Escalas do tempo

Viral epidemics are processes in which temporality obviously constitutes an essential variable. But different time scales must be distinguished. To see the current pandemic as a singular event is but an illusion due to the “mesoscopic” timescale we are embracing. There is a microscopic scale — that of physiological processes —, a mesoscopic scale, which only allows to see the closest evidence, and a macroscopic scale, that of the ecological determinisms which explain the emergence of the disease in the history of the relationships between species. The article focuses on the mesoscopic level and highlights some semiotic specificities of today’s experience : a temporal suspension, the threat of pure, dramatic and final discontinuity, the behavior of a virus that appears to have “intentionality”, a strong intensity coupled with a long duration, a time of exception, drawn to a final end, and a victory which will only be achieved with great effort.

Intimacy and Estrangement

This article explores the incremental privatization of what is today East Africa's largest corporation, communications and finance firm Safaricom. In the late 1990s and early 2000s, British multinational Vodafone became a partial shareholder of Safaricom, with the government of Kenya retaining the majority stake in the company. This was followed by the company going “public” in 2008 through an Initial Public Offering (IPO). In exploring these transformations, this article demonstrates that privatization was not a singular event but turned on the production of divisibility: a discursive, epistemological, and material process whereby seemingly “classificatory wholes”—a corporation, an infrastructure, a state asset—were first presented and then rendered as partible entities. As the lines between the public and the private were being redrawn, another conceptual series—“citizenship,” “development,” the “public”—were similarly transformed into partible objects subject to division. Unraveling the historical entanglement of the corporation and the state, this article clarifies why, today, Kenyans—some of whom have been reformatted as shareholder-client-citizens—call on Safaricom to act like the state from which it has been incrementally “unbundled.”

Modeling reactive attention among congressional witnesses during the COVID-19 pandemic

Although often considered dichotomous drivers of congressional agenda activity, indicators and focusing events may exist on a continuum if indicators are capable of culminating in a singular event that focuses attention. Identifying this culmination point could help explain how anticipatory, indicator-driven threats such as COVID-19 can dominate policy agendas in a manner similar to a focusing event. This paper investigates whether the culmination point can be identified by quantifying anticipatory and reactive attention of congressional committee witnesses towards an indicator-driven threat. The findings demonstrate that peaks in congressional witness numbers during the COVID-19 pandemic coincided with a transition from anticipatory to reactive attention, which was associated with rapid increases in unemployment. This demonstrates that a transition from anticipatory to reactive attention could mark the culmination point of an indicator-driven event such as COVID-19, and explain how and why some indicators are capable of focusing attention, but others are not.

Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

Bullied: The Story of an Abuse

What happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience? In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur. In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life. Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics.

The politics of mutiny: The Pompée at Spithead and beyond, 1797

This is a micro-study of the most radical ship in the Spithead mutiny of 1797, the Pompée, which experienced another mutiny soon after the Spithead confrontation was settled. The court martial papers of this singular event reveal a politically divided crew, which leads one to reconsider the dynamics of mutiny in this tumultuous year. I argue against the conventional interpretation of inside-outside influences, of pre-political seamen infiltrated by radical forces and also against reductive binaries such as mutiny versus subversion. While stressing the seamen's own capacity for collective action and their exposure to the political currents of the 1790s, I suggest the Pompée's experience illustrates the volatility of maritime protest in a rapidly changing environment in which Britain dug deep into its population, maritime and non-maritime, national and international, to man its fleets.

The Fertilization Enigma: How Sperm and Egg Fuse

Fertilization is a multistep process that culminates in the fusion of sperm and egg, thus marking the beginning of a new organism in sexually reproducing species. Despite its importance for reproduction, the molecular mechanisms that regulate this singular event, particularly sperm–egg fusion, have remained mysterious for many decades. Here, we summarize our current molecular understanding of sperm–egg interaction, focusing mainly on mammalian fertilization. Given the fundamental importance of sperm–egg fusion yet the lack of knowledge of this process in vertebrates, we discuss hallmarks and emerging themes of cell fusion by drawing from well-studied examples such as viral entry, placenta formation, and muscle development. We conclude by identifying open questions and exciting avenues for future studies in gamete fusion. Expected final online publication date for the Annual Review of Cell and Developmental Biology, Volume 37 is October 2021. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

The Grayness of the Origin of Life

In the search for life beyond Earth, distinguishing the living from the non-living is paramount. However, this distinction is often elusive, as the origin of life is likely a stepwise evolutionary process, not a singular event. Regardless of the favored origin of life model, an inherent “grayness” blurs the theorized threshold defining life. Here, we explore the ambiguities between the biotic and the abiotic at the origin of life. The role of grayness extends into later transitions as well. By recognizing the limitations posed by grayness, life detection researchers will be better able to develop methods sensitive to prebiotic chemical systems and life with alternative biochemistries.

Storylines of UK drought based on the 2010-2012 event

&lt;p&gt;Spatially extensive multi-year hydrological droughts threaten water resources availability and incur significant environmental and socio-economic consequences. Given the impacts of climate change, the UK is expected to remain vulnerable to future multi-year droughts. Existing approaches to quantify hydrological impacts of climate change are often scenario-driven and may miss out plausible outcomes with significant impacts. Event-based storyline approaches aim to quantify &amp;#8220;storylines&amp;#8221; of how a singular event with significant impacts could hypothetically have unfolded in alternative ways from plausible changes to its causal factors under present and future climate. This study uses the 2010-2012 UK drought, the most recent period of severe hydrological drought, as a basis, to create counterfactual storylines based on changes to 1) precondition severity, 2) temporal drought sequence and 3) climate change. Model simulations are performed using the GR4J hydrological model and drought characteristics for each counterfactual storyline is calculated using the Standardized Streamflow Index at multiple accumulation periods.&lt;/p&gt;&lt;p&gt;The storylines show that maximum intensity, mean deficit and duration of the 2010-2012 drought were highly conditioned by its meteorological preconditions. Recovery time from progressively drier preconditions reflect both spatial variation in drought characteristics and the influence of physical catchment characteristics, particularly hydrogeology, in the propagation of multi-year droughts. Plausible storylines of an additional dry year with dry winter conditions repeated before the observed drought or replacing the observed dramatic drought termination confirm the vulnerability of UK catchments to a &amp;#8220;three dry winter&amp;#8221; scenario. Application of the UKCP18 projections at four global warming levels explore the impacts of the drought in a warmer world. Drought conditions of the storylines could have matched and exceeded that experienced in past severe droughts, especially for southern catchments. The construction of storylines based on observed events can complement existing methods to stress test UK catchments against plausible unrealized droughts.&lt;/p&gt;