#2018b

[the-feminist-philosopher]

The adoption of services and spaces segregating trans women from cis women is not a viable feminist solution if the goal is to end sex subordination and sex segregation. First, this policy fails to consider the harm of trans women’s exclusion as well as analyze whether their inclusion actually poses harm to cis women. I have discussed before how trans women do not pose a risk to the safety of cis women, so here I want to specifically focus on the harm this policy causes trans women.

The idea that segregation of a population from another can create equal systems is a myth. It is a denial of the equal protection of the law. It creates inherently unequal services and access to resources. The harm that comes to trans women from being treated as "unreal" or "unintelligible" as an "inauthentic" woman is too great a harm to trans people, the abolition of patriarchal systems, and our society to be able to justify. Such a system creates the promise of subordination. A lack of "authentic" belonging is key to trans subordination under a cisnormative patriarchy.

Deadnaming, deliberate misgendering, transphobic and trans-exclusionary speech acts and policies normally work like performative utterances: they secure/reinstall the ideological subordination of trans people by virtue of their consonance with the normative background (reflected across different discursive domains, including the criminal law: see Sharpe, 2018b) that represents and normalizes trans people’s relation to the sex/gender they claim as fraudulent, inauthentic, second best. -Aleardo Zanghellini, "Philosophical Problems With the Gender-Critical Feminist Argument Against Trans Inclusion

Separate treatment always implies inferiority. The very act of segregation destroys the potential for equality of facilities or resources, making the "equality" quite superficial. A trans woman is told she is unequal and inauthentic by being told she cannot enter the Sacred Land of the women's-only space. The implication is that she is not "woman" enough, and in being so marked, she is not being treated equally under the law.

We know that policies of separation create new disparities and reinforce existing disparities. History tells us that these facilities and resources will be inadequate for the need. They will be underfunded. They will be neglected. And not because trans women desire these facilities and resources to be insufficient, but because the separate nature of them marks their inferiority and marks their unworthiness for the resources necessary to maintain them. This would essentially handicap trans people and their social progress. True equity cannot exist under segregate systems: one for cis people (which would likely continue to be segregated by male v. female) and one for trans people.

We also cannot hope to abolish distinctions based upon sex or gender if we are segregating people on the basis of their gender *because* it doesn't align with their assigned sex. The trans-exclusionary cannot hope for us to meet in terms of social equality and through appreciation and voluntary consent if everywhere trans women look, they are treated as "interlopers," "unnatural," "inauthentic" and lesser than the cissexual. The trans-exclusionary cannot hope for us to meet in terms of social equality and through appreciation and voluntary consent if everywhere trans women look, they are forced to use separate facilities and resources and segregate themselves from visibility for the cissexual.

Normalizing such sex segregation on the basis of an incongruence in identity or presentation will uphold our society's patriarchal precedents. First because the assignment of "unwoman" or "unman" can be widely weaponized against anyone who does not conform to the standards placed on their sex. Accusations of not being woman or man enough can and will lead to the segregation of anyone who does not conform to stereotypes and patriarchal requirements from the rest of the society. This will include people historically labeled as "unwoman" or "unman," like those who are LGB. This will also include those women who try to break out against patriarchal standards, politically and socially.

Such policies would also uphold our society's patriarchal precedent for segregating the public by gender- from public transit to private businesses which serve the public to universities to medicine. Sex Segregation on the basis of gender establishes that gender segregation is legally permissible. Allowing one form of gender segregation is a slippery slope. This will lead to a society which segregates women from men, and which bases such policies on the supposed "self-evident" nature and discretion of sex. They will argue that the bounds of sex *should* remain clearly defined, in part through sex segregation, because it is "only natural."

[oaresearchpaper]

Enhancing Lettuce Growth: Vermicompost and Microorganism Effects

Abstract

The importance of this research is to increase public awareness about local resources that can be utilized for healthier and more sustainable agriculture. This research can be a recommendation to reduce soil damage due to synthetic chemical fertilizers as well as an alternative when farmers have trouble about rare fertilizers in Indonesia. This research used an experimental method with experiments in the greenhouse of the Faculty of Agriculture, University of 45 Mataram. The design used was a Completely Randomized Design (CRD) with a factorial experiment. The first factor is vermicompost with 5 levels, and second factor is Local Liquid Microorganisms (M) which consists of 5 levels. The results showed that the treatment with the addition vermicompost could significantly increase the growth and yield of lettuce. The best wet weight yield was 14.53 grams per plant, obtained with the addition 7kgs of vermicompost, while the yield of 5.67 grams per plant was obtained without the addition vermicompost so that the increase in yield was 156.26%. Liquid water hyacinth local microorganisms have not been able to give a significant effect on the growth and yield of lettuce (Lactuca sativa L). The yield of wet weight of 14.17 grams per plant was obtained with the addition of liquid water hyacinth local microorganisms 8 cc/liter of water while the yield of 11.50 grams per plant was obtained without the addition local liquid microorganisms of water hyacinth. The interaction between vermicompost and local liquid microorganism’s water hyacinth has not had a significant effect.

Introduction

Lettuce (Lactuca sativa L.) belongs to the worldfamous group of leaf vegetables. This type of vegetable contains nutrients, especially vitamins and minerals that are complete to meet the nutritional needs of the community (Suryati, 2009). Therefore, the demand for this plant continues to increase in accordance with population growth, so there is a need for technological development efforts in the cultivation of lettuce that are not only effective but can also support sustainable agriculture. The technology that can be used as an alternative is local vermicompost resources with a stimulator Trichoderma sp. and Local Liquid microorganisms of hyacinth.

Vermicompost is an organic fertilizer that is formed through composting involving macro and microorganisms such as earthworms, bacteria and fungi. This composting can be accelerated by using the microorganism Trichoderma sp. which can produce cellulose enzymes (Apzani, 2015) so that the release of nutrients becomes faster and available to plants. The vermicompost has the ability to hold great water so that the vermicompost can increase water storage in the soil. Vermicompost contains 0.63% nitrogen, 0.35% phosphorus, 0.20% potassium, 0.23% calcium, 0.26% magnesium, 0.07% sodium, 17.58% copper, 0.007% zinc, 0.003 manganese.%, iron 0.790%, boron 0.2221%, molybdenum 14.48%, CEC 35.80 me/100 g, water storage capacity 41.23% and humic acid 13.88% (Mulat, 2003). In addition to vermicompost, a source of nutrition for plants can come from local liquid microorganisms (LLM) made from water hyacinth. In addition to containing beneficial microorganisms for plants, LLM also contains various nutrients that are available to plants. The results of the analysis of the nutritional content of water hyacinth LLM are as follows. pH = 4.77 (acidic), C-organic = 0.32%, N-Total = 0.15% C/N Ratio = 2.13 P-Available = 0.10%, K = 0.41%, Ca 2540,32 ppm, Mg = 3256,23 ppm, Na 863,55 ppm.

In a previous research by Apzani and Wardhana (2018a), it was shown that local liquid microorganisms of hyacinth were able to increase the growth of shallot plants. Later in the same year, a subsequent research by Apzani and Wardhana (2018b) showed that the local liquid water hyacinth microorganism combined with coffee leaf bioactivator could increase the production of shallots. This is the motivation for the authors to investigate further about the effectiveness of Local Liquid microorganisms from water hyacinth when combined with vermicompost stimulator Trichoderma sp. and used on lettuce so this research needs to be done. This study aims to determine the effectiveness of local resources of water hyacinth, vermicompost and Trichoderma sp. which can be developed as a technology in lettuce cultivation so that it can increase public awareness to prioritize healthy and sustainable organic agriculture. This research also aims to increase public knowledge about the many local resources that can be used as an alternative to synthetic chemical fertilizers in lettuce cultivation in Indonesia..

Source :  Enhancing Lettuce Growth: Vermicompost and Microorganism Effects | InformativeBD

[cfenvs3000w24]

My Development as a Nature Interpreter

Hello Everyone!

This will be my final blog post unfortunately, but, it will be exciting! This blog will touch on everything we have learned through our course ENVS*3000 this semester, including my ethics, beliefs, responsibilities, and approaches as a nature interpreter. Thank you everyone for coming along on this journey of nature interpretation, and I have appreciated everyone's insightful posts and responses.

