Friday, December 12, 2014

Blog Essay #3

Cyborgs and Society
 “We are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs.”  - Donna Haraway
In an attempt to delve into the topic of cyborgs, and their purpose within the realm of Japanese animation (anime), the resourcefulness of futuristic expectation based on past and present happenings has become increasingly pertinent. Throughout my research I discovered blurred boundaries concerning the limitation of definitive markers setting the bar on what it truly means to be a human being. Through the illustration of Japanese animation, artists have been able to convey warnings of pressing issues, especially with regard to futuristic foretelling of cybernetic organic beings, cyborgs.  

(Motoko from Ghost in the Shell - image from tumblr.com) 

            Within the works of Donna Haraway, notable author and well-informed cyborgologist, an understanding of human purpose began. In one of her most widely received essays Haraway recounts that, “My cyborg myth is about transgressed boundaries, potent fusions, and dangerous possibilities which progressive people might explore as one part of needed political work”. Haraway felt that her expression of futuristic foretelling was an explanation of the state of being human. While she often applied her logic to a comparison between the embodiment of what it felt like to be a modern day women within a patriarchal society, she also philosophized theories pertaining solely to the evolutionary future ahead, as represented through the state of losing part of our humanity and embracing cold mental bodies as a form of elongating life. Haraway explains, “Our bodies, ourselves; bodies are maps of power and identity. Cyborgs are no exception. A cyborg body is not innocent; it was not born in a garden; it does not seek unitary identity, and so generate antagonistic dualisms without end (or until the world ends).” (Haraway, 1991)
            Recent research studies have put an emphasis on the integration of robotic engineering into present day society, through means such as healthcare and hard labor. The importance of emotional expression and human interaction are currently being studied in order to determine their place among newly developed technologies (Walters, 2008). During a study put forth by the University of Auckland, located in the heart of New Zealand, participants were introduced to the next generation of healthcare workers: Peoplebots. The purpose behind the study was an exploration of which physical appearance should be put forth in order for patients to feel comfortable having a robotic machine replace a human being (Subbaraman, 2013). The Peoplebots were to interact with patients as they took their blood pressure. Participants of the study were presented with three variables of Peoplebots, the first was outfitted in a synthetic skin-like covering, and was capable of displaying expressions, the second was a faceless, expressionless robot with a plain, silver covering over its face-fame, and the third consisted of a robotic face, with exposed wiring and internal hardware (Subbaraman, 2013). The thirty participants had their blood pressure taken by each of the three variety types of Peoplebots, and were then asked to report their comfort level with respect to trustworthiness and likeableness towards the Peoplebots (Subbaraman, 2013). The results stated that participants felt they could trust the third robot that looked most like a machine, but preferred the first robot, as it seemed more human in nature and appearance. Within participant responses, a trend of fear and anxiety towards the second, faceless, expressionless robot left the researchers with the impression that this form of Peoplebot had entered The Uncanny Valley. With regard to cyborgs and their likeness to human beings, in cases were the organic portion of their being does not lie within recognizable traits, it would appear that the comfort and acceptance of other is highly influential in their physical appearance. The eerie likeness of developing robotics to existing human beings is astounding, American poet Diane Ackerman was once quoted as saying, “Artificial intelligence is growing up fast, as are robots whose facial expressions can elicit empathy and make your mirror neurons quiver.”

(Shinji from Neon Genesis Evangelion - image from tumblr.com)

