Journal articles on the topic 'Bamboo Enterprise'

China is one of the world's major bamboo producers, and the development and utilization of bamboo timber has become a new industry. But mildew often appears on both original bamboo substrate and bamboo processing material in the processes of storage, processing, transport and utilization, resulting in the pigment pollution of surface that affects bamboo quality and brings great losses to the enterprise. This paper describes the mildew mechanism of bamboo timber, the main causal fungi and the anti-mold technology, and also prospects the development direction of the research in future, which provided reference for the further study on the anti-mold technology of bamboo timber.

The environment is the basis for the living and development of the human, and eco-innovation is the key driver of new economic growth. However, for some underdeveloped regions in China, it is still a challenge for the local government to get a balance between the goals of economic and environment. The paper selects the pulp and paper industry, which creates tremendous pollution to the environment and is closely related to the daily life. According to the particular characteristics of pulp and paper industry in Sichuan Province, the industry of pulp and paper of bamboo is redesigned to improve the local ecosystem, while increasing the income of local farmers. From the perspective of game theory, the relationships between the government, the enterprise, and the farmers are analyzed. The result shows that government increases the subsidy and penalty to the enterprise, which can increase the investment in eco-innovation, enhancing the competitiveness of enterprises and raising the income of farmers. Moreover, it can also improve the ecologically fragile areas by the utilization of bamboo park. In addition, in this paper, a system dynamics model is proposed to explore the impact of different policies on the environment. The results show that increasing the subsidy is a more efficient way to protect the environment, and is one of the important drivers to eco-innovation in some underdeveloped regions in China.

The influence of industrial agglomeration on corporate export behavior has been widely studied by both industry and academia. However, few studies have explored the impact of the spatial agglomeration of China’s wood processing industry on the quality of its products at the micro level. In this study, we analyzed data from the China Customs Database to determine the quality of wood processing industry products at the enterprise level. Then, we matched the China Customs Database with the data in the China Industrial Enterprise Database. Based on this, we analyzed the impact of the spatial agglomeration on the quality of wood products using panel data regression. According to our results, spatial agglomeration of the wood processing industry can significantly improve product quality. Also, private enterprises are more likely to benefit from the advantages conferred by agglomeration than state-owned enterprises. Moreover, trade method does not significantly modulate the effect of spatial agglomeration on the quality of wood products. Last but not least, the agglomeration has the most significantly positive impact on the quality of products produced by the wood chip processing industry, followed by the wood products industry and the wood panel industry. Agglomeration of the bamboo and rattan palm industry actually decreases product quality. Therefore, we encourage agglomeration of timber processing enterprises, especially privately owned wood chip, wood product, and wood panel enterprises, to fully realize the benefits of the agglomeration economy. We also make policy recommendations to improve wood product quality.

According to Natural Bamboo Fiber/ Polypropylene fiber(PP) non-woven materials encountered the problem that its flame retardation is insufficient, this paper tried to add flame retardant to improve its performance, then the cone calorimeter was used to evaluate its flammability. The results show that Peak-Heat Release Rate and Smoke Release Rate etc significantly improved. In accordance with the UL94 ,the flame retardation meet the level V-0 , consistent with the requirements of enterprise.

<p>Developed countries are realized that the economic growth not only depend on the industrial sector. The Goverment of Indonesia launched the creative economy development program on 2009 to develop creative economy which driven by the industrial sector called the creative industries. The creative industries is driven by creativity and innovation. Calok is a village in Jember regency which have the potential creative industry based on woven bamboo and agriculture. It creates a new sector of creative industries named agrocraft industry. The purpose of this research is developing the best business strategy by adopting the local wisdom of Calok using Strength Weaknesses Opportunities Threaths (SWOT) analysis. The Eksternal Factor Evaluation (EFE) and Internal Factor Evaluation (IFE) analysis shown that EFE matrix has a total score of 3.065 while IFE matrix has a total score of 2.302. By this result, the position of Calok community enterprise is in quadrant II. Analysing Qualitative Strategy Planning Method shown the alternative strategy should be applied is product development. The developed business strategy are new product design, spesialization product line, improvement design skills, designing product with less technology need.</p><p><strong>Keywords</strong>: agrocraft industry, strategy development, SWOT analysis, woven bamboo </p>

We document the perceptions, practices and policy options in managing lowland bamboo [Oxytenanthera abyssinica] in Benishangul Gumuz Regional State (BGRS) in Ethiopia, particularly to enable small-scale enterprises (SSE) to become more active in this field. This region hosts the largest extent of natural bamboo forests in Ethiopia. There is a recent push to realize bamboo's economic and environmental potential in Ethiopia, which puts SSEs as crucial actors. There is little or scattered published information on local perceptions and practices surrounding natural bamboo forest management and options for realizing bamboo's potential from a subnational/local perspective in Africa, including in Ethiopia. In 2018, we conducted a literature review, spatial analysis, participatory mapping, and interviewed experts working in governmental and non-governmental organizations and local stakeholders in BGRS. We find some consensus of the environmental importance of bamboo. In contrast, there is some debate at the subnational level about the economic importance of bamboo, leading to decisions favouring other land uses. Bamboo forests in this region suffer neglect, as they are perceived to be 'owned by no one and used by everyone' and will continue to be there without management. Lack of market-driven opportunities, bamboo-specific training among foresters, data on economic contributions of bamboo, and regulations or guidelines to support existing laws have prevented effective management of the bamboo resource. There are multiple bamboo management approaches that open economic opportunities for SSEs in the region. There needs to be more clarity on how to secure land use rights over bamboo forests, accessible financing, market linkages, business training, and low-tech/low-cost technologies to encourage the development of bamboo SSEs.