The cornerstone of my ethic as I have developed as a nature interpreter has been inclusivity. By this, I mean ensuring that all potential audiences I may have, have equal opportunity to participate in my program. Nature interpretation is a beautiful art form, and more than just one group of people deserves to be able to partake. Many underserved communities and minorities face several barriers when attempting to participate in nature interpretation programs, including; economic barriers, cultural barriers, communication barriers, lack of knowledge, and fear. As nature interpreters, we can reduce the economic barriers by providing transportation or scheduling programs in urban areas where public transportation is available, to reduce monetary pressure. We can reduce the fear of future audiences as well by increasing staff diversity, this can help with easing minority groups into the program, as well as making the space feel more welcoming (Beck et al., 2018b). The first big step in alleviating these barriers and encouraging inclusivity is by recognizing my privilege, or my “invisible knapsack”, and how this may affect my future audiences. What I mean by “invisible knapsack”, is the privileges that I carry around that I did not earn, but were instead given to me just by being born. Some examples of this are my being white, from a middle-class family, my ability to pursue university, and to speak English. It is important to recognize my privileges because they allow me to view the world differently. I won’t fully understand others if I don’t truly understand how other people may struggle because they weren’t born with these same privileges. I believe that nature interpretation is at its best when there is a more diverse audience to connect with the program, because many different connections are being made, all with people who may have very different backgrounds (McIntosh, P., 1989). 

It is not only my responsibility and belief that inclusivity should always be ensured in nature interpretation, but it is also important that I understand who my audience is, and how they best learn. This is a particularly important responsibility because it allows audiences to build stronger connections to the material if it is presented in ways they understand best. An example of how this practice may be used is through an adult audience versus a youth audience. An adult audience may not connect as meaningfully to a program that involves sensory and motor activities, but children aged zero to two will. The same goes for a youthful audience may not connect as well with a program centred around solving problems systematically and creating hypotheses, but an adult audience will (Beck et al., 2018a). Another key responsibility of a nature interpreter is weighing the risks and rewards of your program to your audience. Not every risk exposed to an audience will prove trouble, but it is important to make this assumption based on the capabilities of your audience. For example, if your program were to be centred around climbing a steep hill or mountain, the risk of this may pose stronger to some than others. As a nature interpreter, it is important to collect all relevant data on your audience, and the risk itself to eliminate potential dangerous situations. If there is still a risk being posed, precautionary principles may aid in further eliminating the magnitude of this risk (Hooykaas, 2024a).

I think the best approach for me as a nature interpreter would involve interpretation through science and history. The reason for this is that they are two areas that I am passionate about, and I think that when I feel more connected to a topic, I can better explain things. An example of how I might use these approaches is by creating a guided tour about rehabilitating areas into terrestrial ecosystems that were previously used as pasture or agricultural land. The driving question around this guided program is how although agriculture is important, facilitating natural ecosystems to prosper is important for both ecosystem services and biodiversity (Hooykaas, 2024b). The historical aspect of this tour may look like explaining in detail how the land was previously used in agriculture, how it affected the people who owned this land, and how its previous use affects the future ecosystem wishing to be established. I have added a photo below of a picture I took at a protected area close to my home town, which happens to be right next to many acres of agricultural land. I think it would be interesting to show others how this land was developed from agricultural land, into now a protected area, and the processes that had to take place for this to happen!

Thank you everyone for participating in these blog posts throughout the semester, and I hope this gave a clear vision as to what being a nature interpreter means to me!

Sandra :)

References 

Beck, L., Cable, T. T., & Knudson, D. M. (2018a). Chapter 6: How People Learn. In Interpreting Cultural and Natural Heritage For a Better World (pp. 107–08). Sagamore-Venture Publishing LLC.  

Beck, L., Cable, T. T., & Knudson, D. M. (2018b). Chapter 7: Serving Diverse Audiences. In Interpreting Cultural and Natural Heritage For a Better World (pp. 132–135). Sagamore-Venture Publishing LLC.

Hooykaas, A. (2024a). Unit 3: Risk versus Reward in Interpretation. University of Guelph.

Hooykaas, A. (2024b). Unit 5: Nature Interpretation through Science. University of Guelph.

McIntosh, P. (1989). "White Privilege: Unpacking the Invisible Knapsack" first appeared in Peace and Freedom Magazine, July/August, pp. 10-12, a publication of the Women’s International League for Peace and Freedom, Philadelphia, PA. https://nationalseedproject.org/key-seed-texts/white-privilege-unpacking-the-invisible-knapsack

[srenvs3000w24]

Blog 9: Last blog :(

Throughout this course, I've experienced significant growth in my personal ethics, as I have connected with my inner nature interpreter. Engaging with lessons, textbook materials, and insightful blog posts from you guys provided avenues for exploring concepts I wouldn't have considered to explore on my own. Reflecting on this transformative learning experience, I find myself equipped with a heightened sense of awareness and a more refined compass for navigating ethical dilemmas. These learnings will continue to shape my development as a furniture nature interpreter, offering insights into my beliefs, responsibilities, and approaches in this field. Newfound perspectives and principles will undoubtedly serve as guiding stars in my journey forward, shaping not only my professional endeavors but also my personal growth.

For me personally, nature has always been my safe place, a spot where I find peace and calmness amidst life's ups and downs. Ever since I was a kid, I've loved going on walks in the woods with my parents. The trees, the colors, and all the critters I'd see fascinated me. Nature became my go-to whenever life got too crazy or stressful. Nature has always been my safe haven, a place where I find peace and calmness amidst life's ups and downs. Ever since I was a kid, I've loved going on walks in the woods with my parents. The trees, the colors, and all the critters I'd see fascinated me. Nature became my go-to whenever life got too crazy or stressful. As I've grown up, this connection to nature has only gotten stronger and it's become a big part of who I am. Being out in nature helps me feel centered and reminds me of what really matters. Nature is my sense of place with its amazing way of making me feel balanced and resilient, no matter what life throws my way (Beck et al., 2018c).

When it comes to nature interpretation, I hold several core beliefs close to my heart. Firstly, I firmly believe that everyone has the capacity to cultivate a meaningful relationship with nature, regardless of their background, age or how removed they are from nature. As a nature interpreter it is my belief to relay this message and to help facilitate and nurture this connection for others. Another fundamental belief of mine is the imperative to protect and conserve nature. Being immersed in the rich tapestry of biodiversity serves as a constant reminder of the profound importance of safeguarding our natural world. I not only uphold this belief for myself but also recognize its important to advocate for its significance to those who may not fully grasp its crucial role. Moreover, as a nature interpreter, my goal extends beyond mere recitation of facts. I aspire to share my knowledge with genuine passion and authenticity, aiming to leave a lasting impact by instilling in others a deep appreciation for the wonders of the natural world. It's essential to me that my words resonate authentically, reflecting my genuine love for the environment rather than feeling scripted (Beck et al., 2018b).

Being a nature interpreter entails a range of responsibilities aimed at fostering an engaging and inclusive learning environment. Thriving in this role requires a diverse skill set, beginning with a comprehensive understanding of flora and fauna and the ability to distinguish various species. This knowledge is my responsibility not only for my personal competence but also to form the foundation for effectively educating others. Equally crucial are effective communication skills, as nature interpreters often engage with groups of varying sizes and individuals from diverse backgrounds (Beck et al., 2018d). Moreover, simplicity in learning is as important. Recognizing the diverse educational backgrounds of participants, it's my responsibility to present information in a manner that is easily comprehensible to all. Understanding that access to education may not be uniform, it becomes essential for me to adapt teaching methods to accommodate varying levels of proficiency (Gallavan, 2005). In essence, the role of a nature interpreter demands adaptability, empathy, and a dedication to inclusive education. By fostering an environment where everyone feels welcomed and empowered to learn, we can ensure that the beauty and importance of the natural world are accessible to all, regardless of background or experience. It's a privilege and a responsibility to share the wonders of nature with others, and by embracing these principles, we can inspire a lifelong appreciation for the environment in everyone we encounter.