            An essay drafted by Andrew Wells Garner was published within a novel dedicated to the philosophical backing of cyborgology, and within this work Garner presents a shocking reality concerning evolutionary theories as illustrated through Japanese versus American animation. Garner was quoted as saying, “Biological evolution has taken a very long time; meanwhile technological development is steadily growing up at a faster pace.” (Garner, 2010). He explains that while Americans focus on the biologically based evolution as demonstrated through genetic mutation, Japanese animators are presenting their case on the issue of possible technological evolution. Garner explains that American pop culture references, found in such works as X-Men, demonstrates an underlying belief that the next phase of human evolution will encompass biological expansion in the form of genetic mutation (Garner, 2010). This idea is not shared by Japanese theorist, as displayed with anime creations such as Ghost in the Shell, Neon Genesis Evangelion, and Cyborg 009. These shows/films instead demonstrate the fear that human advancement will take on the form of technological improvement via cybernetic implants and external hard-drives, a reference to the cybernetic brains used in Ghost in the Shell to explain the ability of massive logical comprehension (Garner, 2010). Garner goes on to explain that Japanese anime/manga attempt to predict and conceptualize future events with worries in mind such as social exclusion and alienation (Garner, 2010). Garner believes in the possibility of a ‘posthuman future’ consisting of beings much like that of the ‘child’ produced by Motoko and the Puppet Master from Ghost in the Shell (1995). 
This idea also touches upon questions provoked within the film Ghost in the Shell (1995), wherein the main protagonist, Motoko, questions her identity, humanity, and gender. Within many examples of animation based cyborg females often exhibit signs of being incapable of reproduction, that is with the exception of Android 18 of Dragon Ball Z., who withheld her capabilities of reproduction as exhibited by the existence of her daughter. At one point during the film, Motoko jokes about her lack of reproductive capabilities, but then proceeds to question her self-awareness, is she even a woman if she is incapable of reproduction? Why is she represented through her cybernetic body as an assigned gender, when there is no physical variance between her and other cyborgs manufactured by the same industry?  Donna Haraway stated in her notorious essay that. “There is nothing about being ‘female’ that naturally binds women. There is not even such a state as ‘being’ female, itself a highly complex category constructed in contested sexual scientific discourses and other social practices.” (Haraway, 1991).

(Donna Hardaway - photobucket.com) 

Within the philosophical teachings of Arthur Koestler, author of Ghost in the Machine, the meaning of life and existence are described as being recognizable through the value of life itself. Upon the discovery of death, a person’s sense of being is forever changed as at that very moment their proverbial hourglass begins to dwindle. Suddenly, they are struck with a sense of purpose as they are fighting against time in order to make their mark upon the life they lead. Within the 1979 film Galaxy Express 999 the audience is exposed to a futuristic storyline, focused on the pursuit of immortality via cybernetic body replacement. This film also presented an excellent depiction of alienation and exclusion, a theorem purposed by Andrew Wells Garner, as the lower class citizens are withheld from the expensive processes required for immorality and longevity, and in many cases 100% organic humans are seen as lower life forms, and treated as such. During a flashback scene the audience learns that the young protagonist and his mother were pursued by cyborg huntsman, in a fashion similar to that of an English foxhunt.
Professor of Psychiatry at Yale University, Richard Lifton, took the teachings of Koestler into consideration and produced a publication in the 1960’s that suggested that beings were a flaw in evolution. This striking claim was reinforced through the theory od dualism, a belief that there exist two kind’s of foundations concerning self – mental and physical (body); the mental can exist outside of the body, while the body cannot think for itself (Lifton, 1968). Lifton believed that humanity’s uniqueness and sense of purpose lied within the ticking time clock as set forth by the deadline of death. Lifton explained that, “The discovery [of death] originates in the new brain, the refusal [to accept death] in the old”, he described this as the turning point at which time a human being is born again into existence and his or her time begins to dwindle (Lifton, 1968).
French philosopher and mathematician, Rene Descartes, once said, “I think, therefore I am.” Descartes dedicated much of his life to the study and understanding of life itself, and it is through his comprehension of purpose that a deeper understanding of the hidden message with Mamoru Oshii’s Kokaku Kidotai (Ghost in the Shell), an excellent representation of human evolution through cyborg technology. Ghost in the Shell centers on Major Kusanagi Motoko, a female cyborg composed almost entirely of cybernetic engineering, the only remaining part of her being is her organic brain. While Motoko is a self-recognizing, independently thinking being, she feels internal conflict concerning her sense of purpose, meaning, and belonging. Motoko also suffers from a lack of self-identity as she has been implanted into a body that resembles a human female, yet she lacks any gender designated capabilities that would distinguish her from her male counterparts. In a film review by well-known film critique Roger Ebert, Ebert remarked about the internalized confliction within the film in saying,” There is much moody talk in the movie about what it is to be human. All of the information accumulated in a lifetime, we learn, is less than a drop in the ocean of information, and perhaps a creature that can collect more information and hold onto it longer is . . . more than human” (Ebert, 1996). During the film viewers meet such a creature, nicknamed the Puppet Master, this organic form of artificial intelligence (A.I.) breaches the boundaries of the Information Ocean and attempts to free himself from its captivity. Towards the end of the film, viewers observe lost soul, Motoko and headstrong A.I., Puppet Master breakdown the final barrier confining them, in an act that demonstrates technological reproduction.
An article recently published in The New York Times takes on a modern day approach to futuristic prediction as hashed out between three experts within their respective fields. The participants included Evgeny Morozov, the editor of The New Republic, Susan Greenfield PhD, professor of pharmacology at Oxford University, and Maria Popova, an M.I.T. Futures of Entertainment Fellow. The interviewer put forth one simple question to the eagerly awaiting ears of his audience, “Are we becoming cyborgs?”. In light of recent years, a vast majority of society has turned to social media for their interpersonal connections, disregarding social norms and taking on a new format of socially acceptable communication methods, including online social media, text messaging, email, and other technological inventions of the twenty-first century. Greenfield spoke of this trend of rapid replacement as she said, “What concerns me is not the technology in itself, but the degree to which it has become a lifestyle in and of itself rather than a means to improving your life.” (Schmemann, 2012). In agreement with Greenfield, Maria Popova took on a scientific perspective and pondered over the psychological impact of technological reliance. Popova explained that, “So much of the fear is that rather than enhancing human cognition, they’re beginning to displace or replace meaningful human interactions.” (Schmemann, 2012). The integration of cyborgs, as explained by the three interviewees, will likely result from the steady increase of human reliance on technological means, with respect to all aspects of life, ranging from healthcare to industry, and everywhere in between. This concept comes to life through a study of human history, Morozov explained that, “If you trace the history of mankind, our evolution has been mediated by technology, and without technology it’s not really obvious where we would be. So I think we have always been cyborgs in this sense.” (Schmemann, 2012).
            What is a cyborg anyway? Haraway suggests that they are a fictitious representation of any repressed minority, while Schmemann and his interviewees believe it is an expansion upon human social interaction and that social media is the gateway into a new era of technology based lifestyles. As for Andrew Wells Garner, he interprets their meaning as being a warning sign of impending damnation, and the researchers of the University of Auckland see them as a tool of betterment of human capabilities. Perhaps, upon reflection, they are a multitude of symbolic meaning, designed to entice and provoke the imagination and further the comprehension of the direction human life may take on as we proceed through the ages.