Bamboos represent an emerging forest resource of economic significance and provide an avenue for sustainable development of forest resources. The development of the commercial bamboo industry is founded upon efficient molecular and technical approaches for the selection and rapid multiplication of elite germplasm for its subsequent propagation via commercial agro-forestry business enterprises. This review will delve into the micropropagation of Dendrocalamus asper, one of the most widely cultivated commercial varieties of bamboo, and will encompass the selection of germplasm, establishment of explants in vitro and micropropagation techniques. The currently available information pertaining to molecular biology, DNA barcoding and breeding, has been included, and potential areas for future research in the area of genetic engineering and gene regulation have been highlighted. This information will be of relevance to both commercial breeders and molecular biologists who have an interest in establishing bamboo as a crop of the future.

This study was conducted to analyze the profitability of banana farming in some selected areas of Tangail district of Bangladesh during 2015. A total of 60 samples (16 small, 19 medium and 25 large farmers) were directly interviewed using a structured questionnaire for achieving the purpose. Apart from the descriptive analysis of the socio-economic variables of the selected respondents, the benefit-cost and functional profitability analysis of banana farming were also performed. The Cobb-Douglas production function was chosen to determine the effects of various inputs on the profitability of banana. The finding of cost-benefit analysis reveals that banana farming is a profitable activity in Bangladesh as the estimated cost of production was lower than the return in the selected study areas. However, the profitability differs among different farmers’ group and large farmers are more profitable in banana farming than small and medium farmers. In addition, the functional analysis identifies four inputs such as the cost of human labor, manure, fertilizer and irrigation as the significant determinants of profitability of banana farming in the study area. In this study, resource use efficiency was also measured to show the efficient resource allocation to attain the goal of profit maximization which showed that human labor, seedling, manure, fertilizer, insecticides, irrigation and bamboo has inefficient use of the resources, and farmers should limit the use of these inputs. The researcher suggested some recommendations to improve the present production situation so that banana farming could be more viable and attractive commercial enterprise. Int. J. Agril. Res. Innov. Tech. 9(2): 67-75, December 2019

Bamboo material has excellent properties and is suitable for making bamboo furniture. Bamboo furniture is a traditional form of furniture made from bamboo with a low degree of industrialisation. The diverse development methods and profound cultural meanings behind bamboo furniture should be further explored to strengthen inheritance and innovation. This paper first summarises the characteristics and development status of bamboo furniture via a brief literature review. Then, through case studies and questionnaire surveys, the aesthetic trends of modern bamboo furniture design were analysed, and various ideas for innovation were proposed. The mode and path of the future development of bamboo weaving were discussed from the perspective of accelerating modernisation. To achieve sustainable development of bamboo furniture, to promote bamboo culture, and to enable bamboo enterprises to establish a good brand image, it is necessary to use the interactive design platform to coordinate the relationship between users, enterprises, and producers, and to grasp the balance between traditional craftsmanship and modern design and manufacture through modern advanced manufacturing technology and parametric design.

The present study investigates the associate enterprises involving bamboobased weaving and handicraft making at Badikhel Village Development Commitee, Lalitpur District, Central Nepal. It aims to assess the socio-economic importance of bamboo craft making on Pahari community at Badikhel. Forty households were randomly selected for questionnaire survey from the areas with higher density of bamboo entrepreneurship practiced. Perceived stakeholders were interviewed to examine their roles and to find out the contribution of bamboo enterprises to household income. Group discussions on issues of bamboo cultivation and management were conducted following RRA and PRA techniques. It was found that Badikhel impregnates four species of bamboo belonging to two genera viz. Bambusa and Drepanostachyum and are important and traditional source of livelihood for the Paharis, one of the ethnic groups in the study area. An average bamboo handicraft maker obtained NRs. 1000 to NRs. 5000 per month from the cash sales of assorted handicrafts. However, no significant bamboo management practices were carried out by the entrepreneurs. Three out of four community managed forests in the study area planted only Bambusa nepalensis as per local demand. Since stakeholders’ involvement in actual promotion of bamboo handicraft industry and bamboo management is meager there is an urgent need for the formation of a larger association of bamboo users for the growth and development of the bamboo entrepreneurship in the area.DOI: http://dx.doi.org/10.3126/banko.v22i2.9195Banko Janakari: A Journal of Forestry Information for NepalVol. 22, No. 2, 2012 NovemberPage: 11-18Uploaded date: 12/1/2013