When I was younger, I used to think I wasn't cut out for school because the class lessons never came easy to me. It always felt like I had to go over things multiple times to understand it. It wasn't until later in life that I recognized the issue lay not in my ability to comprehend, but in the method through which I attempted to absorb information. While listening to lectures or reading from textbooks left me struggling to grasp concepts, I discovered that hands-on experiences and visual aids, such as photos and videos, was more effective in aiding my understanding and retention. This realization led me to acknowledge the unique approaches that resonate most profoundly with my individual learning style. When I can tangibly visualize concepts, they become etched more deeply in my memory than mere auditory or textual explanations ever could. Recognizing the diversity of learning styles among individuals, I've come to understand the importance of accommodating varied approaches to education. Just as I found my stride through visual and interactive methods, others may thrive through different means (Beck et al., 2018a). Embracing this diversity enriches not only my own learning experience but also ensures inclusivity and effectiveness in conveying knowledge to others.

In conclusion, this course has significantly enhanced my personal ethics and strengthened my bond with nature. Exploring diverse materials expanded my understanding, refining my ethical compass. These insights will shape my role as a nature interpreter, guiding my beliefs and approaches. Embracing inclusivity and adapting to diverse learning styles are key priorities. This journey underscores the importance of making nature accessible to all, regardless of background. I'm grateful for the enriching discourse and look forward to applying these insights as I evolve in my role as a furniture nature interpreter.

Beck, L., Cable, T. T., & Knudson, D. M. (2018a). How People Learn. Interpreting cultural and natural heritage: For A Better World. (pp. 110). Sagamore-Venture Publishing.

Beck, L., Cable, T. T., & Knudson, D. M. (2018b). Parsonal Interpretation. Interpreting cultural and natural heritage: For A Better World. (pp. 193). Sagamore-Venture Publishing.

Beck, L., Cable, T. T., & Knudson, D. M. (2018c). What is Interpretation. Interpreting cultural and natural heritage: For A Better World. (pp. 10). Sagamore-Venture Publishing.

Beck, L., Cable, T. T., & Knudson, D. M. (2018d). Who Offers Interpretation. Interpreting cultural and natural heritage: For A Better World. (pp. 37). Sagamore-Venture Publishing.

Gallavan, N. P. (2005). Helping teachers unpack their "invisible knapsacks". Multicultural Education, 13(1), 36. https://link-gale-com.subzero.lib.uoguelph.ca/apps/doc/A137921591/AONE?u=guel77241&sid=bookmark-AONE&xid=9fe2f151

[oliviavm-portfolio]

Harper’s BAZAAR (2024a) Pat McGrath Finally Revealed the Secret to That Viral Maison Margiela Look [Online]. Harper’s BAZAAR. Available from: <https://www.harpersbazaar.com/uk/beauty/make-up-nails/a46579949/pat-mcgrath-maison-margiela-skin-product/?epik=dj0yJnU9OGlpaFgxcVlYLW1xQkZiZkpyeVRqbU5oWGU5QnR3M3AmcD0wJm49SUFOUjZXbmFSU0p0ZUJjMFFGUC1PdyZ0PUFBQUFBR1k2Q01r> [Accessed 7 May 2024].

Harper’s BAZAAR (2024b) Pat McGrath Finally Revealed the Secret to That Viral Maison Margiela Look [Online]. Harper’s BAZAAR. Available from: <https://www.harpersbazaar.com/uk/beauty/make-up-nails/a46579949/pat-mcgrath-maison-margiela-skin-product/?epik=dj0yJnU9OGlpaFgxcVlYLW1xQkZiZkpyeVRqbU5oWGU5QnR3M3AmcD0wJm49SUFOUjZXbmFSU0p0ZUJjMFFGUC1PdyZ0PUFBQUFBR1k2Q01r> [Accessed 7 May 2024].

Paolo Lai, P. (2022) Instagram [Online]. www.instagram.com. Available from: <https://www.instagram.com/p/ClRLa03tCGU/> [Accessed 7 May 2024].

SZA FADER COVER – Cara Stricker (2018a) [Online]. Available from: <https://www.carastricker.com/uncategorized/sza-_-cover-of-the-fader/> [Accessed 7 May 2024].

SZA FADER COVER – Cara Stricker (2018b) [Online]. Available from: <https://www.carastricker.com/uncategorized/sza-_-cover-of-the-fader/> [Accessed 7 May 2024].

SZA FADER COVER – Cara Stricker (2018c) [Online]. Available from: <https://www.carastricker.com/uncategorized/sza-_-cover-of-the-fader/> [Accessed 7 May 2024].

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www.instagram.com (17ADa) Instagram [Online]. www.instagram.com. Available from: <https://www.instagram.com/p/C3dkXN9ta1f/?img_index=1> [Accessed 7 May 2024].

www.instagram.com (17ADb) Instagram [Online]. www.instagram.com. Available from: <https://www.instagram.com/p/C3dkXN9ta1f/?img_index=1> [Accessed 7 May 2024].

www.instagram.com (2023a) Instagram [Online]. www.instagram.com. Available from: <https://www.instagram.com/p/CyRDcrqtiRi/> [Accessed 7 May 2024].

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[mymediamusings2]

Domestic Violence Representation in YouTube True Crime

News media often use problematic frames for cases of domestic violence that have ended in femicide (Gillespie et al., 2013). Gender based violence, in media generally, is portrayed as a type of masculinity, an active violent masculinity against a passive victimized femininity (Gillespie, et al., 2013). Real cases of domestic violence are often framed in harmful ways as well (Gillespie et al., 2013), typical of news producers working to maintain a conservative ideology (Jewkes & Linnemann, 2018a). Cases are often presented in a way that contributes to the maintenance of patriarchy (Gillespie et al., 2013), and given that news producers often present cases and cover topics useful for diverting audience attention away from social issues (Jewkes & Linnemann, 2018a), this is hardly surprising. Lee and Wong (2020) argue that these harmful representations can affect public opinion, and in turn affect public policy. A Marxist view would support this perspective, as the interests of the ruling class are subtly reinforced through representations within cultural institutions, including media (Jewkes & Linnemann, 2018b). However, an alternative viewpoint using a reception analysis perspective would argue that consumers are not passive, and select media outputs that align with their own values, interpret media offerings according to their own views, and generally utilize media rather than be passive viewers affected by media (Jewkes & Linnemann, 2018b). Indeed, there is evidence that a frame of domestic violence as a social issue is growing, as Gillespie et al. (2013) found that 25% of the news articles analyzed used this frame, compared to only 10% found in a study done prior. On the other hand, support for conservative politicians such as Trump has been won from a public fearful of what the media has presented as dangerous (Jewkes & Linnemann, 2018b). How do true crime YouTubers frame domestic violence?

I analyzed eight videos from four true crime YouTubers (Zara V, Danelle Hallan, Kendall Rae, and Stephanie Harlowe). All of the videos involved domestic violence and femicide. I analyzed each of the videos for frames around domestic violence, and focused on common frames found in the videos.

A frame that arose in four videos was the victim blaming frame. This frame emphasizes the actions of the victim, implying that they should have done something else to protect themselves and ultimately placing blame on them (Gillespie et al., 2013). In “His Wife Is Missing But He Is Smiling | Lynsey Quy”, Zara talks about the first instance of domestic violence experienced by the victim. She then goes on to talk about how she chose to marry him anyway and repeatedly discusses how she married after knowing him for five weeks, going on to say that this is not enough time to know someone. Zara talks about this as a poor decision on the victim’s part. Some blame is therefore placed on the victim; for marrying him, for having the wedding too soon, for not knowing him well enough. Later in the video, Zara talks about the victim getting back together with the offender, and says “taking Mitchell back would be the worst mistake that Lynsey would ever make.” She talks about how upset her friends and family were to see her take him back, and therefore frames the decision as leaving the victim partially to blame. In “He Couldn’t Have Her, So No One Else Could | Alice Ruggles”, Zara talks about how the victim chose not to have the offender arrested prior to her murder because she was likely afraid of being dramatic, framing this as an understandable but poor decision. In “Coffee and Crime Time: Wife Dies at Hands of Husband Before He Flees Into The Wilderness”, Harlowe documents the victim’s and perpetrator’s social media posts and speculates on what she believes their marriage was like, implying that this was the outcome of a toxic relationship by an abusive partner. She talks about how she feels she could never be in that situation, because she would either leave it or would not engage in toxicity. These comments imply that there was something the victim could have done differently in order to not be in the relationship and therefore not be murdered. In “Suzanne Morphew’s Remains FOUND: Is Her Husband Guilty??”, Rae talks about how the victim, who was being abused and wished to divorce her husband, was having an affair, and says that this could have motivated her husband to kill her.