(Android 18 from Dragon Ball Z - image from tumblr.com) 

 References
Anno, H. (Director). (1995). Neon Genesis Evangelion. Japan: Tatsunoko Production
            Gainax.
Ebert, R. (1996). Ghost in the Shell Movie Review. Rogerebert.com.  
Garner, A. (2010). It’s the End of the Species as We Know It, and I Feel Anxious. In
            Steiff, J., and Tamplin, T., Anime and Philosophy: Wide Eyed Wonder. Chicago,
            IL: Open Court. Print.
Haraway, D. (1991). A Cyborg Manifesto: Science, Technology, and Socialist-Feminism
            in the Late Twentieth Century. In D. Haraway, Simians, Cyborgs, and Women:
 The Reinvention of Nature. New York; Routledge. 149-181.
Koestler, A. (1968). The Ghost in the Machine. New York: Macmillian. Print.
Lifton, R. (1968). Man As Mistake. The New York Times.
Mano, R. (Director). (2008).Gunslinger Girl. Japan: Artland.
Nishio, D. (Director). (1996). Dragon Ball Z. Japan: Toei Animation.
Oshii, M. (Director). (1995). Ghost in the Shell. Japan: Shochiku.
Schmemann, S. (2012). Are We Becoming Cyborgs?. The New York Times.
Subbaraman, N. (2013). Humans Tend to Trust Robots That Look Human. NBC News.
Walters, M., Dag S., Kerstein D., Te Boekhorst R., and Koay, K. (2008). Avoiding the
            Uncanny Valley: Robot Appearance, Personality and Consistency of Behavior in
            an Attention-seeking Home Scenario for a Robot Companion. University of
            Hertfordshire. Web. 18 Nov. 2014.