Introduction: In Great Britain, roughly half of people with at least one long-standing illness (LSI) live in low-income households. Lower-income households are at risk of fuel poverty and living in a colder house, which can worsen certain health conditions, causing related morbidity and mortality. This pilot study aimed to assess whether raising occupants’ awareness of indoor temperatures in the home could initiate improved health and well-being among such vulnerable residents. Methods: Thermometers were placed inside a manufactured bamboo brooch to be worn or placed within homes during the winter of 2016/17. These devices were supplied to households (n = 34) already assisted by Community Energy Plus, which is a private social enterprise in Cornwall, United Kingdom (UK), using initiatives aimed at maintaining “healthy homes”. Questionnaires were supplied to households before devices were supplied, and then again at the end of a three-month period, with further questions asked when devices were collected. Temperatures were recorded automatically every half-hour and used to draw inference from questionnaire responses, particularly around health and well-being. Results: Questionnaires were completed by 22 households. Throughout the winter, those declaring the poorest health when supplied with devices maintained homes at a higher average temperature. There were also indications that those with raised awareness of interior temperatures sought fewer casual medicines. Conclusion: Simple telemetry could play a role in the management of chronic health conditions in winter, helping healthcare systems become more sustainable. The need for higher indoor temperatures among people with an LSI highlights the need to consider this approach alongside more sustainable household energy-efficiency improvements. A larger study is needed to explore this further and quantify the cost benefit of this approach.

<strong>Abstract</strong><br />Small micro enterprise is one of the important factor in Indonesia economy, due to its capability to employ high number of workers. Product design is one of disciplines that really close to SME in particular handicraft SME. This study is started because product design students often find difficult in looking for artisans near Pelita Harapan University. As a result, they go to Bogor, Bandung, Cirebon and Jakarta for making product. Wira Multi Agung, Bamboo Hat Community, Pelangi Crochet, Pak Budhy<br />Workshop are the four SMEs studied in this paper. They’re many other handicraft SMEs in Banten. From the study, founded that SMEs really need product designer’s expertise, because mostly the SMEs’ design is from buyers that come to them. Therefore, a system need to be made to connect product design student in Universitas Pelita Harapan dan<br />handicraft SMEs in Banten.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Usaha kecil mikro menengah adalah salah satu motor perekonomian negara Indonesia, karena mampu menyerap tenaga kerja yang demikian banyak. Desain Produk adalah salah satu ilmu yang sangat dekat dengan UMKM .khususnya UMKM berbasis Kriya. Kajian ini dilatar belakangi karena kesulitan mahasiswa desain produk untuk mencari pengrajin sekitar kampus Universitas Pelita Harapan, sehingga mereka sering kali harus pergi ke Bogor, Bandung, Cirebon, Jakarta untuk pembuatan produk. UMKM yang distudi adalah Wira Multi Agung, Komunitas Topi Bambu, Rajutan Pelangi, Bengkel Pak Budhy. Mereka adalah sebagian kecil dari UMKM yang ada di Banten. Di dapatkan hasil bahwa UMKM sangat memerlukan bantuan desain produk, karena desain sepenuhnya masih bergantung pada customer yang datang. Rekomendasi dari<br />studi ini adalah perlu dibuat mekanisme terstuktur yang menghubungkan<br />desain produk di Universitas Pelita Harapan dan UMKM Banten berbasis kriya.<br /><br />

The promising prospect of bamboo industry is now evolving not only become handicrafts and small enterprises. Stakeholders of bamboo industry need to pay attention on the potency of this industry for its eco-friendliness, expediencies, and advantages. The bamboo industry in Sragen Regency for instance, develops properly but still faces marketing problems as its primary obstacle. Bamboo craftsmen are commonly supplying products based on customer orders. This study identifies the use of catalogue media to promote bamboo product in Sragen Regency. Using study case for descriptive qualitative, this research clarifies that bamboo craftsmen in Sragen Regency need support for development process. The catalogue arrangement process is started from identification of existing products, containing product name, size, usage, and price. Information of producer profile such as name, address, and telephone are equally important attributes for the catalogue. All information in the catalogue must represent profile and accessibility of the related product in order to attract consumers, and practically for its ease of marketing process. These long process, and bamboo handicraftsmen commitment in promotion obstruct this study to determine the efficency of the catalogue in raising bamboo market.

