This thesis examines Instagram users and how they create an identity, and their interaction with other users. The aim of this study is to understand what we do with Instagram and what Instagram does with us in our everyday lives, and what the effects of the medium entails. This thesis is based on theories of identity, hyper- reality and effects of the development of social media. The method used in this study is qualitative focus group interviews with five women and five men, where the answers are transcribed and analyzed to gain an understanding of the effects and the impact of Instagram in their lives. We chose to interview both men and women, and therefore we have also had the gender issue in mind, but it has not been the main focus of this study. The results we reached in this study is that Instagram is mainly used to keep updated and that the medium provides both positive and negative effects. We also discovered that individuals are not one hundred percent themselves on Instagram. The conclusion we can draw is that people play different roles on Instagram of different purposes, and that we live in a hyper- reality that brings both good and bad. We can also conclude that even though people today have the power to present themselves in the way they want to, we see tendencies that gender representation is present in a stereotypical way.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-22T12:47:58Z No. of bitstreams: 2 Tese - Ivan Carlo Andrade de Oliveira - 2017.pdf: 13415834 bytes, checksum: 1db91c0a15b7fdde7a73c0691fa18109 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-22T12:48:14Z (GMT) No. of bitstreams: 2 Tese - Ivan Carlo Andrade de Oliveira - 2017.pdf: 13415834 bytes, checksum: 1db91c0a15b7fdde7a73c0691fa18109 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-22T12:48:14Z (GMT). No. of bitstreams: 2 Tese - Ivan Carlo Andrade de Oliveira - 2017.pdf: 13415834 bytes, checksum: 1db91c0a15b7fdde7a73c0691fa18109 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis discusses Francisco Iwerten case. Born in Curitiba, Iwerten created Capitão Gralha (Captain Jackdaw), the first Brazilian super-hero, and published it in Curitiba at the beginning of 1940s. This entirely fictitious story was created in a text I wrote to Metal Pesado (Heavy Metal) Curitiba magazine in 1997. Despite the text being fictional, many believed that Iwerten and his creation had really existed, going as far as Iwerten winning an Ângelo Agostini prize as Master of National Comics. In September 2014 the story was revealed at a discussion table of II Curitiba Gibicon comics event. The project concerns the analysis of the case and the creative process of the album Capitão Gralha’s Lost Stories, which will be produced as if it was a rescue of Iwerten’s stories and will have my scripts with multiple draughtsmen’s art. The thesis is based on the concepts of simulacrum and hyperreality, especially from the approaches of Umberto Eco and Baudrillard. The aim is to analyze how the boundaries between reality and fiction were gradually fading and how art, literature and comics reflect this process through works that test those limits. Literary and artistic works that used this approach are analyzed, creating a likelihood that, although fictional, have been taken as real. It will also be detailed historical process of creating myths Francisco Iwerten and Captain Crow and analyzed how it has expanded, especially after the popularization of the Internet. Will be analyzed in detail the process of creating the project deals with the case analysis and the album creation process lost stories of Captain Crow, released on April 1, 2016, in Gibiteca of Curitiba. The album, using the concepts of simulacrum and hyperreality, emulates rescue publications with stories in "original" comic Iwerten and his team, introductory texts unraveling the creative designer process and the context of creation of each story, and a detailed biography of Iwerten, which describes in detail the whole trajectory of this imaginary comic artist, from his Jewish ancestry, the trip to the United States within the good-neighbor policy and the publication of stories. The thesis focuses on the intricacies of creating this detail and verisimilitude strategies adopted for the album became hyper-real. It also analyzes other likelihood strategies such as fan-page of Captain Crow, which deals Iwerten as real as to publish even quotes. / Esta tese trata do caso Francisco Iwerten. O curitibano Iwerten seria o criador do personagem Capitão Gralha, o primeiro super-herói brasileiro, publicado em Curitiba no início dos anos 1940. A história, totalmente fictícia, foi criada em um texto de minha autoria publicado na revista Metal Pesado Curitiba, de 1997. Apesar do texto ser ficcional, muitos acreditaram que tanto Iwerten e o Capitão haviam realmente existido, a ponto de Iwerten ganhar o prêmio Ângelo Agostini como Mestre do Quadrinho Nacional e quase ser homenageado por uma escola de samba. Em