Journal articles: 'L-ART/02' – Grafiati (2024)

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Abstract Context.—The National Kidney Disease Education Program recommends calculating glomerular filtration rate from serum creatinine concentration. Accurate creatinine measurements are necessary for this calculation. Objective.—To evaluate the state of the art in measuring serum creatinine, as well as the ability of a proficiency testing program to measure bias for individual laboratories and method peer groups. Design.—A fresh-frozen, off-the-clot pooled serum specimen plus 4 conventional specimens were sent to participants in the College of American Pathologists Chemistry Survey for assay of creatinine. Creatinine concentrations were assigned by isotope dilution mass spectrometry reference measurement procedures. Participants.—Clinical laboratories with an acceptable result for all 5 survey specimens (n = 5624). Results.—The fresh frozen serum (FFS) specimen had a creatinine concentration of 0.902 mg/dL (79.7 μmol/L). Mean bias for 50 instrument-method peer groups varied from −0.06 to 0.31 mg/dL (−5.3 to 27.4 μmol/L), with 30 (60%) of 50 peer groups having significant bias (P < .001). The bias variability was related to instrument manufacturer (P ≤ .001) rather than method type (P = .02) with 24 (63%) of 38 alkaline picric acid methods and with 6 (50%) of 12 enzymatic methods having significant biases. Two conventional specimens had creatinine concentrations of 0.795 and 2.205 mg/dL (70.3 and 194.9 μmol/L) and had apparent survey biases significantly different (P < .001) from that of the FFS specimen for 34 (68%) and 35 (70%) of 50 peer groups, respectively. Conclusions.—Thirty of 50 peer groups had significant bias for creatinine. Bias was primarily associated with instrument manufacturer, not with type of method used. Proficiency testing using a commutable specimen measured participant bias versus a reference measurement procedure and provided trueness surveillance of instrument-method peer groups.

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Yasrul Sami is one of the West Sumatran artists who is consistent with his work with the abstract expressionism genre. His work is quite unique by featuring unusual elements, such as symbolic letters and numbers. The problem in this research is how the journey of Yasrul Sami's works and the characteristics of his paintings. This research is a qualitative research in the form of descriptive analysis, using the sociological approach of Vera L. Zolberg and art criticism by Edmund Burke Feldman. Data were obtained by using observation, interview, and documentation techniques by Milles and Huberman. The data analysis technique uses data triangulation by Mathinson, namely triangulation of sources, techniques and time. Based on the results of the research, Yasrul Sami's creative journey began when he was little, there were several people involved and became Yasrul's motivation to become an artist as well as a lecturer. Yasrul's work when he was young was in the form of geometric lines, during his junior high school years he painted realistic landscapes. During his high school years, he stopped painting and continued at the SMSR school and continued his education in abstract expressionism until now. Characteristic of Yasrul Sami's work based on an art criticism approach, it was found that the use of symbols of numbers, letters, repeated triangular geometric elements, water droplets and colors that were classified as gloomy matched Yasrul Sami's character. The conclusion of this study is based on sociological theory and art criticism in Yasrul's work is influenced by social and community institutions that shape Yasrul Sami's character. Keywords: Yasrul Sami, abstract, sociology, critic.AbstrakYasrul Sami merupakan salah seorang seniman Sumatera Barat yang konsisten dengan karyanya beraliran abstrak ekspresionisme. Karyanya cukup unik dengan menampilkan elemen yang tidak biasa, seperti huruf dan angka yang simbolik. Permasalahan dalam penelitian ini yaitu bagaimana perjalanan karya Yasrul Sami dan ciri khas dari karya lukisnya. Penelitian ini merupakan penelitian kualitatif berupa analisis deskriptif, dengan pendekatan sosiologi Vera L. Zolberg dan kritik seni oleh Edmund Burke Feldman. Data diperoleh dengan menggunakan teknik observasi, wawancara, dan dokumentasi oleh Milles dan Huberman. Teknik analisis data menggunakan triangulasi data oleh Mathinson yaitu triangulasi sumber, teknik dan waktu. Berdasarkan hasil penelitian, perjalanan kekaryaan Yasrul Sami dimulai ketika ia kecil, ada beberapa orang yang terlibat dan menjadi motivasi Yasrul untuk menjadi seorang seniman sekaligus dosen. Karya Yasrul ketika kecil berupa goresan garis geometris, masa SMP melukis pemandangan realis, masa SMA berhenti melukis dan dilanjutkan kembali pada sekolah SMSR dan melanjutkan pendidikan kuliah dengan karya abstrak ekspresionisme sampai sekarang. Ciri khas karya Yasrul Sami berdasarkan pendekatan kritik seni didapatkan bahwa penggunaan simbol angka, huruf, elemen geometris segitiga berulang, tetesan air dan warna yang tergolong suram sesuai dengan karakter Yasrul Sami. Kesimpulan dari penelitian ini berdasarkan dari teori sosiologi dan kritik seni dalam berkarya Yasrul dipengaruhi oleh instusi sosial dan masyarakat yang membentuk karakter Yasrul Sami.Kata Kunci: Yasrul Sami, abstrak, sosiologi, kritik. Authors:Prety Chia : Universitas Negeri PadangNessya Fitryona : Universitas Negeri Padang References:Donny, P. (2022). “Menganalisis Unsur-Unsur Karya”. Hasil Wawancara Pribadi: 3 Oktober 2022, Kota Padang.Dita, D. (2022). “Menganalisis Unsur-Unsur Karya”. Hasil Wawancara Pribadi: 3 Oktober 2022, Kota Padang.Fauzie, M. (2017). Prosedur Kritik Seni Rupa. Makalah tidak diterbitkan. Pendidikan Seni Rupa UNP Padang.Fitryona, N., & Erfahmi, S. (2013). Eksistensi Nurdin BS dalam Berkarya Seni Lukis. Serupa The Journal of Art Education, 1(3).Jasrizal, R. (2022). “Kajian Seni Rupa”. Hasil Wawancara Pribadi: 02 Agustus 2022, SMK Negeri 4 Padang.Katalog, K. (2004). Mempertimbangkan Tradisi Kampung dan Rantau. Jakarta: Panitian Pameran.Katalog, K. (2018). Japuik Tabao Jilid 3. Jakata: Bentara Budaya Jakarta.Muklisin, M., & Triyanto, R. (2020). Analisis Formal Lukisan Andi Ian Surya. Gorga: Jurnal Seni Rupa, 9(2), 292-299.Salam, S. (2020). Pengetahuan Dasar Seni Rupa. Makassar: Badan Penerbit UNM.Soedarso, S. P. (2002). Pengantar Apresisasi Seni. Yogyakarta: STSRI.Sami, Y. (2022). “Warna Terang dalam Karyanya”. Hasil Wawancara Pribadi: 02 Februari 2022, Kota Padang.Hazry, Z. (2022). “Bersama Teman Sesenimannya”. Hasil Wawancara Pribadi: 02 Agustus 2022, SMK Negeri 4 Padang.Zolberg, V. L. (1990). Constructing a Sociology of The Arts. New York : Cambridge University Press.

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The development of the industrial revolution 4.0 has a profound impact on the development of the world education which is a place to develop and create innovations with insight and character by the use of art and technology, the development of virtual reality based traditional arts. This is done in order to enrich information on art and culture learning, as well as to foster the cultivation of local culture as a nation's identity. Learning by using virtual reality is very supportive in art learning that has been developed in the video. The formulation of the problem in this study is how to develop video learning media on traditional Dayak art works in Kalimantan Tengah based on virtual reality at SMPN 2 Palangkaraya?. Research and Development (R&D) research methods are research methods used to produce certain products and test the effectiveness of these products. The research stages are potential and problems, data collection process, product design, design validation, design revision, product testing, product revision, product production, data analysis. In the development of video learning media for traditional Dayak art in Kalimantan Tengah based on virtual reality, that learning media products are developed based on the needs of an educational curriculum that is contained in teaching tools for appreciation of local arts, with content in arts crafts, sculpture, architecture, ceramics, traditional weapons. . The developed video will be uploaded in 10-15 minutes based on the number of learning meetings at SMPN 02 Palangka Raya, especially for class VII students. The development of this visual art learning media video is packaged in combining the capabilities of virtual reality technology, so that the learning process is more interesting, with the achievement of educational aspects, namely attitudes, knowledge and skills. Keywords: video, art, virtual, reality, education. AbstrakPerkembangnya revolusi industri 4.0 memberikan dampak dalam pada perkembangan dunia pendidikan yang merupakan suatu tempat untuk mengembangkan serta menciptakan inovasi dalam berwawasan serta berkarakter dengan pemanfaatan seni dan teknologi, yaitu pengembangan pada karya seni tradisi berbasis virtual reality. Hal ini dilakukan guna pengayaan informasi pembelajaran seni budaya, serta menumbuhkan penanaman budaya lokal sebagai identitas bangsa. Pembelajaran dengan mengunakan virtual reality sangat mendukung dalam pembelajaran seni yang telah di kembangkan dalam video. Adapun rumusan masalah dalam penelitian ini yaitu bagaiman mengembangkan video media pembelajaran pada karya seni rupa tradisional suku Dayak di Kalimantan Tengah berbasis virtual reality di SMPN 2 Palangkaraya? Metode penelitian Research and Development (R&D) adalah metode penelitian yang digunakan untuk menghasilkan produk tertentu dan menguji keefektifan produk tersebut. Tahapan penelitian yaitu potensi dan masalah, proses pengumpulan data, desain produk, validasi desain, revisi desain, uji coba produk, revisi produk, produksi produk, analisis data. Dalam pengembangan video media pembelajaran seni rupa tradisional Dayak di Kalimantan Tengah berbasis virtual reality, bahwa produk media belajar dikembangkan berdasarkan kebutuhan kurikulum pendidikan yang di muat dalam perangkat mengajar apresiasi seni rupa daerah setempat, dengan muatan seni kerajinan, patung, arsitektur, keramik, senjata tradisional. Video yang dikembangkan akan di muat dalam durasi 10-15 menit berdasarkan jumlah pertemuan pembelajaran di SMPN 02 Palangka Raya, khsusnya pada siswa kelas VII. Pengembangan video media pembelajaran seni rupa ini di kemas dalam memadukan kemampuan teknologi virtual reality, sehingga proses belajar lebih menarik, dengan capaian aspek pendidikan yaitu sikap, pengetahuan dan keterampilan.Kata Kunci:video, seni, virtual, reality, pendidikan. Authors: Iwan Pranoto : Universitas Palangka RayaZuly Daima Ufla : Universitas Palangka RayaJuli Natalia Silalahi : Universitas Palangka RayaIsna Herlina : Universitas Palangka RayaSagarli : Universitas Palangka Raya References:Ardipal, A. (2012). Kurikulum Pendidikan Seni Budaya yang Ideal bagi Peserta Didik di Masa Depan. Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni, 11(1), 1-12.Dewi, D. K. (2016). Pengaruh Tingkat Pendidikan dan Motivasi Kerja Terhadap Kinerja Karyawan. Journal Bisma, 4(1), 1-15.Domingo, J. R., & Bradley, E. G. (2018). Education student perceptions of virtual reality as a learning tool. Journal of Educational Technology Systems, 46(3), 329-342.Fujiawati, F. S. (2016). Pemahaman konsep kurikulum dan pembelajaran dengan peta konsep bagi mahasiswa pendidikan seni. JPKS (Jurnal Pendidikan dan Kajian Seni), 1(1), 16-29.Harianto, W. E. (2014). Penerapan Media Pembelajaran Seni Rupa Berbasis Audio Visual Pada materi Batik Siswa Kelas VIII-B dan VIII-C SMP Negeri 1 Turi Lamongan. Jurnal Pendidikan Seni Rupa, 2(3), 34-44.Lase, D. (2019). Pendidikan di Era Revolusi Industri 4.0. Jurnal Sundermann, 1(2), 28-43.Nurseto, T. (2011). Membuat Media Pembelajaran yang Menarik. Jurnal Ekonomi & Pendidikan, 8(1), 20-31.Nusantara, T. (2018). Desain Pembelajaran 4.0. Prosiding Lembaga Penelitian Pendidikan (LPP) Mandala NTB. 1-16.Pranoto, Iwan. (2020). “Media Pembelajaran Seni Rupa”. Hasil Dokumentasi Pribadi: 01 Juni 2020, SMPN 2 Palangka Raya.Ratnanigsih, K. (2020). Pengembangan Media Pembelajaran Seni Budaya Berbasis Digital Eksotisme Lukisan Pada Caping. Jurnal Ilmiah Kependidikan, 3(2), 62-74.Retnanigsih, D. (2019). Tantangan Dan Strategi Guru Di Era Revolusi Industri 4.0 Dalam Meningkatkan Kualitas Pendidikan. Prosiding Seminar Nasional. 25-38.Setiaji, R. S. (2020). Smartphone Media Berkarya Seni Masa Kini. Jurnal Imaji, 18(1), 14-26.Sofa, T. M. (2020). Pembelajaran Seni Tari Dalam Menghadapi Tantangan Revolusi Industri 4.0. Jurnal Imaji, 18(1), 1-16.Suhaya. (2016). Pendidikan Seni Sebagai Penunjang Kreatifitas”.Jurnal Pendidikan dan Kajian Seni, 1(1), 1-14.Sugiyono. (2011). Metode Penelitian Kuantitatif, Kualitatif dan R&D. Bandung: Afabeta.Suryani, L. (2021). Penerapan Media Audio Visual untuk Meningkatan Perilaku Cinta Lingkungan pada Golden Age. Jurnal Obsesi, 5(1), 902-917.Trinawindu, I K. (2016). Multimedia Interaktif untuk Proses Pembelajaran. Jurnal Parabangkara, 19(23). 37-48.Zunaidah. F. N. (2016). Pengembangan Bahan Ajar Mata Kuliah Bioteknologi Berdasarkan Kebutuhan Dan Karakter Kebutuhan dan Karakter Mahasiswa Universitas Nusantara PGRI Kediri. Jurnal Pendidikan Biologi Indonesia, 2(1), 19-30.

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This research aims to evaluate the performance of cultural arts teachers in terms of the suitability of educational background with the art aspects taught by the teachers. The research method used is a Countenance Stake evaluation model using a sampling technique of purposive sampling. The instrument validity uses content validity with Aiken's V formula, reliability with cronbach alpha and cohen kappa, while data analysis uses quantitative descriptive. The results of the research is that antecedent include the suitability of educational background with the art aspects taught by the teacher, including the good category. The teacher's performance in making plans for implementing cultural arts learning has a very good category. The transaction includes the performance of cultural arts teachers who teach art aspects according to the teacher's educational background is in the very good category. This is shown from the implementation of the teacher's cultural arts learning which includes: preliminary activities, core and closing. Meanwhile, the performance of cultural arts teachers who teach the artistic side does not match the educational background of teachers is in the good category, but in the core activities which include explaining skills, providing reinforcement, using learning models and asking questions still need improvement. Teacher performance in assessing learning is in the very good category. The outcome by looking at the mid-semester assessment as a whole has reached the minimum completeness criteria of 86%. Teachers are expected to continue to improve their performance as good teaching quality affects students, school development and the teachers themselves.Keywords: evaluation, teacher performance, culture art.AbstrakPenelitian ini bertujuan untuk mengevaluasi kinerja guru seni budaya ditinjau dari kesesuaian latar belakang pendidikan dengan aspek seni yang diajarkan guru. Metode penelitian yang digunakan berupa model evaluasi Countenance Stake dengan teknik pengambilan sampel berupa purposive sampling. Validitas instrumen menggunakan validitas isi dengan formula Aiken’s V, reliabilitas dengan alpha cronbach dan cohen kappa, sedangkan analisis data menggunakan deskriptif kuantitatif. Hasil penelitian ini menunjukkan bahwa aspek antecedent meliputi kesesuaian latar belakang pendidikan dengan aspek seni yang diajarkan guru termasuk kategori baik. Kinerja guru dalam membuat rencana pelaksanaan pembelajaran seni budaya memiliki kategori sangat baik. Aspek transaction meliputi kinerja guru seni budaya yang mengajar aspek seni sesuai dengan latar belakang pendidikan guru memiliki kategori sangat baik. Perihal tersebut ditunjukkan dari keterampilan guru saat pelaksanaan pembelajaran seni budaya guru pada kegiatan pendahuluan, kegiatan inti dan kegiatan penutup. Sedangkan kinerja guru seni budaya yang mengajar aspek seni tidak sesuai dengan latar belakang pendidikan guru termasuk kategori baik, tetapi dalam kegiatan inti yang meliputi keterampilan: menjelaskan, memberi penguatan, menggunakan model pembelajaran dan bertanya masih perlu peningkatan. Kinerja guru dalam membuat penilaian pembelajaran termasuk kategori sangat baik. Aspek outcome dengan melihat penilaian tengah semester secara keseluruhan sudah mencapai kriteria ketuntasan minimal sebesar 86%. Guru diharapkan terus meningkatkan kinerjanya karena kualitas kinerja guru yang baik akan berpengaruh pada peserta didik, pengembangan sekolah dan guru itu sendiri.Kata Kunci: evaluasi, kinerja guru, seni budaya. Authors:Siti Khodijah Lubis : Universitas Negeri Yogyakarta References:Anggraeni, P., & Akbar, A. (2018). Kesesuaian Rencana Pelaksanaan Pembelajaran dan Proses Pembelajaran. Jurnal Pesona Dasar, 6(2).Azis, A. C. K., Mesra, M., & Sugito, S. (2021). PENGEMBANGAN BAHAN AJAR MICRO TEACHING BAGI MAHASISWA SENI RUPA UNIVERSITAS NEGERI MEDAN. Gorga: Jurnal Seni Rupa, 10(1), 223–230.Bahari, N. (2014). Kritik Seni Wacana Apresiasi dan Kreasi. Pustaka Pelajar.Dolong, J. (2016). Sudut Pandang Perencanaan dalam Pengembangan Pembelajaran. Jurnal Lingkungan Kementerian Agama Islam, 5(1).Husein, L. (2017). Profesi Keguruan Menjadi Guru Profesional. PT Pustaka Baru Press.Kasman, K., & Lubis, S. K. (2022). Teachers’ Performance Evaluation Instrument Designs in the Implementation of the New Learning Paradigm of the Merdeka Curriculum. Jurnal Kependidikan: Jurnal Hasil Penelitian Dan Kajian Kepustakaan Di Bidang Pendidikan, Pengajaran Dan Pembelajaran, 8(3).Lubis, S. K., Eswendi, M. P., & Suib Awrus, M. P. (2017). Pengaruh Hasil Tes Kemampuan Intelektual Terhadap Hasil Belajar Seni Rupa Siswa Di MAN 2 Padangsidimpuan. Serupa The Journal of Art Education, 6(1).Lubis, S. K., Retnowati, T. H., & Syawalina, S. (2020). Predictive Power of Intellectual Ability Test Score on Students’ Fine Art Learning Outcomes. 3rd International Conference on Arts and Arts Education (ICAAE 2019, 41–44. https://doi.org/10.2991/assehr.k.200703.009Manpan, D., & Effendi, R. (2014). Etika Profesi Guru. Jakarta: Alfabeta.Mardapi, D. (2017). Pengukuran, Penilaian, dan Evaluasi Pendidikan. Yogyakarta:Pramana Publishing.Nanang, & Tarjo. (2018). Belajar dan Pembelajaran Seni Rupa. Jakarta: PT Sarana Tutorial Nurani Sejahtera.Prawira, N., G., & Tarjo, E. (2018). Belajar dan Pembelajaran Seni Rupa. Jakarta: PT Sarana Tutorial Nurani Sejahtera.Qomario, Q. (2018). Studi Analisa Latar Belakang Pendidikan, Sertifikasi Guru Dan Usia Guru PAUD di Kota Bandar Lampung. Jurnal Caksana, 01(02).Raharja, J., T., Retnowati, T., & H. (2013). Evaluasi Pelaksanaan Pembelajaran Seni Budaya SMA di Kabupaten Lombok Timur, NTB. Jurnal Penelitian dan Evaluasi Pendidikan Tahun, 17.Rahmah, S. (2014). Micro Teaching. Jakarta: Kaukaba Dipantara.Rusdiana, A. (2015). Kebijakan Pendidikan (Vol. 1, Issue 1). Jakarta: CV Pustaka Setia.Setiadi, H. (2016). Pelaksanaan Penilaian pada Kurikulum 2013. Jurnal Penelitian dan Evaluasi Pendidikan, 20(2), 166–178.Stufflebeam, D. L., & Coryn. (2014). Evaluation, Theory, Models and Applications. USA: Jossey-BASS.Supardi, S. (2013). Kinerja Guru. Jakarta: Rajawali Pers.Suprihatiningrum, J. (2014). Guru Profesional:Pedoman Kinerja, Kualifikasi, & Kompetensi Guru. Jakarta: Ar-Ruzz Media.Wirawan, W. (2016). Evaluasi (Teori, Model, Metodologi, Standar, Aplikasi dan Profesi. Jakarta: Raja Grafindo Persada.

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Abstract. Only very few long-term records of formaldehyde (HCHO) exist that are suitable for trend analysis. Furthermore, many uncertainties remain as to its diurnal cycle, representing a large short-term variability superimposed on seasonal and inter-annual variations that should be accounted for when comparing ground-based observations to, e.g., model results. In this study, we derive a multi-decadal time series (January 1988–June 2015) of HCHO total columns from ground-based high-resolution Fourier transform infrared (FTIR) solar spectra recorded at the high-altitude station of Jungfraujoch (Swiss Alps, 46.5° N, 8.0° E, 3580 m a. s. l. ), allowing for the characterization of the mid-latitudinal atmosphere for background conditions. First we investigate the HCHO diurnal variation, peaking around noontime and mainly driven by the intra-day insolation modulation and methane (CH4) oxidation. We also characterize quantitatively the diurnal cycles by adjusting a parametric model to the observations, which links the daytime to the HCHO columns according to the monthly intra-day regimes. It is then employed to scale all the individual FTIR measurements on a given daytime in order to remove the effect of the intra-day modulation for improving the trend determination and the comparison with HCHO columns simulated by the state-of-the-art GEOS-Chem v9-02 chemical transport model. Such a parametric model will be useful to scale the Jungfraujoch HCHO columns on satellite overpass times in the framework of future calibration/validation efforts of space-borne sensors. GEOS-Chem sensitivity tests suggest then that the seasonal and inter-annual HCHO column variations above Jungfraujoch are predominantly led by the atmospheric CH4 oxidation, with a maximum contribution of 25 % from the anthropogenic non-methane volatile organic compound precursors during wintertime. Finally, trend analysis of the so-scaled 27-year FTIR time series reveals a long-term evolution of the HCHO columns in the remote troposphere to be related to the atmospheric CH4 fluctuations and the short-term OH variability: +2.9 % year−1 between 1988 and 1995, −3.7 % year−1 over 1996–2002 and +0.8 % year−1 from 2003 onwards.

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In recent years, STEAM (Science, Technology, Engineering, Art, and Mathematics) has received wide attention. STEAM complements early childhood learning needs in honing 2nd century skills. This study aims to introduce a loose section in early childhood learning to pre-service teachers and then to explore their perceptions of how to use loose parts in supporting STEAM. The study design uses qualitative phenomenological methods. FGDs (Focus Group Discussions) are used as data collection instruments. The findings point to two main themes that emerged from the discussion: a loose section that supports freedom of creation and problem solving. Freedom clearly supports science, mathematics and arts education while problem solving significantly supports engineering and technology education. Keywords: Early Childhood Educators, Loose-part, STEAM References: Allen, A. (2016). Don’t Fear STEM: You Already Teach It! Exchange, (231), 56–59. Ansberry, B. K., & Morgan, E. (2019). Seven Myths of STEM. 56(6), 64–67. Bagiati, A., & Evangelou, D. (2015). Engineering curriculum in the preschool classroom: the teacher’s experience. European Early Childhood Education Research Journal, 23(1), 112–128. https://doi.org/10.1080/1350293X.2014.991099 Becker, K., & Park, K. (2011). Effects of integrative approaches among science , technology , engineering , and mathematics ( STEM ) subjects on students ’ learning : A preliminary meta-analysis. 12(5), 23–38. Berk, L. E. (2009). Child Development (8th ed.). Boston: Pearson Education. Can, B., Yildiz-Demirtas, V., & Altun, E. (2017). The Effect of Project-based Science Education Programme on Scientific Process Skills and Conception of Kindergargen Students. 16(3), 395–413. Casey, T., Robertson, J., Abel, J., Cairns, M., Caldwell, L., Campbell, K., … Robertson, T. (2016). Loose Parts Play. Edinburgh. Cheung, R. H. P. (2017). Teacher-directed versus child-centred : the challenge of promoting creativity in Chinese preschool classrooms. Pedagogy, Culture & Society, 1366(January), 1–14. https://doi.org/10.1080/14681366.2016.1217253 Clements, D. H., & Sarama, J. (2016). Math, Science, and Technology in the Early Grades. The Future of Children, 26(2), 75–94. Cloward Drown, K. (2014). Dramatic lay affordances of natural and manufactured outdoor settings for preschoolaged children. Dejarnette, N. K. (2018). Early Childhood Steam: Reflections From a Year of Steam Initiatives Implemented in a High-Needs Primary School. Education, 139(2), 96–112. DiGironimo, N. (2011). What is technology? Investigating student conceptions about the nature of technology. International Journal of Science Education, 33(10), 1337–1352. https://doi.org/10.1080/09500693.2010.495400 Dugger, W. E., & Naik, N. (2001). Clarifying Misconceptions between Technology Education and Educational Technology. The Technology Teacher, 61(1), 31–35. Eeuwijk, P. Van, & Zuzana, A. (2017). How to Conduct a Focus Group Discussion ( FGD ) Methodological Manual. Flannigan, C., & Dietze, B. (2018). Children, Outdoor Play, and Loose Parts. Journal of Childhood Studies, 42(4), 53–60. https://doi.org/10.18357/jcs.v42i4.18103 Fleer, M. (1998). The Preparation of Australian Teachers in Technology Education : Developing The Preparation of Australian Teachers in Technology Education : Developing Professionals Not Technicians. Asia-Pacific Journal of Teacher Education & Development, 1(2), 25–31. Freitas, H., Oliveira, M., Jenkins, M., & Popjoy, O. (1998). The focus group, a qualitative research method: Reviewing the theory, and providing guidelines to its planning. In ISRC, Merrick School of Business, University of Baltimore (MD, EUA)(Vol. 1). Gomes, J., & Fleer, M. (2019). The Development of a Scientific Motive : How Preschool Science and Home Play Reciprocally Contribute to Science Learning. Research in Science Education, 49(2), 613–634. https://doi.org/10.1007/s11165-017-9631-5 Goris, T., & Dyrenfurth, M. (n.d.). Students ’ Misconceptions in Science , Technology , and Engineering . Gull, C., Bogunovich, J., Goldstein, S. L., & Rosengarten, T. (2019). Definitions of Loose Parts in Early Childhood Outdoor Classrooms: A Scoping Review. The International Journal of Early Childhood Environmental Education, 6(3), 37. Hui, A. N. N., He, M. W. J., & Ye, S. S. (2015). Arts education and creativity enhancement in young children in Hong Kong. Educational Psychology, 35(3), 315–327. https://doi.org/10.1080/01443410.2013.875518 Jarvis, T., & Rennie, L. J. (1996). Perceptions about Technology Held by Primary Teachers in England. Research in Science & Technological Education, 14(1), 43–54. https://doi.org/10.1080/0263514960140104 Jeffers, O. (2004). How to Catch a Star. New York: Philomel Books. Kiewra, C., & Veselack, E. (2016). Playing with nature: Supporting preschoolers’ creativity in natural outdoor classrooms. International Journal of Early Childhood Environmental Education, 4(1), 70–95. Kuh, L., Ponte, I., & Chau, C. (2013). The impact of a natural playscape installation on young children’s play behaviors. Children, Youth and Environments, 23(2), 49–77. Lachapelle, C. P., Cunningham, C. M., & Oh, Y. (2019). What is technology? Development and evaluation of a simple instrument for measuring children’s conceptions of technology. International Journal of Science Education, 41(2), 188–209. https://doi.org/10.1080/09500693.2018.1545101 Liamputtong. (2010). Focus Group Methodology : Introduction and History. In Focus Group MethodoloGy (pp. 1–14). Liao, C. (2016). From Interdisciplinary to Transdisciplinary: An Arts-Integrated Approach to STEAM Education. 69(6), 44–49. https://doi.org/10.1080/00043125.2016.1224873 Lindeman, K. W., & Anderson, E. M. (2015). Using Blocks to Develop 21st Century Skills. Young Children, 70(1), 36–43. Maxwell, L., Mitchell, M., and Evans, G. (2008). Effects of play equipment and loose parts on preschool children’s outdoor play behavior: An observational study and design intervention. Children, Youth and Environments, 18(2), 36–63. McClure, E., Guernsey, L., Clements, D., Bales, S., Nichols, J., Kendall-Taylor, N., & Levine, M. (2017). How to Integrate STEM Into Early Childhood Education. Science and Children, 055(02), 8–11. https://doi.org/10.2505/4/sc17_055_02_8 McClure, M., Tarr, P., Thompson, C. M., & Eckhoff, A. (2017). Defining quality in visual art education for young children: Building on the position statement of the early childhood art educators. Arts Education Policy Review, 118(3), 154–163. https://doi.org/10.1080/10632913.2016.1245167 Mishra, L. (2016). Focus Group Discussion in Qualitative Research. TechnoLearn: An International Journal of Educational Technology, 6(1), 1. https://doi.org/10.5958/2249-5223.2016.00001.2 Monhardt, L., & Monhardt, R. (2006). Creating a context for the learning of science process skills through picture books. Early Childhood Education Journal, 34(1), 67–71. https://doi.org/10.1007/s10643-006-0108-9 Monsalvatge, L., Long, K., & DiBello, L. (2013). Turning our world of learning inside out! Dimensions of Early Childhood, 41(3), 23–30. Moomaw, S. (2012). STEM begins in the early years. School Science & Mathematics, 112(2), 57–58. Moomaw, S. (2016). Move Back the Clock, Educators: STEM Begins at Birth. School Science & Mathematics, 116(5), 237–238. Moomaw, S., & Davis, J. A. (2010). STEM Comes to Preschool. Young Cihildren, 12–18(September), 12–18. Munawar, M., Roshayanti, F., & Sugiyanti. (2019). Implementation of STEAM (Science, Technology, Engineering, Art, Mathematics)-Based Early Childhood Education Learning in Semarang City. Jurnal CERIA, 2(5), 276–285. National Research Council. (1996). National Science Education Standards. Washington, DC: National Academy of Sciences. Nicholson, S. (1972). The Theory of Loose Parts: An important principle for design methodology. Studies in Design Education Craft & Technology, 4(2), 5–12. O.Nyumba, T., Wilson, K., Derrick, C. J., & Mukherjee, N. (2018). The use of focus group discussion methodology: Insights from two decades of application in conservation. Methods in Ecology and Evolution, 9(1), 20–32. https://doi.org/10.1111/2041-210X.12860 Padilla-Diaz, M. (2015). Phenomenology in Educational Qualitative Research : Philosophy as Science or Philosophical Science ? International Journal of Educational Excellence, 1(2), 101–110. Padilla, M. J. (1990). The Science Process Skills. Research Matters - to the Science Teacher, 1(March), 1–3. Park, D. Y., Park, M. H., & Bates, A. B. (2018). Exploring Young Children’s Understanding About the Concept of Volume Through Engineering Design in a STEM Activity: A Case Study. International Journal of Science and Mathematics Education, 16(2), 275–294. https://doi.org/10.1007/s10763-016-9776-0 Rahardjo, M. M. (2019). Implementasi Pendekatan Saintifik Sebagai Pembentuk Keterampilan Proses Sains Anak Usia Dini. Scholaria: Jurnal Pendidikan Dan Kebudayaan, 9(2), 148–159. https://doi.org/10.24246/j.js.2019.v9.i2.p148-159 Robison, T. (2016). Male Elementary General Music Teachers : A Phenomenological Study. Journal of Music Teacher Education, 26(2), 77–89. https://doi.org/10.1177/1057083715622019 Rocha Fernandes, G. W., Rodrigues, A. M., & Ferreira, C. A. (2018). Conceptions of the Nature of Science and Technology: a Study with Children and Youths in a Non-Formal Science and Technology Education Setting. Research in Science Education, 48(5), 1071–1106. https://doi.org/10.1007/s11165-016-9599-6 Sawyer, R. K. (2006). Educating for innovation. 1(2006), 41–48. https://doi.org/10.1016/j.tsc.2005.08.001 Sharapan, H. (2012). ERIC - From STEM to STEAM: How Early Childhood Educators Can Apply Fred Rogers’ Approach, Young Children, 2012-Jan. Young Children, 67(1), 36–40. Siantayani, Y. (2018). STEAM: Science-Technology-Engineering-Art-Mathematics. Semarang: SINAU Teachers Development Center. Sikder, S., & Fleer, M. (2015). Small Science : Infants and Toddlers Experiencing Science in Everyday Family Life. Research in Science Education, 45(3), 445–464. https://doi.org/10.1007/s11165-014-9431-0 Smith-gilman, S. (2018). The Arts, Loose Parts and Conversations. Journal of the Canadian Association for Curriculum Studies, 16(1), 90–103. Sohn, B. K., Thomas, S. P., Greenberg, K. H., & Pollio, H. R. (2017). Hearing the Voices of Students and Teachers : A Phenomenological Approach to Educational Research. 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Raindrops on noses and toes in the dirt: infants and toddlers in the outdoor classroom. Dimensions Educational Research Foundation. Yuksel-Arslan, P., Yildirim, S., & Robin, B. R. (2016). A phenomenological study : teachers ’ experiences of using digital storytelling in early childhood education. Educational Studies, 42(5), 427–445. https://doi.org/10.1080/03055698.2016.1195717

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Studio Muljati Ceramic Room sells various types of local ceramics of good quality. However, Ruang Keramik Studio Mulyojati does not have a brand that can give the impression of a strong character in marketing, and can bring out advantages and differences from its competitors. Therefore, this study intends to increase the selling and introduce to the foreign visitors of the Ceramic Studio Room by providing their own brand. This study used a qualitative method with a brainstorming approach and a communication approach. The data analysis used a mind-mapping data analysis. The initial stages of designing the Ruang Keamik Studio logo were done by making alternative sketches, then digitizing them using appropriate visual elements. The result of this study concluded that the concept in designing the identity of the Ceramic Studio Room was "STUDIO KERAMIC" (taking ceramics) for making and selling various ceramic models. Logos, stationery sets, promotional media, packaging, and uniforms are the media used in designing the visual identity of the ceramic studio space. Keywords: art, ceramics, identity, visual. AbstrakRuang Keramik Studio Muljati menjual berbagai macam jenis keramik lokal dengan kualitas yang tidak kalah dengan kualitas keramik dari luar negeri. Namun, dalam pemasarannya, Ruang Keramik Studio Mulyojati belum memiliki brand yang dapat memberikan kesan karakter yang kuat, serta dapat memunculkan kelebihan dan perbedaan dengan kompetitornya. Oleh karena itu, peneliti bermaksud ingin meningkatkan nilai jual dan mengenalkan ke masyarakat mancanegara mengenai Ruang Keramik Studio dengan memberikan brand tersendiri yang berbeda dengan yang lainnya. Penelitian ini menggunakan metode kualitatif dengan pendekatan brainstorming dan pendekatan komunikasi. Analisis data yang digunakan adalah analisis data mindmaping. Tahapan awal perancangan logo Ruang Keamik Studio dilakukan dengan pembuatan sketsa alternatif, kemudian proses digitalisasi dengan menggunakan elemen-elemen visual yang sesuai. Hasil yang diproleh dari penelitian ini dapat diambil kesimpulan konsep dalam mendesain identitas Ruang Keramik Studio adalah “STUDIO KERAMIK” (mengambil keramik) yang merupakan tempat pembuatan serta penjualan berbagai model keramik. Logo, stationery set, media promosi, packaging, dan seragam merupakan media yang digunakan dalam mendesain identitas visual ruang studio keramik.Kata Kunci: seni, keramik, identitas, visual. Authors: Muhammad Redintan Justin : Institut Informatika dan Bisnis DarmajayaRohiman : Institut Informatika dan Bisnis DarmajayaAbdi Darmawan : Institut Informatika dan Bisnis Darmajaya References: Christine Suharto Cenadi. (1999). Corporate Identity Sejarah Dan Aplikasinya. Nirmana, 1(2), 71–78. Davison, J. (2009). Icon, iconography, iconology: Visual branding, banking and the case of the bowler-hat. Accounting, Auditing and Accountability Journal, 22(6), 883–906. Devi, L. S., Trinawindu, I. B. K., & Dewi, A. K. (2020). Perancangan Corporate Identity Canggu Center Di Kuta Oleh Pt. Domisan Karya Utama. Amarasi: Jurnal Desain Komunikasi Visual, 1(02), 157–177.Farhana, M. (2012). Brand Elements Lead to Brand Equity: Differentiate or Die. Information Management and Business Review, 4(4), 223–233.Firmansyah, M. A. (2019). Buku Pemasaran Produk dan Merek. In Buku Pemasaran Produk dan Merek (Issue August, p. 336).Hidayati, U., Supardi, L., & Indahwati, R. (2019). Pengaruh Penerapan Metode Pembelajaran Brainstorming Dengan Soal Open-Ended Pada Materi Segi Empat. Sigma, 5(1), 16.Kirk, L. E. (2013). Visual Branding In Graphic Design. 127. http://aquila.usm.edu/honors_theses.Kusrianto. (2007). Pengantar Desain Komunikasi Visual. Jakarta: Kencana Press.Lianasari, D., & Purwanto, E. (2016). Model Bimbingan Kelompok dengan Teknik Brainstorming Untuk Meningkatkan Komunikasi Interpersonal Siswa. Jurnal Bimbingan Konseling, 5(1), 1–7. Listya, A., Junianto, R., & Mirta, M. (2019). Studi Kemiripan Logo Dua Perusahaan: Gtv Dan Google. Jurnal Dimensi DKV Seni Rupa Dan Desain, 4(1), 33–46. Nurabdiansyah, S. (2019). Penciptaan Logotype “Unm” Sebagai Identitas Visual Dalam Rangka Penyusunan Graphic Standard Manual Universitas Negeri Makassar. Universitas Negeri Malang ISoLEC Proceedings, 225–234. Nurhadi, Z. F. (2015). Brand Dalam Komunikasi Pemasaran. Komunikasi Volume 1 No.1 April 2015, 1(1), 44–61.Perry, A., & Wisnom, D. (2003). Before the brand: Creating the unique DNA of an enduring brand identity. McGraw Hill Professional.Rohiman, R. (2017). Kajian Ikonografi Pada Makam Raja-Raja Mataram Islam Di Kotagede Yogyakarta. Corak, 6(2).Rustan, S. (2009). Mendesain Logo. PT Gramedia Pustaka Utama.Tri, D., Graha, R., Waloejo, B. S., & Wicaksono, A. D. (2016). Perencanaan strategis industri kreatif sektor desain grafis kota malang aktor pemerintah dinas perindustrian. Tata Kota Dan Daerah, XVIII(2), 84–85.Van Den Bosch, A. L. M., De Jong, M. D. T., & Elving, W. J. L. (2006). Managing corporate visual identity: Exploring the differences between manufacturing and service, and profit-making and nonprofit organizations. Journal of Business Communication, 43(2), 138–157. Walker, & Piliang. (2010). Desain, Sejarah, Budaya: Sebuah pengantar komprehensif. Jakarta: Jalasutra.

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Abstract Background: Previous studies have shown that rapid autopsies (RA) provide a unique opportunity for tissue collection from patients who succumb to the disease. Because cancer patients are unable to donate their organs to other people, this program provides the patient an opportunity to leave a legacy by donating their body to research. These donations are vital for advancing breast cancer research. The UPMC/Pitt RA group revamped an existing program in 2018 through the formation of a larger multidisciplinary team that includes breast cancer laboratory and clinical researchers, pathologists, nurses, bioinformaticians, and tissue bankers. Because recruitment to the RA program was a challenge, we recently added patient advocates to the team to provide their essential perspective, and a dedicated research coordinator who serves as an ambassador for the program. Methods: Autopsy is performed by the Autopsy and Forensic Pathology Center of Excellence/Decedent Affairs Service of UPMC. Samples are banked in the Pitt Biospecimen Core (PBC), in addition to immediate processing including preparing of samples for sequencing and growing of organoids in the laboratory. Immunohistochemical (IHC) analysis is performed by UPMC/Magee Pathology. Results: The research coordinator quickly became an integral part of the program and closely interacts with care providers, patients and their families, pathologists on call, and manages interactions with transport services. Five breast cancer advocates have been instrumental in advising on additional changes to the program. The advocates attend regular team meetings and have formulated patient considerations for the the RA program, including appropriate and sensitive recruitment of patients, the role of physicians in decision making by the patient, registration for more than one RA program, potential issues with transporting a body across state lines and more. The advocates also developed the name for the program - “Hope for OTHERS” with Others standing for “Our Tissue Helping Enhance Research & Science”. As of June 2022, the team has completed 26 autopsies, and an additional 20 patients have consented to the program. The completed autopsies include patients with breast tumors representing different molecular and histological classes, ethnicities, and genders. The average disease-free survival and overall survival of patients that underwent autopsy was 81.6 and 127.8 months, respectively. Most patients passed outside the hospital (86%), with 62% in home hospice and 24% in inpatient hospice. Average time between death and start and end of autopsy was 4.56 hrs and 7.09 hours, respectively. The most common metastatic sites from which specimens are collected are liver, lung and lymph nodes. Per patient we collect on average specimens from 4 different organs. In addition to the metastatic lesions, we have access to primary tumor tissue and liquid biopsies obtained during the breast cancer disease progression for 44% and 73% of the patients, respectively. For a subset of the patients, tissue has been grown as patient-derived organoids or xenograft models. Preliminary IHC and sequencing analysis has provided insight into inter- and intra-patient and intra-tumor heterogeneity. Further molecular studies are ongoing. Conclusion In summary, over the last 5+ years, we have established a successful post-mortem tissue collection program, by addressing a series of barriers through the formation and work of a multi-disciplinary well-coordinated team. We are currently expanding our omics studies using state-of-the-art technologies to improve understanding how intra- and inter-tumor heterogeneity play a role in the clinical course of advanced breast cancer, to increase diversity of the patients enrolled in the RA program, and to support the successful implementation of other RA programs nationwide and worldwide. Citation Format: Steffi Oesterreich, Lori Miller, Margaret Q. Rosenzweig, Tanner L. Bartholow, Megan Yates, Ashuvinee Elangovan, Laura Savariau, Allison N. Casey, Nolan Priedigkeit, Kai Ding, Abdalla Wedn, Jie Bin Liu, Daniel D. Brown, Tara Hyder, Geoffrey Pecar, Neil Carleton, Humberto Trejo Bittar, Daniel Geisler, Oscar Lopez-Nunez, Amanda M. Clark, Alan Wells, Partha Roy, Shannon Puhalla, Naomi Howard, Christine Needles, Susan Trent, Stephanie Walker, Christine Hodgdon, Rohit Bhargava, Jennifer M. Atkinson, Adrian V. Lee. Hope for OTHERS – An organ donation program for metastatic breast cancer research [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P6-14-02.

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A Educação à Distância (EaD), baseada numa prática pedagógica mediada pela tecnologia e interatividade, vem passando por constantes evoluções no Brasil no que se refere ao campo tecnológico, educacional e político. O Programa Viver sem Limites/MEC, constituído como parte do Plano Nacional dos Direitos da Pessoa com Deficiência, consiste em uma das formas de possibilitar a plena cidadania das pessoas com deficiência no Brasil, oportunizando direitos, cidadania para todas as pessoas e seu acesso e permanência no ensino superior, na modalidade a distância. Este artigo apresenta uma reflexão sobre os desafios e as possibilidades de elaboração de material didático de Língua Portuguesa escrita para alunos surdos de um curso a distância de Licenciatura em Pedagogia, dentro de um contexto bilíngue de ensino – LIBRAS (L1) e Língua Portuguesa (L2) do Instituto Nacional de Educação de Surdos - INES. Resultados mostram a importância da conscientização do professor conteudista no sentido de preparar material bilíngue, dialógico e interativo que valorize, primeiramente, a L1 do aprendiz, estimulando-o a ler e produzir textos escritos de forma autônoma e autêntica, respeitando-se as estruturas gramaticais da LIBRAS e da LP.Referências:ALMEIDA-FILHO, J. C. P. Identidades e caminhos no ensino de Português para estrangeiros. Campinas: Ed. UNICAMP, 1992.BAKHTIN, M. Estética da criação verbal. São Paulo: Martins Fontes, 1992.BRASIL.Lei nº 10.436, de 24 de abril de 2002. Dispõe sobre a Língua Brasileira de Sinais – LIBRAS e dá outras providências. Disponível em:http:www.planalto.gov.br Acesso em: 07.01.2015.BRASIL.Congresso Nacional. Lei de Diretrizes e Bases da Educação (Lei 9.394/96). Brasília, Centro Gráfico, 1996.BRASIL. Decreto Nº 5.626. Regulamenta a Lei nº 10.436, de 24 de abril de 2002, que dispõe sobre a Língua Brasileira de Sinais – LIBRAS, e o art. 18 da Lei nº 10.098, de 19 de dezembro de 2000. Publicada no Diário Oficial da União em 22/12/2005.FELIPE, T. A. Introdução à gramática de LIBRAS. Rio de Janeiro: FENEIS, 1997.FERNANDES, S. Educação bilíngue para surdos: identidades, diferenças, contradições e mistérios. Curitiba, 2003. Tese (Doutorado em Letras), Universidade Federal do Paraná.FERNANDES, S. Práticas de letramento na educação bilíngue para surdos. Curitiba: SEED/SUED/DEE, 2006.FERREIRA-BRITO, L. Por uma gramática da língua de sinais. Rio de Janeiro: Tempo Brasileiro, 1995.LACERDA, C. B.F.;LODI, A. C. B. A difícil tarefa de promover uma inclusão escolar bilíngue para alunos surdos. GTEducação Especialn.15 Anped, 2008.LIMA, M S. C. Surdez, bilinguismo e inclusão: Entre o dito, o pretendido e o feito. Tese de doutorado - Unicamp, Campinas. 2004LODI, A.C.B. HARRISON, K.M.P.; CAMPOS, S.R.L. Leitura e escrita no contexto da diversidade. Porto Alegre: Editora Mediação, 2002.LODI, A.C.B.; LACERDA, C.B.F. Uma escola, duas línguas: letramento em língua portuguesa e língua de sinais nas etapas iniciais de escolarização. Porto Alegre: Editora Mediação, 2008.KLEIMAN, A. B. (org.) Os significados do letramento: uma nova perspectiva sobre a prática social da escrita. Campinas : Mercado de Letras, 1995.INSTITUTO NACIONAL DE EDUCAÇÃO DE SURDOS. Manual do Professor-autor. Rio de Janeiro: INES, 2016.MULLER, C. R. Professor surdo no Ensino Superior: Representações da prática docente. Dissertação de Mestrado – UFSM, Santa Maria, RS. 2009.PEREIRA,M.C.C. Papel da língua de sinais na aquisição da escrita por estudantes surdos. In: LODI, A.C.B.; HARRISON, K.M.P.; CAMPOS, S.R.L.; TESKE, O Letramento e minorias. Porto Alegre: Editora Mediação, 2002.PEREIRA,M.C.C. Leitura, escrita e surdez. São Paulo: Secretaria de Educação do Estado de São Paulo, 2003.QUADROS, R. M. Educação de surdos: a aquisição da linguagem. Porto Alegre: Artmed,1997.QUADROS, R. M. de; KARNOP, L. Língua de sinais brasileira: Estudos linguísticos. ArtMed. Porto Alegre. 2004.QUADROS, R. M., SCHMIEDT, M. L. P. Ideias para ensinar português para alunos surdos. Brasília: MEC, SEESP, 2006.SALAMANCA, Declaração. Sobre Princípios, Políticas e Práticas na Área das Necessidades Educativas Especiais. Disponível em: http: portal.mec.gov.br seesparqiuivospdfsalamancapdf Acesso em 07.01.2015.SKLIAR, C. Bilinguismo e biculturalismo: Uma Análise sobre as narrativas tradicionais na educação dos surdos. Revista Brasileira de Educação N°8, Mai/Jun/Jul/Ago 1999.SOARES, M. B. Letramento: um tema em três gêneros. Belo Horizonte: Autêntica, 1988. Recebido em 08-10-2018.Aceito em 14-02-2019.

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The author starts from the concepts and understanding of the art of M. Bakhtin and L. Vygotsky, which he analyzed in his other works. For a better understanding of the theses, three cases are examined and analyzed — the novel by Israeli writer Meir Shalev “Two bears came out of the forest”, a poem by Marina Tsvetaeva and the process of opening an artistic image by a small child. Several issues are discussed: problems that could worry Shalev and his readers, some features of the author's work that made it possible to create the artistic reality of this work, the features of artistic reality, the mental mechanism that generates strong emotions of readers. The techniques and means of expression used by Shalev in the course of creating his novel are analyzed. The factors (semiotic, personal, cultural) that determine the independent existence of artistic reality, as well as the naturalness and realism of its events are analyzed. These events are more real and natural because Shalev opens the way for the reader to the events of artistic reality, allows him to see the whole, emphasizes the most important. An important role is played by the genius of Shalev as a storyteller, his wonderful language. It is concluded that the necessary conditions for the creation of artistic reality and the living of its events are the semiosis of art and a special form of human life in art (leisure according to Aristotle, “non-utilitarian form of life” according to the author).