Bamboo forest is characterized by large carbon sequestration capability and it plays an important role in mitigating climate change and global carbon cycling. Previous studies have mostly focused on carbon cycling and carbon stocks in bamboo forest ecosystems, whereas the carbon footprints of bamboo products have not received attention. China is the largest exporting country of bamboo flooring in the world. Estimating the carbon footprint of bamboo flooring is of essential importance for the involved enterprises and consumers to evaluate their own carbon footprints. In this study, we investigated the production processes of bamboo scrimber flooring for outdoor use, a typical bamboo flooring in China. Based on business-to-business (B2B) evaluation method, we assessed CO2 emission and carbon transfer ratio in each step of the production process, including transporting bamboo culms and producing and packing the products. We found that to produce 1 m3 of bamboo scrimber flooring, direct carbon emissions from fossil fuels during transporting raw materials/semi-finished products, from power consumptions during production, and indirect emissions from applying additives were 30.94 kg CO2 eq, 143.37 kg CO2 eq, and 78.34 kg CO2 eq, respectively. After subtracting the 267.54 kg CO2 eq carbon stocks in the product from the 252.65 kg CO2 eq carbon emissions derived within the defined boundary, we found that the carbon footprint of 1 m3 bamboo scrimber flooring was −14.89 kg CO2 eq. Our results indicated that the bamboo scrimber flooring is a negative carbon-emission product. Finally, we discussed factors that influence the carbon footprint of the bamboo flooring and gave suggestions on carbon emission reduction during production processes. This study provided a scientific basis for estimating carbon stocks and carbon footprints of bamboo products and further expanded knowledge on carbon cycling and lifespan of carbon in the bamboo forest ecosystem.

Various brands of bamboo crafts created by youths have emerged in Zhushan Township, Taiwan. With the special bamboo materials available in Zhushan Township as their core, these brands have created different types of social innovations through their management, design, and mechanical knowledge. The results indicate the following: (1) The youths advocate for causes such as the preservation of culture, mutually beneficial situations, sustainable local development, and environmentally friendly lifestyles. The youths proposed innovative solutions for these causes, such as establishing a guesthouse, revitalizing unused space, creating opportunities for dialogues, developing bamboo-based environmentally friendly products, and holding local activities; (2) the youths constructed a model for internal cooperation and enhancement, revitalization, and marketing Zhushan Township; (3) the youths advocated for various social values, utilized social capital, and proposed innovative solutions through diversified participation and the creation of new relationships, allowing different communities to generate a group dynamic to resolve social problems and achieve sustainability together. This study aids in the facilitation of sustainable management of township micro-enterprises by innovating products and service modes through social capital and social value. At the same time, local and common social innovation modes are connected to provide a reference for the social innovation of micro-enterprises.

The empowerment of small industry of woven bamboo craftsmen in the village of Karayunan that is carried out by the Department of Small and Medium Enterprises Group of Industry and Trade ofMajalengka District has not been optimal. Therefore, the department seeks (1) to make an increaseof access and market share, which are promotion and information, giving an aid in supplying theproduction tolls; (2) to engage in the exhibition; (3) to make a socialization of Training Center and (4)to conduct motivation skills training such as a small industry of food in the district of Majalengka. Therole of small industry of woven bamboo is suffi ciently increased people’s incomes, this thing can be seenfrom the employment. The inhibiting factors of the empowerment of small industry of woven bamboocraftsmen are the limited fund; still using simple equipments; lack of marketing and lack of educationof the craftsmen and work force.

Digitalization has gained momentum in recent years in all sphere of life aroundthe globe. It has become an important factor of deÖning modernization, and instrumentalin speeding up economic growth by ensuring more transparency. After demonetization andemphasis on cashless transaction, digitalized mode of payment is being prioritized. Accord-ingly, government of India launched several schemes focusing on imparting training on digitalliteracy, but research shows that a section of population is still not adopting this digitaliza-tion process. This study tries to Önd the factors responsible for excluding a section of thepeople, especially the people of rural and semi urban area from this digitalized system. Ac-cordingly, a survey was conducted with the bamboo craft man of Raipur cluster of BarpetaDistrict of Assam, India, who is involved in small enterprises involving bamboo crafting.Direct interaction was being done with the respondents regarding the various problems andinconvenience faced in adapting the new system. A logit regression model has been usedto highlight the impact of various socio-economics factors, level of awareness about the newsystem of digitalization on their adaptability to the digitalized mode of payment

Several North American Sikh millennials are creating online values-based fashion enterprises that seek to encourage creative expression, self-determined representation, gender equality, and ethical purchasing, while steeped in the free market economy. Exploring the innovative ways young Sikhs of the diaspora express their values and moral positions in the socio-economic sphere, one finds many fashionistas, artists, and activists who are committed to making Sikh dress accessible and acceptable in the fashion industry. Referred to as “Sikh chic”, the five outwards signs of the Khalsa Sikh—the “5 ks”—are frequently used as central motifs for these businesses (Reddy 2016). At the same time, many young Sikh fashion entrepreneurs are designing these items referencing contemporary style and social trends, from zero-waste bamboo kangas to hipster stylized turbans. Young Sikh women are challenging mainstream representations of a masculine Sikh identity by creating designs dedicated to celebrating Khalsa Sikh females. Drawing on data collected through digital and in-person ethnographic research including one-on-one interviews, participant observation, and social media, as well as fashion magazines and newsprint, I explore the complexities of this phenomenon as demonstrated by two Canadian-based Sikh fashion brands, Kundan Paaras and TrendySingh, and one Canadian-based Sikh female artist, Jasmin Kaur.