The commonplace frame was found in three of the videos. This frame is used by discussing a history of domestic abuse leading up to the femicide, without the context of domestic violence within society; discussing the incident as another of many domestic violence incidents, without discussing the social implications; or discussing a defendant’s criminal record of charges unrelated to domestic violence (Gillespie et al., 2013). Zara talks about the history of abuse the victim experienced in “His Wife Is Missing But He Is Smiling | Lynsey Quy”. Zara does not address domestic violence as a social issue, instead detailing the abuse that the victim experienced alone. Momentarily, Zara seems to approach a broader picture, saying “guys, this is a cycle, this is what these type of men do.” But Zara immediately goes back to discussing the victim’s experiences in isolation from any broader discussion of domestic violence within society. Rae talks about the history of abuse the victim experienced before her murder in “Suzanne Morphew’s Remains FOUND: Is Her Husband Guilty??”, but does not talk about abuse as a social problem and does not bring up how people can get help if they are in an abusive situation. In “The heartbreaking case of Melissa Platt”, Hallan talks about the perpetrator’s criminal record and history of violence with previous partners and female relatives, in addition to the abuse of the victim.

A frame blaming the criminal legal system was found in three videos. This frame focuses on the failures of the criminal legal system to protect the victim of the case, often criticizing judges and protective orders (Gillespie et al., 2013). In “He Couldn’t Have Her, So No One Else Could | Alice Ruggles”, Zara criticizes the police response, explaining that they gave her a PIN notice but did not properly explain to her what this is, and how weak of a protection this actually was for her against her abusive ex boyfriend. Later in the video Zara criticizes how the police in the case asked the victim if she wanted the offender arrested, rather than making that decision themselves. In “The heartbreaking case of Melissa Platt”, Hallan describes how police would not assist a woman in the offender’s first relationship with her experiences of domestic abuse, how a judge gave the offender a light sentence for a domestic abuse charge in his second relationship, and how the police failed to charge him with homicide of the woman he had his third relationship with. She says about the failure of the criminal legal system to incarcerate him: “it’s a freaking nightmare to know that someone like this can just walk around.” Hallan in  “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators” talks about how the victim disclosed to authorities the abuse she faced and how afraid she was of the perpetrator, but says not enough was done to help her.

One video used a moral breakdown frame. This frame emphasizes a crisis experienced by the perpetrator prior to the femicide, whether it is a mental health issue, economic issue, or another type of situation experienced by the perpetrator (Gillespie et al., 2013). In Harlowe’s video “Coffee and Crime Time: Wife Dies at Hands of Husband Before He Flees Into The Wilderness”, Harlowe spends time talking about the trouble the perpetrator had prior to the murder. She describes how he had left the army and also a job recently, and said that he was mentally unwell. What is interesting is that Gillespie et al. (2013) discuss this as a frame for femicides that do not mention domestic violence as a factor, indicating that this frame is not typically used in domestic violence cases. But in Harlowe’s video, it was a feature.

Three videos utilized an isolated incident frame. This frame portrays the incident as a surprise, and emphasized narratives, often from friends or neighbors, about how normal the couple seemed prior to the incident (Gillespie et al., 2013). The frame is also used when the media source indicates that there were no prior incidents recorded with authorities (Gillespie et al., 2013). Harlowe describes in “Coffee and Crime Time: Gabby Petito” that a fellow van life influencer said he was surprised to hear about the case because both of them seemed “cool”. In “Suzanne Morphew’s Remains FOUND: Is Her Husband Guilty??”, Rae says “like I said, on the outside, it really looked like they had it all, but that could not be further from the truth.” Rae describes how the couple seemed perfect from the outside, even though the perpetrator was abusive to the victim. In  “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”, Hallan talks about how shocking it was to find out that the perpetrator had murdered the victim because he had seemed like such a nice guy to her and all of her coworkers when he came in to perform his music at her workplace.

The domestic violence as a social issue frame was used in five videos. This frame is used by media sources that include resources for people in domestic violence situations, include steps people can take if they are in a domestic violence situation, use domestic violence advocates as sources, or discuss a case in the context of domestic violence as a widespread issue (Gillespie et al., 2013). Zara says in “He Couldn’t Have Her, So No One Else Could | Alice Ruggles” that “sadly though Alice’s story is not a one-off. There is a page called Alice Ruggles Trust that brings awareness to this topic and hopes to put an end to stalking.” In the same video, Zara gives advice to the audience to take even small signs of abuse and stalking seriously, and not avoid seeking help. In “Coffee and Crime Time: Wife Dies at Hands of Husband Before He Flees Into The Wilderness”, Harlowe spends time talking about the issue of domestic abuse within the LDS church, explaining how the patriarchal structure and culture of the religion leads to situations where victims are prevented from seeking help and perpetrators are able to continue abuse. In “Emma Walker: Tragically Murdered By Stalker Ex”, Rae at the end of the video lists signs that friends and family can look out for if they believe a loved one is in a domestic violence relationship. In  “The heartbreaking case of Melissa Platt”, Hallan says she included resources in the video description, explains how they help victims of domestic abuse, and explains how they can help people hide that they have contacted them from their abuser if they are scared to reach out. Hallan also spends time talking about the effects of manipulation and how difficult it is for people in domestic violence situations to leave. In  “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”, Hallan talks about how she has left links and hotlines in the video description for women in domestic violence situations and spends time talking about how hard it is to get out of domestic violence situations but that it is possible with help. The domestic violence as a social issue frame was used the most frequently. The videos often, however, framed things in a way that put the onus on victims of domestic abuse to seek out individual help (Stone, 2024).

Two of the videos featured conservative ideology. This news value highlights the connection between conservative politicians and policy and mass media (Jewkes & Linnemann, 2018a). Crime news focuses on extreme crimes often committed by those without power, calling for more punitive criminal legal policies as a response and diverting attention away from broader social issues (Jewkes & Linnemann, 2018a). The mutual relationship between media calling for harsher and harsher punishments and politicians pushing more and more conservative policies has been termed “populist punitiveness” (Jewkes & Linnemann, 2018a, p. 97). In “His Wife Is Missing But He Is Smiling | Lynsey Quy”, Zara talks about how a sentence an offender received was too light, saying “less than ten years for dismembering a body?... That doesn’t make any sense to me how he got seven years.” She later says about the other offender in the case:

“to me it’s wild that Mitchell was even considered for parole. Like why is he in life in prison with parole? He should have no parole. And that he can continue to even apply for it. Like he isn’t even a model prisoner, he does not show remorse for his actions, he’s not trying to make his life better in prison.”

Further on in the video she says “he should never even be able to apply, he shouldn’t even come close to that piece of paper that allows an application for parole. Like, don’t even have it near him, because, obviously, people make mistakes in parole and release the wrong type of people.” In “Coffee and Crime Time: Gabby Petito”, Harlowe criticizes calls for police reform, saying that the police in the Petito case did not take more action because they were afraid of being criticized. These calls for a more punitive criminal legal system showcase the conservative ideology inherent in media.

Many of the videos used multiple frames. For example, “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators” uses the domestic violence as a social issue frame, isolated incident frame, and blaming the criminal legal system frame. “He Couldn’t Have Her, So No One Else Could | Alice Ruggles” uses the victim blaming frame, blaming the criminal legal system frame, and domestic violence as a social issue frame.

Overall, problematic frames were found in the videos. The commonplace frame, moral breakdown frame, and isolated incident frame put many of the cases out of the context of domestic violence as an issue within society. Failures of the criminal legal system framing often focused on what authorities did or did not do in one particular case, and this is problematic with the calls for conservative policy found in some videos. Though many of the videos used a domestic violence as a social issue frame, it often only encouraged individual victims to reach out for help, rather than analyzing the issue as a widespread problem endemic to our culture. YouTube true crime videos could do better in presenting domestic violence as an issue. The long format, which sees videos often an hour or longer, presents this opportunity, as there is the space and audience for it. This, ultimately, could better serve past victims of femicide, as reducing domestic violence in society could start with better media representations of it.