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Use value refers to the usefulness of social productions in the sense of the increasingly effective fulfillment of human needs, as well as the production of new, ever richer, more human needs. However, in a society oriented by the logic of capital, thus oriented to the production of goods for exchange (commodities), the use value will always be determined, though not unilaterally, by the fact that it is in indissoluble unity with the exchange value, which leads, as a rule, to the secondary consideration of supplying/ production of needs in favor of the increased production of plus-value, the source of capital profit. This paper analyzes, employing literature review, a discussion about the contradiction of use value / exchange value incident on the use of digital media in education. Based on the Marxian dialectical method, a discussion is made about this contradiction, analyzing (abstracting, isolating) on the one hand the rich possibilities opened by the development of these technologies; and on the other hand, the process of commodification incident on the educational phenomenon, which interferes with the realization of that possibilities. As a synthesis, it is argued that the ontologically human moment, oriented to the use value, although determined by the purpose of producing plus-value, constitutes the fundamental social reference for the critique of the commodification process that occurs in education in general, with consequences in the way the means necessary to achieve the ends are conceived and adopted, a fundamental critical attitude for digital technologies to be part of an effective humanization process.ResumoO valor de uso refere-se à utilidade das produções sociais, no sentido do atendimento cada vez mais efetivo das necessidades humanas, bem como de produção de novas necessidades, cada vez mais ricas, mais humanas. Entretanto, em uma sociedade regida pela ordem do capital, orientada, portanto, à produção de bens para a troca (mercadorias), o valor de uso estará sempre determinado, embora não unilateralmente, pelo fato de se encontrar em unidade indissolúvel com o valor de troca, o que leva em regra à secundarização desse papel de atendimento/produção de necessidades em favor da extração ampliada de mais-valor, fonte de lucro do capital. Este artigo, analisa, empregando revisão de literatura, uma discussão sobre a contradição valor de uso/valor de troca incidente sobre o emprego das mídias digitais na educação. Tomando-se como base o método dialético marxiano, faz-se uma discussão, sobre essa contradição, analisando (abstraindo, isolando) por um lado, as ricas possibilidades abertas pelo desenvolvimento dessas tecnologias; e de outro lado, o processo de mercantilização incidente no fenômeno educativo, que interfere na efetivação daquele potencial. Como síntese, sustenta-se que o momento ontologicamente humano, orientado ao valor de uso, embora determinado pela busca da produção de mais-valor, constitui referência social fundamental para a crítica do processo de mercantilização que incide na educação de forma geral, com rebatimentos na maneira como se escolhem e adotam os meios necessários para atingimento dos fins, crítica fundamental para que as tecnologias digitais se insiram em um efetivo processo de humanização.ResumenEl valor de uso se refiere a la utilidad de las producciones sociales en el sentido de la satisfacción cada vez más efectiva de las necesidades humanas, así como a la producción de nuevas necesidades cada vez más ricas y más humanas. Sin embargo, en una sociedad gobernada por el orden del capital, orientada a la producción de bienes para el intercambio (mercancías), el valor de uso siempre estará determinado, aunque no de manera unilateral, por el hecho de que está en una unidad indisoluble con el valor de cambio, lo que lleva, por regla general, a la secundarización del papel de satisfacción / producción de necesidades en favor de una mayor extracción de más valor, fuente de ganancias del capital. Este artículo analiza, utilizando una revisión de la literatura, una discusión sobre la contradicción valor de uso / valor de cambio incidente en el uso de las medias digitales en la educación. Basado en el método dialéctico marxista, se discute sobre esta contradicción, analizando (abstrayendo, aislando) por un lado las ricas posibilidades abiertas por el desarrollo de estas tecnologías; y, por otro lado, el proceso de mercantilización que ocurre en el fenómeno educativo, que interfiere con la realización de ese potencial. En síntesis, se argumenta que el momento ontológicamente humano, orientado al valor de uso, aunque determinado por la búsqueda de la producción de más valor, constituye una referencia social fundamental para la crítica del proceso de mercantilización que ocurre en la educación en general, con efectos en la forma en que se eligen y adoptan los medios necesarios para lograr los fines, una crítica fundamental para que las tecnologías digitales sean parte de un proceso de humanización efectivo.Palavras-chave: Marxismo, Trabalho e educação, Assimilação crítica de tecnologia. Keywords: Marxism, Education and work, Technology uses in education.Palabras claves: Marxismo, trabajo y educación, asimilación crítica de la tecnología.ReferencesBARRETO, Raquel. G. Uma análise do discurso hegemônico acerca das tecnologias na educação. Perspectiva, Florianópolis, v. 30, n. 1, p. 41-58, jan.-abr. 2012. Disponível em <https://periodicos.ufsc.br/index.php/perspectiva/ article/view/2175-795X.2012v30n1p41>. Acesso em: 02 out. 2019.BARRETO, Raquel Goulart. A formação de professores a distância como estratégia de expansão do ensino superior. Educ. Soc., Campinas, v. 31, n. 113, p. 1299-1318, dez. 2010. Disponível em <http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0101-73302010000400013&lng=pt&nrm=iso>. Acesso em 10 out. 2019.BRASIL. Decreto n. 9.057, de 25 de maio de 2017. Regulamenta o art. 80 da Lei nº 9.394, de 20 de dezembro de 1996, que estabelece as diretrizes e bases da educação nacional. Presidência da República, Secretaria-Geral, Subchefia para Assuntos Jurídicos. Brasília, 2017a.BRASIL, Decreto nº 9.235, de 15 de dezembro de 2017. Dispõe sobre o exercício das funções de regulação, supervisão e avaliação das instituições de educação superior e dos cursos superiores de graduação e de pós-graduação no sistema federal de ensino. Presidência da República, Secretaria-Geral Subchefia para Assuntos Jurídicos. Brasília, 2017b.DUARTE, Newton. O debate contemporâneo das teorias pedagógicas. In: MARTINS, Ligia; DUARTE, Newton (Orgs.). Formação de professores – Limites contemporâneos e alternativas necessárias. São Paulo: Cultura acadêmica – UNESP, 2010. pp. 33-49.ENGELS, Introdução. In: MARX, Karl. Trabalho assalariado e Capital & Salário, preço e lucro. São Paulo: Expressão popular. 2010. 141 p.EXAME. Mudança na Kroton não convence e grupo perde mais de R$ 1 bi na bolsa. Exame [online]. 8 out 2019. Disponível em <https://exame.abril.com.br/mercados/mudanca-na-kroton-nao-convence-e-acao-cai-mais-de-3/>. Acesso em: 12 out. 2019.FERREIRA, Benedito. J. P. Tecnologias da informação e comunicação na educação: avanço no processo de humanização ou fenômeno de alienação? Germinal: Marxismo e Educação em Debate, v. 7, n. 1, p. 89-99, jun. 2015. Disponível em: <https://portalseer.ufba.br/index.php/revistagerminal/ article/view/12434>. Acesso em: 12 set. 2019.FREITAS, Luiz C. de. A reforma empresarial da educação: nova direita, velhas odeias – 1. ed. – São Paulo: Expressão popular, 2018. 160 p.FREITAS, Luiz C. de. Os reformadores empresariais da educação: Da desmoralização do magistério à destruição do sistema público de educação. Educ. Soc., Campinas, v. 33, n. 119, p. 379-404, abr.-jun. 2012.FREITAS JR., José Maria de. Políticas de tecnologia na educação e a Formação de Professores: um estudo da experiência do NIED/SEMEC-Belém-Pará. 2015. 131 f. Dissertação (Mestrado em Educação) – Instituto de Ciências da Educação, Programa de Pós-Graduação em Educação, Universidade Federal do Pará, 2015.GRAMSCI, Antonio. Os intelectuais e a organização da cultura. 9. ed. Rio de Janeiro: Civilização Brasileira, 1995. 244 p.HARVEY, David. 17 contradições e o fim do capitalismo. 1. ed. - São Paulo: Boitempo, 2016. 297 p.HARVEY, David. O neoliberalismo: história e implicações. 5. ed. - São Paulo: Edições Loyola, 2014. 252 p.HYPOLITO, Álvaro Moreira; VIEIRA, Jarbas Santos; PIZZI, Laura Cristina Vieira. Reestruturação curricular e auto-intensificação do trabalho docente. Currículo sem Fronteiras, v.9, n.2, p. 100-112, Jul/Dez 2009.LUKÁCS, G. O trabalho. In: LUKÁCS, G. Para uma ontologia do ser social II. 1. ed. - São Paulo: Boitempo. 2013. p. 41-157.MACEDO, Alexandra L.; BEHAR, Patricia A.; REATEGUI, Eliseo B. Rede de Conceitos: tecnologia de mineração de texto para apoiar práticas pedagógicas no acompanhamento da escrita coletiva. Revista Brasileira de Informática na Educação, [S.l.], v. 19, n. 01, p. 04, ago. 2011. ISSN 2317-6121. Disponível em: <https://www.br-ie.org/pub/index.php/rbie/article/view/1290/1158>. Acesso em: 13 set. 2019.MARX, Karl. O Capital: crítica da economia política. Livro I: o processo de produção do capital. 2. ed. São Paulo: Boitempo, 2017a. 894 p.MARX, Karl. O Capital: crítica da economia política. Livro III: O processo global da produção capitalista, 1. ed. São Paulo: Boitempo, 2017b. 984 p.MARX, Karl. Grundrisse: manuscritos econômicos de 1857-1858. Esboços da crítica da economia política. São Paulo: Boitempo, 2011. 788 p.MARX, Karl. Manuscritos econômico-filosóficos. [4. reimpr.] – São Paulo: Boitempo, 2010. 190 p.MARX, Karl. Contribuição à crítica da economia política. 2. ed. São Paulo: Expressão Popular, 2008. 285 p.PRIOSTE, Cláudia. O adolescente e a internet: Laços e embaraços no mundo virtual. São Paulo: Editora da Universidade de São Paulo, 2016. 368 p.RIBEIRO ROCHA, Paul Symon; DE LIMA, Rommel Wladimir; QUEIROZ, Paulo Gabriel Gadelha. Tecnologias para o ensino da Língua Brasileira de Sinais (LIBRAS): Uma revisão sistemática da literatura. Revista Brasileira de Informática na Educação, [S.l.], v. 26, n. 03, p. 42, set. 2018. ISSN 2317-6121. Disponível em: <https://www.br-ie.org/pub/index.php/rbie/ article/view/7140>. Acesso em: 04 out. 2019.ROCHA, Eucenir F.; CASTIGLIONI, Maria do Carmo. Reflexões sobre recursos tecnológicos: ajudas técnicas, tecnologia assistiva, tecnologia de assistência e tecnologia de apoio. Rev. Ter. Ocup. São Paulo, v. 16, n. 3, p. 97-104, set. -dez. 2005. Disponível em <http://www.revistas.usp.br/rto/article/view/13968>. Acesso em: 03 out. 2019.SALCEDO, Edna Manotas. Los cursos masivos en línea, MOOC: ¿cursos para la inmensa minoría?: una revisión de posturas sobre el impacto de la educación virtual para el acceso a la educación en América Latina. Investigación & desarrollo. vol. 26, n° 2, 2018. Disponível em <http://www.scielo.org.co/scielo.php?pid=S0121-32612018000200109&script=sci_abstract&tlng=es>. Acesso em: 02 out. 2019.SÁNCHEZ VÁZQUEZ, Adolfo. Filosofia da Práxis. 1. ed. São Paulo: Expressão Popular, 2007.SAVIANI, Dermeval. Pedagogia histórico crítica: primeiras aproximações. 9. ed. Campinas, SP: Autores Associados, 2005. 160 p.SAVIANI, Dermeval. Escola e Democracia. Ed. comemorativa. Campinas, SP: Autores Associados, 2008.SAVIANI, Dermeval. Trabalho e educação: fundamentos ontológicos e históricos. Rev. Bras. Educ., Rio de Janeiro, v. 12 n. 34 jan.-abr. 2007. Disponível em <http://www.scielo.br/pdf/rbedu/v12n34/a12v1234.pdf>. Acesso em: 02 out. 2019.SAVIANI, Dermeval. Educação: do senso comum à consciência filosófica. Campinas: Autores Associados, 1996. 312 p.SAVIANI, Dermeval; DUARTE, Newton. A formação humana na perspectiva histórico-ontológica. Rev. Bras. Educ., Rio de Janeiro, v. 15 n. 45 set.-dez. 2010. Disponível em <http://www.scielo.br/pdf/rbedu/v15n45/02>. Acesso em: 02 out. 2019.SGUISSARDI, Valdemar. Educação superior no Brasil. Democratização ou massificação mercantil? Educ. Soc., Campinas, v. 36, n. 133, p. 867-889, out.-dez., 2015. Disponível em <http://www.scielo.br/pdf/es/v36n133/1678-4626-es-36-133-00867.pdf>. Acesso em: 02 out. 2019.SHIROMA, Eneida O. Gerencialismo e formação de professores nas agendas das Organizações Multilaterais. Momento: diálogos em educação, Rio Grande/RS, v. 27, n. 2, p. 88-106, mai.-ago, 2018. Disponível em <https://periodicos.furg.br/momento/article/view/8093/5344>. Acesso em: 02 set. 2019.SOUZA, José da Cruz. A formação docente para o uso pedagógico das novas tecnologias de informação e comunicação: o papel do Núcleo de Tecnologia Municipal - NTM da Semed-Marabá. 2017. 131 f. Dissertação (Mestrado em Educação) – Instituto de Ciências da Educação, Programa de Pós-Graduação em Educação, Universidade Federal do Pará, 2017.TORI, Romero et al. VIDA ODONTO: Ambiente de Realidade Virtual para Treinamento Odontológico. Revista Brasileira de Informática na Educação, [S.l.], v. 26, n. 02, p. 80, maio 2018. ISSN 2317-6121. Disponível em: <https://www.br-ie.org/pub/index.php/rbie/article/view/7123>. Acesso em: 6 out. 2019.VALENCIA, Adrián S. Crisis capitalista y desmedida del valor – Un enfoque desde los Grundrisse. México, D.F: Editorial Itaca, 2010. 143 p.YUAN, Li; POWELL, Stephen. MOOCs and Open Education: Implications for Higher Education - A white paper. JISC- CETIS (Centre for educations technology & interoperability standards). Bolton/Manchester, 2013. Disponível em <https://e-space.mmu.ac.uk/619735/1/MOOCs-and-Open-Education.pdf>. Acesso em: 02 set. 2019.e3773071

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From the development of anion exchange membrane fuel cells it is known that airborne CO2 is easily absorbed in this type of membranes and has a detrimental effect on the conductivity of the membrane1. It was also found, however, that at sufficiently high current densities carbonate and hydrogen carbonate ions are flushed out of the membrane and ion conduction occurs predominantly via hydroxyl ions1. This behavior led to the idea of using AEM based cells for gas separation for two different type of applications. So, during the first waves of COVID-19 medical oxygen became a scarce resource. Local production of oxygen by separation from air is an interesting approach to overcome this issue. This should be feasible using an anion exchange membrane cell with an air side oxygen reduction electrode and an oxygen evolution electrode. The hope is that in combination of these two reactions the required cell voltage can be kept much below typical water electrolysis voltages so that operation with simple PV cells or modules is possible. At the same time the question is if current densities can be achieved at which the OH- transport and thus the anodic release of O2 dominates, as an enrichment of CO2 must be avoided for this application. On the opposite there are worries about the effect of increasing CO2 concentration in occupied confined rooms like vehicles. Here a device that removes CO2 from air without consuming much oxygen is desirable. The removal of CO2 from the air supply to AEM fuel cells by an additional cell placed upstream of the cathode inlet and downstream of the anode outlet was demonstrated by Matz at al.2. As for CO2 separation only, no hydrogen is available for the anode reaction here again the operation against an oxygen evolution electrode is required, optimized, however, towards the CO2 transport minimizing O2 transport. In this study for one type of AEM membrane and ionomer, namely Fumapem FAA3 and Fumion (both Fumatech BWT, Germany) the effect of different cathode electrodes and electrode materials as well as the effect of operation conditions towards the selectivity of oxygen or CO2 transport were investigated. For that purpose, test set-ups were used were the cathode side was supplied with synthetic air, compressed air or synthetic air with added CO2 and the anode side with an inert gas N2 or helium. Nass spectrometry and dedicated CO2 concentration sensors were used to determine the anodic release of O2 and CO2 as well as the reduction of O2 and CO2 concentrations on the cathode side. First measurements of the oxygen transfer using a cell with a silver cathode (Oxag, Gaskatel, Germany) and a nickel foam anode (Gaskatel, Germany) it was found that the oxygen transfer had a promising faradaic efficiency exceeding 80% (cf. Fig. 1). The cell voltage of 1.5 V at 90 mA cm-2 was however still too high for the application. Replacing the Oxag silver electrode by an industrial ORR electrode for alkaline cells did not yield an improvement (cf. fig 2). Increasing humidification to 100 % r.H. improved the current density (cf. Fig 3). Using high humidification conditions, the CO2 effect was studied by switching from synthetic air to pressured air and back and 160 mA cm-2. A rapid increase of the anodic CO2 concentration to values exceeding 2000 ppm was observed (cf. Fig. 4). Comparing CO2 transfer for cells with Oxag cathode and the commercial ORR cathode again showed that the latter would not improve the situation. It proves however, that the CO2 transfer rate can be influenced by the cathode catalyst. Regarding the CO2 separation test with synthetic air with added 3.85 Vol% of CO2 as cathode feed have shown that under such conditions, mainly CO2 is transported (cf. Fig. 5). In total it will be shown that CO2 separation with state-of-the-art materials is already possible. The use of O2 separation regarding onside production of medical O2 today fails due to still too high CO2 selectivity. The fact that CO2 selectivity seems to be dependent on the cathode catalyst may allow further optimization also valuable for AEMFC fuel cell developments. Acknowledgment: The work received financial support in parts from the Fraunhofer-Gesellschaft by the Demo-medVer project part project e3C-O2 as part of the Fraunhofer cs. Corona program. M. Inaba, Y. Matsui, M. Saito, A. Tasaka, K. f*ckuta, S. Watanabe and H. Yanagi, Electrochemistry, 79, 322–325 (2011). 2. S. Matz, B. Setzler, C. M. Weiss, L. Shi, S. Gottesfeld and Y. Yan, Meet. Abstr., MA2020-02(34), 2227 (2020). Figure 1

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Inclusion is part of the promotion and exercise of citizenship, and consequently promotes the warranty of rights to all for full social participation, in a fair and egalitarian manner. Considering the several legal mechanisms created to guarantee the equality of rights and the primordial role of education in establishing the inclusion movement, this study aimed to understand through the vision of students with disabilities the educational inclusion in the public university state of the interior of São Paulo (Brazil). The study had as participants five students. In order to reach the objectives, instrument was used to collect data, a semi-structured. The results suggest that the institution does not have an effective culture of accessibility, some barriers were evidenced, such as the lack of identification in the institutional documents of the real type of deficiency that the student; support actions that the institution takes too long to offer or offers through different means than what was requested by the students, and the architectural accessibility of the campus that is not sufficient for all students to have autonomy. However, it is verified that FCL has advanced in the process of inclusion of students with disabilities, as there are some actions by the institution towards an inclusive university. It is possible to observe advances and limits in the process of inclusion of institution.ResumoA inclusão faz parte da promoção e o exercício da cidadania, e consequentemente promove a garantia de direitos a todos para a plena participação social, de forma justa e igualitária. Tendo em vista os diversos mecanismos criados para garantir a igualdade de direitos e o papel primordial da educação para o movimento de inclusão, esse estudo teve como objetivo compreender por meio da visão de alunos com deficiência a inclusão em uma universidade pública do interior do estado de São Paulo. O estudo teve cinco alunos participantes. Para alcançar os objetivos foi utilizada para a coleta de dados uma entrevista semiestruturada. Os resultados sugerem que a instituição não possui uma cultura efetiva de inclusão, algumas barreiras foram evidenciadas, como a falta de identificação nos documentos institucionais do tipo real de deficiência do aluno; ações de suporte que a instituição demora a oferecer ou oferece por meios diferentes do que foi solicitado pelos alunos, e a acessibilidade arquitetônica do campus que não é suficiente para que todos os alunos tenham autonomia. No entanto, verifica-se que a Faculdade de Ciências e Letras tem avançado no processo de inclusão de alunos com deficiência, porque existem algumas ações por parte da instituição que caminham para uma universidade inclusiva. É possível constatar avanços e limites no processo de inclusão da instituição.Palavras-chave: Inclusão, Aluno com deficiência, Educação superior.Keywords: Inclusion, Student with disabilities, Higher education.ReferencesALMEIDA, J.G. A; BELLOSI, T.C; FERREIRA, E.L. Evolução da matrícula de pessoas com deficiência na educação superior brasileira: subsídios normativos e ações institucionais para acesso e permanência. Revista Ibero-Americana de Estudos em Educação. Araraquara, v.10 n.esp., p. 643-660, 2015.ANACHE, A. A.; ROVETTO, S. S. M.; OLIVEIRA, R. A. D. Desafios da implantação do atendimento educacional especializado no Ensino Superior. Revista Educação Especial. Santa Maria, v. 27, n.49, p. 299-312, maio/ago. 2014.BARDIN, L. Análise de conteúdo. 70. ed. Lisboa: Casagraf - artes gráficas Unipessoal, 2002. 280 p.BOGDAN, R.; BIKLEN, S. Investigação qualitativa em educação: uma introdução à teoria e aos métodos. Porto: Porto Editora, 1994. 336 p.BOURDIEU, P. Razões Práticas: Sobre a teoria da ação. 9 ed. Campinas: Papirus. 1996. 225 p.BRASIL. Ministério da Justiça. Decreto nº 3.298, de 20 de dezembro de 1999. Dispõe sobre a política nacional para integração da pessoa portadora de deficiência, consolida as normas de proteção, e dá outras providências. Diário Oficial da União, Brasília, p. 10, 21 dezembro 1999.BRASIL. Ministério da Educação. Secretaria de Educação Especial. Lei Nº. 10.436, de 24 de abril de 2002. Dispõe sobre a Língua Brasileira de Sinais – LIBRAS e dá outras providências. Diário Oficial da União, Brasilia, 24 de abril. 2002.BRASIL. Secretaria de Educação Especial. Portaria nº 3.284, de 7 de novembro de 2003. Dispõe sobre requisitos de acessibilidade de pessoas portadoras de deficiências, para instruir os processos de autorização e de reconhecimento de cursos, e de credenciamento de instituições. Diário Oficial da União, Brasília, DF, 11 novembro. 2003.BRASIL. Ministério da Educação. Secretaria de Educação Especial. Decreto n°5.626, de 22 de dezembro de 2005. Regulamenta a Lei n. 10.436, de 24 de abril de 2002, que dispõe sobre a Língua Brasileira de Sinais – Libras, e o art. 18 da Lei n. 10.098, de 19 de dezembro de 2000. Diário Oficial da União, Brasilia, 23 de dez. 2005. Disponível em: <http://www.planalto.gov.br/ccivil_03/_ato2004-2006/2005/decretod5626.htm>. Acesso em: 06 set. 2016.BRASIL. Ministério da Educação. Secretaria de Educação Especial. Saberes e práticas da inclusão: dificuldades acentuadas de aprendizagem – deficiência múltipla. Brasília: MEC/SEESP, 2004.BRASIL. Secretaria de Educação Superior. Edital nº 2. Programa Incluir. Diário Oficial da União, Brasília, DF, seção 3, p. 39-40, 17 maio 2005. Disponível em:<http://portal.mec.gov.br/sesu/index.php?option=content&task=view&id=557&Itemid=303> Acesso em: 24 agos. 2015.BRASIL. Ministério da Educação. Política Nacional de Educação Especial na perspectiva da educação Inclusiva. Brasília:MEC/SEESP, 2008. Disponível em: <http://peei.mec.gov.br/arquivos/politica_nacional_educacao_especial.pdf>. Acesso em 20 ago. 2015.BRASIL. Decreto nº 6.571, de 17 de setembro de 2008. Dispõe sobre o atendimento educacional especializado, regulamenta o parágrafo único do art. 60 da Lei no 9.394, de 20 de dezembro de 1996, e acrescenta dispositivo ao Decreto nº 6.253, de 13 de novembro de 2007. Diário Oficial da União, Brasília, DF, 18 set. 2008b.BRASIL. A educação especial na perspectiva da inclusão escolar: transtornos globais do desenvolvimento. Brasília: Ministério da Educação, Secretaria de Educação Especial- MEC, v. 9. (Fascículo IX. qxd). 2010.BRASIL. Decreto nº 7.611, de 17 de novembro de 2011. Dispõe sobre a educação especial, o atendimento educacional especializado e da outras providencias. Diário Oficial da União, Brasília, DF , 18 nov. 2011. Disponível em: <http://www.planalto.gov.br/ccivil_03_Ato2011-2014/2011/Decreto/D7611.htm#art11>. Acesso em 23 ago. 2016.BRASIL. Lei nº 13.146, de 06/07/2015. Institui a Lei Brasileira de Inclusão da Pessoa com Deficiência (Estatuto da pessoa com Deficiência). 2015b. Disponível em:<http://www.planalto.gov.br/ccivil_03/_Ato2015-2018/2015/Lei/L13146.htm> Acesso em: 19 ago. 2015.CALDAS, R. F. L. Fracasso escolar: reflexões sobre uma história antiga, mas atual. Psicologia: Teoria e Prática, São Paulo, v.7, n.1, p.21-33. 2005.CASTRO, S. F. Ingresso e permanência de alunos com deficiência em universidades públicas brasileiras. 2011. 278f. Tese (Doutorado em Educação Especial)- Centro de Educação e Ciências Humanas, Universidade Federal de São Carlos UFSCar, São Carlos, 2011.CHAHINI, T.H.C. Atitudes sociais e opiniões de professores e alunos da Universidade Federal do Maranhão em relação à inclusão de alunos com deficiência na educação superior. 2010. 132f. Tese (Doutorado em Educação) – Faculdade de Filosofia e Ciências, Universidade Estadual Paulista, Marília, 2010.CIANTELLI, A. P. C.; LEITE L. P. Ações Exercidas pelos Núcleos de Acessibilidade nas Universidades Federais Brasileiras. Revista Brasileira de Educação Especial, Marília, v. 22, n. 3, p. 413-428, jul./set., 2016.CORRÊA, P.M. Acessibilidade no ensino superior: instrumento para avaliação, satisfação dos alunos com deficiência e percepção de coordenadores de cursos. 2014. 281 f. Tese (Doutorado em Educação) – Faculdade de Filosofia e Ciências, Universidade Estadual Paulista, Marília, 2014.FERREIRA, L, R, C. Experiências vivenciadas por alunos com deficiência visual em instituições de ensino superior na cidade de Uberlândia (MG). 2010. 141f. Dissertação (Mestrado em Educação)- Faculdade de Educação, Universidade Federal de Uberlândia, Uberlândia, 2010.FERREIRA, G.; CABRAL FILHO, A. V. Movimentos Sociais e o Protagonismo das Pessoas com Deficiência. SER Social, v. 15, n. 32, p. 93-116, 30 set. 2013. Disponível em: https://periodicos.unb.br/index.php/SER_Social/article/view/13036 Acesso em: 10 out. 2017.IDEA. Federal Register, v71, n156, 2006. Disponível em: <http://idea.ed.gov/download/finalregulations.pdf>.Acesso em: 27 fev. 2017.LODI, A. C. B.; LACERDA, C. B. F. A inclusão escolar bilíngue de alunos surdos: princípios, breve histórico e perspectivas. In: LODI, A. C. B.; LACERDA, C. B. F. Uma escola duas línguas: letramento em língua portuguesa e língua de sinais nas etapas iniciais de escolarização. Porto Alegre: Mediação, 2009, p. 01-11.MANZINI, E, J. Acessibilidade: um aporte na legislação para o aprofundamento do tema na área da educação. In: BAPTISTA, C, R.; CAIADO, K, R. M.; JESUS, D, M. (Org.). Educação Especial: Diálogo e Pluralidade. Porto Alegre: Ed. Mediação, 2008. p. 281-289.MAZZONI, A, A. Deficiência X Participação: Um desafio para as universidades. 2003. 245f. Tese (Doutorado em Engenharia de Produção) – Universidade Federal de Santa Catarina, Florianópolis, 2003.MARQUES, L. D. S.; GOMES, C. Concordâncias/discordâncias acerca do processo inclusivo no Ensino Superior: um estudo exploratório. Revista Educação Especial, Santa Maria, v. 27, n. 49, p. 313-326. maio/ago. 2014. Disponível em: <http://dx.doi.org/10.5902/1984686X8842>. Acesso em: 02 set. 2015.MENDES, E.G. A radicalização do debate sobre inclusão escolar no Brasil. Revista Brasileira de Educação, Rio de Janeiro, v.11, n.33, p. 387-405, set./dez. 2006.MIRANDA, W, T, S. Inclusão no ensino superior: das políticas públicas aos programas de atendimento e apoio às pessoas com necessidades educacionais especiais. 2014. 183 f. Tese (Doutorado em Educação). Programa de Pós Graduação em Educação, Faculdade de Filosofia e Ciências, da Universidade Estadual Paulista, Júlio de Mesquita Filho, Marília, 2014.MOREIRA, L.C. Políticas inclusivas no Ensino Superior: da implementação à concretização. In: MENDES, G. E.; ALMEIDA, M. A. (Orgs). Dimensões pedagógicas nas práticas de inclusão escolar. Marília: ABPEE, 2012. p. 97-108.ROSSETO, E. Sujeitos com deficiência no Ensino Superior: vozes e significados. 2009. 238 f. Tese (Doutorado em Educação) – Faculdade de Educação, Universidade Federal do Rio Grande do Sul, Porto Alegre, 2009.SANTANA, E.S. Atitudes de estudantes universitários frente a alunos com deficiência na UNESP de Presidente Prudente. 2013. 188 f. Tese (Doutorado em Educação) – Faculdade de Filosofia e Ciência, Universidade Estadual Paulista, Marília, 2013.VITALINO, C. R.; VALENTE S., M., P. A formação de professores reflexivos como condição necessária para inclusão de alunos com necessidades educacionais especiais. In: VITALINO, C. R. Formação de professores para a inclusão de alunos com necessidades educacionais especiais. Londrina: EDUEL, 2010.p. 34-48.e3627098

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The article analyzes the first stages of studying the archaeological sites of the Kashkadarya oasis from a historical point of view. Beginning in the 18th century, Europeans began to record information about the Kashkadarya oasis. Their main focus is on highlighting the lifestyle of the population, as well as information on historical monuments. In particular, in memoirs, reports and brochures, A. Burns, N. Khannykov, V.V. Bartold, N. Maev, V. Krestovsky, B. Litvinov, D. Logofet, A. Validov, I. Kastane, L. Zimin, you can get a lot of information on this topic. Despite this, the first studies were mostly brief. Most importantly, the attention of architects and art critics is focused on the history of architectural structures in Shakhrisabz, built during the reign of Amir Temur and the Temurids. However, attempts to shed light on the history of the cities of Karshi and Shakhrisabz based on written sources consisted in a collection of the first archaeological observations, historical artifacts and manuscripts. Noteworthy is the information written by N. Khannykov, V.V. Bartold, N. Mayev. Subsequent studies also made extensive use of their memoirs. B. Litvinov's information about the Kashkadarya oasis was supplemented by his drawings. According to Logofet, the history of the city of Shakhrisabz is emphasized, and archaeological excavations show that its history goes back two thousand years. Logofet pays great attention to the medieval history of Karshi, cites various historical sources. It is important for I.Kastana and L.Zimin to describe the archaeological monuments preserved in the vicinity of Karshi from the point of view of that period and compare them on the basis of ancient and medieval written sources.

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Microenterprises that produce dairy products face problems of unfair competition, unfavorable government regulations, and under-utilization of milk derivatives. This work focuses its objective on analyzing and developing strategic marketing for the strengthening of dairy production; For this, the contributions of marketing and its relationship with dairy production are enunciated and the marketing strategies of applied products are analyzed. Through a qualitative approach, with quantitative data, in the light of a descriptive, cross-sectional method, the methodological process is developed, through which results are obtained that show the need to propose product strategies and take advantage of serum waste milk. In this sense, the elaboration of products derived from whey is proposed for their subsequent commercialization. As a conclusion, small economy companies cannot afford investments of more than 800,000.00 USD; therefore, they require alternatives such as associativity. Keywords: strategic marketing, product strategies, dairy, whey. References [1]M. L. Castells et al., Valorización del lactosuero. 2017. [2]G. and P. Dirección de Innovación para el Desarrollo Sustentable de la Secretaría de Gobierno de Ambiente y Desarrollo Sustentable, en articulación con la Dirección Nacional Láctea del Ministerio de Agricultura, “Recuperación y valorización de lactosuero en PYMES de la cuenca láctea argentina , a través,” 2019. [3]T. Vallet Bellmunt et al., Principios del Marketing Estrategico. 2015. [4]P. Kotler, “Marketing_4.0_ESP,” p. 112, 2014. [5]R. Hoyos Ballesteros, “R. Hoyos Ballesteros, Plan de marketing: diseño, implementación y control.,”2013. https://elibro.puce.elogim.com/es/ereader/puce/69263?page=13 (accessed Mar. 10, 2021). [6]C. Lamb, J. Hair, and C. McDaniel, MKT Lamb. 2011. [7]E. Pico Gutiérrez, M. Loor Solórzano, and C. Caamaño López, “estrategías de marketing para fortalecer la gestión comercial de las Pymes en la provincia deSanta Elena: caso compañia Serlipen S.A,” Rev. Universidad, Cienc. y Tecnol., vol. 24, no. 100, pp. 11–19, 2020, [Online]. Available: https://www.uctunexpo.autanabooks.com/index.php/uct/article/view/298. [8]B. Caiza and W. Jiménez, “Desarrollo de la tecnologia para elaborar bolos a partir de suero de leche dulce con la adicion de pulpa de fruta, azucar y gelatina,” Repo.Uta.Edu.Ec, vol. 593, no. 03, p. 130, 2011, [Online]. Available: http://repo.uta.edu.ec/bitstream/ handle/123456789/5301/Mg.DCEv.Ed.1859.pdf?sequence= 3. [9]J. Ulloa and G. Navas, “Utilizacion Del Suero De Leche En La Elaboracion De Bebidas De Bajo Grado Alcoholico Con El Empleo De Bacterias Acido Lacticas,”2009. [10]CIL, “Datos del sector lechero,” Cent. Ind. Láctea del Ecuador, p. 2018, 2018, [Online]. Available: https://e152f73b-81b4-4206-a6ee-8b984b6a13b0.filesusr.com/ugd/6cc8de_513a9bb8db76451a9a74586d7902bb3b.pdf. [11]Magap, “Acuerdo ministerial 394. Regular y controlar el precio del litro de leche cruda pagado en finca y/o centro de acopio al productor y promover la calidad e inocuidad de la leche cruda.,” Minist. Agric. Ganad. y Pesca del Ecuador, no. 111, p. 10, 2013, [Online]. Available: www.magap.gob.ec. [12]J. P. Grijalva Cobo, “La industria lechera en Ecuador: un modelo de desarrollo,” Retos, vol. 1, no. 1, p. 6, 2011, doi: 10.17163/ret.n1.2011.08. [13]Acuerdo-ministerial-177_"sostenibilidad_cadena_láctea".pdf. [14]Procesamiento de suero | Manual de procesamiento de lácteos. https://dairyprocessinghandbook.tetrapak.com/chapter/whey-processing (accessed Apr. 07, 2021). [15]P. Dianela, “Procesamiento del lactosuero: elaboración de lactosa y aprovechamiento de proteínas,” Tecnol. Láctea Latinoam. No, vol. 87, p. 44, 2015. [16]Énfasis Alimentación, “suero-polvo-desproteinizado-la-estrella-la-panaderia,” 2020. [17] B. Jonson, “Los productos de suero de leche de Estados Unidos en botanas y aderezos,” U.S. Dairy Export Counc., pp. 1–8, 2010. [18]J. Keeton, “Aplicaciones de Productos de Suero y Lactosa en Carnes Procesadas,” Mundo Lácteo y Cárnico, pp. 18–25, 2008. [19]N. Hosp et al., “Nutrición Hospitalaria Trabajo Original Correspondencia.” [20]E. Sequera, C. Farfán, and W. Zambrano, “Analisis del perfil de deseabilidad del valor nutricional de un alimento en barra a base de ajonjolí, maní y suero lácteo en polvo,” rev. Científica mangifera, pp. 103–115, 2019. [21]“Obtención de hidrolizados proteicos bajos en fenilalanina a partir de suero dulce de leche y chachafruto (Erythrina edulis Triana).”https://www.alanrevista.org/ediciones/2019/1/art-4/ (accessed May 02, 2021). [22] ean Cano, “Ecuador compró más suero de leche en polvo,” 30 sep. 2019, Sep. 2019. [23]“agricultura-suero-polvo-leche-calidad.” [24]“Sueros de lechería.” http://www.alimentosargentinos.gob.ar/contenido/revista/html/44/44_08_Lacteos_sueros_lecheria.html (accessed Mar. 03, 2021). [25]“Suero en polvo | Tetra Pak.” https://www.tetrapak.com/es-ec/insights/food-categories/whey-powder (accessed Feb. 24, 2021). [26]“GALAXIE Secado Spray.” https://www.galaxie.com.ar/productos_precios.php (accessed Mar. 03, 2021). [27]R. Hernandes Sampieri, C. Fernandez Collao, and P. Baptista Lucio, “Metodologia de la Investigacion.”https://www.uca.ac.cr/wp-ontent/uploads/2017/10/Investigacion.pdf (accessed Jun. 09, 2021). [28]“Evaporadores | Manual de Procesamiento de Lácteos.” https://dairyprocessinghandbook.tetrapak.com/chapter/whey-processing (accessed Apr. 07, 2021). [29]R. Hoyos Ballesteros, “Plan de marketing : diseño, implementación y control,” p. 203, 2013.

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The background of this research is based on the occurrence and emergence of cyberbullying cases that afflict Indonesian teenagers. Youth are considered unable to filter bad messages that they get, so they are vulnerable to negative impacts such as depression to suicide. This writing aims to create works of art with ideas originating from the phenomenon of cyberbullying that is rife in this digital era, especially for teenagers or youth. . The method used in this artistic creation is a combination of two methods, namely the practice-based research method and practice-led research method. This research produces three works of two-dimensional painting that are representational deformative and have symbolic meanings with acrylic on plywood media. The data is obtained through document studies and literature studies. These three artworks have the titles (1) Your Words Killed Me, (2) Hate Comments, and (3) Burdened. This creation is useful as a medium of criticism and as a medium of education to the public related to the phenomenon or topic of cyberbullying. This phenomenon should be aware of and must be stopped immediately to reduce the negative impact that harms its victims.Keywords: youth, cyberbullying, painting. AbstrakLatar belakang penciptaan ini didasari atas keprihatinan dan kekhawatiran akan maraknya kasus cyberbullying yang menimpa remaja Indonesia. Remaja dinilai belum dapat melakukan filter atas pesan buruk yang mereka dapatkan, sehingga mereka rentan terkena dampak negatif seperti depresi hingga bunuh diri. Penciptaan ini bertujuan untuk menciptakan karya seni lukis dengan ide bersumber dari fenomena cyberbullying yang marak terjadi pada era digital ini, khususnya kepada remaja. Penciptaan karya seni lukis ini menggunakan kombinasi dua metode, metode practice-based research dan practice-led research. Proses mengumpulkan data diperoleh melalui studi pustaka dan studi dokumen. Hasil penciptaan ini berupa tiga karya seni lukis dua dimensi yang representasional deformatif serta memiliki makna simbolik dengan media acrylic on plywood. Ketiga karya seni lukis ini memiliki judul (1) your words killed me, (2) hate comments, dan (3) burdened. Penciptaan ini berguna sebagai media kritik dan sebagai media edukasi kepada masyarakat berkaitan dengan fenomena atau topik cyberbullying. Fenomena ini patut untuk diwaspadai dan harus segera dihentikan untuk mengurangi dampak negatif yang merugikan para korbannya.Kata Kunci: remaja, cyberbullying, seni lukis.Author:Arum Wilis Kartika Ayuningtari : Institut Seni Indonesia Yogyakarta References:Anwar, F. (2017). Perubahan dan permasalahan media sosial. Jurnal Muara Ilmu Sosial, Humaniora, dan Seni, 1(1), 137-144.Asa, F. O., Ahdi, S., & Elapatsa, A. (2021). Fenomena Korupsi: Tikus sebagai Inspirasi Lukis. Gorga: Jurnal Seni Rupa, 10(2), 508-514.doi: 10.24114/gr.v10i2.28059.Sanjaya, B., & Citra, Y. P. A. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(1), 107-113.Diananda, A. (2019). Psikologi remaja dan permasalahannya. Istighna: Jurnal Pendidikan dan Pemikiran Islam, 1(1), 116-133.Fitri, N. F., & Adelya, B. (2017). Kematangan emosi remaja dalam pengentasan masalah. JPGI (Jurnal Penelitian Guru Indonesia), 2(2), 30-39.Ginting, J., & Triyanto, R. (2020). Tinjauan Ketepatan Bentuk, Gelap Terang, dan Warna pada Gambar Bentuk Media Akrilik. Gorga: Jurnal Seni Rupa, 9(2), 300-308.Harris, I. M., Beese, S., & Moore, D. (2019). Predicting Repeated Self-harm or Suicide in Adolescents and Young Adults Using Risk Assessment Scales/tools: a Systematic Review Protocol. Systematic reviews, 8(1), 1-6. 10.1186/s13643-019-1007-7.Hidayati, K. B., & Farid, M. (2016). Konsep diri, adversity quotient dan penyesuaian diri pada remaja. Persona: Jurnal Psikologi Indonesia, 5(02), 137-144.Imani, F. A., Kusmawati, A., & Tohari, M. A. (2021). Pencegahan Kasus Cyberbullying Bagi Remaja Pengguna Sosial Media. KHIDMAT SOSIAL: Journal of Social Work and Social Services, 2(1), 74-83.Jalal, N. M., Idris, M., & Muliana, M. (2021). Faktor-faktor Cyberbullying Padaremaja. IKRA-ITH HUMANIORA: Jurnal Sosial dan Humaniora, 5(2), 1-9.Muannas, M., & Mansyur, M. (2020). Model Literasi Digital untuk Melawan Ujaran Kebencian di Media Sosial (Digital Literacy Model to Counter Hate Speech on Social Media). JURNAL IPTEKKOM (Jurnal Ilmu Pengetahuan & Teknologi Informasi), 22(2), 125-142.Ningrum, D. J., Suryadi, S., & Wardhana, D. E. C. (2018). Kajian ujaran kebencian di media sosial. Jurnal Ilmiah Korpus, 2(3), 241-252. 10.33369/jik.v2i3.6779.Rafiq, A. (2020). Dampak Media Sosial Terhadap Perubahan Sosial Suatu Masyarakat. Global Komunika, 1(1), 18-29.Rajudin, R., Miswar, M., & Muler, Y. (2020). Metode Penciptaan Bentuk Representasional, Simbolik, dan Abstrak (Studi Penciptaan Karya Seni Murni di Sumatera Barat, Indonesia). Gorga: Jurnal Seni Rupa, 9(2), 261-272. 10.24114/gr.v9i2.19950.Riswanto, D., & Marsinun, R. (2020). Perilaku cyberbullying remaja di media sosial. Analitika: Jurnal Magister Psikologi UMA, 12(2), 98-111. 10.31289/analitika.v12i2.3704.Rumra, N. S., & Rahayu, B. A. (2021). Perilaku Cyberbullying pada Remaja. Jurnal Ilmiah Kesehatan Jiwa, 3(1), 41-48.Kumala, A. P. B., & Sukmawati, A. (2020). Dampak Cyberbullying Pada Remaja. Alauddin Scientific Journal of Nursing, 1(1), 55-65.Tarigan, T., & Apsari, N. C. (2021). Perilaku Self-Harm atau Melukai Diri Sendiri yang Dilakukan oleh Remaja (Self-Harm or Self-Injuring Behavior by Adolescents). Focus: Jurnal Pekerjaan Sosial, 4(2), 213-224.Ybarra, M. L., & Mitchell, K. J. (2004). Youth Engaging in Online Harassment: Associations with Caregiver–Child Relationships, Internet Use, and Personal Characteristics. Journal of adolescence, 27(3), 319-336. 10.1016/j.adolescence.2004.03.007.Yetri, I. T. S., Munaf, Y., & Dharsono, D. (2018). Fenomena Urban dan Budaya Merantau sebagai Rangsang Cipta dalam Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 7(2), 192-197. 10.24114/gr.v7i2.11058.