The utilization of polymer-based materials is quickly expanding. The enterprises of today are progressively seeking techniques to supplant metal parts with polymer-based materials as a result of their light weight, simple support and modest costs. The ceaselessly developing requirement for composite materials with new or enhanced properties brings about the preparation of different polymer mixes with various arrangements, morphologies and properties. Fused filament fabrication processes such as 3D-printing are nowadays shaping the actual pathway to a full pallet of materials, from art–craft to biomaterials. In this study, the structural and mechanical behavior of three types of commercially available filaments comprised of synthetic poly(acrylonitrile-co-butadiene-co-styrene) (ABS), poly(lactic acid) (PLA) and poly(lactic acid)/polyhydroxyalkanoate reinforced with bamboo wood flour composite (PLA/PHA BambooFill) were assessed through mechanical testing and optical microscopy, aiming to understand how the modifications that occur in the printed models with internal architecture are influencing the mechanical properties of the 3D-printed material. It has been determined that the material printed from PLA presents the highest compression strength, three-point bending and shock resistance, while the ABS shows the best tensile strength performance. A probability plot was used to verify the normality hypothesis of data for the tensile strength, in conjunction with the Anderson–Darling statistic test. The results of the statistic indicated that the data were normally distributed and that there is a marked influence of the internal architecture of the 3D-printed models on the mechanical properties of the printed material.

The research aims to study the relationship between the management strategies of the small projects of the workers in their dimensions: (Project phase strategy, making decisions, the project management strategy of financial production, Marketing Productive Management Strategy, the strategy of managing productive legal projects) with satisfaction with life dimensions: (Psychological compatibility, Self-compliance, Work environment, and Social compatibility) . The research sample consisted of 102 persons working in four small projects, "Ceramics - Bamboo - Serma - Hand Carpets". They were selected in a pesky-purpose manner from the employees of these projects in Sakiet Abu Shaara village, Sentris, Menoufia Governorate and 10th of Ramadan City. "General data form", "Project Management Strategies scale", and "measure of satisfaction with life" were applied. The study followed the descriptive and analytical approach. The data were categorized and analyzed using appropriate statistical methods through the SPSS statistical program such as number and percentages, arithmetic mean, standard deviation, T-test, Pearson correlation coefficient, Chi-square and F-test. The most important results are related to the relationship between the project management strategy and the financial productivity and self-compliance at the level of significance of 0.01, which means that the realization of the requirements of the project in terms of finance and meet the needs, resulting in self-compatibility. There is also a correlation between the project management strategy and the business environment at the level of 0.01 meaning that whenever the project needs to be met in terms of funding and meet the needs of the project as this leads to compatibility with the place of residence of the project and the surrounding environment, there is an inverse correlation Between the social situation and the decision-making at the level of significance of 0.01, which means that the greater the number of employees are married the less ability to make the decisions needed in those small projects, which means the impact of the ability to make decisions on the social situation of the individual. There were statistically significant differences between the averages of the different projects in terms of the overall project management strategy according to the dwelling. The highest value was for the medium in the ceramics project and the lowest in the hand carpets where the ceramic represents the highest average 2.000 while the carpets represent the lowest average by 1.809 at the level of significance 0.1. There were significant differences between the mean of the various projects in terms of satisfaction with total life according to the dimension of psychological compatibility and the highest value for the average in the hand carpet project where the results showed that the average and standard deviation of hand carpets is (23.745 ± 4.38) The recommendations of the government, decision-makers and ministries to establish a culture of entrepreneurship and motivate young people to set up private projects through the media, paying attention to the enactment of laws on small projects to motivate young people to establish and develop small and micro enterprises, In various stages to ensure the success and continuity of the project.

The research aims to study the relationship between the management strategies of the small projects of the workers in their dimensions: (Project phase strategy, making decisions, the project management strategy of financial production, Marketing Productive Management Strategy, the strategy of managing productive legal projects) with satisfaction with life dimensions: (Psychological compatibility, Self-compliance, Work environment, and Social compatibility) . The research sample consisted of 102 persons working in four small projects, "Ceramics - Bamboo - Serma - Hand Carpets". They were selected in a pesky-purpose manner from the employees of these projects in Sakiet Abu Shaara village, Sentris, Menoufia Governorate and 10th of Ramadan City. "General data form", "Project Management Strategies scale", and "measure of satisfaction with life" were applied. The study followed the descriptive and analytical approach. The data were categorized and analyzed using appropriate statistical methods through the SPSS statistical program such as number and percentages, arithmetic mean, standard deviation, T-test, Pearson correlation coefficient, Chi-square and F-test. The most important results are related to the relationship between the project management strategy and the financial productivity and self-compliance at the level of significance of 0.01, which means that the realization of the requirements of the project in terms of finance and meet the needs, resulting in self-compatibility. There is also a correlation between the project management strategy and the business environment at the level of 0.01 meaning that whenever the project needs to be met in terms of funding and meet the needs of the project as this leads to compatibility with the place of residence of the project and the surrounding environment, there is an inverse correlation Between the social situation and the decision-making at the level of significance of 0.01, which means that the greater the number of employees are married the less ability to make the decisions needed in those small projects, which means the impact of the ability to make decisions on the social situation of the individual. There were statistically significant differences between the averages of the different projects in terms of the overall project management strategy according to the dwelling. The highest value was for the medium in the ceramics project and the lowest in the hand carpets where the ceramic represents the highest average 2.000 while the carpets represent the lowest average by 1.809 at the level of significance 0.1. There were significant differences between the mean of the various projects in terms of satisfaction with total life according to the dimension of psychological compatibility and the highest value for the average in the hand carpet project where the results showed that the average and standard deviation of hand carpets is (23.745 ± 4.38) The recommendations of the government, decision-makers and ministries to establish a culture of entrepreneurship and motivate young people to set up private projects through the media, paying attention to the enactment of laws on small projects to motivate young people to establish and develop small and micro enterprises, In various stages to ensure the success and continuity of the project.

