Magazine Editors Research Articles

Normalising breastfeeding

This paper argues that the media can play a role to help normalise breastfeeding in society, particularly in Malaysia. This deduction is reached following an analysis of local media portrayals of breastfeeding, particularly by observing where and how breastfeeding is being portrayed, as well as delving into the division of space between breastfeeding and formula feeding. In addition to the media analysis, the study also looks into several media production issues by interviewing a parenting magazine editor. Findings suggest that local media plays an important role to reinforce breastfeeding as a private activity and subtly divide public/private space through the way producers locate breastfeeding stories and images. The study suggests that in order to normalise breastfeeding, the media should make an effort to portray local women in breastfeeding images and highlight these images in general media outlets.

Ärkamisaeg, Noor-Eesti ja miski nende vahel. Eesti kirjandusloo küsimusi Juhan Kunderi näitel

According to the long-standing periodisation of Estonian literary history, the Estonian National Awakening that started in the mid-19th century was followed by a period of lesser creativity and originality, which ended only with the breakthrough of the modernist Young Estonia group in 1905. In the canon of Estonian literature, Juhan Kunder (1852–1888), today known primarily for his fairy tales, one play and lyrics of one song, is placed in this intermediate period. This article first introduces the significance of Kunder in his time. He was a popular writer and a wellknown pedagogue, and a younger contemporary of the great figures of the National Awakening. As a critic, magazine editor and literary historian, his most important contribution to literary history was in the development of literary thought. It seems that several precedents that have been attributed to the Young Estonia group, e.g., valuing originality, writing well-argued criticism, etc., actually originated from an earlier period. Based on these observations, the author of this article believes that the current structure of Estonian literary history is not adequately justified, and she points out a semantic shift in the terms in use. It is true that Kunder was largely an epigone of his predecessors, but in the positive sense of the term, meaning that he continued their mission. Similarly, Kunder’s predecessor, the ‘first Young Estonian’ Kreutzwald, and a representative of his 20th-century successors, Friedebert Tuglas, were also epigones. During the period of Russification that started during his era, Kunder’s attitudes could be considered progressive. Kunder was also a 19th-century contemporary of the Young Estonia group and a true Young Estonian in the original sense of the term which emerged in this period: a Young Estonian introduced new initiatives and was a leader of the national movement. Epigonism and membership in Young Estonia can be seen as the keys to cultural continuity and processionality. Kunder is a link between his predecessors and successors; his ambiguous position between the Young Estonians of the 19th and 20th centuries enables us to treat it as a complicated relationship between fathers and sons. The notion of Young Estonia and its justified use as the basis for literary historical periodisation in the still-valid canon of Estonian literature deserves some re-thinking.