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e3293014Current Brazilian legislation defines the gifted as those who have high ability and high involvement in areas of human knowledge (intellectual, leadership, psychom*otor, arts, and creativity), whether in isolation or in combined areas. The law nº 9.394/1996, integrates these students to the public of Special Education and assures them education appropriate to their needs, the possibility of acceleration of studies, specialized educational assistance, and special education for work. However, the estimates indicate that a large number of these students are unassisted, without them being at least identified by the educational systems. The historical recovery of the legal guidelines that guided and guide the educational service of the gifted in Brazil reveals that the national legislation was preceded by isolated pedagogical practices, which began in the first half of the twentieth century. Initiatives in favor of the gifted have gained strength after the law nº 5.692/1971 explicitly mention this pupil. At that time, the Federal Council of Education issued opinions aimed at meeting the needs of this public, but the expansion of care has occurred in a gradual and modest way, so that, despite a series of legal documents issued in the last decades, the gifted remain with their potentialities and needs ignored.ResumoA legislação brasileira atual define os estudantes com altas habilidades/superdotação como aqueles que possuem alta potencialidade e elevado envolvimento em áreas do conhecimento humano (intelectual, de liderança, psicomotora, de artes e criatividade), seja isoladamente, seja em áreas combinadas. A Lei nº 9.394/1996 integra esses discentes ao público da Educação Especial e assegura-lhes ensino adequado às suas necessidades, possibilidade de aceleração de estudos, atendimento educacional especializado e educação especial para o trabalho. No entanto, as estimativas apontam que grande parcela desses estudantes se encontra desassistida, sem que eles sejam, ao menos, identificados pelos sistemas de ensino. O resgate histórico das diretrizes legais que orientaram e orientam o atendimento educacional dos estudantes com altas habilidades/superdotação, no Brasil, objetivo deste ensaio teórico, revela que a legislação nacional foi antecedida por práticas pedagógicas isoladas, as quais tiveram início na primeira metade do século XX. As iniciativas em favor desse alunado ganharam força após a Lei nº 5.692/1971, sem mencioná-los, explicitamente. Nessa época, o Conselho Federal de Educação emitiu pareceres voltados à atenção das necessidades desse público, mas a ampliação do atendimento tem ocorrido de modo gradativo e modesto, de maneira que, a despeito de uma série de documentos legais expedidos nas últimas décadas, tais estudantes permanecem com suas potencialidades e necessidades ignoradas.ResumenLa legislación brasileña actual define a los superdotados como aquellos que poseen alta potencialidad y alto involucramiento en áreas del conocimiento humano (intelectual, liderazgo, psicomotora, artes y creatividad), sea aisladamente o en áreas combinadas. La Ley nº 9.394/1996, integra estos discentes al público de la Educación Especial y les asegura una enseñanza adecuada a sus necesidades, posibilidad de aceleración de estudios, atención educativa especializada y educación especial para el trabajo. Sin embargo, las estimaciones apuntan que una gran parte de estos estudiantes se encuentra desasistida, sin que ellos, al menos, sean identificados por los sistemas de enseñanza. El rescate histórico de las directrices legales que orientaron y orientan la atención educativa de los superdotados en Brasil revela que la legislación nacional fue precedida por prácticas pedagógicas aisladas, las cuales comenzaron en la primera mitad del siglo XX. Las iniciativas en favor de los superdotados ganaron fuerza después de la Ley nº 5.692/1971 mencionar, explícitamente, ese alunado. En esa época, el Consejo Federal de Educación emitió opiniones orientadas a la atención de las necesidades de ese público, pero la ampliación de la atención ha ocurrido de modo gradual y modesto, de manera que, a pesar de una serie de documentos legales expedidos en las últimas décadas, los superdotados permanecen con sus potencialidades y necesidades ignoradas.Palavras-chave: Educação especial, Diretrizes da educação, Superdotação.Keywords: Special education, Education guidelines, Giftedness.Palabra clave: Educación especial, Pautas educativas, Superdotación.ReferencesALMEIDA, L. S.; ARAÚJO, A. M.; SAINZ-GÓMES, M.; PRIETO, M. D. Challenges in the identification of giftedness: Issues related to psychological assessment. Anales de psicologia, v. 32, n. 3, p. 621-627, 2016.ALMEIDA, M. A.; CAPELLINI, V. L. M. F. Alunos talentosos: possíveis superdotados não notados. Educação, Porto Alegre, v. 55, n. 1, p. 45-64, 2005.ALVARENGA, R. Entrevista virtual com Helena Antipoff: a psicóloga de Minas Gerais. Belo Horizonte: Minas Gerais, 2014.ANTIPOFF, C. A. Uma proposta original na educação de bem-dotados: ADAV – Associação Milton Campos para Desenvolvimento e Assistência de Vocações de Bem Dotados em sua primeira década de funcionamento: 1973-1983. 2010. 239f. Dissertação (Mestrado em Educação) – Universidade Federal de Minas Gerais, Belo Horizonte, MG, Brasil, 2010.BRASIL. Decreto nº 1.426, de 12 de Setembro de 1854. Coleção de Leis do Império do Brasil - 1854, 1, pt I, p. 295 (Publicação Original). Disponível em: http://www2.camara.leg.br/legin/fed/decret/1824-1899/decreto-1428-12-setembro-1854-508506-publicacaooriginal-1-pe.html. Acesso em: 21 set. 2015.BRASIL. Lei n. 4.024, de 20 de dezembro de 1961. Fixa as Diretrizes e Bases da Educação Nacional. Disponível em: http://wwwp.fc.unesp.br/~lizanata/LDB%204024-61.pdf. Acesso em: 05 out. 2015.BRASIL. Lei n. 5.692, de 11 de agosto de 1971. Fixa Diretrizes e Bases para o ensino de 1° e 2º graus, e dá outras providências. Disponível em: http://www.planalto.gov.br/ccivil_03/Leis/L5692.htm. Acesso em: 05 out. 2015.BRASIL. Constituição da República Federativa do Brasil,1988. Disponível em: http://www.planalto.gov.br/ccivil_03/Constituicao/Constituicao.htm. Acesso em: 16 fev. 2019.BRASIL. Lei nº 8.069, de 13 de julho de 1990. Estatuto da Criança e do Adolescente. Disponível em: http://www.planalto.gov.br/ccivil_03/LEIS/L8069.htm. Acesso em: 16 fev. 2019.BRASIL. Ministério da Educação. Diretrizes gerais para o atendimento educacional aos alunos portadores de altas habilidades/superdotação e talentos. Brasília, DF: MEC/SEESP, 1995.BRASIL. Lei n. 9.394, de 20 de dezembro de 1996. Estabelece as diretrizes e bases da educação nacional. Disponível em: http://www2.camara.leg.br/legin/fed/lei/1996/lei-9394-20-dezembro-1996-362578-publicacaooriginal-1-pl.html. Acesso em: 07 out. 2015.BRASIL. Resolução CNE/CEB nº 2, de 11 de setembro de 2001. Institui Diretrizes Nacionais para a Educação Especial na Educação Básica. Disponível em: http://portal.mec.gov.br/cne/arquivos/pdf/CEB0201.pdf. Acesso em: 13 out. 2015.BRASIL. Ministério da Educação. Documento Orientador: Execução da Ação. Núcleos de Atividades de Altas Habilidades/Superdotação. Brasília, DF: MEC/SEESP. 2006.BRASIL. Ministério da Educação. Política Nacional de Educação Especial na Perspectiva da Educação Inclusiva, 2008. Disponível em: http://portal.mec.gov.br/arquivos/pdf/politicaeducespecial.pdf. Acesso em: 07 jan. 2015.BRASIL. Decreto nº 6.949, de 25 de agosto de 2009a. Promulga a Convenção Internacional sobre os Direitos das Pessoas com Deficiência e seu Protocolo Facultativo, assinados em Nova York, em 30 de março de 2007. Disponível em: http://www.planalto.gov.br/ccivil_03/_ato2007-2010/2009/decreto/d6949.htm. Acesso em: 20 fev. 2019.BRASIL. Resolução CNE/CEB nº 4, de 02 de outubro de 2009b. 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Insects represent a relevant didactic resource to work with artistic skills, concepts, attitudes and values in the Science teaching because they are diversified in forms and colors, and because they have different life styles. However, there are relatively few reports of experience with evidence of their importance as a didactic resource. In this sense, our main aims were to describe and analyze: (1) the perceptions of seventh-year elementary school students of a public school in Uberlândia-MG, Brazil, about insects; and (2) a didactic sequence in which insects are used to work concepts, artistic skills, attitudes and values, such as respect for life. In 2018, we applied and analyzed 47 questionnaires with five questions about insects; and after we prepared a didactic sequence to stimulate student’s learning through strategies such as reading, dictionary use, research, expository lecture, and drawing. We noticed that most students knew at least one insect, although they had little information on insects’ scientific and ecological importance. We also noticed from the reports, participation, and evaluation of the students that the didactic sequence was useful on several competencies abovementioned, suggesting that the use of different types of strategies can stimulate students to become interested and participate actively in the classes. Therefore, insects represent an excellent didactic resource to work conceptual, procedural and attitudinal concepts in Science teaching.ResumoPor serem diversificados em formas e cores, e também por possuírem variados modos de vida, os insetos representam um relevante recurso didático para trabalhar com habilidades artísticas, conceitos, atitudes e valores no ensino de Ciências. Contudo, há relativamente poucos relatos de experiência com evidências da importância deles como recurso didático. Neste contexto, os principais objetivos deste relato foram descrever e analisar: (1) as percepções de estudantes do sétimo ano do Ensino Fundamental de uma escola pública de Uberlândia-MG quanto aos insetos; e (2) uma sequência didática em que os insetos são utilizados para trabalhar conceitos, habilidades artísticas, atitudes e valores, como o respeito à vida. Em 2018 foram aplicados e analisados, em uma perspectiva quali-quantitativa, 47 questionários com cinco questões sobre os insetos. Depois, foi desenvolvida uma sequência didática envolvendo leitura com uso de dicionário, pesquisa, aula expositiva dialogada, momento musical e confecção de desenhos. De maneira geral, os questionários evidenciaram que a maior parte dos estudantes foi capaz de reconhecer pelo menos um tipo de inseto, embora soubessem pouco sobre sua importância científica e ecológica. Notou-se também, pelos relatos, participação, avaliação dos estudantes e comportamento deles para com os insetos, que a sequência didática foi útil para trabalhar as diferentes competências acima mencionadas, o que sugere que o uso dos insetos junto com variados tipos de estratégias pode estimular os estudantes a se interessarem e participarem ativamente das aulas. Portanto, os insetos representaram um excelente recurso didático para trabalhar conteúdos conceituais, procedimentais e atitudinais no ensino de Ciências.ResumenPor ser diversificados en formas y colores, y también por sus variados modos de vida, los insectos representan un relevante recurso didáctico para trabajar con habilidades artísticas, conceptos, actitudes y valores en la enseñanza de las Ciencias. Sin embargo, hay relativamente pocos relatos de experiencia con evidencias de su importancia como recurso didáctico. En este contexto, los principales objetivos de este estudio fueron: (1) describir y analizar las percepciones de estudiantes del séptimo año de la Enseñanza Fundamental de una escuela pública de Uberlândia-MG en cuanto a los insectos; y (2) describir una secuencia didáctica en la que los insectos se utilizan para trabajar conceptos, habilidades artísticas, actitudes y valores, como el respeto a la vida. En el año 2018 se aplicaron y analizaron 47 cuestionarios con cinco preguntas sobre los insectos y luego se preparó y analizó una secuencia didáctica que involucra lectura con uso de diccionario, investigación, clase expositiva dialogada y confección de dibujos. En general, los cuestionarios evidenciaron que la mayor parte de los estudiantes fue capaz de reconocer al menos un tipo de insecto, aunque supieron poco sobre su importancia científica y ecológica. Se ha notado también, por los relatos, participación y evaluación de los estudiantes, que la secuencia didáctica ha sido útil para trabajar diferentes competencias, lo que sugiere que el uso de variados tipos de estrategias puede estimular a los estudiantes a interesarse y participar activamente en las clases. Por lo tanto, los insectos representan un excelente recurso didáctico para trabajar contenidos conceptuales, procedimentales y actitudinales en la enseñanza de las Ciencias.Palavras-chave: Ensino de Ciências, Insetos na educação básica, Metodologias ativas, Recurso didático.Keywords: Active methodologies, Didactic resource, Insects in elementary school, Science teaching.Palabras claves: Enseñanza de Ciencias, Insectos en la educación básica, Metodologías activas, Recurso didáctico.ReferencesALMEIDA-NETO, José Rodrigues; COSTA-NETO, Eraldo Medeiros; SILVA, Paulo Roberto Ramalho; BARROS, Roseli Faria Melo. 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The text analyzes the production of knowledge in Brazil, considering the determinants of the process of economic globalization. It explains the current trends and tensions present in the international scenario and in the policies and actions in the field of Higher Education, with emphasis on the production of knowledge, considering the changes that have occurred in recent years. It seeks to reflect on the perspectives of training, research and science in Brazil in a scenario of economic crisis and neoliberal reforms that reduce public spending and the role of the State in Brazil, but which favor the action of large economic groups in terms of the expansion of Higher Education. The text is structured in three parts, which seek to highlight: a) the understanding of the process of structuring postgraduate and knowledge production in Brazil, considering historical elements and current indicators; b) the examination of the production of knowledge in the light of the determinants of the process of capital restructuring; c) the current government policy, which has been redefining research, postgraduate and knowledge production and which is based on a (dis) regulation that favors expansion in the private sector, especially in the postgraduate field. Thus, the study highlights the economic determinants that affect the production of knowledge in a globalized economy; recent changes in the legal basis, which benefit the expansion of the private sector; the development crisis experienced in public universities and the processes of subordination of work and academic management, as well as the loss of autonomy in the production of knowledge.ResumoO texto analisa a produção do conhecimento no Brasil, considerando os determinantes do processo de globalização econômica. Explicita as tendências e tensões atuais presentes no cenário internacional e nas políticas e ações no campo da Educação Superior, com ênfase na produção do conhecimento, considerando as mudanças ocorridas nos últimos anos. Procura refletir sobre as perspectivas da formação, da pesquisa e da ciência no Brasil em um cenário de crise econômica, de reformas neoliberais, que reduzem os gastos públicos e o papel do Estado no Brasil, mas que favorecem a ação dos grandes grupos econômicos e financeiros em termos da expansão da Educação Superior. O texto está estruturado em três partes, que buscam evidenciar: a) a compreensão do processo de estruturação da pós-graduação e da produção do conhecimento no Brasil, considerando elementos históricos e indicadores atuais; b) o exame da produção do conhecimento à luz dos determinantes do processo de reestruturação do capital; c) a atual política governamental, que vem redefinindo a pesquisa, a pós-graduação e a produção do conhecimento e que tem por base uma (des)regulamentação que favorece a expansão no setor privado, sobretudo no âmbito da pós-graduação. O estudo destaca, pois, os determinantes econômicos que afetam a produção do conhecimento numa economia globalizada; as alterações recentes na base legal, que beneficiam a expansão do setor privado; a crise de fomento vivenciada nas universidades públicas e os processos de subordinação do trabalho e da gestão acadêmica, bem como a perda da autonomia na produção do conhecimento.Palavras-chave: Educação superior. Pós-graduação. Produção do conhecimento.Keywords: Higher education. Postgraduate studies. Knowledge production.ReferencesAMARAL, Nelson Cardoso. Com a PEC 241/55 (EC 95) haverá prioridade para cumprir as metas do PNE (2014-2024)? Revista Brasileira de Educação, v. 22, p. 1, 2017a.AMARAL, Nelson Cardoso. PEC 241/55: A "morte" do PNE (2014-2024) e o poder de diminuição dos recursos educacionais. In: CHAVES, Vera L. J.; AMARAL, Nelson Cardoso (orgs.). Políticas de financiamento da educação superior num contexto de crise. 1ed. São Paulo: Mercado de Letras, 2017b, p. 47-69.AZEVEDO, Mário Luiz Neves de. Internacionalização ou transnacionalização da educação superior: entre a formação de um campo social global e um mercado de ensino mundializado. Crítica Educativa (Sorocaba/SP), Vol.1, n.1, p. 56-79, jan./jun. 2015.BARREYRO, Gladys Beatriz. A avaliação da educação superior em escala global: da acreditação aos rankings e os resultados de aprendizagem. Avaliação: Revista da Avaliação da Educação Superior, v. 23, p. 5-22, 2018.BIANCHETTI, Lucídio; SGUISSARDI, Valdemar. Da Universidade à Commoditycidade - Ou de como e quando, se a educação/formação é sacrificada no altar do mercado, o futuro da universidade se situaria em algum lugar do passado. 1. ed. Campinas, SP: Mercado das Letras, 2017. v. 1. 124p.BIANCHETTI, Lucídio; SGUISSARDI, Valdemar. (Orgs.). Dilemas da Pós-Graduação: gestão e avaliação. Campinas: Autores Associados, 2009.BOURDIEU, P. O campo científico. In: ORTIZ, R. Pierre Bourdieu. Col. Grandes Cientistas Sociais. São Paulo: Ática, 1983, p. 122-155.BRASIL. Conselho Federal de Educação. Parecer CFE no 977/1965, aprovado em 3 dez. 1965. Revista Brasileira de Educação. n.30, p. 162-173. Disponível em: http://www.scielo.br/scielo.php?script=sci_arttext&pid=S1413-24782005000300014. Acesso em: 02 de jan 2018.BRASIL. Conselho Nacional de Educação. Resolução CNE/CES n. 7, de 11 de dezembro de 2017. Estabelece normas para o funcionamento de cursos de pós-graduação stricto sensu. Disponível em: <http://portal.mec.gov.br/docman/dezembro-2017-pdf/78281-rces007-17-pdf/file>. Acesso em: 10 jan. 2018.BRASIL. Decreto n. 19.851, de 11 de abril de 1931. Dispõe sobre o ensino superior no Brasil. Disponível em: <http://www2.camara.leg.br/legin/fed/decret/1930-1939/decreto-19851-11-abril-1931-505837-publicacaooriginal-1-pe.html>. Acesso em: 10 jan. 2018.BRASIL. Decreto n. 9.057, de 25 de maio de 2017. Regulamenta a o art. 80 da LDB 9.394/1996, que estabelece as diretrizes e bases da educação nacional. Disponível em: <http://www.planalto.gov.br/ccivil_03/_ato2015-2018/2017/decreto/D9057.htm>. Acesso em: 10 jan. 2018.BRASIL. Lei n. 9.394, de 20 de dezembro de 1996. Estabelece as Diretrizes e Bases da educação Nacional. Disponível em: < http://www.planalto.gov.br/ccivil_03/leis/l9394.htm>. Acesso em: 08 jan. 2018.BRASIL. Lei n. 13.005 de 25 de Junho de 2014. Aprova o Plano Nacional de Educação - PNE e dá outras providências. Diário Oficial da União, Brasília, DF, 26 jun. 2014a - Edição extra. Disponível em: <http://www.planalto.gov.br/ccivil_03/_Ato2011-2014/2014/Lei/L13005.htm>. Acesso em: 29 jan. 2019.BRASIL. Lei n. 5.540, de 28 de novembro de 1968. Fixa normas de organização e funcionamento do ensino superior e sua articulação com a escola média, e dá outras providências. Disponível em: < http://www2.camara.leg.br/legin/fed/lei/1960-1969/lei-5540-28-novembro-1968-359201-publicacaooriginal-1-pl.html>. Acesso em: 08 jan. 2018.BRASIL. Ministério da Educação. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). Portaria Capes n. 131, de 28 de junho de 2017. Dispõe sobre o mestrado e doutorado profissionais. Disponível em: <http://www.capes.gov.br>. Acesso em: 12 jan. 2018.BRASIL. Ministério da Educação. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). Portaria n. 61, de 22 de março de 2017. Define critérios de concessão de bolsas a alunos matriculados nos Programas de Mestrado Profissional em rede da Capes. Disponível em: <https://www.capes.gov.br/images/stories/download/legislacao/24032017-PORTARIA-Nº-61-DE-22-DE-MARCO-DE-2017.pdf>. Acesso em: 12 jan. 2017.BRASIL. Ministério da Educação. Portaria n. 389, de 23 de março de 2017. Dispõe sobre o mestrado e doutorado profissional no âmbito da pós-graduação stricto sensu. Disponível em: <https://capes.gov.br/images/stories/download/legislacao/24032017-PORTARIA-No-389-DE-23-DE-MARCO-DE-2017.pdf>. Acesso em: 10 jan. 2018.BRASIL. Ministério da Educação. Portaria n. 11, de 20 de junho de 2017. Estabelece normas para o credenciamento de instituições e a oferta de cursos superiores a distância, em conformidade com o Decreto no 9.057, de 25 de maio de 2017. Disponível em: <http://portal.mec.gov.br/index.php?option=com_docman&view=download&alias=66431-portaria-normativa-11-pdf&category_slug=maio-2017-pdf&Itemid=30192>. Acesso em: 10 jan. 2018.CALDERÓN, Adolfo Ignácio; FRANÇA, Carlos Marshal. Rankings acadêmicos na educação superior: tendências da literatura ibero-americana. Avaliação: Revista da Avaliação da Educação Superior, v. 23, p. 448-466, 2018.CHAVES, Vera L. J.; REIS, L. F.; GUIMARÃES, A. R. Dívida pública e financiamento da educação superior no Brasil. Acta Scientiarum. Education (Online), v. 40, p. 37668, 2018.CHAVES, Vera Lúcia Jacob. Expansão da privatização/mercantilização do ensino superior Brasileiro: a formação dos oligopólios. Educ. Soc. vol.31, n.111. Campinas. Apr./June 2010.CUNHA, Luiz Antônio. Ensino superior e universidade no Brasil. In: 500 anos de educação no Brasil. Belo Horizonte, MG: Autêntica, 2000, p.151-204.DIAS SOBRINHO, José. Dilemas da educação superior no mundo globalizado: sociedade do conhecimento ou economia do conhecimento? São Paulo: Casa do Psicólogo, 2005.FÁVERO, Maria de Lourdes de A. Universidade & poder: análise crítica: fundamentos históricos: 1930-1945. Rio de Janeiro: Achiamé, 1980.GOMES, Alfredo M.; MORAES, Karine N. de. Educação superior no Brasil contemporâneo: transição para um sistema de massa. Educ. Soc., Campinas, v. 33, n. 118, p. 171-190, jan.-mar. 2012.HARVEY, D. Condição pós-moderna: uma pesquisa sobre as origens da mudança social. 2. ed. São Paulo: Loyola, 1994.MANCEBO, D.; SILVA JUNIOR, J. R.; OLIVEIRA, J. F. Políticas, gestão e direito a educação superior: novos modos de regulação e tendências em construção. Acta Scientiarum. Education (Online), v. 40, e37669, p. 1-11, 2018.MOROSINI, Marília Costa. Estado do conhecimento sobre internacionalização da educação superior – conceitos e práticas. Educar, Curitiba, n. 28, p. 107-124, 2006.OLIVEIRA, João F. A Pós-Graduação e a pesquisa no Brasil: processos de regulação e de reconfiguração da formação e da produção do trabalho acadêmico. Práxis Educativa (Impresso), v. 10, p. 343-363, 2015.OLIVEIRA, João F.; ALVES, Miriam Fábia. Pós-Graduação no Brasil: do Regime Militar aos dias atuais. Revista Brasileira de Política e Administração da Educação, v. 30, n. 2, p. 351-376, mai./ago. 2014.OLIVEIRA, J. F.; FONSECA, M. A pós-graduação brasileira e seu sistema de avaliação. In: OLIVEIRA, J. F.; CATANI, A. M.; FERREIRA, N. S. C. (Orgs.). Pós-graduação e avaliação: impactos e perspectivas no Brasil e no cenário internacional. Campinas – SP: Mercado de Letras, 2010, p.15-52.OLIVEIRA, J. F.; LIMA, D. C. B. P. Pós-graduação e educação à distancia: novos fins, natureza e modus operandi em construção. In: CASTRO, Alda et al. (orgs). Educação Superior em países e regiões de língua portuguesa: desafios em tempo de crise. Lisboa: Educa, 2018, v. 1, p. 215-244.PAZ, S. L.; OLIVEIRA, J. F. O trabalho docente no magistério superior em tempos de crise e de reconfiguração. EccoS – Rev. Cient. São Paulo n. 46, p. 109-130, mai./ago. 2018.RIFIKIN, Jeremy. O fim dos empregos: o declínio inevitável dos níveis dos empregos e a redução da força global de trabalho. São Paulo: Makron Books, 1995.RUAS, Claudia Mara Stapani. Grandes oligopólios da educação superior e gestão do grupo Anhanguera educacional. 2015. 311fl.+anexos. Tese (Doutorado em Educação), Universidade Católica Dom Bosco - UCDB, 2015.SAVIANI, D. O dilema produtividade-qualidade na Pós-Graduação. Nuances: estudos sobre educação, Presidente Prudente, ano XVII, v. 17, p. 35-50, jan./dez. 2010.SILVA JÚNIOR, João dos Reis. The new Brazilian University - a busca de resultados comercializáveis: para quem?. 1. ed. UNESP/Marília, RET: Projeto Editorial Práxis, 2017. v. 1. 285 p.SGUISSARDI, Valdemar. Regulação estatal e desafios da expansão mercantil da educação superior. Educ. Soc. vol.34, no.124, Campinas July/Sept. 2013.SGUISSARDI, Valdemar; SILVA JÚNIOR, João dos Reis. Trabalho intensificado nas federais pós-graduação e produtivismo acadêmico. São Paulo: Xamã, 2009.SOUSA, José Vieira de. Internacionalização da Educação Superior como indicador do Sinaes: de qual qualidade estamos falando? Educação (PUCRS. Impresso), v. 40, p. 343-254, 2017.SUCUPIRA, Newton. Antecedentes e primórdios da pós-graduação. Fórum Educacional, Rio de Janeiro, Fundação Getúlio Vargas, ano 4, nº 4, out.-dez. 1980, p. 3-18.

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ABSTRAK Pengelolaan pembangunan desa islami adalah konsep pembangunan desa yang memiliki karakteristik tercapainya tujuan pembangunan sosial ekonomi yang berdimensi holistik, seimbang antara aspek material dan spiritual. Penelitian ini bertujuan untuk mengkaji pembahasan kajian-kajian terdahulu secara sistematis tentang konsep dan praktik pengelolaan pembangunan desa dalam perspektif islam. Dalam rangka melakukan review publikasi artikel secara sistematis, riset ini menggunakan standar protokol RAMESES. Hasil penelitian ini terbagi menjadi dua tema utama, yaitu peran dan fungsi lembaga keuangan mikro syariah dalam pembangunan desa dan Lembaga Swadaya Masyarakat dalam pengelolaan pembangunan desa. Tema pertama menghasilkan tiga subtema: praksis keuangan mikro syariah di Bangladesh, Malaysia, dan Indonesia. Tema kedua menghasilkan satu subtema yaitu peranan Pesantren dalam mendukung pengelolaan pembangunan desa. Hasilnya memberikan landasan untuk mengisi ruang-ruang yang belum dimasuki untuk membangun pengelolaan pembangunan desa yang komprehensif berdasarkan prinsip atau nilai Islam yang ideal. Kata kunci: Islami, Pengelolaan Pembangunan Desa, Systematic Literature Review. ABSTRACT Islamic village development management is a village development concept that has the characteristics of achieving socio-economic development goals with a holistic dimension, balanced between material and spiritual aspects. This study aims to systematically review the discussion of previous studies on the concepts and practices of village development management from an Islamic perspective. To conduct the article review systematically, this research was carried out using the RAMESES protocol standard. The results of this study are divided into two main themes, namely the role and function of Islamic microfinance institutions in village development and non-governmental organizations in managing village development. The first theme produces three sub-themes: the practice of Islamic microfinance in Bangladesh, Malaysia, and Indonesia. The second theme resulted in a sub-theme, namely Pesantren's role in supporting the management of village development. The results provide a foundation to fill in the gaps that have not been entered to build a comprehensive village development management based on ideal Islamic principles or values. Keywords: Islamic, Village Development Management, Systematic Literature Review. REFERENCES Abdullah, M. F., Amin, M. R., & Ab Rahman, A. (2017). Is there any difference between Islamic and conventional microfinance? Evidence from Bangladesh. International Journal of Business and Society, 18(S1), 97–112. Adejoke, A.-U. G. (2010). Sustainable microfinance institutions for poverty reduction: Malaysian experience. OIDA International Journal of Sustainable Development, 2(4), 47–56. http://dx.doi.org/10.2139/ssrn.1666023 Akhter, W., Akhtar, N., & Jaffri, S. K. A. (2009). 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The role of Islamic microfinance for poverty alleviation in Bandung, Indonesia. Ihtifaz: Journal of Islamic Economics, Finance, and Banking, 2(1), 55. https://doi.org/10.12928/ijiefb.v2i1.736 Fianto, B. A., Gan, C., & Hu, B. (2019). Financing from Islamic microfinance institutions: Evidence from Indonesia. Agricultural Finance Review, 79(5), 633–645. https://doi.org/10.1108/AFR-10-2018-0091 Hassan, A. (2014). The challenge in poverty alleviation: Role of Islamic microfinance and social capital. Humanomics, 30(1), 76–90. https://doi.org/10.1108/H-10-2013-0068 Hassan, A. A., Qamar, M. U. R., & Chachi, A. (2017). Role of Islamic microfinance scheme in poverty alleviation and well-being of women implemented. İslam Ekonomisi ve Finansi Dergisi, 1, 1–32. Retrieved from http://dergipark.gov.tr/download/issue-file/11046 Hassan, A., & Saleem, S. (2017). An Islamic microfinance business model in Bangladesh: Its role in alleviation of poverty and socio-economic well-being of women. Humanomics, 33(1), 15–37. https://doi.org/10.1108/H-08-2016-0066 Hosen, M. N., & Fitria, S. (2018). The Performance of Islamic rural banks in Indonesia: 2010-2015. European Research Studies Journal, 21(Special Issue 3), 423–440. https://doi.org/10.35808/ersj/1393 Hudaefi, F. A., & Heryani, N. (2019). The practice of local economic development and maqāṣid al-sharī‘ah: Evidence from A Pesantren in West Java, Indonesia. International Journal of Islamic and Middle Eastern Finance and Management, 12(5), 625–642. https://doi.org/10.1108/IMEFM-08-2018-0279 Ibrahim, M., & Murtala, S. (2018). The Role of Islamic microfinance institutions in alleviating poverty in Bauchi State, Nigeria. International Journal of Service, Management and Engineering, 5(1), 9–22. Islam, M. T., Omori, K., & Yoshizuka, T. (2005). Rural development policy and administrative patterns in Bangladesh : A Critical Review. Bull. Fac. Life Env. Sci, 10, 19–26. Kazimoto, P., & f*ckof*cka, S. (2013). The financial management challenges on the village socio-economic development. International Forum, 16(2), 37–50. Khaleequzzaman, M., & Shirazi, N. S. (2012). Islamic microfinance - An inclusive approach with special reference to poverty eradication in Pakistan. IIUM Journal of Economics and Management, 20(1), 19–49. Kraus, S., Breier, M., & Dasí-Rodríguez, S. (2020). The art of crafting a systematic literature review in entrepreneurship research. International Entrepreneurship and Management Journal, 16(3), 1023–1042. https://doi.org/10.1007/s11365-020-00635-4 Laila, T. (2010). Islamic microfinance for alleviating poverty and sustaining peace. World Universities Congress, 1–9. Li, Y., Fan, P., & Liu, Y. (2019). What makes better village development in traditional agricultural areas of China? Evidence from long-term observation of typical villages. Habitat International, 83(October 2018), 111–124. https://doi.org/10.1016/j.habitatint.2018.11.006 Mamun, A., Uddin, M. R., & Islam, M. T. (2017). An Integrated approach to Islamic Microfinance for poverty alleviation in Bangladesh. Üniversitepark Bülten, 6(1), 33–44. https://doi.org/10.22521/unibulletin.2017.61.3 Mohamed, E. F., & Fauziyyah, N. E. (2020). Islamic microfinance for poverty alleviation : A systematic literature. International Journal of Economics, Management and Accounting, 28(1), 141–163. Muhammad Syukri Salleh. (2011). Islamic-based development for post-tsunami Aceh: A theoritical construct. Media Syariah: Wahana Kajian Hukum Islam Dan Pranata Sosial, 13(2), 163–168. Muhammad Syukri Salleh. (2015a). An Islamic approach to poverty management: The Ban Nua Way. International Journal of Contemporary Applied Sciences, 2(7), 186–205. Muhammad Syukri Salleh. (2015b). Islamic economics revisited: Re-contemplating unresolved structure and assumptions. 8th International Conference on Islamic Economics and Finance, (January). Mustari, M. (2014). The roles of the institution of pesantren in the development of rural society: A study in kabupaten Tasikmalaya, West Java, Indonesia. International Journal of Nusantara Islam, 1(2), 13–35. https://doi.org/10.15575/ijni.v1i1.34 Mustari, M. (2018). Institution of pesantren as a contributing factor in developing rural communities. Socio Politica, 8(1), 71–89. Nasrin, N., & Sarker, S. B. (2014). Disbursem*nt and recovery of rural credit: A study on Rajapur Branch of Rupali Bank Limited. IOSR Journal of Business and Management, 16(11), 15–23. https://doi.org/10.9790/487x-161161523 Onakoya, A. B., & Onakoya, A. O. (2013). Islamic microfinance as a poverty alleviation tool: Expectations from Ogun State, Nigeria. Scholarly Journal of Business Administration, 3(2), 36–43. Organisation for Economic Co-Operation and Development (OECD). (2006). A paradigm shift in rural development. Rahim Abdul Rahman, A. (2010). Islamic Microfinance: An ethical alternative to poverty alleviation. Humanomics, 26(4), 284–295. https://doi.org/10.1108/08288661011090884 Rahim, S. A. (2017). Evaluation of the effectiveness of training programmes of Islami Bank Bangladesh Limited. Journal of Business and Retail Management Research, 11(3), 154–164. Rokhman, W. (2013). The effect of Islamic microfinance on poverty alleviation: Study in Indonesia. Economic Review – Journal of Economics and Business, XI(2), 21–30. Samsuddin, S. F., Shaffril, H. A. M., & Fauzi, A. (2020). Heigh-ho, heigh-ho, to the rural libraries we go! - a systematic literature review. Library and Information Science Research, 42(1). https://doi.org/10.1016/j.lisr.2019.100997 Satar, N., & Kassim, S. (2020). Issues and challenges in financing the poor: lessons learned from Islamic microfinance institutions. EJIF - European Journal of Islamic Finance, 1(15), 1–8. Shaffril, H. A. M., Ahmad, N., Samsuddin, S. F., Samah, A. A., & Hamdan, M. E. (2020). Systematic literature review on adaptation towards climate change impacts among indigenous people in the Asia Pacific Regions. Journal of Cleaner Production, 258, 120595. https://doi.org/10.1016/j.jclepro.2020.120595 Suzuki, Y., Pramono, S., & Rufidah, R. (2016). Islamic microfinance and poverty alleviation program: Preliminary research findings from Indonesia. Share: Jurnal Ekonomi Dan Keuangan Islam, 5(1), 63–82. https://doi.org/10.22373/share.v5i1.910 Uddin, T. A., & Mohiuddin, M. F. (2020). Islamic social finance in Bangladesh: Challenges and opportunities of the institutional and regulatory landscape. Law and Development Review, 13(1), 265–319. https://doi.org/10.1515/ldr-2019-0072 Umar, H., Usman, S., & Purba, R. B. R. (2018). The influence of internal control and competence of human resources on village fund management and the implications on the quality of village financial reports. International Journal of Civil Engineering and Technology, 9(7), 1526–1531. Wajdi Dusuki, A. (2008). Banking for the poor: The role of Islamic banking in microfinance initiatives. Humanomics, 24(1), 49–66. https://doi.org/10.1108/08288660810851469 Wong, G., Greenhalgh, T., Westhorp, G., Buckingham, J., & Pawson, R. (2013). RAMESES publication standards: Meta-narrative reviews. Journal of Advanced Nursing, 69(5), 987–1004. https://doi.org/10.1111/jan.12092 Xalane, M. A. E., & Binti Che Mohd Salleh, M. (2018). Poverty alleviation in Mogadishu, Somalia: The role of Islamic microfinance. Global Conference on Islamic Economics and Finance 2018, 60–80. Yudha, E. P., Juanda, B., Kolopaking, L. M., & Kinseng, R. A. (2020). Rural development policy and strategy in the rural autonomy era. Case study of pandeglang regency-indonesia. Human Geographies, 14(1), 125–147. https://doi.org/10.5719/hgeo.2020.141.8

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e4709040The article discusses the process of schooling of young people who committed infractions and serve incarceration sentences at the Foundation of Social Education Service in the state of Rio Grande do Sul. The connections between socioeducation and special education are also sought in this study. The case construction, as a methodology derived from psychoanalysis, articulates the singular of the case to the universal of legal regulation and the limits and possibilities of institutional service. In order to weave the argument, we rely on, in addition to interviews, technical and medical reports, pedagogical feedback and the individual service plan. Marino's experience is similar to that of so many other poor young Brazilians, mostly black or mixed race, being in an extreme situation, characterizes the absence of basic rights: their special educational needs were identified and specialized educational service was recorded in the school context. However, guiding for specialized educational service is not implemented. Although we have specific legislation, the intersectoral dialogue is not privileged and does not assist the restorative and educational processes provided by the comprehensive youth protection system. Few people recognize the double vulnerability that affects a young person in conflict with the law in a situation of impairment.ResumoO artigo trata do processo de escolarização de jovens que cometeram ato infracional e cumprem medida privativa de liberdade na Fundação de Atendimento Socioeducativo do Rio Grande do Sul (FASE-RS). Busca-se, também, os encontros entre a socioeducação e a educação especial. A construção do caso, como metodologia oriunda da psicanálise, articula o singular do caso ao universal da regulação jurídica, além dos limites e possibilidades do atendimento institucional. Apoia-se, para além das entrevistas, em relatórios técnicos e médicos, em pareceres pedagógicos e no plano individual de atendimento para tecer o argumento. A trajetória de Marino assemelha-se a de tantos outros jovens brasileiros pobres, em sua maioria pretos ou pardos, posicionados em uma situação extrema e caracterizada pela ausência de direitos básicos; suas necessidades educacionais especiais são identificadas e o atendimento educacional especializado ganhou registro no contexto escolar; entretanto, o encaminhamento não se efetiva. Embora haja legislações específicas, o diálogo intersetorial não é privilegiado e pouco auxilia nos processos restaurativo e educativo previstos pelo sistema de proteção integral ao jovem. Dessa forma, poucos reconhecem a dupla vulnerabilidade que acomete um jovem em conflito com a lei em situação de deficiência.Palavras-chave: Adolescente em conflito com a lei, Educação especial, Escolarização, Deficiência.Keywords: Adolescent in conflict with the law, Special education, Schooling, Impairment.ReferencesADORNO, Theodor W. O ensaio como forma. In: Adorno, Theodor W. Notas de literatura I. São Paulo: Duas Cidades; Editora 34, 2003. p. 15-45.AZEREDO, Sheila Regina Matos de. A conquista da autonomia do dependente químico com o Estatuto da Pessoa Com Deficiência: a perda de uma chance? 2017. 128f. Dissertação de Mestrado (Programa de Pós-Graduação em Direito Constitucional). Universidade Federal Fluminense, Niterói, 2017.BISINOTO, Cynthia. Repercussões das concepções no espaço educativo e na ação docente. In: BISINOTO, Cynthia (Org.). Docência na socioeducação. Brasília: Universidade de Brasília: Campus Planaltina, 2014. p. 97-114.BRASIL. Lei nº 8.069, de 13 de julho de 1990. Dispõe sobre o Estatuto da Criança e do Adolescente – ECA. Diário Oficial da República Federativa do Brasil, Brasília, 16 jul. 1990. Disponível em: http://www.planalto.gov.br/ccivil_03/leis/l8069.htm. Acesso em: 01 ago. 2020.BRASIL. Lei nº 9.394, de 20 de dezembro de 1996. Estabelece as diretrizes e bases da educação nacional. 1996. Disponível em: http://www.planalto.gov.br/ccivil_03/leis/l9394.htm. Acesso em: 01 ago. 2020.BRASIL. Lei nº 12.594, de 18 de janeiro de 2012. Institui o Sistema Nacional de Atendimento Socioeducativo (Sinase), regulamenta a execução das medidas socioeducativas destinadas a adolescente que pratique ato infracional. 2012. Disponível em: http://www.planalto.gov.br/ccivil_03/_Ato2011-2014/2012/Lei/L12594.htm#:~:text=Institui%20o%20Sistema%20Nacional%20de,1986%2C%207.998%2C%20de%2011%20de. Acesso em: 05 ago. 2020.BRASIL. Lei nº 13.146, de 6 de julho de 2015. Institui a Lei Brasileira de Inclusão da Pessoa com Deficiência (Estatuto da Pessoa com Deficiência). 2015. Disponível em: http://www.planalto.gov.br/ccivil_03/_ato2015-2018/2015/lei/l13146.htm. Acesso em: 05 ago. 2020.BRASIL. Ministério da Mulher, da Família e dos Direitos Humanos (MMFDH). LEVANTAMENTO ANUAL SINASE 2017. Brasília: Ministério da Mulher, da Família e dos Direitos Humanos, 2019. Disponível em: https://www.gov.br/mdh/pt-br/sdh/noticias/2018/janeiro/divulgado-levantamento-anual-do-sistema-nacional-de-atendimento-socioeducativo. Acesso em: 05 ago. 2020.BRASIL. PEC 115/2015. Altera a redação do art. 228 da Constituição Federal (imputabilidade penal do maior de dezesseis anos). Disponível em: https://www.camara.leg.br/proposicoesWeb/fichadetramitacao?idProposicao=14493. Acesso em: 24 jul. 2020.BRASIL. Política Nacional de Educação Especial na Perspectiva da Educação Inclusiva. Ministério da Educação e Cultura/Secretaria de Educação Continuada, Alfabetização, Diversidade e Inclusão. Brasília, 2008. Disponível em: http://portal.mec.gov.br/arquivos/pdf/politicaeducespecial.pdf. Acesso em: 02 jul.2020.BRASIL. Secretaria Especial dos Direitos Humanos da Presidência da República. Conselho Nacional dos Direitos da Criança e do Adolescente. Plano Nacional de Promoção, Proteção e Defesa do Direito de Crianças e Adolescentes à Convivência Familiar e Comunitária. Brasília, DF: CONANDA, 2006. Disponível em: https://www.mds.gov.br/webarquivos/publicacao/assistencia_social/Cadernos/Plano_Defesa_CriancasAdolescentes%20.pdf. Acesso em: 07 ago. 2020.BRASIL. Secretaria de Direitos Humanos da Presidência da República. Fundação de Atendimento Socioeducativo do Rio Grande do Sul/PEMSEIS: Programa de Execução de Medidas Socioeducativas de Internação e Semiliberdade do Rio Grande do Sul. Governo do Estado do Rio Grande do Sul. Secretaria da Justiça e dos Direitos Humanos. Porto Alegre: SDH; FASE, 2014. Disponível em: http://www.fase.rs.gov.br/wp/wp-content/uploads/2014/11/PEMSEIS_v111.pdf. Acesso em:BRASIL. Sistema Nacional da Juventude: uma gestão conectada e interativa. Brasília: Ibict, 2019. Disponível em: https://sinajuve.ibict.br/wp-content/uploads/2019/07/Guia_Digital.pdf. Acesso em: 07 ago. 2020.CARVALHO, Wesley Ferreira de. Terra-mar: litorais entre a socioeducação e a educação especial. Dissertação (Mestrado). Universidade Federal do Rio Grande do Sul. Faculdade de Educação. Programa de Pós-Graduação em Educação. Porto Alegre, BR-RS, 2017.CARMO, Michelly Eustáquia do; GUIZARDI, Francini Lube. O conceito de vulnerabilidade e seus sentidos para as políticas públicas de saúde e assistência social. Cad. Saúde Pública, Rio de Janeiro, v. 34, n. 3, 2018.CHARLOT, Bernard. Da relação com o saber: elementos para uma teoria. Porto Alegre: ARTMED, 2000.COSTA, Ana Paula Motta. Desafios contemporâneos da justiça juvenil na contemporaneidade brasileira. In: COSTA, Ana Paula Motta; EILBERG, Daniela Dora (Orgs.). Justiça juvenil na contemporaneidade. Porto Alegre: DM, 2015. p. 29-37.CRAIDY, Carmem Maria Abordagem sobre a educação no painel: políticas públicas em torno da intervenção socioeducativa. In: COSTA, Ana Paula Motta; EILBERG, Daniela Dora (Orgs.). Justiça juvenil na contemporaneidade. Porto Alegre: DM, 2015. p. 102-107.DIAS, Aline Fávaro; ONOFRE, Elenice Maria Cammarosano. A relação do jovem em conflito com a lei e a escola. Impulso Piracicaba, v. 20, n. 49, jan./jun. 2010. p. 31-42.DINIZ, Debora. Meninas fora da lei: a medida socioeducativa de internação no Distrito Federal. Brasília: LetrasLivres, 2017.EEEM. Projeto Político-Pedagógico, 2015, s/p.FERREIRA, Maria L. B. F.; SILVEIRA, Raquel A. A escola como possibilidade de inclusão e de responsabilização do adolescente: um ponto de desafio no trabalho socioeducativo. In: MACIEL, Elaine; VIDIGAL, Mariana (Org.). Espaço sob medida. Governo do Estado de Minas Gerais. Secretaria de Estado de Defesa Social. Subsecretaria de Atendimento às Medidas Socioeducativas. Belo Horizonte: Logus, 2010. p. 143-148.FERREIRA, Mônica Dias Peregrino. Juventude e escola. In: DAYRELL, Juarez; MOREIRA, Maria Ignez Costa; STENGEL, Márcia (Orgs.). Juventudes contemporâneas: um mosaico de possibilidades. Belo Horizonte: PUC Minas, 2010. p. 81-98.FLICKINGER, Hans-Georg. Autonomia e reconhecimento: dois conceitos-chave na formac?a?o. Educac?a?o, Porto Alegre, v. 34, jan./abr. 2011. p. 7-12.GUERRA, Andréa Maris Campos. Educar para a cidadania: nas fronteiras da socioeducac?a?o. Curri?culo sem Fronteiras, v. 17, n. 2, maio/ago. 2017. p. 260-274.GUERRA, Andréa Maris Campos et al. Risco e Sinthome: A Psicanálise no Sistema Socioeducativo. Psic.: Teor. e Pesq., Brasília, v. 30, n. 2, jun. 2014. p. 171-177.GURSKI, Rose; PEREIRA, Marcelo R. et al. Quando a psicanálise escuta a socioeducação. Belo Horizonte: Fino Traço, 2019.INSTITUTO DATAFOLHA, Violência PO813983 18 e 19/12/2018. Disponível em: http://media.folha.uol.com.br/datafolha/2019/01/14/15c9badb875e00d88c8408b49296bf94-v.pdf. 2018. Acesso em: 24 jul. 2020.JESUS, Vania Cristina Pauluk de. Condições escolares e laborais de adolescentes autores de atos infracionais: um desafio à socioeducação. Revista Eletro?nica de Educac?a?o. Sa?o Carlos, SP: UFSCar, v. 7, n. 3, maio 2013. p. 129-142.LACAN, Jacques. Lituraterra. In: Outros Escritos. Rio de Janeiro: Jorge Zahar, 2003 (1971). p. 15-25. MADRUGA, Sidney. Pessoas com Deficiência e Direitos Humanos: ótica da diferença e ações afirmativas. 2. ed. São Paulo: Saraiva, 2016ORGANIZAÇÃO MUNDIAL DA SAÚDE. CIF: Classificação Internacional de Funcionalidade, Incapacidade e Saúde [Centro Colaborador da Organização Mundial da Saúde para a Família de Classificações Internacionais, org.; coordenação da tradução Cassia Maria Buchalla]. São Paulo: Editora da Universidade de São Paulo – EDUSP, 2003.PADOVANI, Andréa Sandoval; RISTUM, Marilena. A escola como caminho socioeducativo para adolescentes privados de liberdade. Educação e Pesquisa, São Paulo, v. 39, n. 4, p. 969-984, 2013.SKRTIC, Thomas M. A injustiça institucionalizada: construção e uso da deficiência na escola. In: BUENO, José Geraldo Silveira; MUNAKATA, Kazumi; CHIOZZINI, Daniel Ferraz (Orgs.). A escola como objeto de estudo: escola, desigualdades, diversidades. Araraquara/SP: Junqueira e Marin Editores, 2014. p. 173 a 210.ZANELLA, Maria Nilvane. Adolescente em conflito com a lei e a escola: uma relac?a?o possi?vel? Revista Bras. Adolesce?ncia e Conflitualidade, n. 3, p.4-22, 2019.

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Environmental influences acting early in life predispose to premature cardiovascular disease. In line with this concept, assisted reproductive technologies (ART) cause premature vascular ageing and arterial hypertension in mice and humans, but the underlying mechanisms are incompletely understood. In rodents, pathological events during pregnancy cause arterial hypertension in the offspring by increasing the vascular responsiveness to angiotensin II (ANG II). We speculated that a similar mechanism could be involved in ART-induced arterial hypertension. In aortic ring preparations of ART and control mice, we, therefore, assessed the vasoconstrictor responsiveness to stepwise increasing doses of ANG II in the presence of the eNOS inhibitor L-NMA. We also examined ANG II receptor (AGTR) type 1 and 2 expression (Western Blot) and AGTR gene promoter methylation (bisulfite sequencing) in the aorta. Finally, we measured mesenteric-artery responsiveness to acetylcholine and arterial blood pressure (carotid catheter). As expected, ART mice displayed endothelial dysfunction (P=.03, vs. control) and arterial hypertension (121.8±7.3 vs. 114.6±4.5 [mmHg], P=.02, vs. control). Most importantly, the vasoconstrictor response to ANG II, independently of endothelial function, was markedly increased in ART compared to control mice (0.32±0.05 vs. 0.22±0.04 [% of maximal KCl contraction], P<.01, vs. control). Moreover, and in line with this finding, in ART mice AGTR 1/AGTR 2 ratio of protein expression in the aorta was significantly increased (1.49±0.30 vs. 0.36±0.16, P<.008, vs. control) and the AGTR 1b gene promoter was hypomethylated compared with control mice (8.1±4.3 vs. 10.6±1.6 [% of methylation], P<.05, vs. control). Here, we show for the first time that ART increases the vasoconstrictor sensitivity to ANG II in the aorta. This is related to an epigenetically mediated imbalance between the expression of the vasoconstrictor (AGTR 1) and vasodilatator (AGTR 2) ANG II receptor. Hence, we identified a new mechanism contributing to ART-induced premature vascular ageing and arterial hypertension in mice. We speculate that this mechanism also contributes to ART-induced premature vascular ageing and arterial hypertension in humans.

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The words “wage theft” frequently make headlines when workers sue employers for underpayment or nonpayment of wages.[1] Wage theft is “the illegal refusal by an employer to pay a worker the wages and benefits that he or she has legally earned.”[2] In the United States, employer violation of wage and hour laws is a vast and enduring problem, affecting as many as two-thirds of workers. In an attempt to combat this epidemic threat to hourly workers’ bottom lines, legislatures have fashioned numerous laws, some even invoking the power of “wage theft” terminology, such as New York’s Wage Theft Prevention Act.[3] However, despite the pervasive usage of the term “wage theft” by the media, politicians, and pundits, a search of the term “wage theft” in legal libraries yields little precedent. This begs the question: can employers be liable for conversion for failing to compensate employees for time-spent working? The efficacy of conversion claims in wage related lawsuits remains an unsettled question. However, if as a society we are sounding the alarm in every incidence of possible wage and hour law violations, we ultimately misinform the population of potential plaintiffs regarding the viability of a claim for theft, or conversion, of earned yet unpaid wages.The term “wage theft” is not a term of art; its closest legal corollary is the common law tort of conversion. Although we as a society frequently identify underpayment or nonpayment of wages as “wage theft,” pleading and proving that the employer has converted an employee’s wages presents an array of challenges that few plaintiffs can overcome. In this paper, we will explore the term “wage theft” as used in our society, and we will contrast this common understanding with the strict legal framework within which plaintiffs must present “wage theft” claims. Finally, we will explore this disconnect in an attempt to reconcile why such a gap exists, and persists, between the commonplace description of a worker’s reality, and the laws available to make the worker whole again. While it appears the term “wage theft” equates more readily with an exclamation of outrage than an effective claim for relief, its persistence underscores the continuing need for common law remedies, like conversion, to fill in the enforcement gaps left behind by persistently reactive legislation. [1] See Brady Meixell and Ross Eisenbrey, An Epidemic of Wage Theft Is Costing Workers Hundreds of Millions of Dollars a Year, Economic Policy Institute (Sep. 11, 2014), http://www.epi.org/publication/epidemic-wage-theft-costing-workers-hundreds/; Josh Eidelson, LinkedIn Stiffed its Own Employees, Agrees to Pay Millions, BUSINESSWEEK (Aug. 5, 2014), https://www.bloomberg.com/news/articles/2014-08-05/linkedin-stiffed-its-own-employees-agrees-to-pay-millions; and Monica Potts, The Very Real Scourge of Wage Theft, THE DAILY BEAST (Feb. 15, 2015), http://www.thedailybeast.com/articles/2015/02/15/the-very-real-scourge-of-wage-theft.html.[2] Hilda L. Solis, Wage Theft Harms All of Us, The Huffington Post (July 19, 2015), http://www.huffingtonpost.com/hilda-l-solis/wage-theft-harms-all-of-u_b_7829514.html.[3] Wage Theft Prevention Act, 2009 N.Y.S.N. 8380 (Apr. 12, 2011).