References

Carter, C., Steiner, L., McLaughlin, L., & Cuklanz, L. (Eds.). (2014). Mass media representation of gendered violence. In The Routledge companion to media and gender. Routledge.

Gillespie, L. K., Richards, T. N., Givens, E. M., & Smith, M. D. (2013). Framing Deadly Domestic Violence: Why the Media’s Spin Matters in Newspaper Coverage of Femicide. Violence Against Women, 19(2), 222–245. DOI: 10.1177/1077801213476457

Jewkes, Y., & Linnemann, T. (2018a). The Construction of Crime News. In Media and crime in the U.S (pp. 63–99). SAGE

Jewkes, Y., & Linnemann, T. (2018b). Theorizing Media and Crime. In Media and crime in the U.S (pp. 26–62). SAGE.

Lee, C., & Wong, J. S. (2020). 99 Reasons and He Ain’t One: A Content Analysis of Domestic Homicide News Coverage. Violence against Women, 26(2), 213–232. https://doi-org.ezproxysuf.flo.org/10.1177/1077801219832325

Stone, R. (2024, Feb. 22). Class lecture. Suffolk University, Boston MA.

Channels Analyzed:

“The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”

“The heartbreaking case of Melissa Platt”

“Emma Walker: Tragically Murdered By Stalker Ex”

“Suzanne Morphew’s Remains FOUND: Is Her Husband Guilty??”

“Coffee and Crime Time: Gabby Petito”

“Coffee and Crime Time: Wife Dies at Hands of Husband Before He Flees Into The Wilderness”

“He Couldn’t Have Her, So No One Else Could | Alice Ruggles”

“His Wife Is Missing But He Is Smiling | Lynsey Quy”

[issafmpflorablog]

F l o w e r

C r o w n s

The history

Ancient Greeks wore flower crowns in ceremonies and when honouring the gods. The god Apollo is often depicted wearing a crown of branches as a token of his love and devotion to the goddess Daphne. In Ukrainian and Chinese societies have long traditions of wearing flower crowns at weddings, the flower crown as a symbol of fertility, love, and celebration through history and across the globe. As history moved into the medieval period women wearing flower crowns in appreciation of the earth were persecuted as witches or pagans limiting the freedom of women to safely commune with flowers. As “witch trials” lost their significance, industrial society and patriarchy took precedence, and the tradition of crowning and connecting with flowers and plants has been mostly forgotten.

Earth Within Flowers (2018b) Feminine & flowers. https://earthwithin.com/feminine-and-flowers/#:~:text=Flowers%20and%20women%20mirror%20feminine%20biology%20and%20the,anew.%20Flowers%20represent%20life%2C%20much%20like%20women%20do.

[mayookhpallikandi]

Project Development 1: (Journey through the digital media)

After Completing the weekly projects, I chose the second week project for the further development. First, I was planned to make a motion graphics video to present the different stages of our media timeline. When I presented my idea Ian gave feedback that I have to add more to engage or do something different for the making the audience to interact with that.

I have already created the scenes and the sketch for the video. I began to think what should I do and finally I decided to make some VR or AR artefact to my project. In my tutorial session Xinge also gave more possible Idea to create more engaging to audience.

So, I borrowed a VR headset from our university loan store. But the attempt was failed because my laptop doesn’t support the VR headset. Then I changed my plan to do AR artefact.

After scanning the QR code, it will redirect to the app Aero Viewer, and we can see the output as shown below.

While comparing my weekly project I created different scenes to develop the idea as a motion graphics video.

I created a rough sketch for the scenes.

Then I sketched each scene in ‘Sketchbook’ App.

I was impressed by the art works who was created by Arosh Thevadathil, Known as Doodle Muni. Which I have already mentioned in my weekly project blog. His art work have unique style of drawing and that way of approach was so influenced me to make scenes.

While I went to London, I saw the Butterfly trail in Tottenham court road. That artefact impressed me and influenced a lot to create my own work model.

I used After effects for adding some motions to the scene.

Scene1

Scene 2

Scene 3

Scene 4

Scene 5

Scene 6

I used Adobe Premiere Pro for joining these clips and added some background music for that.

For the AR part I used Adobe Aero to create the AR elements. I downloaded some 3d models and created a scene. I added Newspaper, Radio, Old TV, Computer, Mobile Phone and VR headset into scene and arranged in an order.

This Project took almost 2 to 3 weeks to complete. I spent more time to resolve the issue with VR headset and but after finding the reason that my laptop doesn’t support the VR headset I chose the AR for immersive experience for the audience.

The other challenges I faced was the software Adobe aero was not stable in Windows and android phones. Maybe it is because of the developing stage of the software. But I managed to take output in my friend’s iPhone and it was perfect Output.

I am happy to say that I have learnt new skills like AR and some basics in After Effects. While I am focusing my career as Graphic designer-cum-motion graphic artist these skills will be more helpful to me as I can do some advanced level communication to the audience by applying some immersive experience to them.

References

Ballyweg (2009) Microsoft Windows XP Startup Sound. https://www.youtube.com/watch?v=7nQ2oiVqKHw. [Accessed on 3 Jan 2024]

Bluebeanievr (2023) Old oculus startup sound. https://www.youtube.com/watch?v=-rv3KXmFKJg. [Accessed on 4 Jan 2024]

BreakingCopyright — Royalty Free Music (2019) 💪 Orchestral Trailer Piano music (No copyright) 'The Epic Hero' by @KeysofMoonMusic 🇺🇸. https://www.youtube.com/watch?v=ETbsXdqgcTM. [Accessed on 7 Jan 2024]

Ger.Wonderwild (no date b) Fire with Alpha Channel. https://www.videezy.com/abstract/56387-fire-with-alpha-channel. [Accessed on 18 Dec 2023]

Interstellar - Original Motion Picture Soundtrack, Music by Hans Zimmer Available at https://youtu.be/zE-qxNVoUSo?feature=shared [Accessed on 7 Jan 2024]

Just For Views (2015) Tom and Jerry Episode 2 Original (1941) HQ. https://www.youtube.com/watch?v=X6gSqJgFQUU. [Accessed on 3 Jan 2024]

Karen Hovsepyan (2018b) Stars Fly Through in the Universe Space Background Animation | 4K Screensaver Royalty Free. https://www.youtube.com/watch?v=UNOmaFs6KaY. [Accessed on 27 Dec 2023]

peRo naRa (2020) 📸 Camera Flash - Green Screen [Free Download ]. https://www.youtube.com/watch?v=1N77i5ancNU. [Accessed on 27 Dec 2023]

Sketchfab (no date) Folded Newspaper - Download Free 3D model by abdillaamy. https://sketchfab.com/3d-models/folded-newspaper-4fc14ea5129b4ea3b34a22844a6f1b3f. [Accessed on 22 Dec 2023]

Sketchfab (no date b) Hand-painted Low Poly Computer - Download Free 3D model by NoodleBaguette. https://skfb.ly/oPpXJ. [Accessed on 3 Jan 2024]

Sketchfab (no date b) Old TV(Clean) - Download Free 3D model by OlegCoder. https://skfb.ly/oKqWU. [Accessed on 22 Dec 2023]

Sketchfab (no date e) Samsung Gear VR - Download Free 3D model by cognitive3d (@cognitivevr). https://skfb.ly/M6Jo. [Accessed on 3 Jan 2024]

Sketchfab (no date b) Table - Download Free 3D model by yryabchenko. https://sketchfab.com/3d-models/table-1132fa2850a24917892733566bd68e74. [Accessed on 21 Dec 2023]

Sketchfab (no date e) Wooden Table - Download Free 3D model by Shedmon. https://skfb.ly/owGpZ. [Accessed on 21 Dec 2023]

Sketchfab (no date c) Iphone 6 - Download Free 3D model by Sky4gj. https://skfb.ly/6nWLG. [Accessed on 18 Dec 2023]

TheCreatorKingOfAnthony408 (2018) Old iPhone ringtone! https://www.youtube.com/watch?v=q1nCdH0ycpQ. [Accessed on 3 Jan 2024]

Vintage Radio (2023) Winter Radio Playlist Vol II - The best of vintage music. https://www.youtube.com/watch?v=xbGCVbjIyhQ. [Accessed on 18 Dec 2023]

[tmbeethatsme]

Check out this listing I just added to my Poshmark closet: Crate & Barrel Joan Anderson Kid Christmas Mugs Bear Sweater Cardinal Snow 2018B.