Monday, October 20, 2014

Blog Essay 2: Japanese Animation & Me

My personal connection with anime stems from the predominately male influence of my older brothers during childhood. On many occasions the four of us would band together to watch Saturday morning cartoons, which usually consisted of Pokémon and Yu-Gi-Oh!, and I fondly reflect upon those mornings, as they were the only time of the week all four of us could be found in the same place at the same time. It is from this emotional connection that my interest in anime began. As developing youths we found more than entertainment in the outlet of Japanese animation, we discovered creative tendencies and an appreciation for another culture. On weekdays we would often look forward to watching Toonami on Cartoon Network. Toonami introduced me to some of my favorite anime including: Sailor Moon, The Big O, Dragon Ball Z, Gundam, Tenchi Muyo, and Transformers: Armada. It was through my increasing appreciation for anime that I was able to develop an interest in Japanese culture.
(tumblr.com)
Although as I think back I recall that many of these shows, even during my younger days, appeared to be aimed at primarily male viewers, and I consistently recall feeling like an outsider as I watched them.  The sensation of being on the outside looking in also carried over into other interests that mirrored anime, such as video games featuring anime characters and collectable merchandise, which was often advertised as being made solely for male fans.  Nowadays there certainly is more of a balance between the sexes, and many toys and other merchandise are made in a unisex fashion, or at least with options clearly defined for both genders. As a female viewer I often felt I was breaking some sort of social standards by being a fan of certain programs, such as Tenchi Muyo, which depicted a typical teenage male character residing in a small home with several very attractive female’s pining for his affection. I was a young, female viewer and  yet I did not feel overwhelmingly offended by this program, instead I was classically conditioned into accepting that “boys will be boys”, and that it was simply a cartoon and the actions of the characters were solely orchestrated for humor and entertainment. Presently, I feel quite indifferent towards shows such as Tenchi Muyo being shown to young American audiences, as I feel it was highly disrespectful to women and influenced its audience to view women as lesser beings who’s worth lied in their physique
(blogspot.com)
The only show I can whole-heartedly agree that it purposely pulled me in as a young female viewer was Sailor Moon. The storyline focused on romance, mystery, and friendship which are traits that would appeal to young, brainwashed, Disney-princess wannabe girls. The show echoed an international ideal for female viewers, boosting with cute outfitted, wide-eyed, and energetic teen characters, who as an added bonus were actually aliens with superpowers stemming from heart-shaped scepters and decorative broaches. Also lurking in the shadows was the mysterious love interest of leading lady, Usagi Tsukino (aka Serena Tsukino in the American version), Tuxedo Mask, who added in the elements of teenage romance, and the all of the associated drama that accompanies it.

While I would never say that my interest in anime reached Otaku level, I feel that during a significant part of my adolescents I went through a phase of overzealous nerd-like behavior, which included binge-watching anime series and collecting merchandise, such as stuffed animals and figurines. Similar to many of my peers, I eventually grew out of anime, or to put it kindly, I took a break from anime, and I am only now, in my twenties, beginning to regain an interest in genre, purely for the entertainment value. Otaku-like behavior lies within us all, and in some form or fashion many of us have presented the signs and symptoms of obsessive behavior towards a favored series or set of characters.
As I think back on what initially drew me towards Japanese animation, as compared to contemporary American shows, it would appear that the main concepts of expressiveness and intelligent logic were the key points of the fascination. Unlike the simplicity of most American shows at the time, amine presented a unique sensation brought to the viewer via overly expressive emotions, in nearly every scene the characters appear highly engaged and radiate a presence that demands the attention of the viewers. Certain characteristics also played an important role, such as enlarged eyes, rapidly changing emotions, and often overly exaggerated facial expressions to convey emotional tones.
(tumblr.com)

Another element that stood out to me was the intelligence of many anime series, as displayed in works such as Ghost in the Shell or Full Metal Alchemist. The plots of these films/shows demonstrates a higher level of intelligence, as represented in their typical quest motivated story-lines  and collaboration between a main character, typically a teenage male, and his companions, which range from animals to robots to fellow humans. These films/shows convey both emotional maturity and cultural representation that is accompanied in most cases by light humor. It is with this thought in mind that I feel anime could be considered a major form of artistic expression. Many of the series revolve around very serious issues, for example an epic battle between aliens and humans, or the end of the world, and what makes them so striking is the reactions of the characters to the events they are being depicted in. The main characters go through the emotions on a very realistic level, some even experiencing depression or post-traumatic stress disorder (PTSD) symptoms. Within most anime series the collaboration of musical works, hand drawn and computer generated art and animation, and laniary expression produces a completely unique form of entertainment, and one that has grow to be massively appreciated and sought after.
(blogspot.com)
I feel that my personal connection with anime is a collaboration of multiple influences and interests that occurred to me throughout my childhood and adolescences and that has now developed into a more serious focus as I continue to study anime, and more specifically Japanese culture during my college years. I can only hope that as I continue to move forward I will encounter opportunities that will allow me to travel to various locations in Japan, wherein I would be able to fully appreciate the culture and the influence it has had on me.
(tumblr.com) 