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Photo by Christian Bowen on Unsplash ABSTRACT Assisted Reproductive Technology can be a beneficial tool for couples unable to reproduce independently; however, it has historically discriminated against the LGBTQ+ community members. Given the evolution and acceptance of LGBTQ rights in recent years, discrimination and barriers to access reproductive technology and health care should be readdressed as they still exist within this community. INTRODUCTION In recent years, the LGBTQ+ community has made great strides toward attaining equal rights. This fight dates back to 1970 when Michael Baker and McConnell applied for a marriage license in Minnesota.[1] After the county courthouse denied the couple's request, they appealed to the Minnesota Supreme Court. Baker and McConnell’s dispute reached the US Supreme Court. Baker v. Nelson[2] was the first time a same-sex couple attempted to pursue marriage through higher courts in the US.[3] Because the couple lost the case, Baker changed his name to a gender-neutral one, and McConnell adopted Baker, allowing Baker and McConnell to have legal protections like the ability to receive certain inheritances. Baker and McConnell received a marriage license from an unsuspecting clerk from Blue Earth County, where they wed on September 3, 1971.[4] BACKGROUND The Supreme Court’s decision left individual state legislatures the option to accommodate same-sex couples’ rights constitutionally. As a result, some states banned same-sex marriage, while others offered alternative options such as domestic partnerships. With many obstacles, such as the Defense of Marriage Act (DOMA) and President Bush’s efforts to limit marriage to heterosexual people, Massachusetts became the first state to legalize gay marriage in 2003.[5] Other states slowly followed. Finally, in 2015 the US Supreme Court made same-sex marriage legal in all 50 states in Obergefell v. Hodges,[6] marking an important milestone for the LGBTQ+ community’s fight toward marriage equality. The Obergefell v. Hodges decision emphasized that members of the hom*osexual community are “not to be condemned to live in loneliness, excluded from one of civilization's oldest institutions,” thus granting them the right to “equal dignity in the eyes of the law.”[7] This paper argues that in the aftermath of the wide acceptance of LGBTQ rights, discrimination and barriers to access reproductive technology and health care persist nationally. Procreation also faces discrimination. Research supports that children’s overall psychological and physical welfare with same-sex parents does not differ compared to children with heterosexual parents.[8] Some others worry about the children’s developmental health and argue that same-sex male couples’ inability to breastfeed their children may be harmful; however, such parents can obtain breast milk via surrogate donation.[9] Further concerns regarding confusion in gender identity in children raised by same-sex parents are not supported by research in the field indicating that there are “no negative developmental or psychological outcomes for a child, nor does it result in differing gender identity, gender role behavior or sexual partner preference compared to opposite-sex parents.”[10] ANALYSIS l. Desire to Procreate The American perception toward same-sex unions has evolved “from pathology to deviant lifestyle to identity.”[11] In 2001, only 35 percent of Americans favored same‐sex marriage, while 62 percent favored it in 2017.[12] The “Gay marriage generation”[13] has a positive attitude toward same-sex unions, arising from the “interaction among activists, celebrities, political and religious leaders, and ordinary people, who together reconfigured Americans’ social imagination of hom*osexuality in a way that made gay marriage seem normal, logical, and good.”[14] Same-sex couples’ right to build a biological family and ability to do so using modern reproductive technology is unclear. The data generated by the LGBTQ Family Building Survey revealed “dramatic differences in expectations around family building between LGBTQ millennials (aged 18-35) and older generations of LGBTQ people,”[15] which may be in part attributable to recent federal rulings in favor of same-sex couples. Three important results from this survey are that 63 percent of LGBTQ millennials are considering expanding their families throughout parenthood, 48 percent of LGBTQ millennials are actively planning to grow their families, compared to 55 percent of non-LGBTQ millennials; and 63 percent of those LGBTQ people interested in building a family expect to use assisted reproductive technology (ART), foster care, or adoption to become parents.[16] There are 15.9 million Americans who identify as LGBTQ+ (6.1 million of whom are 18 to 35 years old); thus, an estimated “3.8 million LGBTQ+ millennials are considering expanding their families in the coming years, and 2.9 million are actively planning to do so.”[17] Yet access and affordability to ART, especially in vitro fertilization (IVF) and surrogacy for same-sex couples, has not been consistent at a national level. The two primary problems accessing ART for the LGBTQ community are the lack of federal law and cost. A federal law that guaranteed coverage would address both problems. ll. ART for Same-Sex Couples All same-sex male (SSM) couples and same-sex female (SSF) couples must involve third parties, including surrogates or egg or sperm donors.[18] ART involves the legal status of “up to two women (surrogate and egg donor),” the intended parents, and the child for SSM couples.[19] While sometimes necessary for heterosexual couples using ART, an egg or sperm from someone other than the intended parents or a surrogate will always be necessary for the LGBTQ people seeking ART. ART, in particular IVF, is essential for infertile couples unable to conceive on their own. Unlike other industrialized countries (such as Canada, the United Kingdom, Sweden, Germany, and Australia), the US does not heavily oversee this multibillion-dollar industry.[20] The American Society for Reproductive Medicine does provide lengthy guidelines to fertility clinics and sperm banks; however, state lawmakers have been less active as they seem to avoid the controversy surrounding controversial topics like embryo creation and abortion.[21] As a result, states “do not regulate how many children may be conceived from one donor, what types of medical information or updates must be supplied by donors, what genetic tests may be performed on embryos, how many fertilized eggs may be placed in a woman or how old a donor can be.”[22] lll. A Flawed Definition of Infertility The WHO defines the medical definition of infertility as “a disease of the reproductive system defined by the failure to achieve a clinical pregnancy after twelve months or more of regular unprotected sexual intercourse.”[23] This antiquated definition must be updated to include social infertility to integrate same-sex couples’ rights.[24] In the US, single individuals and LGBTQ couples interested in building a family by biological means are considered “socially infertile.”[25] If insurance coverage is allotted only to those with physical infertility, then it is exclusive to the heterosexual community. Although some states, such as New York, discussed below, have directly addressed this inequality by extending the definition of infertility and coverage of infertility treatments to include all residents regardless of sexual orientation, this is not yet the norm everywhere else. The outdated definition of infertility is one of the main issues affecting same-sex couples’ access to ART, as medical insurance companies hold on to the formal definition of infertility to deny coverage. lV. Insurance Coverage for IVF Insurance coverage varies per state and relies on the flawed definition of infertility. As of August 2020, 19 states have passed laws requiring insurance coverage for infertility, 13 of which include IVF coverage, as seen in Figure 1. Also, most states do not offer IVF coverage to low-income people through Medicaid.[26] In states that mandate IVF insurance coverage, the utilization rate was “277% of the rate when there was no coverage,”[27] which supports the likelihood that in other states, the cost is a primary barrier to access. When insurance does not cover ART, ART is reserved for wealthy individuals. One cycle of ART could cost, on average, “between $10,000 and $15,000.”[28] In addition, multiple cycles are often required as one IVF cycle only has “about a 25% to 30%” live birth success rate.[29] Altogether, the total cost of successful childbirth was estimated from $44,000 to $211,940 in 1992.[30] On February 11, 2021, New York Governor Andrew M. Cuomo “directed the Department of Financial Services to ensure that insurers begin covering fertility services immediately for same-sex couples who wish to start a family.”[31] New York had recently passed an IVF insurance law that required “large group insurance policies and contracts that provide medical, major medical, or similar comprehensive-type coverage and are delivered or issued for delivery in New York to cover three cycles of IVF used in the treatment of infertility.”[32] But the law fell short for same-sex couples, which were still required to “pay 6 or 12 months of out-of-pocket expenses for fertility treatments such as testing and therapeutic donor insemination procedures before qualifying for coverage.”[33] Cuomo’s subsequent order made up for gaps in the law, which defined infertility as “the inability to conceive after a certain period of unprotected intercourse or donor insemination.”[34] Cuomo’s order and the law combine to make New York an example other states can follow to broaden access to ART. V. Surrogacy Access to surrogacy also presents its own set of problems, although not exclusive to the LGBTQ community. Among states, there are differences in how and when parental rights are established. States in dark green in Figure 2 allow pre-birth orders, while the states in light green allow post-birth parentage orders. Pre-birth orders “are obtained prior to the child’s birth, and they order that the intended parent(s) will be recognized as the child’s only legal parent(s) and will be placed on the child’s birth certificate,” while post-birth parentage orders have the same intent but are obtained after the child’s birth. [35] For instance, states can require genetic testing post-birth, possibly causing a delay in establishing parentage.[36] Although preventable through the execution of a health care power of attorney, a surrogate mother could be the legal, medical decision-maker for the baby before the intended parents are legally recognized. On February 15, 2021, gestational surrogacy – the most popular type of surrogacy in which the surrogate has no biological link to the baby – was legalized in New York,[37] but it remains illegal in some states such as Nebraska, Louisiana, and Michigan.[38] In addition, the costs of surrogacy are rising, and it can cost $100,000 in the US.[39] Medicaid does not cover surrogacy costs,[40] and some health insurance policies provide supplemental surrogacy insurance with premiums of approximately $10,000 and deductibles starting at $15,000.[41] Thus, “surrogacy is really only available to those gay and lesbian couples who are upper class,”[42] leaving non-affluent couples out of options to start a family through biological means. Vl. A Right to Equality and Procreation Some argue that same-sex couples should have the right to procreate (or reproductive rights). Based on arguments stemming from equal rights and non-discrimination, same-sex couples who need to use ART to procreate should have access to it. The need to merge social infertility into the currently incomplete definition of fertility could help same-sex couples achieve access through insurance coverage. The human right of equality and non-discrimination guarantees “equal and effective protection against discrimination on any ground.”[43] The United Nations later clarified that “sexual orientation is a concept which is undoubtedly covered” [44] by this protection. The right to procreate is not overtly mentioned in the US Constitution; however, the Equal Protection Clause states that “No State shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States… without due process of law.”[45] In fact, some states have abridged the reproductive privileges of some US citizens by upholding prohibitive and intricate mechanisms that deter same-sex couples from enjoying the privileges other citizens have. The Supreme Court acknowledged procreation as a “fundamental”[46] personal right, in Skinner v. Oklahoma, mandating that the reproductive rights of individuals be upheld as the right to procreate is “one of the basic civil rights of man”[47] because “procreation [is] fundamental to the very existence and survival of the race.”[48] In Eisenstadt v. Baird, the courts also supported that “the decision whether to bear or beget a child” fundamentally affects a person.[49] I argue that this protection extends to same-sex couples seeking to procreate. Finally, Obergefell v. Hodges held that the Due Process and Equal Protection clauses ensure same-sex couples the right to marriage, as marriage “safeguards children and families, draw[ing] meaning from related rights of childrearing, procreation, and education.”[50] By implicit or explicit means, these cases align with the freedom to procreate that should not be unequally applied to different social or economic groups. Yet, the cases do not apply to accessing expensive tools to procreate. As heterosexuals and the LGBTQ community face trouble accessing expensive ART for vastly different reasons, especially IVF and surrogacy, the equal rights or discrimination argument is not as helpful. For now, it is relevant to adoption cases where religious groups can discriminate.[51] The insurance coverage level may be the best approach. While the social norms adapt and become more inclusive, the elimination of the infertility requirement or changing the definition of infertility could work. Several arguments could address the insurance coverage deficit. Under one argument, a biological or physical inability to conceive exists in the hom*osexual couple trying to achieve a pregnancy. Depending on the wording or a social definition, a caselaw could be developed arguing the medical definition of infertility applies to the LGBTQ community as those trying to procreate are physically unable to conceive as a couple planning to become parents. One counterargument to that approach is that it can be offensive to label people infertile (or disabled) only because of their status as part of a hom*osexual couple.[52] CONCLUSION In the last 50 years, there has been a notable shift in the social acceptance of hom*osexuality.[53] Marriage equality has opened the door for further social and legal equality, as evidenced by the increased number of same-sex couples seeking parenthood “via co-parenting, fostering, adoption or surrogacy” – colloquially referred to as the ‘Gayby Boom’.[54] However, some prejudice and disdain toward LGBTQ+ parenting remain. Equitable access to ART for all people may be attainable as new technology drives costs down, legislators face societal pressure to require broader insurance coverage, and social norms become more inclusive. [1] Eckholm, E. (2015, May 17). The same-sex couple who got a marriage license in 1971. Retrieved April 08, 2021, from https://www.nytimes.com/2015/05/17/us/the-same-sex-couple-who-got-a-marriage-license-in-1971.html [2] Eckholm, E. [3] A brief history of civil rights in the United States: A timeline of the legalization of same-sex marriage in the U.S. (2021, January 27). Retrieved April 08, 2021, from https://guides.ll.georgetown.edu/c.php?g=592919&p=4182201 [4] Eckholm, E. [5] A brief history of civil rights in the United States: A timeline of the legalization of same-sex marriage in the U.S. (2021, January 27). Retrieved April 08, 2021, from https://guides.ll.georgetown.edu/c.php?g=592919&p=4182201 [6] A brief history of civil rights in the United States [7] A brief history of civil rights in the United States [8] Lee, J., & Bolzendahl, C. (2019). Acceptance and Rejection: Patterns of opinion on hom*osexuality in the United States and the world. Sociological Forum, 34(4), 1026-1031. doi:10.1111/socf.12562 [9] Lee, J., et al. [10] Lee, J., et al. [11] Lee, J., et al. [12] Lee, et al. [13] Lee, et al. [14] Lee, et al. [15] LGBTQ family building survey. (2020, July 02). Retrieved April 08, 2021, from https://www.familyequality.org/resources/lgbtq-family-building-survey/ [16] LGBTQ family building survey. (2020, July 02). Retrieved April 08, 2021, from https://www.familyequality.org/resources/lgbtq-family-building-survey/ [17] LGBTQ family building survey. (2020, July 02). Retrieved April 08, 2021, from https://www.familyequality.org/resources/lgbtq-family-building-survey/ [18] Mackenzie, S. C., Wickins-Drazilova, D., & Wickins, J. (2020). The ethics of fertility treatment for same-sex male couples: Considerations for a modern fertility clinic. European Journal of Obstetrics & Gynecology and Reproductive Biology, 244, 71-75. doi:10.1016/j.ejogrb.2019.11.011 [19] Mackenzie, et al. [20] Ollove, M. (2015, March 18). States not eager to regulate fertility industry. Retrieved April 08, 2021, from https://www.pewtrusts.org/en/research-and-analysis/blogs/stateline/2015/3/18/states-not-eager-to-regulate-fertility-industry [21] Ollove, M. [22] Ollove, M. [23] World Health Organization. (2020, September 14). Infertility. World Health Organization. https://www.who.int/news-room/fact-sheets/detail/infertility [24] Leondires, M. P. (2020, March 19). Fertility insurance Mandates & same-sex couples. Retrieved April 08, 2021, from https://www.gayparentstobe.com/gay-parenting-blog/fertility-insurance-mandates-same-sex-couples/ [25] Lo, W., & Campo-Engelstein, L. (2018). Expanding the Clinical Definition of Infertility to Include Socially Infertile Individuals and Couples. Reproductive Ethics II, 71–83. https://doi.org/10.1007/978-3-319-89429-4_6 [26] Mohapatra, S. (2015). Assisted Reproduction Inequality and Marriage Equality. Chicago-Kent Law Review, 92(1). Retrieved April 08, 2021, from https://scholarship.kentlaw.iit.edu/cgi/viewcontent.cgi?article=4146&context=cklawreview [27] Mohapatra, S. [28] Mohapatra, S. [29] Mohapatra, S. [30] Mohapatra, S. [31] Governor Cuomo announces new actions to expand access to FERTILITY coverage for same sex couples as part of 2021 Women's Agenda. (n.d.). [32] Health Insurers FAQs: IVF and Fertility Preservation Law Q&A Guidance. (n.d.). Retrieved April 08, 2021, from https://www.dfs.ny.gov/apps_and_licensing/health_insurers/ivf_fertility_preservation_law_qa_guidance [33] Governor Cuomo announces new actions to expand access to FERTILITY coverage for same sex couples as part of 2021 Women's Agenda. (n.d.). Retrieved April 08, 2021, from https://www.governor.ny.gov/news/governor-cuomo-announces-new-actions-expand-access-fertility-coverage-same-sex-couples-part#:~:text=February%2011%2C%202021-,Governor%20Cuomo%20Announces%20New%20Actions%20to%20Expand%20Access%20to%20Fertility,Part%20of%202021%20Women's%20Agenda&text=Cuomo%20today%20directed%20the%20Department,wish%20to%20start%20a%20family. [34] Leondires, M. P. [35] Assisted reproduction parentage proceedings information: Academy of Adoption and Assistive Reproduction Attorneys (AAAA). (2019, March 14). Retrieved April 08, 2021, from https://adoptionart.org/assisted-reproduction/parentage-proceedings/ [36] Assisted reproduction parentage proceedings information. [37] Governor Cuomo reminds surrogates and parents of their new Insurance rights and protections During Gestational Surrogacy. (n.d.). Retrieved April 08, 2021, from https://www.governor.ny.gov/news/governor-cuomo-reminds-surrogates-and-parents-their-new-insurance-rights-and-protections-during [38] U.S. Surrogacy Map: Surrogacy laws by state. (2020, December 23). Retrieved April 08, 2021, from https://www.creativefamilyconnections.com/us-surrogacy-law-map/ [39] Mohapatra, S. [40] Beitsch, R. (2017, June 29). As surrogacy surges, new parents seek legal protections. Retrieved April 08, 2021, from https://www.pewtrusts.org/en/research-and-analysis/blogs/stateline/2017/06/29/as-surrogacy-surges-new-parents-seek-legal-protections#:~:text=Medicaid%20does%20not%20cover%20surrogacy,and%20intended%20parents%20at%20risk. [41] Where to find surrogacy insurance? (2017, November 02). Retrieved April 08, 2021, from https://surrogate.com/intended-parents/surrogacy-laws-and-legal-information/where-can-i-find-surrogacy-insurance/ [42] Mohapatra, S. [43] International covenant on civil and political rights. (n.d.). Retrieved April 08, 2021, from https://www.ohchr.org/en/professionalinterest/pages/ccpr.aspx [44] United Nations. (2003). Human rights in the administration of justice: a manual on human rights for judges, prosecutors and lawyers. [45] U.S. Const. amend. XIV, § 1. [46] Skinner v. Oklahoma, Https://caselaw.findlaw.com/us-supreme-court/316/535.html (June 1, 1942). [47] Skinner v. Oklahoma [48] Skinner v. Oklahoma [49] Eisenstadt v. Baird, Https://www.lexisnexis.com/community/casebrief/p/casebrief-eisenstadt-v-baird (March 22, 1972). [50] Obergefell v. Hodges [51] Higgins, T. (2021, June 17). Supreme Court sides with Catholic adoption agency that refuses to work with LGBT couples. CNBC. https://www.cnbc.com/2021/06/17/supreme-court-sides-with-catholic-adoption-agency-that-refuses-to-work-with-lgbt-couples.html. [52] Bowerman, M., May, A., & Rossman, S. (2017, April 24). Should the definition of infertility be more inclusive? USA Today. https://www.usatoday.com/story/news/nation-now/2017/04/22/same-sex-couples-covered-infertility-insurance/100644092/. [53] Mackenzie, et al. [54] Mackenzie, et al.

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The article is devoted to theoretical problems of the interaction of arts and the term "intermedialism", which has certain amorphous features. The causes of attention to intermedial aspects of culture in the last decade are explained. In particular, it is a question of weakening of the cognitive function of literature and, accordingly, enhancing its aesthetic component and the development of hybrid genres. The study of intermedial aspects actualizes the study of literature in general. In the literary dictionary the term "intermedialism" was first introduced by Oge A. Hansen-Leo in 1983. The structure of this concept, the word-building aspect are analyzed. In modern mediology the phenomenon of art is considered at the level of other semiotic entities, so the work of art is a media, mediator, ingot of information and a quiz. The positions of M. Maklyueen and L. Elström are given. The terms "interaction of arts", "synthesis of arts", "interpenetration of arts" have exhausted their lexical potential, faced with the specifics of new types of creativity (for example, net art, street art), although they are still actively used in art studies studios. The correlation between the concepts of "intermedialism" and "intertextuality" is outlined. The definitions of "intermedialism", interpretation of the interaction of art by Y. Lotman, Y. Kristeva, A. Hansen-Löve, N. Tishunina, V. Prozalova and other researchers are given. The definition of V. Prozalova is considered to be the most adequate (intermedialism – “is a way of correlating artistic phenomena, the presence in artistic works of elements transposed from other forms of art"). Attention to the fact that "intermedialism" is also a methodology of literary analysis is drawn. The example of the new Ukrainian literature shows the extremes of the index of intermedialism: the works of T. Shevchenko, the end of the XIX – early of the XX century, 20-30 years of the twentieth century, the epoch of the sixties, the era of postmodernism. The reasons for the writers’ appeal to other types of art are explained: the universalism of the artistic thinking of T. Shevchenko, the image of the Subject in modernism, the rapid development of arts in Ukraine after the revolution of 1917 and others. It is concluded that in the modern era the term "intermedialism" is relevant because the person of the XXI century is influenced by many media, is intermedial in the broadest sense of the word.

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One of the main tasks of structural biology is comparing the structure of proteins. Comparisons of protein structure can determine their functional similarities. Multigraph alignment is a useful tool for identifying functional similarities based on structural analysis. This article proposes a new algorithm for aligning protein binding sites called ACOTS-MGA. This algorithm is based on the memetic scheme. It uses the ACO method to construct a set of solutions, then selects the best solution for implementing Tabu Search to improve the solution quality. Experimental results have shown that ACOTS-MGA outperforms state-of-the-art algorithms while producing alignments of better quality.KeywordsMultiple Graph Alignment, Tabu Search, Ant Colony Optimization, local search, memetic algorithm, SMMAS pheromone update rule, protein active sitesReferencesE. Todd, C. A. Orengo, and J. M. Thornton, “Evolution of function in protein superfamilies, from a structural perspective,” J. Mol. Biol., vol. 307, no. 4, pp. 1113–1143, Apr. 2001.S. F. Altschul et al., “Gapped BLAST and PSI-BLAST: a new generation of protein database search programs,” Nucleic Acids Res., vol. 25, pp. 3389–3402, 1997.R. C. Edgar, “MUSCLE: multiple sequence alignment with high accuracy and high throughput,” Nucleic Acids Res., vol. 32, no. 5, pp. 1792–1797, Mar. 2004.J. D. Thompson, D. G. Higgins, and T. J. Gibson, “CLUSTAL W: improving the sensitivity of progressive multiple sequence alignment through sequence weighting, position-specific gap penalties and weight matrix choice,” Nucleic Acids Res., vol. 22, no. 22, pp. 4673–4680, Nov. 1994.M. Larkin, G. Blackshields, N. Brown, … R. C.-, and undefined 2007, “Clustal W and Clustal X version 2.0,” academic.oup.com.C. Notredame, D. G. Higgins, and J. Heringa, “T-coffee: a novel method for fast and accurate multiple sequence alignment,” J. Mol. Biol., vol. 302, no. 1, pp. 205–217, Sep. 2000.K. Sjolander, “Phylogenomic inference of protein molecular function: advances and challenges,” Bioinformatics, vol. 20, no. 2, pp. 170–179, Jan. 2004.T. Fober, M. Mernberger, G. Klebe, and E. Hüllermeier, “Evolutionary construction of multiple graph alignments for the structural analysis of biomolecules,” Bioinformatics, vol. 25, no. 16, pp. 2110–2117, 2009.M. Mernberger, G. Klebe, and E. Hullermeier, “SEGA: Semiglobal Graph Alignment for Structure-Based Protein Comparison,” IEEE/ACM Trans. Comput. Biol. Bioinforma., vol. 8, no. 5, pp. 1330–1343, Sep. 2011.D. Shasha, J. T. L. Wang, and R. Giugno, “Algorithmics and applications of tree and graph searching,” in Proceedings of the twenty-first ACM SIGMOD-SIGACT-SIGART symposium on Principles of database systems - PODS ’02, 2002, p. 39.R. V. Spriggs, P. J. Artymiuk, and P. Willett, “Searching for Patterns of Amino Acids in 3D Protein Structures,” J. Chem. Inf. Comput. Sci., vol. 43, no. 2, pp. 412–421, Mar. 2003.D. Conte, P. Foggia, C. Sansone, And M. Vento, “Thirty years of graph matching in pattern recognition,” Int. J. Pattern Recognit. Artif. Intell., vol. 18, no. 3, pp. 265–298, May 2004.K. Kinosh*ta and H. Nakamura, “Identification of the ligand binding sites on the molecular surface of proteins,” Protein Sci., vol. 14, no. 3, pp. 711–718, Mar. 2005.O. Kuchaiev and N. Pržulj, “Integrative network alignment reveals large regions of global network similarity in yeast and human,” Bioinformatics, vol. 27, 2011.Xifeng Yan, Feida Zhu, Jiawei Han, and P. S. Yu, “Searching Substructures with Superimposed Distance,” in 22nd International Conference on Data Engineering (ICDE’06), 2006, pp. 88–88.X. Yan, P. S. Yu, and J. Han, “Substructure similarity search in graph databases,” in Proceedings of the 2005 ACM SIGMOD international conference on Management of data - SIGMOD ’05, 2005, p. 766.S. Zhang, M. Hu, and J. Yang, “TreePi: A Novel Graph Indexing Method,” in 2007 IEEE 23rd International Conference on Data Engineering, 2007, pp. 966–975.A. E. Aladag and C. Erten, “SPINAL: scalable protein interaction network alignment,” Bioinformatics, vol. 29, pp. 917–924, 2013.S. Schmitt, D. Kuhn, and G. Klebe, “A New Method to Detect Related Function Among Proteins Independent of Sequence and Fold hom*ology,” J. Mol. Biol., vol. 323, no. 2, pp. 387–406, Oct. 2002.M. Hendlich, A. Bergner, J. Günther, and G. Klebe, “Relibase: Design and Development of a Database for Comprehensive Analysis of Protein–Ligand Interactions,” J. Mol. Biol., vol. 326, no. 2, pp. 607–620, Feb. 2003.N. Weskamp, E. Hüllermeier, D. Kuhn, and G. Klebe, “Multiple graph alignment for the structural analysis of protein active sites,” IEEE/ACM Trans. Comput. Biol. Bioinforma., vol. 4, no. 2, pp. 310–320, 2007.T. N. Ha, D. D. Dong, and H. X. Huan, “An efficient ant colony optimization algorithm for Multiple Graph Alignment,” in 2013 International Conference on Computing, Management and Telecommunications (ComManTel), 2013, pp. 386–391. F. Neri, Handbook of memetic algorithms, vol. 379. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011.M. Gong, Z. Peng, L. Ma, and J. Huang, “Global Biological Network Alignment by Using Efficient Memetic Algorithm,” IEEE/ACM Trans. Comput. Biol. Bioinforma., vol. 13, no. 6, pp. 1117–1129, Nov. 2016.J. M. Caldonazzo Garbelini, A. Y. Kashiwabara, and D. S. Sanches, “Sequence motif finder using memetic algorithm,” BMC Bioinformatics, vol. 19, 2018. L. Correa, B. Borguesan, C. Farfan, M. Inostroza-Ponta, and M. Dorn, “A Memetic Algorithm for 3-D Protein Structure Prediction Problem,” IEEE/ACM Trans. Comput. Biol. Bioinforma., pp. 1–1, 2016.H. Tran Ngoc, D. Do Duc, and H. Hoang Xuan, “A novel ant based algorithm for multiple graph alignment,” in 2014 International Conference on Advanced Technologies for Communications (ATC 2014), 2014, pp. 181–186. H. X. Huan, N. Linh-Trung, H.-T. Huynh, and others, “Solving the Traveling Salesman Problem with Ant Colony Optimization: A Revisit and New Efficient Algorithms,” REV J. Electron. Commun., vol. 2, no. 3–4, 2013. D. Do Duc, H. Q. Dinh, and H. Hoang Xuan, “On the Pheromone Update Rules of Ant Colony Optimization Approaches for the Job Shop Scheduling Problem,” 2008, pp. 153-160.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ movement in Zurich. Disenchanted with the hard left rhetorics that permeate the movement in the 1980s, a small group look for another way of existing within a commodified world, without the fantasy of an ‘outside’ from which to critique it. What Antonio Negri and friends call the ‘real subsumption’ of life under the rule of commodification is something etoy grasps intuitively. The group would draw on a number of sources: David Bowie, the Sex Pistols, the Manchester rave scene, European Amiga art, rumors of the historic avant gardes from Dada to Fluxus. They came together in 1994, at a meeting in the Swiss resort town of Weggis on Lake Lucerne. While the staging of the founding meeting looks like a rerun of the origins of the Situationist International, the wording of the invitation might suggest the founding of a pop music boy band: “fun, money and the new world?” One of the – many – stories about the origins of the name Dada has it being chosen at random from a bilingual dictionary. The name etoy, in an update on that procedure, was spat out by a computer program designed to make four letter words at random. Ironically, both Dada and etoy, so casually chosen, would inspire furious struggles over the ownership of these chancey 4-bit words. The group decided to make money by servicing the growing rave scene. Being based in Vienna and Zurich, the group needed a way to communicate, and chose to use the internet. This was a far from obvious thing to do in 1994. Connections were slow and unreliable. Sometimes it was easier to tape a hard drive full of clubland graphics to the underside of a seat on the express train from Zurich to Vienna and simply email instructions to meet the train and retrieve it. The web was a primitive instrument in 1995 when etoy built its first website. They launched it with a party called etoy.FASTLANE, an optimistic title when the web was anything but. Coco, a transsexual model and tabloid sensation, sang a Japanese song while suspended in the air. She brought media interest, and was anointed etoy’s lifestyle angel. As Wishart and Bochsler write, “it was as if the Seven Dwarfs had discovered their Snow White.” (Wishart & Boschler: 33) The launch didn’t lead to much in the way of a music deal or television exposure. The old media were not so keen to validate the etoy dream of lifting themselves into fame and fortune by their bootstraps. And so etoy decided to be stars of the new media. The slogan was suitably revised: “etoy: the pop star is the pilot is the coder is the designer is the architect is the manager is the system is etoy.” (Wishart & Boschler: 34) The etoy boys were more than net.artists, they were artists of the brand. The brand was achieving a new prominence in the mid-90s. (Klein: 35) This was a time when capitalism was hollowing itself out in the overdeveloped world, shedding parts of its manufacturing base. Control of the circuits of commodification would rest less on the ownership of the means of production and more on maintaining a monopoly on the flows of information. The leading edge of the ruling class was becoming self-consciously vectoral. It controlled the flow of information about what to produce – the details of design, the underlying patents. It controlled the flows of information about what is produced – the brands and logos, the slogans and images. The capitalist class is supplanted by a vectoral class, controlling the commodity circuit through the vectors of information. (Wark) The genius of etoy was to grasp the aesthetic dimension of this new stage of commodification. The etoy boys styled themselves not so much as a parody of corporate branding and management groupthink, but as logical extension of it. They adopted matching uniforms and called themselves agents. In the dada-punk-hiphop tradition, they launched themselves on the world as brand new, self-created, self-named subjects: Agents Zai, Brainhard, Gramazio, Kubli, Esposto, Udatny and Goldstein. The etoy.com website was registered in 1995 with Network Solutions for a $100 fee. The homepage for this etoy.TANKSYSTEM was designed like a flow chart. As Gramazio says: “We wanted to create an environment with surreal content, to build a parallel world and put the content of this world into tanks.” (Wishart & Boschler: 51) One tank was a cybermotel, with Coco the first guest. Another tank showed you your IP number, with a big-brother eye looking on. A supermarket tank offered sunglasses and laughing gas for sale, but which may or may not be delivered. The underground tank included hardcore photos of a sensationalist kind. A picture of the Federal Building in Oklamoma City after the bombing was captioned in deadpan post-situ style “such work needs a lot of training.” (Wishart & Boschler: 52) The etoy agents were by now thoroughly invested in the etoy brand and the constellation of images they had built around it, on their website. Their slogan became “etoy: leaving reality behind.” (Wishart & Boschler: 53) They were not the first artists fascinated by commodification. It was Warhol who said “good art is good business.”(Warhol ) But etoy reversed the equation: good business is good art. And good business, in this vectoral age, is in its most desirable form an essentially conceptual matter of creating a brand at the center of a constellation of signifiers. Late in 1995, etoy held another group meeting, at the Zurich youth center Dynamo. The problem was that while they had build a hardcore website, nobody was visiting it. Agents Gooldstein and Udatny thought that there might be a way of using the new search engines to steer visitors to the site. Zai and Brainhard helped secure a place at the Vienna Academy of Applied Arts where Udatny could use the computer lab to implement this idea. Udatny’s first step was to create a program that would go out and gather email addresses from the web. These addresses would form the lists for the early examples of art-spam that etoy would perpetrate. Udatny’s second idea was a bit more interesting. He worked out how to get the etoy.TANKSYSTEM page listed in search engines. Most search engines ranked pages by the frequency of the search term in the pages it had indexed, so etoy.TANKSYSTEM would contain pages of selected keywords. p*rn sites were also discovering this method of creating free publicity. The difference was that etoy chose a very carefully curated list of 350 search terms, including: art, bondage, cyberspace, Doom, Elvis, Fidel, genx, heroin, internet, jungle and Kant. Users of search engines who searched for these terms would find dummy pages listed prominently in their search results that directed them, unsuspectingly, to etoy.com. They called this project Digital Hijack. To give the project a slightly political aura, the pages the user was directed to contained an appeal for the release of convicted hacker Kevin Mitnick. This was the project that won them a Golden Nica statuette at Ars Electronica in 1996, which Gramazio allegedly lost the same night playing roulette. It would also, briefly, require that they explain themselves to the police. Digital Hijack also led to the first splits in the group, under the intense pressure of organizing it on a notionally collective basis, but with the zealous Agent Zai acting as de facto leader. When Udatny was expelled, Zai and Brainhard even repossessed his Toshiba laptop, bought with etoy funds. As Udatny recalls, “It was the lowest point in my life ever. There was nothing left; I could not rely on etoy any more. I did not even have clothes, apart from the etoy uniform.” (Wishart & Boschler: 104) Here the etoy story repeats a common theme from the history of the avant gardes as forms of collective subjectivity. After Digital Hijack, etoy went into a bit of a slump. It’s something of a problem for a group so dependent on recognition from the other of the media, that without a buzz around them, etoy would tend to collapse in on itself like a fading supernova. Zai spend the early part of 1997 working up a series of management documents, in which he appeared as the group’s managing director. Zai employed the current management theory rhetoric of employee ‘empowerment’ while centralizing control. Like any other corporate-Trotskyite, his line was that “We have to get used to reworking the company structure constantly.” (Wishart & Boschler: 132) The plan was for each member of etoy to register the etoy trademark in a different territory, linking identity to information via ownership. As Zai wrote “If another company uses our name in a grand way, I’ll probably shoot myself. And that would not be cool.” (Wishart & Boschler:: 132) As it turned out, another company was interested – the company that would become eToys.com. Zai received an email offering “a reasonable sum” for the etoy.com domain name. Zai was not amused. “Damned Americans, they think they can take our hunting grounds for a handful of glass pearls….”. (Wishart & Boschler: 133) On an invitation from Suzy Meszoly of C3, the etoy boys traveled to Budapest to work on “protected by etoy”, a work exploring internet security. They spent most of their time – and C3’s grant money – producing a glossy corporate brochure. The folder sported a blurb from Bjork: “etoy: immature priests from another world” – which was of course completely fabricated. When Artothek, the official art collection of the Austrian Chancellor, approached etoy wanting to buy work, the group had to confront the problem of how to actually turn their brand into a product. The idea was always that the brand was the product, but this doesn’t quite resolve the question of how to produce the kind of unique artifacts that the art world requires. Certainly the old Conceptual Art strategy of selling ‘documentation’ would not do. The solution was as brilliant as it was simple – to sell etoy shares. The ‘works’ would be ‘share certificates’ – unique objects, whose only value, on the face of it, would be that they referred back to the value of the brand. The inspiration, according to Wishart & Boschsler, was David Bowie, ‘the man who sold the world’, who had announced the first rock and roll bond on the London financial markets, backed by future earnings of his back catalogue and publishing rights. Gramazio would end up presenting Chancellor Viktor Klima with the first ‘shares’ at a press conference. “It was a great start for the project”, he said, “A real hack.” (Wishart & Boschler: 142) For this vectoral age, etoy would create the perfect vectoral art. Zai and Brainhard took off next for Pasadena, where they got the idea of reverse-engineering the online etoy.TANKSYSTEM by building an actual tank in an orange shipping container, which would become etoy.TANK 17. This premiered at the San Francisco gallery Blasthaus in June 1998. Instant stars in the small world of San Francisco art, the group began once again to disintegrate. Brainhard and Esposito resigned. Back in Europe in late 1998, Zai was preparing to graduate from the Vienna Academy of Applied Arts. His final project would recapitulate the life and death of etoy. It would exist from here on only as an online archive, a digital mausoleum. As Kubli says “there was no possibility to earn our living with etoy.” (Wishart & Boschler: 192) Zai emailed eToys.com and asked them if them if they would like to place a banner ad on etoy.com, to redirect any errant web traffic. Lawyers for eToys.com offered etoy $30,000 for the etoy.com domain name, which the remaining members of etoy – Zai, Gramazio, Kubli – refused. The offer went up to $100,000, which they also refused. Through their lawyer Peter Wild they demanded $750,000. In September 1999, while etoy were making a business presentation as their contribution to Ars Electronica, eToys.com lodged a complaint against etoy in the Los Angeles Superior Court. The company hired Bruce Wessel, of the heavyweight LA law firm Irell & Manella, who specialized in trademark, copyright and other intellectual property litigation. The complaint Wessel drafted alleged that etoy had infringed and diluted the eToys trademark, were practicing unfair competition and had committed “intentional interference with prospective economic damage.” (Wishart & Boschler: 199) Wessel demanded an injunction that would oblige etoy to cease using its trademark and take down its etoy.com website. The complaint also sought to prevent etoy from selling shares, and demanded punitive damages. Displaying the aggressive lawyering for which he was so handsomely paid, Wessel invoked the California Unfair Competition Act, which was meant to protect citizens from fraudulent business scams. Meant as a piece of consumer protection legislation, its sweeping scope made it available for inventive suits such as Wessel’s against etoy. Wessel was able to use pretty much everything from the archive etoy built against it. As Wishart and Bochsler write, “The court papers were like a delicately curated catalogue of its practices.” (Wishart & Boschler: 199) And indeed, legal documents in copyright and trademark cases may be the most perfect literature of the vectoral age. The Unfair Competition claim was probably aimed at getting the suit heard in a Californian rather than a Federal court in which intellectual property issues were less frequently litigated. The central aim of the eToys suit was the trademark infringement, but on that head their claims were not all that strong. According to the 1946 Lanham Act, similar trademarks do not infringe upon each other if there they are for different kinds of business or in different geographical areas. The Act also says that the right to own a trademark depends on its use. So while etoy had not registered their trademark and eToys had, etoy were actually up and running before eToys, and could base their trademark claim on this fact. The eToys case rested on a somewhat selective reading of the facts. Wessel claimed that etoy was not using its trademark in the US when eToys was registered in 1997. Wessel did not dispute the fact that etoy existed in Europe prior to that time. He asserted that owning the etoy.com domain name was not sufficient to establish a right to the trademark. If the intention of the suit was to bully etoy into giving in, it had quite the opposite effect. It pissed them off. “They felt again like the teenage punks they had once been”, as Wishart & Bochsler put it. Their art imploded in on itself for lack of attention, but called upon by another, it flourished. Wessel and eToys.com unintentionally triggered a dialectic that worked in quite the opposite way to what they intended. The more pressure they put on etoy, the more valued – and valuable – they felt etoy to be. Conceptual business, like conceptual art, is about nothing but the management of signs within the constraints of given institutional forms of market. That this conflict was about nothing made it a conflict about everything. It was a perfectly vectoral struggle. Zai and Gramazio flew to the US to fire up enthusiasm for their cause. They asked Wolfgang Staehle of The Thing to register the domain toywar.com, as a space for anti-eToys activities at some remove from etoy.com, and as a safe haven should eToys prevail with their injunction in having etoy.com taken down. The etoy defense was handled by Marcia Ballard in New York and Robert Freimuth in Los Angeles. In their defense, they argued that etoy had existed since 1994, had registered its globally accessible domain in 1995, and won an international art prize in 1996. To counter a claim by eToys that they had a prior trademark claim because they had bought a trademark from another company that went back to 1990, Ballard and Freimuth argued that this particular trademark only applied to the importation of toys from the previous owner’s New York base and thus had no relevance. They capped their argument by charging that eToys had not shown that its customers were really confused by the existence of etoy. With Christmas looming, eToys wanted a quick settlement, so they offered Zurich-based etoy lawyer Peter Wild $160,000 in shares and cash for the etoy domain. Kubli was prepared to negotiate, but Zai and Gramazio wanted to gamble – and raise the stakes. As Zai recalls: “We did not want to be just the victims; that would have been cheap. We wanted to be giants too.” (Wishart & Boschler: 207) They refused the offer. The case was heard in November 1999 before Judge Rafeedie in the Federal Court. Freimuth, for etoy, argued that federal Court was the right place for what was essentially a trademark matter. Robert Kleiger, for eToys, countered that it should stay where it was because of the claims under the California Unfair Competition act. Judge Rafeedie took little time in agreeing with the eToys lawyer. Wessel’s strategy paid off and eToys won the first skirmish. The first round of a quite different kind of conflict opened when etoy sent out their first ‘toywar’ mass mailing, drawing the attention of the net.art, activism and theory crowd to these events. This drew a report from Felix Stalder in Telepolis: “Fences are going up everywhere, molding what once seemed infinite space into an overcrowded and tightly controlled strip mall.” (Stalder ) The positive feedback from the net only emboldened etoy. For the Los Angeles court, lawyers for etoy filed papers arguing that the sale of ‘shares’ in etoy was not really a stock offering. “The etoy.com website is not about commerce per se, it is about artist and social protest”, they argued. (Wishart & Boschler: 209) They were obliged, in other words, to assert a difference that the art itself had intended to blur in order to escape eToy’s claims under the Unfair Competition Act. Moreover, etoy argued that there was no evidence of a victim. Nobody was claiming to have been fooled by etoy into buying something under false pretences. Ironically enough, art would turn out in hindsight to be a more straightforward transaction here, involving less simulation or dissimulation, than investing in a dot.com. Perhaps we have reached the age when art makes more, not less, claim than business to the rhetorical figure of ‘reality’. Having defended what appeared to be the vulnerable point under the Unfair Competition law, etoy went on the attack. It was the failure of eToys to do a proper search for other trademarks that created the problem in the first place. Meanwhile, in Federal Court, lawyers for etoy launched a counter-suit that reversed the claims against them made by eToys on the trademark question. While the suits and counter suits flew, eToys.com upped their offer to settle to a package of cash and shares worth $400,000. This rather puzzled the etoy lawyers. Those choosing to sue don’t usually try at the same time to settle. Lawyer Peter Wild advised his clients to take the money, but the parallel tactics of eToys.com only encouraged them to dig in their heels. “We felt that this was a tremendous final project for etoy”, says Gramazio. As Zai says, “eToys was our ideal enemy – we were its worst enemy.” (Wishart & Boschler: 210) Zai reported the offer to the net in another mass mail. Most people advised them to take the money, including Doug Rushkoff and Heath Bunting. Paul Garrin counseled fighting on. The etoy agents offered to settle for $750,000. The case came to court in late November 1999 before Judge Shook. The Judge accepted the plausibility of the eToys version of the facts on the trademark issue, which included the purchase of a registered trademark from another company that went back to 1990. He issued an injunction on their behalf, and added in his statement that he was worried about “the great danger of children being exposed to profane and hardcore p*rnographic issues on the computer.” (Wishart & Boschler: 222) The injunction was all eToys needed to get Network Solutions to shut down the etoy.com domain. Zai sent out a press release in early December, which percolated through Slashdot, rhizome, nettime (Staehle) and many other networks, and catalyzed the net community into action. A debate of sorts started on investor websites such as fool.com. The eToys stock price started to slide, and etoy ‘warriors’ felt free to take the credit for it. The story made the New York Times on 9th December, Washington Post on the 10th, Wired News on the 11th. Network Solutions finally removed the etoy.com domain on the 10th December. Zai responded with a press release: “this is robbery of digital territory, American imperialism, corporate destruction and bulldozing in the way of the 19th century.” (Wishart & Boschler: 237) RTMark set up a campaign fund for toywar, managed by Survival Research Laboratories’ Mark Pauline. The RTMark press release promised a “new internet ‘game’ designed to destroy eToys.com.” (Wishart & Boschler: 239) The RTMark press release grabbed the attention of the Associated Press newswire. The eToys.com share price actually rose on December 13th. Goldman Sachs’ e-commerce analyst Anthony Noto argued that the previous declines in the Etoys share price made it a good buy. Goldman Sachs was the lead underwriter of the eToys IPO. Noto’s writings may have been nothing more than the usual ‘IPOetry’ of the time, but the crash of the internet bubble was some months away yet. The RTMark campaign was called ‘The Twelve Days of Christmas’. It used the Floodnet technique that Ricardo Dominguez used in support of the Zapatistas. As Dominguez said, “this hysterical power-play perfectly demonstrates the intensions of the new net elite; to turn the World Wide Web into their own private home-shopping network.” (Wishart & Boschler: 242) The Floodnet attack may have slowed the eToys.com server down a bit, but it was robust and didn’t crash. Ironically, it ran on open source software. Dominguez claims that the ‘Twelve Days’ campaign, which relied on individuals manually launching Floodnet from their own computers, was not designed to destroy the eToys site, but to make a protest felt. “We had a single-bullet script that could have taken down eToys – a tactical nuke, if you will. But we felt this script did not represent the presence of a global group of people gathered to bear witness to a wrong.” (Wishart & Boschler: 245) While the eToys engineers did what they could to keep the site going, eToys also approached universities and businesses whose systems were being used to host Floodnet attacks. The Thing, which hosted Dominguez’s eToys Floodnet site was taken offline by The Thing’s ISP, Verio. After taking down the Floodnet scripts, The Thing was back up, restoring service to the 200 odd websites that The Thing hosted besides the offending Floodnet site. About 200 people gathered on December 20th at a demonstration against eToys outside the Museum of Modern Art. Among the crowd were Santas bearing signs that said ‘Coal for eToys’. The rally, inside the Museum, was led by the Reverend Billy of the Church of Stop Shopping: “We are drowning in a sea of identical details”, he said. (Wishart & Boschler: 249-250) Meanwhile etoy worked on the Toywar Platform, an online agitpop theater spectacle, in which participants could act as soldiers in the toywar. This would take some time to complete – ironically the dispute threatened to end before this last etoy artwork was ready, giving etoy further incentives to keep the dispute alive. The etoy agents had a new lawyer, Chris Truax, who was attracted to the case by the publicity it was generating. Through Truax, etoy offered to sell the etoy domain and trademark for $3.7 million. This may sound like an insane sum, but to put it in perspective, the business.com site changed hands for $7.5 million around this time. On December 29th, Wessel signaled that eToys was prepared to compromise. The problem was, the Toywar Platform was not quite ready, so etoy did what it could to drag out the negotiations. The site went live just before the scheduled court hearings, January 10th 2000. “TOYWAR.com is a place where all servers and all involved people melt and build a living system. In our eyes it is the best way to express and document what’s going on at the moment: people start to about new ways to fight for their ideas, their lifestyle, contemporary culture and power relations.” (Wishart & Boschler: 263) Meanwhile, in a California courtroom, Truax demanded that Network Solutions restore the etoy domain, that eToys pay the etoy legal expenses, and that the case be dropped without prejudice. No settlement was reached. Negotiations dragged on for another two weeks, with the etoy agents’ attention somewhat divided between two horizons – art and law. The dispute was settled on 25th January. Both parties dismissed their complaints without prejudice. The eToys company would pay the etoy artists $40,000 for legal costs, and contact Network Solutions to reinstate the etoy domain. “It was a pleasure doing business with one of the biggest e-commerce giants in the world” ran the etoy press release. (Wishart & Boschler: 265) That would make a charming end to the story. But what goes around comes around. Brainhard, still pissed off with Zai after leaving the group in San Francisco, filed for the etoy trademark in Austria. After that the internal etoy wranglings just gets boring. But it was fun while it lasted. What etoy grasped intuitively was the nexus between the internet as a cultural space and the transformation of the commodity economy in a yet-more abstract direction – its becoming-vectoral. They zeroed in on the heart of the new era of conceptual business – the brand. As Wittgenstein says of language, what gives words meaning is other words, so too for brands. What gives brands meaning is other brands. There is a syntax for brands as there is for words. What etoy discovered is how to insert a new brand into that syntax. The place of eToys as a brand depended on their business competition with other brands – with Toys ‘R’ Us, for example. For etoy, the syntax they discovered for relating their brand to another one was a legal opposition. What made etoy interesting was their lack of moral posturing. Their abandonment of leftist rhetorics opened them up to exploring the territory where media and business meet, but it also made them vulnerable to being consumed by the very dialectic that created the possibility of staging etoy in the first place. By abandoning obsolete political strategies, they discovered a media tactic, which collapsed for want of a new strategy, for the new vectoral terrain on which we find ourselves. Works Cited Negri, Antonio. Time for Revolution. Continuum, London, 2003. Warhol, Andy. From A to B and Back Again. Picador, New York, 1984. Stalder, Felix. ‘Fences in Cyberspace: Recent events in the battle over domain names’. 19 Jun 2003. <http://felix.openflows.org/html/fences.php>. Wark, McKenzie. ‘A Hacker Manifesto [version 4.0]’ 19 Jun 2003. http://subsol.c3.hu/subsol_2/contributors0/warktext.html. Klein, Naomi. No Logo. Harper Collins, London, 2000. Wishart, Adam & Regula Bochsler. Leaving Reality Behind: etoy vs eToys.com & Other Battles to Control Cyberspace Ecco Books, 2003. Staehle, Wolfgang. ‘<nettime> etoy.com shut down by US court.’ 19 Jun 2003. http://amsterdam.nettime.org/Lists-Archives/nettime-l-9912/msg00005.html Links http://amsterdam.nettime.org/Lists-Archives/nettime-l-9912/msg00005.htm http://felix.openflows.org/html/fences.html http://subsol.c3.hu/subsol_2/contributors0/warktext.html Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Wark, McKenzie. "Toywars" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/02-toywars.php>. APA Style Wark, M. (2003, Jun 19). Toywars. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/02-toywars.php>

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Abstract:

The two companions scurry off when they hear a noise at the door. It was only a noise, but it was also a message, a bit of information producing panic: an interruption, a corruption, a rupture of communication. Was the noise really a message? Wasn’t it, rather, static, a parasite? Michael Serres, 1982. Since, ordinarily, channels have a certain amount of noise, and therefore a finite capacity, exact transmission is impossible. Claude Shannon, 1948. Reading Information At their most simplistic, there are two means for shifting information around – analogue and digital. Analogue movement depends on analogy to perform computations; it is continuous and the relationships between numbers are keyed as a continuous ordinal set. The digital set is discrete; moving one finger at a time results in a one-to-one correspondence. Nevertheless, analogue and digital are like the two companions in Serres’ tale. Each suffers the relationship of noise to information as internal rupture and external interference. In their examination of historical constructions of information, Hobart and Schiffman locate the noise of the analogue within its physical materials; they write, “All analogue machines harbour a certain amount of vagueness, known technically as ‘noise’. Which describes the disturbing influences of the machine’s physical materials on its calculations” (208). These “certain amounts of vagueness” are essential to Claude Shannon’s articulation of a theory for information transfer that forms the basis for this paper. In transforming the structures and materials through which it travels, information has left its traces in digital art installation. These traces are located in installation’s systems, structures and materials. The usefulness of information theory as a tool to understand these relationships has until recently been overlooked by a tradition of media art history that has grouped artworks according to the properties of the artwork and/or tied them into the histories of representation and perception in art theory. Throughout this essay I use the productive dual positioning of noise and information to address the errors and impurity inherent within the viewing experiences of digital installation. Information and Noise It is not hard to see why the fractured spaces of digital installation are haunted by histories of information science. In his 1948 essay “The Mathematical Theory of Communication” Claude Shannon developed a new model for communications technologies that articulated informational feedback processes. Discussions of information transmission through phone lines were occurring alongside the development of technology capable of computing multiple discrete and variable packets of information: that is, the digital computer. And, like art, information science remains concerned with the material spaces of transmission – whether conceptual, social or critical. In the context of art something is made to be seen, understood, viewed, or presented as a series of relationships that might be established between individuals, groups, environments, and sensations. Understood this way art is an aesthetic relationship between differing material bodies, images, representations, and spaces. It is an event. Shannon was adamant that information must not be confused with meaning. To increase efficiency he insisted that the message be separated from its components; in particular, those aspects that were predictable were not to be considered information (Hansen 79). The problem that Shannon had to contend with was noise. Unwanted and disruptive, noise became symbolic of the struggle to control the growth of systems. The more complex the system, the more noise needed to be addressed. Noise is both the material from which information is constructed, as well as being the matter which information resists. Weaver (Shannon’s first commentator) writes: In the process of being transmitted, it is unfortunately characteristic that certain things are added to the signal which were not intended by the information source. These unwanted additions may be distortions of sound (in telephony, for example) or static (in radio), or distortions in shape or shading of picture (television), or errors in transmission (telegraphy or facsimile), etc. All of these changes in the transmitted signal are called noise. (4). To enable more efficient message transmission, Shannon designed systems that repressed as much noise as possible, while also acknowledging that without some noise information could not be transmitted. Shannon’s conception of information meant that information would not change if the context changed. This was crucial if a general theory of information transmission was to be plausible and meant that a methodology for noise management could be foregrounded (Pask 123). Without meaning, information became a quantity, a yes or no decision, that Shannon called a “bit” (1). Shannon’s emphasis on separating signal or message from both predicability and external noise appeared to give information an identity where it could float free of a material substance and be treated independently of context. However, for this to occur information would have to become fixed and understood as an entity. Shannon went to pains to demonstrate that the separation of meaning and information was actually to enable the reverse. A fluidity of information and the possibilities for encoding it would mean that information, although measurable, did not have a finite form. Tied into the paradox of this equation is the crucial role of noise or error. In Shannon’s communication model information is not only complicit with noise; it is totally dependant upon it for understanding. Without noise, either encoded within the original message or present from sources outside the channel, information cannot get through. The model of sender-encoder-channel-signal (message)-decoder-receiver that Shannon constructed has an arrow inserting noise. Visually and schematically this noise is a disruption pointing up and inserting itself in the nice clean lines of the message. This does not mean that noise was a last minute consideration; rather noise was the very thing Shannon was working with (and against). It is present in every image we have of information. A source, message, transmitter, receiver and their attendant noises are all material infrastructures that serve to contextualise the information they transmit, receive, and disrupt. Figure 1. Claude Shannon “The Mathematical Theory of Communication” 1948. In his analytical discussion of the diagram, Shannon actually locates noise in two crucial places. The first position accorded noise is external, marked by the arrow that demonstrates how noise is introduced to the message channel whilst in transit. External noise confuses the purity of the message whilst equivocally adding new information. External noise has a particular materiality and enters the equation as unexplained variation and random error. This is disruptive presence rather than entropic coded pattern. Shannon offers this equivocal definition of noise to be everything that is outside the linear model of sender-channel-receiver; hence, anything can be noise if it enters a channel where it is unwelcome. Secondly, noise was defined as unpredictability or entropy found and encoded within the message itself. This for Shannon was an essential and, in some ways, positive role. Entropic forces invited continual reorganisation and (when engaging the laws of redundancy) assisted with the removal of repetition enabling faster message transmission (Shannon 48). Weaver calls this shifting relationship between entropy and message “equivocation” (11). Weaver identified equivocation as central to the manner in which noise and information operated. A process of equivocation identified the receiver’s knowledge. For Shannon, a process of equivocation mediated between useful information and noise, as both were “measured in the same units” (Hayles, Chaos 55). To eliminate noise completely is to sacrifice information. Information understood in this way is also about relationships between differing material bodies, representations, and spaces, connected together for the purposes of transmission. It, like the artwork, is an event. This would appear to suggest a correlation between information transmission and viewing in galleries. Far from it. Although, the contemporary information channel is essentially a tube with fixed walls, (it is still constrained by physical properties, bandwidth and so on) and despite the implicit spatialisation of information models, I am not proposing a direct correlation between information channels and installation spaces. This is because I am not interested in ‘reading’ the information of either environment. What I am suggesting is that both environments share this material of noise. Noise is present in four places. Firstly noise is within the media errors of transmission, and secondly, it is within the media of the installation, (neither of which are one way flows). Thirdly, the viewer or listener introduces noise as interference, and lastly, it is present in the very materials thorough which it travels. Noise layered on noise. Redundancy and Modulation So far in this paper I have discussed the relationship of information to noise. For the remainder, I want to address some particular processes or manifestations of noise in New Zealand artists’ collective, et al.’s maintenance of social solidarity–instance 5 (2006, exhibited as part of the SCAPE Biennal of Art in Public Space, Christchurch Art Gallery). The installation occupies a small alcove that is partially blocked by a military-style portable table stacked with newspapers. Inside the space are three grey wooden chairs, some headphones, and a modified data projection of Google Earth. It is not immediately clear if the viewer is allowed within the spaces of the alcove to listen to the headphones as monotonous voices fill the whole space intoning political, social, and religious platitudes. The headphones might be a tool to block out the noise. In the installation it is as if multiple messages have been sent but their source, channel, and transmitter are unintelligible to the receiver. All that is left is information divorced from meaning. As other works by et al. have demonstrated, social solidarity is not a fundamentalism with directed positions and singular leaders. For example, in rapture (2004) noise disrupts all presence as a portable shed quivers in response to underground nuclear explosions 40,000km away. In the fundamental practice (2005) the viewer is left attempting to decode the un-encoded, as again sound and large steel barriers control and determine only certain movements (see http://www.etal.name/ for some documentation of these projects) . maintenance of social solidarity–instance 5 is a development of the fundamental practice. To enter its spaces viewers slip around the table and find themselves extremely close to the projection screen. Despite the provision of copious media the viewer cannot control any aspect of the environment. On screen, and apparently integral to the Google Earth imagery, are five animated and imposing dark grey monolith forms. Because of their connection to the monotonous voices in the headphones, the monoliths seem to map the imposition of narrative, power, and force in various disputed territories. Like their sudden arrival in Kubrick’s 2001: A Space Odyssey (1968) it is the contradiction of the visibility and improbability of the monoliths that renders them believable. On the video landscape the five monoliths apparently house the dispassionate voices of many different media and political authorities. Their presence is both redundant and essential as they modulate the layering of media forces – and in between, error slips in. In a broad discussion of information Gilles Deleuze and Felix Guattari highlight the necessary role of redundancy commenting that: redundancy has two forms, frequency and resonance; the first concerns the significance of information, the second (I=I) concerns the subjectivity of communication. It becomes apparent that information and communication, and even significance and subjectification, are subordinate to redundancy (79). In maintenance of social solidarity–instance 5 patterns of frequency highlight the necessary role of entropy where it is coded into gaps in the vocal transmission. Frequency is a structuring of information tied to meaningful communication. Resonance, like the stack of un-decodable newspapers on the portable table, is the carrier of redundancy. It is in the gaps between the recorded voices that connections between the monoliths and the texts are made, and these two forms of redundancy emerge. As Shannon says, redundancy is a problem of language. This is because redundancy and modulation do not equate with relationship of signal to noise. Signal to noise is a representational relationship; frequency and resonance are not representational but relational. This means that an image that might be “real-time” interrupts our understanding that the real comes first with representation always trailing second (Virilio 65). In maintenance of social solidarity–instance 5 the monoliths occupy a fixed spatial ground, imposed over the shifting navigation of Google Earth (this is not to mistake Google Earth with the ‘real’ earth). Together they form a visual counterpoint to the texts reciting in the viewer’s ears, which themselves might present as real but again, they aren’t. As Shannon contended, information cannot be tied to meaning. Instead, in the race for authority and thus authenticity we find interlopers, noisy digital images that suggest the presence of real-time perception. The spaces of maintenance of social solidarity–instance 5 meld representation and information together through the materiality of noise. And across all the different modalities employed, the appearance of noise is not through formation, but through error, accident, or surprise. This is the last step in a movement away from the mimetic obedience of information and its adherence to meaning-making or representational systems. In maintenance of social solidarity–instance 5 we are forced to align real time with virtual spaces and suspend our disbelief in the temporal truths that we see on the screen before us. This brief introduction to the work has returned us to the relationship between analogue and digital materials. Signal to noise is an analogue relationship of presence and absence. No signal equals a break in transmission. On the other hand, a digital system, due to its basis in discrete bits, transmits through probability (that is, the transmission occurs through pattern and randomness, rather than presence and absence (Hayles, How We Became 25). In his use of Shannon’s theory for the study of information transmission, Schwartz comments that the shift in information theory from analogue to digital is a shift from an analogue relationship of signal to noise to one of the probability of error (318). As I have argued in this paper, if it is measured as a quantity, noise is productive; it adds information. In both digital and analogue systems it is predictability and repetition that do not contribute information. Von Neumann makes the distinction clear saying that to some extent the “precision” of the digital machine “is absolute.” Even though, error as a matter of normal operation and not solely … as an accident attributable to some definite breakdown, nevertheless creeps in (294). Error creeps in. In maintenance of social solidarity–instance 5, et al. disrupts signal transmission by layering ambiguities into the installation. Gaps are left for viewers to introduce misreadings of scale, space, and apprehension. Rather than selecting meaning out of information within nontechnical contexts, a viewer finds herself in the same sphere as information. Noise imbricates both information and viewer within a larger open system. When asked about the relationship with the viewer in her work, et al. collaborator p.mule writes: To answer the 1st question, communication is important, clarity of concept. To answer the 2nd question, we are all receivers of information, how we process is individual. To answer the 3rd question, the work is accessible if you receive the information. But the question remains: how do we receive the information? In maintenance of social solidarity–instance 5 the system dominates. Despite the use of sound engineering and sophisticated Google Earth mapping technologies, the work appears to be constructed from discarded technologies both analogue and digital. The ominous hovering monoliths suggest answers: that somewhere within this work are methodologies to confront the materialising forces of digital error. To don the headphones is to invite a position that operates as a filtering of power. The parameters for this power are in a constant state of flux. This means that whilst mapping these forces the work does not locate them. Sound is encountered and constructed. Furthermore, the work does not oppose digital and analogue, for as von Neumann comments “the real importance of the digital procedure lies in its ability to reduce the computational noise level to an extent which is completely unobtainable by any other (analogy) procedure” (295). maintenance of social solidarity–instance 5 shows how digital and analogue come together through the productive errors of modulation and redundancy. et al.’s research constantly turns to representational and meaning making systems. As one instance, maintenance of social solidarity–instance 5 demonstrates how the digital has challenged the logics of the binary in the traditions of information theory. Digital logics are modulated by redundancies and accidents. In maintenance of social solidarity–instance 5 it is not possible to have information without noise. If, as I have argued here, digital installation operates between noise and information, then, in a constant disruption of the legacies of representation, immersion, and interaction, it is possible to open up material languages for the digital. Furthermore, an engagement with noise and error results in a blurring of the structures of information, generating a position from which we can discuss the viewer as immersed within the system – not as receiver or meaning making actant, but as an essential material within the open system of the artwork. References Barr, Jim, and Mary Barr. “L. Budd et al.” Toi Toi Toi: Three Generations of Artists from New Zealand. Ed. Rene Block. Kassel: Museum Fridericianum, 1999. 123. Burke, Gregory, and Natasha Conland, eds. et al. the fundamental practice. Wellington: Creative New Zealand, 2005. Burke, Gregory, and Natasha Conland, eds. Venice Document. et al. the fundamental practice. Wellington: Creative New Zealand, 2006. Daly-Peoples, John. Urban Myths and the et al. Legend. 21 Aug. 2004. The Big Idea (reprint) http://www.thebigidea.co.nz/print.php?sid=2234>. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: The Athlone Press, 1996. Hansen, Mark. New Philosophy for New Media. Cambridge, MA and London: MIT Press, 2004. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago and London: U of Chicago P, 1999. Hayles, N. Katherine. Chaos Bound: Orderly Disorder in Contemporary Literature and Science. Ithaca and London: Cornell University, 1990. Hobart, Michael, and Zachary Schiffman. Information Ages: Literacy, Numeracy, and the Computer Revolution. Baltimore: Johns Hopkins UP, 1998. p.mule, et al. 2007. 2 Jul. 2007 http://www.etal.name/index.htm>. Pask, Gordon. An Approach to Cybernetics. London: Hutchinson, 1961. Paulson, William. The Noise of Culture: Literary Texts in a World of Information. Ithaca and London: Cornell University, 1988. Schwartz, Mischa. Information Transmission, Modulation, and Noise: A Unified Approach to Communication Systems. 3rd ed. New York: McGraw-Hill, 1980. Serres, Michel. The Parasite. Trans. Lawrence R. Schehr. Baltimore: John Hopkins UP, 1982. Shannon, Claude. A Mathematical Theory of Communication. July, October 1948. Online PDF. 27: 379-423, 623-656 (reprinted with corrections). 13 Jul. 2004 http://cm.bell-labs.com/cm/ms/what/shannonday/paper.html>. Virilio, Paul. The Vision Machine. Trans. Julie Rose. Bloomington and Indianapolis: Indiana UP, British Film Institute, 1994. Von Neumann, John. “The General and Logical Theory of Automata.” Collected Works. Ed. A. H. Taub. Vol. 5. Oxford: Pergamon Press, 1963. Weaver, Warren. “Recent Contributions to the Mathematical Theory of Communication.” The Mathematical Theory of Commnunication. Eds. Claude Shannon and Warren Weaver. paperback, 1963 ed. Urbana and Chicago: U of Illinois P, 1949. 1-16. Work Discussed et al. maintenance of social solidarity–instance 5 2006. Installation, Google Earth feed, newspapers, sound. Exhibited in SCAPE 2006 Biennial of Art in Public Space Christchurch Art Gallery, Christchurch, September 30-November 12. Images reproduced with the permission of et al. Photographs by Lee Cunliffe. Acknowledgments Research for this paper was conducted with the support of an Otago Polytechnic Resaerch Grant. Photographs of et al. maintenance of social solidarity–instance 5 by Lee Cunliffe. Citation reference for this article MLA Style Ballard, Su. "Information, Noise and et al." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/02-ballard.php>. APA Style Ballard, S. (Oct. 2007) "Information, Noise and et al.," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/02-ballard.php>.

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Untuk mewujudkan visi yang ingin dicapai oleh Sekretariat Daerah Kabupaten Melawi dibutuhkan upaya penanganan dan pencegahan terhadap perilaku kerja kontaproduktif yang dapat merugikan organisasi dan stakeholderlainnya terhadap seluruh Pegawai Negeri Sipil yang ada di lingkungan Sekretariat Daerah Kabupaten Melawi.Tujuan penelitian adalah untuk menguji dan menganalisa pengaruh keadilan organisasi dan kepemimpinan terhadap kepuasan kerja dan perilaku kerja kontraproduktif Pegawai Negeri Sipil pada Sekretariat Daerah Kabupaten Melawi. Bentuk penelitian ini adalah deskriptif dengan pendekatan kausal komparatif. Pengumpulan data menggunakan data primer berupa kuisioner dan data sekunder berupa data yang bersumber dari Sekretariat Daerah Kabupaten Melawi. Pengambilan sampel penelitian dilakukan dengan menggunakan sampling sensus. Sampel dalam penelitian ini berjumlah 95 orang yang merupakan Pegawai Negeri Sipil di Sekretariat Daerah Kabupaten Melawi. Hasil dari penelitian ini adalah yang pertama keadilan organisasidan kepemimpinan berpengaruh positif dan signifikan terhadap variabel kepuasa kerja dan yang kedua keadilan organisasi, kepemimpinan, dan kepuasa kerja berpengaruh negatif dan signifikan terhadap perilaku kerja kontraproduktif. Kata Kunci : Keadilan Organisasi, Kepemimpinan, Kepuasan Kerja, Perilaku Kerja KontraproduktifDAFTAR PUSTAKA Arfah.(2015). Pengaruh Kepuasan Kerja Terhadap Perilaku Menyimpang Dan Organizational Citizenshipbehavior (Studi Pada Baitul Maal Wat Tamwi (Bmt) Di Provinsi Jawa Timur). Jurnal Aplikasi Administrasi Vol.18 Mei 2015. Chernyak-Hai, Lily & Aharon Tziner. (2014). Relationships Between Counterproductive Work Behavior, Perceived Justice And Climate, Occupational Status, And Leader-Member Exchange. Journal of Work and Organizational Psychology 30 (2014) 1-12. Downloaded from www. Elsevier.es/rpto. Fadilah, Muhammar Arif. (2015). Psikologi Industri Perilaku Tidak Produktif. Diakses dari mynewblogaidil.blogspot.com/2015/07/psikologi-industri-perilaku-tidak.html. Ferdinand, Augusty. (2007). Metode Penelitian Manajemen Pedoman Penelitian Untuk Penulisan Skripsi, Tesis, Dan Disertasi Ilmu Manajemen. Semarang : Badan Penerbit Universitas Diponegoro. Griffin, Ricky W. (2009). Manajemen. Jakarta: Erlangga. Ivancevich, John M., Robert Konopaske, & Michael T. Matteson. (2011). Perilaku dan Manajemen Organisasi. Jakarta: Erlangga. Ivancevich, John M., Robert Konopaske, & Michael T. Matteson. (2012). Perilaku dan Manajemen Organisasi. Jakarta: Erlangga. Kaswan. (2017). Psikologi Industri & Organisasi. Jakarta : Alfabeta Kreitner, Robert & Angelo Kinicki. (2010). Organizational Behavior Ninth Edition. USA:McGraw-Hill Irwin Kuncoro, Mudrajad. (2014). Metode Riset untuk Bisnis & Ekonomi. Bagaimana Meneliti & Menulis Tesis? Edisi 3. Jakarta:Erlangga Lestari, Milna Ayu. (2016).Hubungan Budaya Organisasi Dengan Perilaku Kontraproduktif Pada Pegawai Badan Pertanahan Nasional Tingkat II Samarinda. PSIKOBORNEO, 2016, 4 (2) : 286 - 291 ISSN 2477-2674, ejournal.psikologi.fisip-unmul.ac.id © Copyright 2016.Luthans, Fred. (2006). Perilaku Organisasi Edisi Sepuluh. Yogyakarta : PT Andi Mangkunegara, Anwar Prabu. (2009). Manajemen Sumber Daya Manusia Perusahaan. Bandung : PT. Remaja Rosdakarya. Naway, Fory Armin. (2014). Pengaruh Pengembangan Karir, Persepsi Tentang Keadilan Organisasi, Dan Kepuasan Kerja Terhadap Organizational Citizenship Behavior. Jurnal Manajemen/Volume XVIII, No. 03, Oktober 2014: 407-425. Nelson, Debra L. & James Campbell Quick. (1997). Organizational Behavior Foundations, Realities, and Challenges Second Edition. St. Paul, MN : West Publishing Company. Nurfianti, Agustin & Seger Handoyo. (2013). Hubungan Antara Keadilan Distributif dan Perilaku Kerja Kontraproduktif dengan Mengontrol Leader Member Exchange (LMX). Jurnal Psikologi Industri dan Organisasi Vol. 02, No. 03, Desember 2013.Puni,Albert, Collins B. Agyemang & Dr. Emmanuel Selase Asamoah. (2016).Leadership Styles, Employee Turnover Intentions and Counterproductive Work Behaviours. International Journal Of Innovative Research & Development January, 2016 Vol 5 Issue 1. Putra, I Gede Edi Sastrawan Mahadi & Ayu Desi Indrawati. (2018). Pengaruh Keadilan Organisasi Terhadap Kepuasan Kerja Dan Komitmen Organisasional Di Hotel Rama Phala Ubud. E-Jurnal Manajemen Unud, Vol. 7, No. 4, 2018: 2010-2040 ISSN : 2302-8912 DOI: https://doi.org/10.24843/EJMUNUD.2018.v7.i04.p11. Robbins, Stephen P. & Mary Coulter. (2005). Manajemen. Jakarta : PT. Indeks. Robbins, Stephen P. & Timothy A. Judge. (2018). Perilaku Organisasi/Organizational Behavior Edisi 16. Jakarta : Salemba Empat. Schermerhorn, John R. JR. (2002:391). Management Seventh Edition. USA:John Wiley & Sons, Inc.Shkoler, Or & Aharon Tziner. (2017).The Mediating And Moderating Role of Burnout and Emotional Intelligence in the Relationship Between Organizational Justice and Work Wisbehavior. Journal of Work and Organizational Psychology 33 (2017) 157–164www.elsevier.es/rpto.Sinambela, Lijan Poltak. (2018). Manajemen Sumber Daya Manusia. Jakarta : PT. Bumi Aksara. Suprapta, Made, Desak Ketut Sintaasih & I Gede Riana. (2015). Pengaruh Kepemimpinan Terhadap Kepuasan Kerja Dan Kinerja Karyawan (Studi Pada Wake Bali Art Market Kuta-Bali). E-Jurnal Ekonomi dan Bisnis Universitas Udayana 4.06 (2015) : 430-442 ISSN : 2337-3067. Sutrisno, H. Edy. (2017). Manajemen Sumber Daya Manusia. Jakarta : Kencana. Wibowo. (2017). Manajemen Kinerja Edisi Kelima. Depok : Rajawali Pers. Widiani, Ni Komang Ayu & Agoes Ganesha Rahyuda. (2017). Pengaruh Kompensasi Terhadap Kepuasan Kerja Dan Counterproductive Work Behaviour: Studi Pada Organisasi Publik Di Bali. Forum Manajemen Indonesia (FMI 9), November 2017 ISBN: 978-602-8557-31-3. Wiratama, Dewa Gede & I Wayan Suana. (2015). Pengaruh Keadilan Organisasi Terhadap Kepuasan Kerja Dan Turnover Intention Pada Karyawan The Jayakarta Bali. E-Jurnal Manajemen Unud, Vol. 4 , No.11, 2015: 3675 - 3702 ISSN : 2302-8912. Wiratama, William Jefferson, I Gede Riana, & Agoes Ganesha Rahyuda. (2017).Keadilan Organisasional Sebagai Pemediasi Pengaruh Kepemimpinan Etis Terhadap Counterproductive Work Behaviour Pada Hotel Discovery Kartika Plaza Kuta. E-Jurnal Ekonomi dan Bisnis Universitas Udayana 6.5 (2017): 2133-2160 ISSN : 2337-3067. Wiwiek & Oliandes Sondakh. (2015). Pengaruh Keadilan Organisasional Pada Motivasi Karyawan Dan Komitmen Organisasional. Jurnal Siasat Bisnis Vol. 19 No. 1, Januari 2015 69-77. Wiyono, Gendro. (2011). Merancang Penelitian Bisnis Dengan Alat Analisis SPSS 17.0 & SmartPLS 2.0. Yogyakarta: Unit Penerbit dan Percetakan STIM YKPN Yogyakarta.

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To Rodica, who died first / To Mircea, who continues me [I]In his book Picturing Health and Illness: Images of Identity and Difference, Sander L. Gilman argues that during the nineteenth century the healthy norm perceived as ugly not only those who were deformed, but also those who were ill, ageing, and/or experienced different bodily “loss of function” (53). In the nineteenth century, how much was medicine responsible for defining ugly as ill, deformed, and getting old, versus beautiful as healthy, and then, for the sake of the community’s health, firmly promoting these ideas? Furthermore, with the rise of photographic art, medicine was able to manipulate and control these ideas even more efficiently. According to Deborah Lupton, “The new technology of photography that developed from the mid-nineteenth century became a valuable strategy in the documentation of patterns of disease and illness, and the construction of the sites of dirtiness and contagion” (30). This essay focuses on the skin’s narrative as it presents its story when photographed. William Yang takes photos of his good friend, Allan, who is dying of AIDS. Of interests here is to discuss/approach the photographic art not from its scopophilic angle, that is, not from its perverse and pleasurable voyeuristic angle, but to analyze it side-by-side with Drew Leder’s notion of the “the remaining body.” He believes that in states of severe pain, one’s body “dys-appears,” “from the Greek prefix signifying ‘bad,’ ‘hard,’ or ‘ill,’” and he gives as example the English word “dysfunctional” (84). Yang’s photos offer variations of the “body that remains,” and, as we shall see, of the body that gradually did not remain. Through his work, Yang approaches visually the theme of the ars moriendi of the entropic body in pain as reminder of its mortal, gradually disabling fabric. [II] In the section of his work dedicated to AIDS, Gilman discusses only a collection of posters that have circulated in mass-media, which he researched at the National Library of Medicine at Bethesda, Maryland. Gilman thinks these posters function as the “still images of illness” (174). In other words, he believes these posters may have had an impact on the lay community, although not the intensified, urgent one, as he would have hoped. Because Gilman did not include a single photo of a patient dying of AIDS — although he understood this lack — I juxtapose one of the posters from his book with Yang’s photos taken of his dying friend, Allan, from his project entitled Sadness: A Monologue with Slides. Here I discuss the impact of Allan’s increasingly emaciated body versus the static, almost ineffective quality of the poster in order to consider the idea according to which “AIDS victims are living sculptures. … Both subject and object of art … they combine with their disease to overcome the narcissism of human consciousness. … It is an art of continuous transformation of subject into object and object into subject” (Siebers 220-21). Yang is an Australian artist with Chinese parentage. The images presented in this section originally appeared in print in Thomas W. Sokolowski’s and Rosalind Solomon’s collection of essays entitled Portraits in the Time of AIDS. According to the editors, Yang presented them as “monologues with slide projection in the theatre” (34) because the main actor of this one-man show is dying of AIDS. Yang’s work consists of seventeen slides with short texts written underneath them. In an attempt to respect the body that is dying, the texts are not recited, but the readers/spectators read them subvocally. The brilliance of this piece resides in its hushed tone, which parallels the act of dying when the patient’s body and mind become more and more tacit and lifeless. From one photo to another, and from one text to another, we discover Allan, although we never quite get to know him. The minitexts relate Allan’s story: how he was hospitalized at St. Vincent’s, known as “the AIDS ward” (35); how he decided to return home, into a studio shared with a dealer; how AIDS first attacked his lungs, and so he had to keep next to him “a large cylinder of oxygen as he was often out of breath” (37); how AIDS then affected his sight, and he developed a condition known as “CytoMegalo Virus — C.M.V. Retinctus” that gradually “destroyed the retina” of his eyes (39); how he decided “to go off medication” (46); and, how, finally “he went into a coma. I saw a nurse give him a glass of water but the water just ran out of his mouth” (50). To look at these photos time and time again is to be reminded of Albert Einstein’s vision of the passenger trapped in the train running with the speed of light. That passenger could not sense all that was happening in the train, and especially outside of it, because time moves in its cosmic, non-human, slippery dimension, and thus sensation could not profusely permeate his body. Juxtaposing Einstein’s vision with Allan’s decaying body, I read the latter’s body as if it were coiled up inside his mind just like a snail covers a part of its body under its hard shell. The photos are presented rapidly with no entr-acte in between; in a matter of minutes, time and space seem to collapse. There is no time for a prolonged reminiscence of Allan’s spent life. Allan is dying now, and he does not have time to remember his life. He barely has time to feel his body, a touch, or a kiss on his face, which seems to Yang “to have caved in” (47). Through this work, not only does Yang capture the disturbing moments of a friend dying, but he also touches on the “epidermis” of despair. This “epidermis” is both endotopic and exotopic, meaning that it starts within the patient and then it radiates/extends to his relatives and friends. Yang’s images of Allan dying give the impression that his body levitates, jutting out into space — but unfortunately without much meaning. On the other hand, the posters advertised for AIDS are simple, if not quite embarrassing and disrespectful given the gravity of this illness. They rarely touch on any aspects related to the illness itself, as they allude more to the immorality of hom*osexual acts. Gilman explains part of the rationale involved in the process of not presenting people dying of AIDS as follows: The image of the ‘positive’ body or the body with AIDS is strictly controlled in the world of the public health poster. Nowhere is an image of the ‘ugly’ or diseased body evoked directly, for any such evocation would refer back to the initial sense as a ‘gay’ disease. … Mens non sana in corpore insano cannot be the motto. For representing the ill body as a dying body is not possible. Such a body would point to ‘deviance from the norm’ in the form of illness. And this association with hom*osexuality and addiction labeled as illness must be suppressed. … All these images are images not of educating, but of control. (162) The poster chosen for illustration reads “LOVE AIDS PEOPLE,” with AIDS used as a verb and not as a noun; nonetheless, the construction’s subtlety is rather counterproductive. To a certain extent, this poster can be related to Michelangelo Merisi Caravaggio’s The Incredulity of Saint Thomas (1601-02). There, the Apostle touches the actual wound because he needs tactile proof to accept its existence. The act of touching, as well as the skin open by the wound, reveal the fact that “Skin lacks the depth, the interiority we want it to give us. … The flesh we crave as confirmation of our forms cannot do anything but turn us forever out even as we burrow into the holes we find there” (Phelan 42). But the poster presented below brings into focus verbally (therefore propagandistically) how one’s body might be destroyed because of AIDS. Furthermore, the symbol of the arrow is a recurrent motif in the art representing AIDS, especially in light of its religious association with the martyrdom of Saint Sebastian (see for example David Wojnarowicz art works which offer a personal interpretation of the martyrdom of Saint Sebastian). But if LOVE AIDS PEOPLE, and if gay men identify themselves with a martyr, then they might easily fall target to this twisted logic and think of themselves as victims. As Larry Kramer notes, gay men are tragic people partly because they feel responsible for an illness that has been affecting both the hom*osexual and heterosexual communities: “The continuing existence of HIV is essential for the functioning of the totalitarianism under which gay people now live. It works like this: HIV allows ‘them’ to sell us as sick. And that kills off our usefulness, both in our minds — their thinking we are sick — and in the eyes of the world — everyone thinking we are sick” (65).Gay men have always been a target since, allegedly, they are a menace to the institution of marriage, procreation, and to morality in general. Endocrinology studies have been conducted on gay men, but their results have not been able to say with certainty why some people prefer to engage in hom*osexual rather than heterosexual acts. According to Jennifer Terry, earlier studies from the 1930s aimed at determining distinct somatic features of hom*osexuals for the most part failed to produce any such evidence. Most of them focused on the overall physical structure of bodies, measuring skeletal features, pelvic angles and things like muscle density and hair distribution. (144) (Another useful resource is Holt N. Parker’s 2001 article “The Myth of the Heterosexual: Anthropology and Sexuality for Classicists.”) How and by whom are our sexual identities created? Does the presence of one specific anatomical organ delimit one person’s sexual identity? We have been trained into believing that there are only two genders, male and female, partly because of our binary way of thinking. Needless to say, just as in one color there are degrees of its intensity and saturation, so there are in us verbal, behavioral, and sexual tendencies that could make us look and act more or less masculine or feminine. Even more productive is to note the importance of power (control) and the erotic in our lives considering that the photos (and the minitexts) presenting Allan seem insufficient to initiate a dialogue by themselves. Because the eroticized body is what dies, that is, what is put at risk or could become powerless because of AIDS. The body that cannot touch and be touched anymore; the body that cannot control its needs and desires; and, ultimately, the body that is deprived of its pleasures and thus loses its erotic self. Therefore, AIDS is not only a way to redefine our erotic life, but also becomes a reason to question our hygiene practices. Elizabeth Grosz points out that “erotic pleasures are evanescent, they are forgotten almost as they occur” (195). But when erotic pleasures are controlled, as seems to be the case because of AIDS, have we intervened in such a manner as to program our intercourse? Admittedly, AIDS is predominantly linked with one’s sexuality and, hence, it could make one feel too self-aware about one’s needs, as well as rigid and self-conscious in an (intimate) act which, in essence, is all about losing oneself, being uninhibited. In the end, Allan’s sense of identity seems to be imprinted only in the camera’s objective lens. After he died, as Yang remembers, “I read his diaries […]. AIDS was a tragedy that was for sure, but as well he had an addictive personality and his day to day life was full of desperation. I hadn’t realize the extent of this and it came as a shock. Yet there were moments of clarity when his fresh test for life shone” (51). Yang does not say more about Allan’s intimate writings and, as he suggests, it was quite surprising for him to discover a richer, more intimate dimension of his friend. Still, until Allan’s diaries will be released to the public to offer us a more palpable view on his life, we rely exclusively on the selections of photos and minitexts accomplished by Yang, thus being aware that, no matter how exquisite they are, they could only say a few things about this enigmatic patient.[III] After exposing Allan’s gradually collapsing body, we may want to analyze to which extent is dying/death something that reveals our self-centricity. It is by now a truism to say that death is the final moment of our embodiment to which we are denied access. Nonetheless, we cannot stop thinking about (our) death, and the last passage of this essay proposes its own reflection on this subject. Norbert Elias argues that each one of us is a hom*o clausus (Latin for “closed, self-sufficient being”). He believes that this condition is a consequence of our living an advanced phase in our individualized life. Surprisingly, he relates this self-sufficiency to the ritual of dying. He believes that in highly industrialized societies, a patient may benefit from the most recent technical and medical equipment, but that that person usually dies alone, meaning without his family/relatives around him. On the other hand, as he goes on to argue, “families in less developed states … often go hand in hand with far greater inequalities of power between men and women. [The dying] take leave of the world publicly, within a circle of people most of whom have strong emotive value for them, and for whom they themselves have a such a value. They die unhygienically, but not alone” (87). Elias does not explore this idea in depth, so we are left to wonder what he meant by dying unhygienically, or if he thought that method was better in coping with death. Also, he never mentioned the exact countries/regions he had in mind when he made that remark; therefore, we are left unsatisfied by his comment. Nonetheless, as Elias reminds us, it is important to remember that the traditional death rituals were and are intimate moments (and they should remain like this). The hom*o clausus idea may be linked with a body that is reaching its final embodiment, and hence becoming a closing-in-itself body. However, how does a body transact and/or negotiate the moments of its final embodiment? The process of sinking in one’s body, to which I refer, is not a visually, aurally, or especially olfactorily pleasant experience. Our deceitful memory misdirects our emotional brains by indicating which subsystem is still functional and open and which has become useless, that is, closed. In this light, we should redefine Elias’s idea by saying that what appears to be a monolithic structure — a body: closed, sealed, and/or self-contained — is in fact a very fluid body; that death does not reveal our self-centricity because that reasoning may generate an absurd idea, namely, we die alone because we have spent a life alone. Consequently, the dying body becomes the margin par excellence, which, because it is completely out of control, does not stop from leaking and/or emitting smells. This theory is confirmed by a study conducted on dying patients, Dying Process: Patients' Experiences of Palliative Care (2000), where Julia Lawton notes that “on a number of occasions, staff kept aromatherapy oil burners running throughout the day and night in an attempt to veil the odour of excretia, vomit and rotting flesh. … I observed that smell created a boundary around a patient, repelling others away” (135). One has to close one’s eyes to vaguely imagine what it must feel like for the medical personnel to keep the vigil of the dying bodies. Nonetheless, the lay community is exposed to photographs of the dying only on rare occasions. According to Gilman, these images are not made public because “The classical model of ‘healthy/beauty’ and ‘illness/ugliness’ is part of a cultural baggage that accompanies any representation of the ill or healthy body” (118-19). While the skin is endowed with the capacity of regenerating itself after it has been wounded, thus effacing time, a photograph of a dying body seems to efface one’s memory of one’s accumulated experiences. Such a photograph makes its contents (that is, the time, location, personal context of the shooting) disappear since its details will eventually fade away. As a corollary, the absent body effaces its photographed version, leaving it few chances to be remembered. The theme of the ars moriendi, as presented in this essay, has demonstrated that what dies is not only one’s body, but also the echoed memory of its erotic self. ReferencesElias, Norbert. The Loneliness of Dying. New York: Blackwell, 1985. Gilman, Sander. Picturing Health and Illness: Images of Identity and Difference. Baltimore: Johns Hopkins UP, 1995. Grosz, Elizabeth. Space, Time, and Perversion: Essays on the Politics of Bodies.New York: Routledge, 1995. Kramer, Larry. The Tragedy of Today’s Gay. New York: Penguin Group, 2005. Lawton, Julia. Dying Process: Patients' Experiences of Palliative Care. New York: Routledge, 2000. Leder, Drew. The Absent Body. Chicago: University of Chicago Press, 1990. Lupton, Deborah. The Imperative of Health: Public Health and the Regulated Body. Thousand Oaks, California: Sage Publications, 1995. Peggy Phelan. Mourning Sex: Performing Public Memories. New York: Routledge, 1997. Siebers, Tobin. The Body Aesthetic: From Fine Art to Body Modification. Ann Arbor: University of Michigan Press, 2000. Jennifer Terry. “The Seductive Power of Science in the Making of Deviant Subjectivity.” Posthuman Bodies. Eds. Judith Halberstam and Ira Livingston. Bloomington : Indiana University Press, 1995: 135-162. Yang, William. “Allan from Sadness: A Monologue with Slides.” Portraits in the Time of AIDS. Eds. Thomas W. Sokolowski and Rosalind Solomon. New York: Grey Art Gallery & Study Center, 1988: 34-51.

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Proponents of the free culture movement argue that contemporary, “over-zealous” copyright laws have an adverse affect on the freedoms of consumers and creators to make use of copyrighted materials. Lessig, McLeod, Vaidhyanathan, Demers, and Coombe, to name but a few, detail instances where creativity and consumer use have been hindered by copyright laws. The “intellectual land-grab” (Boyle, “Politics” 94), instigated by the increasing value of intangibles in the information age, has forced copyright owners to seek maximal protection for copyrighted materials. A propertarian approach seeks to imbue copyrighted materials with the same inalienable rights as real property, yet copyright is not a property right, because “the copyright owner … holds no ordinary chattel” (Dowling v. United States 473 US 207, 216 [1985]). A fundamental difference resides in the exclusivity of use: “If you eat my apple, then I cannot” but “if you “take” my idea, I still have it. If I tell you an idea, you have not deprived me of it. An unavoidable feature of intellectual property is that its consumption is non-rivalrous” (Lessig, Code 131). It is, as James Boyle notes, “different” to real property (Shamans 174). Vaidhyanathan observes, “copyright in the American tradition was not meant to be a “property right” as the public generally understands property. It was originally a narrow federal policy that granted a limited trade monopoly in exchange for universal use and access” (11). This paper explores the ways in which “property talk” has infiltrated copyright discourse and endangered the utility of the law in fostering free and diverse forms of creative expression. The possessiveness and exclusion that accompany “property talk” are difficult to reconcile with the utilitarian foundations of copyright. Transformative uses of copyrighted materials such as mashing, sampling and appropriative art are incompatible with a propertarian approach, subjecting freedom of creativity to arbitary licensing fees that often extend beyond the budget of creators (Collins). “Property talk” risks making transformative works an elitist form of creativity, available only to those with the financial resources necessary to meet the demands for licences. There is a wealth of decisions throughout American and English case law that sustain Vaidhyanathan’s argument (see for example, Donaldson v. Becket 17 Cobbett Parliamentary History, col. 953; Wheaton v. Peters 33 US 591 [1834]; Fox Film Corporation v. Doyal 286 US 123 [1932]; US v. Paramount Pictures 334 US 131 [1948]; Mazer v. Stein 347 US 201, 219 [1954]; Twentieth Century Music Corp. v. Aitken 422 U.S. 151 [1975]; Aronson v. Quick Point Pencil Co. 440 US 257 [1979]; Dowling v. United States 473 US 207 [1985]; Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539 [1985]; Luther R. Campbell a.k.a. Luke Skyywalker, et al. v. Acuff-Rose Music, Inc. 510 U.S 569 [1994].). As Lemley states, however, “Congress, the courts and commentators increasingly treat intellectual property as simply a species of real property rather than as a unique form of legal protection designed to deal with public goods problems” (1-2). Although section 106 of the Copyright Act 1976 grants exclusive rights, sections 107 to 112 provide freedoms beyond the control of the copyright owner, undermining the exclusivity of s.106. Australian law similarly grants exceptions to the exclusive rights granted in section 31. Exclusivity was a principal objective of the eighteenth century Stationers’ argument for a literary property right. Sir William Blackstone, largely responsible for many Anglo-American concepts concerning the construction of property law, defined property in absolutist terms as “that sole and despotic dominion which one man claims and exercises over the external things of the world, in total exclusion of the right of any other individual in the whole universe” (2). On the topic of reprints he staunchly argued an author “has clearly a right to dispose of that identical work as he pleases, and any attempt to take it from him, or vary the disposition he has made of it, is an invasion of his right of property” (405-6). Blackstonian copyright advanced an exclusive and perpetual property right. Blackstone’s interpretation of Lockean property theory argued for a copyright that extended beyond the author’s expression and encompassed the very “style” and “sentiments” held therein. (Tonson v. Collins [1760] 96 ER 189.) According to Locke, every Man has a Property in his own Person . . . The Labour of his Body and the Work of his hands, we may say, are properly his. Whatsoever then he removes out of the State that Nature hath provided and left it in, he hath mixed his Labour with, and joyned to it something that is his own, and thereby makes it his Property. (287-8) Blackstone’s inventive interpretation of Locke “analogised ideas, thoughts, and opinions with tangible objects to which title may be taken by occupancy under English common law” (Travis 783). Locke’s labour theory, however, is not easily applied to intangibles because occupancy or use is non-rivalrous. The appropriate extent of an author’s proprietary right in a work led Locke himself to a philosophical impasse (Bowrey 324). Although Blackstonian copyright was suppressed by the House of Lords in the eighteenth century (Donaldson v. Becket [1774] 17 Cobbett Parliamentary History, col. 953) and by the Supreme Court sixty years later (Wheaton v. Peters 33 US 591 [1834]), it has never wholly vacated copyright discourse. “Property talk” is undesirable in copyright discourse because it implicates totalitarian notions such as exclusion and inalienable private rights of ownership with no room for freedom of creativity or to use copyrighted materials for non-piracy related purposes. The notion that intellectual property is a species of property akin with real property is circulated by media companies seeking greater control over copyrighted materials, but the extent to which “property talk” has been adopted by the courts and scholars is troubling. Lemley (3-5) and Bell speculate whether the term “intellectual property” carries any responsibility for the propertisation of intangibles. A survey of federal court decisions between 1943 and 2003 reveals an exponential increase in the usage of the term. As noted by Samuelson (398) and Cohen (379), within the spheres of industry, culture, law, and politics the word “property” implies a broader scope of rights than those associated with a grant of limited monopoly. Music United claims “unauthorized reproduction and distribution of copyrighted music is JUST AS ILLEGAL AS SHOPLIFTING A CD”. James Brown argues sampling from his records is tantamount to theft: “Anything they take off my record is mine . . . Can I take a button off your shirt and put it on mine? Can I take a toenail off your foot – is that all right with you?” (Miller 1). Equating unauthorised copying with theft seeks to socially demonise activities occurring outside of the permission culture currently being fostered by inventive interpretations of the law. Increasing propagation of copyright as the personal property of the creator and/or copyright owner is instrumental in efforts to secure further legislative or judicial protection: Since 1909, courts and corporations have exploited public concern for rewarding established authors by steadily limiting the rights of readers, consumers, and emerging artists. All along, the author was deployed as a straw man in the debate. The unrewarded authorial genius was used as a rhetorical distraction that appealed to the American romantic individualism. (Vaidhyanathan 11) The “unrewarded authorial genius” was certainly tactically deployed in the eighteenth century in order to generate sympathy in pleas for further protection (Feather 71). Supporting the RIAA, artists including Britney Spears ask “Would you go into a CD store and steal a CD? It’s the same thing – people going into the computers and logging on and stealing our music”. The presence of a notable celebrity claiming file-sharing is equivalent to stealing their personal property is a more publicly acceptable spin on the major labels’ attempts to maintain a monopoly over music distribution. In 1997, Congress enacted the No Electronic Theft Act which extended copyright protection into the digital realm and introduced stricter penalties for electronic reproduction. The use of “theft” in the title clearly aligns the statute with a propertarian portrayal of intangibles. Most movie fans will have witnessed anti-piracy propaganda in the cinema and on DVDs. Analogies between stealing a bag and downloading movies blur fundamental distinctions in the rivalrous/non-rivalrous nature of tangibles and intangibles (Lessig Code, 131). Of critical significance is the infiltration of “property talk” into the courtrooms. In 1990 Judge Frank Easterbrook wrote: Patents give a right to exclude, just as the law of trespass does with real property … Old rhetoric about intellectual property equating to monopoly seemed to have vanished, replaced by a recognition that a right to exclude in intellectual property is no different in principle from the right to exclude in physical property … Except in the rarest case, we should treat intellectual and physical property identically in the law – which is where the broader currents are taking us. (109, 112, 118) Although Easterbrook refers to patents, his endorsem*nt of “property talk” is cause for concern given the similarity with which patents and copyrights have been historically treated (Ou 41). In Grand Upright v. Warner Bros. Judge Kevin Duffy commenced his judgment with the admonishment “Thou shalt not steal”. Similarly, in Jarvis v. A&M Records the court stated “there can be no more brazen stealing of music than digital sampling”. This move towards a propertarian approach is misguided. It runs contrary to the utilitarian principles underpinning copyright ideology and marginalises freedoms protected by the fair use doctrine, hence Justice Blackman’s warning that “interference with copyright does not easily equate with” interference with real property (Dowling v. United States 473 US 207, 216 [1985]). The framing of copyright in terms of real property privileges private monopoly over, and to the detriment of, the public interest in free and diverse creativity as well as freedoms of personal use. It is paramount that when dealing with copyright cases, the courts remain aware that their decisions involve not pure economic regulation, but regulation of expression, and what may count as rational where economic regulation is at issue is not necessarily rational where we focus on expression – in a Nation constitutionally dedicated to the free dissemination of speech, information, learning and culture. (Eldred v. Ashcroft 537 US 186 [2003] [J. Breyer dissenting]). Copyright is the prize in a contest of property vs. policy. As Justice Blackman observed, an infringer invades a statutorily defined province guaranteed to the copyright holder alone. But he does not assume physical control over the copyright; nor does he wholly deprive its owner of its use. While one may colloquially link infringement with some general notion of wrongful appropriation, infringement plainly implicates a more complex set of property interests than does run-of-the-mill theft, conversion, or fraud. (Dowling v. United States 473 US 207, 217-218 [1985]). Copyright policy places a great deal of control and cultural determinism in the hands of the creative industries. Without balance, oppressive monopolies form on the back of rights granted for the welfare of society in general. If a society wants to be independent and rich in diverse forms of cultural production and free expression, then the courts cannot continue to apply the law from within a propertarian paradigm. The question of whether culture should be determined by control or freedom in the interests of a free society is one that rapidly requires close attention – “it’s no longer a philosophical question but a practical one”. References Bayat, Asef. “Un-Civil Society: The Politics of the ‘Informal People.’” Third World Quarterly 18.1 (1997): 53-72. Bell, T. W. “Author’s Welfare: Copyright as a Statutory Mechanism for Redistributing Rights.” Brooklyn Law Review 69 (2003): 229. Blackstone, W. Commentaries on the Laws of England: Volume II. New York: Garland Publishing, 1978. (Reprint of 1783 edition.) Boyle, J. Shamans, Software, and Spleens: Law and the Construction of the Information Society. Cambridge: Harvard UP, 1996. Boyle, J. “A Politics of Intellectual Property: Environmentalism for the Net?” Duke Law Journal 47 (1997): 87. Bowrey, K. “Who’s Writing Copyright’s History?” European Intellectual Property Review 18.6 (1996): 322. Cohen, J. “Overcoming Property: Does Copyright Trump Privacy?” University of Illinois Journal of Law, Technology & Policy 375 (2002). Collins, S. “Good Copy, Bad Copy.” (2005) M/C Journal 8.3 (2006). http://journal.media-culture.org.au/0507/02-collins.php>. Coombe, R. The Cultural Life of Intellectual Properties. Durham: Duke University Press, 1998. Demers, J. Steal This Music. Athens, Georgia: U of Georgia P, 2006. Easterbrook, F. H. “Intellectual Property Is Still Property.” (1990) Harvard Journal of Law & Public Policy 13 (1990): 108. Feather, J. Publishing, Piracy and Politics: An Historical Study of Copyright in Britain. London: Mansell, 1994. Lemley, M. “Property, Intellectual Property, and Free Riding.” Texas Law Review 83 (2005): 1031. Lessig, L. Code and Other Laws of Cyberspace. New York: Basic Books, 1999. Lessing, L. The Future of Ideas. New York: Random House, 2001. Lessig, L. Free Culture. New York: The Penguin Press, 2004. Locke, J. Two Treatises of Government. Ed. Peter Laslett. Cambridge, New York, Melbourne: Cambridge University Press, 1988. McLeod, K. “How Copyright Law Changed Hip Hop: An Interview with Public Enemy’s Chuck D and Hank Shocklee.” Stay Free (2002). 14 June 2006 http://www.stayfreemagazine.org/archives/20/public_enemy.html>. McLeod, K. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic.” Popular Music & Society 28 (2005): 79. McLeod, K. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books, 2005. Miller, M.W. “Creativity Furor: High-Tech Alteration of Sights and Sounds Divides the Art World.” Wall Street Journal (1987): 1. Ou, T. “From Wheaton v. Peters to Eldred v. Reno: An Originalist Interpretation of the Copyright Clause.” Berkman Center for Internet & Society (2000). 14 June 2006 http://cyber.law.harvard.edu/openlaw/eldredvashcroft/cyber/OuEldred.pdf>. Samuelson, P. “Information as Property: Do Ruckelshaus and Carpenter Signal a Changing Direction in Intellectual Property Law?” Catholic University Law Review 38 (1989): 365. Travis, H. “Pirates of the Information Infrastructure: Blackstonian Copyright and the First Amendment.” Berkeley Technology Law Journal 15 (2000): 777. Vaidhyanathan, S. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York: New York UP, 2003. Citation reference for this article MLA Style Collins, Steve. "‘Property Talk’ and the Revival of Blackstonian Copyright." M/C Journal 9.4 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0609/5-collins.php>. APA Style Collins, S. (Sep. 2006) "‘Property Talk’ and the Revival of Blackstonian Copyright," M/C Journal, 9(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0609/5-collins.php>.