[erbrwb]

china legalization

Little Known Facts About China legalization.

The vast majority of interviews were being executed with the participant's primary office (e.g., healthcare facility, clinic, and herbal medication store). The typical period of every job interview was forty five min. We performed sixty two interviews just before and 22 interviews following the State Council's round to reopen domestic rhino horn trade was issued on 29th October 2018 (People's Republic of China, 2018b). From the latter 22, just one interviewee experienced noticed a news write-up on the subject and three Other folks had noticed linked social networking posts, none of whom ended up aware about any policy facts.  china legalization

” Several who market intercourse do this as a consequence of drive or life situation, then wrestle to acquire housing or financial loans thanks to their felony data, she claimed. 

[linkzac]

shoutout to the wizard game me and mybfriend are going to make thats like prodigy in 2018b and also somewhat inspired by toh and it will be as different from harry potter as a wizard game can be

[socioecnomia]

Referencias:

Pérez, ICB (2016). Las teorías del crecimiento económico: notas críticas para incursionar en un debate inconcluso. Revista latinoamericana de desarrollo económico, 73-126. https://doi.org/10.35319/lajed.20162564

Ricoy, CJ (2004). La teoría del crecimiento económico de Adam Smith. Revista Economía y Desarrollo (Impresa), 138 (1), 11-47. https://www.redalyc.org/pdf/4255/425541308001.pdf

Salem, DS (2008). El pensamiento de Raúl Prebisch: una visión alternativa / Raúl Prebisch's Thought: An Alternative Vision. Estudios Demográficos y Urbanos. https://doi.org/10.24201/edu.v23i3.1323

Estructura economica. (2018, 2 de marzo). Ayuntamiento de Mieres. https://www.mieres.es/turismo/aspectos-socioeconomicos/analisis-economico/estructura-economica/

Estructura economica. (2018, 2 de marzo). Ayuntamiento de Mieres. https://www.mieres.es/turismo/aspectos-socioeconomicos/analisis-economico/estructura-economica/

Mota, JLH (2018). La transformación estructural de la economía mexicana: ¿milagro o desastre económico?1 . https://www.redalyc.org/journal/3635/363557971003/html/

Estructura economica. (2018b, 2 de marzo). Ayuntamiento de Mieres. https://www.mieres.es/turismo/aspectos-socioeconomicos/analisis-economico/estructura-economica/

Equipo editorial, Etecé. (2023, 24 enero). Subdesarrollo: causas, consecuencias y características. Enciclopedia Humanidades. https://humanidades.com/subdesarrollo/

Roldán, PN (2022, 24 noviembre). Desarrollo económico. Econopedia. https://economipedia.com/definiciones/desarrollo.html

BBVA MÉXICO. (2022, 19 septiembre). ¿Qué es el desarrollo económico y cómo se relaciona con el progreso social? BBVA México. https://www.bbva.mx/educacion-financiera/blog/que-es-el-desarrollo-economico.html

desarrollo economico | Comisión Económica para América Latina y el Caribe. (sf). https://www.cepal.org/es/temas/desarrollo-economico

Rodríguez, CAL (2022, 9 junio). ¿Qué factores influyen en el crecimiento económico? La conversación. https://theconversation.com/que-factores-influyen-en-el-crecimiento-economico-180074

México: panorama general . (s.f.). Banco Mundial. https://www.bancomundial.org/es/country/mexico/overview

Pérez Porto, J., Gardey, A. (25 de febrero de 2020). Definición de socioeconómico - Qué es, Significado y Concepto . Definición.de. Última actualización el 21 de mayo de 2021. Recuperado el 3 de marzo de 2023 de https://definicion.de/socioeconomico/

ECONOMIA Y PODER . (s.f.). juancamartinez.info. Recuperado el 5 de marzo de 2023, de https://juancamartinez.info/

¿Qué es economía? (s.f.). INE. Recuperado el 5 de marzo de 2023, de https://www.ine.gob.cl/ine-ciudadano/definiciones-estadisticas/economia/que-es economia#:~:text=La%20econom%C3%ADa%20es% 20la%20ciencia,as%C3%AD%20tener%20un%20mayor%20bienestar .

Sevilla, A. (s.f.). Economía . economipedia. Recuperado el 5 de marzo de 2023, de https://economipedia.com/definiciones/economia.html#referencia

Desarrollo Económico - Concepto, características y ejemplos . (s.f.). Concepto. https://concepto.de/desarrollo-economico/

Arias, A. S. (2022, 24 noviembre). Capitalismo. Economipedia. https://economipedia.com/definiciones/capitalismo.html

econÃ3mica, G. (2023, 6 marzo). Resumen de los principales indicadores econÃ3micos. gob.mx. https://www.gob.mx/shcp/gacetaeconomica/articulos/resumen-de-los-principales-indicadores-economicos

[mymediamusings2]

YouTube True Crime and Late Modernity

The current media landscape can be understood through a theoretical lens of late modernity (Jewkes and Linnemann, 2018b). In a deregulated media environment, where there is a video, article, or post for anyone, media competes to appeal to the biggest audience (Jewkes and Linnemann, 2018b). Readers and viewers can decide to tune in or turn off a piece of media, and in this struggle producers of media work to create the most sensational headlines, the most glossy coverage of events, and the most exciting outputs that strain the attention spans of possible audiences the least (Jewkes and Linnemann, 2018b). This is a “hyperreality”, where real and fake blend together, where violence is entertainment, and where the only thing that truly matters to producers of media is to entertain with spectacle (Jewkes and Linnemann, 2018b). The attentions of audiences, according to Jewkes and Linnemann (2018b), are not strained for more than a few minutes. But what about Youtube true crime videos? These are typically longer, often an hour or more, and focus on just one topic, a single crime event. Do these videos conform to post modernist theories?

I took a sample of ten videos across five true crime Youtube channels (Danelle Hallan, Bella Fiori, Kendall Rae, Bailey Sarian, and Dark Curiosities). To select the videos, I chose the two most popular videos for each. Immediately apparent was the similarities between all the thumbnails in their format. Almost all of the thumbnails featured a picture of the Youtuber in front of pictures of the victim, offender, or both. Many had on a negative expression, and all were posed for the camera in some way. Looking at this from a post modernist viewpoint, this places the YouTuber, and the audience by extension, closer to the crime, makes us a part of the narrative. Jewkes and Linneman (2018b) argue that a feature of hyperreality is the desire for people to show an excess of grief for crimes they are not otherwise connected to, and that this is an attempt to be part of the moment, to participate voyeuristically in what has happened to someone else. The YouTubers’ inclusion of themselves, then, can be understood as another voyeuristic attempt at being a part of the crime, a part of that moment, and to bring the audience into this moment as well.

Most had a sensational headline. To make their videos sensational enough to capture audience attention, many of the titles featured dramatic elements of the video. A Hallan video was titled “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”; a Rae video was titled “When Mean Girls Become Murderers”; a Sarian video was titled “Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”; a Fiori video was titled in all caps “SOLVED: THE VAN BREDA FAMILY MURDERS”. Jewkes and Linneman (2018a) talk about threshold as a news value, that crime stories must be considered dramatic enough to be worthy of attention, and that as people get used to a threshold, the drama must be upped to reach higher and higher thresholds. Looking at this through a postmodernist lens, the YouTubers are trying to compete with each other for views on a deregulated, saturated internet. To get people to look at their video and not their competitions’, they create sensational headlines to meet a higher threshold than the next YouTuber. Violence is entertainment in a post modernist world, and to compete, higher and higher levels of violence must be met in these YouTubers’ titles (Jewkes and Linnemann, 2018b; Jewkes and Linnemann, 2018a).