setembro de 2014 a história foi revelada em mesa redonda na II Curitiba Gibicon. A tese tem como base os conceitos de simulacro e hiper-realidade, em especial a partir das abordagens de Umberto Eco e Baudrillard. O objetivo é analisar como os limites entre realidade e ficção foram aos poucos se esvanecendo e como a arte, a literatura e os quadrinhos refletem esse processo através de obras que testam esses limites. São analisadas obras literárias e artísticas que usaram essa abordagem, criando uma verossimilhança que, embora ficcionais, foram tidas como reais. Também será detalhado o processo histórico de criação dos mitos Francisco Iwerten e Capitão Gralha e analisada a forma como o mesmo se ampliou, especialmente após a popularização da internet. O projeto trata da análise do caso e do processo de criação do álbum Histórias perdidas do Capitão Gralha, lançado no dia primeiro de abril de 2016 na Gibiteca de Curitiba. O álbum, usando os conceitos de simulacro e hiper-realidade, emula publicações de resgate, com histórias em quadrinhos “originais” de Iwerten e sua equipe, textos introdutórios destrinchando o processo criativo do desenhista e o contexto de criação de cada história, além de uma detalhada biografia de Iwerten, que descreve em minúcias toda a trajetória desse quadrinista imaginário, desde sua ascendência judaica, a viagem aos EUA dentro da política da boa-vizinhança e a publicação das histórias. A tese se debruça sobre os meandros da criação desse detalhamento e as estratégias de verossimilhança adotadas para que o álbum se tornasse hiper-real. Analisa também outras estratégias de verossimilhança, como a fanpage do Capitão Gralha, que trata Iwerten como real, a ponto de publicar citações do mesmo.

Världen har genomgått stora förändringar de senare åren, liksom sättet på vilket vi interagerar och relaterar till den. Ankomsten av sociala medier har gett upphov till ett fenomen varigenom åberopandet av den spridande fitnesskulturen har möjliggjort för ett beteende bestående av publicerandet av allt mer sexuellt utmanande och explicit material att få fotfäste och normaliseras bland unga svenskar idag. Syftet med denna studie är att utforska meningsskapandet bakom och den bärande logiken för personligt uttryck och publikationen av personligt material i den moderna digitala världen av sociala medier. Jag ämnar göra detta genom att kombinera de teoretiska perspektiven framförda av Thorstein Veblen och Jean Baudrillard med Norman Faircloughs tredimensionella modell för kritisk diskursanalys. Denna metodologiska ansats, en sammanvävning av teori och metodologiska riktlinjer, kommer att tillämpas på det moderna svenska fitnessfenomenets uttrycksformer och emanation på sociala media-plattformen Instagram. Genom att studera bilder och deras associerade bildtexter är målet att bena upp och försöka förklara de diskursiva relationer och villkor som bär och ger liv åt detta beteende, och tillåter det att normaliseras. Tolkningarna av resultatet indikerar förekomsten av ett slags diskursivt maskerande av en underliggande strävan efter social validering genom förvärvandet av socialt kapital. Genom att åberopa fitness som legitimerande faktor transformerar diskursen verkligheten som omger dessa publikationer från någonting som hade betraktats som opassande, till att utgöra en del av ett beteende mer i linje med existerande sociala normer. / The world has seen some rather significant changes in recent years, and with it the way we interact and relate to it. The advent of social media has given rise to a phenomenon in which the invoking of the spreading culture of fitness has allowed a behavior consisting of the publication of increasingly sexually explicit and provocative material to take hold and become normalized among Swedish youth. The purpose of this study is to explore the drive and reasoning governing the concept of personal expression and the publication of personal material in the modern digital age of social media. I aim to do this by combining the perspectives outlined in the works of Thorstein Veblen and Jean Baudrillard respectively, with the three-dimensional model of critical discourse analysis as created by Norman Fairclough. This methodological approach, combining theory and methodological guidelines, will then be applied to the modern Swedish phenomena surrounding fitness and its emanation and expression on the popular social media platform Instagram. By studying the images and their related captions the aim was to decipher the discursive relations and conditions that maintain and sustain this behavior and allow it to be normalized. The resulting interpretations indicate the occurrence of a discursive masking of the underlying strive for social validation through the acquisition of social capital. By invoking fitness as a legitimizing factor the discourse transforms the reality of these publications from something which would otherwise be frowned upon, into a behavior more in line with existing social norms.

