Journal articles on the topic 'Art et société'

Within the framework of the technological development of the VULCAIN rocket engine (Ariane V European project), initiated by the Centre National d’Etudes Spatiales (CNES) for the Agence Spatiale Europe´enne (ESA), the Socie´te´ Europe´enne de Propulsion (SEP) is in charge of the design and building of the liquid hydrogen turbopump. In order to characterize the hydraulic performance of the pump, an air test facility reproducing the pump geometry was built by SEP and fitted in the Laboratoire de Me´canique des Fluides et d’Acoustique of the Ecole Centrale de Lyon. Benefits and disadvantages of air tests of hydraulic pumps are discussed. The pump is composed of three stages. The first one is an axial inducer stage. The second and third ones are centrifugal stages with vaned diffusers and are separated by a U bend and a vaned return channel. Results of the first measurement campaign are presented. They consist of overall pressure, wall static pressure and velocity measurements. Local quantities (velocity triangle, pressure) and mean quantities (pressure rise, losses, efficiency) are given. Recirculating and wake flow analysis are included. The goals of the study are the understanding of the flow behavior and the improvement of the prediction methods. Predicted and measured quantities (losses, efficiency, kinetic momentum) are compared. The hydrogen performances are deduced, they agree with the specified performances of the pump. This validation is one of the main results achieved.

Le leadership entretient un rapport au corps souvent métaphorique. Certains organes, comme la tête ou le cœur, sont régulièrement évoqués pour suggérer les diverses facettes de l’art de diriger et mettre de l’avant ce que le leader doit faire ou être. Comment les mains s’inscrivent-elles alors dans cette rhétorique ?

Avant toute description des jardins singuliers, ou même d’une approche historique ou typologique, le Jardin, en tant qu’espace mix te dû à l’action humaine sur une base naturelle qui per siste au-delà de l’action même devient un défi à la philosophie. Partant de la vision du Jardin en tant que catégorie synthétique où se croisent plusieurs axes conceptuels: transcendance/imanence, nature/art, nature/culture, l’article analyse quelques figures de la modernité et sa correspondance avec des principes esthétiques (Renaissance, Barroque, Lumières). Par contre, le doute sur la capacité autofondatrice de l’oeuvre humaine et la reconnaissance de l’origine naturelle de l’existence, demandent aujour-d’hui à la vision du Jardin d’autre cadres de référence, soit l’ontologie, soit l’étique du souci.

Significant embryo mortality occurs at or around the time of implantation or attachment in virtually all mammalian species studied to date, even in naturally conceived embryos. Embryos resulting from assisted reproductive technologies (ART) are even more susceptible to peri-implantation failure. Herein we describe our effort to characterise the transcriptomes of embryonic disc (ED) and trophoblast (TE) cells from porcine embryos derived from AI, IVF, parthenogenetic oocyte activation (PA) and somatic cell nuclear transfer (NT) on Days 10, 12 and 14 of gestation. The IVF, PA and somatic cell NT embryos were generated using in vitro–matured oocytes, cultured overnight in vitro and then transferred at the 1- to 2-cell stage into appropriately synchronized recipient gilts. On the appropriate collection day, embryos were flushed from the uterus and ED was separated from TE by mechanical dissection. Double-stranded cDNA from the collected samples was sequenced using the GAII platform from Illumina (San Diego, CA, USA). The resulting sequencing reads were aligned to a custom swine transcriptome database (see Isom et al. 2010). A generalized linear model was fit for each of 41 693 genomic regions, for ED and TE samples separately, accounting for embryo type, gestation day and their interaction and using total lane read count as a normalizing offset. Genes with significant embryo type differences (controlling the false discovery rate at 0.10) were subsequently tested for differences between IVF and each of AI, PA and NT. Those genes with significant post hoc differences (either up- or down-regulated compared with IVF) were characterised in terms of gene ontologies and Kyoto Encyclopedia of Genes and Genomes (KEGG) pathways using a gene set enrichment test. Bone morphogenetic protein signalling was down-regulated (KEGG; P = 0.0099; adjusted to control for FDR at 0.05) in the ED of IVF embryos when compared with AI embryos. In TE cells from IVF embryos, ubiquitin-mediated proteolysis and ErbB signalling (adj P = 0.031 for both pathways) were aberrantly regulated when compared with AI embryos. Of particular interest is the observation that expression of genes involved in chromatin modification (GO:BiologicalProcess; q-value = 0.00005) and epigenetic regulation of transcription (q = 0.00007) was very significantly disrupted in inner cell mass cells from NT embryos compared with IVF embryos. Surprisingly, no such disruption of the epigenetic machinery was observed in the TE cells from NT embryos. In summary, we have used high-throughput sequencing technologies to compare gene expression profiles of various ART embryo types during peri-implantation development. We expect that these data will provide important insight into the root causes of (and possible opportunities for mitigation of) suboptimal development of embryos derived from ART. Funding was received from NIH R01 RR013438 and Food for the 21st Century (RSP) and the Utah Agricultural Experiment Station (UTA00151 and UTA00560 for S. C. Isom and J. R. Stevens, respectively).

Les photographies de la série [TIMESCAPES] portent un regard engagé vers la soif de domination que l’être humain produit sur son environnement, et qui ne cesse de définir ce début de XXIe siècle. Ces questionnements demeurent propres à l’extrême contemporain, avec l’impossibilité du paysage et la crise de l’urbanité, l’émergence de non-lieux et la tentative pour inventer des lieux où vivre, face à l’implacable déconstruction structuraliste du sujet. Le capitalisme, né de l’ère Anthropocène, ce « Siècle de l’Homme » initié avec la Révolution industrielle, a investi notre langage visuel dans lequel tout un imaginaire urbain s’est structuré, construit, architecturé, et où s’institue un système ayant recours à la réalité et à la fiction, entre réalité sociale et imaginaire poétique, entre documentaire et fiction. Un système dont les espaces-mondes créent des formes particulières, des formes esthétiques qui deviennent les cadres privilégiés de fictions représentatives de l’espace contemporain. En d’autres termes, cet extrême urbain contemporain né du Capitalocène se traduit par une urbanisation galopante de la planète, où les villes-mondes finissent par définir à elles seules de nouvelles formes de l’urbain. Tous ces non-lieux photographiques désignent des espaces-mondes, ce sont des images de territoires qualifiés d’intermédiaires ou d’intercalaires. À la fois constructions ou déstructurations démultipliées de l’environnement urbain, ces images donnent à voir un système particulier, celui d’un appareil de capture et de distribution des flux. Il s’agit de l’illustration de la technosphère qui désigne la partie physique de l’environnement affecté par les modifications d’origine anthropique, c’est-à-dire la totalité des constructions d’origine humaine, des premiers outils jusqu’aux dernières avancées technologiques, en passant par les infrastructures, les marchés industriels, les différents moyens de transport et l’ensemble des produits transformés. C’est ainsi que les changements de la Terre deviennent le reflet des changements de nos socie?te?s humaines. Ces espaces en mouvement perpétuel illustrent aussi le phénomène de l’accélération du temps et de ces dérives, sur des territoires en transformation constante, où l’éternité se manifeste uniquement à travers le changement ; puisque sans mouvement, il semble qu’à l’ère du Capitalocène, il n’y a point de devenir. Les effets extrêmes de la mondialisation redessinent ainsi aujourd’hui des centaines de villes ; vitrine du capitalisme débridé, ce qui surprend, c’est ce chaos constant dans chaque ville ; une révolution urbaine faite de constructions qui imposent une ségrégation socio-spatiale, entre densité et verticalité de l’urbanisme. Vision d’une croissance urbaine incontrôlée et abstraite, où chaque ville devient globale, mouvante et en perpétuel changement, prit dans le rythme effréné incontrôlable de l’urbanisation imposée par la globalisation du capitalisme. Les photographies aux compositions à la domination géométrique tendent vers l’abstraction, où les conditions de définition de l’abstrait sont la caractéristique même de l’accélération du monde ; car l’abstraction de la mondialisation et la rationalité du capitalisme représentent l’abstraction de la réalité matérielle associée aux échanges mondiaux dans laquelle le capital a atteint sa dématérialisation ultime. Une abstraction et une géométrisation de l’espace qui révèlent la prédominance de la pensée rationalisée, la grille étant un point d’appui dans une économie axée sur des procédures standards optimisées ; un dispositif formel qui devient l’un des symboles des principes de la raison instrumentale et de l’efficacité économique. En effet, la grille structure et (ré)actualise les relations avec les environnements, et ce faisant les rapports au monde. En installant un espace plat, lisse et infini, et alors même que l’e?tre humain ne semble toujours pas s’inquie?ter de son destin catastrophique dont il est l’obstine? ba?tisseur, les distances disparaissent, chaque position en vaut une autre, les différences culturelles s’estompent, l’individu finit par être aliéné et sa sociabilité appauvrie. Face à cela, l’urgence est de stopper les logiques de destruction qui sont à l’œuvre sur la planète, afin de réinventer la cohabitation du vivant à travers des mondes multiples et enchevêtrés, pour ainsi dépasser la tension entre l’environnement et l’être humain.

Human embryo culture media, intended for assisted reproductive technologies (ARTs), are released for clinical use if they pass the mouse embryo assay (MEA). This assay prescribes that at least 70% of in vivo fertilized mouse 1-cell embryos form blastocysts, in order to grant the culture medium approval. In the fertility clinic, however, human embryos undergo more manipulation than their MEA counterparts through, for example, fertilization by intracytoplasmic sperm injection (ICSI); further, only a minority of the embryos transferred to the uterus goes on to establish gestations. In this context, we asked if the results of the MEA only depend on the type of in vitro culture, or are also affected by the method of fertilization. Superovulated B6C3F1 mouse oocytes were fertilized by ICSI using C57Bl/6 sperm. Pronuclear-stage eggs were allocated to four developmental environments: two ART culture protocols (HTF/MultiBlast, Irvine Scientific; ISM1/ISM2, Origio), standard mouse culture medium (KSOM(aa), made in-house) and the oviduct of pseudopregnant CD1 mice. As control for the invasive manipulation, pronuclear-stage eggs were generated by mating (B6C3F1 × C57Bl/6) and cultured in KSOM(aa) medium. Embryos were recovered from culture or from the CD1 uterus and scored for blastocyst formation at 96 h of development (Table 1). For these blastocysts, we determined the number of total, inner cell mass (ICM), and trophectoderm (TE) cells (Table 1) by confocal immunofluorescence microscopy (Schwarzer et al. 2012 doi:10.1093/humrep/des223). Our results show that ART culture protocols applied to mouse ICSI embryos are not equivalent in supporting blastocyst formation. Based on blastocyst rates, the ranking observed here after ICSI, reflects the ranking reported by us for IVF embryos (Schwarzer et al. 2012); that is, KSOM(aa) > HTF/MultiBlast > oviduct > ISM1/2. This similarity suggests that the effect of in vitro culture on mouse development exceeds the effect of ICSI, provided gametes are of good quality. From the analysis of cell numbers, we note that while the ICM/TE ratios are not of easy interpretation, the absolute numbers of cells in the ICM draw a clear line between the environment of the oviduct and those of culture media. Irrespective of the ICM/TE ratio, only the oviduct environment secures 8 cells in the ICM (Table 1). Soriano and Jaenisch (1986 Cell 46, 19–29) reported that 8 cells of the ICM are set aside to give rise to the body of a mouse. In summary, the current MEA is a valuable assay to assess the quality of culture medium, however, its refinement is necessary to better model the adaptive properties of embryo culture when different methods of fertilization are applied. Until the MEA is extended into postimplantation development, as we advocate (Schwarzer et al. 2012), the absolute numbers of cells in the ICM may be a better gauge of embryo quality than the blastocyst rates. Table 1.Mouse embryo assay outcomes after ICSI

J'ai voulu te dire simplement que je venais de jeter le plan de mon œuvre entier, après avoir trouvé la clef de moi-même, clef de voûte, ou centre de moi-même, où je me tiens comme une araignée sacrée, sur les principaux fils déjà sortis de mon esprit, et à l'aide desquels je tisserai aux points de rencontre de merveilleuses dentelles, que je devine, et qui existent déjà dans le sein de la Beauté.This paper will examine the central image of Ἱστοί (‘Looms’ or ‘Webs’), that of the web woven by the spider, as a Callimachean expression, or objectification, of the highly self-conscious treatment of art and play with illusion in the Imagines, that is, its play with the interaction of vision and text. In so doing, it will attempt to show in what ways Ἱστοί might be said to describe the artistic process of the work of which it forms a part, and to illuminate, from its context of painting and its ekphrastic oratory, something of the function and structure of ekphrasis itself. It will not be long enough to deal with the wider questions, about mimesis and the definition of ekphrasis, that it will perhaps have invited.