A Novel View of Periodicals in Early America

A Novel View of Periodicals in Early America Robb K. Haberman (bio) Jared Gardner. The Rise and Fall of Early American Magazine Culture. Urbana: University of Illinois Press, 2012. xi + 203 pp. Illustrations, notes, and index. $50.00. Jared Gardner’s The Rise and Fall of Early American Magazine Culture joins a growing body of recent scholarship that foregrounds the magazine’s participation in national and transatlantic conversations about literature, politics, and economy. Expanding on the bibliographic foundations provided by Frank L. Mott’s A History of American Magazines 1741–1850 (1930) and Lyon N. Richardson’s A History of Early American Magazines, 1741–1789 (1931), scholars in the past decade have raised new questions about the organization and operation of a public sphere, print, and American identity, and the performative nature of early American communications. For example, Patricia Okker’s Social Stories: The Magazine Novel in Nineteenth-Century America (2003) investigates the relationship between the production and reading of serial fiction within periodicals and the creation of multiple publics in the new nation. Mark L. Kamrath and Sharon M. Harris’ edited collection Periodical Literature in Eighteenth-Century America (2005) illustrates that the diversity of magazine content helped establish this medium as an ideal platform for political debate, social dialogue, and intellectual exchange. Catherine O’Donnell Kaplan’s Men of Letters in the Early Republic: Cultivating Forums of Citizenship (2008) traces the efforts of Federalist magazine editors and authors to refine the American character through a steady offering of wit, sensibility, and learning. As typified by three of the current authors named above (Okker, Kamrath, and Harris), literary scholars working in the United States have produced the lion’s share of current research on early American magazines. This topic has nonetheless proven to have wide appeal, as those working in economics, sociology, communications, and cultural studies, as well as history, have put their distinctive stamps on magazine scholarship by adopting different methodologies and interpretive schema. Two essays within the past decade, for instance, have used economic and sociological models to analyze success and failure in magazine proprietorship through the Civil War.1 The era’s magazine publications have also attracted increasing attention from academics outside [End Page 633] the United States. The scope of international contribution is evidenced by the University of Nottingham’s Knowledge Networks: Nineteenth Century American Periodicals, Print Cultures, and Communities, a year-long research project that included an interdisciplinary symposium held in May 2011, and the Johannes Gutenberg University of Mainz’s sponsorship of Life Writing in Early American Periodicals, 1790–1830, a recently completed research project that mapped out the centrality of biographical texts for magazine production in the decades following American independence. Broader technological developments and intellectual currents further explain the resurgent interest in early American magazines, not least of which is the emergence of periodical studies as both an independent field and a subfield of the history of the book. The formation of such interdisciplinary institutions as the Research Society for American Periodicals and its attendant 1991 publication, American Periodicals: A Journal of History, Criticism, and Biography, points to the growing awareness that magazines (and newspapers) constitute “autonomous objects of study” within the humanities and social sciences.2 The creation of online archival databases has further facilitated the professionalization of periodical studies by providing digitized access to hundreds of magazine titles. The prodigious search and indexing capabilities of ProQuest American Periodical Series Online and EBSCO American Antiquarian Society (AAS) Historical Periodicals Collection has especially benefited early American scholarship by expanding analytical enquiry and fostering innovative research methods. Moreover, the advent of social media technologies and the participatory nature of platforms such as wikis (collaboratively edited websites) and blogs have spurred a reassessment of the processes by which magazines and other publications helped people form communities by facilitating the assemblage and sharing of ideas and information. Scholars have paid particular attention to the ways that print media operated within a broader communications network in early America, and they have also emphasized that the magazines of this era are best understood as collaborations realized through the integrated labors of readers, editors, and authors. Gardner has produced a nuanced and sophisticated work that both reflects on...

The perceived benefits of belonging to an extra curricular group within a pre-registration nursing course

This study describes a qualitative research design that focuses on nursing students who were aligned to different extra-curricular groups (a student representative committee, a Nurses' Day Committee and a magazine editorial team) within the School of Health. The study explores the nursing students' experiences and perceptions of belonging to an extra-curricular group within a pre-registration nursing course. Data were collected using focus groups.The findings of this study suggest that students who are members of extra-curricular groups perceive group membership to have many positive benefits. The findings were grouped into three main themes namely: employability, retention and personal gain. The findings suggest that students are clearly aware of their career development and expressed how group membership meant they were able to develop skills around employability. Students highlighted that they gained support and built lasting relationships through the groups which supported and reassured them which it was felt enabled them to progress successfully through the course. These themes reinforce the value of having established groups within a pre-registration curriculum.