Saturday, September 20, 2014

Blog Essay #1

Trigun
Inspiration for the Trigun anime series was drawn from the original manga, which was both written and illustrated by Yasuhiro Nightow in 1996. During an interview with Dark Horse Comics, Nightow expressed a certain sense of fondness towards Trigun’s man protagonist, Vash the Stampede. Nightow reported that he identified on a personal level with the character and even went as far as incorporating his own life experiences into Vash’s character background in order to make the character more relatable to the reader/viewer (Gombos). The series is based on a fictional, old west themed, planet known as Gunsmoke, wherein the population seems to be perpetually stuck in the 1800’s American Frontier. The origin of the planet and it’s human and alien, Plant, inhabitants is uncovered throughout the course of the first season. An added twist it brought about by the time shifts between past, present, and future that allow the viewer to experience the character development on multiple playing fields. The pilot episode takes place in the middle of the Trigun timeline, nearly one hundred years after the origin of the planet’s new inhabitant’s arrival, and at this point Vash has already established a name for himself.

(trigun.wikia.com)
Trigun’s plot focuses on the epic battle between opposing forces of good and evil as represented by dueling twin brothers Vash and Knives. The series depicts both brothers as very human with respect to their looks, yet they are considered an alien species known as Plants, and as such they are able to live exceeding long lives and possess magical superpowers. The brothers have varying views towards the human race, as Vash continues to embrace their presence and respects them as fellow beings. His brother Knives has developed a harsh hatred of humanity, and thereby seeks out opportunities to destroy every last human on planet Gunsmoke.
The early lives of Knives and Vash were shown during a flashback episode aired towards the middle of the first season. Which the viewer is exposed to during the tragic backstory that lead to the feuding brother’s difficult relationship. As children, the brothers were cared for by a human, Rem Saverem, one of several scientists manning the Project SEEDS spacecraft, whose mission it was to locate a suitable planet on which to rebuild the human race. Following a series of misfortunate events, including the murder of two crewmembers, Mary and Steve, Knives begins to see the humans as an inferior race and wishes to destroy them. Knives tampers with the navigational controls of the spacecraft, causing the ship to take on a crash course, which then forced Rem to evacuate Knives and Vash to safety, while remaining behind in an attempt to rescue as many human passengers as possible and evacuate them to a nearby planet, which would eventually be known as Gunsmoke. The locations of the crashed escape-shuttles would then develop into towns, cities, and villages on the planets surface.
(trigun.wikia.com)
Following their decent onto the planet a local village captures Vash, causing Knives to lash out and murder the entire community. Upon realizing what his brother had done, Vash attacked Knives, causing Knives to revolt and slice off Vash’s left arm, and in doing so the two brothers went their separate ways. Vash was left to wonder the desert, No-man’s Land, until he discovered some surviving humans and their settlement. The humans help Vash by providing him with a cybernetic arm and allowing him to take up residence in their settlement. As Vash grew into adulthood he ventured to the city of July, wherein the epic July Incident would ensue. As Vash attempted to track down the well-known Dr. William Conrad, who had conducted studies on other Plants to learn about their abilities, he was confronted and captured by Knives, who by this time had grown utterly corrupt and sought to destroy humanity. Knives forced Dr. Conrad to study himself and his brother in order to uncover their hidden powers, known as Angel Arms. During an attempt to activate Vash’s Angel Arm, the entire city of July was destroyed in an almighty blast of energy from the gun-like appendage that sprung out of Vash’s arm. Nearly two hundred thousand casualties resulted and the feud between the brothers hit an all time high.  Unfortunately for Vash, as a result of the July Incident he fell victim to retrograde amnesia, causing him to partially forget his past and therefore have no recollection of what had occurred during the July Incident.         
(animevice.com)
Fast forward a few years into the future, and the viewers are introduced to the pilot episode of the series, wherein Vash has earned himself the title of ‘Vash the Stampede’, a notorious western outlaw with a $$60,000,000,000 (double dollar) bounty on his head. His nickname is a result of the colossal damage left behind following numerous capture attempts on Vash, all carried out by various bounty hunters. During the pilot episode, the ‘insurance girls’, Meryl Stryfe and Milly Thompson, hunt Vash down, and inform him that he has been classified as a natural disaster and therefore the bounty on his head has been lifted. Following this pleasant news, Vash learns that Meryl and Milly are to become his travel companions, in order to minimize the destruction left in his wake.
