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Governments of the world are on a mission to figure out how to keep underage kids from accessing pornographic content online. The problem is that none of them can figure out a way to do it without creeping everyone out. The latest effort comes from Australia, where the country's Department of Home Affairs has proposed using facial recognition technology to verify the identity of a person before allowing them to view porn or other adult content like gambling sites.

Australia's move to attempt to verify ages comes just weeks after the United Kingdom abandoned its own plans to enforce strict age requirements on adult content online. The U.K. has been trying to figure out a method of age verification since 2017 when the country passed its Digital Economy Act, but has struck out at basically every turn in actually imposing any verification measure. The country has planned on requiring all porn sites being accessed by residents of the U.K. to include one of a number of third-party age verification services. The most popular of these services is AgeID, which just so happens to be owned by MindGeek, the parent company of PornHub and RedTube. These systems use all sorts of different methods of verification, from sending SMS texts to using credit card data to requiring users to send other forms of documentation like their driver's license or passport in order to receive credentials that allow them to access adult content. Another proposed solution included having newsstands and convenience stores sell "porn passes" and allowing the store clerks to verify the identity of the buyer at checkout.

All of these solutions are bad in their own unique way. The U.K.'s reliance on third-party companies provides unfettered access to user data on extremely sensitive information including a person's porn viewing preferences that could be linked directly to an individual's identity. Imagine the porn apocalypse that would occur should one of those companies ever experience a hack. Australia's method, meanwhile, is incredibly invasive. The very existence of the nation's Face Verification Service is controversial to begin with, and the system isn't even operational yet. The system still requires approval by Parliament, and an attempt to push the Face Verification Service forward was just rejected by the bipartisan Parliamentary Joint Committee on Intelligence and Security for lacking privacy safeguards. The committee has suggested the entire bill needs to be redrafted before the system can move forward for its actual, intended purpose, let alone being used as a tool to verify a person's identity online. Should that effort ever move forward, it would raise additional privacy concerns regarding what sort of information government has access to. Is it tracking what sites citizens are visiting and being verified for? Does it know what people are viewing on those sites? No one wants Big Brother breathing down their neck, but especially during those more private and intimate moments.

It's worth noting that the problem that these laws are trying to address is a legitimate one. Age verification on most sites is useless and ineffective. The standard method of requiring a person to enter their birthday is a joke of system that can be defeated simply by lying. But scanning faces still isn't addressing the underlying reasons some want to keep underage kids from accessing pornography.

These are valid reasons to want to keep young people away from porn, but age verification systems impose an arbitrary limit age limit on who is "mature" enough to look at these videos. A more prudent solution would be expanded sexual health education services that would better educate children and teens and provide a healthy and positive understanding of sex. Then if kids do decide to explore their sexuality by viewing pornography, they are doing so with a more robust understanding of what makes for a healthy and consensual sexual partnership.

Independent scholar Ian Dawe has been writing for Sequart since November 2013. Before that, he had a mixed background, initially in science (Molecular Biology and Biochemistry), where he earned an MSc from Simon Fraser University and then an MA in Film from the University of Exeter in the UK. He spent a decade teaching at the college level, delivering courses in Genetics, Biochemistry, Cell Biology, Biological Anthropology and Film History. His academic work includes peer-reviewed papers on the work of Alan Moore, Harvey Pekar for Studies in Comics and a dissertation on Terry Gilliam for the University of Exeter. He has presented papers at several major academic conferences including Slayage 2014, Magus: Transdisciplinary Approaches to the Work of Alan Moore in 2010 (in the wizard's hometown of Northampton), Comics Rock and the International Conference of the Humanities in 2012, and at the Southwest Popular Culture Association Conference in Albuquerque, New Mexico in 2014 and 2015. He has contributed to several books, including a chapter about the TV show Archer in "James Bond and Popular Culture" and two chapters on Breaking Bad for "Breaking Bad and Masculinity", both now available from McFarland. At Sequart, he has authored a chapter for New Life and New Civiliations: Exploring Star Trek Comics, A Long Time Ago and two more upcoming books on Star Wars comics. He has also contributed to books on Alan Moore and 1970s Horror Comics. He is currently planning a full-length book on Better Call Saul. Ian currently lives in Vancouver, BC.