Poe and the Remapping of Antebellum Print Culture

Poe and the Remapping of Antebellum Print Culture

“There's Millions in It!”: The Gilded Age and the Economy of Satire

“There's Millions in It!”: <i>The Gilded Age</i> and the Economy of Satire

Jazz Education at the Westlake College of Music, 1945–61

The history of jazz education is a seriously underrepresented topic in jazz histories. While reams of literature dedicated to jazz pedagogy exist, these do not satisfy the interest of the jazz historian. Conversely, while jazz history has undergone many evolutions and interpretations over the last century, the history of jazz education has almost entirely eluded incorporation into its canon, an indication of the historical (and present) disconnect between jazz educators, jazz historians, and jazz communities. (1) Likewise, while snippets of individual artists' education in jazz are found in countless biographical, autobiographical, and historical works, few offer sustained critiques of these institutions in relation to entire jazz movements. In contrast to these works, and in an attempt to further carve out a space for jazz education histories in the jazz history canon, I want to explore one of the most important educational institutions for the study of jazz in the post-World War II era: the Westlake College of Music in Hollywood, California. (2) Established in 1945, Westlake the first academic institution in the country, after the Schillinger House in Boston ([1945-1954], later becoming Berklee School of Music [1954-1970] and, even later, Berklee College of Music [1970-present]), to offer a college diploma that included curriculum in jazz. (3) It became the prototype for jazz education at other schools in the area such as Los Angeles City College and grew to rival Berklee and North Texas State University (now University of North Texas) as the most important jazz education center in the nation. To date, however, the story of Westlake has gone largely untold save for brief biographical moments in larger jazz and jazz education histories. (4) While exploring the accomplishments of its alumni alone would justify further inquiry, here I want to provide a deeper understanding of Westlake in terms of its mission, its aura, its reputation, and its representations within the jazz world of Southern California and to position the school as a vital cultural institution within both the West Coast jazz movement and the history of jazz. Textbook Play: Jazz Education in Los Angeles before Westlake Prior to World War II, jazz education at American colleges extremely limited. While jazz history courses had previously been offered at elite institutions such as the New School of Social Research in New York City as early as 1941, and while many notable jazz artists such as Erskine Hawkins and Jimmy Lunceford served as directors for university jazz bands well before the war, neither they nor the vast majority of professional jazz artists in America received any formal training in the music. In this nascent period of jazz education, educators were more often musicians passing on information to one another without the academy (jazz historians included) as a mediator. As the former Downbeat magazine editor Charles Suber has noted, Recordings were the first jazz textbooks. (5) As America emerged from the war, however, jazz came to represent a distinctly American cultural product, which, it argued, buttressed American cultural superiority and should therefore be analyzed, qualified, and disseminated worldwide. The U.S. State Department-sponsored tours of American jazz artists to the Middle East, Asia, and Africa during the 1950s to promote American and capitalism is a prime example of the newfound utility of jazz as an instrument of soft power diplomacy. According to this new intelligentsia, jazz, like any abstract art, was synonymous with democracy and on 'our side' in the Cold War struggle. (6) This sensibility accompanied a parallel aesthetic--among jazz enthusiasts in particular--which held that jazz necessitated installation into the American academy to legitimize the efforts of the U.S. government. Marshall Stearns perhaps the most important of these ideologues and one of the first to make real inroads in creating a space for jazz in academia. …

EVOLUTIONARY DISCOURSE AND THE CREDIT ECONOMY IN ELIZABETH GASKELL'SWIVES AND DAUGHTERS

When Elizabeth Gaskell died inNovember 1865, she left unfinished her final novel,Wives and Daughters(1864–66). TheCornhill Magazine's editor, Frederick Greenwood, published a tribute to Gaskell with the novel's final installment. Her fiction, he wrote, pulls you from “an abominable wicked world, crawling with selfishness and reeking with base passions into one where there is much weakness, many mistakes, sufferings long and bitter, but where it is possible for people to live calm and wholesome lives . . .” (Gaskell 685–86; ch. 60). As Linda K. Hughes and Michael Lund observe, Greenwood shaped Gaskell's reputation for a hundred years “as an author whose work captured . . . the idyllic charm of a lost era” and took “readers away from unpleasant realities” (158). Notably, Greenwood's list of “unpleasant realities” (wickedness, selfishness, and base passions) implicitly refers to capitalism — that is, to the economic world of the 1860s from which Gaskell ostensibly encouraged her readers to retreat.

IEEE Xplore Digital Library [From the Editor's Desk

The annual meeting of IEEE Panel of Editors provides a forum for the editors of IEEE magazines and transactions to meet one another and for the IEEE publications staff to share practices and learn what is new in the realm of technical publications. A standard item on the meeting agenda is an update on developments and improvements to IEEE Xplore. I want to share some of these enhancements here, and I encourage you to visit the IEEE Xplore Web site and browse all the available features and training to help you to get the most value from the online technical library.