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Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food packaging, food on television, and food in popular fiction. In creating stories, from those works that quickly disappear from bookstore shelves to those that become entrenched in the literary canon, writers use food to communicate the everyday and to explore a vast range of ideas from cultural background to social standing, and also use food to provide perspectives “into the cultural and historical uniqueness of a given social group” (Piatti-Farnell 80). For example in Oliver Twist (1838) by Charles Dickens, the central character challenges the class system when: “Child as he was, he was desperate with hunger and reckless with misery. He rose from the table, and advancing basin and spoon in hand, to the master, said, somewhat alarmed at his own temerity–‘Please, sir, I want some more’” (11). Scarlett O’Hara in Margaret Mitchell’s Gone with the Wind (1936) makes a similar point, a little more dramatically, when she declares: “As God is my witness, I’m never going to be hungry again” (419). Food can also take us into the depths of another culture: places that many of us will only ever read about. Food is also used to provide insight into a character’s state of mind. In Nora Ephron’s Heartburn (1983) an item as simple as boiled bread tells a reader so much more about Rachel Samstat than her preferred bakery items: “So we got married and I got pregnant and I gave up my New York apartment and moved to Washington. Talk about mistakes [...] there I was, trying to hold up my end in a city where you can’t even buy a decent bagel” (34). There are three ways in which writers can deal with food within their work. Firstly, food can be totally ignored. This approach is sometimes taken despite food being such a standard feature of storytelling that its absence, be it a lonely meal at home, elegant canapés at an impressively catered co*cktail party, or a cheap sandwich collected from a local café, is an obvious omission. Food can also add realism to a story, with many authors putting as much effort into conjuring the smell, taste, and texture of food as they do into providing a backstory and a purpose for their characters. In recent years, a third way has emerged with some writers placing such importance upon food in fiction that the line that divides the cookbook and the novel has become distorted. This article looks at cookbooks and cookery in popular fiction with a particular focus on crime novels. Recipes: Ingredients and Preparation Food in fiction has been employed, with great success, to help characters cope with grief; giving them the reassurance that only comes through the familiarity of the kitchen and the concentration required to fulfil routine tasks: to chop and dice, to mix, to sift and roll, to bake, broil, grill, steam, and fry. Such grief can come from the breakdown of a relationship as seen in Nora Ephron’s Heartburn (1983). An autobiography under the guise of fiction, this novel is the first-person story of a cookbook author, a description that irritates the narrator as she feels her works “aren’t merely cookbooks” (95). She is, however, grateful she was not described as “a distraught, rejected, pregnant cookbook author whose husband was in love with a giantess” (95). As the collapse of the marriage is described, her favourite recipes are shared: Bacon Hash; Four Minute Eggs; Toasted Almonds; Lima Beans with Pears; Linguine Alla Cecca; Pot Roast; three types of Potatoes; Sorrel Soup; desserts including Bread Pudding, Cheesecake, Key Lime Pie and Peach Pie; and a Vinaigrette, all in an effort to reassert her personal skills and thus personal value. Grief can also result from loss of hope and the realisation that a life long dreamed of will never be realised. Like Water for Chocolate (1989), by Laura Esquivel, is the magical realist tale of Tita De La Garza who, as the youngest daughter, is forbidden to marry as she must take care of her mother, a woman who: “Unquestionably, when it came to dividing, dismantling, dismembering, desolating, detaching, dispossessing, destroying or dominating […] was a pro” (87). Tita’s life lurches from one painful, unjust episode to the next; the only emotional stability she has comes from the kitchen, and from her cooking of a series of dishes: Christmas Rolls; Chabela Wedding Cake; Quail in Rose Petal Sauce; Turkey Mole; Northern-style Chorizo; Oxtail Soup; Champandongo; Chocolate and Three Kings’s Day Bread; Cream Fritters; and Beans with Chilli Tezcucana-style. This is a series of culinary-based activities that attempts to superimpose normalcy on a life that is far from the everyday. Grief is most commonly associated with death. Undertaking the selection, preparation and presentation of meals in novels dealing with bereavement is both a functional and symbolic act: life must go on for those left behind but it must go on in a very different way. Thus, novels that use food to deal with loss are particularly important because they can “make non-cooks believe they can cook, and for frequent cooks, affirm what they already know: that cooking heals” (Baltazar online). In Angelina’s Bachelors (2011) by Brian O’Reilly, Angelina D’Angelo believes “cooking was not just about food. It was about character” (2). By the end of the first chapter the young woman’s husband is dead and she is in the kitchen looking for solace, and survival, in cookery. In The Kitchen Daughter (2011) by Jael McHenry, Ginny Selvaggio is struggling to cope with the death of her parents and the friends and relations who crowd her home after the funeral. Like Angelina, Ginny retreats to the kitchen. There are, of course, exceptions. In Ntozake Shange’s Sassafrass, Cypress & Indigo (1982), cooking celebrates, comforts, and seduces (Calta). This story of three sisters from South Carolina is told through diary entries, narrative, letters, poetry, songs, and spells. Recipes are also found throughout the text: Turkey; Marmalade; Rice; Spinach; Crabmeat; Fish; Sweetbread; Duck; Lamb; and, Asparagus. Anthony Capella’s The Food of Love (2004), a modern retelling of the classic tale of Cyrano de Bergerac, is about the beautiful Laura, a waiter masquerading as a top chef Tommaso, and the talented Bruno who, “thick-set, heavy, and slightly awkward” (21), covers for Tommaso’s incompetency in the kitchen as he, too, falls for Laura. The novel contains recipes and contains considerable information about food: Take fusilli […] People say this pasta was designed by Leonardo da Vinci himself. The spiral fins carry the biggest amount of sauce relative to the surface area, you see? But it only works with a thick, heavy sauce that can cling to the grooves. Conchiglie, on the other hand, is like a shell, so it holds a thin, liquid sauce inside it perfectly (17). Recipes: Dishing Up Death Crime fiction is a genre with a long history of focusing on food; from the theft of food in the novels of the nineteenth century to the utilisation of many different types of food such as chocolate, marmalade, and sweet omelettes to administer poison (Berkeley, Christie, Sayers), the latter vehicle for arsenic receiving much attention in Harriet Vane’s trial in Dorothy L. Sayers’s Strong Poison (1930). The Judge, in summing up the case, states to the members of the jury: “Four eggs were brought to the table in their shells, and Mr Urquhart broke them one by one into a bowl, adding sugar from a sifter [...he then] cooked the omelette in a chafing dish, filled it with hot jam” (14). Prior to what Timothy Taylor has described as the “pre-foodie era” the crime fiction genre was “littered with corpses whose last breaths smelled oddly sweet, or bitter, or of almonds” (online). Of course not all murders are committed in such a subtle fashion. In Roald Dahl’s Lamb to the Slaughter (1953), Mary Maloney murders her policeman husband, clubbing him over the head with a frozen leg of lamb. The meat is roasting nicely when her husband’s colleagues arrive to investigate his death, the lamb is offered and consumed: the murder weapon now beyond the recovery of investigators. Recent years have also seen more and more crime fiction writers present a central protagonist working within the food industry, drawing connections between the skills required for food preparation and those needed to catch a murderer. Working with cooks or crooks, or both, requires planning and people skills in addition to creative thinking, dedication, reliability, stamina, and a willingness to take risks. Kent Carroll insists that “food and mysteries just go together” (Carroll in Calta), with crime fiction website Stop, You’re Killing Me! listing, at the time of writing, over 85 culinary-based crime fiction series, there is certainly sufficient evidence to support his claim. Of the numerous works available that focus on food there are many series that go beyond featuring food and beverages, to present recipes as well as the solving of crimes. These include: the Candy Holliday Murder Mysteries by B. B. Haywood; the Coffeehouse Mysteries by Cleo Coyle; the Hannah Swensen Mysteries by Joanne Fluke; the Hemlock Falls Mysteries by Claudia Bishop; the Memphis BBQ Mysteries by Riley Adams; the Piece of Cake Mysteries by Jacklyn Brady; the Tea Shop Mysteries by Laura Childs; and, the White House Chef Mysteries by Julie Hyzy. The vast majority of offerings within this female dominated sub-genre that has been labelled “Crime and Dine” (Collins online) are American, both in origin and setting. A significant contribution to this increasingly popular formula is, however, from an Australian author Kerry Greenwood. Food features within her famed Phryne Fisher Series with recipes included in A Question of Death (2007). Recipes also form part of Greenwood’s food-themed collection of short crime stories Recipes for Crime (1995), written with Jenny Pausacker. These nine stories, each one imitating the style of one of crime fiction’s greatest contributors (from Agatha Christie to Raymond Chandler), allow readers to simultaneously access mysteries and recipes. 2004 saw the first publication of Earthly Delights and the introduction of her character, Corinna Chapman. This series follows the adventures of a woman who gave up a career as an accountant to open her own bakery in Melbourne. Corinna also investigates the occasional murder. Recipes can be found at the end of each of these books with the Corinna Chapman Recipe Book (nd), filled with instructions for baking bread, muffins and tea cakes in addition to recipes for main courses such as risotto, goulash, and “Chicken with Pineapple 1971 Style”, available from the publisher’s website. Recipes: Integration and Segregation In Heartburn (1983), Rachel acknowledges that presenting a work of fiction and a collection of recipes within a single volume can present challenges, observing: “I see that I haven’t managed to work in any recipes for a while. It’s hard to work in recipes when you’re moving the plot forward” (99). How Rachel tells her story is, however, a reflection of how she undertakes her work, with her own cookbooks being, she admits, more narration than instruction: “The cookbooks I write do well. They’re very personal and chatty–they’re cookbooks in an almost incidental way. I write chapters about friends or relatives or trips or experiences, and work in the recipes peripherally” (17). Some authors integrate detailed recipes into their narratives through description and dialogue. An excellent example of this approach can be found in the Coffeehouse Mystery Series by Cleo Coyle, in the novel On What Grounds (2003). When the central protagonist is being questioned by police, Clare Cosi’s answers are interrupted by a flashback scene and instructions on how to make Greek coffee: Three ounces of water and one very heaped teaspoon of dark roast coffee per serving. (I used half Italian roast, and half Maracaibo––a lovely Venezuelan coffee, named after the country’s major port; rich in flavour, with delicate wine overtones.) / Water and finely ground beans both go into the ibrik together. The water is then brought to a boil over medium heat (37). This provides insight into Clare’s character; that, when under pressure, she focuses her mind on what she firmly believes to be true – not the information that she is doubtful of or a situation that she is struggling to understand. Yet breaking up the action within a novel in this way–particularly within crime fiction, a genre that is predominantly dependant upon generating tension and building the pacing of the plotting to the climax–is an unusual but ultimately successful style of writing. Inquiry and instruction are comfortable bedfellows; as the central protagonists within these works discover whodunit, the readers discover who committed murder as well as a little bit more about one of the world’s most popular beverages, thus highlighting how cookbooks and novels both serve to entertain and to educate. Many authors will save their recipes, serving them up at the end of a story. This can be seen in Julie Hyzy’s White House Chef Mystery novels, the cover of each volume in the series boasts that it “includes Recipes for a Complete Presidential Menu!” These menus, with detailed ingredients lists, instructions for cooking and options for serving, are segregated from the stories and appear at the end of each work. Yet other writers will deploy a hybrid approach such as the one seen in Like Water for Chocolate (1989), where the ingredients are listed at the commencement of each chapter and the preparation for the recipes form part of the narrative. This method of integration is also deployed in The Kitchen Daughter (2011), which sees most of the chapters introduced with a recipe card, those chapters then going on to deal with action in the kitchen. Using recipes as chapter breaks is a structure that has, very recently, been adopted by Australian celebrity chef, food writer, and, now fiction author, Ed Halmagyi, in his new work, which is both cookbook and novel, The Food Clock: A Year of Cooking Seasonally (2012). As people exchange recipes in reality, so too do fictional characters. The Recipe Club (2009), by Andrea Israel and Nancy Garfinkel, is the story of two friends, Lilly Stone and Valerie Rudman, which is structured as an epistolary novel. As they exchange feelings, ideas and news in their correspondence, they also exchange recipes: over eighty of them throughout the novel in e-mails and letters. In The Food of Love (2004), written messages between two of the main characters are also used to share recipes. In addition, readers are able to post their own recipes, inspired by this book and other works by Anthony Capella, on the author’s website. From Page to Plate Some readers are contributing to the burgeoning food tourism market by seeking out the meals from the pages of their favourite novels in bars, cafés, and restaurants around the world, expanding the idea of “map as menu” (Spang 79). In Shannon McKenna Schmidt’s and Joni Rendon’s guide to literary tourism, Novel Destinations (2009), there is an entire section, “Eat Your Words: Literary Places to Sip and Sup”, dedicated to beverages and food. The listings include details for John’s Grill, in San Francisco, which still has on the menu Sam Spade’s Lamb Chops, served with baked potato and sliced tomatoes: a meal enjoyed by author Dashiell Hammett and subsequently consumed by his well-known protagonist in The Maltese Falcon (193), and the Café de la Paix, in Paris, frequented by Ian Fleming’s James Bond because “the food was good enough and it amused him to watch the people” (197). Those wanting to follow in the footsteps of writers can go to Harry’s Bar, in Venice, where the likes of Marcel Proust, Sinclair Lewis, Somerset Maugham, Ernest Hemingway, and Truman Capote have all enjoyed a drink (195) or The Eagle and Child, in Oxford, which hosted the regular meetings of the Inklings––a group which included C.S. Lewis and J.R.R. Tolkien––in the wood-panelled Rabbit Room (203). A number of eateries have developed their own literary themes such as the Peaco*cks Tearooms, in Cambridgeshire, which blends their own teas. Readers who are also tea drinkers can indulge in the Sherlock Holmes (Earl Grey with Lapsang Souchong) and the Doctor Watson (Keemun and Darjeeling with Lapsang Souchong). Alternatively, readers may prefer to side with the criminal mind and indulge in the Moriarty (Black Chai with Star Anise, Pepper, Cinnamon, and Fennel) (Peaco*cks). The Moat Bar and Café, in Melbourne, situated in the basem*nt of the State Library of Victoria, caters “to the whimsy and fantasy of the fiction housed above” and even runs a book exchange program (The Moat). For those readers who are unable, or unwilling, to travel the globe in search of such savoury and sweet treats there is a wide variety of locally-based literary lunches and other meals, that bring together popular authors and wonderful food, routinely organised by book sellers, literature societies, and publishing houses. There are also many cookbooks now easily obtainable that make it possible to re-create fictional food at home. One of the many examples available is The Book Lover’s Cookbook (2003) by Shaunda Kennedy Wenger and Janet Kay Jensen, a work containing over three hundred pages of: Breakfasts; Main & Side Dishes; Soups; Salads; Appetizers, Breads & Other Finger Foods; Desserts; and Cookies & Other Sweets based on the pages of children’s books, literary classics, popular fiction, plays, poetry, and proverbs. If crime fiction is your preferred genre then you can turn to Jean Evans’s The Crime Lover’s Cookbook (2007), which features short stories in between the pages of recipes. There is also Estérelle Payany’s Recipe for Murder (2010) a beautifully illustrated volume that presents detailed instructions for Pigs in a Blanket based on the Big Bad Wolf’s appearance in The Three Little Pigs (44–7), and Roast Beef with Truffled Mashed Potatoes, which acknowledges Patrick Bateman’s fondness for fine dining in Bret Easton Ellis’s American Psycho (124–7). Conclusion Cookbooks and many popular fiction novels are reflections of each other in terms of creativity, function, and structure. In some instances the two forms are so closely entwined that a single volume will concurrently share a narrative while providing information about, and instruction, on cookery. Indeed, cooking in books is becoming so popular that the line that traditionally separated cookbooks from other types of books, such as romance or crime novels, is becoming increasingly distorted. The separation between food and fiction is further blurred by food tourism and how people strive to experience some of the foods found within fictional works at bars, cafés, and restaurants around the world or, create such experiences in their own homes using fiction-themed recipe books. Food has always been acknowledged as essential for life; books have long been acknowledged as food for thought and food for the soul. Thus food in both the real world and in the imagined world serves to nourish and sustain us in these ways. References Adams, Riley. Delicious and Suspicious. New York: Berkley, 2010. –– Finger Lickin’ Dead. New York: Berkley, 2011. –– Hickory Smoked Homicide. New York: Berkley, 2011. Baltazar, Lori. “A Novel About Food, Recipes Included [Book review].” Dessert Comes First. 28 Feb. 2012. 20 Aug. 2012 ‹http://dessertcomesfirst.com/archives/8644›. Berkeley, Anthony. The Poisoned Chocolates Case. London: Collins, 1929. Bishop, Claudia. Toast Mortem. New York: Berkley, 2010. –– Dread on Arrival. New York: Berkley, 2012. Brady, Jacklyn. A Sheetcake Named Desire. New York: Berkley, 2011. –– Cake on a Hot Tin Roof. New York: Berkley, 2012. Calta, Marialisa. “The Art of the Novel as Cookbook.” The New York Times. 17 Feb. 1993. 23 Jul. 2012 ‹http://www.nytimes.com/1993/02/17/style/the-art-of-the-novel-as-cookbook.html?pagewanted=all&src=pm›. Capella, Anthony. The Food of Love. London: Time Warner, 2004/2005. Carroll, Kent in Calta, Marialisa. “The Art of the Novel as Cookbook.” The New York Times. 17 Feb. 1993. 23 Jul. 2012 ‹http://www.nytimes.com/1993/02/17/style/the-art-of-the-novel-as-cookbook.html?pagewanted=all&src=pm›. Childs, Laura. Death by Darjeeling. New York: Berkley, 2001. –– Shades of Earl Grey. New York: Berkley, 2003. –– Blood Orange Brewing. New York: Berkley, 2006/2007. –– The Teaberry Strangler. New York: Berkley, 2010/2011. Collins, Glenn. “Your Favourite Fictional Crime Moments Involving Food.” The New York Times Diner’s Journal: Notes on Eating, Drinking and Cooking. 16 Jul. 2012. 17 Jul. 2012 ‹http://dinersjournal.blogs.nytimes.com/2012/07/16/your-favorite-fictional-crime-moments-involving-food›. Coyle, Cleo. On What Grounds. New York: Berkley, 2003. –– Murder Most Frothy. New York: Berkley, 2006. –– Holiday Grind. New York: Berkley, 2009/2010. –– Roast Mortem. New York: Berkley, 2010/2011. Christie, Agatha. A Pocket Full of Rye. London: Collins, 1953. Dahl, Roald. Lamb to the Slaughter: A Roald Dahl Short Story. New York: Penguin, 1953/2012. eBook. Dickens, Charles. Oliver Twist, or, the Parish Boy’s Progress. In Collection of Ancient and Modern British Authors, Vol. CCXXIX. Paris: Baudry’s European Library, 1838/1839. Duran, Nancy, and Karen MacDonald. “Information Sources for Food Studies Research.” Food, Culture and Society: An International Journal of Multidisciplinary Research 2.9 (2006): 233–43. Ephron, Nora. Heartburn. New York: Vintage, 1983/1996. Esquivel, Laura. Trans. Christensen, Carol, and Thomas Christensen. Like Water for Chocolate: A Novel in Monthly Instalments with Recipes, romances and home remedies. London: Black Swan, 1989/1993. Evans, Jeanne M. The Crime Lovers’s Cookbook. City: Happy Trails, 2007. Fluke, Joanne. Fudge Cupcake Murder. New York: Kensington, 2004. –– Key Lime Pie Murder. New York: Kensington, 2007. –– Cream Puff Murder. New York: Kensington, 2009. –– Apple Turnover Murder. New York: Kensington, 2010. Greenwood, Kerry, and Jenny Pausacker. Recipes for Crime. Carlton: McPhee Gribble, 1995. Greenwood, Kerry. The Corinna Chapman Recipe Book: Mouth-Watering Morsels to Make Your Man Melt, Recipes from Corinna Chapman, Baker and Reluctant Investigator. nd. 25 Aug. 2012 ‹http://www.allenandunwin.com/_uploads/documents/minisites/Corinna_recipebook.pdf›. –– A Question of Death: An Illustrated Phryne Fisher Treasury. Crows Nest: Allen & Unwin, 2007. Halmagyi, Ed. The Food Clock: A Year of Cooking Seasonally. Sydney: Harper Collins, 2012. Haywood, B. B. Town in a Blueberry Jam. New York: Berkley, 2010. –– Town in a Lobster Stew. New York: Berkley, 2011. –– Town in a Wild Moose Chase. New York: Berkley, 2012. Hyzy, Julie. State of the Onion. New York: Berkley, 2008. –– Hail to the Chef. New York: Berkley, 2008. –– Eggsecutive Orders. New York: Berkley, 2010. –– Buffalo West Wing. New York: Berkley, 2011. –– Affairs of Steak. New York: Berkley, 2012. Israel, Andrea, and Nancy Garfinkel, with Melissa Clark. The Recipe Club: A Novel About Food And Friendship. New York: HarperCollins, 2009. McHenry, Jael. The Kitchen Daughter: A Novel. New York: Gallery, 2011. Mitchell, Margaret. Gone With the Wind. London: Pan, 1936/1974 O’Reilly, Brian, with Virginia O’Reilly. Angelina’s Bachelors: A Novel, with Food. New York: Gallery, 2011. Payany, Estérelle. Recipe for Murder: Frightfully Good Food Inspired by Fiction. Paris: Flammarion, 2010. Peaco*cks Tearooms. Peaco*cks Tearooms: Our Unique Selection of Teas. 23 Aug. 2012 ‹http://www.peaco*ckstearoom.co.uk/teas/page1.asp›. Piatti-Farnell, Lorna. “A Taste of Conflict: Food, History and Popular Culture In Katherine Mansfield’s Fiction.” Australasian Journal of Popular Culture 2.1 (2012): 79–91. Risson, Toni, and Donna Lee Brien. “Editors’ Letter: That Takes the Cake: A Slice Of Australasian Food Studies Scholarship.” Australasian Journal of Popular Culture 2.1 (2012): 3–7. Sayers, Dorothy L. Strong Poison. London: Hodder and Stoughton, 1930/2003. Schmidt, Shannon McKenna, and Joni Rendon. Novel Destinations: Literary Landmarks from Jane Austen’s Bath to Ernest Hemingway’s Key West. Washington, DC: National Geographic, 2009. Shange, Ntozake. Sassafrass, Cypress and Indigo: A Novel. New York: St Martin’s, 1982. Spang, Rebecca L. “All the World’s A Restaurant: On The Global Gastronomics Of Tourism and Travel.” In Raymond Grew (Ed). Food in Global History. Boulder, Colorado: Westview Press, 1999. 79–91. Taylor, Timothy. “Food/Crime Fiction.” Timothy Taylor. 2010. 17 Jul. 2012 ‹http://www.timothytaylor.ca/10/08/20/foodcrime-fiction›. The Moat Bar and Café. The Moat Bar and Café: Welcome. nd. 23 Aug. 2012 ‹http://themoat.com.au/Welcome.html›. Wenger, Shaunda Kennedy, and Janet Kay Jensen. The Book Lover’s Cookbook: Recipes Inspired by Celebrated Works of Literature, and the Passages that Feature Them. New York: Ballantine, 2003/2005.

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Abstract:

Introduction This article situates the dark as a liminal and creative space of experimentation where tensions are generative and people tinker with emerging technologies to create alternative futures. Darkness need not mean chaos and fear of violence – it can mean privacy and protection. We define dark as an experimental space based upon uncertainties rather than computational knowns (Bridle) and then demonstrate via a case study of cryptocurrencies the contribution of dark and liminal social spaces to future(s)-making. Cryptocurrencies are digital cash systems that use decentralised (peer-to-peer) networking to enable irreversible payments (Maurer, Nelms, and Swartz). Cryptocurrencies are often clones or variations on the ‘original’ Bitcoin payment systems protocol (Trump et al.) that was shared with the cryptographic community through a pseudonymous and still unknown author(s) (Nakamoto), creating a founder mystery. Due to the open creation process, a new cryptocurrency is relatively easy to make. However, many of them are based on speculative bubbles that mirror Bitcoin, Ethereum, and ICOs’ wealth creation. Examples of cryptocurrencies now largely used for speculation due to their volatility in holding value are rampant, with online clearing houses competing to trade hundreds of different assets from AAVE to ZIL. Many of these altcoins have little to no following or trading volume, leading to their obsolescence. Others enjoy immense popularity among dedicated communities of backers and investors. Consequently, while many cryptocurrency experiments fail or lack adoption and drop from the purview of history, their constant variation also contributes to the undertow of the future that pulls against more visible surface waves of computational progress. The article is structured to first define how we understand and leverage ‘dark’ against computational cultures. We then apply thematic and analytical tactics to articulate future-making socio-technical experiments in the dark. Based on past empirical work of the authors (Maddox "Netnography") we focus on crypto-cultures’ complex emancipatory and normative tensions via themes of construction, disruption, contention, redirection, obsolescence, and iteration. Through these themes we illustrate the mutation and absorption of dark experimental spaces into larger social structures. The themes we identify are not meant as a complete or necessarily serial set of occurrences, but nonetheless contribute a new vocabulary for students of technology and media to see into and grapple with the dark. Embracing the Dark: Prework & Analytical Tactics for Outside the Known To frame discussion of the dark here as creative space for alternative futures, we focus on scholars who have deeply engaged with notions of socio-technical darkness. This allows us to explore outside the blinders of computational light and, with a nod to Sassen, dig in the shadows of known categories to evolve the analytical tactics required for the study of emerging socio-technical conditions. We understand the Dark Web to usher shifting and multiple definitions of darkness, from a moral darkness to a technical one (Gehl). From this work, we draw the observation of how technologies that obfuscate digital tracking create novel capacities for digital cultures in spaces defined by anonymity for both publisher and user. Darknets accomplish this by overlaying open internet protocols (e.g. TCP/IP) with non-standard protocols that encrypt and anonymise information (Pace). Pace traces concepts of darknets to networks in the 1970s that were 'insulated’ from the internet’s predecessor ARPANET by air gap, and then reemerged as software protocols similarly insulated from cultural norms around intellectual property. ‘Darknets’ can also be considered in ternary as opposed to binary terms (Gehl and McKelvey) that push to make private that which is supposed to be public infrastructure, and push private platforms (e.g. a Personal Computer) to make public networks via common bandwidth. In this way, darknets feed new possibilities of communication from both common infrastructures and individual’s platforms. Enabling new potentials of community online and out of sight serves to signal what the dark accomplishes for the social when measured against an otherwise unending light of computational society. To this point, a new dark age can be welcomed insofar it allows an undecided future outside of computational logics that continually define and refine the possible and probable (Bridle). This argument takes von Neumann’s 1945 declaration that “all stable processes we shall predict. All unstable processes we shall control” (in Bridle 21) as a founding statement for computational thought and indicative of current society. The hope expressed by Bridle is not an absence of knowledge, but an absence of knowing the future. Past the computational prison of total information awareness within an accelerating information age (Castells) is the promise of new formations of as yet unknowable life. Thus, from Bridle’s perspective, and ours, darkness can be a place of freedom and possibility, where the equality of being in the dark, together, is not as threatening as current privileged ways of thinking would suggest (Bridle 15). The consequences of living in a constant glaring light lead to data hierarchies “leaching” (Bridle) into everything, including social relationships, where our data are relationalised while our relations are datafied (Maddox and Heemsbergen) by enforcing computational thinking upon them. Darkness becomes a refuge that acknowledges the power of unknowing, and a return to potential for social, equitable, and reciprocal relations. This is not to say that we envision a utopian life without the shadow of hierarchy, but rather an encouragement to dig into those shadows made visible only by the brightest of lights. The idea of digging in the shadows is borrowed from Saskia Sassen, who asks us to consider the ‘master categories’ that blind us to alternatives. According to Sassen (402), while master categories have the power to illuminate, their blinding power keeps us from seeing other presences in the landscape: “they produce, then, a vast penumbra around that center of light. It is in that penumbra that we need to go digging”. We see darkness in the age of digital ubiquity as rejecting the blinding ‘master category’ of computational thought. Computational thought defines social/economic/political life via what is static enough to predict or unstable enough to render a need to control. Otherwise, the observable, computable, knowable, and possible all follow in line. Our dig in the shadows posits a penumbra of protocols – both of computational code and human practice – that circle the blinding light of known digital communications. We use the remainder of this short article to describe these themes found in the dark that offer new ways to understand the movements and moments of potential futures that remain largely unseen. Thematic Resonances in the Dark This section considers cryptocultures of the dark. We build from a thematic vocabulary that has been previously introduced from empirical examples of the crypto-market communities which tinker with and through the darkness provided by encryption and privacy technologies (Maddox "Netnography"). Here we refine these future-making themes through their application to events surrounding community-generated technology aimed at disrupting centralised banking systems: cryptocurrencies (Maddox, Singh, et al.). Given the overlaps in collective values and technologies between crypto-communities, we find it useful to test the relevance of these themes to the experimental dynamics surrounding cryptocurrencies. We unpack these dynamics as construction, rupture and disruption, redirection, and the flip-sided relationship between obsolescence and iteration leading to mutation and absorption. This section provides a working example for how these themes adapt in application to a community dwelling at the edge of experimental technological possibilities. The theme of construction is both a beginning and a materialisation of a value field. It originates within the cyberlibertarians’ ideological stance towards using technological innovations to ‘create a new world in the shell of the old’ (van de Sande) which has been previously expressed through the concept of constructive activism (Maddox, Barratt, et al.). This libertarian ideology is also to be found in the early cultures that gave rise to cryptocurrencies. Through their interest in the potential of cryptography technologies related to social and political change, the Cypherpunks mailing list formed in 1992 (Swartz). The socio-cultural field surrounding cryptocurrencies, however, has always consisted of a diverse ecosystem of vested interests building collaborations from “goldbugs, hippies, anarchists, cyberpunks, cryptographers, payment systems experts, currency activists, commodity traders, and the curious” (Maurer, Nelms, and Swartz 262). Through the theme of construction we can consider architectures of collaboration, cooperation, and coordination developed by technically savvy populations. Cryptocurrencies are often developed as code by teams who build in mechanisms for issuance (e.g. ‘mining’) and other controls (Conway). Thus, construction and making of cryptocurrencies tend to be collective yet decentralised. Cryptocurrencies arose during a time of increasing levels of distrust in governments and global financial instability from the Global Financial Crisis (2008-2013), whilst gaining traction through their usefulness in engaging in illicit trade (Saiedi, Broström, and Ruiz). It was through this rupture in the certainties of ‘the old system’ that this technology, and the community developing it, sought to disrupt the financial system (Maddox, Singh, et al.; Nelms et al.). Here we see the utility of the second theme of rupture and disruption to illustrate creative experimentation in the liminal and emergent spaces cryptocurrencies afford. While current crypto crazes (e.g. NFTs, ICOs) have their detractors, Cohen suggests, somewhat ironically, that the momentum for change of the crypto current was “driven by the grassroots, and technologically empowered, movement to confront the ills perceived to be powered and exacerbated by market-based capitalism, such as climate change and income inequality” (Cohen 739). Here we can start to envision how subterranean currents that emerge from creative experimentations in the dark impact global social forces in multifaceted ways – even as they are dragged into the light. Within a disrupted environment characterised by rupture, contention and redirection is rife (Maddox "Disrupting"). Contention and redirection illustrate how competing agendas bump and grind to create a generative tension around a deep collective desire for social change. Contention often emerges within an environment of hacks and scams, of which there are many stories in the cryptocurrency world (see Bartlett for an example of OneCoin, for instance; Kavanagh, Miscione, and Ennis). Other aspects of contention emerge around how the technology works to produce (mint) cryptocurrencies, including concern over the environmental impact of producing cryptocurrencies (Goodkind, Jones, and Berrens) and the production of non-fungible tokens for the sale of digital assets (Howson). Contention also arises through the gendered social dynamics of brogramming culture skewing inclusive and diverse engagement (Bowles). Shifting from the ideal of inclusion to the actual practice of crypto-communities begs the question of whose futures are being made. Contention and redirections are also evidenced by ‘hard forks’ in cryptocurrency. The founder mystery resulted in the gifting of this technology to a decentralised and leaderless community, materialised through the distributed consensus processes to approve software updates to a cryptocurrency. This consensus system consequently holds within it the seeds for governance failures (Trump et al.), the first of which occurred with the ‘hard forking’ of Bitcoin into Bitcoin cash in 2017 (Webb). Hard forks occur when developers and miners no longer agree on a proposed change to the software: one group upgraded to the new software while the others operated on the old rules. The resulting two separate blockchains and digital currencies concretised the tensions and disagreements within the community. This forking resulted initially in a shock to the market value of, and trust in, the Bitcoin network, and the dilution of adoption networks across the two cryptocurrencies. The ongoing hard forks of Bitcoin Cash illustrate the continued contention occurring within the community as crypto-personalities pit against each other (Hankin; Li). As these examples show, not all experiments in cryptocurrencies are successful; some become obsolete through iteration (Arnold). Iteration engenders mutations in the cultural framing of socio-technical experiments. These mutations of meaning and signification then facilitate their absorption into novel futures, showing the ternary nature of how what happens in the dark works with what is known by the light. As a rhetorical device, cryptocurrencies have been referred to as a currency (a payment system) or a commodity (an investment or speculation vehicle; Nelms et al. 21). However, new potential applications for the underlying technologies continue emerge. For example, Ethereum, the second-most dominant cryptocurrency after Bitcoin, now offers smart contract technology (decentralised autonomous organisations, DAO; Kavanagh, Miscione, and Ennis) and is iterating technology to dramatically reduce the energy consumption required to mine and mint the non-fungible tokens (NFTs) associated with crypto art (Wintermeyer). Here we can see how these rhetorical framings may represent iterative shifts and meaning-mutation that is as pragmatic as it is cultural. While we have considered here the themes of obsolescence and iteration threaded through the technological differentiations amongst cryptocurrencies, what should we make of these rhetorical or cultural mutations? This cultural mutation, we argue, can be seen most clearly in the resurgence of Dogecoin. Dogecoin is a cryptocurrency launched in 2013 that takes its name and logo from a Shiba Inu meme that was popular several years ago (Potts and Berg). We can consider Dogecoin as a playful infrastructure (Rennie) and cultural product that was initially designed to provide a low bar for entry into the market. Its affordability is kept in place by the ability for miners to mint an unlimited number of coins. Dogecoin had a large resurgence of value and interest just after the meme-centric Reddit community Wallstreetbets managed to drive the share price of video game retailer GameStop to gain 1,500% (Potts and Berg). In this instance we see the mutation of a cryptocurrency into memecoin, or cultural product, for which the value is a prism to the wild fluctuations of internet culture itself, linking cultural bubbles to financial ones. In this case, technologies iterated in the dark mutated and surfaced as cultural bubbles through playful infrastructures that intersected with financial systems. The story of dogecoin articulates how cultural mutation articulates the absorption of emerging techno-potentials into larger structures. Conclusion From creative experiments digging in the dark shadows of global socio-economic forces, we can see how the future is formed beneath the surface of computational light. Yet as we write, cryptocurrencies are being absorbed by centralising and powerful entities to integrate them into global economies. Examples of large institutions hoarding Bitcoin include the crypto-counterbalancing between the Chinese state through its digital currency DCEP (Vincent) and Facebook through the Libra project. Vincent observes that the state-backed DCEP project is the antithesis of the decentralised community agenda for cryptocurrencies to enact the separation of state and money. Meanwhile, Facebook’s centralised computational control of platforms used by 2.8 billion humans provide a similarly perverse addition to cryptocurrency cultures. The penumbra fades as computational logic shifts its gaze. Our thematic exploration of cryptocurrencies highlights that it is only in their emergent forms that such radical creative experiments can dwell in the dark. They do not stay in the dark forever, as their absorption into larger systems becomes part of the future-making process. The cold, inextricable, and always impending computational logic of the current age suffocates creative experimentations that flourish in the dark. Therefore, it is crucial to tend to the uncertainties within the warm, damp, and dark liminal spaces of socio-technical experimentation. References Arnold, Michael. "On the Phenomenology of Technology: The 'Janus-Faces' of Mobile Phones." Information and Organization 13.4 (2003): 231-56. Bartlett, Jamie. 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"Bugging Out: Darknets as Parasites of Large-Scale Media Objects." Media, Culture & Society 41.2 (2019): 219-35. Goodkind, Andrew L., Benjamin A. Jones, and Robert P. Berrens. "Cryptodamages: Monetary Value Estimates of the Air Pollution and Human Health Impacts of Cryptocurrency Mining." Energy Research & Social Science 59 (2020): 101281. Hankin, Aaron. "What You Need to Know about the Bitcoin Cash ‘Hard Fork’." MarketWatch 13 Nov. 2018. 21 Apr. 2021 <https://www.marketwatch.com/story/what-you-need-to-know-about-the-bitcoin-cash-hard-fork-2018-11-13>. Howson, Peter. "NFTs: Why Digital Art Has Such a Massive Carbon Footprint." The Conversation April 2021. 21 Apr. 2021 <https://theconversation.com/nfts-why-digital-art-has-such-a-massive-carbon-footprint-158077>. Kavanagh, Donncha, Gianluca Miscione, and Paul J. Ennis. "The Bitcoin Game: Ethno-Resonance as Method." Organization (2019): 1-20. Li, Shine. 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Maddox, Alexia, Supriya Singh, Heather Horst, and Greg Adamson. "An Ethnography of Bitcoin: Towards a Future Research Agenda." Australian Journal of Telecommunications and the Digital Economy 4.1 (2016): 65-78. Maurer, Bill, Taylor C. Nelms, and Lana Swartz. "'When Perhaps the Real Problem Is Money Itself!': The Practical Materiality of Bitcoin." Social Semiotics 23.2 (2013): 261-77. Nakamoto, Satoshi. "Bitcoin: A Peer-to-Peer Electronic Cash System." Bitcoin.org 2008. 21 Apr. 2021 <https://bitcoin.org/bitcoin.pdf>. Nelms, Taylor C., et al. "Social Payments: Innovation, Trust, Bitcoin, and the Sharing Economy." Theory, Culture & Society 35.3 (2018): 13-33. Pace, Jonathan. "Exchange Relations on the Dark Web." Critical Studies in Media Communication 34.1 (2017): 1-13. Potts, Jason, and Chris Berg. "After Gamestop, the Rise of Dogecoin Shows Us How Memes Can Move Market." The Conversation Feb. 2021. 21 Apr. 2021 <https://theconversation.com/after-gamestop-the-rise-of-dogecoin-shows-us-how-memes-can-move-markets-154470>. Rennie, Ellie. "The Governance of Degenerates Part II: Into the Liquidityborg." Medium Nov. 2020. 21 Apr. 2021 <https://ellierennie.medium.com/the-governance-of-degenerates-part-ii-into-the-liquidityborg-463889fc4d82>. Saiedi, Ed, Anders Broström, and Felipe Ruiz. "Global Drivers of Cryptocurrency Infrastructure Adoption." Small Business Economics (Mar. 2020). Sassen, Saskia. "Digging in the Penumbra of Master Categories." British Journal of Sociology 56.3 (2005): 401-03. Swartz, Lana. "What Was Bitcoin, What Will It Be? The Techno-Economic Imaginaries of a New Money Technology." Cultural Studies 32.4 (2018): 623-50. Trump, Benjamin D., et al. "Cryptocurrency: Governance for What Was Meant to Be Ungovernable." Environment Systems and Decisions 38.3 (2018): 426-30. Van de Sande, Mathijs. "Fighting with Tools: Prefiguration and Radical Politics in the Twenty-First Century." Rethinking Marxism 27.2 (2015): 177-94. Vincent, Danny. "'One Day Everyone Will Use China's Digital Currency'." BBC News Sep. 2020. 19 Feb. 2021 <https://www.bbc.com/news/business-54261382>. Webb, Nick. "A Fork in the Blockchain: Income Tax and the Bitcoin/Bitcoin Cash Hard Fork." North Carolina Journal of Law & Technology 19.4 (2018): 283-311. Wintermeyer, Lawrence. "Climate-Positive Crypto Art: The Next Big Thing or NFT Overreach." Forbes 19 Mar. 2021. 21 Apr. 2021 <https://www.forbes.com/sites/lawrencewintermeyer/2021/03/19/climate-positive-crypto-art-the-next-big-thing-or-nft-overreach/>.

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Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Architecture were contested on pragmatic grounds, such as cost, brief and particularly concerning issues of suitability and effectiveness in relation to climate and weather. A number of famed cases resulted in legal action between clients and architects, and in many more examples historians have critically framed these accounts to highlight alternate issues and agendas. “Complaints about the weather,” in relation to architecture, inevitably raise issues regarding a work’s “success,” particularly in view of the tensions between artistry and functionality inherent in the discipline of architecture. While in more recent decades these ideas have been framed around ideas of sustainability—particularly in relation to contemporary buildings—more traditionally they have been engaged through discussions of an architect’s ethical responsibility to deliver a habitable building that meets the client’s needs. This paper suggests these complaints often raise a broader range of issues and are used to highlight tensions inherent in the discipline. In the history of Modern Architecture, these complaints are often framed through gender studies, ethics and, more recently, artistic asceticism. Accounts of complaints and disputes are often invoked in the social construction (or deconstruction) of artistic genius – whether in a positive or negative light. Through its discussion of a number of famed examples, this paper will discuss the framing of climate in relation to the figure of the Modern Architect and the reception of the architectural “masterpiece.” Dear Monsieur Le Corbusier … In June 1930 Mme Savoye, the patron of the famed Villa Savoye on the outskirts of Paris, wrote to her architect, Le Corbusier, stating: “it is still raining in our garage” (Sbriglio 144)—a persistent theme in their correspondence. This letter followed another sent in March after discovering leaks in the garage and several bedrooms following a visit during inclement weather. While sent prior to the building’s completion, she also noted that rainfall on the bathroom skylight “makes a terrible noise […] which prevents us from sleeping in bad weather” (Sbriglio 142). Claiming to have warned Le Corbusier about the concern, the contractor refused to accept responsibility, prompting some rather fiery correspondence between the two. This problem, compounded by issues with the heating system, resulted in the house feeling, as Sbriglio notes, “cold and damp” and subject to “substantial heat loss due to the large glazing”—a cause for particular concern given the health problems of the clients’ only child, Roger Savoye, that saw him spend time in a French Sanatorium (Sbriglio 145). While the cause of Roger’s illness is not clear, at least one writer (albeit with a noticeable lack of footnotes or supporting evidence) has linked this directly to the villa (de Botton 65). Mme Savoye’s complaints about dampness, humidity, condensation and leaking in her home persisted in subsequent years, prompting Benton to summarise in 1987, “every autumn […] there were cries of distress from the Savoye family with the first rains” (Villas 204). These also extended to discussion of the heating system, which while proving insufficient was also causing flooding (Benton, "Villa" 93). In 1935 Savoye again wrote to Le Corbusier, wearily stating: It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked [….] it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through. (Sbriglio 146-7) Savoye’s understandable vexation with waterproofing problems in her home continued to escalate. With a mixture of gratitude and frustration, a letter sent two years later stated: “After innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…. Please render it inhabitable immediately. I sincerely hope that I will not have to take recourse to legal action” (Sbriglio 147). Paradoxically, Le Corbusier was interested in the potential of architecture and urban planning to facilitate health and well-being, as well as the effects that climate may play in this. Early twentieth century medical thought advocated heliotherary (therapeutic exposure to sunlight) for a diverse range of medical conditions, ranging from rickets to tuberculosis. Similarly the health benefits of climate, such as the dryness of mountain air, had been recognised for much longer, and had led to burgeoning industries associated with health, travel and climate. The dangers of damp environments had also long been medically recognised. Le Corbusier’s awareness of the health benefits of sunshine led to the inclusion of a solarium in the villa that afforded both framed and unframed views of the surrounding countryside, such as those that were advocated in the seventeenth century as an antidote to melancholy (Burton 65-66). Both Benton and Sbriglio present Mme Savoye’s complaints as part of their comprehensive histories of an important and influential work of Modern Architecture. Each reproduce excerpts from archival letters that are not widely translated or accessible, and Benton’s 1984 essay is the source other authors generally cite in discussing these matters. In contrast, for example, Murphy’s 2002 account of the villa’s conversion from “house” to “historical monument” cites the same letters (via Benton) as part of a broader argument that highlights the “undomestic” or “unhomely” nature of the work by cataloguing such accounts of the client’s experience of discomfort while residing in the space – thus revisiting a number of common criticisms of Modern Architecture. Le Corbusier’s reputation for designing buildings that responded poorly to climate is often referenced in popular accounts of his work. For example, a 1935 article published in Time states: Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in.” Reference to these issues are usually made rather minimally in academic accounts of his work, and few would agree with this article’s assertion that Le Corbusier’s influence as a phrasemaker would rival the impact of his architecture. In contrast, such issues, in relation to other architects, are often invoked more rhetorically as part of a variety of historical agendas, particularly in constructing feminist histories of architecture. While Corbusier and his work have often been the source of intellectual contention from feminist scholars—for example in regard to authorial disputes and fractious relationships with the likes of Eileen Gray or Charlotte Perriand – discussion of the functional failures in the Villa Savoye are rarely addressed from this perspective. Rather, feminist scholars have focussed their attention on a number of other projects, most notably the case of the Farnsworth House, another canonical work of Modernism. Dear Herr Mies van der Rohe … Mies van der Rohe’s Farnsworth House, completed in 1951 in Plano Illinois, was commissioned as a country weekend residence by an unmarried female doctor, a brief credited with freeing the architect from many of the usual pragmatic requirements of a permanent city residence. In response Mies designed a rectilinear steel and glass pavilion, which hovered (to avoid the flood levels) above the landscape, sheltered by maple trees, in close proximity to the Fox River. The refined architectural detail, elegant formal properties, and poetic relationship with the surrounding landscape – whether in its autumnal splendour or covered in a thick blanket of snow – captivated architects seeing it become, like the Villa Savoye, one of the most revered architectural works of the twentieth century. Prior to construction a model was exhibited in the Museum of Modern Art in New York and, upon completion the building became a pilgrimage site for architects and admirers. The exhibition of the design later fuelled debate about whether Dr Farnsworth constituted a patron or a client (Friedman 134); a distinction generating very different expectations for the responsibilities of the architect, particularly regarding the production of a habitable home that met the client’s brief versus producing a design of architectural merit. The house was intended as a frame for viewing and contemplating nature, thus seeing nature and climate aligned with the transcendental qualities of the design. Following a visit during construction, Farnsworth described the building’s relationship to the elements, writing: “the two horizontal planes of the unfinished building, floating over the meadows, were unearthly beautiful under a sun which glowed like a wild rose” (5). Similarly, in 1951, Arthur Drexler described the building as “a quantity of air caught between a floor and a roof” (Vandenberg 6). Seven years later the architect himself asserted that nature “gained a more profound significance” when viewed from within the house (Friedman 139). While the transparency of the house was “forgiven” by its isolated location and the lack of visibility from neighbouring properties, the issues a glass and steel box might pose for the thermal comfort of its occupant are not difficult to imagine. Following the house’s completion, Farnsworth fitted windows with insect screens and blinds (although Mies intended for curtains to be installed) that clumsily undermined the refined and minimalistic architectural details. Controversy surrounding the house was, in part, the result of its bold new architectural language. However, it was also due to the architect-client relationship, which turned acrimonious in a very public manner. A dispute between Mies and Farnsworth regarding unpaid fees was fought both in the courtroom and the media, becoming a forum for broader debate as various journals (for example, House Beautiful), publicly took sides. The professional female client versus the male architect and the framing of their dispute by historians and the media has seen this project become a seminal case-study in feminist architectural histories, such as Friedman’s Women and the Making of the Modern House of 1998. Beyond the conflict and speculation about the individuals involved, at the core of these discussions were the inadequacies of the project in relation to comfort and climate. For example, Farnsworth describes in her journal finding the house awash with several inches of water, leading to a court session being convened on the rooftop in order to properly ascertain the defects (14). Written retrospectively, after their relationship soured, Farnsworth’s journal delights in recounting any errors or misjudgements made by Mies during construction. For example, she described testing the fireplace to find “the house was sealed so hermetically that the attempt of a flame to go up the chimney caused an interior negative pressure” (2). Further, her growing disenchantment was reflected in bleak descriptions aligning the building with the weather. Describing her first night camping in her home, she wrote: “the expanses of the glass walls and the sills were covered with ice. The silent meadows outside white with old and hardened snow reflected the bleak [light] bulb within, as if the glass house itself were an unshaded bulb of uncalculated watts lighting the winter plains” (9). In an April 1953 article in House Beautiful, Elizabeth Gordon publicly sided with Farnsworth as part of a broader campaign against the International Style. She condemned the home, and its ‘type’ as “unlivable”, writing: “You burn up in the summer and freeze in the winter, because nothing must interfere with the ‘pure’ form of their rectangles” (250). Gordon included the lack of “overhanging roofs to shade you from the sun” among a catalogue of “human qualities” she believed architects sacrificed for the expression of composition—a list that also included possessions, children, pets and adequate kitchen facilities (250). In 1998 excerpts from this article were reproduced by Friedman, in her seminal work of feminist architectural history, and were central in her discussion of the way that debates surrounding this house were framed through notions of gender. Responding to this conflict, and its media coverage, in 1960 Peter Blake wrote: All great houses by great architects tend to be somewhat impractical; many of Corbu’s and Wright’s house clients find that they are living in too expensive and too inefficient buildings. Yet many of these clients would never exchange their houses for the most workable piece of mediocrity. (88) Far from complaining about the weather, the writings of its second owner, Peter Palumbo, poetically meditate the building’s relationship to the seasons and the elements. In his foreword to a 2003 monograph, he wrote: life inside the house is very much a balance with nature, and an extension of nature. A change in the season or an alteration of the landscape creates a marked change in the mood inside the house. With an electric storm of Wagnerian proportions illuminating the night sky and shaking the foundations of the house to their very core, it is possible to remain quite dry! When, with the melting snows of spring, the Fox River becomes a roaring torrent that bursts its banks, the house assumes a character of a house-boat, the water level sometimes rising perilously close to the front door. On such occasions, the approach to the house is by canoe, which is tied to the steps of the upper terrace. (Vandenberg 5) Palumbo purchased the house from Farnsworth and commissioned Mies’s grandson to restore it to its original condition, removing the blinds and insect screens, and installing an air-conditioning system. The critical positioning of Palumbo has been quite different from that of Farnsworth. His restoration and writings on the project have in some ways seen him positioned as the “real” architectural patron. Furthermore, his willingness to tolerate some discomfort in his inhabitation has seen him in some ways prefigure the type of resident that will be next be discussed in reference to recent owners of Wright properties. Dear Mr Wright … Accounts of weatherproofing problems in buildings designed by Frank Lloyd Wright have become the basis of mythology in the architectural discipline. For example, in 1936 Herbert Johnson and J. Vernon Steinle visited Wright’s Richard Lloyd Jones house in Oklahoma. As Jonathan Lipman wrote, “Steinle’s most prominent recollection of the house was that there were scores of tubs and canning jars in the house catching water leaking through the roof” (45). While Lipman notes the irony that both the house and office Wright designed for Johnson would suffer the same problem, it is the anecdotal accounts of the former that have perhaps attracted the most interest. An oft-recounted story tells of Johnson telephoning Wright, during a dinner party, with regard to water dripping from the ceiling into his guest-of-honour’s soup; the complaint was reportedly rebuffed unsympathetically by Wright who suggested the lady should move her chair (Farr 272). Wright himself addressed his reputation for designing buildings that leaked in his Autobiography. In reference to La Miniatura in Pasadena, of 1923, he contextualised difficulties with the local climate, which he suggested was prone to causing leaks, writing: “The sun bakes the roof for eleven months, two weeks and five days, shrinking it to a shrivel. Then giving the roof no warning whatever to get back to normal if it could, the clouds burst. Unsuspecting roof surfaces are deluged by a three inch downpour.” He continued, stating: I knew all this. And I know there are more leaking roofs in Southern California than in all the rest of the world put together. I knew that the citizens come to look upon water thus in a singularly ungrateful mood. I knew that water is all that enables them to have their being there, but let any of it through on them from above, unexpectedly, in their houses and they go mad. It is a kind of phobia. I knew all this and I have taken seriously precautions in the details of this little house to avoid such scenes as a result of negligible roofs. This is the truth. (250) Wright was quick to attribute blame—directed squarely at the builder. Never one for quiet diplomacy, he complained that the “builder had lied to [him] about the flashing under and within the coping walls” (250) and he was ignorant of the incident because the client had not informed him of the leak. He suggested the client’s silence was undoubtedly due to her “not wishing to hurt [his] feelings”. Although given earlier statements it might be speculated that she did not wish to be accused of pandering to a phobia of leaks. Wright was dismissive of the client’s inconvenience, suggesting she would be able to continue as normal until the next rains the following year and claiming he “fixed the house” once he “found out about it” (250). Implicit in this justification was the idea that it was not unreasonable to expect the client to bear a few days of “discomfort” each year in tolerance of the local climate. In true Wright style, discussions of these problems in his autobiography were self-constructive concessions. While Wright refused to take responsibility for climate-related issues in La Minatura, he was more forthcoming in appreciating the triumphs of his Imperial Hotel in Japan—one of the only buildings in the vicinity to survive the 1923 earthquake. In a chapter of his autobiography titled “Building against Doomsday (Why the Great Earthquake did not destroy the Imperial Hotel),” Wright reproduced a telegram sent by Okura Impeho stating: “Hotel stands undamaged as monument of your genius hundreds of homeless provided perfectly maintained service. Congratulations” (222). Far from unconcerned by nature or climate, Wright’s works celebrated and often went to great effort to accommodate the poetic qualities of these. In reference to his own home, Taliesin, Wright wrote: I wanted a home where icicles by invitation might beautify the eaves. So there were no gutters. And when the snow piled deep on the roofs […] icicles came to hang staccato from the eaves. Prismatic crystal pendants sometimes six feet long, glittered between the landscape and the eyes inside. Taliesin in winter was a frosted palace roofed and walled with snow, hung with iridescent fringes. (173) This description was, in part, included as a demonstration of his “superior” understanding and appreciation of nature and its poetic possibilities; an understanding not always mirrored by his clients. Discussing the Lloyd Lewis House in Libertyville, Illinois of 1939, Wright described his endeavours to keep the house comfortable (and avoid flooding) in Spring, Autumn and Summer months which, he conceded, left the house more vulnerable to winter conditions. Utilising an underfloor heating system, which he argued created a more healthful natural climate rather than an “artificial condition,” he conceded this may feel inadequate upon first entering the space (495). Following the client’s complaints that this system and the fireplace were insufficient, particularly in comparison with the temperature levels he was accustomed to in his workplace (at The Daily News), Wright playfully wrote: I thought of various ways of keeping the writer warm, I thought of wiring him to an electric pad inside his vest, allowing lots of lead wire so he could get around. But he waved the idea aside with contempt. […] Then I suggested we appeal to Secretary Knox to turn down the heat at the daily news […] so he could become acclimated. (497) Due to the client’s disinclination to bear this discomfort or use any such alternate schemes, Wright reluctantly refit the house with double-glazing (at the clients expense). In such cases, discussion of leaks or thermal discomfort were not always negative, but were cited rhetorically implying that perfunctory building techniques were not yet advanced enough to meet the architect’s expectations, or that their creative abilities were suppressed by conservative or difficult clients. Thus discussions of building failures have often been invoked in the social construction of the “architect-genius.” Interestingly accounts of the permeability of Wright’s buildings are more often included in biographical rather that architectural writings. In recent years, these accounts of weatherproofing problems have transformed from accusing letters or statements implying failure to a “badge of honour” among occupants who endure discomfort for the sake of art. This changing perspective is usually more pronounced in second generation owners, like Peter Palumbo (who has also owned Corbusier and Wright designed homes), who are either more aware of the potential problems in owning such a house or are more tolerant given an understanding of the historical worth of these projects. This is nowhere more evident than in a profile published in the real estate section of the New York Times. Rather than concealing these issues to preserve the resale value of the property, weatherproofing problems are presented as an endearing quirk. The new owners of Wright’s Prefab No. 1 of 1959, on Staten Island declared they initially did not have enough pots to place under the fifty separate leaks in their home, but in December 2005 proudly boasted they were ‘down to only one leak’ (Bernstein, "Living"). Similarly, in 2003 the resident of a Long Island Wright-designed property, optimistically claimed that while his children often complained their bedrooms were uncomfortably cold, this encouraged the family to spend more time in the warmer communal spaces (Bernstein, "In a House"). This client, more than simply optimistic, (perhaps unwittingly) implies an awareness of the importance of “the hearth” in Wright’s architecture. In such cases complaints about the weather are re-framed. The leaking roof is no longer representative of gender or power relationships between the client and the uncompromising artistic genius. Rather, it actually empowers the inhabitant who rises above their circ*mstances for the sake of art, invoking a kind of artistic asceticism. While “enlightened” clients of famed architects may be willing to suffer the effects of climate in the interiors of their homes, their neighbours are less tolerant as suggested in a more recent example. Complaints about the alteration of the micro-climate surrounding Frank Gehry’s Walt Disney Concert Hall in Los Angeles prompted the sandblasting of part of the exterior cladding to reduce glare. In 2004, USA Today reported that reflections from the stainless steel cladding were responsible for raising the temperature in neighbouring buildings by more than 9° Celsius, forcing neighbours to close their blinds and operate their air-conditioners. There were also fears that the glare might inadvertently cause traffic problems. Further, one report found that average ground temperatures adjacent to the building peaked at approximately 58° Celsius (Schiler and Valmont). Unlike the Modernist examples, this more recent project has not yet been framed in aid of a critical agenda, and has seemingly been reported simply for being “newsworthy.” Benign Conversation Discussion of the suitability of Modern Architecture in relation to climate has proven a perennial topic of conversation, invoked in the course of recurring debates and criticisms. The fascination with accounts of climate-related problems—particularly in discussing the work of the great Modernist Architects like Le Corbusier, Mies van der Rohe and Frank Lloyd Wright—is in part due to a certain Schadenfreude in debunking the esteem and authority of a canonical figure. This is particularly the case with one, such as Wright, who was characterised by significant self-confidence and an acerbic wit often applied at the expense of others. Yet these accounts have been invoked as much in the construction of the figure of the architect as a creative genius as they have been in the deconstruction of this figure—as well as the historical construction of the client and the historians involved. In view of the growing awareness of the threats and realities of climate change, complaints about the weather are destined to adopt a new significance and be invoked in support of a different range of agendas. While it may be somewhat anachronistic to interpret the designs of Frank Lloyd Wright or Mies van der Rohe in terms of current discussions about sustainability in architecture, these topics are often broached when restoring, renovating or adapting the designs of such architects for new or contemporary usage. In contrast, the climatic problems caused by Gehry’s concert hall are destined to be framed according to a different set of values—such as the relationship of his work to the time, or perhaps in relation to contemporary technology. While discussion of the weather is, in the conversational arts, credited as benign topic, this is rarely the case in architectural history. References Benton, Tim. The Villas of Le Corbusier 1920-1930. New Haven: Yale UP, 1987. ———. “Villa Savoye and the Architects’ Practice (1984).” Le Corbusier: The Garland Essays. Ed. H. Allen Brooks. New York: Garland, 1987. 83-105. Bernstein, Fred A. “In a House That Wright Built.” New York Times 21 Sept. 2003. 3 Aug. 2009 < http://www.nytimes.com/2003/09/21/nyregion/in-a-house-that-wright-built.html >. ———. “Living with Frank Lloyd Wright.” New York Times 18 Dec. 2005. 30 July 2009 < http://www.nytimes.com/2005/12/18/realestate/18habi.html >. Blake, Peter. Mies van der Rohe: Architecture and Structure. Harmondsworth: Penguin, 1963 (1960). Burton, Robert. The Anatomy of Melancholy, vol. II. Eds. Nicolas K. Kiessling, Thomas C. Faulkner and Rhonda L. Blair. Oxford: Clarendon, 1995 (1610). Campbell, Margaret. “What Tuberculosis Did for Modernism: The Influence of a Curative Environment on Modernist Design and Architecture.” Medical History 49 (2005): 463–488. “Corbusierismus”. Art. Time 4 Nov. 1935. 18 Aug. 2009 < http://www.time.com/time/magazine/article/0,9171,755279,00.html >. De Botton, Alain. The Architecture of Happiness. London: Penguin, 2006. Farnsworth, Edith. ‘Chapter 13’, Memoirs. Unpublished journals in three notebooks, Farnsworth Collection, Newberry Library, Chicago, unpaginated (17pp). 29 Jan. 2009 < http://www.farnsworthhouse.org/pdf/edith_journal.pdf >. Farr, Finis. Frank Lloyd Wright: A Biography. New York: Charles Scribner’s Sons, 1961. Friedman, Alice T. Women and the Making of the Modern House: A Social and Architectural History. New York: Harry N. Abrams, 1998. Gordon, Elizabeth. “The Threat to the Next America.” House Beautiful 95.4 (1953): 126-30, 250-51. Excerpts reproduced in Friedman. Women and the Making of the Modern House. 140-141. Hardarson, Ævar. “All Good Architecture Leaks—Witticism or Word of Wisdom?” Proceedings of the CIB Joint Symposium 13-16 June 2005, Helsinki < http://www.metamorfose.ntnu.no/Artikler/Hardarson_all_good_architecture_leaks.pdf >. Huck, Peter. “Gehry’s Hall Feels Heat.” The Age 1 March 2004. 22 Aug. 2009 < http://www.theage.com.au/articles/2004/02 /27/1077676955090.html >. Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax Buildings. Introduction by Kenneth Frampton. London: Architectural Press, 1984. Murphy, Kevin D. “The Villa Savoye and the Modernist Historic Monument.” Journal of the Society of Architectural Historians 61.1 (2002): 68-89. “New L.A. Concert Hall Raises Temperatures of Neighbours.” USA Today 24 Feb. 2004. 24 Aug. 2009 < http://www.usatoday.com/news/nation/2004-02-24-concert-hall_x.htm >. Owens, Mitchell. “A Wright House, Not a Shrine.” New York Times 25 July 1996. 30 July 2009 . Sbriglio, Jacques. Le Corbusier: La Villa Savoye, The Villa Savoye. Paris: Fondation Le Corbusier; Basel: Birkhäuser, 1999. Schiler, Marc, and Elizabeth Valmont. “Microclimatic Impact: Glare around the Walt Disney Concert Hall.” 2005. 24 Aug. 2009 < http://www.sbse.org/awards/docs/2005/1187.pdf >. Vandenberg, Maritz. Farnsworth House. Ludwig Mies van der Rohe. Foreword by Lord Peter Palumbo. London: Phaidon Press, 2003. Wright, Frank Lloyd. An Autobiography. New York: Duell, Sloan and Pearce, 1943.

