A proper sociological approach to fear is of both empirical and theoretical significance in understanding late modern society. Normally fear has been explored psychologically, as one of the emotions, but recently a sociology of emotions has begun to emerge. Furthermore, there have also been attempts to examine fear macroscopically, arguing for the existence of a distinctive 'culture of fear' in contemporary societies. Furedi's argument to this effect is explored here, suggesting the need for a more systematic theorising of fear in its social contexts. Via an analysis of the elementary characteristics of fear, a model is constructed of the 'parameters of fear'. This model serves as a guide to the classes of phenomena within which fear is constituted and negotiated. It is also used to further examine the virtues and failings of 'culture of fear' approaches to fearfulness in modern societies.In the office in which I work there are five people of whom I am afraid. Each of these five people is afraid of four people (excluding overlaps), for a total of twenty, and each of these twenty people is afraid of six people, making a total of one hundred and twenty people who are feared by at least one person. Each of these one hundred and twenty people is afraid of the other one hundred and nineteen, and all of these one hundred and forty-five people are afraid of the twelve men at the top who helped found and build the company and now own and direct it.Joseph Heller, Something HappenedHow are we to understand fear? As Heller's ironic but pertinent observations suggest, fearfulness in varying degrees is part of the very fabric of everyday social relations. Any sociology, therefore, must find ways of conceptualising fear and examining its social causes and consequences. More than that, if we are to believe countless television, radio and newspaper discussions of food scares, medical risks, security failings, urban disorder and looming environmental disasters, that need is pressing. Fearfulness appears to have become a way of life in modern society. Many of us -or so we are told -are afraid to go out on the streets of our towns, at night certainly, but even during daylight hours as well. Yet staying at home carries its own threats: a whole industry manufacturing alarms, locks and surveillance mechanisms has been founded on our conviction that our homes are wide open to dangerous intruders. We

Revolutionary developments in the way aircraft are managed and maintained while in service are needed to enable the U.S. Air Force to reduce its maintenance burden and increase aircraft availability while still ensuring airworthiness and safety. The Airframe Digital Twin (ADT) is envisioned to be an ultra-realistic, cradle-to-grave computer model of an aircraft structure that is used to assess the aircraft's ability to meet mission requirements. The ADT will virtually fly each flight that the physical aircraft flies in order to determine loading and subsequent damage. This paper presents results of a study to assess the current state of the art of performing such a virtual flight. A simplistic ADT was "flown" through a Touch-and-Go practice using the flight parameters recorded during the flight. Technical gaps preventing the full realization of the ADT vision were identified along with alternative approaches that are possible with current technology. Nomenclatureg's g = gravitational acceleration constant, ft/sec 2 p = roll rate, rad/sec q = pitch rate, rad/sec r = yaw rate, rad/sec u = velocity in the x-direction, ft/sec v = velocity in the y-direction, ft/sec w = velocity in the z-direction, ft/sec φ = roll Euler angle θ = pitch Euler angle ψ = yaw Euler angle ω i = angular velocity about the i-axis, rad/sec ̇ = derivative of x with respect to time

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In this paper we seek to apply Bourdieu's approach to consecration, legitimacy and autonomization in the fields of art to the struggle to legitimize film as art.We examine the efficacy of Bourdieu's theory in relation to the early 'film-as-art' campaign as it received institutional expression in the profoundly different economic, social and cultural circumstances of Brazil and Britain in the 1920s and 1930s. After tracing the broad history of film art movements in each case, we employ Bourdieu's concepts of heteronomy/autonomy and degree of consecration as the principal axes in mapping the fields of film art in Britain and Brazil. We then compare the conditions of possibility for failure or success in institutionally establishing film as art in the two cases, and conclude with an evaluation of the utility of Bourdieu's model when applied to film art in such diverse social, cultural and political circumstances.