The p urp ose of t he art icle is t o st ud y the inte grat ion of d igit ali zat ion and the Gre e n Econom y, ide nt ifying t he charact e rist ics of t he ir com b inat ion and de ve lopm e nt , and ge ne rat ing re com m end at ions t o achie ve a posit ive syne rg ist ic e ffe ct and t o acce le rate t he t ransit ion t o Ind ust ry 5.0 . The art icle is ded icat ed t o t he com b inat ion of Gre e n Econom y and d igit alizat ion, which le ad s t o t he em e rge nce of com p le te ly ne w fe at ure s in t he Econom y. The re le vance of t he top ic is d ete rm ine d b y the fact t hat t he use and deve lopm ent of hum an cap ital, the Gre e n Econom y and d igit alizat ion can have an im p ort ant syne rgist ic e ffe ct wit h t he em e rge nce of ne w charact e rist ic s, wit h b ot h p osit ive and negat ive conseq ue nce s, and affe ct t he achie vem ent of t he goal. sust a inab le d e ve lopment . Re se arch m et hod s: analys is and synt he sis, ab st ract ion and ge ne ralizat ion, a sy st em at ic app roach to the analysis of t he Gre e n and Digit al Econom y, e conom ic-st at ist ical and m at hem at ical analys is. Th e art icle ide nt ifie s t hefund am ent al ris ks of t he d igitalizat ion of t he Econom y, be ing t he m ain one s: t he de p let ion of lim ited re source s, e le ct ronic wa st e , t he de epe ning of asym m et ric de ve lopm e nt .

Niniejszy tekst przybliża problematykę reform prawa karnego w Rzeczypospolitej przedrozbiorowej, jakie podjęto za panowania ostatniego Jej króla – Stanisława Augusta Poniatowskiego. Autor spośród różnych instytucji prawnokarnych omawia tylko zmiany dotyczące kary śmierci. W większości reformy te pozostały jedynie w sferze projektów, a więc artykuł dotyczy w większym stopniu postulatów de lege ferenda, aniżeli regulacji faktycznie wprowadzonych w życie. W tym zakresie prawem obowiązującym stały się Prawa Kardynalne z 1768 r. (załącznik do traktatu wieczystego pomiędzy Rzecząpospolitą a Imperium Rosyjskim), które w obiegowej opinii kojarzą się bardziej z materią konstytucyjną, szczególnie z narzuceniem jej niezmienności w interesie Katarzyny II, poruszają jednak również zagadnienia związane z innymi dziedzinami prawa, w tym kary śmierci. Następnie drogą ustawową zniesiono karę śmierci za czary (1776). Kolejną reformę, którą udało się przeprowadzić zawarto w ustawie o sądach sejmowych (1791). Na jej mocy określono nowy katalog karanych śmiercią przestępstw politycznych. Cała reszta omawianych zagadnień pozostała w sferze koncepcji i planów. Największe zmiany postulowali projektodawcy kodeksów: (1) Andrzej Zamoyski w swoim Zbiorze praw sądowych wiele miejsca poświęcił przestępstwom i przysługującym za nie karom, wśród których często szafował śmiercią oraz (2) Józef Szymanowski i Józef Weyssenhoff – przewodniczący komisji powołanych do spisania codicis civili et criminali zapowiedzianych w art. VIII Konstytucji 3 Maja, których projekty składały się na dzieło zwane Kodeksem Stanisława Augusta.

The use of cyber-technologies in times of armed conflict poses serious interpretive challenges, such as what type of cyber operations amount to an ‘attack’ for the purposes of Article 49 of Additional Protocol I. The notion of attack is the cornerstone of the law of targeting, a set of rules that includes the principles of distinction, proportionality and precaution, aimed at limiting the amount of violence that belligerents can lawfully employ on the battlefield. The rationale of these rules is that of increasing the protection of the dignity of the civilian population, which constitutes the main objective of modern international humanitarian law (IHL). In light of these considerations, my article argues that the prevailing interpretation of the notion of attack in the cyber context is too restrictive and cannot adequately protect the civilian population from cyber operations taking place in armed conflict. Consequently, it argues for a human-dignity based interpretation of the notion of ‘violence’ that underlies the notion of attack in the cyber context, going beyond the mere causation of physical violence to include serious psychological violence and serious economic violence as necessary prerequisites to qualify a cyber operation as an ‘attack’. L’utilisation des cybertechnologies en période de conflit armé soulève d’importantes questions d’interprétation, notamment sur le type de cyberopération qui peut être considérée comme une ‘attaque’ au sens de l’article 49 du protocole additionnel I. La notion d’attaque est la pierre angulaire du droit du ciblage, un ensemble de règles comprenant les principes de distinction, de proportionnalité et de précaution, visant à limiter le degré de violence que des belligérants peuvent légalement utiliser sur le champ de bataille. La raison d’être de ces règles est de renforcer la protection de la dignité de la population civile, qui constitue l’objectif principal du DIH moderne. À la lumière de ces considérations, l’article avance que l’interprétation dominante de la notion d’attaque dans le contexte cybernétique est trop restrictive et ne peut pas protéger efficacement la population civile des cyberopérations lors de conflits armés. Par conséquent, l’article plaide pour une interprétation de la notion de ‘violence’, sous-jacente à la notion d’attaque dans le contexte cybernétique, basée sur la dignité humaine, allant au-delà de la seule violence physique pour inclure la violence psychologique grave et la violence économique grave dans les conditions pour qu’une cyberopération puisse être qualifiée d’ ‘attaque’. Het gebruik van cybertechnologieën in tijden van gewapend conflict stelt ons voor serieuze interpretatieve uitdagingen, zoals de vraag welk type cyberoperaties neerkomen op een 'aanval' in de zin van Art. 49 van het Aanvullend Protocol I. Het begrip aanval is de hoeksteen van het recht van doelbestrijding, een geheel van regels dat de beginselen van onderscheid, evenredigheid en voorzorg omvat, en dat tot doel heeft de hoeveelheid geweld te beperken die oorlogvoerende partijen rechtmatig op het slagveld kunnen aanwenden. De grondgedachte achter deze regels is de bescherming van de waardigheid van de burgerbevolking te vergroten, hetgeen de voornaamste doelstelling van het moderne IHR is. In het licht van deze overwegingen betoogt mijn artikel dat de gangbare interpretatie van het begrip aanval in de cybercontext te restrictief is en de burgerbevolking niet adequaat kan beschermen tegen cyberoperaties die plaatsvinden in een gewapend conflict. Bijgevolg wordt gepleit voor een op menselijke waardigheid gebaseerde interpretatie van het begrip ‘geweld’ dat ten grondslag ligt aan het begrip aanval in de cybercontext, waarbij verder wordt gegaan dan het louter veroorzaken van fysiek geweld en ook ernstig psychologisch geweld en ernstig economisch geweld worden beschouwd als noodzakelijke voorwaarden om een cyberoperatie als een ‘aanval’ te kunnen aanduiden. El uso de tecnologías cibernéticas en tiempos de conflicto armado plantea serios desafíos interpretativos, tales como qué tipo de operaciones cibernéticas equivalen a un ‘ataque’ a los efectos del art. 49 del Protocolo Adicional I. El concepto de ataque es la piedra angular de la ley de selección de objetivos, un conjunto de reglas que incluye los principios de distinción, proporcionalidad y precaución, destinados a limitar la medida de violencia que los beligerantes pueden emplear legalmente en el campo de batalla. La razón fundamental de estas normas es aumentar la protección de la dignidad de la población civil, que constituye el principal objetivo del DIH moderno. A la luz de estas consideraciones, este artículo sostiene que la interpretación predominante del concepto de ataque en el contexto cibernético es demasiado restrictiva y no puede proteger adecuadamente a la población civil frente a las operaciones cibernéticas que tienen lugar en un conflicto armado. En consecuencia, aboga por una interpretación centrada en la dignidad humana del concepto de ‘violencia’ que subyace a la noción de ataque en el contexto cibernético, yendo más allá de la mera causalidad de la violencia física para incluir la violencia psicológica grave y la violencia económica grave como requisitos previos necesarios para calificar una operación cibernética como un ‘ataque’. L'uso di tecnologie informatiche in tempi di conflitto armato pone gravi sfide interpretative, come ad esempio quale tipo di operazioni informatiche equivalgono ad un attacco ai fini dell'Art. 49 del Protocollo Addizionale I. La nozione di attacco è la base della legge di targeting, un insieme di regole che include i principi di distinzione, proporzionalità e precauzione, volte a limitare la quantità di violenza che i belligeranti possono legittimamente impiegare sul campo di battaglia. La logica di queste regole è quella di aumentare la protezione della dignità della popolazione civile, che costituisce l'obiettivo principale del moderno IHL. Alla luce di queste considerazioni, l'articolo sostiene che l'interpretazione prevalente della nozione di attacco nel contesto informatico sia troppo restrittiva e non possa proteggere adeguatamente la popolazione civile dalle operazioni informatiche che si svolgono in conflitti armati. Di conseguenza, sostiene un'interpretazione basata sulla dignità umana della nozione di violenza che sta alla base della nozione di attacco nel contesto informatico, andando oltre l’essere la mera causa di violenza fisica per includere la violenza psicologica grave e la violenza economica grave come prerequisiti necessari per qualificare un'operazione cibernetica come un ‘attacco’. Die Verwendung von Cybertechnologien in Zeiten eines bewaffneten Konflikts stellt uns vor schwere interpretative Herausforderungen, wie die Frage, welche Art von Cyberoperationen einen ‘Angriff’ im Sinne von Art. 49 des Zusatzprotokolls I darstellen. Der Begriff ‘Angriff’ ist der Eckstein der Zielgesetze, einer Sammlung von Regeln, die die Grundsätze der Unterscheidung, Verhältnismäßigkeit und Vorsorge umfassen, welche zum Ziel haben, das Maß von Gewalt, das Krieg führende Staaten rechtmäßig auf dem Schlachtfeld verwenden können, zu beschränken. Der Grundgedanke dieser Regeln besteht darin, den Schutz der Würde der Zivilbevölkerung, der das Hauptziel des modernen internationalen humanitären Rechts ausmacht, zu erhöhen. Angesichts dieser Betrachtungen, argumentiert mein Artikel, dass die gängige Interpretation des Begriffs ‘Angriff’ im Cyber-Kontext zu restriktiv ist und die Zivilbevölkerung nicht adäquat vor der Durchführung von Cyberangriffen in bewaffneten Konflikten schützen kann. Folglich befürwortet der Artikel eine auf Menschenwürde basierte Interpretation des dem Begriff ‘Angriff’ im Cyber-Kontext zugrunde liegenden Begriffs ‘Gewalt’, die über die reine Verursachung physischer Gewalt hinausgeht und auch schwere psychische und wirtschaftliche Gewalt als notwendige Bedingungen umfasst, um eine Cyberoperation als einen ‘Angriff’ zu bezeichnen.

Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.

(francuski) Le d?veloppement et le renforcement de l'Etat serbe se sont traduits par l'?tablissement de contacts intenses, et sur un vaste plan, tant avec les ?tats voisins qu'avec des contr?es plus ?loign?es, ouvrant ainsi la voie ? de fortes influences originaires du monde byzantin et des pays d'Europe centrale et occidentale. L'id?ologie imp?riale, d'une part, et la culture aulique ainsi que celle fond?e sur les id?aux de la chevalerie, d'autre part, se sont rencontr?es sur le territoire serbe o? leurs traces s'entrem?lent dans la diplomatique, les monnayages mais aussi dans la vie quotidienne. Une de ces traces particuli?res est assur?ment constitu?e par l'apparition et l'emploi de l'h?raldique. De nombreux exemples de blasons repr?sent?s sur des sceaux, des monnaies, des monuments fun?raires, des parures, des v?tements et de la vaisselle r?v?lent l'importance conf?r?e ? l'h?raldique en Serbie m?di?vale o? cet art re?oit une place ? part enti?re sous le r?gne de Stefan Dusan. Cette p?n?tration de l'h?raldique est parfaitement attest?e par le sceau et les monnaies de ce souverain sur lesquels l'image du blason ainsi que les repr?sentations simplifi?es de divers attributs rev?tent un r?le de tout premier plan. Il convient ?galement de mentionner ici la place importante de l'h?raldique parmi les seigneurs de Stefan Dusan, laquelle est attest?e, entre autres monuments, par la dalle fun?raire du vo?vode Nikola Stanjevic ? Konca, la repr?sentation du casque avec lambrequins d'Orest, un des puissants vassaux de l'empereur, visible sur une tour ? Serr?s, une ceinture du s?bastocrator (?) Branko, etc. Tous ces exemples t?moignent de l'instauration d'une culture fond?e sur les id?aux de la chevalerie et aulique ? l'?poque de Stefan Dusan, qui ?tait assur?ment li?e au r?le important jou? par les puissants et l'arm?e. Les changements r?els et profonds alors survenus sont ?galement parfaitement attest?s par l'apposition de symboles h?raldiques sur les monuments fun?raires. Cette pratique a trouv? sa pleine expression sur le monument fun?raire de l'empereur Dusan qui a ?t? rehauss? d'un gisant ? personnification du d?funt rev?tu de tous les attributs du pouvoir corporels et t?moignage de sa puissance, o? cette statue mortuaire est un emprunt propre ? l'Europe occidentale. La p?n?tration des symboles h?raldiques s'est effectu?e sous l'influence importante, voire capitale, des chevaliers et mercenaires allemands recrut?s par la cour de Stefan Dusan, avec ? leur t?te le chevalier Palman. Cette th?se trouve en sa faveur les symboles h?raldiques m?mes relev?s en Serbie, qui, par leur caract?re, appartiennent ? l'h?ritage de l'h?raldique germanique ? teutonique, ainsi que les nombreuses analogies avec les insignes repr?sent?s dans Le r?le d'armes de Zurich dat? vers 1340. Sur la base du mat?riel disponible il reste difficile de dire dans quelle mesure l'h?raldique et l'esprit inspir? de l'id?al de la chevalerie ont p?n?tr? dans les strates inf?rieures de la soci?t?. De nombreux documents, avant tout ?crits, attestent assur?ment toute l'importance alors conf?r?e au blason. Sur la base des monuments conserv?s il est d?j? possible de conclure ? l'existence de certaines r?gles et principes h?raldiques: le blason compos? d'un ?cu orn? d'une ?roue?, d'un casque avec cimier repr?sente par un cousin, une rosette et un plumet, apparaissant sur une monnaie de Stefan Dusan, respectivement la repr?sentation de ces m?mes ?l?ments sans ?cu sur d'autres monnaies mais aussi sur le sceau de ce m?me souverain r?v?lent clairement que les repr?sentations h?raldiques avaient trouv? place dans la symbolique du pouvoir royal, respectivement imp?rial en Serbie m?di?vale. Par ailleurs, l'utilisation d'une symbolique h?raldique reprenant les m?mes embl?mes sur les monnaies de l'empereur Uros, du serviteur Branko, du joupan Nikola Altomanovic, Djuradj 1er Balsic, Vuk Brankovic et Jakov ne fait que confirmer l'importance des repr? sentations h?raldiques chez les dynastes serbes. L'?tape suivante dans le d?veloppement de l'h?raldique est constitu?e par l'apparition de nouveaux symboles h?raldiques li?s ? certaines familles et r?gions, tel que le symbole compos? d'un casque cimier associ? ? une repr?sentation de l'imp?ratrice apparaissant sur des monnaies de l'empereur Uros, de l'imp?ratrice Jelena, du roi Vukasin et de la reine Jelena, symbole que nous trouvons ?galement sur un sceau du roi Vukasin. C'est sous une m?me lumi?re qu'il convient ?galement de voir la marque familiale des Balsic qui sera reprise parmi les seigneurs et petits seigneurs, tout particuli?rement sur le territoire de Kosovo, ? en juger par les nombreuses trouvailles de bagues sceaux sur ce territoire. Une place particuli?re revient aux blasons familiales des Lazarevic ayant pour motif principal un casque avec cornes de veau qui appara?t sur des sceaux et des monnaies du prince Lazar, et qui ? l'?poque de Stefan Lazarevic formera un symbole h?raldique complet associ? ? l'image d'un aigle bic?phale aux ailes d?ploy?es repr?sent? sur un ?cu, des monnaies ou sous forme de cimier sur un casque, sur un sceau. Ce m?me embl?me a ?t? un bref temps gard? par Djuradj Brankovic sur un rare dinar, avant de le remplacer par un ?cu orn? d'une bande diagonale et d'un lys dans chaque champ libre, associ? ?galement ? un casque avec cimier en forme de lion sur un sceau conserv?. D'apr?s ce sceau exceptionnel Lazar Brankovic a adopt? le lion ? embl?me familial ? qui orne l'?cu et le cimier. Durant cette p?riode le r?le de la culture fond?e sur les id?aux de la chevalerie et aulique jouait un r?le significatif comme l'atteste le fait que le despote Stefan ?tait membre de l'ordre de chevalerie du Dragon cr?? par le roi de Hongrie Sigismond et que c'est en cette qualit? et en qualit? de souverain qu'il adoubait des chevaliers. D'apr?s les dires de Konstantin Filozof des ?occidentaux? venaient ? la cour de Serbie pour que le despote les ?couronne? en tant que chevalier. On note dans l'h?raldique serbe m?di?vale le m?lange de deux symboles ? le blason des chevaliers allemands et l'embl?me imp?rial. Le blason repr?sentait un symbole des armes au sens originel de cette notion alors que l'aigle bic?phale ?tait consid?r? comme le symbole du souverain, ?national?. Ce symbole a eu, dans une premi?re p?riode, une signification id?ologique et symbolique ? la base de laquelle se trouvait le rattachement de la dynastie serbe ? la famille byzantine r?gnante. L'aigle bic?phale, ? en juger par ses mod?les iconographiques, a ?volu? en marque du souverain, pour, dans une derni?re phase de son ?volution, ? l'?poque des despotes, recevoir la signification d'un symbole h?raldique. Celui-ci impliquait le droit ? h?riter du tr?ne et de l'empire serbes repr?sent?s par l'image de l'aigle bic?phale embl?me reconnaissable sur la carte d'Angelin Dulcert de 1339 et sur le sceau de Tvrtko 1er. La manifestation parall?le de fortes influences originaires d'Occident et de Byzance se refl?te ?galement dans le mausol?e de Stefan Dusan o? le monument fun?raire de ce souverain, en forme de gisant, c?toyait des fresques ex?cut?es selon le programme et l'iconographie byzantines. Nous retrouvons ?galement cette symbiose sur de nombreuses ?missions mon?taires ? commencer par celles du r?gne de l'empereur Uros avec repr?sentations de symboles h?raldiques d'un c?t? et de l'empereur ? cheval tenant un sceptre de l'autre c?t?, repr?sentation qui peut ind?niablement ?tre li?e ? l'id?ologie imp?riale byzantine. La question se pose de savoir si la Serbie m?di?vale a vu se d?velopper des symboles nationaux ayant pu conduire ? la cr?ation de son propre blason. Les diff?rentes repr?sentations de blasons enregistr?es ? partir du r?gne du roi Dusan, en passant par les dynastes serbes, jusqu'? l'?poque du despote Lazar Brankovic semblent ?tre en faveur du d?veloppement d'une h?raldique familiale, alors que l'id?e d'un symbole national n'a m?ri que progressivement pour recevoir sa pleine forme apr?s la chute du despotat, assur?ment en tant qu'expression d'une aspiration ? la r?alisation du renouveau de l'Etat serbe. Cette id?e ?tait li?e ? l'embl?me de l'aigle bic?phale ? symbole national ? et aux symboles h?raldiques ? embl?mes de l'h?ritage byzantin, europ?en mais aussi serbe.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