The Only Constant Is Change

IEEE Software editor-in-chief Forrest Shull discusses the magazine's recent editorial board meeting and some of the discussions the group had about where software development is headed, including refactoring and reengineering, technical debt, measurement, cloud computing, user experiences, and effective project management. In addition, he describes the recent Software Experts Summit 2013, which focused on smart data science and the International Conference on Software Engineering's Software Engineering in Practice award, selected by IEEE Software. The first Web extra at http://youtu.be/BRioqQenavA is a video interview in which John Howie of the Cloud Security Alliance expands on his talk at Software Experts Summit 2013 &#x0022;Big Data: Answering Questions and Solving Society's Problems, but at What Cost?&#x0022; The second Web extra at http://youtu.be/6jm8mZTQsnw is a video interview in which Microsoft's James Whittaker expands on his talk at Software Experts Summit 2013 (SES13) about the future of the Web and search. The third Web extra at http://youtu.be/aCypdSuCDQs is a video interview in which IEEE Software editor in chief Forrest Shull speaks with Jane Cleland-Huang of DePaul University about the Software Engineering in Practice Award at the International Conference on Software Engineering 2013, presented by IEEE Software.

Een vrijzinnige 'meneer'. &lt;i&gt;De Hervorming&lt;/i&gt; als toonaangevend en representatief persorgaan van de modern-godsdienstige richting in Nederland (1873-1934)

De Hervorming , issued as a weekly between 1873 and 1926, and as a monthly from 1927 to 1934, was one of the most important religious magazines in the Netherlands. It wanted to promote the interests of so-called 'Protestant modernists' or 'liberal Protestants', whose community of faith was characterised by differences between members of the Dutch Reformed Church and members of other denominations, between church-goers and non-churchgoers, between 'monists' and 'dualists', between political liberals and socialists, and between laymen and 'religious professionals' such as theologians. This article investigates how the editors of De Hervorming dealt with the multiformity of Dutch liberal Protestantism, and how they attempted to do justice to all - often conflicting - opinions and convictions that existed among modernists, and to be opinion leaders themselves at the same time. A systematic and complete analysis of all sixty-two volumes of De Hervorming not only sheds light upon the thematic preoccupations of Dutch Protestant modernists, but also shows how the magazine's editors tried to create a strong sense of unity among liberal Protestants, without harming the varicoloured character of the modernist community.

Review: French Encounters with the American Counterculture, 1960–1980 by Caroline Maniaque-Benton

Caroline Maniaque-Benton French Encounters with the American Counterculture, 1960–1980 Farnham, UK: Ashgate, 2011, 244 pp., 51 color and 58 b/w illus. $99.95, ISBN 9781409423867 This handsome book investigates an intriguing and novel topic: the French attraction to American “alternative architecture,” which was prompted by the counterculture of the 1960s and 1970s and which is being revisited by historians as a harbinger of today’s sustainability movement. The book’s protagonists were young Frenchmen, mostly recent graduates of the Paris Ecole des Beaux-Arts and architecture students, who discovered America’s alternative architecture through publications and road trips in the western United States, including visits to iconic settlements such as Drop City (pictured on the cover of the book). These young travelers became prominent educators (Pierre Joly and Marc Vaye), practitioners (Francois Lombard and Jean-Louis Veret), writers (Patrice Goulet), and publishers (Jean-Paul Jungman and the founders of the Editions Parentheses). Maniaque-Benton interviewed them around 2000 and pored over their personal archives and book collections. Extensive quotes from these interviews, as well as reproductions of travel photographs and book covers, bring substance and vivacity to her account. Readers will notice that the book’s cast of characters includes no women, with the exception of a cameo appearance by Agnes Varda. In 1967, the movie director shot a twenty-two-minute film, Uncle Yanco , in the Sausalito houseboat community, “a place of pilgrimage for European architects who were attracted to these strange and wonderful constructions” (27). One is left to wonder whether male bonding, as experienced by several protagonists in tandem or as a trio of travelers, was integral to this rite of passage through a distant and exotic culture. Chapter 1, “Framing the Debates around Technology,” accounts for the rich and complex historical context behind this initiation into American counterculture, which took place at a time when France’s “aversion to American imperialism” (3) was extreme and when architectural training in Paris became pluralistic, as the previously centralized Ecole des Beaux-Arts atelier system …

Gwendolyn Bennett's “The Ebony Flute”

IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.