When victims were featured, they were always white. Usually, they were conventionally attractive young women, and sometimes the victims were children. Jewkes and Linneman (2018a) talk about how the news value of proximity is used to determine who receives news coverage and who doesn’t. Media producers cover crimes that they believe have cultural proximity to their audience- the degree to which something is considered relevant to audience members (Jewkes & Linneman, 2018a). Put simply, producers of media decide that young, attractive, middle-class, white girls and women are more marketable as victims in their news coverage, and this is ultimately what leads to “missing white girl syndrome” (Jewkes & Linneman, 2018a, p. 89). Racism, classism, and prejudice, whether intentional or not, conscious or not, leads media producers to not cover the cases of missing women of color, of people who are low SES, and who simply do not fit into constructed definitions of ideal, and therefore marketable, victims (Jewkes & Linneman, 2018a; Christie, 1986). A pluralist view, described by Jewkes and Linneman (2018b), would say that modern YouTubers on a deregulated platform can upend historical prejudices and say what they want, that audiences can now choose media that goes against historical prejudices that privilege whiteness and higher SES. But the videos analyzed show these YouTubers ultimately perpetuate the same old prejudices of traditional media. A criticism of pluralism says that stereotypes still persist in the modern landscape because media producers, in an effort to play it safe and compete with each other for the highest audiences, rely on narratives of the status quo (Jewkes & Linneman, 2018a). Looking at this issue another way, the decisions made by the YouTubers to create videos they consider to have cultural proximity is supported by an algorithm that still maintains old privileges and prejudices, and in a postmodern landscape focused on capitalizing on the sensational, the “missing white girl syndrome” (Jewkes & Linneman, 2018a, p. 89) is kept alive and well.

The YouTubers commonly called the cases they made videos about “stories”. Hallan in “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators” says “little did I know exactly how crazy this story was actually going to be.” In “Emma Walker: Tragically Murdered By Stalker Ex”, Rae asks the audience at the end of the video to comment their thoughts and then says “that's it for me today, guys. I hope you found this story interesting.” In “Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”, Sarian says “today’s story is a little gruesome, just a little disclaimer.” The use of the term “story” blurs the line between the real people and events behind what these creators are talking about, and entertainment, spectacle, and content. “Story” is a strategic term that implies that the viewer is simply here to listen and speculate, the creator to simply tell the tale for the consumption of the audience, and the case “just a story”. Violence is less real and is instead simply video content to watch, and a sense of hyperreality is promulgated in this way (Jewkes and Linnemann, 2018b). The cases are even told in story format. In “SOLVED: THE VAN BREDA FAMILY MURDERS”, Fiori tells the case in a way that evokes mystery, describing a victim and not revealing until the end that he was actually the offender all along. In “The case of Shannon Matthews: SOLVED”, Fiori employs a similar strategy, revealing at the end that the offender was the mother the whole time, as though it is the plot twist of a story.

The YouTube videos also frequently were interspersed with jokes or lighthearted moments meant to engage the audience. This highlights the detachment that the audience is expected to feel toward the violence described in the videos. The violence is not unusual but rather is a mundane part of everyday entertainment. This detachment is a feature of hyperreality (Jewkes and Linnemann, 2018b). In “The case of Shannon Matthews: SOLVED”, Bella is talking about the offender and then pauses with a snippet of her video being interrupted by a neighbor’s lawnmower. After making a silly comment about how this always happens when trying to film, she gets right back into talking about the offender and how she neglected her children. In “When Mean Girls Become Murderers”, Rae pauses to include lighthearted commentary about her dog. Sarian jokes in “Jeffrey Dahmer. Inside His Messed Up Mind & How He Almost Got Away”, about the low GPA that the offender had in school, saying "he received a whopping GPA score of .45. How do you achieve that, I'm not sure." In “Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”, Sarian says that the offender lured victims in by telling them he needed them for scientific research, and then jokes "scientific research. He works at KFC. What kind of science are they doing there?"

Interspersed within the YouTube videos are advertisements by the YouTubers themselves. Hallan talks about in “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators” how she knew the killer and was terrified to find out, and then jumps into an upbeat Audible advertisement, and then proceeds to say “but lets go ahead and just jump right on into the case. This is about the murder of Laura Jean Ackerson, and she was only 27 years old when she was brutally murdered.” In “Jeffrey Dahmer. Inside His Messed Up Mind & How He Almost Got Away”, Sarian gives a Casetify advertisement before talking about Jeffrey Dahmer. Sarian advertises ExpressVPN before saying her video will be gruesome in “Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”. Advertisements not by the Youtubers themselves were often interspersed through the video as well. “The Dupont de Ligonnès Family Massacre” had three advertisements interrupt the violent narrative, and “The Wolf Family Massacre” had three as well. This highlights the desensitization to violence that is characteristic of this form of media, a symptom of hyperreality (Jewkes and Linnemann, 2018b). YouTubers go from discussing a heinous crime, to jumping right into a cheery advertisement about a product, and right back into the heinous crime. This emphasizes the entertainment value of real life violence, and the ability for YouTubers to jump in and out of advertisements and the assumption that the audience is able to follow them without feeling disturbed as well highlights the detachment towards violence characteristic of hyperreality (Jewkes and Linnemann, 2018b).

The YouTubers frequently discussed the emotions and thoughts of the victims, offenders, and their family and friends, speaking as though they are authorities on this. In Hallan’s video  “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”, she talks about the frustration Ackerson felt in her custody battle, of the anger Hayes felt toward his wife, of the nervousness Amanda Hayes felt when visiting her sister after a murder. In “The case of Shannon Matthews: SOLVED”, Fiori describes how the parents of a missing girl felt during the search. In “When Mean Girls Become Murderers”, Rae describes the tumultuous relationships and feelings in a teenage girl friendship circle. Sarian describes the thoughts of the offender while taking a polygraph test in “Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”. Dark Curiosities talks about what a man was feeling while in jail in “The Wolf Family Massacre”. It is hard to say if these creators are accurate, because no one knows what people were thinking in the cases they make videos about. But the point is, no one can, for the most part, know what the people in these cases were thinking, including the YouTubers. There might be a level of extrapolation happening when the creators are depicting them, padding their descriptions with thoughts and feelings they believe people might have had to create a character that can be understood better. Jewkes and Linneman (2018b) discuss how a postmodern landscape relies on the ability of the public to differentiate between real and fake, between “fact and interpretation” (Jewkes & Linneman, 2018b, p. 53). This requirement can lead to misinformation when audiences are unable to do so (Jewkes & Linneman, 2018b). The creators could be promoting misinformation in their descriptions of the interior life of offenders and victims, but this is also difficult to determine because of the postmodern landscape they are posting on that makes meaningful debate difficult (Jewkes & Linneman, 2018b).

An important feature of all of the videos was the emphasis placed on violence, presented to the audience as a form of entertainment. Jewkes and Linneman (2018a) discuss how the violence and conflict value of news media leads to the objectification of violence, harm, and crime. Media present these things as normal entertainment, and as audiences get used to them, the level of violence presented increases further and further (Jewkes & Linneman, 2018a). Media presents the atypical as the typical, with rare cases of the most violence being featured in media regularly while mundane crimes remain underreported (Jewkes & Linneman, 2018b). What this does in a hyperreal media landscape is combine violence as entertainment with the audience’s fear that they could themselves be victimized, heightening the fear of crime with the most extreme stories as though they could happen to anyone (Jewkes & Linneman, 2018b). In “The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”, Hallan goes into graphic detail about what the offenders did to the body of the victim. In “ESCAPED after 8 years! The abduction of Natascha Kampusch”, Hallan describes in graphic detail the conditions the victim was kept in. In “SOLVED: THE VAN BREDA FAMILY MURDERS”, Fiori describes in graphic detail the injuries of the surviving victim and describes where the deceased victims were hit. In “When Mean Girls Become Murderers”, Rae describes the victim’s murder and last words. The deaths of five people were detailed in “The Dupont de Ligonnès Family Massacre”. These YouTubers capitalize on the extreme violence that has happened in these cases, present them in a personal way, create videos almost exclusively on the most violent cases (typically murder, abduction, or similarly extreme crimes), and in so doing increase the audience’s sense that these crimes are normal, that everyone could be a victim, and contribute to the online landscape of the hyperreal (Jewkes & Linneman, 2018b; Jewkes & Linneman, 2018a).