The study deals with J. Baudrillad’s conception of reality as hyper reality. J. Baudrillad’s conception of hyper reality and the lost of referential reality is presented through the analysis of numerous writings, articles as well as critical texts. First of all, the author’s conception of simulated and non-referential reality is compared with the classical understanding of reality, which contains dualistic tension, whereas the other is nuclear and the distinctions between object/subject, true/false, real/unreal are no longer possible. Then the author of the study also brings the theme of ‘produced reality’ and mass mediated life as it is represented in J. Baudrillad’s philosophical writings. The influence of hyper reality on the practical way of life is also analyzed. Finally, the themes of non-referential language, philosophical dialogue and possibility for classical philosophy are considered.

Ankara, being the capital, has been the most important city for the New Modern Turkish State on its way of establishing the modernity project of Turkey. The development of the urban planning projects proceeded on the basis of this aimed concept of the new society, carrying the privilege of being the symbol of the modern republic, prosperity and wealth. Ke&ccedil / i&ouml / ren is one of the main districts of Ankara. The main aim of this study is to analyze and describe the ideological departure of Ke&ccedil / i&ouml / ren from the concept of the &ldquo / modern&rdquo / Ankara, within the last ten years. Here the attitude of the municipality and its role as the agent of civil power leading the architectural and urban transformation of Ke&ccedil / i&ouml / ren from a district full of gecekondu to one full of &ldquo / decorated sheds&rdquo / will be discussed. Here, the term &ldquo / decorated shed&rdquo / , introduced by Robert Venturi, will be used for the explanation of the new architectural and urban elements Furthermore, the attitude of the society and the architects and contractors who are responsible for the actual case will be brought into argumentation. In this sense, other subsidiary terms will be used to explain the process of the case are / populism and politics, nationalism, the ideology of the Turkish nation (T&uuml / rkl&uuml / k), Turanism, Islamism and orientalism. Additionally, an important building in the district, the Estergon Castle, which has different characteristics from the other parts of the district, will be explained with the terms &ldquo / hyper-reality&rdquo / and &ldquo / kitsch&rdquo / by the explanations of Umberto Eco and Dorfles.

Made available in DSpace on 2014-12-17T14:20:23Z (GMT). No. of bitstreams: 1 EduardoPS_TESE.pdf: 3784271 bytes, checksum: 849830dbd2f14b3522f66052ac9aa627 (MD5) Previous issue date: 2012-02-13 / The approach that undertakes this work revolves around the emergence of iconic structures on reflecting about the meaning of different methods of image representation through which the contemporaneity reveals itself. At baseline, three aspects are considered looking for an analytical ontology of the act of representation and imagery: the transition of representation in the oral culture of societies for writing, from these to typography, and finally the creation of a representation device. Resorted to, therefore, the argument by some genealogy reference points that technological instances such as writing, printing and photography, the evolution of this process, correspond, in itself, a consequent shift technique, for each representation precedent. In the area of the image, the most salient aspect of this change in foward process is the emergence