Introducing a New Associate Editor in Chief

IEEE Computer Graphics and Applications Editor in Chief Gabriel Taubin welcomes Pak Chung Wong as the magazine's associate editor in chief for special issues. The Web extra thanks our many reviewers for all their hard work in 2012.

The Man Who Knows Himself

When Irving Howe died suddenly, in May 1993, no one was sure whether Dissent would keep going. The magazine's young-ish editors and writers wanted to see it continue, but we all felt that it would thrive only if Michael Walzer stepped in as Irving's successor. And none of us knew whether Michael wanted to do that. With his reserve, his inwardness, his courtly distance, Michael wasn't someone whom the younger editors knew well. He was the Greta Garbo of Dissent. Although he formally served as Irving's co-editor and reliably attended Dissent's quarterly editorial board meetings, he played little role in the day-to-day life of the magazine.

A New Theory of the Structure of Matter

Mr. ASHOT MIKHAYELOVICH AGABABYAN innovated a New Theory of Structure of Matter in Chemistry Branch. He negated the existing, old theory and showed about its imperfection. Because  The old theory wasn't able to calculate, i.e. it didn't give a mathematic proof.  It explained through obstruction. It was stated the covalent (polar) chemical connection is formed by clash of the electron clouds.  It wasn't able to predict. And this type of theory is considering as a matter of faith. But then it's not a scientific statement anymore. Mr. ASHOT AGABABYAN represents a New Theory of the Structure of Matter.  His theoretical calculation 100% matches with the experimental results.  The new theory allows calculating with the accuracy up to the fifth digit after a comma.  Predicts the length of the link. It has gotten a new possibility to count the inter-nucleus distance and the radius of atoms. The above represented calculations were among the first ones. In case chemistry - colleagues confirm the test results and if magazine's editors print in their magazines, then we may send them the subsequent ones.

Darkroom Alchemy: The Photographic Art of Studio Manassé

Darkroom AlchemyThe Photographic Art of Studio Manassé Kristine Somerville . [End Page 115] In 1934, an entire edition of Muskete, a humorous magazine known for its caricature and pictorial jokes, was confiscated by Austrian censors because the Wlassics, a husband-and-wife team of photographers who operated Studio Manassé in Vienna, had failed to remove in the darkroom all traces of pubic hair on their nude cover photo. The image was one of their “photographic jokes,” a genre of work popularized by picture postcards of the early twentieth century that employed trick photography to depict whimsical images such as pretty girls growing on trees, the cherubic face of a loved one appearing in a wreath of pipe smoke or a lithe young woman hanging seductively from a businessman’s necktie. The Wlassics were some of the best European photographers working within this tradition. But the hint of pubic hair was a major misstep. The prevailing standards of beauty demanded that the female bodies appear luminous, as perfected creatures of light, marble, glass. The Wlassics went back to their studio and amended the photo, and the next month the magazine was republished without issue. Despite this slip, the Wlassics were known as experts of the well-placed brush stroke. From 1922 to 1938, with their keen technical ability and glamorous styling, Olga and Adorján Wlassics created fanciful photomontages, convincing illusions and graphically compelling images that filled the pages of a wide variety of commercial magazines, making Studio Manassé one of the most popular photography businesses in Europe. Their clients ran the gamut from magazine editors and advertising agencies to private buyers. Styling, staging and photographic work was handled by Olga. She created the glamorous Manassé vision in their small but dazzling apartment, which also served as their studio in Vienna’s city center. The rooms and reception area were filled with lavish furnishings—bearskin rugs, Baroque furniture, tapestries, gilded mirrors, paintings and Greek pillars used as flower stands—which often appeared as backgrounds or props. In directorial mode, Olga liked to arrange her scantily costumed models to create comic allegories and theatrical fictions. She also created quasi-cinematic sequences intended to replicate what viewers had already come to expect from the movies. Adorján handled the artistic corrections and montages. He devoted a remarkable amount of time and ingenuity to perfecting techniques— primarily retouching, painting and overlaying images—to enhance Olga’s photographs. Her clever lighting gave the portraits a clear, concise line, but to capture the late-’20s female ideal of a girl-woman with [End Page 116] . [End Page 117] her slimness and athletic build, Adorján made “improvements” to the shapes of the models’ bodies, ridding them of dreaded “curve trouble.” Fashion magazines proclaimed fat to be a menace and offered diets to achieve movie-star slenderness. Adorján was the doctor of the negative, subtracting blemishes, body fullness in the models and surface irregularities in the props, while also adding background detail. Married in 1920, the Wlassics were part of Vienna’s high society, yet very little is known about their lives, education and training. Wiener Magazin, a publication that frequently featured their work, published rare photos of the couple with captions proclaiming the delightful extravagance of their lifestyle and their skill at discovering international beauties. They were early masters of the spreading dream of luxury. Studio Manassé’s rich visual legacy in part chronicles the golden era of cinema and theater in Europe. Expressionist filmmaking had its origins in Germany and Austria, with a crossover in talent between the two industries of theater and film. From 1919 to 1922, the Austrian film industry produced more than 140 movies that found a global market. Popular variety shows flourished as well, bringing in international stars such as Josephine Baker and the Tiller Girls, a popular British dance troupe. As the movie industry skyrocketed and the world of theater remained robust, commercial magazines—about thirty publications in Vienna and even more in Berlin—aimed to satisfy a public obsessed with this world of perceived wealth and glamour. They needed images to accompany the increasing number of articles on film and theater, in addition to gossip columns, sports news...