The economic contributions of rural enterprises in Indonesia are significant to support local people's livelihoods, although it remains at micro to medium levels. One small-scale enterprise, which remains understudied and receives little policy attention, is the bamboo enterprise. Gunungkidul Regency in Yogyakarta Special Province, a central region in Java Island, Indonesia, have many bamboo enterprises, creating various products that support some 6,500 jobs. This research is conducted as a case study of the Gunungkidul Regency. A value chain perspective was used to study three bamboo-based enterprises' value chain structure: kitchen utensils, bamboo toy handicraft, and chemically treated bamboo. The snowball concept was used until the data was saturated. In total, 86 respondents were interviewed. The traditional chain was dominant. The longest value chain and the highest number of actor levels were bamboo toy handicrafts, and the shortest and smallest actor level was the chemically treated bamboo. Most channels were in the toy handicraft chain in the production flow, then kitchen utensils, and chemically treated bamboo. The credit payment method is prevalent in financial flow, and trust has been widely established between actors. The information flow related to price was imbalanced. In each chain, collaboration in the raw material segment was weak. The lack of willingness of artisans to be more productive and the weak cooperation among artisans, coupled with the lack of support from the government seems to be obstacles to the development of bamboo as a small to medium enterprise in Gunungkidul

AbstractInnovations and new technologies allow companies to function, work, and develop in an ever-changing environment. The article discusses the importance of innovative strategies and presents the results of research carried out on the role of each employee group (CEO, R+D department, other workers) in implementing innovations, depending on the size of the enterprise: micro company, mini company, medium company, and large company. A look not only through the prism of the size of the organization, but also by the groups of people (knowledge group) responsible for innovation is a novelty of the research and fills the gap in research on innovation of enterprises. Moreover, as an exemplification of theory which is used in practice, the article also presents innovations related to bamboo use in many enterprises from different sectors of the economy (energy, automobile, and textile). Bamboo, thanks to its mechanical and chemical properties, can become an innovative material widely used by various companies. Innovations based on the use of bamboo become eco-innovations that support eco-efficiency and the circular economy. The cognitive and utilitarian value of completed research lies in the possibility of a broad look at the innovation strategy (including bamboo as an innovative material) and in the possibility of its implementation and application in various enterprises operating on the market.

Cricket farming is emerging as a new venture in Kenya poised to help alleviate protein deficiency and improve household living standards. However, competing, limited and unaffordable rearing systems constrain productivity and optimisation of this new enterprise. This study sought to evaluate the growth performance of Acheta domesticus and Gryllus bimaculatus reared in improvised cage system to assess its technical effectiveness. Twenty-day old of both species of crickets were separately reared in improvised and conventional cage systems for comparison purposes. Whereas an improvised cage system is a set of structure devised using locally available materials especially where the standard materials are limited, a conventional cage system is a set of structure made of standard and ordinary materials. The improvised system comprised of bamboo hideouts, clean scrap blankets for drinking and laying, cut bamboo stem as drinking platter and the plywood-based cages while conventional system comprised of egg carton hideouts, cotton-wool for drinking and laying, plastic petri-dishes, and plastic buckets. Each group of crickets (100 live crickets) was daily provided with equal amount of feed and water. Average weekly temperature and relative humidity profiles were recorded using HOBO data loggers. Further, 49 live crickets per treatment were randomly sampled and weighed weekly. Generalised additive model and analysis of variance were adopted to model the data therefrom using R. The cage system had a significant effect on the growth performance of the crickets. The mean weight of the cricket species differed, but not the interaction with the cage system. Similarly, species, temperature and relative humidity also influenced the growth performance. Compared to the conventional system, improvised cage system showed better results in realising high cricket productivity though there was no significant difference in growth performance between the two systems. The focus therefore should be to evaluate the egg productivity in scrap blanket in relation to cotton wool and cost effectiveness in improvised system to inform future farm decisions.