The analysis of the ten videos by five of the top true crime YouTubers reveals that their videos exemplify postmodernist themes. The emphasis on violence as entertainment, the speculation engaged in the videos presented as fact, the mix between depictions of violence and advertisements, and the casual way instances of violence are discussed as stories all highlight postmodernist themes of the hyperreal (Jewkes & Linneman, 2018b). The YouTubers are employing the strategies that characterize the postmodern media landscape, and in so doing are increasing the likelihood of retaining audiences. An ultimate concern, then, is with how victims of violence are treated within this media. Even if a victim is described in positive terms, the details of what is likely the worst moment of their life are spread on the internet, for the profit of YouTubers. Their experiences are commodified. Meanwhile, underreported missing person cases are not made or promoted, because of engagement concerns and an algorithm that prioritizes certain cases. It is important to look critically at media that might engage in harmful depictions of real violence for the profits of those unconnected to the crime.

References

Christie, N. (1986). The Ideal Victim. In: Fattah, E. A. (eds) From Crime Policy to Victim Policy. Palgrave Macmillan. https://doi.org/10.1007/978-1-349-08305-3_2

Jewkes, Y., & Linnemann, T. (2018a). The Construction of Crime News. In Media and crime in the U.S (pp. 63–99). SAGE.

Jewkes, Y., & Linnemann, T. (2018b). Theorizing Media and Crime. In Media and crime in the U.S (pp. 26–62). SAGE.

Channels analyzed:

“The Brutal Murder of Laura Ackerson | They tried to FEED her to Alligators”

“ESCAPED after 8 years! The abduction of Natascha Kampusch”

“The case of Shannon Matthews: SOLVED”

“SOLVED: THE VAN BREDA FAMILY MURDERS”

“When Mean Girls Become Murderers”

“Emma Walker: Tragically Murdered By Stalker Ex”

“Jeffrey Dahmer. Inside His Messed Up Mind & How He Almost Got Away.”

“Devil In Disguise As A Killer Clown - John Wayne Gacy Was INSANE”

“The Dupont de Ligonnès Family Massacre”

“The Wolf Family Massacre”

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Unit 04: Nature Interpretation through Art and Planning for “All” Scenarios

I believe that you do not need specific qualifications or education to appreciate and interpret nature through art. All of us can look at the same piece of art and we would all interpret it differently. That is a result of the subjective aspect to art that is influenced by emotions, personal experiences and feelings. There are different ways that individuals interpret nature through art. In last week’s content we discussed barriers that individuals face when interacting with nature (Beck et al., 2018b). These individuals have to interact with nature and art in a different way than I would (Beck et al., 2018b). I can conclude that there is no right or wrong way to interpret nature through art. Therefore, when asked, “Who are you to interpret nature through art?” my answer reflects my personal experiences, barriers, and feelings. I am a bi-racial women with a university education that enjoys travelling. I am also a daughter, older sister, and friend. As a result of this I enjoy interpreting nature through art with my family and friends. Additionally, I experience little to no barriers when interpreting art. I do not need to be an art critic that studies and analyzes art to understand it. 

The textbook mentioned that we interpret nature intellectually and emotionally (Beck et al., 2018a). This point really resonated with me. Have you ever taken a scenic photograph of your favourite place to be and felt emotional about it? I would spend the last two weeks of summer vacation at my cottage in Muskoka. I remember always feeling really emotional about leaving even as I continued to get older it was still difficult. Before my family and I would pile into the car to drive back to the city I would take one last photograph. I would walk to the end of the dock and try to get the perfect picture of the lake. This was my way of capturing and interpreting the gift of beauty. This place represented family, joy, and love which represents the gift of beauty. After watching Mihaly Csikszentmihalyi ted talk (Csikszentmihalyi, n.d.) I realized I enter a state of ‘flow’ when photographing places that I have an emotional connection with. I become tunnel visioned and supress the outside world to appreciate the view in front of me. I believe enter this state of flow (Csikszentmihalyi, n.d.) help me interpret ‘the gift of beauty’. By becoming immersed in what I am seeing allows me to fully appreciate what is Infront of me and block out the background noise. 

This week’s blog prompt really opened my eyes to my abilities to interpret art and the ‘gift of beauty’. I learned that we all are a little creative in our own way. 

I really look forward to reading your blog posts and discussing this further. 

Thank you, 

Makayla 

Beck, L., Cable, T. T., & Knudson, D. M. (2018a). Chapter 10. In Interpreting cultural and natural heritage: For A Better World (1st ed., pp. 215–230) Interpreting cultural and natural heritage : for a better world. Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018b). Chapter 7. In Interpreting cultural and natural heritage: For A Better World (1st ed., pp. 127-158) Interpreting cultural and natural heritage : for a better world. Sagamore Venture.

Csikszentmihalyi, M. (n.d.). Flow, the secret to happiness. Mihaly Csikszentmihalyi: Flow, the secret to happiness | TED Talk. Retrieved January 31, 2023, from https://www.ted.com/talks/mihaly_csikszentmihalyi_flow_the_secret_to_happiness/up-next 

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Www tagesspiegel de gesundheit

Springer, Chamīorovcnik M (2019) Informal and “informal” inference. In: Lerman S (ed) Encyclopedia of mathematics education. Springer, Chamīorovcnik M (2018b) Risk and decision making – psychological and educational aspects. Educação Matemática Pesquisa 18(3):1491–1516īorovcnik M (2018a) Risk and decision making – fundamental aspects. Mathematik Lehren 194:22–28īorovcnik M (2016b) Probabilistic thinking and probability literacy in the context of risk. Math Enthus 12(1–3):113–139īorovcnik M (2016a) “To screen or not to screen” … Dialoge zur medizinischen Diagnose (Dialogues on medical diagnosis). Accessed īorovcnik M (2015) Risk and decision making: the “logic” of probability. Avances de Investigación en Didactica de la Matemática 2:5–27. Accessed īorovcnik M (2012) Multiple perspectives on the concept of conditional probability. European Society for Research in Mathematics Education (ERME), Barcelona, pp 484–506. In: Bosch M (ed) Proceedings of the fourth congress of the European Society for Research in Mathematics Education. Profile Books, Londonīorovcnik M (2006) Probabilistic and statistical thinking. Rowohlt, Reinbekīlastland M, Spiegelhalter DJ (2013) The norm chronicles. Mistakes and misjudgements in daily thinking, 7 edn). Irrtümer und Fehlurteile im täglichen Denken, 7. Sense Publishers, Rotterdamīeck-Bornholdt H-P, Dubben H-H (2003) Der Schein der Weisen. Keywordsīatanero C, Borovcnik M (2016) Statistics and probability in high school. The societal rationale in the background suffers from a clash between stakeholders in the public debate: the role one plays determines to a great extent the judgment of the relative benefits of screening programs. It remains the question whether societal endeavors should focus on alternative measurements rather than promoting screening programs as the small average improvement of system performance is contrasted with high risks of severe harm to a small number of participants. Overall, the weighted risks show no or only slight benefits for the screening programs. Finally, fact boxes are displayed that are intended to be widely understandable they should support an individual’s decision for or against screening. It summarizes the evaluation of screening programs based on results of long-term meta-studies for breast cancer. The third case study investigates the benefits of screening programs from the perspective of empirical studies. It quickly becomes clear that the views between the interest groups are not really congruent. In this role play, the following actors are involved: the affected woman, her husband, a friend of the family, and the attending physician. The second case study focuses on the question of participating in a screening program for breast cancer from the perspective of affected people, which provides a platform for authentic information and how it may be understood and used for the decision of an individual. Some methods to increase risk competencies by simpler representations of the used model are illustrated. To improve the situation, it gets essential that the wider public acquires more competencies so that risks can be debated carefully in public health and for individuals who have to decide about measurements to undergo in order to advance their situation. The first case study illustrates how risk communication fails in a public discussion. The present chapter represents the ideas in the form of case studies. Fundamental aspects of statistics in medicine are the topics of a separate twin chapter on “Risk and Decision Making: Modeling and Statistics in Medicine – Fundamental Aspects.” This chapter illustrates issues of risk and decision-making in connection to health issues by case studies.

[sturmhond]

books read in 2018: warcross and wildcard by marie lu

That’s the difference between the real and the virtual. Reality is where you can lose the ones you love. Reality is the place where you can feel the cracks in your heart.