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As Earth heats up and water vapourises, “Adapt” is a word that is frequently invoked right now, in a world seething with change and challenge. Its Oxford English Dictionary definitions—“to fit, to make suitable; to alter so as to fit for a new use”—give little hint of the strangely divergent moral values associated with its use. There is, of course, the word’s unavoidable Darwinian connotations which, in spite of creationist controversy, communicate a cluster of positive values linked with progress. By contrast, the literary use of adapt is frequently linked with negative moral values. Even in our current “hyper-adaptive environment” (Rizzo)—in which a novel can become a theme park ride can become a film can become a computer game can become a novelisation—an adaptation is seen as a debasem*nt of an original, inauthentic, inferior, parasitic (Hutcheon, 2-3). A starting point from which to explore the word’s “positive”—that is, evolutionary—use is the recently released Stern Review: The Economics of Climate Change, which argues the necessity of adapting in order to survive. Indeed, an entire section is titled “Policy responses for adaptation,” outlining—among other things—“an economic framework for adaptation”; “barriers and constraints to adaptation”; and “how developing countries can adapt to climate change” (403). Although evolution is not directly mentioned, it is evoked through the review’s analysis of a dire situation which compels humans to change in response to their changing environment. Yet the mere existence of the review, and its enumeration of problems and solutions, suggests that human adaptive abilities are up to the task, drawing on positive traits such as resilience, flexibility, agility, innovation, creativity, progressiveness, appropriateness, and so on. These values, and their connection to the evolutionary use of “adapt”, infuse 21st-century life. “Adapt,” “evolution”, and that cluster of values are entwined so closely that recalling effort is required to remind oneself that “adapt” existed before evolutionary theory. And whether or not one accepts the premise of evolution—or even understands it beyond the level of reductive popular science—it provides an irresistible metaphor that underlies areas as diverse as education, business, organisational culture, politics, and law. For example, Judith Robinson’s article “Education as the Foundation of the New Economy” quotes Canada’s former deputy prime minister John Manley: “The future holds nothing but change. … Charles Darwin said, ‘It is not the strongest of the species that survives, nor the most intelligent, but the most responsive to change.’” Robinson adds: “Education is how we equip our people with the ability to adapt to change.” Further examples show “adapt” as a positive metaphor for government. A study into towns in rural Queensland discovered that while some towns “have reinvented themselves and are thriving,” others “that are not innovative or adaptable” are in decline (Plowman, Ashkanasy, Gardner and Letts, 8). The Queensland Government’s Smart State Strategy also refers to the desirability of adapting: “The pace of change in the world is now so rapid—and sometimes so unpredictable—that our best prospects for maintaining our lead lie in our agility, flexibility and adaptability.” The Australian Government Department of Education, Science and Training, in setting national research priorities, identifies “An Environmentally Sustainable Australia” and in that context specifically mentions the need to adapt: “there needs to be an increased understanding of the contributions of human behaviour to environmental and climate change, and on [sic] appropriate adaptive responses and strategies.” In the corporate world, the Darwinian allusion is explicit in book titles such as Geoffrey Moore’s 2005 Dealing with Darwin: How Great Companies Innovate at Every Phase of their Evolution: “Moore’s theme is innovation, which he sees as being necessary to the survival of business as a plant or animal adapting to changes in habitat” (Johnson). Within organisations, the metaphor is also useful, for instance in D. Keith Denton’s article, “What Darwin Can Teach Us about Success:” “In order to understand how to create and manage adaptability, we need to look first at how nature uses it. … Species that fail to adapt have only one option left.” That option is extinction, which is the fate of “over 99% of all species that have ever existed.” However, any understanding of “adapt” as wholly positive and forward-moving is too simplistic. It ignores, for example, aspects of adaptation that are dangerous to people (such as the way the avian influenza virus or simian AIDS can adapt so that humans can become their hosts). Bacteria rapidly adapt to antibiotics; insects rapidly adapt to pesticides. Furthermore, an organism that is exquisitely adapted to a specific niche becomes vulnerable with even a small disturbance in its environment. The high attrition rate of species is breathtakingly “wasteful” and points to the limitations of the evolutionary metaphor. Although corporations and education have embraced the image, it is unthinkable that any corporation or educational system would countenance either evolution’s tiny adaptive adjustments over a long period of time, or the high “failure” rate. Furthermore, evolution can only be considered “progress” if there is an ultimate goal towards which evolution is progressing: the anthropocentric viewpoint that holds that “the logical and inevitable endpoint of the evolutionary process is the human individual,” as Rizzo puts it. This suggests that the “positive” values connected with this notion of “adapt” are a form of self-congratulation among those who consider themselves the “survivors”. A hierarchy of evolution-thought places “agile,” “flexible” “adaptors” at the top, while at the bottom of the hierarchy are “stagnant,” “atrophied” “non-adaptors”. The “positive” values then form the basis for exclusionary prejudices directed at those human and non-human beings seen as being “lower” on the evolutionary scale. Here we have arrived at Social Darwinism, the Great-Chain-of-Being perspective, Manifest Destiny—all of which still justify many kinds of unjust treatment of humans, animals, and ecosystems. Literary or artistic meanings of “adapt”—although similarly based on hierarchical thinking (Shiloh)—are, as mentioned earlier, frequently laden with negative moral values. Directly contrasting with the evolutionary adaptation we have just discussed, value in literary adaptation is attached to “being first” rather than to the success of successors. Invidious dichotomies that actually reverse the moral polarity of Darwinian adaptation come into play: “authentic” versus “fake”, “original” versus “copy”, “strong” versus “weak”, “superior” versus “inferior”. But, as the authors collected in this issue demonstrate, the assignment of a moral value to evolutionary “adapt”, and another to literary “adapt”, is too simplistic. The film Adaptation (Spike Jonze, 2002)—discussed in three articles in this issue—deals with both these uses of the word, and provides the impetus to these authors’ explorations of possible connections and contrasts between them. Evidence of the pervasiveness of the concept is seen in the work of other writers, who explore the same issues in a range of cultural phenomena, such as graffiti, music sampling, a range of activities in and around the film industry, and several forms of identity formation. A common theme is the utter inadequacy of a single moral value being assigned to “adapt”. For example, McMerrin quotes Ghandi in her paper: “Adaptability is not imitation. It means power of resistance and assimilation.” Shiloh argues: “If all texts quote or embed fragments of earlier texts, the notion of an authoritative literary source, which the cinematic version should faithfully reproduce, is no longer valid.” Furnica, citing Rudolf Arnheim, points out that an adaptation “increases our understanding of the adapted work.” All of which suggests that the application of “adapt” to circ*mstances of culture and nature suggests an “infinite onion” both of adaptations and of the “core samples of difference” that are the inevitable corollary of this issue’s theme. To drill down into the products of culture, to peel back the “facts” of nature, is only ever to encounter additional and increasingly minute variations of the activity of “adapt”. One never hits the bottom of difference and adaptation. Still, why would you want to, when the stakes of “adapt” might be little different from the stakes of life itself? At least, this is the insight that the philosophy of Gilles Deleuze—in all its rhizomatic variations—seems constantly to be leading us towards: “Life” (capitalised) is a continual germination that feeds on a thousand tiny adaptations of open-ended desire and of a ceaselessly productive mode of difference. Besides everything else that they do, all of the articles in this issue participate—in one way or another—in this notion of “adapt” as a constant impetus towards new configurations of culture and of nature. They are the proof (if such proof were to be requested or required) that the “infinite onion” of adaptation and difference, while certainly a mise en abyme, is much more a positive “placing into infinity” than a negative “placing into the abyss.” Adaptation is nothing to be feared; stasis alone spells death. What this suggests, furthermore, is that a contemporary ethics of difference and alterity might not go far wrong if it were to adopt “adapt” as its signature experience. To be ever more sensitive to the subtle nuances, to the evanescences on the cusp of nothingness … of adaptation … is perhaps to place oneself at the leading edge of cultural activity, where the boundaries of self and other have, arguably, never been more fraught. Again, all of the contributors to this issue dive—“Alice-like”—down their own particular rabbit holes, in order to bring back to the surface something previously unthought or unrecognised. However, two recent trends in the sciences and humanities—or rather at the complex intersection of these disciplines—might serve as useful, generalised frameworks for the work on “adapt” that this issue pursues. The first of these is the upwelling of interest (contra Darwinism) in the theories of Jean-Baptiste Lamarck (1744-1829). For Lamarck, adaptation takes a deviation from the Darwinian view of Natural Selection. Lamarckism holds, in distinction from Darwin, that the characteristics acquired by individuals in the course of their (culturally produced) lifetimes can be transmitted down the generations. If your bandy-legged great-grandfather learnt to bend it like Beckham, for example, then Manchester United would do well to sign you up in the cradle. Lamarck’s ideas are an encouragement to gather up, for cultural purposes, ever more refined understandings of “adapt”. What this pro-Lamarckian movement also implies is a new “crossing-over point” of the natural/biological with the cultural/acquired. The second trend to be highlighted here, however, does more than merely imply such a refreshed configuration of nature and culture. Elizabeth Grosz’s recent work directly calls the bluff of the traditional Darwinian (not to mention Freudian) understanding of “biology as destiny”. In outline form, we propose that she does this by running together notions of biological difference (the male/female split) with the “ungrounded” difference of Deleuzean thinking and its derivatives. Adaptation thus shakes free, on Grosz’s reading, from the (Darwinian and Freudian) vestiges of biological determinism and becomes, rather, a productive mode of (cultural) difference. Grosz makes the further move of transporting such a “shaken and stirred” version of biological difference into the domains of artistic “excess”, on the basis that “excessive” display (as in the courting rituals of the male peaco*ck) is fundamentally crucial to those Darwinian axioms centred on the survival of the species. By a long route, therefore, we are returned, through Grosz, to the interest in art and adaptation that has, for better or for worse, tended to dominate studies of “adapt”, and which this issue also touches upon. But Grosz returns us to art very differently, which points the way, perhaps, to as yet barely recognised new directions in the field of adaptation studies. We ask, then, where to from here? Responding to this question, we—the editors of this issue—are keen to build upon the groundswell of interest in 21st-century adaptation studies with an international conference, entitled “Adaptation & Application”, to be held on the Gold Coast, Queensland, Australia in early 2009. The “Application” part of this title reflects, among other things, the fact that our conference will be, perhaps uniquely, itself an example of “adapt”, to the extent that it will have two parallel but also interlocking strands: adaptation; application. Forward-thinking architects Arakawa and Gins have expressed an interest in being part of this event. (We also observe, in passing, that “application”, or “apply”, may be an excellent theme for a future issue of M/C Journal…) Those interested in knowing more about the “Adaptation and Application” conference may contact either of us on the email addresses given in our biographical notes. There are several groups and individuals that deserve public acknowledgement here. Of course, we thank the authors of these fourteen articles for their stimulating and reflective contributions to the various debates around “adapt”. We would also like to acknowledge the hugely supportive efforts of our hard-pressed referees. Equally, our gratitude goes out to those respondents to our call for papers whose submissions could not be fitted into this already overflowing issue. What they sent us kept the standard high, and many of the articles rejected for publication on this occasion will, we feel sure, soon find a wider audience in another venue (the excellent advice provided by our referees has an influence, in this way, beyond the life of this issue). We also wish to offer a very special note of thanks to Linda Hutcheon, who took time out from her exceptionally busy schedule to contribute the feature article for this issue. Her recent monograph A Theory of Adaptation is essential reading for all serious scholars of “adapt”, as is her contribution here. We are honoured to have Professor Hutcheon’s input into our project. Special thanks are also due to Gold-Coast based visual artist Judy Anderson for her “adaptation of adaptation” into a visual motif for our cover image. This inspiring piece is entitled “Between Two” (2005; digital image on cotton paper). Accessing experiences perhaps not accessible through words alone, Anderson’s image nevertheless “speaks adaptation”, as her Artist’s Statement suggests: The surface for me is a sensual encounter; an event, shifting form. As an eroticised site, it evokes memories of touch. … Body, object, place are woven together with memory; forgetting and remembering. The tactility and materiality of touching the surface is offered back to the viewer. These images are transitions themselves. As places of slippage and adaptation, they embody intervals on many levels; between the material and the immaterial, the familiar and the strange. Their source remains obscure so that they might represent spaces in-between—overlooked places that open up unexpectedly. If we have learned just one thing from the experience of editing the M/C Journal ‘adapt’ issue, it is that our theme richly rewards the sort of intellectual and creative activity demonstrated by our contributors. Much has been done here; much remains to be done. Some of this work will take place, no doubt, at the “Adaptation and Application” conference, and we hope to see many of you on the Gold Coast in 2009. But for now, it’s over to you, to engage with what you might encounter here, and to work new “adaptations” upon it. References Australian Government Department of Education, Science and Training. Environmentally Sustainable Australia. 2005. 28 Apr. 2007 http://www.dest.gov.au/sectors/research_sector/policies_issues_reviews /key_issues/national_research_priorities/priority_goals /environmentally_sustainable_australia.htm>. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaux. Minneapolis: University of Minnesota Press, 1987. Denton, D Keith. “What Darwin Can Teach Us about Success.” Development and Learning in Organizations 20.1 (2006): 7ff. Furnica, Ioana. “Subverting the ‘Good, Old Tune’: Carlos Saura’s Carmen Adaptation.” M/C Journal 10.2 (2007). 28 Apr. 2007 . Grosz, Elizabeth. In the Nick of Time: Politics, Evolution and the Untimely. Durham: Duke University Press, 2004. Grosz, Elizabeth. “Sensation”. Plenary III Session. 9th Annual Comparative Literature Conference. Gilles Deleuze: Texts and Images: An International Conference. University of South Carolina, Columbia. 7 April 2007. Grosz, Elizabeth. Time Travels: Feminism, Nature, Power. Durham: Duke University Press, 2005. Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006. Johnson, Cecil. “Darwinian Notions of Corporate Innovation,” Boston Globe, 15 Jan. 2006: L.2. McMerrin, Michelle. “Agency in Adaptation.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/03 mcmerrin.php mcmerrin.php>. Neimanis, Astrida. “A Feminist Deleuzian Politics? It’s About Time.” TOPIA: Canadian Journal of Cultural Studies 16 (2006): 154-8. Plowman, Ian, Neal M. Ashkanasy, John Gardner, and Malcolm Letts. Innovation in Rural Queensland: Why Some Towns Thrive while Others Languish: Main Report. University of Queensland/Department of Primary Industries. Queensland, Dec. 2003. 28 Apr. 2007 http://www2.dpi.qld.gov.au/business/14778.html>. Queensland Government. Smart State Strategy 2005-2015 Timeframe. 2007. 28 Apr. 2007 http://www.smartstate.qld.gov.au/strategy/strategy05_15/timeframes.shtm>. Rizzo, Sergio. “Adaptation and the Art of Survival.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/02-rizzo.php>. Shiloh, Ilana. “Adaptation, Intertextuality, and the Endless Deferral of Meaning: Memento.” M/C Journal 10.2 (2007). 28 Apr. 2007 http://journal.media-culture.org.au/0705/08-shiloh.php>. Stern Review: The Economics of Climate Change. 2006. 28 Apr. 2007 http://www.hm-treasury.gov.uk/independent_reviews/stern_review_ economics_climate_change/stern_review_report.cfm>. Citation reference for this article MLA Style Delamoir, Jeannette, and Patrick West. "Editorial." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/00-editorial.php>. APA Style Delamoir, J., and P. West. (May 2007) "Editorial," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/00-editorial.php>.

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Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction within it. Reality television offers a different perspective. Like drama it uses the plot device of a mentor character to heighten the story arc, but instead of focusing on knowledge-based portrayals (Gadamer 112) of the mentor and mentee, the emphasis is instead on the mentee’s quest for ascension. In attempting to transcend their unknownness (Boorstin) contestants aim to penetrate an exclusive creative class (Florida). Populated by celebrity chefs, businessmen, entertainers, fashionistas, models, socialites and talent judges (to name a few), this class seemingly adds authenticity to ‘competitions’ and other formats. While the mentor’s role, on the surface, is to provide divine knowledge and facilitate the journey, a different agenda is evident in the ways carefully scripted (Booth) dialogue heightens the drama through effusive praise (New York Daily News) and “tactless” (Woodward), humiliating (Hirschorn; Winant 69; Woodward) and cruel sentiments. From a screen narrative point of view, this takes reality television as ‘storytelling’ (Aggarwal; Day; Hirschorn; “Reality Writer”; Rupel; Stradal) into very different territory. The contrived and later edited (Crouch; Papacharissi and Mendelson 367) communication between mentor and mentee not only renders the relationship disingenuous, it compounds the primary ethical concerns of associated Schadenfreude (Balasubramanian, Forstie and van den Scott 434; Cartwright), and the severe financial inequality (Andrejevic) underpinning a multi-billion dollar industry (Hamilton). As upward mobility and instability continue to be ubiquitously portrayed in 21st century reality entertainment under neoliberalism (Sender 4; Winant 67), it is with increasing frequency that we are seeing the systematic reinvention of the once significant cultural and historical role of the mentor. Mentor as Fictional Archetype and Communicator of ThemesDepictions of mentors can be found across the Western art canon. From the mythological characters of Telemachus’ Athena and Achilles’ Chiron, to King Arthur’s Merlin, Cinderella’s Fairy Godmother, Jim Hawkins’ Long John Silver, Frodo’s Gandalf, Batman’s Alfred and Marty McFly’s Doc Emmett Brown (among many more), the dramatic energy of the teacher, expert or supernatural aid (Vogler 39) has been timelessly powerful. Heroes, typically, engage with a mentor as part of their journey. Mentor types range extensively, from those who provide motivation, inspiration, training or gifts (Vogler), to those who may be dark or malevolent, or have fallen from grace (such as Michael Douglas’ Gordon Gekko in Wall Street 1987, or the ex-tribute Haymitch in The Hunger Games, 2012). A good drama usually complicates the relationship in some way, exploring initial reluctance from either party, or instances of tragedy (Vogler 11, 44) which may prevent the relationship achieving its potential. The intriguing twist of a fallen or malevolent mentor additionally invites the audience to morally analyze the ways the hero responds to what the mentor provides, and to question what our teachers or superiors tell us. In television particularly, long running series such as Mad Men have shown how a mentoring relationship can change over time, where “non-rational” characters (Buzzanell and D’Enbeau 707) do not necessarily maintain reciprocity or equality (703) but become subject to intimate, ambivalent and erotic aspects.As the mentor in fiction has deep cultural roots for audiences today, it is no wonder they are used, in a variety of archetypal capacities, in reality television. The dark Simon Cowell (of Pop Idol, American Idol, Britain’s Got Talent, America’s Got Talent and The X-Factor series) and the ‘villainous’ (Byrnes) Michelin-starred Marco Pierre White (Hell’s Kitchen, The Chopping Block, Marco Pierre White’s Kitchen Wars, MasterChef Australia, New Zealand, South Africa) provide reality writers with much needed antagonism (Rupel, Stradal). Those who have fallen from grace, or allowed their personal lives to play out in tabloid sagas such as Britney Spears (Marikar), or Caitlyn Jenner (Bissinger) provide different sources of conflict and intrigue. They are then counterbalanced with or repackaged as the good mentor. Examples of the nurturer who shows "compassion and empathy" include American Idol’s Paula Abdul (Marche), or the supportive Jennifer Hawkins in Next Top Model (Thompson). These distinctive characters help audiences to understand the ‘reality’ as a story (Crouch; Rupel; Stradal). But when we consider the great mentors of screen fiction, it becomes clear how reality television has changed the nature of story. The Karate Kid I (1984) and Good Will Hunting (1998) are two examples where mentoring is almost the exclusive focus, and where the experience of the characters differs greatly. In both films an initially reluctant mentor becomes deeply involved in the mentee’s project. They act as a special companion to the hero in the face of isolation, and, significantly, reveal a tragedy of their own, providing a nexus through which the mentee can access a deeper kind of truth. Not only are they flawed and ordinary people (they are not celebrities within the imagined worlds of the stories) who the mentee must challenge and learn to truly respect, they are “effecting and important” (Maslin) in reminding audiences of those hidden idiosyncrasies that open the barriers to friendship. Mentors in these stories, and many others, communicate themes of class, culture, talent, jealousy, love and loss which inform ideas about the ethical treatment of the ‘other’ (Gadamer). They ultimately prove pivotal to self worth, human confidence and growth. Very little of this thematic substance survives in reality television (see comparison of plots and contrasting modes of human engagement in the example of The Office and Dirty Jobs, Winant 70). Archetypally identifiable as they may be, mean judges and empathetic supermodels as characters are concerned mostly with the embodiment of perfection. They are flawless, untouchable and indeed most powerful when human welfare is at stake, and when the mentee before them faces isolation (see promise to a future ‘Rihanna’, X-Factor USA, Season 2, Episode 1 and Tyra Banks’ Next Top Model tirade at a contestant who had not lived up to her potential, West). If connecting with a mentor in fiction has long signified the importance of understanding of the past, of handing down tradition (Gadamer 354), and of our fascination with the elder, wiser other, then we can see a fundamental shift in narrative representation of mentors in reality television stories. In the past, as we have opened our hearts to such characters, as a facilitator to or companion of the hero, we have rehearsed a sacred respect for the knowledge and fulfillment mentors can provide. In reality television the ‘drama’ may evoke a fleeting rush of excitement at the hero’s success or failure, but the reality belies a pronounced distancing between mentor and mentee. The Creative Class: An Aspirational ParadigmThemes of ascension and potential fulfillment are also central to modern creativity discourse (Runco; Runco 672; United Nations). Seen as the driving force of the 21st century, creativity is now understood as much more than art, capable of bringing economic prosperity (United Nations) and social cohesion to its acme (United Nations xxiii). At the upper end of creative practice, is what Florida called “the creative class: a fast growing, highly educated, and well-paid segment of the workforce” (on whose expertise corporate profits depend), in industries ranging “from technology to entertainment, journalism to finance, high-end manufacturing to the arts” (Florida). Their common ethos is centered on individuality, diversity, and merit; eclipsing previous systems focused on ‘shopping’ and theme park consumerism and social conservatism (Eisinger). While doubts have since been raised about the size (Eisinger) and financial practices (Krätke 838) of the creative class (particularly in America), from an entertainment perspective at least, the class can be seen in full action. Extending to rich housewives, celebrity teen mothers and even eccentric duck hunters and swamp people, the creative class has caught up to the more traditional ‘star’ actor or music artist, and is increasingly marketable within world’s most sought after and expensive media spaces. Often reality celebrities make their mark for being the most outrageous, the cruelest (Peyser), or the weirdest (Gallagher; Peyser) personalities in the spotlight. Aspiring to the creative class thus, is a very public affair in television. Willing participants scamper for positions on shows, particularly those with long running, heavyweight titles such as Big Brother, The Bachelor, Survivor and the Idol series (Hill 35). The better known formats provide high visibility, with the opportunity to perform in front of millions around the globe (Frere-Jones, Day). Tapping into the deeply ingrained upward-mobility rhetoric of America, and of Western society, shows are aided in large part by 24-hour news, social media, the proliferation of celebrity gossip and the successful correlation between pop culture and an entertainment-style democratic ideal. As some have noted, dramatized reality is closely tied to the rise of individualization, and trans-national capitalism (Darling-Wolf 127). Its creative dynamism indeed delivers multi-lateral benefits: audiences believe the road to fame and fortune is always just within reach, consumerism thrives, and, politically, themes of liberty, egalitarianism and freedom ‘provide a cushioning comfort’ (Peyser; Pinter) from the domestic and international ills that would otherwise dispel such optimism. As the trials and tests within the reality genre heighten the seriousness of, and excitement about ascending toward the creative elite, show creators reproduce the same upward-mobility themed narrative across formats all over the world. The artifice is further supported by the festival-like (Grodin 46) symbology of the live audience, mass viewership and the online voting community, which in economic terms, speaks to the creative power of the material. Whether through careful manipulation of extra media space, ‘game strategy’, or other devices, those who break through are even more idolized for the achievement of metamorphosing into a creative hero. For the creative elite however, who wins ‘doesn’t matter much’. Vertical integration is the priority, where the process of making contestants famous is as lucrative as the profits they will earn thereafter; it’s a form of “one-stop shopping” as the makers of Idol put it according to Frere-Jones. Furthermore, as Florida’s measures and indicators suggested, the geographically mobile new creative class is driven by lifestyle values, recreation, participatory culture and diversity. Reality shows are the embodiment this idea of creativity, taking us beyond stale police procedural dramas (Hirschorn) and racially typecast family sitcoms, into a world of possibility. From a social equality perspective, while there has been a notable rise in gay and transgender visibility (Gamson) and stories about lower socio-economic groups – fast food workers and machinists for example – are told in a way they never were before, the extent to which shows actually unhinge traditional power structures is, as scholars have noted (Andrejevic and Colby 197; Schroeder) open to question. As boundaries are nonetheless crossed in the age of neoliberal creativity, the aspirational paradigm of joining a new elite in real life is as potent as ever. Reality Television’s Mentors: How to Understand Their ‘Role’Reality television narratives rely heavily on the juxtaposition between celebrity glamour and comfort, and financial instability. As mentees put it ‘all on the line’, storylines about personal suffering are hyped and molded for maximum emotional impact. In the best case scenarios mentors such as Caitlyn Jenner will help a trans mentee discover their true self by directing them in a celebrity-style photo shoot (see episode featuring Caitlyn and Zeam, Logo TV 2015). In more extreme cases the focus will be on an adopted contestant’s hopes that his birth mother will hear him sing (The X Factor USA, Season 2, Episode 11 Part 1), or on a postal clerk’s fear that elimination will mean she has to go back “to selling stamps” (The X Factor US - Season 2 Episode 11 Part 2). In the entrepreneurship format, as Woodward pointed out, it is not ‘help’ that mentees are given, but condescension. “I have to tell you, my friend, that this is the worst idea I’ve ever heard. You don’t have a clue about how to set up a business or market a product,” Woodward noted as the feedback given by one elite businessman on The Shark Tank (Woodward). “This is a five million dollar contract and I have to know that you can go the distance” (The X Factor US – Season 2 Episode 11, Part 1) Britney Spears warned to a thirteen-year-old contestant before accepting her as part of her team. In each instance the fictitious premise of being either an ‘enabler’ or destroyer of dreams is replayed and slightly adapted for ongoing consumer interest. This lack of shared experience and mutual recognition in reality television also highlights the overt, yet rarely analyzed focus on the wealth of mentors as contrasted with their unstable mentees. In the respective cases of The X Factor and I Am Cait, one of the wealthiest moguls in entertainment, Cowell, reportedly contracts mentors for up to $15 million per season (Nair); Jenner’s performance in I Am Cait was also set to significantly boost the Kardashian empire (reportedly already worth $300 million, Pavia). In both series, significant screen time has been dedicated to showing the mentors in luxurious beachside houses, where mentees may visit. Despite the important social messages embedded in Caitlyn’s story (which no doubt nourishes the Kardashian family’s generally more ersatz material), the question, from a moral point of view becomes: would these mentors still interact with that particular mentee without the money? Regardless, reality participants insist they are fulfilling their dreams when they appear. Despite the preplanning, possibility of distress (Australia Network News; Bleasby) and even suicide (Schuster), as well as the ferocity of opinion surrounding shows (Marche) the parade of a type of ‘road of trials’ (Vogler 189) is enough to keep a huge fan base interested, and hungry for their turn to experience the fortune of being touched by the creative elite; or in narrative terms, a supernatural aid. ConclusionThe key differences between reality television and artistic narrative portrayals of mentors can be found in the use of archetypes for narrative conflict and resolution, in the ways themes are explored and the ways dialogue is put to use, and in the focus on and visibility of material wealth (Frere-Jones; Peyser). These differences highlight the political, cultural and social implications of exchanging stories about potential fulfillment, for stories about ascension to the creative class. Rather than being based on genuine reciprocity, and understanding of human issues, reality shows create drama around the desperation to penetrate the inner sanctum of celebrity fame and fortune. In fiction we see themes based on becoming famous, on gender transformation, and wealth acquisition, such as in the films and series Almost Famous (2000), The Bill Silvers Show (1955-1959), Filthy Rich (1982-1983), and Tootsie (1982), but these stories at least attempt to address a moral question. Critically, in an artistic - rather than commercial context – the actors (who may play mentees) are not at risk of exploitation (Australia Network News; Bleasby; Crouch). Where actors are paid and recognized creatively for their contribution to an artistic work (Rupel), the mentee in reality television has no involvement in the ways action may be set up for maximum voyeuristic enjoyment, or manipulated to enhance scandalous and salacious content which will return show and media profits (“Reality Show Fights”; Skeggs and Wood 64). The emphasis, ironically, from a reality production point of view, is wholly on making the audience believe (Papacharissi and Mendelson 367) that the content is realistic. This perhaps gives some insight as to why themes of personal suffering and instability are increasingly evident across formats.On an ethical level, unlike the knowledge transferred through complex television plots, or in coming of age films (as cited above) about the ways tradition is handed down, and the ways true mentors provide altruistic help in human experience; in reality television we take away the knowledge that life, under neoliberalism, is most remarkable when one is handpicked to undertake a televised journey featuring their desire for upward mobility. The value of the mentoring in these cases is directly proportionate to the financial objectives of the creative elite.ReferencesAggarwal, Sirpa. “WWE, A&E Networks, and Simplynew Share Benefits of White-Label Social TV Solutions at the Social TV Summit.” Arktan 25 July 2012. 1 August 2014 <http://arktan.com/wwe-ae-networks-and-simplynew-share-benefits-of-white-label-social-tv-solutions-at-the-social-tv-summit/>. 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Abstract:

In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Musical “quotation” is actively encouraged in jazz, and contemporary hip-hop would not exist if the genre’s pioneers and progenitors had not plundered and adapted existing recorded music. Sampling technologies, however, have taken musical adaptation a step further and realised Cage’s prediction. Hardware and software samplers have developed to the stage where any piece of audio can be appropriated and adapted to suit the creative impulses of the sampling musician (or samplist). The practice of sampling challenges established notions of creativity, with whole albums created with no original musical input as most would understand it—literally “records made from records.” Sample-based music is premised on adapting audio plundered from the cultural environment. This paper explores the ways in which technology is used to adapt previous recordings into new ones, and how musicians themselves have adapted to the potentials of digital technology for exploring alternative approaches to musical creativity. Sampling is frequently defined as “the process of converting an analog signal to a digital format.” While this definition remains true, it does not acknowledge the prevalence of digital media. The “analogue to digital” method of sampling requires a microphone or instrument to be recorded directly into a sampler. Digital media, however, simplifies the process. For example, a samplist can download a video from YouTube and rip the audio track for editing, slicing, and manipulation, all using software within the noiseless digital environment of the computer. Perhaps it is more prudent to describe sampling simply as the process of capturing sound. Regardless of the process, once a sound is loaded into a sampler (hardware or software) it can be replayed using a MIDI keyboard, trigger pad or sequencer. Use of the sampled sound, however, need not be a faithful rendition or clone of the original. At the most basic level of manipulation, the duration and pitch of sounds can be altered. The digital processes that are implemented into the Roland VariOS Phrase Sampler allow samplists to eliminate the pitch or melodic quality of a sampled phrase. The phrase can then be melodically redefined as the samplist sees fit: adapted to a new tempo, key signature, and context or genre. Similarly, software such as Propellerhead’s ReCycle slices drum beats into individual hits for use with a loop sampler such as Reason’s Dr Rex module. Once loaded into Dr Rex, the individual original drum sounds can be used to program a new beat divorced from the syncopation of the original drum beat. Further, the individual slices can be subjected to pitch, envelope (a component that shapes the volume of the sound over time) and filter (a component that emphasises and suppresses certain frequencies) control, thus an existing drum beat can easily be adapted to play a new rhythm at any tempo. For example, this rhythm was created from slicing up and rearranging Clyde Stubblefield’s classic break from James Brown’s “Funky Drummer”. Sonic adaptation of digital information is not necessarily confined to the auditory realm. An audio editor such as Sony’s Sound Forge is able to open any file format as raw audio. For example, a Word document or a Flash file could be opened with the data interpreted as audio. Admittedly, the majority of results obtained are harsh white noise, but there is scope for serendipitous anomalies such as a glitchy beat that can be extracted and further manipulated by audio software. Audiopaint is an additive synthesis application created by Nicolas Fournel for converting digital images into audio. Each pixel position and colour is translated into information designating frequency (pitch), amplitude (volume) and pan position in the stereo image. The user can determine which one of the three RGB channels corresponds to either of the stereo channels. Further, the oscillator for the wave form can be either the default sine wave or an existing audio file such as a drum loop can be used. The oscillator shapes the end result, responding to the dynamics of the sine wave or the audio file. Although Audiopaint labours under the same caveat as with the use of raw audio, the software can produce some interesting results. Both approaches to sound generation present results that challenge distinctions between “musical sound” and “noise”. Sampling is also a cultural practice, a relatively recent form of adaptation extending out of a time honoured creative aesthetic that borrows, quotes and appropriates from existing works to create new ones. Different fields of production, as well as different commentators, variously use terms such as “co-creative media”, “cumulative authorship”, and “derivative works” with regard to creations that to one extent or another utilise existing works in the production of new ones (Coombe; Morris; Woodmansee). The extent of the sampling may range from subtle influence to dominating significance within the new work, but the constant principle remains: an existing work is appropriated and adapted to fit the needs of the secondary creator. Proponents of what may be broadly referred to as the “free culture” movement argue that creativity and innovation inherently relies on the appropriation and adaptation of existing works (for example, see Lessig, Future of Ideas; Lessig, Free Culture; McLeod, Freedom of Expression; Vaidhyanathan). For example, Gwen Stefani’s 2004 release “Rich Girl” is based on Louchie Lou and Michie One’s 1994 single of the same title. Lou and One’s “Rich Girl”, in turn, is a reggae dance hall adaptation of “If I Were a Rich Man” from Fiddler on the Roof. Stefani’s “na na na” vocal riff shares the same melody as the “Ya ha deedle deedle, bubba bubba deedle deedle dum” riff from Fiddler on the Roof. Samantha Mumba adapted David Bowie’s “Ashes to Ashes” for her second single “Body II Body”. Similarly, Richard X adapted Tubeway Army’s “Are ‘Friends’ Electric?’ and Adina Howard’s “Freak Like Me” for a career saving single for Sugababes. Digital technologies enable and even promote the adaptation of existing works (Morris). The ease of appropriating and manipulating digital audio files has given rise to a form of music known variously as mash-up, bootleg, or bastard pop. Mash-ups are the most recent stage in a history of musical appropriation and they epitomise the sampling aesthetic. Typically produced in bedroom computer-based studios, mash-up artists use software such as Acid or Cool Edit Pro to cut up digital music files and reassemble the fragments to create new songs, arbitrarily adding self-composed parts if desired. Comprised almost exclusively from sections of captured music, mash-ups have been referred to as “fictional pop music” because they conjure up scenarios where, for example, Destiny’s Child jams in a Seattle garage with Nirvana or the Spice Girls perform with Nine Inch Nails (Petridis). Once the initial humour of the novelty has passed, the results can be deeply alluring. Mash-ups extract the distinctive characteristics of songs and place them in new, innovative contexts. As Dale Lawrence writes: “the vocals are often taken from largely reviled or ignored sources—cornball acts like Aguilera or Destiny’s Child—and recast in wildly unlikely contexts … where against all odds, they actually work”. Similarly, Crawford argues that “part of the art is to combine the greatest possible aesthetic dissonance with the maximum musical harmony. The pleasure for listeners is in discovering unlikely artistic complementarities and revisiting their musical memories in mutated forms” (36). Sometimes the adaptation works in the favour of the sampled artist: George Clinton claims that because of sampling he is more popular now than in 1976—“the sampling made us big again” (Green). The creative aspect of mash-ups is unlike that usually associated with musical composition and has more in common with DJing. In an effort to further clarify this aspect, we may regard DJ mixes as “mash-ups on the fly.” When Grandmaster Flash recorded his quilt-pop masterpiece, “Adventures of Grandmaster Flash on the Wheels of Steel,” it was recorded while he performed live, demonstrating his precision and skill with turntables. Modern audio editing software facilitates the capture and storage of sound, allowing mash-up artists to manipulate sounds bytes outside of “real-time” and the live performance parameters within which Flash worked. Thus, the creative element is not the traditional arrangement of chords and parts, but rather “audio contexts”. If, as Riley pessimistically suggests, “there are no new chords to be played, there are no new song structures to be developed, there are no new stories to be told, and there are no new themes to explore,” then perhaps it is understandable that artists have searched for new forms of musical creativity. The notes and chords of mash-ups are segments of existing works sequenced together to produce inter-layered contexts rather than purely tonal patterns. The merit of mash-up culture lies in its function of deconstructing the boundaries of genre and providing new musical possibilities. The process of mashing-up genres functions to critique contemporary music culture by “pointing a finger at how stifled and obvious the current musical landscape has become. … Suddenly rap doesn’t have to be set to predictable funk beats, pop/R&B ballads don’t have to come wrapped in cheese, garage melodies don’t have to recycle the Ramones” (Lawrence). According to Theodor Adorno, the Frankfurt School critic, popular music (of his time) was irretrievably simplistic and constructed from easily interchangeable, modular components (McLeod, “Confessions”, 86). A standardised and repetitive approach to musical composition fosters a mode of consumption dubbed by Adorno “quotation listening” and characterised by passive acceptance of, and obsession with, a song’s riffs (44-5). As noted by Em McAvan, Adorno’s analysis elevates the producer over the consumer, portraying a culture industry controlling a passive audience through standardised products (McAvan). The characteristics that Adorno observed in the popular music of his time are classic traits of contemporary popular music. Mash-up artists, however, are not representative of Adorno’s producers for a passive audience, instead opting to wrest creative control from composers and the recording industry and adapt existing songs in pursuit of their own creative impulses. Although mash-up productions may consciously or unconsciously criticise the current state of popular music, they necessarily exist in creative symbiosis with the commercial genres: “if pop songs weren’t simple and formulaic, it would be much harder for mashup bedroom auteurs to do their job” (McLeod, “Confessions”, 86). Arguably, when creating mash-ups, some individuals are expressing their dissatisfaction with the stagnation of the pop industry and are instead working to create music that they as consumers wish to hear. Sample-based music—as an exercise in adaptation—encourages a Foucauldian questioning of the composer’s authority over their musical texts. Recorded music is typically a passive medium in which the consumer receives the music in its original, unaltered form. DJ Dangermouse (Brian Burton) breached this pact to create his Grey Album, which is a mash-up of an a cappella version of Jay-Z’s Black Album and the Beatles’ eponymous album (also known as the White Album). Dangermouse says that “every kick, snare, and chord is taken from the Beatles White Album and is in their original recording somewhere.” In deconstructing the Beatles’ songs, Dangermouse turned the recordings into a palette for creating his own new work, adapting audio fragments to suit his creative impulses. As Joanna Demers writes, “refashioning these sounds and reorganising them into new sonic phrases and sentences, he creates acoustic mosaics that in most instances are still traceable to the Beatles source, yet are unmistakeably distinct from it” (139-40). Dangermouse’s approach is symptomatic of what Schütze refers to as remix culture: an open challenge to a culture predicated on exclusive ownership, authorship, and controlled distribution … . Against ownership it upholds an ethic of creative borrowing and sharing. Against the original it holds out an open process of recombination and creative transformation. It equally calls into question the categories, rifts and borders between high and low cultures, pop and elitist art practices, as well as blurring lines between artistic disciplines. Using just a laptop, an audio editor and a calculator, Gregg Gillis, a.k.a. Girl Talk, created the Night Ripper album using samples from 167 artists (Dombale). Although all the songs on Night Ripper are blatantly sampled-based, Gillis sees his creations as “original things” (Dombale). The adaptation of sampled fragments culled from the Top 40 is part of Gillis’ creative process: “It’s not about who created this source originally, it’s about recontextualising—creating new music. … I’ve always tried to make my own songs” (Dombale). Gillis states that his music has no political message, but is a reflection of his enthusiasm for pop music: “It’s a celebration of everything Top 40, that’s the point” (Dombale). Gillis’ “celebratory” exercises in creativity echo those of various fan-fiction authors who celebrate the characters and worlds that constitute popular culture. Adaptation through sampling is not always centred solely on music. Sydney-based Tom Compagnoni, a.k.a. Wax Audio, adapted a variety of sound bytes from politicians and media personalities including George W. Bush, Alexander Downer, Alan Jones, Ray Hadley, and John Howard in the creation of his Mediacracy E.P.. In one particular instance, Compagnoni used a myriad of samples culled from various media appearances by George W. Bush to recreate the vocals for John Lennon’s Imagine. Created in early 2005, the track, which features speeded-up instrumental samples from a karaoke version of Lennon’s original, is an immediate irony fuelled comment on the invasion of Iraq. The rationale underpinning the song is further emphasised when “Imagine This” reprises into “Let’s Give Peace a Chance” interspersed with short vocal fragments of “Come Together”. Compagnoni justifies his adaptations by presenting appropriated media sound bytes that deliberately set out to demonstrate the way information is manipulated to present any particular point of view. Playing the media like an instrument, Wax Audio juxtaposes found sounds in a way that forces the listener to confront the bias, contradiction and sensationalism inherent in their daily intake of media information. … Oh yeah—and it’s bloody funny hearing George W Bush sing “Imagine”. Notwithstanding the humorous quality of the songs, Mediacracy represents a creative outlet for Compagnoni’s political opinions that is emphasised by the adaptation of Lennon’s song. Through his adaptation, Compagnoni revitalises Lennon’s sentiments about the Vietnam War and superimposes them onto the US policy on Iraq. An interesting aspect of sampled-based music is the re-occurrence of particular samples across various productions, which demonstrates that the same fragment can be adapted for a plethora of musical contexts. For example, Clyde Stubblefield’s “Funky Drummer” break is reputed to be the most sampled break in the world. The break from 1960s soul/funk band the Winstons’ “Amen Brother” (the B-side to their 1969 release “Color Him Father”), however, is another candidate for the title of “most sampled break”. The “Amen break” was revived with the advent of the sampler. Having featured heavily in early hip-hop records such as “Words of Wisdom” by Third Base and “Straight Out of Compton” by NWA, the break “appears quite adaptable to a range of music genres and tastes” (Harrison, 9m 46s). Beginning in the early 1990s, adaptations of this break became a constant of jungle music as sampling technology developed to facilitate more complex operations (Harrison, 5m 52s). The break features on Shy FX’s “Original Nutta”, L Double & Younghead’s “New Style”, Squarepusher’s “Big Acid”, and a cover version of Led Zepplin’s “Whole Lotta Love” by Jane’s Addiction front man Perry Farrell. This is to name but a few tracks that have adapted the break. Wikipedia offers a list of songs employing an adaptation of the “Amen break”. This list, however, falls short of the “hundreds of tracks” argued for by Nate Harrison, who notes that “an entire subculture based on this one drum loop … six seconds from 1969” has developed (8m 45s). The “Amen break” is so ubiquitous that, much like the twelve bar blues structure, it has become a foundational element of an entire genre and has been adapted to satisfy a plethora of creative impulses. The sheer prevalence of the “Amen break” simultaneously illustrates the creative nature of music adaptation as well as the potentials for adaptation stemming from digital technology such as the sampler. The cut-up and rearrangement aspect of creative sampling technology at once suggests the original but also something new and different. Sampling in general, and the phenomenon of the “Amen break” in particular, ensures the longevity of the original sources; sampled-based music exhibits characteristics acquired from the source materials, yet the illegitimate offspring are not their parents. Sampling as a technology for creatively adapting existing forms of audio has encouraged alternative approaches to musical composition. Further, it has given rise to a new breed of musician that has adapted to technologies of adaptation. Mash-up artists and samplists demonstrate that recorded music is not simply a fixed or read-only product but one that can be freed from the composer’s original arrangement to be adapted and reconfigured. Many mash-up artists such as Gregg Gillis are not trained musicians, but their ears are honed from enthusiastic consumption of music. Individuals such as DJ Dangermouse, Gregg Gillis and Tom Compagnoni appropriate, reshape and re-present the surrounding soundscape to suit diverse creative urges, thereby adapting the passive medium of recorded sound into an active production tool. References Adorno, Theodor. “On the Fetish Character in Music and the Regression of Listening.” The Culture Industry: Selected Essays on Mass Culture. Ed. J. Bernstein. London, New York: Routledge, 1991. Burnett, Henry. “Ruggieri and Vivaldi: Two Venetian Gloria Settings.” American Choral Review 30 (1988): 3. Compagnoni, Tom. “Wax Audio: Mediacracy.” Wax Audio. 2005. 2 Apr. 2007 http://www.waxaudio.com.au/downloads/mediacracy>. Coombe, Rosemary. The Cultural Life of Intellectual Properties. Durham, London: Duke University Press, 1998. Demers, Joanna. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens, London: University of Georgia Press, 2006. Dombale, Ryan. “Interview: Girl Talk.” Pitchfork. 2006. 9 Jan. 2007 http://www.pitchforkmedia.com/article/feature/37785/Interview_Interview_Girl_Talk>. Duffel, Daniel. Making Music with Samples. San Francisco: Backbeat Books, 2005. Forbes, Anne-Marie. “A Venetian Festal Gloria: Antonio Lotti’s Gloria in D Major.” Music Research: New Directions for a New Century. Eds. M. Ewans, R. Halton, and J. Phillips. London: Cambridge Scholars Press, 2004. Green, Robert. “George Clinton: Ambassador from the Mothership.” Synthesis. Undated. 15 Sep. 2005 http://www.synthesis.net/music/story.php?type=story&id=70>. Harrison, Nate. “Can I Get an Amen?” Nate Harrison. 2004. 8 Jan. 2007 http://www.nkhstudio.com>. Lawrence, Dale. “On Mashups.” Nuvo. 2002. 8 Jan. 2007 http://www.nuvo.net/articles/article_292/>. Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001. ———. Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press, 2004. McAvan, Em. “Boulevard of Broken Songs: Mash-Ups as Textual Re-Appropriation of Popular Music Culture.” M/C Journal 9.6 (2006) 3 Apr. 2007 http://journal.media-culture.org.au/0612/02-mcavan.php>. McLeod, Kembrew. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic.” Popular Music & Society 28.79. ———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books. Morris, Sue. “Co-Creative Media: Online Multiplayer Computer Game Culture.” Scan 1.1 (2004). 8 Jan. 2007 http://scan.net.au/scan/journal/display_article.php?recordID=16>. Petridis, Alexis. “Pop Will Eat Itself.” The Guardian UK. March 2003. 8 Jan. 2007 http://www.guardian.co.uk/arts/critic/feature/0,1169,922797,00.html>. Riley. “Pop Will Eat Itself—Or Will It?”. The Truth Unknown (archived at Archive.org). 2003. 9 Jan. 2007 http://web.archive.org/web/20030624154252 /www.thetruthunknown.com/viewnews.asp?articleid=79>. Schütze, Bernard. “Samples from the Heap: Notes on Recycling the Detritus of a Remixed Culture”. Horizon Zero 2003. 8 Jan. 2007 http://www.horizonzero.ca/textsite/remix.php?tlang=0&is=8&file=5>. Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York, London: New York University Press, 2003. Woodmansee, Martha. “On the Author Effect: Recovering Collectivity.” The Construction of Authorship: Textual Appropriation in Law and Literature. Eds. M. Woodmansee, P. Jaszi and P. Durham; London: Duke University Press, 1994. 15. Citation reference for this article MLA Style Collins, Steve. "Amen to That: Sampling and Adapting the Past." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/09-collins.php>. APA Style Collins, S. (May 2007) "Amen to That: Sampling and Adapting the Past," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/09-collins.php>.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA had joined the cast of Tarantino’s anticipated Django Unchained, playing “Thaddeus, a violent slave working on a Mississippi plantation” (Sneider, “Rza Joins ‘Django Unchained’ Cast”). Django Unchained follows Tarantino’s pattern of generic and trope mixology, combining elements of the Western, blaxploitation, and buddy/road film. He famously stated: “[If] my work has anything it's that I'm taking this from this and that from that and mixing them together… I steal from everything. Great artists steal; they don't do homages” (“The Directors of Our Lifetime: In Their Own Words”). He sutures iconography from multiple films in numerous genres to form new texts that stand alone, albeit as amalgamations of references. In considering meanings attached particularly to exploitation films, this article addresses the significance of combining influences within The Man with the Iron Fists and Tarantino’s Django Unchained, and the ideological threads that emerge in fusing exploitation film aesthetics. Ultimately, these films provide a convergence not only of texts, but also of the collective identities associated with and built upon those texts, feats made possible through the filmmakers’ use of pastiche. Pastiche in Identity Formation as Subversive A reflection of the postmodern tendency towards appropriation and borrowing, pastiche is often considered less meaningful than its counterpart, parody. Fredric Jameson suggests that though pastiche and parody share commonalities (most notably the mimicry of style and mannerisms), they do so to different effects. Jameson asserts that parody mimics in an effort to mock the idiosyncrasies within a text, whereas pastiche is “neutral parody” of “dead styles” (114). In short, as Susan Hayward writes, “In its uninventiveness, pastiche is but a shadow of its former thing” (302). For Jameson, the most ubiquitous form of pastiche is the nostalgia film, which attempts to recapture the essence of the past. As examples, he points to the George Lucas films American Graffiti (1973), which is staged in the United States of the 1950s, and Star Wars (1977), which reflects the serials of the 1930s-1950s (114-115). Though scholars such as Jameson and Hayward are contemptuous of pastiche, a growing number see its potential for the subversion and critique that the aforementioned suggest it lacks. For instance, Sarah Smith reminds us that pastiche films engage in “complicitous critique”: the films maintain the trappings of original texts, yet do so in order to advance critique (209). For Smith and other scholars, such as Judith Butler and Richard Dyer, Jameson’s criticism of pastiche is dismissive, for while these scholars largely agree that pastiche is a form of mimicry in which the distance between original and copy is minimal, they recognise that a space still exists for it to be critical. Smith writes: “[W]hile there may be greater distance between the parody and its target text than there is between the pastiche and the text it imitates, a prescribed degree of distance is not a prerequisite for critical engagement with the ur-text” (210). In this regard, fidelity to the original texts is not only required but to be revered, for these likenesses to the original “act as a guarantee of the critique of those origins and provide an opportunity for the filmmaker to position [himself or herself] in relation to them” (Smith 211). Essentially, pastiche is a useful technique in which to construct hybrid identities. Keri E. Iyall Smith suggests that hybrid identities emerge from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). As will be evidenced here, Tarantino utilises pastiche as an unabashed genre poacher; similarly, as a self-avowed Tarantino student and hip-hop producer known for his sampling acumen, RZA invokes pastiche to reflect mastery of his craft and a hybridised identity his multifaceted persona. Plagiarism, Poaching, and Pastiche: Tarantino Blurs Boundaries As a filmmaker, Tarantino is known for indulging in excess: violence, language, and aesthetics. Edward Gallafent characterised the director’s work as having a preoccupation with settings and journeys, violence (both emotional and physical), complicated chronological structures, and dissatisfying conclusions (3-4). Additionally, pieces of Tarantino’s cinematic fandom are inserted into his own films. Academic and popular critics continually note Tarantino’s rise as an obsessive video store clerk turned respected and eccentric auteur. Tarantino’s authorship lies mostly in his ability to borrow (or in his words, steal) narrative arcs, characterisations, and camera work from other filmmakers, and use them in ways that feel innovative and different from those past works. It is not that he borrows generally from movements, films, and filmmakers, but that he conscientiously lifts segments from works to incorporate into his text. In Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange, Keith M. Booker contends that Tarantino’s work often straddles lines between simplistic reference for reference’s sake and meditations upon the roles of cinema (90). Booker dismisses claims for the latter, citing Tarantino’s unwillingness to contextualise the references in Pulp Fiction, such that the film is best described not an act of citation so much as a break with the historical. Tarantino’s lack of reverence provides him freedom to intermingle texts and tropes to fit his goals as a filmmaker, rather than working within the confines of generic narratives. Each film feels both apart and distinct from genre categories. Jackie Brown, for example, has many of the traits attached to blaxploitation, from its focus on drug culture, the casting of Pam Grier who gained status playing female leads in blaxploitation films, and extreme violence. Tarantino’s use of humour throughout, particular in his treatment of character types, plot twists, and self-aware musical cues distances the film from easy characterisation. It is, but isn’t. What is gained is a remediated conception of cinematic reality. The fictions created in films of the past are noted in Tarantino’s play with tropes. His mixes produce an extreme form of mediated reality – one that is full of excess, highly exaggerated, and completely composed of stolen frameworks. Tarantino continues his generic play in Django Unchained. While much of it does borrow heavily from 1960s and 1970s Western filmmakers like Leone, Corbucci, and Peckinpah (the significance of desolate landscapes, long takes, extreme violence), it also incorporates strands of buddy cop (partners with different backgrounds working together to correct wrongs), early blaxploitation (Broomhilda’s last name is von Shaft suggesting that she is an ancestor of blaxploitation icon John Shaft, the characterisation of Django as black antihero enacting revenge on white racists in power), and kung fu (revenge narrative, in addition to the extensive training moments between Dr. Schultz and Django). The familiar elements highlight the transgressions of genre adherence. The comfort of the western genre and its tropes eases the audience, only for Tarantino to incorporate those elements from outside the genre to spark interest, to shock, to remind audiences of the mediated reality onscreen. Tarantino has been criticised for his lack of depth and understanding regarding women and people of colour, despite his attempts to provide various leading and supporting roles for both. Django Unchained was particularly criticised for Tarantino’s use of the term nigg*r - over 100 instances in the film. Tarantino defended his decision by claiming historical accuracy, poetic license, and his desire to confront audiences with various levels of racism. Many, including Spike Lee, disagreed, arguing Tarantino had no claim to making a film about slavery. Lee stated through Twitter: “American Slavery Was Not A Sergio Leone Spaghetti Western. It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them” (“Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful’”). Not only does Lee evoke the tragedy of the American slave trade and the significance of race within contemporary filmmaking, but he uses genre to underscore what he perceives is Tarantino’s lack of reverence to the issue of slavery and its aftermath in American culture. Django Unchained is both physically and emotionally brutal. The world created by Tarantino is culturally messy, as Italian composers rub elbows with black hip-hop artists, actors from films’ referenced in Django Unchained interact with new types of heroes. The amounts of references, people, and spectacles in his films have created a brand that is both hyperaware, but often critiqued as ambivalent. This is due in part to the perception of Tarantino as a filmmaker with no filter. His brand as a filmmaker is action ordered, excessive, and injected with his own fandom. He is an ultimate poacher of texts and it is this aesthetic, which has also made him a fan favourite amongst young cinephiles. Not only does he embrace the amount of play film offers, but he takes the familiar and makes it strange. The worlds he creates are hazier, darker, and unstable. Creating such a world in Django Unchained provides a lot of potential for reading race in film and American culture. He and his defenders have discussed this film as an “honest” portrayal of the effects of slavery and racial tension in the United States. This is also the world which acts as context for RZA’s The Man with the Iron Fists. Though a reference abandoned in Django Unchained, the connection between both films and both filmmakers pleasure in pastiche provide further insight to connections between film and race. Doing the Knowledge: RZA Pays Homage As a filmmaker, RZA utilises Tarantino’s filmmaking brand techniques to build his own homage and add to the body of kung-fu films. Doing so furnishes him the opportunity to rehash and reform narratives and tropes in ways that change familiar narrative structures and plot devices. In creating a film which relies on cinematic allusions to kung fu, RZA—as a fan, practitioner, and author—reconfigures kung fu from being an exploitative genre and reshapes its potential for representational empowerment. While Tarantino considers himself an unabashed thief of genre tropes, RZA envisions himself more as a student who pays homage to masters—among whom he includes Tarantino. Indeed, in an interview with MTV, RZA refers to Tarantino as his Sifu (a Chinese term for master or teacher) and credits him not only for teaching RZA about filmmaking, but also for providing him with his blessing to make his first feature length film (Downey, “RZA Recalls Learning from ‘The Master’ Quentin Tarantino”). RZA implies that mastery of one’s craft comes from incorporating influences while creating original work, not theft. For instance, he states that the Pink Blossom brothel—the locus for most of the action in the film—was inspired by the House of Blue Leaves restaurant, which functions in a similar capacity in Tarantino’s Kill Bill: Vol. 1 (“RZA Talks Sampling of Kung Fu Films for Movie & The Difference Between Biting vs. Influence”). Hip-hop is an art form in which its practitioners “partake of a discursive universe where skill at appropriating the fragments of a rapidly-changing world with verbal grace and dexterity is constituted as knowledge” (Potter 21). This knowledge draws upon not only the contemporary moment but also the larger body of recorded music and sound, both of which it “re-reads and Signifies upon through a complex set of strategies, including samplin’, cuttin’ (pastiche), and freestylin’ (improvisation)” (Potter 22). As an artist who came of age in hip-hop’s formative years and whose formal recording career began at the latter half of hip-hop’s Golden Age (often considered 1986-1993), RZA is a particularly adept cutter and sampler – indeed, as a sampler, RZA is often considered a master. While RZA’s samples run the gamut of the musical spectrum, he is especially known for sampling obscure, often indeterminable jazz and soul tracks. Imani Perry suggests that this measure of fidelity to the past is borne out of hip-hop’s ideological respect for ancestors and its inherent sense of nostalgia (54). Hallmarks of RZA’s sampling repertoire include dialog and sound effects from equally obscure kung fu films. RZA attributes his sampling of kung fu to an affinity for these films established in his youth after viewing noteworthy examples such as The 36th Chamber of Shaolin (1978) and Five Deadly Venoms (1978). These films have become a key aspect of his identity and everyday life (Gross, “RZA’s Edge: The RZA’s Guide to Kung Fu Films”). He speaks of his decision to make kung fu dialog an integral part of Wu-Tang Clan’s first album Enter the Wu-Tang (36 Chambers): “My fantasy was to make a one-hour movie that people were just going to listen to. They would hear my movie and see it in their minds. I’d read comic books like that, with sonic effects and kung fu voices in my head. That makes it more exciting so I try to create music in the same way” (Gross, ““RZA’s Edge: The RZA’s Guide to Kung Fu Films”). Much like Enter the Wu-Tang (36 Chambers) and his other musical endeavours, The Man with the Iron Fists serves as further evidence of RZA’s hybrid identity., which sociologist Keri E. Iyall Smith suggests emerges from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). The most overt instance of RZA’s hybridity is in regards to names, many of which are derived from the Gordon Liu film Shaolin and Wu-Tang (1983), in which the competing martial arts schools come together to fight a common foe. The film is the basis not only for the name of RZA’s group (Wu-Tang Clan) but also for the names of individual members (for instance, Master Killer—after the series to which the film belongs) and the group’s home base of Staten Island, New York, which they frequently refer to as “Shaolin.” The Man with the Iron Fists is another extension of this hybrid identity. Kung fu has long had meaning for African Americans particularly because these films frequently “focus narratively on either the triumph of the ‘little guy’ or ‘underdog’ or the nobility of the struggle to recognise humanity and virtue in all people, or some combination of both” (Ongiri 35). As evidence, Amy Obugo Ongiri points to films such as The 36th Chamber of Shaolin, a film about a peasant who learns martial arts at the Shaolin temple in order to avenge his family’s murder by the Manchu rulers (Ongiri 35). RZA reifies this notion in a GQ interview, where he speaks about The 36th Chamber of Shaolin specifically, noting its theme of rebellion against government oppression having relevance to his life as an African American (Pappademus, “This Movie Is Rated Wu”). RZA appropriates the humble origins of the peasant San Te (Gordon Liu), the protagonist of The 36th Chamber of Shaolin, in Thaddeus (whom RZA plays in the film), whose journey to saviour of Jungle Village begins with his being a slave in America. Indeed, one might argue that RZA’s construction of and role as Thaddeus is the ultimate realisation of the hybrid identity he has developed since becoming a popular recording artist. Just as Tarantino’s acting in his own films often reflects his identity as genre splicer and convention breaker (particularly since they are often self-referential), RZA’s portrayal of Thaddeus—as an African American, as a martial artist, and as a “conscious” human being—reflects the narrative RZA has constructed about his own life. Conclusion The same amount of play Tarantino has with conventions, particularly in characterisations and notions of heroism, is present in RZA’s Man with the Iron Fists. Both filmmakers poach from their favourite films and genres in order to create interpretations that feel both familiar and new. RZA follows Tarantino’s aesthetic of borrowing scenes directly from other films. Both filmmakers poach from films for their own devices, but in those mash-ups open up avenues for genre critique and identity formation. Tarantino is right to say that they are not solely homages, as homages honour the films in which they borrow. Tarantino and RZA do more through their poaching to stretch the boundaries of genres and films’ abilities to communicate with audiences. References “The Directors of Our Lifetime: In Their Own Words.” Empire Online. N.d. 8 May 2013 ‹http://www.empireonline.com/magazine/250/directors-of-our-lifetime/5.asp›. Booker, Keith M. Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange. Westport, CT: Praeger, 2007. Downey, Ryan J. “RZA Recalls Learning from ‘The Master’ Quentin Tarantino.” MTV. 30 August 2012. 14 July 2013 ‹http://www.mtv.com/news/articles/1692872/rza-man-with-the-iron-fists-quentin-tarantino.jhtml›. Gallefent, Edward. Quentin Tarantino. London: Longman. 2005. Gross, Jason. “RZA’s Edge: The RZA’s Guide to Kung Fu Films.” Film Comment. N.d. 5 June 2013 ‹http://www.filmcomment.com/article/rzas-edge-the-rzas-guide-to-kung-fu-films›. Iyall Smith, Keri E. “Hybrid Identities: Theoretical Examinations.” Hybrid Identities: Theoretical and Empirical Examinations. Ed. Keri E. Iyall Smith and Patricia Leavy. Leiden: Brill, 2008. 3-12. Jameson, Fredric. “Postmodernism and Consumer Society.” Postmodern Culture. Ed. Hal Foster. London: Pluto, 1985. 111-125. Lashua, Brett. “The Arts of the Remix: Ethnography and Rap.” Anthropology Matters 8.2 (2006). 6 June 2013 ‹http://www.anthropologymatters.com›. “The Man with the Iron Fists – Who in the Cast Can F-U Up?” IronFistsMovie 21 Sep. 2012. YouTube. 8 May 2013 ‹http://youtu.be/bhJOQZFJfqA›. Pappademus, Alex. “This Movie Is Rated Wu.” GQ Nov. 2012. 6 June 2013 ‹http://www.gq.com/entertainment/movies-and-tv/201211/the-rza-man-with-the-iron-fists-wu-tang-clan›. Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. Durham, NC: Duke UP, 2004. Potter, Russell. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany, NY: SUNY P, 1995. “RZA Talks Sampling of Kung Fu Films for Movie & The Difference between Biting vs. Influence.” The Well Versed. 2 Nov. 2012. 5 June 2013 ‹http://thewellversed.com/2012/11/02/video-rza-talks-sampling-of-kung-fu-films-for-movie-the-difference-between-biting-vs-influence/›. Smith, Sarah. “Lip and Love: Subversive Repetition in the Pastiche Films of Tracey Moffat.” Screen 49.2 (Summer 2008): 209-215. Snedier, Jeff. “Rza Joins 'Django Unchained' Cast.” Variety 2 Nov. 2011. 14 June 2013 ‹http://variety.com/2011/film/news/rza-joins-django-unchained-cast-1118045503/›. “Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful.’” Huffington Post 24 Dec. 2012. 14 June 2013 ‹http://www.huffingtonpost.com/2012/12/23/spike-lee-django-unchained-movie-disrespectful_n_2356729.html›. Wu-Tang Clan. Enter the Wu-Tang (36 Chambers). Loud, 1993. Filmography The 36th Chamber of Shaolin. Dir. Chia-Liang Lui. Perf. Chia Hui Lui, Lieh Lo, Chia Yung Lui. Shaw Brothers, 1978. Django Unchained. Dir. Quentin Tarantino. Perf. Jamie Foxx, Leonardo DiCaprio, Christoph Waltz. Miramax, 2012. Five Deadly Venoms. Dir. Cheh Chang. Perf. Sheng Chiang, Philip Kwok, Feng Lu. Shaw Brothers, 1978. Jackie Brown. Dir. Quentin Tarantino. Perf. Pam Grier, Samuel L. Jackson, Robert Forster. Miramax, 1997. Kill Bill: Vol. 1. Dir. Quentin Tarantino. Perf. Uma Thurman, David Carradine, Darryl Hannah. Miramax, 2003. The Man with the Iron Fists. Dir. RZA. Perf. RZA, Russell Crowe, Lucy Liu. Arcade Pictures, 2012. Pulp Fiction. Dir. Quentin Tarantino. Perf. John Travolta, Uma Thurman, Samuel L. Jackson. Miramax, 1994. Shaolin and Wu-Tang. Dir. Chiu Hui Liu. Perf. Chiu Hui Liu, Adam Cheng, Li Ching.

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Discussions of the economic theory of planned obsolescence—the purposeful embedding of redundancy into the functionality or other aspect of a product—in the 1980s and 1990s often focused on the impact of such a design strategy on manufacturers, consumers, the market, and, ultimately, profits (see, for example, Bulow; Lee and Lee; Waldman). More recently, assessments of such shortened product life cycles have included calculations of the environmental and other costs of such waste (Claudio; Kondoh; Unruh). Commonly utilised examples are consumer products such as cars, whitegoods and small appliances, fashion clothing and accessories, and, more recently, new technologies and their constituent components. This discourse has been adopted by those who configure workers as human resources, and who speak both of skills (Janßen and Backes-Gellner) and human capital itself (Chauhan and Chauhan) being made obsolete by market forces in both predictable and unplanned ways. This includes debate over whether formal education can assist in developing the skills that make their possessors less liable to become obsolete in the workforce (Dubin; Holtmann; Borghans and de Grip; Gould, Moav and Weinberg). However, aside from periodic expressions of disciplinary angst (as in questions such as whether the Liberal Arts and other disciplines are becoming obsolete) are rarely found in discussions regarding higher education. Yet, higher education has been subsumed into a culture of commercial service provision as driven by markets and profit as the industries that design and deliver consumer goods. McKelvey and Holmén characterise this as a shift “from social institution to knowledge business” in the subtitle of their 2009 volume on European universities, and the recent decade has seen many higher educational institutions openly striving to be entrepreneurial. Despite some debate over the functioning of market or market-like mechanisms in higher education (see, for instance, Texeira et al), the corporatisation of higher education has led inevitably to market segmentation in the products the sector delivers. Such market segmentation results in what are called over-differentiated products, seemingly endless variations in the same product to attempt to increase consumption and attendant sales. Milk is a commonly cited example, with supermarkets today stocking full cream, semi-skimmed, skimmed, lactose-free, soy, rice, goat, GM-free and ‘smart’ (enriched with various vitamins, minerals and proteins) varieties; and many of these available in fresh, UHT, dehydrated and/or organic versions. In the education market, this practice has resulted in a large number of often minutely differentiated, but differently named, degrees and other programs. Where there were once a small number of undergraduate degrees with discipline variety within them (including the Bachelor of Arts and Bachelor of Science awards), students can now graduate with a named qualification in a myriad of discipline and professional areas. The attempt to secure a larger percentage of the potential client pool (who are themselves often seeking to update their own skills and knowledges to avoid workforce obsolescence) has also resulted in a significant increase in the number of postgraduate coursework certificates, diplomas and other qualifications across the sector. The Masters degree has fractured from a research program into a range of coursework, coursework plus research, and research only programs. Such proliferation has also affected one of the foundations of the quality and integrity of the higher education system, and one of the last bastions of conventional practice, the doctoral degree. The PhD as ‘Gold-Standard’ Market Leader? The Doctor of Philosophy (PhD) is usually understood as a largely independent discipline-based research project that results in a substantial piece of reporting, the thesis, that makes a “substantial original contribution to knowledge in the form of new knowledge or significant and original adaptation, application and interpretation of existing knowledge” (AQF). As the highest level of degree conferred by most universities, the PhD is commonly understood as indicating the height of formal educational attainment, and has, until relatively recently, been above reproach and alteration. Yet, whereas universities internationally once offered a single doctorate named the PhD, many now offer a number of doctoral level degrees. In Australia, for example, candidates can also complete PhDs by Publication and by Project, as well as practice-led doctorates in, and named Doctorates of/in, Creative Arts, Creative Industries, Laws, Performance and other ‘new’ discipline areas. The Professional Doctorate, introduced into Australia in the early 1990s, has achieved such longevity that it now has it’s own “first generation” incarnations in (and about) disciplines such as Education, Business, Psychology and Journalism, as well as a contemporary “second generation” version which features professionally-practice-led Mode 2 knowledge production (Maxwell; also discussed in Lee, Brennan and Green 281). The uniquely Australian PhD by Project in the disciplines of architecture, design, business, engineering and education also includes coursework, and is practice and particularly workplace (or community) focused, but unlike the above, does not have to include a research element—although this is not precluded (Usher). A significant number of Australian universities also currently offer a PhD by Publication, known also as the PhD by Published Papers and PhD by Published Works. Introduced in the 1960s in the UK, the PhD by Publication there is today almost exclusively undertaken by academic staff at their own institutions, and usually consists of published work(s), a critical appraisal of that work within the research context, and an oral examination. The named degree is rare in the USA, although the practice of granting PhDs on the basis of prior publications is not unknown. In Australia, an examination of a number of universities that offer the degree reveals no consistency in terms of the framing policies except for the generic Australian Qualifications Framework accreditation statement (AQF), entry requirements and conditions of candidature, or resulting form and examination guidelines. Some Australian universities, for instance, require all externally peer-refereed publications, while others will count works that are self-published. Some require actual publications or works in press, but others count works that are still at submission stage. The UK PhD by Publication shows similar variation, with no consensus on purpose, length or format of this degree (Draper). Across Australia and the UK, some institutions accept previously published work and require little or no campus participation, while others have a significant minimum enrolment period and count only work generated during candidature (see Brien for more detail). Despite the plethora of named degrees at doctoral level, many academics continue to support the PhD’s claim to rigor and intellectual attainment. Most often, however, these arguments cite tradition rather than any real assessment of quality. The archaic trappings of conferral—the caps, gowns and various other instruments of distinction—emphasise a narrative in which it is often noted that doctorates were first conferred by the University of Paris in the 12th century and then elsewhere in medieval Europe. However, challenges to this account note that today’s largely independently researched thesis is a relatively recent arrival to educational history, being only introduced into Germany in the early nineteenth century (Bourner, Bowden and Laing; Park 4), the USA in a modified form in the mid-nineteenth century and the UK in 1917 (Jolley 227). The Australian PhD is even more recent, with the first only awarded in 1948 and still relatively rare until the 1970s (Nelson 3; Valadkhani and Ville). Additionally, PhDs in the USA, Canada and Denmark today almost always incorporate a significant taught coursework element (Noble). This is unlike the ‘traditional’ PhD in the UK and Australia, although the UK also currently offers a number of what are known there as ‘taught doctorates’. Somewhat confusingly, while these do incorporate coursework, they still include a significant research component (UKCGE). However, the UK is also adopting what has been identified as an American-inflected model which consists mostly, or largely, of coursework, and which is becoming known as the ‘New Route British PhD’ (Jolley 228). It could be posited that, within such a competitive market environment, which appears to be driven by both a drive for novelty and a desire to meet consumer demand, obsolescence therefore, and necessarily, threatens the very existence of the ‘traditional’ PhD. This obsolescence could be seen as especially likely as, alongside the existence of the above mentioned ‘new’ degrees, the ‘traditional’ research-based PhD at some universities in Australia and the UK in particular is, itself, also in the process of becoming ‘professionalised’, with some (still traditionally-framed) programs nevertheless incorporating workplace-oriented frameworks and/or experiences (Jolley 229; Kroll and Brien) to meet professionally-focused objectives that it is acknowledged cannot be met by producing a research thesis alone. While this emphasis can be seen as operating at the expense of specific disciplinary knowledge (Pole 107; Ball; Laing and Brabazon 265), and criticised for that, this workplace focus has arisen, internationally, as an institutional response to requests from both governments and industry for training in generic skills in university programs at all levels (Manathunga and Wissler). At the same time, the acknowledged unpredictability of the future workplace is driving a cognate move from discipline specific knowledge to what have been described as “problem solving and knowledge management approaches” across all disciplines (Gilbert; Valadkhani and Ville 2). While few query a link between university-level learning and the needs of the workplace, or the motivating belief that the overarching role of higher education is the provision of professional training for its client-students (see Laing and Brabazon for an exception), it also should be noted that a lack of relevance is one of the contributors to dysfunction, and thence to obsolescence. The PhD as Dysfunctional Degree? Perhaps, however, it is not competition that threatens the traditional PhD but, rather, its own design flaws. A report in The New York Times in 2007 alerted readers to what many supervisors, candidates, and researchers internationally have recognised for some time: that the PhD may be dysfunctional (Berger). In Australia and elsewhere, attention has focused on the uneven quality of doctoral-level degrees across institutions, especially in relation to their content, rigor, entry and assessment standards, and this has not precluded questions regarding the PhD (AVCC; Carey, Webb, Brien; Neumann; Jolley; McWilliam et al., "Silly"). It should be noted that this important examination of standards has, however, been accompanied by an increase in the awarding of Honorary Doctorates. This practice ranges from the most reputable universities’ recognising individuals’ significant contributions to knowledge, culture and/or society, to wholly disreputable institutions offering such qualifications in return for payment (Starrs). While generally contested in terms of their status, Honorary Doctorates granted to sports, show business and political figures are the most controversial and include an award conferred on puppet Kermit the Frog in 1996 (Jeffries), and some leading institutions including MIT, Cornell University and the London School of Economics and Political Science are distinctive in not awarding Honorary Doctorates. However, while distracting, the Honorary Doctorate itself does not answer all the questions regarding the quality of doctoral programs in general, or the Doctor of Philosophy in particular. The PhD also has high attrition rates: 50 per cent or more across Australia, the USA and Canada (Halse 322; Lovitts and Nelson). For those who remain in the programs, lengthy completion times (known internationally as ‘time-to-degree’) are common in many countries, with averages of 10.5 years to completion in Canada, and from 8.2 to more than 13 years (depending on discipline) in the USA (Berger). The current government performance-based funding model for Australian research higher degrees focuses attention on timely completion, and there is no doubt that, under this system—where universities only receive funding for a minimum period of candidature when those candidates have completed their degrees—more candidates are completing within the required time periods (Cuthbert). Yet, such a focus has distracted from assessment of the quality and outcomes of such programs of study. A detailed survey, based on the theses lodged in Australian libraries, has estimated that at least 51,000 PhD theses were completed in Australia to 2003 (Evans et al. 7). However, little attention has been paid to the consequences of this work, that is, the effects that the generation of these theses has had on either candidates or the nation. There has been no assessment, for instance, of the impact on candidates of undertaking and completing a doctorate on such facets of their lives as their employment opportunities, professional choices and salary levels, nor any effect on their personal happiness or levels of creativity. Nor has there been any real evaluation of the effect of these degrees on GDP, rates of the commercialisation of research, the generation of intellectual property, meeting national agendas in areas such as innovation, productivity or creativity, and/or the quality of the Australian creative and performing arts. Government-funded and other Australian studies have, however, noted for at least a decade both that the high numbers of graduates are mismatched to a lack of market demand for doctoral qualifications outside of academia (Kemp), and that an oversupply of doctorally qualified job seekers is driving wages down in some sectors (Jones 26). Even academia is demanding more than a PhD. Within the USA, doctoral graduates of some disciplines (English is an often-cited example) are undertaking second PhDs in their quest to secure an academic position. In Australia, entry-level academic positions increasingly require a scholarly publishing history alongside a doctoral-level qualification and, in common with other quantitative exercises in the UK and in New Zealand, the current Excellence in Research for Australia research evaluation exercise values scholarly publications more than higher degree qualifications. Concluding Remarks: The PhD as Obsolete or Retro-Chic? Disciplines and fields are reacting to this situation in various ways, but the trend appears to be towards increased market segmentation. Despite these charges of PhD dysfunction, there are also dangers in the over-differentiation of higher degrees as a practice. If universities do not adequately resource the professional development and other support for supervisors and all those involved in the delivery of all these degrees, those institutions may find that they have spread the existing skills, knowledge and other institutional assets too thinly to sustain some or even any of these degrees. This could lead to the diminishing quality (and an attendant diminishing perception of the value) of all the higher degrees available in those institutions as well as the reputation of the hosting country’s entire higher education system. As works in progress, the various ‘new’ doctoral degrees can also promote a sense of working on unstable ground for both candidates and supervisors (McWilliam et al., Research Training), and higher degree examiners will necessarily be unfamiliar with expected standards. Candidates are attempting to discern the advantages and disadvantages of each form in order to choose the degree that they believe is right for them (see, for example, Robins and Kanowski), but such assessment is difficult without the benefit of hindsight. Furthermore, not every form may fit the unpredictable future aspirations of candidates or the volatile future needs of the workplace. The rate with which everything once new descends from stylish popularity through stages of unfashionableness to become outdated and, eventually, discarded is increasing. This escalation may result in the discipline-based research PhD becoming seen as archaic and, eventually, obsolete. Perhaps, alternatively, it will lead to newer and more fashionable forms of doctoral study being discarded instead. 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Abstract:

Introduction As the country with the fifth largest population in the world, Indonesia is a massive potential market for mobile technology adoption and development. Despite an annual per capita income of only $1,280 USD (World Bank), there are 63 million mobile phone users in Indonesia (Suhartono, sec. 1.7) and it is predicted to reach 80 million in 2007 (Jakarta Post 1). Mobile phones are not only a symbol of Indonesian modernity (Barendregt 5), but like other communication technology can become a platform through which to explore socio-political issues (Winner 28). In this article we explore the role mobile phone technology in contemporary forms of social, intimate, and sexual relationships in Indonesia. We argue that new forms of expression and relations are facilitated by the particular features of mobile technology. We discuss two cases from contemporary Indonesia: a mobile dating service (BEDD) and mobile phone p*rnography. For each case study, we first discuss the socio-political background in Indonesia, then describe the technological affordances of the mobile phone which facilitate dating and p*rnography, and finally give examples of how the mobile phone is effecting change in dating and p*rnographic practices. This study is placed at a time when social relations, intimacy, and sexuality in Indonesia have become central public issues. Since the end of the New Order whilst many people have embraced the new freedoms of reformasi and democratization, there is also a high degree of social anxiety, tension and uncertainty (Juliastuti 139-40). These social changes and desires have played out in the formations of new and exciting modes of creativity, solidarity, and sociality (Heryanto and Hadiz 262) and equally violence, terror and criminality (Heryanto and Hadiz 256). The diverse and plural nature of Indonesian society is alive with a myriad of people and activities, and it is into this diverse social body that the mobile phone has become a central and prominent feature of interaction. The focus of our study is dating and p*rnography as mediated by the mobile phone; however, we do not suggest that these are new experiences in Indonesia. Rather over the last decade social, intimate, and sexual relationships have all been undergoing change and their motivations can be traced to a variety of sources including the factors of globalization, democratization and modernization. Throughout Asia “new media have become a crucial site for constituting new Asian sexual identities and communities” (Berry, Martin, and Yue 13) as people are connecting through new communication technologies. In this article we suggest that mobile phone technology opens new possibilities and introduces new channels, dynamics, and intensities of social interaction. Mobile phones are particularly powerful communication tools because of their mobility, accessibility, and convergence (Ling 16-19; Ito 14-15; Katz and Aakhus 303). These characteristics of mobile phones do not in and of themselves bring about any particular changes in dating and p*rnography, but they may facilitate changes already underway (Barendegt 7-9; Barker 9). Mobile Dating Background The majority of Indonesians in the 1960s and 1970s had arranged marriages (Smith-Hefner 443). Education reform during the 70s and 80s encouraged more women to attain an education which in turn led to the delaying of marriage and the changing of courtship practices (Smith-Hefner 450). “Compared to previous generations, [younger Indonesians] are freer to mix with the opposite sex and to choose their own marriage,” (Utomo 225). Modern courtship in Java is characterized by “self-initiated romance” and dating (Smith-Hefner 451). Mobile technology is beginning to play a role in initiating romance between young Indonesians. Technology One mobile matching or dating service available in Indonesia is called BEDD (www.bedd.com). BEDD is a free software for mobile phones in which users fill out a profile about themselves and can meet BEDD members who are within 20-30 feet using a Bluetooth connection on their mobile devices. BEDD members’ phones automatically exchange profile information so that users can easily meet new people who match their profile requests. BEDD calls itself mobile social networking community; “BEDD is a new Bluetooth enabled mobile social medium that allows people to meet, interact and communicate in a new way by letting their mobile phones do all the work as they go throughout their day.” As part of a larger project on mobile social networking (Humphreys 6), a field study was conducted of BEDD users in Jakarta, Indonesia and Singapore (where BEDD is based) in early 2006. In-depth interviews and open-ended user surveys were conducted with users, BEDD’s CEO and strategic partners in order to understand the social uses and effects BEDD. The majority of BEDD members (which topped 100,000 in January 2006) are in Indonesia thanks to a partnership with Nokia where BEDD came pre-installed on several phone models. In management interviews, both BEDD and Nokia explained that they partnered because both companies want to help “build community”. They felt that Bluetooth technology such as BEDD could be used to help youth meet new people and keep in touch with old friends. Examples One of BEDD’s functions is to help lower barriers to social interaction in public spaces. By sharing profile information and allowing for free text messaging, BEDD can facilitate conversations between BEDD members. According to users, mediating the initial conversation also helps to alleviate social anxiety, which often accompanies meeting new people. While social mingling and hanging out between Jakarta teenagers is a relatively common practice, one user said that BEDD provides a new and fun way to meet and flirt. In a society that must balance between an “idealized morality” and an increasingly sexualized popular culture (Utomo 226), BEDD provides a modern mode of self-initiated matchmaking. While BEDD was originally intended to aid in the matchmaking process of dating, it has been appropriated into everyday life in Indonesia because of its interpretive flexibility (Pinch & Bjiker 27). Though BEDD is certainly used to meet “beautiful girls” (according to one Indonesian male user), it is also commonly used to text message old friends. One member said he uses BEDD to text his friends in class when the lecture gets boring. BEDD appears to be a helpful modern communication tool when people are physically proximate but cannot easily talk to one another. BEDD can become a covert way to exchange messages with people nearby for free. Another potential explanation for BEDD’s increasing popularity is its ability to allow users to have private conversations in public space. Bennett notes that courtship in private spaces is seen as dangerous because it may lead to sexual impropriety (154). Dating and courtship in public spaces are seen as safer, particularly for conserving the reputation young Indonesian women. Therefore Bluetooth connections via mobile technologies can be a tool to make private social connections between young men and women “safer”. Bluetooth communication via mobile phones has also become prevalent in more conservative Muslim societies (Sullivan, par. 7; Braude, par. 3). There are, however, safety concerns about meeting strangers in public spaces. When asked, “What advice would you give a first time BEDD user?” one respondent answered, “harus bisa mnilai seseorang krn itu sangat penting, kita mnilai seseorang bukan cuma dari luarnya” (translated: be careful in evaluating (new) people, and don’t ever judge the book by its cover”). Nevertheless, only one person participating in this study mentioned this concern. To some degree meeting someone in a public may be safer than meeting someone in an online environment. Not only are there other people around in public spaces to physically observe, but co-location means there may be some accountability for how BEDD members present themselves. The development and adoption of matchmaking services such as BEDD suggests that the role of the mobile phone in Indonesia is not just to communicate with friends and family but to act as a modern social networking tool as well. For young Indonesians BEDD can facilitate the transfer of social information so as to encourage the development of new social ties. That said, there is still debate about exactly whom BEDD is connecting and for what purposes. On one hand, BEDD could help build community in Indonesia. One the other hand, because of its privacy it could become a tool for more promiscuous activities (Bennett 154-5). There are user profiles to suggest that people are using BEDD for both purposes. For example, note what four young women in Jakarta wrote in the BEDD profiles: Personal Description Looking For I am a good prayer, recite the holy book, love saving (money), love cycling… and a bit narcist. Meaning of life Ordinary gurl, good student, single, Owen lover, and the rest is up to you to judge. Phrenz ?! Peace?! Wondeful life! I am talkative, have no patience but so sweet. I am so girly, narcist, shy and love cute guys. Check my fs (Friendster) account if you’re so curious. Well, I am just an ordinary girl tho. Anybody who wants to know me. A boy friend would be welcomed. Play Station addict—can’t live without it! I am a rebel, love rock, love hiphop, naughty, if you want proof dial 081********* phrenz n cute guyz As these profiles suggest, the technology can be used to send different kinds of messages. The mobile phone and the BEDD software merely facilitate the process of social exchange, but what Indonesians use it for is up to them. Thus BEDD and the mobile phone become tools through which Indonesians can explore their identities. BEDD can be used in a variety of social and communicative contexts to allow users to explore their modern, social freedoms. Mobile p*rnography Background Mobile phone p*rnography builds on a long tradition of p*rnography and sexually explicit material in Indonesia through the use of a new technology for an old art and product. Indonesia has a rich sexual history with a documented and prevalent sex industry (Suryakusuma 115). Lesmana suggests that the country has a tenuous p*rnographic industry prone to censorship and nationalist politics intent on its destruction. Since the end of the New Order and opening of press freedoms there has been a proliferation in published material including a mushrooming of tabloids, men’s magazines such as FHM, Maxim and Playboy, which are often regarded as p*rnographic. This is attributed to the decline of the power of the bureaucracy and government and the new role of capital in the formation of culture (Chua 16). There is a parallel p*rnography industry, however, that is more amateur, local, and homemade (Barker 6). It is into this range of material that mobile phone p*rnography falls. Amongst the myriad forms of p*rnography and sexually explicit material available in Indonesia, the mobile phone in recent years has emerged as a new platform for production, distribution, and consumption. This section will not deal with the ethics of representation nor engage with the debate about definitions and the rights and wrongs of p*rnography. Instead what will be shown is how the mobile phone can be and has been used as an instrument/medium for the production and consumption of p*rnography within contemporary social relationships. Technology There are several technological features of the mobile phone that make p*rnography possible. As has already been noted the mobile phone has had a large adoption rate in Indonesia, and increasingly these phones come equipped with cameras and the ability to send data via MMS and Bluetooth. Coupled with the mobility of the phone, the convergence of technology in the mobile phone makes it possible for p*rnography to be produced and consumed in a different way than what has been possible before. It is only recently that the mobile phone has been marketed as a video camera with the release of the Nokia N90; however, quality and recording time are severely limited. Still, the mobile phone is a convenient and at-hand tool for the production and consumption of individually made, local, and non-professional pieces of p*rn, sex and sexuality. It is impossible to know how many such films are in circulation. A number of websites that offer these films for downloads host between 50 and 100 clips in .3gp file format, with probably more in actual circulation. At the very least, this is a tenfold increase in number compared to the recent emergence of non-professional VCD films (Barker 3). This must in part be attributed to the advantages that the mobile phone has over standard video cameras including cost, mobility, convergence, and the absence of intervening data processing and disc production. Examples There are various examples of mobile p*rnography in Indonesia. These range from the p*rnographic text message sent between lovers to the mobile phone video of explicit sexual acts (Barendregt 14-5). The mobile phone affords privacy for the production and exchange of p*rnographic messages and media. Because mobile devices are individually owned, however, p*rnographic material found on mobile phones can be directly tied to the individual owners. For example, police in Kotabaru inspected the phones of high school students in search of p*rnographic materials and arrested those individuals on whose phones it was found (Barendregt 18). Mobile phone p*rnography became a national political issue in 2006 when an explicit one-minute clip of a singer and an Indonesian politician became public. Videoed in 2004, the clip shows Maria Eva, a 27 year-old dangdut singer (see Browne, 25-6) and Yahya Zaini, a married 42 year-old who was head of religious affairs for the Golkar political party. Their three-year affair ended in 2005, but the film did not become public until 2006. It spread like wildfire between phones and across the internet, however, and put an otherwise secret relationship into the limelight. These types of affairs and relationships were common knowledge to people through gossip, exposes such as Jakarta Undercover (Emka 93-108) and stories in tabloids; yet this culture of adultery and prostitution continued and remained anonymous because of bureaucratic control of evidence and information (Suryakusuma 115). In this case, however, the filming of Maria Eva once public proves the identities of those involved and their infidelity. As a result of the scandal it was further revealed that Maria Eva had been forced by Yayha Zaini and his wife to have an abortion, deepening the moral crisis. Yahya Zaini later resigned as his party’s head of Religious Affairs (Asmarani, sec. 1-2), due to what was called the country’s “first real sex scandal” (Naughton, par. 2). As these examples show, there are definite risks and consequences involved in the production of mobile p*rnography. Even messages/media that are meant to be shared between two consenting individuals can eventually make their way into the public mobile realm and have serious consequences for those involved. Mobile video and photography does, however, represent a potential new check on the Indonesian bureaucratic elite which has not been previously available by other means such as a watchdog media. “The role of the press as a control mechanism is practically nonexistent [in Jakarta], which in effect protects corruption, nepotism, financial manipulation, social injustice, and repression, as well as the murky sexual life of the bureaucratic power elite,” (Suryakusuma 117). Thus while originally a mobile video may have been created for personal pleasure, through its mass dissemination via new media it can become a means of sousveillance (Mann, Nolan and Wellman 332-3) whereby the control of surveillance is flipped to reveal the often hidden abuses of power by officials. Whilst the debates over p*rnography in Indonesia tend to focus on the moral aspects of it, the broader social impacts of technology on relationships are often ignored. Issues related to power relations or even media as cultural expression are often disregarded as moral judgments cast a heavy shadow over discussions of locally produced Indonesian mobile p*rnography. It is possible to move beyond the moral critique of p*rnographic media to explore the social significance of its proliferation as a cultural product. Conclusion In these two case studies we have tried to show how the mobile phone in Indonesia has become a mode of interaction but also a platform through which to explore other current issues and debates related to dating, sexuality and media. Since 1998 and the fall of the New Order, Indonesia has been struggling with blending old and new, a desire of change and nostalgia for past, and popular desire for a “New Indonesia” (Heryanto, sec. Post-1998). Cultural products within Indonesia have played an important role in exploring these issues. The mobile phone in Indonesia is not just a technology, but also a product in and through which these desires are played out. Changes in dating and p*rnography practices have been occurring in Indonesia for some time. As people use mobile technology to produce, communicate, and consume, the device becomes intricately related to identity struggle and cultural production within Indonesia. It is important to keep in mind, however, that while mobile technology adoption within Indonesia is growing, it is still limited to a particular subset of the population. As has been previously observed (Barendregt 3), it is wealthier, young people in urban areas who are most intensely involved in mobile technology. As handset prices decrease and availability in rural areas increases, however, no longer will mobile technology be so demographically confined in Indonesia. The convergent technology of the mobile phone opens many possibilities for creative adoption and usage. As a communication device it allows for the creation, sharing, and viewing of messages. Therefore, the technology itself facilitates social connections and networking. As demonstrated in the cases of dating and p*rnography, the mobile phone is both a tool for meeting new people and disseminating sexual messages/media because it is a networked technology. The mobile phone is not fundamentally changing dating and p*rnography practices, but it is accelerating social and cultural trends already underway in Indonesia by facilitating the exchange and dissemination of messages and media. As these case studies show, what kinds of messages Indonesians choose to create and share are up to them. The same device can be used for relatively innocuous behavior as well as more controversial behavior. With increased adoption in Indonesia, the mobile will continue to be a lens through which to further explore modern socio-political issues. 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"Modernity and the Mobile Phone: Exploring Tensions about Dating and Sex in Indonesia." M/C Journal 10.1 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0703/06-humphreys-barker.php>. APA Style Humphreys, L., and T. Barker. (Mar. 2007) "Modernity and the Mobile Phone: Exploring Tensions about Dating and Sex in Indonesia," M/C Journal, 10(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0703/06-humphreys-barker.php>.