Background: Although sleep has been identified as an important modifiable risk factor for sports injury, the effect of decreased sleep on sports injuries in adolescents is poorly studied. Purpose: To systematically review published literature to examine if a lack of sleep is associated with sports injuries in adolescents and to delineate the effects of chronic versus acute lack of sleep. Methods: PubMed and EMBASE databases were systematically searched for studies reporting statistics regarding the relationship between sleep and sports injury in adolescents aged <19 years published between 1/1/1997 and 12/21/2017. From included studies, the following information was extracted: bibliographic and demographic information, reported outcomes related to injury and sleep, and definitions of injury and decreased sleep. Additionally, a NOS (Newcastle-Ottawa Scale) assessment and an evaluation of the OCEM (Oxford Center for Evidence-Based Medicine) level of evidence for each study was conducted to assess each study’s individual risk of bias, and the risk of bias across all studies. Results: Of 907 identified articles, 7 met inclusion criteria. Five studies reported that adolescents who chronically slept poorly were at a significantly increased likelihood of experiencing a sports or musculoskeletal injury. Two studies reported on acute sleep behaviors. One reported a significant positive correlation between acutely poor sleep and injury, while the other study reported no significant correlation. In our random effects model, adolescents who chronically slept poorly were more likely to be injured than those who slept well (OR 1.58, 95% CI 1.05 to 2.37, p = 0.03). OCEM criteria assessment showed that all but one study (a case-series) were of 2b level of evidence—which is the highest level of evidence possible for studies which were not randomized control trials or systematic reviews. NOS assessment was conducted for all six cohort studies to investigate each study’s individual risk of bias. Five out of six of these studies received between 4 to 6 stars, categorizing them as having a moderate risk of bias. One study received 7 stars, categorizing it as having a low risk of bias. NOS assessment revealed that the most consistent source of bias was in ascertainment of exposure: all studies relied on self-reported data regarding sleep hours rather than a medical or lab record of sleep hours. Conclusions: Chronic lack of sleep in adolescents is associated with greater risk of sports and musculoskeletal injuries. Current evidence cannot yet definitively determine the effect of acute lack of sleep on injury rates. 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IntroductionWomen with diminished ovarian reserve (DOR) have a lower pregnancy rate and higher cancellation rate compared to those without DOR when seeking assisted reproductive technology. However, which factors are associated with reproductive outcomes and whether AMH is a predictor of clinical pregnancy remain unclear.ObjectiveThis retrospective study was designed to find factors associated with reproductive outcomes in DOR patients and then discuss the role of AMH in predicting cycle results among this population.MethodA total of 900 women were included in the study. They were diagnosed with DOR with the following criteria: (i) FSH &gt; 10 IU/L; (ii)AMH &lt; 1.1 ng/ml; and (iii) AFC &lt;7. They were divided into different groups: firstly, based on whether they were clinically pregnant or not, pregnant group vs. non-pregnant group (comparison 1); secondly, if patients had transferrable embryos (TE) or not, TE vs. no TE group (comparison 2); thirdly, patients undergoing embryo transfer (ET) cycles were divided into pregnant I and non-pregnant I group (comparison 3). The baseline and ovarian stimulation characteristics of these women in their first IVF/ICSI cycles were analyzed. Logistic regression was performed to find factors associated with clinical pregnancy.ResultsOf the 900 DOR patients, 138 women got pregnant in their first IVF/ICSI cycles while the rest did not. AMH was an independent predictor of TE after adjusting for confounding factors (adjusted OR:11.848, 95% CI: 6.21-22.62, P&lt; 0.001). Further ROC (receiver operating characteristic) analysis was performed and the corresponding AUC (the area under the curve) was 0.679 (95% CI: 0.639-0.72, P&lt; 0.001). Notably, an AMH level of 0.355 had a sensitivity of 62.6% and specificity of 65.6%. However, there was no statistical difference in AMH level in comparison 3, and multivariate logistic regression showed female age was associated with clinical pregnancy in ET cycles and women who were under 35 years old were more likely to be pregnant compared to those older than 40 years old (adjusted OR:4.755, 95% CI: 2.81-8.04, P&lt; 0.001).ConclusionAMH is highly related to oocyte collection rate and TE rate,and 0.355 ng/ml was a cutoff value for the prediction of TE. For DOR patients who had an embryo transferred, AMH is not associated with clinical pregnancy while female age is an independent risk factor for it.

The subjec t her e is the p rop osed legislation conce rni ng so-called"ea rly action cred its" to reward hyp oth eti cal reducti on s in fossil fu elem iss ions . Th ese cred its are t out ed by so me as offering a " mar ke t ap-p roa ch " en abling us to re gulat e the futur e climate of the Earth .T hey are n othin g of the kind: inst ead , the y a re truly m ark et soc ial-ism , an art ificial d evi ce att emptin g to mimic mark et ac tiv ity that reallyco ncea ls a concerted cam p aign by in te rna tion al bur eau crat s to se ize con-trol of the wo rl d's ene rgy su pp ly an d inde ed of e very facet of ou recon om ic life.

Abstract Study question Do embryos that fully developed to blastocyst at day 4 have high aneuploidy rates as assessed by preimplantation genetic analysis? Summary answer Fully developed blastocysts at day 4 had a high euploidy rate. What is known already In ART, it is considered important to use good quality blastocysts to increase the pregnancy rate after embryo transfer. Some reports have demonstrated a high pregnancy rate for embryos that fully developed to blastocysts on day 4 after IVF (Ozgur et al., 2021). Furthermore, it has been reported that the speed of embryo development is related to the rate of chromosome aneuploidy (Taylor et al., 2014). There are though, limited reports on the euploidy rate of embryos developed to blastocysts at day 4. Study design, size, duration This retrospective study analyzed 763 embryos (from 184 PGT-A cases) that underwent TE biopsy on day 5 between January to December 2022 to determine their ploidy status. Participants/materials, setting, methods Embryos cultured in a time-lapse incubator were divided into two groups: those that developed to blastocyst (Gardner’s classification: ≥ expansion grade 3) at day 4 (96-100 h) (D4(+) group) and those that did not develop to full blastocyst at day 4 (D4(-) group) and the euploidy rates were compared. Statistical analysis was performed using Fisher’s exact test to determine significant differences (P &lt; 0.05). Main results and the role of chance The euploidy rate of the D4(+) group was 36.5% (80/219), which was significantly higher than the D4(-) group, 23.3% (127/544) (p &lt; 0.01). Moreover, when considering the age of the female, for age ≤39 years, the rates were significantly higher in the D4(+) group (52.1% (61/117) and 35.4% (97/274) p &lt; 0.01 respectively ). For age 40≥ years, it tended to be higher but was not significantly different in the D4(+) group vs D4(-) group (18.6% 19/102 and 11.1% 30/270 respectively). Even when limited to embryos that were graded as good quality blastocysts at day 5, the D4(+) group was significantly higher (p &lt; 0.01) than the D4(-) group (55.0% (60/109) vs 36.1% (90/249)). Limitations, reasons for caution This was a retrospective study limited to day 5 embryos with biopsies taken after vitrification-warming. Wider implications of the findings These results demonstrate that embryos that had already developed to blastocyst at day 4 had a higher rate of euploidy compared to day 5 blastocysts. Thus, when performing PGT-A, biopsy of embryos that have already developed to blastocyst at day 4 are expected to be prioritised for transfer. Trial registration number not applicable

Abstract Study question What is the outcome of genetic assessment for fetal chromosomal aberrations in miscarriages after euploid/mosaic embryo transfers (ET)? Summary answer POC testing should be recommended in patients with E/M-ET to screen for chromosomal aberrations occurring post-implantation or beyond the detection limit of PGT-A testing What is known already Spontaneous abortion is the most common complication of pregnancy, affecting approximately 15% of clinically recognized pregnancies. Although the etiology is diverse, fetal chromosomal aberrations account for 50-70% of first trimester miscarriages. Assessment of the fetal chromosomal composition is recommended by ACOG guidelines and aids in counselling and management of patients’ reproductive options. The value of this assessment in patients with miscarriage after euploid/mosaic ET has not evaluated. At the same time there is generally a lack of follow-up studies to examine the accuracy of PGT-A testing and investigate the rates of post-implantation errors causing miscarriage. Study design, size, duration This retrospective study had REB approval. This study was performed at the CReATe Fertility Centre and its Reproductive Genetics Laboratory in Toronto, Canada, between January 2019-December 2023.We evaluated the molecular karyotype of POC samples from first trimester &lt;12GW miscarriages after ART: IVF-PGT-group euploid (E) and mosaic (M) embryo transfers (ET) and IVF-group; IUI and natural conception-NC groups; while controlling for maternal cell contamination (MCC) by high-resolution whole genome NGS. Participants/materials, setting, methods 549 POC samples from early miscarriages after fertility treatment were obtained by suction-dilatation-and curettage. Selection of fetal tissue/chorionic villi (4 representative samples for each case) was performed under a dissecting microscope. Maternal and paternal DNA was obtained to test for MCC. MCC was determined by testing maternal/gestational carrier and fetal DNA (fDNA) with highly informative STRs (AmpFLSTR Identifiler kit). Whole genome low-pass NGS (0.1xcoverage) was performed using the Illumina platform and analyzed with NxClinical Software. Main results and the role of chance Fetal tissue was obtained from 90.7% (498/549) of tested samples and the rest had MCC (9.3%, 51/549): IVF-PGT-A(n = 183), IVF(n = 92), IUI(n = 46) and NC(n = 173). The overall mean maternal age was 37±3.2years. The average gestational age at D&C was 8w4d (range 5w-12w6d). Overall, NGS analysis of fDNA showed 44.6% male and 55.3% female fetuses, 57.6% (287/498) were euploid, 39.5% (197/498) were aneuploid and 1.8% (9/498) were mosaic. In IVF-PGT-A group there were 169 POC from euploid ET and 14 from mosaic ET. 98.2% (n = 166/169) of POCs from IVF-PGT-A euploid-ETs were confirmed as euploid, and 3 had confined placental mosaicism (CPM) (trisomy-11, trisomy-4, monosomy-X). POC from mosaic-ET (n = 14), showed CPM in 3/14(21.4%): TE mosaicism was confirmed in 1/14(7.1%), 2/14(14.3%) had CPM differing from the PGT-A result, 11/14(78.6%) were euploid. POC euploidy rate in IVF (no PGT-A) group was 59.8%(55/92), in IUI 34.8%(16/46) and in NC 24.3%(42/173). In NC group CPM was detected in 1.7%(3/173). The frequency of aberrations detected in POC(n = 197) were: T22, 16.5%; T16,12.9%; T15, 11.3%; T20, 5.2%; T8, 3.6%; T7, T9 and T13, 3.1%; T10 and T14, 2.6%; T18 and T21, 2.1%; T12, 1.5%; 1% of each T2, T4 and T11; monosomy-X,6.7% and 11.3% triploid (69,XXY or 69,XXX). Limitations, reasons for caution MCC is relatively high in POC samples from early pregnancies (9.3%) and controlling for it is warranted. Although 4 representative samples of placental tissue were tested, the true extent and existence of CPM may not be captured correctly. Wider implications of the findings NGS analysis of POC from first trimester miscarriages after fertility treatment would improve diagnostic accuracy, and could aid in patient counselling and management. We observed high PGT-A accuracy (100% for gender) and 98.2% for fetal ploidy with CPM rate of 1.8% (which is lower than observed after CVS (4%)). Trial registration number not applicable