of hyper-reality: the instances of hyper-realistic representation. In the Western context, the 'simulation of the world' - essential idea of mimesis is the work of an autonomous an conventional system. It should be noted, then the fact that under unreflective of the post-industrial societies, the mass-media image is coating with natural or fake code including - according to Baudrillard - tends to replace the real world in the "perpetuation of a large chain of simulacra." Hence in modern times, in the postindustrial society, during the crisis of the representation regimen and perception, centered in the referent. In this limit, new settings are established by aesthetic representations of imagery in contemporary culture: establishing spaces of simulation [Jean Baudrillard] the spectacle [Guy Debord] and hypermodernity [Gilles Lipovetsky] in which they operate. In these assemblages, saps the emergence of Hyper-reality Representation Instances - as seen in this study aesthetic events to configure itineraries of a new sensibility. It is the nature of this practice sign-iconic, ingrained in the creation of current artistic expression, which this research engaged in peering: the hyper-realistic setting, taking empirical support central to contemporary imagery production, diverse formats of analog representation. / A abordagem que empreende este trabalho gira em torno da emerg?ncia de estruturas ic?nicas, reflexionando sobre o sentido de diferentes modalidades de representa??o imag?tica por meio das quais a contemporaneidade se revela. ? partida, tr?s aspectos s?o considerados para uma anal?tica em busca da ontologia do ato da representa??o imag?tica: a transi??o da representa??o nas sociedades de cultura oral para a escrita; destas para a tecnologia tipogr?fica e, finalmente, a constitui??o de dispositivo de representa??o fotogr?fica. Recorre-se, portanto, ? argumenta??o por meio de alguns pontos de refer?ncia geneal?gica de que inst?ncias tecnol?gicas como a escrita, a tipografia e a fotografia, na evolu??o desse processo, correspondem, per si, a uma viragem t?cnica consequente, em rela??o a cada representa??o precedente. No dom?nio da imagem, o aspecto mais proeminente dessa mudan?a no decurso avan?ado consiste na emerg?ncia da hiper-realidade: das inst?ncias de representa??o hiper-realista. No contexto ocidental, a simula??o do mundo ideia essencial da mimesis - ? obra de um sistema aut?nomo e convencional. Sublinha-se, ent?o, o fato de que, no ?mbito irreflexivo das sociedades p?s-industriais, a imagem mass-midi?tica se reveste com o falso c?digo de natural ou inclusive de acordo com Baudrillard tende a substituir o mundo real na perpetua??o de uma larga cadeia de simulacros . Da?, na modernidade, em plena sociedade p?s-industrial, decorrer a crise do regime de representa??o e de percep??o, centrado no referente. Neste limite instauram-se novas configura??es est?ticas de representa??es imag?ticas na cultura contempor?nea: instituindo espa?os da simula??o [Jean Baudrillard], do espet?culo [Guy Debord] e da hipermodernidade [Gilles Lipovetsky] em que operam. A estes agenciamentos, acode a emers?o das Inst?ncias de Representa??o Hiper-real vistas neste estudo como ocorr?ncias est?ticas a configurarem itiner?rios de uma nova sensibilidade. ? da natureza dessa pr?tica signo-ic?nica, incrustada na cria??o da express?o art?stica atual, que esta pesquisa se ocupou em perscrutar: a configura??o hiper-realista, tomando como suporte emp?rico central a produ??o imag?tica contempor?nea, em formatos diversificados da representa??o anal?gica.

Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.