(zerochan.net) 
            From the viewer’s perspective the first episode of Trigun is very intent on capturing attention, as represented by the bold colors, the exciting background music, and the overall tone of humor and anticipation. It goes without saying that the targeted audience probably consisted of children and teens, both male and female, within the age bracket of eight to sixteen. My specifications with respect to age are a result of my observation that this series is composed of multiple elements, each drawing in a different type of audience. For instance the bright colors, the humorous looking bounty hunters, and the action/fight scenes will enthrall a younger male viewer. Whereas a female viewer will find interest in the romance between the characters, the emotional and passionate battle depicted between the feuding brothers, Vash and Knives, and the overall tone of discovery and adventure shared by two female sidekicks and one male lead.
            As the main characters are introduced, the viewer notices that Vash is a sly individual with a personality composed of both sarcastic outbursts and childish behaviors along with a down to earth, peace loving overtone that utterly confuses the viewer throughout most of the first episode, as they attempt to decide whether or not he is genuine in character (Gombos). For this reason, I found he was difficult to relate to, aside from Nightow’s attempts at making him a realistic, relatable character, and struggled to identifying him as the hero that he would eventually be unveiled to be. Unlike most anime series, he was not entirely made up of good intentions, he seemed to have a self-righteous sense about him that made him come off as arrogant, and therefore more villain-like. Perhaps this was an intentional trait, as to set him apart from the humans that he and his fellow alien brother, would constantly be encountering and interacting with. In so saying he may not entirely understand how to act properly with respect to social norms as constructed by the human race, one of the many concepts his brother truly struggles with.
            Throughout the first episode the viewer is scarcely introduced to an intelligent ‘human’ character, and it feels implied that Vash is to be treated as the superior being when compared to his human counterparts. This again causes some confusion, as he is the main protagonist of the series, and yet he comes off as being distant and unattainable. Another component of the first episode are the mix-matched attire worn by the characters. Some seem to be dressed in classic, old west garmented with boots, bandanas, and cowboy hats, whereas others are dressed in an almost futuristic fashion that post-dates modern attire, but clashes with the old western themed clothing of other characters. Vash, is notably wearing his red trench coat and hippy-looking glasses. This variation in respect to how the characters are presented to the viewer suggests that this series was created to cater to the needs of multiple generations or age groups.
            As with many anime series, the background imagery of Trigun was striking. The fading of bright and neutral colors produced beautiful ombre skies. Another element that caught my eye was the detailed pueblo homes that adorned the canyon where most of the first episode took place. This once again suggested that the culture on planet Gunsmoke was regressive to modern thinking and therefore more historically based, rather than futuristic. Most characters, including but not limited to the main four, were extremely individualized in appearance, voice, and mannerisms, which showed a real commitment to personalization. 
(comicvine.com)
            Trigun speaks to its audience in a way that represents conflict resolution, defining elements of what it means to be human, and the struggles associated with overlapping eras (new age vs. retrospective ways of thinking). The take away message demonstrates the format by which an individual can pursue a journey of self-discovery and develop his personality without allowing conflicting worldviews to corrupt his self-image. This series certainly engaged viewers of all ages, and created an inviting and welcoming environment for the viewer to get lost within, which supports the major fan following that Trigun has established.









References
“The $$60,000,000,000 Man.” Trigun. MVM Films. Netflix. Web. 13 Sept. 2014.
Gombos, M. (2006, May 26). Gunning for Answers! An Interview with Trigun creator

            Yasuhiro Nightow. Retrieved September 15, 2014.
"Vash the Stampede." Comic Vine. Web. 21 Sept. 2014.