Abstract: The article investigates the poetics and perception of interartistic performances, using two theatre productions – NO47 A Girl That Was Looking for Her Brothers (2014) and NO33 Hysteria (2017) – by Estonian performance artist and scenographer Ene-Liis Semper at the Theatre NO99 as case studies. A theoretical and methodological framework will be developed for the purpose of the analysis, based on Erving Goffman’s notion of the frame and on transformative aesthetics elaborated in art research and psychology. Artiklis uuritakse kunstidevaheliste etenduste poeetikat ja taju, tuginedes kahele juhtumiuuringule – etenduskunstniku ja stsenograafina tuntud Ene-Liis Semperi lavastustele „NO47 Tüdruk, kes otsis oma vendi“ (2014) ja „NO33 Hüsteeria“ (2017) Teatris NO99. Selleks arendati välja spetsiaalne teoreetiline ja metodoloogiline raamistik, lähtudes Ameerika sotsioloogi Erving Goffmani terminist raam ning filosoofias (Dewey 1958), psühholoogias (Pelowski ja Akiba 2011) ja teatriteaduses (Fischer-Lichte 2008) tuntud transformatiivse esteetika käsitlustest. Kunstidevahelise etenduse defineerimisel on tuginetud Patrice Pavisile, kes termini kunstidevaheline (interartistic) puhul on eristanud viit tähendusvälja, millest viimane ja kõige kitsam tähistab ühe kunstiliigi printsiipide projektsiooni ühele või mitmele teisele kunstiliigile. Ta on toonud kunstidevaheliste teoste näiteks etenduskunsti ja installatsiooni, mis tsiteerivad ja adapteerivad teiste kunstiliikide tehnikaid ja aspekte. (Pavis 2016, 103) Kuid kuidas mõista performatiivse pöörde järgses kultuurisituatsioonis, kus etenduslikkus on tunginud peaaegu kõikidesse kunstiliikidesse, kunstidevahelist etendust? Väidan, et etenduses kui heterogeenses ja laialivalguvas nähtuses on siiski säilinud või tekkinud teatud sisemised konventsioonid, mis loovad vastuvõtul kindlaid ootusi. Artiklis vaadeldakse Semperi kunstidevahelisi teoseid, kus etendus- ja installatsioonikunst on projitseeritud teatrilavastustele. Analüüsitud lavastustel on palju sarnasusi Semperi videotega: fookuses on inimkeha, situatsioonid (tegevused, kostüümid ja lavakujundus) ning kommunikatsiooniraam on teatraalsed ning kontsentreeritud meeleseisundid (Härm 2003, 26) domineerivad narratiivsuse üle. Semper otsib oma teostes teadlikult eri materjalide, meediumite ja kunstikonventsioonide kombineerimisel tekkivaid uusi ja üllatavaid kokkupuutepindasid ning nendest tekkivaid mõjuallikaid. Tema loomemeetodit võib seega nimetada kunstidevahelise esteetika poeetikaks. Metodoloogiliselt on etendusanalüüsi kombineeritud retseptsiooniuuringutega, täpsemalt enesekohase interpretatiivse fenomenoloogilise analüüsiga. Uurisin kahe lavastuse näitel, kas ja kuidas töötab psühholoogide Matthew Pelowski ja Fuminori Akiba (2011) transformatiivse esteetilise kogemuse mudel, kus nad eristavad metakognitiivse taju viit faasi: 1) eelootused ja enesekuvand, 2) kognitiivsed oskused ja lahknevuse ilmnemine, 3) sekundaarne kontroll ja põgenemine, 4) metakognitiivne ümberhindamine ning 5) esteetiline tulemus ja uued oskused. Kokkuvõtteks võib öelda, et see mudel osutus küll kasulikuks analüüsivahendiks, kuid nagu mudelid ikka, on liiga lihtsustav ja jäik. Esiteks on keeruline, kui mitte võimatu eristada vastuvõtuprotsessis eri faase, sest mõned neist näivad toimuvat paralleelselt. Teiseks, kuna see mudel näib põhinevat selliste visuaalsete objektide vastuvõtul, mida saab haarata tervikuna ja ühe pilguga, siis ajalise kestusega teoste puhul on uue info pealevoog pidev ja see sunnib vastuvõtjat alustama mudeldatud protsessiga ühe uuesti ja uuesti, liikudes pidevalt faasist 1 faasini 4. Kunstidevahelised ja teised hübriidsed teosed loovad uusi eneseväljenduse võimalusi, võimaldades kunstnikel ületada eri kunstiliikide ning kunsti ja mitte-kunsti vahelisi piire. Kuid olulisem on see, et kunstidevahelised teosed värskendavad vastuvõtja tajusid ja tähendusloome mehhanisme ning lõhuvad harjumuslikke tajuraame, valgustades nii läbi subjekti käsutuses olevate tajuraamide loogika, ning juhivad kunsti, ühiskonna ja vastuvõtja metakognitiivse analüüsi juurde. Kunstidevahelised etendused, mis suudavad endasse akumuleerida peaaegu kõikide teiste kunstiliikide väljendusvahendid ja isegi mitte-kunstilised valdkonnad, on eriti tugevad performatiivid, sest oma stiimulite rikkuse, etenduste keskmise kestvuse ja oodatava(te) tajuraami(de) tõttu on neil suur potentsiaal vastuvõtjat tugevasti mõjutada – transformeerida ning võibolla isegi häirida kogukonna või ühiskonna traditsioone ja norme.

Henri Pierre Roché (1879–1959), the author of Jules et Jim, has been called a general introducer, an exemplary amateur, a collector of women and art and one of the most prolific diarists and active lovers in recorded history. Author of a collection of vignettes about Don Juan, Roché was fascinated with the figure of the seducer and in his twenties planned to devote his life to the creation of a body of work which would examine moral, intellectual, social and sexual relations between women and men. To this end, he would transform his life into a laboratory where real-life experiences would become the main source of reference. Roché’s diary spans sixty years and abounds in tales of seduction. However, the most intense and captivating intrigue of seduction and betrayal in his diary, is his relationship with Helen Hessel. At the start of their affair, Roché suggested that she too should keep a diary of the maelstrom of passion into which they were plunged. Written in French, German and English, Helen Hessel’s diary captures the drama of seduction and functions on several levels: realistic, visionary, absorbed in her thoughts and emotions and yet critical of herself and others. A juxtaposed reading of the two diaries generates a fascinatingly dense texture, revealing the mechanisms of seduction at play. The counterpoint created by these two interdependent voices becomes ever more complex as one becomes aware of the intertextual references that contribute to the emerging polyphony of recorded life and love.Polifonie en kontrapunt: Meganismes van verleiding in die dagboeke van Helen Hessel en Henri Pierre Roché. Henri Pierre Roché (1879–1959), outeur van Jules et Jim, word beskryf as ‘n sosiale koppelaar, ‘n model-liefhebber van alles en nog wat, ‘n versamelaar van vroue en kuns en een van die mees produktiewe dagboekskrywers en aktiewe minnaars in die opgetekende geskiedenis. Roché het ‘n reeks sketse oor Don Juan gepubliseer en was geboei deur die figuur van die verleier. In sy twintigs beplan hy om sy lewe te wy aan die skepping van ‘n œuvre wat die morele, intellektuele, sosiale en seksuele verhoudings tussen mans en vrouens sou ondersoek. Ter bereiking van hierdie doel, rig hy sy lewe in as laboratorium waarin werklike ondervindinge dien as hoofbron van inligting. Sy dagboek strek oor sestig jaar en is ryk aan verhale van verleiding. Desnieteenstaande bly die mees intense en boeiende intrige van verleiding en verraad steeds sy verhouding met Helen Hessel. Aan die begin van hulle verhouding, stel Roché voor dat sy ook ‘n dagboek hou van hulle hartstogtelike liefde. Helen Hessel se dagboek, geskryf in Frans, Duits en Engels, reflekteer die drama van verleiding en funksioneer op verskillende vlakke: realisties, visionêr, ten volle geabsorbeer in haar eie gedagtes en emosies en tóg krities jeens haarself en ander. ‘n Vergelyking van die twee dagboeke skep ‘n fassinerende, digte tekstuur wat die binnewerkings blootlê van verleiding in aksie. Die kontrapunt geskep deur hierdie twee interafhanklike stemme word nóg meer kompleks namate ‘n mens bewus word van die intertekstuele verwysings wat bydra tot die ontluikende polifonie van geskrewe liefde en lewe.

Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Guattari follow a related line of thought in A Thousand Plateaus: ‘Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency’ (11). Similarly, in Of Grammatology, Jacques Derrida suggests that ‘Writing is that forgetting of the self, that exteriorization, the contrary of the interiorizing memory’ (24). To the extent that these philosophical and theoretical positions emerge within the practices of creative writers as remixes of appropriation, homage and/or pastiche, prima facie they problematize the commercial rights of writers as outlined in law. The case of Kathy Acker often comes up in such discussions. Acker’s 1984 novel Blood and Guts in High School, for example, incorporates techniques that have attracted the charge of plagiarism as this term is commonly defined. (Peter Wollen notes this in his aptly named essay ‘Death [and Life] of the Author.’) For texts like Acker’s, the comeback against charges of plagiarism usually involves underscoring the quotient of creativity involved in the re-combination or ‘remixing’ of the parts of the original texts. (Pure repetition would, it would seem, be much harder to defend.) ‘Plagiarism’, so-called, was simply one element of Acker’s writing technique; Robert Lort nuances plagiarism as it applies to Acker as ‘pseudo-plagiarism’. According to Wollen, ‘as she always argued, it wasn’t really plagiarism because she was quite open about what she did.’ As we shall demonstrate in more detail later on, however, there is another and, we suggest, more convincing reason why Acker’s work ‘wasn’t really plagiarism.’ This relates to her conscious interest in calligraphy and to her (perhaps unconscious) appropriation of a certain strand of Chinese philosophy. All the same, within the Western context, the consistent enforcement of copyright law guarantees the rights of authors to control the distribution of their own work and thus its monetised value. The author may be ‘dead’ in writing—just the faintest trace of remixed textuality—but he/she is very much ‘alive’ as in recognised at law. The model of the author as free-standing citizen (as a defined legal entity) that copyright law employs is unlikely to be significantly eroded by the textual practices of authors who tarry artistically in the ‘de-authored territories’ mapped by figures like Barthes, Deleuze and Guattari, and Derrida. Crucially, disputes concerning copyright law and the ethics of remix are resolved, within the Western context, at the intersection of relatively autonomous creative and legal domains. In the West, it is seen that these two domains are related within the one social fabric; each nuances the other (as Acker’s example shows in the simultaneity of her legal/commercial status as an author and her artistic practice as a ‘remixer’ of the original works of other authors). Legal and writing issues co-exist even as they fray each other’s boundaries. And in Western countries there is force to the law’s operations. However, the same cannot be said of the situation with respect to copyright law in China. Chinese artists are traditionally regarded as being aloof from mundane legal and commercial matters, with the consequence that the creative and the legal domains tend to ‘miss each other’ within the fabric of Chinese society. To this extent, the efficacy of the law is muted in China when it comes into contact with circumstances of authorship, writing, originality and creativity. (In saying this though, we do not wish to fall into the trap of cultural essentialism: in this article, ‘China’ and ‘The West’ are placeholders for variant cultural tendencies—clustered, perhaps, around China and its disputed territories such as Taiwan on the one hand, and around America on the other—rather than homogeneous national/cultural blocs.) Since China opened its system to Western capitalist economic activity in the 1980s, an ongoing criticism, sourced mainly out of the West, has been that the country lacks proper respect for notions of authorship and, more directly, for authorship’s derivative: copyright law. Tellingly, it took almost ten years of fierce negotiations between elements of the capitalist lobby in China and the Legislative Bureau to make the Seventh National People’s Congress pass the first Copyright Law of the People’s Republic of China on 7 September 1990. A law is one thing though, and adherence to the law is another. Jayanthi Iyengar of Asia Times Online reports that ‘the US government estimates that piracy within China [of all types of products] costs American companies $20-24 billion a year in damages…. If one includes European and Japanese firms, the losses on account of Chinese piracy is in excess of $50 billion annually.’ In 2008, the International Federation of the Phonographic Industry (IFPI) reported that more than 99% of all music files in China are pirated. In the same year, Cara Anna wrote in The Seattle Times that, in desperation at the extent of Chinese infringement of its Intellectual Property Rights (IPRs), Microsoft has deployed an anti-piracy tactic that blacks out the screens of computers detected running a fake copy of Windows. The World Trade Organisation (WTO) has filed complaints from many countries against China over IPRs. Iyengar also reports that, under such pressure, the State Intellectual Property Office in Beijing has vowed it will continue to reinforce awareness of IPRs in order to better ensure their protection. Still, from the Western perspective at least, progress on this extremely contentious issue has been excruciatingly slow. Such a situation in respect of Chinese IPRs, however, should not lead to the conclusion that China simply needs to catch up with the more ‘morally advanced’ West. Rather, the problematic relations of the law and of creativity in China allow one to discern, and to trace through ancient Chinese history and philosophy, a different approach to remix that does not come into view so easily within Western countries. Different materialisms of writing and authorship come into play across global space, with different effects. The resistance to both the introduction and the policing of copyright law in China is, we think, the sign of a culture that retains something related to authorship and creativity that Western culture only loosely holds onto. It provides a different way of looking at remix, in the guise of what the West would tend to label plagiarism, as a practice, especially, of creativity. The ‘death’ of the author in China at law (the failure to legislate and/or police his/her rights) brings the author, as we will argue, ‘alive’ in the writing. Remix as anonymous composition (citing Barthes) becomes, in the Chinese example, remix as creative expression of singular feelings—albeit remix set adrift from the law. More concretely, our example of the Chinese writer/writing takes remix to its limit as a practice of repetition without variation—what the West would be likely to call plagiarism. Calligraphy is key to this. Of course, calligraphy is not the full extent of Chinese writing practice—not all writing is calligraphic strictly speaking. But all calligraphy is writing, and in this it influences the ethics of Chinese writing, whether character-based or otherwise, more generally. We will have more to say about the ‘pictorial’ material aspect of Chinese writing later on. In traditional Chinese culture, writing is regarded as a technical practice perfected through reproduction. Chinese calligraphy (visual writing) is learnt through exhaustively tracing and copying the style of the master calligrapher. We are tempted to say that what is at stake in Chinese remix/calligraphy is ‘the difference that cannot be helped:’ that is, the more one tries, as it were, to repeat, the more repetition becomes impossible. In part, this is explained by the interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). Now, the order of the characters—Qing 情 (‘feelings’) before Yun 韵 (‘composed body movements’)—suggests that Qing creates and supports Yun. To this extent, what we have here is something akin to a Western understanding of creative writing (of the creativity of writing) in which individual and singular feelings are given expression in the very movement of the writing itself (through the bodily actions of the writer). In fact though, the Chinese case is more complicated than this, for the apprenticeship model of Chinese calligraphy cultivates a two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). More directly, the ‘composed body movements’ that one learns from the master calligrapher help compose one’s own ‘feelings’. The very repetition of the master’s work (its remixing, as it were…) enables the creativity of the apprentice. If this model of creativity is found somewhat distasteful from a Western perspective (that is, if it is seen to be too restrictive of originality) then that is because such a view, we think, depends upon a cultural misunderstanding that we will try to clear up here. To wit, the so-called Confucian model of rote learning that is more-or-less frowned upon in the West is not, at least not in the debased form that it adopts in Western stereotypes, the philosophy active in the case of Chinese calligraphy. That philosophy is Taoism. As Wing-Tsit Chan elucidates, ‘by opposing Confucian conformity with non-conformity and Confucian worldliness with a transcendental spirit, Taoism is a severe critic of Confucianism’ (136). As we will show in a moment, Chinese calligraphy exemplifies this special kind of Taoist non-conformity (in which, as Philip J. Ivanhoe limns it, ‘one must unweave the social fabric’). Chan again: ‘As the way of life, [Taoism] denotes simplicity, spontaneity, tranquility, weakness, and most important of all, non-action (wu-wei). By the latter is not meant literally “inactivity” but rather “taking no action that is contrary to Nature”—in other words, letting Nature take its own course’ (136). Thus, this is a philosophy of ‘weakness’ that is neither ‘negativism’ nor ‘absolute quietism’ (137). Taoism’s supposed weakness is rather a certain form of strength, of (in the fullest sense) creative possibilities, which comes about through deference to the way of Nature. ‘Hold fast to the great form (Tao), / And all the world will come’ illustrates this aspect of Taoism in its major philosophical tract, The Lao Tzu (Tao-Te Ching) or The Classic of the Way and its Virtue (section 35, Chan 157). The guiding principle is one of deference to the original (way, Nature or Tao) as a strategy of an expression (of self) that goes beyond the original. The Lao Tzu is full of cryptic, metaphoric expressions of this idea: ‘The pursuit of learning is to increase day after day. / The pursuit of Tao is to decrease day after day. / It is to decrease and further decrease until one reaches the point of taking no action. / No action is undertaken, and yet nothing is left undone’ (section 48, Chan 162). Similarly, The female always overcomes the male by tranquility, / And by tranquility she is underneath. / A big state can take over a small state if it places itself below the small state; / And the small state can take over a big state if it places itself below the big state. / Thus some, by placing themselves below, take over (others), / And some, by being (naturally) low, take over (other states) (section 61, Chan 168). In Taoism, it is only by (apparent) weakness and (apparent) in-action that ‘nothing is left undone’ and ‘states’ are taken over. The two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’), whereby the apprentice copies the master, aligns with this key element of Taoism. Here is the linkage between calligraphy and Taoism. The master’s work is Tao, Nature or the way: ‘Hold fast to the great form (Tao), / And all the world will come’ (section 35, Chan 157). The apprentice’s calligraphy is ‘all the world’ (‘all the world’ being, ultimately in this context, Qing 情 [‘feelings’]). Indeed, Taoism itself is a subtle philosophy of learning (of apprenticeship to a master), unlike Confucianism, which Chan characterises as a doctrine of ‘social order’ (of servitude to a master) (136). ‘“Learn not learn”’ is how Wang Pi, as quoted by Chan (note 121, 170), understands what he himself (Chan) translates as ‘He learns to be unlearned’ (section 64, 170). In unlearning one learns what cannot be taught: this is, we suggest, a remarkable definition of creativity, which also avoids falling into the trap of asserting a one-to-one equivalence between (unlearnt) originality and creativity, for there is both learning and creativity in this Taoist paradox of pedagogy. On this, Michael Meehan points out that ‘originality is an over-rated and misguided concept in many ways.’ (There is even a sense in which, through its deliberate repetition, The Lao Tzu teaches itself, traces over itself in ‘self-plagiarising’ fashion, as if it were reflecting on the re-tracings of calligraphic pedagogy. Chan notes just how deliberate this is: ‘Since in ancient times books consisted of bamboo or wooden slabs containing some twenty characters each, it was not easy for these sentences… to be added by mistake…. Repetitions are found in more than one place’ [note 102, 166].) Thinking of Kathy Acker too as a learner, Peter Wollen’s observation that she ‘incorporated calligraphy… in her books’ and ‘was deeply committed to [the] avant-garde tradition, a tradition which was much stronger in the visual arts’ creates a highly suggestive connection between Acker’s work and Taoism. The Taoist model for learning calligraphy as, precisely, visual art—in which copying subtends creativity—serves to shift Acker away from a Barthesian or Derridean framework and into a Taoist context in which adherence to another’s form (as ‘un-learnt learning’) creatively unravels so-called plagiarism from the inside. Acker’s conscious interest in calligraphy is shown by its prevalence in Blood and Guts in High School. Edward S. Robinson identifies this text as part of her ‘middle phase’, which ‘saw the introduction of illustrations and diagrams to create multimedia texts with a collage-like feel’ (154). To our knowledge, Acker never critically reflected upon her own calligraphic practices; perhaps if she had, she would have troubled what we see as a blindspot in critics’ interpretations of her work. To wit, whenever calligraphy is mentioned in criticism on Acker, it tends to be deployed merely as an example of her cut-up technique and never analysed for its effects in its own cultural, philosophical and material specificity. (Interestingly, if the words of Chinese photographer Liu Zheng are any guide, the Taoism we’re identifying in calligraphy has also worked its way into other forms of Chinese visual art: she refers to ‘loving photographic details and cameras’ with the very Taoist term, ‘lowly’ 低级 [Three Shadows Photography Art Centre 187].) Being ‘lowly’, ‘feminine’ or ‘underneath’ has power as a radical way of learning. We mentioned above that Taoism is very metaphoric. As the co-writer of this paper Cher Coad recalls from her calligraphy classes, students in China grow up with a metaphoric proverb clearly inspired by Lao Tzu’s Taoist philosophy of learning: ‘Learning shall never stop. Black comes from blue, but is more than the blue.’ ‘Black comes from blue, but is more than the blue.’ What could this mean? Before answering this question with recourse to two Western notions that, we hope, will further effect (building on Acker’s example) a rapprochement between Chinese and Western ways of thinking (be they nationally based or not), we reiterate that the infringement of Intellectual Property Rights (IPRs) in China should not be viewed only as an egregious denial of universally accepted law. Rather, whatever else it may be, we see it as the shadow in the commercial realm—mixed through with all the complexities of Chinese tradition, history and cultural difference, and most particularly of the Taoist strand within Confucianism—of the never-quite-perfect copying of calligraphic writing/remixing. More generally, the re-examination of stereotypical assumptions about Chinese culture cues a re-examination of the meaning behind the copying of products and technology in contemporary, industrialised China. So, ‘Black comes from blue, but is more than the blue.’ What is this ‘more than the blue of black’? Or put differently, why is calligraphic writing, as learnt from the master, always infused with the singular feelings of the (apprentice) writer? The work of Deleuze, Guattari and Claire Parnet provides two possible responses. In On the Line, Deleuze and Guattari (and Deleuze in co-authorship with Parnet) author a number of comments that support the conception we are attempting to develop concerning the lines of Chinese calligraphy. A line, Deleuze and Guattari suggest, is always a line of lines (‘Line of chance, line of hips, line of flight’ [57]). In the section of On the Line entitled ‘Politics’, Deleuze and Parnet outline the impossibility of any line being just one line. If life is a line (as it is said, you throw someone a life line), then ‘We have as many entangled lines in our lives as there are in the palm of a hand’ (71). Of any (hypothetical) single line it can be said that other lines emerge: ‘Black comes from blue, but is more than the blue.’ The feelings of the apprentice calligrapher (his/her multiple lines) emerge through the repeated copying of the lines and composed body movements of the master. The Deleuzean notion of repetition takes this idea further. Repetitive Chinese calligraphy clearly indexes what Claire Colebrook refers to as ‘Deleuze’s concept of eternal return. The only thing that is repeated or returns is difference; no two moments of life can be the same. By virtue of the flow of time, any repeated event is necessarily different (even if different only to the extent that it has a predecessor)’ (121). Now, it might be objected that Chinese calligraphic practices, because of the substantially ideographic nature of Chinese writing (see Kristeva 72-81), allow for material mutations that can find no purchase in Western, alphabetical systems of writing. But the materiality of time that Colebrook refers to as part of her engagement with Deleuzean non-repetitious (untimely) repetition guarantees the materiality of all modes of writing. Furthermore, Julia Kristeva notes that, with any form of language, one cannot leave ‘the realm of materialism’ (6) and Adrian Miles, in his article ‘Virtual Actual: Hypertext as Material Writing,’ sees the apparently very ‘unmaterial’ writing of hypertext ‘as an embodied activity that has its own particular affordances and possibilities—its own constraints and local actualisations’ (1-2). Calligraphic repetition of the master’s model creates the apprentice’s feelings as (inevitable) difference. In this then, the learning by the Chinese apprentice of the lines of the master’s calligraphy challenges international (both Western and non-Western) artists of writing to ‘remix remix’ as a matter—as a materialisation—of the line. Not the line as a self-identical entity of writing that only goes to make up writing more generally; rather, lines as a materialisation of lines within lines within lines. More self-reflexively, even the collaborative enterprise of this article, co-authored as it is by a woman of Chinese ethnicity and a white Australian man, suggests a remixing of writing through, beneath and over each other’s lines. Yun 韵 (‘composed body movements’) expresses and maximises Qing 情 (‘feelings’). Taoist ‘un-learnt learning’ generates remix as the singular creativity of the writer. Writers get into a blue with the line—paint it, black. Of course, these ideas won’t and shouldn’t make copyright infringement (or associated legalities) redundant notions. But in exposing the cultural relativisms often buried within the deployment of this and related terms, the idea of lines of lines far exceeds a merely formalistic practice (one cut off from the materialities of culture) and rather suggests a mode of non-repetitious repetition in contact with all of the elements of culture (of history, of society, of politics, of bodies…) wherever these may be found, and whatever their state of becoming. In this way, remix re-creates the depths of culture even as it stirs up its surfaces of writing. References Acker, Kathy. Blood and Guts in High School: A Novel. New York: Grove Press, 1978. Anna, Cara. ‘Microsoft Anti-Piracy Technology Upsets Users in China.’ The Seattle Times. 28 Oct. 2008 ‹http://seattletimes.com/html/businesstechnology/2008321919_webmsftchina28.html›. Barthes, Roland. ‘The Death of the Author.’ Barthes, Roland. Image-Music-Text. London: Fontana Press, 1977. 142-148. Chan, Wing-Tsit. A Source Book in Chinese Philosophy. Princeton, New Jersey: Princeton University Press, 1969. Colebrook, Claire. Gilles Deleuze. London: Routledge, 2002. Deleuze, Gilles, and Félix Guattari. On the Line. New York: Semiotext(e), 1983. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976. International Federation of the Phonographic Industry. ‘Recording Industry Steps Up Campaign against Internet Piracy in China.’ ifpi. 4 Feb. 2008 ‹http://www.ifpi.org/content/section_news/20080204.html›. Ivanhoe, Philip J. ‘Taoism’. The Cambridge Dictionary of Philosophy. Ed. Robert Audi. Cambridge: Cambridge University Press, 1995. 787. Iyengar, Jayanthi. ‘Intellectual Property Piracy Rocks China Boat.’ Asia Times Online. 16 Sept. 2004 ‹http://www.atimes.com/atimes/China/FI16Ad07.html›. Kristeva, Julia. Language: The Unknown: An Initiation into Linguistics. New York: Columbia University Press, 1989. Lort, Robert. ‘Kathy Acker (1944-1997).’ Jahsonic: A Vocabulary of Culture. 2003 ‹http://www.jahsonic.com/KathyAcker.html›. Meehan, Michael. ‘Week 5a: Playing with Genres.’ Lecture notes. Unit ALL705. Short Stories: Writers and Readers. Trimester 2. Melbourne: Deakin University, 2013. Miles, Adrian. ‘Virtual Actual: Hypertext as Material Writing.’ Studies in Material Thinking 1.2 (April 2008) ‹http://www.materialthinking.org/papers/29›. Robinson, Edward S. Shift Linguals: Cut-up Narratives from William S. Burroughs to the Present. New York: Editions Rodopi, 2011. Three Shadows Photography Art Centre. ‘Photography and Intimate Space Symposium.’ Conversations: Three Shadows Photography Art Centre’s 2007 Symposium Series. Ed. RongRong, inri, et al. Beijing: Three Shadows Press Limited, 2008. 179-191. Wollen, Peter. ‘Death (and Life) of the Author.’ London Review of Books 20.3 (5 Feb. 1998). ‹http://www.lrb.co.uk/v20/n03/peter-wollen/death-and-life-of-the-author›.