【中 文 摘 要】 博物館功能主要為「展示、教育、研究、典藏」，其中「展示」為博物館與大眾接觸最直接的方式。在現代科技發展中，「展示」的觀念與形式也有所改變，互動式展示日受重視，虛擬呈現的比例亦逐漸加重。 本研究以「國立海洋生物博物館」之BOT專案「世界水域館」《深海水域》電子展示設計為主題，以實務個案為例，探討自然博物館如何規劃與製作深海水域的生態展演，與如何利用〝虛擬實境〞、〝人工智慧〞與〝即時運算〞等尖端技術，架構出「世界第一」無水水族館的展示模式。 往昔自然生態展示以活體展示為主，即複製生態空間讓水中生物悠遊水族箱內。但為了超越時空，讓全球代表生態皆能集中於特定展示館內，遂有電子展示的觀念與製作，以擬仿物取代真實，創造尚‧布希亞的「超真實」世界。 本研究於製程的影音紀錄與相關人員的訪談中，歸納、整理出發展生態電子展示設計的因素與理想，探討製作上的困難之處，同時也以研究者觀點對展示設計過程提出檢討與建議。 深海水域生態在陸地上展示係屬跨越時空的創舉，本個案不但為台灣首例，在世界上亦為先驅。創新嘗試，成果雖不如預期，但以整個專案的具體呈現而言，實為相關領域之前鋒。本研究認為，整理與探討本個案，對未來電子展示設計與製作皆有參考價值；同時，由本個案所建置的生態電子展示平台，亦為台灣博物館界提供國際化的新思維，對博物館未來的展示設計奠定了新的基礎，創造一個新的開始。 / Abstract The main functions of museums are demonstration/exhibition, education, research and collection/preservation. “Exhibition” provides the most direct link between a museum and the public. As modern science and technology continue to develop, the concepts and formats of “exhibition” have also evolved. Interactive exhibits become more valued, and virtual simulation approaches have also increased in proportion. The focus of this research study is the electronic display design for the Waters of the World – BOT (Build-Operate-Transfer) Project, pioneered by the National Museum of Marine Biology & Aquarium. This study uses this project as a case study to explore how a Nature museum planned and produced an exhibit of The Deep Sea waters ecology, and with the use of the most advanced technology such as VR (Virtual Reality), AI (Artificial Intelligence), and the “real-time operation,” etc., how the museum built the world’s first protocol for a water-less aquarium. In the past, ecological exhibits mainly constituted real living creatures, by duplicating the ecological environment necessary for underwater creatures to survive in an aquarium. But, in order to go beyond the limitation of space and time, and to facilitate the presentation of global ecology within a specific exhibition space, the electronic display concept and production has thus been introduced. It is to imitate reality and create a world of hyper-reality, as depicted by Jean Baudrillard. Relying on historical video and audio records, and actual interviews with key people on the project, this research study summarized factors and objectives of the original design, and discussed difficulties encountered in the production process. In addition, the study also provided input and recommendations concerning the design process. The exhibition of The Deep Sea waters ecology on land is a pioneering act, second to none. The case is not only a 1st in Taiwan, but also a 1st of its kind in the world. Although the new attempt has not exactly achieved the expected outcomes, it did initiate a pioneering work within ecology demo field. The researcher believes that the case study is a valuable reference for future electronic display design and production. In the meantime, the ecological electronic-platform created by this project provides an international perspective, and establishes a new milestone for further development in the future.

Employing Cornish Cultures for Community Resilience. Can cultural distinctiveness be used to strengthen community bonds, boost morale and equip and motivate people socially and economically? Using the witness of people in Cornwall and comparative experiences, this discussion combines a review of how cultures are commodified and portrayed with reflections on well-being and ‘emotional prosperity’. Cornwall is a relatively poor European region with a cultural identity that inspires an established ethno-cultural movement and is the symbolic basis of community awareness and aspiration, as well as the subject of contested identities and representations. At the heart of this is an array of cultures that is identified as Cornish, including a distinct post-industrial inheritance, the Cornish Language and Celtic Revivalism. Cultural difference has long been a resource for cultural industries and tourism and discussion of using culture for regeneration has accordingly concentrated almost exclusively on these sectors but an emergent ‘regional distinctiveness agenda’ is beginning to present Cornish cultures as an asset for use in branding and marketing other sectors. All of these uses ultimately involve commodification but culture potentially has a far wider role to play in fostering economic, social, cultural and environmental resilience. This research therefore uses multidisciplinary approaches to broaden the discussion to include culture’s primary emotional and social uses. It explores the possibility that enhancing these uses could help to tackle economic and social disadvantage and to build more cohesive communities. The discussion centres on four linked themes: multiple forms of capital; discourse, narrative and myth; human need, emotion and well-being; representation and intervention. Cultural, social, symbolic and human capital are related to collective status and well-being through consideration of cultural practices, repertoires and knowledge. These are explored with discussion of accompanying representations and discourses and their social, emotional and economic implications so as to allow tentative suggestions for intervention in policy and representation. A key conclusion is that culture may be used proactively to increase ‘emotional capital’.

Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them.