Background: Integrated rice-fish farming is one of the most viable, reliable and profitable of any farming enterprise. It contributes immensely to the economic empowerment of many families especially in the rural communities. It enables the farmer to be productive all year round and fully maximize its production. Aim: To identify the sources of information available to farmers on integrated rice-fish farming and assess the level of use of integrated rice-fish farming technologies by the farmers in the study area. Study Design: This was a cross-sectional study. 243 farmers were assessed to ascertain their sources of information and level of use of integrated rice-fish farming technologies in the study area. Methodology: Primary data were obtained from the field using structured questionnaire. The questionnaire contained questions that address the objectives of the study. Farmers were asked to identify the sources of information and the level of use of integrated rice-fish technology on a 4- Likert scale. Results: The result revealed that 78.2% of the farmers got information on integrated rice-fish farming technology using phone, 75.0% said they heard about it on radio, 70.0% got theirs from friends /relatives while 67.9% indicated getting their information from co-operatives. It revealed that the farmers used the following technologies: use of net guard (M = 3.17) skills in harvesting of fish before rice (M=3.17) stocking of carp fish (M=3.09) use of organic fertilizers (M=3.05) transplanting the rice seedling (M=2.95) and use of pest and disease resistant varieties (M=2.85), while technologies like use of bamboo guard (M=1.97) skills in harvesting of rice before fish (M=1.96) stocking of tilapia fish (M=1.93) construction of trenches (M=1,88) and use of terracing (M=1.86) are not used. Conclusion: Most of the farmers (78.2%) got their information from the electronic media such as mobile phones and radio. Use of net guard (M= 3.17) skills in harvesting of fish before the rice (M= 3.17), stocking of carp fish (M= 3.09) and use of organic fertilizers (M= 3.05) were the technologies mostly used by the farmers. Recommendations: For effective communication and information dissemination to be sustained on rice-fish farming, the Federal and State governments should support the farmers by providing mobile phones and radios because farmers will always prefer information channels that are cheaper, accessible and convenient.

Peningkatan Manajemen Usaha Mikro Kecil dan Menengah (UMKM) Kursi Bambu merupakan Kegiatan Pengabdian Kepada Masyarakat (PKM) sekaligus menjadi tujuan dari kegiatan PKM ini. Berdasarkan survey dan anailisis, maka dapat diidentifikasi permasalahan sebagai berikut: 1) kurangnya pemahaman terhadap ilmu manajemen bisnis baik secara pengelolaan sumber daya manusia dan belum memiliki perencanaan strategic dalam mengembangkan bisnis; 2) terbatasnya pemasaran kursi bambu yang selama ini dilakukan secara konvensional; 3) minimnya kemampuan pelaku UMKM dalam menguasai pemanfaatan digital marketing untuk menyebarluaskan produk kursi bambu; 4) masyarakat memiliki keterbatasan dalam permodalan sehingga mengalami kesulitan untuk mengembangkan bisnis kursi bambu yang bervariasi, dan inovasi yang menarik sehingga mampu bersaing dan peningkatan pendapatan pengrajin; 5) terbatasnya alat membuat kerajinan bambu yang dimiliki oleh kelompok pengrajin bambu tradisional; dan, 6) modal kelompok pengrajin bambu masih sangat kecil, pada umumnya perusahaan tersebut masih milik perorangan sehingga kekuatan modal sangat tergantung dari kondisi finansial keuangan pribadi. Metode yang dilakukan melalui beberapa tahapan, yaitu: 1)tahap persiapan; 2) tahap pelaksanan; 3) monitoring; dan 4) evaluasi. Hasil dari PKM ini, UMKM mendapatkan pelatihan mengenai manajemen UMKM yang meliputi pelatihan peluang bisnis, SDM, dan manajemen pemasaran.Kata kunci: bambu, digital marketing, kursi, manajemenImprovement of Management of Micro, Small and Medium Enterprises (UMKM) of the Bamboo Chair in Ciranjang VillageABSTRACTIncreasing Business Management Micro small and medium enterprises (UMKM) of Kursi Bambu is an activity of devotion to the community “Pengabdian Kepada Masyarakat” PKM at once as an aim from this PKM activities. Based on Survey and analysis, it can be identified problems as follows: 1) lack of understanding to the business management either in human resources management and do not have strategic planning in developing business; 2) the limited marketing of Kursi Bambu is during this is conventional; 3) the lack of UMKM doers skill in holding digital marketing utilization to overspread Kursi Bambu products; 4) the people have the limited in the capital so that find it difficult to develop the business are varied of Kursi Bambu; 5) the limited of bamboo craft maker is shared by a group of a traditional bamboo craftsman; 6) we got group capital of bamboo craftsman was very small, in general, the company is still owned by an individual capital so power depends on personal finances. The method in this devotion was done in several phases, 1) preparation phase; 2) actuating phase; 3) monitor phase; 5) evaluation. The results from this PKM that UMKM got the training about business management which covering business opportunity, human research management, and marketing management.Keywords: bamboo, digital marketing, chair, management