Before the first genuine leaves appeared on 5-day-old seedlings,Artemisia annua explants were removed. Each seedling's two cotyledonsand hypocotyl were detached and cultivated in separate Petri dishes (50X 15 mm; Fisher Scientific, Canada), each containing three explantsand around 10 ml of culture liquid. The basic media evaluated included30 g/l sucrose, 7 g/l agar, 4.5 M 2,4-D, or either 11 M BA combinedwith 2.7 M NAA [6]. They were modified versions of those previouslyadjusted to generate and maintain undifferentiated tissue in Artemisiaannua. 4.5 M 2,4-D medium mixed with 1, 10, or 100 M AIP, whichwas produced (SV ChemBioTech, Inc., Edmonton, AB) as previouslydescribed, was used to study the dosage response of AIP. For a morethorough investigation, 100 M AIP was either added or not added tomedia supplemented with 4.5 M 2,4-D, 11 M BA, or 2.7 M NAA. Agarwas added to each medium, which had all been pH-adjusted to 5.7, andautoclaved for 20 minutes at 121C and 21 pressure [7]. The cultureswere kept at 24C 2C in complete darkness.

For the investigations on American elm (Ulmus americana) andsugar maple (Acer saccharum), callus was sourced from resourceskept at the Gosling Research Institute for Plant Preservation. Bothexperiments used basal medium including MS salt and vitamins, 30 g/lsucrose, 7 g/l agar, 5 M BA (Sigma-Aldrich, Canada), and 1 M NAA topreserve callus that was initially obtained from mature trees (Sigma-Aldrich, Canada). The same media were used to place callus explantsboth with and without the addition of 1 mM AIP. Before checking forbrowning visually, cultures were cultivated for six weeks.

For all of the samples, the extracts' autofluorescent qualitieswere assessed together with possible standards such as ferulic acid,chlorogenic acid, cinnamic acid, and caffeic acid. In a 96 well blackmicroplate, ten microlitre aliquots of each sample, standard, andblank were mixed with 190 l of extraction solvent. In the beginning, aSynergy H1 microplate reader was used to optimize the ideal excitationwavelength [10]. Based on prior research with phenolic-based bluegreenautofluorescence of plants, a sample extract was used to testexcitation wavelengths between 300 and 400 nm with a fixed emissionwavelength of 460 nm. Using a fixed excitation wavelength of 360 nmfrom the previous optimization stage, the ideal emission wavelengthwas found by performing a spectral scan between 400 and 700 nm with5 nm increments. This process was followed to create the fluorescencespectra for all samples, extracts, and blacks. Endpoint measurementswere performed on each well at the optimal excitation/emissionwavelengths of 360 nm and 450 nm, respectively. The average readingsfrom the solvent blanks were used to correct each endpoint value andeach spectral scan value [11].

For his part, Nieland yields to that impulse by identifying plastic as the "prime matter of Lynch's filmmaking". It dominates a quintessential Lynchian scene: the opening of his groundbreaking television series Twin Peaks, when Laura Palmer's corpse washes ashore wrapped in the stuff, triggering the otherworldly murder investigation on which the series hinges. In career terms, plastic could also be said to symbolize the director's cool irony, postmodern aesthetic and exploitation of kitsch--all of which are evident in early experimental works such as Six Men Getting Sick (1967), continuing through the critical successes of Blue Velvet (1986) and MulhollandDrive (2001), up to Lynch's most recent feature, the digitally shot Inland Empire (2006). However, it is a conceit that Nieland does not extend very far beyond his introduction, after which we are invited to consider new, awkwardly contrived metaphorical riffs like the "bad plumbing" of Eraserhead (1977) or the "furniture porn" of Lost Highway (1997). The case for plastic is also weakened by the director himself, who speaks to his much more overt and pervasive fondness for wood in one of the two interviews included at the end of the book. "Plastic has a place and it's a really cool thing", Lynch says. "But it's two or three steps removed from something that's organic. So, wood... 041b061a72