When Virtual and Material Worlds Collide: Democratic Fashion in the Digital Age

This paper explores the impact of digitally mediated communications technologies on the fashion sector. It argues that material and virtual fashion worlds are perpetually intersecting social realities that coexist relationally, simultaneously, and in mutual connection. The paper explores these shifting fashion landscapes in three particular ways in order to understand how fashion worlds are being transformed, enhanced, and reproduced in space and time. Firstly, it is argued that emergent digital technologies are remediating and refashioning existing cultural forms of signification such as fashion magazines and photography. Secondly, the potential disintermediatory effects that the Internet is having on fashion markets and consumption are explored, questioning to what extent digital technologies are enabling the devolution of fashion authority from traditional power brokers such as magazine editors and designers towards a more diversified assemblage of participants, including fashion bloggers and consumers. Thirdly, the transformative effects that digital technology is having on fashion consumption are explored. The Internet has opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. Fashion spaces are increasingly portable, must follow us around, travel with us through time and space. The network effects made possible by the Internet are enabling the creation of always-on, always-connected consumer communities. Increasingly we are adrift without the Internet, not with it. This is generating new ways of being in space where the absence of physical presence becomes second nature. Taken together, the collision between virtual and material fashion spaces requires a fundamental rethink about the role of fashion production, consumption, knowledge, and the laws of markets.

The Role of the Media in South African Construction Health and Safety (H&amp;S)

A large number of fatalities and injuries occur in the South African construction industry. Traditionally, the print media have dedicated editorial, published news, articles and letters, and have exposed abusive or non-conforming conditions and practices in terms of H&amp;S. Literature also indicates that the print media can influence and has an impact on H&amp;S.Given the level of fatalities and injuries and the potential role of the print media, a postal survey was conducted among editors of construction and related magazines. Findings indicate that: the print media do contribute to and play a role in construction H&amp;S; industry has the capacity and needs to promote H&amp;S on a wider basis; there is a need to improve construction H&amp;S; to a degree, editors are aware of what constitutes unsafe acts and unsafe conditions, and the print media can play an increased role through the review of articles, advertisements, advertorial, editorial and phototgraphs to prevent the depiction of unhealthy and unsafe practices and conditions

Thanks to Carol O'Sullivan

Computer Graphics and Applications Editor in Chief Gabriel Taubin bids farewell to Carol O'Sullivan, who served as the magazine's associate editor in chief for special issues and as an editorial board member.