Engagement in any capacity with mainstream media since mid-2001 has meant immersion in the cross-platform, multimedia phenomenon of Harry Potter: Muggle outcast; boy wizard; corporate franchise. Consumers even casually perusing contemporary popular culture could be forgiven for suspecting they have entered a MÃbius loop in which Harry Potter-related media products and merchandise are ubiquitous: books; magazine cover stories; newspaper articles; websites; television specials; hastily assembled author biographies; advertisements on broadcast and pay television; children's merchandising; and theme park attractions. Each of these media commodities has been anchored in and cross-promoted by America Online-Time Warner's (AOL-TW) first instalment in a projected seven-film sequence—Harry Potter and the Philosopher's Stone.1 The marketing campaign has gradually escalated in the three years elapsing between AOL-TW subsidiary Warner Bros' purchase from J.K. Rowling of the film and merchandising rights to the first two Harry Potter books, and the November 2001 world premiere of the film (Sherber 55). As current AOL-TW CEO Richard Parsons accurately forecast, "You're not going to be able to go anywhere without knowing about it. This could be a bigger franchise than Star Wars" (Auletta 50). Yet, AOL-TW's promotional strategy did not limit itself to creating mere awareness of the film's release. Rather, its tactic was to create an all-encompassing environment structured around the immense value of the Harry Potter brand—a "brand cocoon" which consumers do not so much enter and exit as choose to exist within (Klein 2002). In twenty-first-century mass marketing, the art is to target affluent consumers willing to direct their informational, entertainment, and consumption practices increasingly within the "walled garden" of a single conglomerate's content offerings (Auletta 55). Such an idealised modern consumer avidly samples the diversified product range of the parent conglomerate, but does so specifically by consuming multiple products derived from essentially the same content reservoir. Provided a match between consumer desire and brand can be achieved with sufficient accuracy and demographic breadth, the commercial returns are obvious: branded consumers pay multiple times for only marginally differentiated products. The Brand-Conglomerate Nexus Recyclable content has always been embraced by media industries, as cultural commodities such as early films of stage variety acts, Hollywood studio-era literary adaptations, and movie soundtrack LPs attest. For much of the twentieth century, the governing dynamic of content recycling was sequential, in that a content package (be it a novel, stage production or film) would succeed in its home medium and then, depending upon its success and potential for translation across formats, could be repackaged in a subsequent medium. Successful content repackaging may re-energise demand for earlier formatting of the same content (as film adaptations of literary bestsellers reliably increase sales of the originating novel). Yet the cultural industries providing risk capital to back content repackaging formerly required solid evidence that content had achieved immense success in its first medium before contemplating reformulations into new media. The cultural industries radically restructured in the last decades of the twentieth century to produce the multi-format phenomenon of which Harry Potter is the current apotheosis: multiple product lines in numerous corporate divisions are promoted simultaneously, the synchronicity of product release being crucial to the success of the franchise as a whole. The release of individual products may be staggered, but the goal is for products to be available simultaneously so that they work in aggregate to drive consumer awareness of the umbrella brand. Such streaming of content across parallel media formats is in many ways the logical culmination of broader late-twentieth-century developments. Digital technology has functionally integrated what were once discrete media operating platforms, and major media conglomerates have acquired subsidiaries in virtually all media formats on a global scale. Nevertheless, it remains true that the commercial risks inherent in producing, distributing and promoting a cross-format media phenomenon are vastly greater than the formerly dominant sequential approach, massively escalating financial losses should the elusive consumer-brand fit fail to materialise. A key to media corporations' seemingly quixotic willingness to expose themselves to such risk is perhaps best provided by Michael Harkavy, Warner Bros' vice-president of worldwide licensing, in his comments on Warner Music Group's soundtrack for the first Harry Potter film: It will be music for the child in us all, something we hope to take around the world that will take us to the next level of synergy between consumer products, the [AOL-TW cable channel] Cartoon Network, our music, film, and home video groups—building a longtime franchise for Harry as a team effort. (Traiman 51) The relationship between AOL-TW and the superbrand Harry Potter is essentially symbiotic. AOL-TW, as the world's largest media conglomerate, has the resources to exploit fully economies of scale in production and distribution of products in the vast Harry Potter franchise. Similarly, AOL-TW is pre-eminently placed to exploit the economies of scope afforded by its substantial holdings in every form of content delivery, allowing cross-subsidisation of the various divisions and, crucially, cross-promotion of the Harry Potter brand in an endless web of corporate self-referentiality. Yet it is less frequently acknowledged that AOL-TW needs the Harry Potter brand as much as the global commercialisation of Harry Potter requires AOL-TW. The conglomerate seeks a commercially protean megabrand capable of streaming across all its media formats to drive operating synergies between what have historically been distinct commercial divisions ("Welcome"; Pulley; Auletta 55). In light of AOL-TW's record US$54.2b losses in the first quarter of 2002, the long-term viability of the Harry Potter franchise is, if anything, still more crucial to the conglomerate's health than was envisaged at the time of its dot.com-fuelled January 2000 merger (Goldberg 23; "AOL" 35). AOL-TW's Richard Parsons conceptualises Harry Potter specifically as an asset "driving synergy both ways", neatly encapsulating the symbiotic interdependence between AOL-TW and its star franchise: "we use the different platforms to drive the movie, and the movie to drive business across the platforms" ("Harry Potter" 61). Characteristics of the Harry Potter Brand AOL-TW's enthusiasm to mesh its corporate identity with the Harry Potter brand stems in the first instance from demonstrated consumer loyalty to the Harry Potter character: J.K. Rowling's four books have sold in excess of 100m copies in 47 countries and have been translated into 47 languages.2 In addition, the brand has shown a promising tendency towards demographic bracket-creep, attracting loyal adult readers in sufficient numbers to prompt UK publisher Bloomsbury to diversify into adult-targeted editions. As alluring for AOL-TW as this synchronic brand growth is, the real goldmine inheres in the brand's potential for diachronic growth. From her first outlines of the concept, Rowling conceived of the Potter story as a seven-part series, which from a marketing perspective ensures the broadscale re-promotion of the Harry Potter brand on an almost annual basis throughout the current decade. This moreover assists re-release of the first film on an approximately five-year basis to new audiences previously too young to fall within its demographic catchment—the exact strategy of "classic" rebranding which has underwritten rival studio Disney's fortunes.3 Complementing this brand extension is the potential to grow child consumers through the brand as Harry Potter sequels are produced. Harry Potter and the Philosopher's Stone director Chris Columbus spruiks enthusiastically that "the beauty of making these books into films is that with each one, Harry is a year older, so [child actor] Daniel [Radcliffe] can remain Harry as long as we keep making them" (Manelis 111). Such comments suggest the benefits of luring child consumers through the brand as they mature, harnessing their intense loyalty to the child cast and, through the cast, to the brand itself. The over-riding need to be everything to everyone—exciting to new consumers entering the brand for the first time, comfortingly familiar to already seasoned consumers returning for a repeat hit—helps explain the retro-futuristic feel of the first film's production design. Part 1950s suburban Hitchcock, Part Dickensian London, part Cluny-tapestry medievalism, part public school high-Victorianism, Harry Potter and the Philosopher's Stone strives for a commercially serviceable timelessness, in so doing reinforcing just how very twenty-first-century its conception actually is. In franchise terms, this conscious drive towards retro-futurism fuels Harry Potter's "toyetic potential" (Siegel, "Toys" 19). The ease with which the books' complex plots and mise-en-scene lend themselves to subsidiary rights sales and licensed merchandising in part explains Harry Potter's appeal to commercial media. AOL-TW executives in their public comments have consistently stayed on-message in emphasising "magic" as the brand's key aspirational characteristic, and certainly scenes such as the arrival at Hogwarts, the Quidditch match, the hatching of Hagrid's dragon and the final hunt through the school's dungeons serve as brilliant advertisements for AOL-TW's visual effects divisions. Yet the film exploits many of these "magic" scenes to introduce key tropes of its merchandising programme—Bertie Bott's Every Flavour Beans, chocolate frogs, Hogwarts house colours, the sorting hat, Scabbers the rat, Hedwig, the Remembrall—such that it resembles a series of home shopping advertisements with unusually high production values. It is this railroading of the film's narrative into opportunities for consumerist display which leads film critic Cynthia Fuchs to dub the Diagon Alley shopping scene "the film's cagiest moment, at once a familiar activity for school kid viewers and an apt metaphor for what this movie is all about—consumption, of everything in sight." More telling than the normalising of shopping as filmic activity in Harry Potter and the Philosopher's Stone is the eclipse of the book's checks on commodity fetishism: its very British sensitivity to class snubs for the large and impecunious Weasley family; the puzzled contempt Hogwarts initiates display for Muggle money; the gentle ribbing at children's obsession with branded sports goods. The casual browser in the Warner Bros store confronted with a plastic, light-up version of the Nimbus 2000 Quidditch broomstick understands that even the most avid authorial commitment to delimiting spin-off merchandise can try the media conglomerate's hand only so far. Constructing the Harry Potter Franchise The film Harry Potter and the Philosopher's Stone constitutes the indispensable brand anchor for AOL-TW's intricate publicity and sales strategy around Harry Potter. Because content recycling within global media conglomerates is increasingly lead by film studio divisions, the opening weekend box office taking for a brand-anchoring film is crucial to the success of the broader franchise and, by extension, to the corporation as a whole. Critic Thomas Schatz's observation that the film's opening serves as "the "launch site" for its franchise development, establishing its value in all other media markets" (83) highlights the precariousness of such multi-party financial investment all hinging upon first weekend takings. The fact that Harry Potter and the Philosopher's Stone broke (then standing) box office records with its 16 November 2001 three-day weekend openings in the US and the UK, garnering US$93.2m and GBP16m respectively, constituted the crucial first stage in AOL-TW's brand strategy (Collins 9; Fierman and Jensen 26). But it formed only an initial phase, as subsequent content recycling and cross-promotion was then structured to radiate outwards from this commercial epicentre. Three categories of recycled AOL-TW Harry Potter content are discernible, although they are frequently overlapping and not necessarily sequential. The first category, most closely tied to the film itself, are instances of reused digital content, specifically in the advance publicity trailer viewable on the official website, and downloads of movie clips, film stills and music samples from the film and its soundtrack.4 Secondly, at one remove from the film itself, is AOL-TW's licensing of film "characters, names and related indicia" to secondary manufacturers, creating tie-in merchandise designed to cross-promote the Harry Potter brand and stoke consumer investment (both emotional and financial) in the phenomenon.5 This campaign phase was itself tactically designed with two waves of merchandising release: a September 2000 launch of book-related merchandise (with no use of film-related Harry Potter indicia permitted); and a second, better selling February 2001 release of ancillary products sporting Harry Potter film logos and visual branding which coincided with and reinforced the marketing push specifically around the film's forthcoming release (Sherber 55; Siegel, "From Hype" 24; Lyman and Barnes C1; Martin 5). Finally, and most crucial to the long-term strategy of the parent conglomerate, Harry Potter branding was used to drive consumer take up of AOL-TW products not generally associated with the Harry Potter brand, as a means of luring consumers out of their established technological or informational comfort zones. Hence, the official Harry Potter website is laced with far from accidental offers to trial Internet service provider AOL; TimeWarner magazines Entertainment Weekly, People, and Time ran extensive taster stories about the film and its loyal fan culture (Jensen 56-57; Fierman and Jensen 26-28; "Magic Kingdom" 132-36; Corliss 136; Dickinson 115); AOL-TW's Moviefone bookings service advertised pre-release Harry Potter tickets on its website; and Warner Bros Movie World theme park on the Gold Coast in Australia heavily promoted its Harry Potter Movie Magic Experience. Investment in a content brand on the scale of AOL-TW's outlay of US$1.4m for Harry Potter must not only drive substantial business across every platform of the converged media conglomerate by providing premium content (Grover 66). It must, crucially for the long run, also drive take up and on-going subscriptions to the delivery services owned by the parent corporation. Energising such all-encompassing strategising is the corporate nirvana of seamless synergy: between content and distribution; between the Harry Potter and AOL-TW brands; between conglomerate and consumer. Notes 1. The film, like the first of J.K. Rowling's books, is titled Harry Potter and the Sorcerer's Stone in the "metaphysics-averse" US ("Harry Potter" 61). 2. Publishing statistics sourced from Horn and Jones (59), Manelis (110) and Bloomsbury Publishing's Harry Potter website: http://www.bloomsburymagazine.com/harryp.... 3. Interestingly, Disney tangentially acknowledged the extent to which AOL-TW has appropriated Disney's own content recycling strategies. In a film trailer for the Pixar/Disney animated collaboration Monsters, Inc. which screened in Australia and the US before Harry Potter sessions, two monsters play a game of charades to which the answer is transparently "Harry Potter." In the way of such homages from one media giant to another, it nevertheless subtly directs the audience to the Disney product screening in an adjacent cinema. 4. The official Harry Potter film website is http://harrypotter.warnerbros.com. The official site for the soundtrack to Harry Potter and the Philosopher's/Sorcerer's Stone is: http://www.harrypottersoundtrack.com. 5. J.K. Rowling." A page and a half of non-negotiable "Harry Potter Terms of Use" further spells out prohibitions on use or modification of site content without the explicit (and unlikely) consent of AOL-TW (refer: http://harrypotter.warnerbros.com/cmp/te...). References "AOL losses 'sort of a deep disappointment'." Weekend Australian 18-19 May 2002: 35. Auletta, Ken. "Leviathan." New Yorker 29 Oct. 2001: 50-56, 58-61. Collins, Luke. "Harry Potter's Magical $178m Opening." Australian Financial Review 20 Nov. 2001: 9. Corliss, Richard. "Wizardry without Magic." Time 19 Nov. 2001: 136. Dickinson, Amy. "Why Movies make Readers." Time 10 Dec. 2001: 115. Fierman, Daniel, and Jeff Jensen. "Potter of Gold: J.K. Rowling's Beloved Wiz Kid hits Screensand Breaks Records." Entertainment Weekly 30 Nov. 2001: 26-28. Fuchs, Cynthia. "The Harry Hype." PopPolitics.com 19 Nov. 2001: n.pag. Online. Internet. 8 Mar. 2002. Available <http://www.poppolitics.com/articles/2001-11-19-harry.shtml>. Goldberg, Andy. "Time Will Tell." Sydney Morning Herald 27-28 Apr. 2002: 23. Grover, Ronald. "Harry Potter and the Marketer's Millstone." Business Week 15 Oct. 2001: 66. Harry Potter and the Philosopher's Stone. Dir. Chris Columbus. Screenplay by Steve Kloves. Warner Bros, 2001. "Harry Potter and the Synergy Test." Economist 10 Nov. 2001: 61-62. Herman, Edward S., and Robert W. McChesney. The Global Media: The New Missionaries of Corporate Capitalism. London: Cassell, 1997. Horn, John, and Malcolm Jones. "The Bubble with Harry." The Bulletin/Newsweek 13 Nov. 2001: 58-59. Jensen, Jeff. "Holiday Movie Preview: Potter's Field." Entertainment Weekly 16 Nov. 2001: 56-57. Klein, Naomi. "Naomi KleinNo Logo." The Media Report. ABC Radio National webtranscript. Broadcast in Sydney, 17 Jan. 2002. Online. Internet. 19 Feb. 2002. Available <http://www.abc.net.au/rn/talks/8:30/mediarpt/stories/s445871.htm>. Lyman, Rick, and Julian E. Barnes. "The Toy War for Holiday Movies is a Battle Among 3 Heavyweights." New York Times 12 Nov. 2001: C1. "Magic Kingdom." People Weekly 14 Jan. 2002: 132-36. Manelis, Michele. "Potter Gold." Bulletin 27 Nov. 2001: 110-11. Martin, Peter. "Rowling Stock." Weekend Australian 24-25 Nov. 2001: Review, 1, 4-5. Pulley, Brett. "Morning After." Forbes 7 Feb. 2000: 54-56. Rowling, J.K. Harry Potter and the Philosopher's Stone. London: Bloomsbury, 1997. Schatz, Thomas. "The Return of the Hollywood Studio System." Conglomerates and the Media. Erik Barnouw et al. New York: New Press, 1997. 73-106. Sherber, Anne. "Licensing 2000 Showcases Harry Potter, Rudolph for Kids." Billboard 8 Jul. 2000: 55. Siegel, Seth M. "Toys & Movies: Always? Never? Sometimes!" Brandweek 12 Feb. 2001: 19. ---. "From Hype to Hope." Brandweek 11 Jun. 2001: 24. Traiman, Steve. "Harry Potter, Powerpuff Girls on A-list at Licensing 2000." Billboard 1 Jul. 2000: 51, 53. "Welcome to the 21st Century." Business Week 24 Jan. 2000: 32-34, 36-38. Links http://www.bloomsburymagazine.com/harrypotter/muggles http://www.harrypottersoundtrack.com http://harrypotter.warnerbros.com http://www.poppolitics.com/articles/2001-11-19-harry.shtml http://www.abc.net.au/rn/talks/8:30/mediarpt/stories/s445871.htm http://harrypotter.warnerbros.com/cmp/terms.html Citation reference for this article MLA Style Murray, Simone. "Harry Potter, Inc." M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/recycling.php>. Chicago Style Murray, Simone, "Harry Potter, Inc." M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]). APA Style Murray, Simone. (2002) Harry Potter, Inc.. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]).