The study was under take to determine and describe the general characteristic of respondents, to explore present livelihood status of unified enclaves people and to identify problems faced by them. The study was conducted at different unified enclaves’ areas of Lalmonirhat, Kurigram, Panchagarh and Nilphamari district during December 2016-June 2017. A total 200 respondents were randomly selected from unified enclave areas for the study 50 from each district. Thirty two percent residents live in straw and mud wall houses and side walls are developed either by tin or by bamboo or other low cost materials and poor families (29%) have walls made by jute sticks. Agriculture is the main source of livelihoods in these areas (80%) including agricultural day labour. Non-farm activities (20%) are mainly limited to shop keeping or trading, rickshaw van pulling. No formal educational institute sponsored by government or private sector was found in unified enclave areas but recently people in enclave areas have built new structures with signboard on their lands by own finances with the hope that their relatives and peers will get jobs if the government approves the scheme. There is no community clinic or primary healthcare facility in the unified enclave areas. Majority of the respondents (76%) take treatment from village doctor and Kobiraj followed by upazilla health care centre (13%) and 5% from community clinic. Ninety two percent birth deliveries had been attended by relatives or midwives at home. Nearly 92% girls were married before age of 18 years. The study reveals that 88% respondents were suffering from dowry but there is no eve-teasing in the unified enclaves due to their strong family and social bondage. Insufficient irrigation facilities and quality agricultural inputs, lack of training and lack of marketing facilities of agricultural products is the major problems of their livelihoods. Insufficient support and lack of training in agriculture, livestock and fisheries, lack of healthcare centre, educational institution, poor road transportation facilities, and insufficient loan facilities of agriculture is the major problems of unified enclaves. To improve the condition of lives of people in unified enclaves, need to ensure quality agricultural inputs and irrigation facilities, agricultural product marketing facilities, training on modern farming and agricultural credits with lower interest rate. Group based or community based fish, poultry or cattle farming might be beneficial for landless people. Low cost capital is needed to establish micro or small business enterprise. To improve the condition of lives of people in unified enclaves, different government agencies have taken various initiatives. But government programmes will not be enough to meet various needs of people of unified enclaves. Intervention from private sector would address various development needs there.

AbstractFood is a necessity for physical and spiritual well-being. It is sacred, identity, medicines, arts, religion, politics, social and legal. The different social system is recognised by the type of food that people consumed demarcating self and others. For some, certain foods are delicacies but taboo for others. Nevertheless, taste and smell determine the delicacy of the food. Against this background, the paper examines the traditional concept of food, food practices, and different types of food that the Zeme consumes in brief. The paper explores the delicacies of dry season food such as nkampi chutney, fermentation of bamboo shoots, namely kechui-hia and kechui-nnang, and mustard leaf paste-taste making, njetim, and the local beverages called zou. The paper locates the different local beverages in the context of legal, social, religion and gender implications. The study observed that the Zeme’s food practices have gone through radical changes with the appropriation of the other food practices engrossed into the realm of market enterprises. It is of the view that proper value addition to the food practices can enhance their livelihood opportunities. The paper concluded that it serves as a foundation for the scientific investigation on the Zeme’s food practice in general and fermented food making in particular, and contributions to the food literature.

Science and Technology for Entrepreneurship (IbK) at the University of Muhammadiyah Makassar aims to improve the knowledge and skills of students who have started pioneering a product as a forerunner of independent business through the Student Creativity Program (PKM), and alumni are starting a new business (entrepreneurship), creating new entrepreneurs independently based science and technology and creating an entrepreneurial training methods suitable for the tenant. IbK activities take place during the first three years to build as many as 20 tenants consisting of the students who have EnterpreneurshipStudent Creativity Program (PKM-K) active students and alumni PKM-K, and, of the 20 tenants that have generated new independent entrepreneurs as many as five (5); among others: (1) The business of Fermented Milk (for health and cosmetics), (2) Shoes Sabbe / Silk Bugis, (3) Crackers Cassava and Banana, (4) Shredded Chilli, (5) Pin and Keychain. Specific targets to be achieved through IBK activities are spawned at least 5 participants IBK become new entrepreneurs based independent science and technology, at least 80% of participants prospective entrepreneurs first year to new entrepreneurs. Training Methods entrepreneurial knowledge in the form of lectures, training to improve product quality and improved packaging tenant.The Results of IbK in the first year of activities, namely; Enterprises of fruit and vegetable fermentation, Souvenir glass bamboo, Flowers Products Terrarium, fish fry and Miniature Boat Pinisi. Increasing the quantity and quality of production of the tenants have pushed their motivation to be more diligent in terms of marketing their products. There are two ways that do marketing tenanare included in the category of an Independent ie depending on the type of production the tenants, such as for the production of fermented milk and pin / key holder by way of order. As for the tenants who produce; Cassava crackers and bananas, chili, as well as silk shoes / sabbe consignment Keywords: Training, self-employment, production, marketing

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. 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