutually independent inspections. The aim of this article is to describe the issue of readiness models for the Industry 4.0 concept, which are commonly used as tools for conceptualizing and measuring the maturity of an organization or process related to a specific target state. Characteristic for the models is their use because, on this basis, it is possible to identify the current readiness for the concept of Industry 4.0 comprehensively in the whole company or in various sub-areas.

PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

<p>This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity.</p>

PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

<p>This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity.</p>